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Tamino
Aladdin Theater, Portland, OR, United States
Mar 31, 2025
8:00PM PDT
More info

Rising Belgian-Egyptian musician Tamino is pleased to unveil the details of his second album, Sahar, due out 23rd September on Communion Records. The grandson of one of Egypt’s most famed singers and film stars, Tamino channels his own lineage, as well as the folk and rock music traditions from the Middle East and Europe for a borderless and timeless record.

To coincide with its announcement, Tamino shares new single ‘Fascination’. Listen HERE

Created in the wake of the international acclaim that followed his debut album Amir, Sahar was born in Tamino’s Antwerp apartment. Already adept at playing guitar and piano, Tamino took up the oud, an Arabic lute, under the mentorship of a Syrian refugee living in Antwerp. The instrument served as a key tool in the songwriting process and provides a melancholic soundscape that is threaded throughout the project. The record is a distillation of Tamino’s solitary reflections, and a product of work with close collaborators including Radiohead bassist Colin Greenwood, producer/engineer PJ Maertens, and drummer Ruben Vanhoutte.

Tamino’s 2018 breakout debut album Amir was met with widespread acclaim from critics and fans alike. The Antwerp-based musician’s fanbase stretches across the world, from the Middle East to North America, and the album has collected over 126 million streams.

As previously announced, Tamino plays two intimate shows later this month in Paris and London, with both selling out in under five minutes. Later this Autumn, he will take Sahar out on the road, with a tour of North America, followed by a handful of dates in Europe. He headlines London’s KOKO on 24th November. Tickets go on general sale from 10am local time on Friday 10th June via www.taminomusic.com. For all pre-sale news, sign up to Tamino’s mailing list at www.tamino.lnk.to/mailinglist

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The Linda Lindas
Walter Studios, Phoenix, AZ, United States
Mar 31, 2025
8:00PM MST
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Since going viral with their LA Public Library performance of their song “Racist, Sexist, Boy” the world has watched The Linda Lindas scream about injustice, sing about growing up and exhibit the kind of altruism that is so meaningful to the punk scene. While their evolution as writers, performers and studio geeks is clear on No Obligation, their ethos remain steadfast. The band has released three great album cuts so far, the anxiety filled ”Too Many Things,” the scorcher “Revolution / Resolution,” and the album’s addictive lead single “All In My Head”. With all four musicians each contributing to the writing and lead-singing, the songs are as varied and dynamic as the girls themselves, however the listener always senses the underpinning of both their shared world-view and their bond.

No Obligation, the second full-length album (released on October 11 via Epitaph Records) from The Linda Lindas further advances their unironic, joyful, and exciting trajectory of mashing up L.A. punk with post punk, garage rock, power pop, new wave and rock en español. Written and recorded by the band during spring breaks, winter breaks, and long weekends (Lucia de la Garza and bassist Eloise Wong are still in high school, drummer Mila de la Garza just finished middle school, and Bela Salazar is patiently waiting for them to get done with it already), the new album has been in the works for the last two years whenever they weren’t at school or touring.

The Linda Lindas most recently shared “No Obligation” - the ferocious title track. “I don’t got no obligation,” roars Eloise Wong in the album’s opening song - “just brush off all expectation.” From the first moment of their sophomore release, it is clear that The Linda Lindas are here to defy expectations and challenge the norms.

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Rubblebucket
The Neptune Theatre, Seattle, WA, United States
Apr 01, 2025
8:00PM PDT
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Rubblebucket’s seeds were sown when Kalmia Traver and Alex Toth, the group’s front persons, co-writers and co-producers, first began a friendship as jazz students at the University of Vermont. Soon after, they formed Rubblebucket, using the project to delve into pop, funk, dance and psychedelia; performances have spanned Bonnaroo to Glastonbury to their self-curated Dream Picnic Festival, and they’ve collaborated with kindred genre-blenders including Arcade Fire and Scissor Sisters’ Jake Shears. Their latest full-length LP ‘Year of the Banana’ is perhaps their deepest and grooviest work yet. It speaks to the power of transforming and adapting relationships in a time when the world needs it most.

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Rubblebucket
Revolution Hall, Portland, OR, United States
Apr 02, 2025
8:00PM PDT
More info

Rubblebucket’s seeds were sown when Kalmia Traver and Alex Toth, the group’s front persons, co-writers and co-producers, first began a friendship as jazz students at the University of Vermont. Soon after, they formed Rubblebucket, using the project to delve into pop, funk, dance and psychedelia; performances have spanned Bonnaroo to Glastonbury to their self-curated Dream Picnic Festival, and they’ve collaborated with kindred genre-blenders including Arcade Fire and Scissor Sisters’ Jake Shears. Their latest full-length LP ‘Year of the Banana’ is perhaps their deepest and grooviest work yet. It speaks to the power of transforming and adapting relationships in a time when the world needs it most.

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Riley Green
Slush Puppie Place, Kingston, ON, Canada
Apr 03, 2025
7:00PM EDT
More info

Riley Green has been compelling Country music fans to raise a drink, shed a tear, and, above all, celebrate where they are from, since his self-titled EP in 2018 debuted with Big Machine Label Group. His songs like the No. 1 PLATINUM hit “There Was This Girl,” the 2X-PLATINUM-certified heart-tugger “I Wish Grandpas Never Died,” and his chart-topping collab with Thomas Rhett, “Half of Me,” have made the Academy of Country Music’s 2020 New Male Artist of the Year synonymous with what Country music does best: making listeners feel something with his no-gimmick, relatable writing and classic feel.

A huge 2023 for the avid sports fan, former athlete (Jacksonville State University quarterback) and outdoorsman, Green secured his third No. 1 single “Different ‘Round Here (Ft. Luke Combs),” played to an average of 65,000 fans each night as direct support on massive tours for Luke Combs and Morgan Wallen and released his latest full-length studio album Ain’t My Last Rodeo. The Dann Huff-produced album features his current Top 25-and-climbing single “Damn Good Day To Leave,” and gave a deeper look into the life of good ol’ boy who still lives in his hometown of Jacksonville, AL.

Currently riding a wave of massive success that grows stronger each day, 2024 has been a rocket for Green. He released his Way Out Here EP, which included two solo writes that had critics and fans alike gushing (the poignant “Jesus Saves” and the sultry “Worst Way,” which sparked a frenzy on the internet), the humorous tune “Rather Be,” as well as the wildly viral “you look like you love me” with Ella Langley, which has also taken social media by storm. He played for the biggest Country crowd in UK history (on his first trip across the pond no less), headlined his own (largely sold out) amphitheater tour, hosted his own festival, became one of only three Country artists to grace the cover of Cigar & Spirits and has become one of the most buzzed-about artists in Nashville. With another project on its way this fall, it’s clear, “there’s no slowing down for Riley Green” (Pollstar). See tour dates and learn more at RileyGreenMusic.com.

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Lyle Lovett with The Nashville Symphony
Schermerhorn Symphony Center, Nashville, TN, United States
Apr 03, 2025
7:30PM CDT
Bullet for My Valentine and Trivium
Featuring: Bullet For My Valentine Trivium
SF Masonic Auditorium, San Francisco, CA, United States
Apr 03, 2025
6:30PM PDT
More info
Featuring:
Bullet For My Valentine
Trivium
Riley Green
Coca-Cola Coliseum, Toronto, ON, Canada
Apr 04, 2025
7:00PM EDT
More info

Riley Green has been compelling Country music fans to raise a drink, shed a tear, and, above all, celebrate where they are from, since his self-titled EP in 2018 debuted with Big Machine Label Group. His songs like the No. 1 PLATINUM hit “There Was This Girl,” the 2X-PLATINUM-certified heart-tugger “I Wish Grandpas Never Died,” and his chart-topping collab with Thomas Rhett, “Half of Me,” have made the Academy of Country Music’s 2020 New Male Artist of the Year synonymous with what Country music does best: making listeners feel something with his no-gimmick, relatable writing and classic feel.

A huge 2023 for the avid sports fan, former athlete (Jacksonville State University quarterback) and outdoorsman, Green secured his third No. 1 single “Different ‘Round Here (Ft. Luke Combs),” played to an average of 65,000 fans each night as direct support on massive tours for Luke Combs and Morgan Wallen and released his latest full-length studio album Ain’t My Last Rodeo. The Dann Huff-produced album features his current Top 25-and-climbing single “Damn Good Day To Leave,” and gave a deeper look into the life of good ol’ boy who still lives in his hometown of Jacksonville, AL.

Currently riding a wave of massive success that grows stronger each day, 2024 has been a rocket for Green. He released his Way Out Here EP, which included two solo writes that had critics and fans alike gushing (the poignant “Jesus Saves” and the sultry “Worst Way,” which sparked a frenzy on the internet), the humorous tune “Rather Be,” as well as the wildly viral “you look like you love me” with Ella Langley, which has also taken social media by storm. He played for the biggest Country crowd in UK history (on his first trip across the pond no less), headlined his own (largely sold out) amphitheater tour, hosted his own festival, became one of only three Country artists to grace the cover of Cigar & Spirits and has become one of the most buzzed-about artists in Nashville. With another project on its way this fall, it’s clear, “there’s no slowing down for Riley Green” (Pollstar). See tour dates and learn more at RileyGreenMusic.com.

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Pom Pom Squad
Supported by: Caroline Kingsbury
Music Hall of Williamsburg, Brooklyn, NY, United States
Apr 04, 2025
8:00PM EDT
More info

When Pom Pom Squad’s Mia Berrin was 21 years old, she fell in love. Sure, she’d been in love before, but this time, something was different: “It just felt like a switch had flipped inside my head,” she says. “I realized I had been living a life that was not my own, watching myself from the outside.” As a kid who bounced from town to town growing up, and as a person of color in predominantly white spaces, Berrin had become accustomed to maintaining a constant awareness of how others perceived her—a “split-brain mentality” that she adopted as a necessary means of survival. But now, tumbling through her first queer romance—and her first queer heartbreak—some of that self-separateness began to mend: “Suddenly,” she says, “I was in a body that was mine.”

Of course, displacement can start to feel like a life sentence when even the pop culture you’re trying to escape into doesn’t feel like home. “As a teenager, I was always looking to see myself represented,” Berrin says, “but I never really saw a path drawn out for someone who looked like me.” So she held tight to the glimpses of herself she could catch—from Death Cab For Cutie to Sade; from the camp and synth-pop of Heathers to the pastels and gloomy mellotron of The Virgin Suicides; from John Waters’s take on suburbia to David Lynch’s. “I absorbed everything I could and tried to make a collage that could incorporate every piece of me,” she says—and in the process, she gained a particular appreciation for the heady mix of music and visuals, how a great song could become even greater when woven into an artist’s overall aesthetic. But it wasn’t until Berrin got into punk and grunge—artists like Courtney Love and Kathleen Hanna, who were both unapologetically outspoken and unapologetically femme—that she knew she had to start a band.

Enter Pom Pom Squad. Berrin first played under the moniker in 2015 after moving to New York to study acting at NYU—though she soon transferred to the Clive Davis Institute of Recorded Music—and it was at those early gigs that she linked up with Shelby Keller (drums), Mari Alé Figeman (bass), and Alex Mercuri (guitar). The group cut their teeth playing packed Brooklyn apartments, but they quickly graduated to packed Brooklyn venues alongside artists like Soccer Mommy, Adult Mom, and Pronoun. Following the release of their sophomore EP Ow, Pom Pom Squad was looking at a packed 2020, with shows at SXSW and opening for The Front Bottoms—but of course, plans changed.

Lost in the free-fall of isolation, Berrin found herself returning to classic, familiar sounds: jazz vocalists like Billie Holiday, the warm tones of MoTown. “It was comforting, listening to music that’s so evocative and cinematic,” she says. “It takes you out of the world for a minute.” At the same time, though, she was confronted daily with the world’s stark reality as protests erupted against police brutality and anti-black racism following the murder of George Floyd. “[The protests] brought to the surface these feelings I’d been stewing on for a long time,” she says, “thinking about the history of American popular music, the way that black artists are constantly erased from the music they pioneered. How rock was invented by a black queer woman—Sister Rosetta Tharpe—but I grew up feeling like I was odd for loving guitar-based music.”

The result of this stymying, galvanizing period—of escaping to come back—is Death of a Cheerleader. Produced Sarah Tudzin of Illuminati Hotties and co-produced by Berrin, the album moves through moods like a camera panning across an expertly collaged bedroom wall: a Ronettes drum beat here (“Head Cheerleader”), a Doris Day nod there (“This Couldn’t Happen”), the impossible romance of swelling strings (“Crying”) collapsing into guitar thrash (“Drunk Voicemail”). Here, too, are all the overlapping, contradictory tenets of 21st-century young womanhood—the carnality and the vulnerability, the sugar and the defiance. On “Head Cheerleader,” antsy and anthemic, Berrin promises us that “my worst decisions are the ones I like the best” before she heads under the bleachers, even as she acknowledges moments later that “my feelings always make a fucking fool of me”; on the breathless, punky “Lux” (named for the Virgin Suicides heroine, of course), she boasts feeling “naked without taking off any of my clothes,” and it’s as much a come-on as it is an admission of terrifying exposure, couched in Berrin’s dare-laden drawl.

This tension—between baring oneself and crafting delicious, tongue-in-cheek art—is what drives so much of the foundational queer media to which Death of a Cheerleader pays homage (not in the least its film namesake, But I’m a Cheerleader). On “Second That,” a tumbling acoustic waltz built around a Smokey Robinson quote, Berrin steps out for a moment from behind the elaborate curtain of references she’s constructed with an admission—“I’m sad, I’m just fucking sad,” her voice on the edge of breaking—but then, moments later, she’s back in the anti-bourgeoisie upswing of “Cake,” playfully demanding her fair share. It’s a reminder of the self-affirming power of artifice, of glam, lipstick drawn on in blood. With Death of a Cheerleader, Pom Pom Squad offer a fresh and decidedly queer take on picking up the pieces—from heartbreak, from injustice—and creating yourself anew.

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St. Louis Symphony Orchestra - Batman in Concert
Stifel Theatre, St. Louis, MO, United States
Apr 04, 2025
7:00PM CDT
Colorado Springs Philharmonic
Bootlegger's Bash - Friday
Pikes Peak Center, Colorado Springs, CO, United States
Apr 04, 2025
7:30PM MDT
Colorado Symphony Orchestra - Carmina Burana
Boettcher Concert Hall, Denver, CO, United States
Apr 04, 2025
7:30PM MDT
Hulvey
The Neptune Theatre, Seattle, WA, United States
Apr 04, 2025
8:00PM PDT
More info
Knowing God plays a central role as both a catalyst and medium in Hulvey’s personal and creative growth. The 24-year-old Brunswick, GA native’s music delves into themes of thankfulness, maturity and comfort that reflect the peace of mind he currently inhabits. In the five years since signing with Reach Records, Hulvey has released his debut, self-titled album, Christopher, to widespread acclaim and toured nationally – welcoming a season of newfound success filled with transformative moments. His reverence for God is inextricably linked to his upbringing in Southeast Georgia, where Hulvey was steeped in an all-encompassing church life. After being saved at age 4, his spiritual journey started to take form. From then on out, Hulvey made a conscious effort to seek God in all of his experiences and direct every fiber of his being to developing a deeper understanding of his Creator. In doing so, he naturally surrounded himself with people who have similar values, which led to a fortuitous run-in with a gentleman by the name of Doug. This alignment marked a pivotal turning point in Hulvey’s life when a bible verse resonated with him unlike any other, John 17:3 – “This is eternal life, that they may know you, the only true God, and Jesus Christ whom you have sent.” Hulvey went on to attend college before deciding to drop out and pursue a career in music full-time. And so far it has worked out for him. To date, he’s released a plethora of compelling singles, five EP’s and his aforementioned debut album, which made waves across the music industry and debuted at #8 on Billboard’s Top Christian/Gospel Albums chart, and #19 on the Top Rap Albums chart. 2023 was no different, evidenced by the runaway success of his immensely popular singles such as “Used By You,” “Love Like That,” “Fly Away,” and “Altar.” The latter was remixed by Grammy Award-winning R&B-pop star Ciara, and the original version peaked at #25 on Billboard’s Hot Christian Songs, with seven total weeks on the chart. Hulvey’s impressive versatility and ability to draw connections across the ever-growing musical landscape is a testament to the reach of faith-based rap. With more music and major moves on the horizon, he’s squarely positioned to bring people closer to God with his now-signature blend of nuance, effort, intentionality.
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Rubblebucket
August Hall, San Francisco, CA, United States
Apr 04, 2025
8:30PM PDT
Geoff Tate
House of Blues Orlando, Lake Buena Vista, FL, United States
Apr 05, 2025
7:00PM EDT
More info

Multi-platinum selling, Grammy nominated singer/songwriter Geoff Tate is best known for his 30-plus years as the creative and driving force behind the progressive metal band Queensryche. Since its inception with Geoff at the helm, Queensryche has sold over 20 million albums worldwide and has performed in upwards of fifty countries. Geoff is regarded as one of the most skilled vocalists in the genre with hundreds of modern, popular artists citing him and his former band as a major influence. Combining social consciousness and expertly crafted lyrics with high-energy, melodically complex music, Queensryche with Geoff Tate at the forefront became internationally recognized as the thinking man's rock band.

The band's first three albums -- their self-titled EP (1983), The Warning (1984) and Rage for Order (1986) -- all hit gold status selling over 500,000 units each. With the release of their landmark concept album Operation: Mindcrime (1988) -- which won critical and popular acclaim and comparisons to the Who's Tommy and Pink Floyd's The Wall -- Queensryche went on to bring their progressive music to sold-out audiences the world over. Following the album's platinum success, Queensryche released Empire, which quickly entered the Top Ten on the Billboard charts, eventually generating sales of more than three million copies. The album featured the hugely popular hit, "Silent Lucidity," which would be the band's first Top Ten single (#9 on the Billboard Hot 100 chart and #1 on the Billboard Mainstream Rock Tracks chart). Geoff and the band would ultimately perform the Grammy nominated song live at the Grammy awards accompanied by a supporting orchestra. In all, Queensryche has been nominated for a Grammy four times and has had their music featured in three feature films. In 2006, the band released Operation: Mindcrime II, a scorching sequel to their original 1988 tale of "Rock, Revenge and Redemption." The band would soon hit the road performing both albums back-to-back in their entirety in an incredible theatrical presentation. The spectacle would be captured on Mindcrime at the Moore, a double CD/DVD release so popular that the DVD would debut at #1 on Billboard's Top Music DVD chart and eventually reach gold status. Shortly after the release of that hugely successful set, Queensryche would release another gem in 2007 titled, Sign of the Times: The Best of Queensryche, that featured 17 career-spanning tracks including seven Top 10 hits with a two-CD deluxe Collector's Edition that added fifteen rare and previously unreleased recordings. Later that year, the band found themselves on the fall leg of the highly acclaimed Heaven and Hell Tour with the late, great Ronnie James Dio, Tony Iommi, Geezer Butler and Vinny Appice along with other special guest, Alice Cooper. The year would culminate with the release of Take Cover, an adventurous 11-song collection of covers ranging from Black Sabbath to Broadway. In early 2009, Queensryche released American Soldier (via Atco/Rhino Records), a concept album inspired by the stories of military veterans that examines the consequences of war from the soldier's perspective... yet another effort that will solidify Geoff and the band in rock history. A truly memorable experience, the band met with, and performed for, troops in both the U.S. and the Middle East. In the year 2010, Queensryche would, once again, display their immense creativity by presenting the Queensryche Cabaret, which was heralded as "the first adults-only rock show." In 2011, the band would find themselves celebrating their 30th Anniversary in rock, marking the occasion with the release of Dedicated to Chaos (Roadrunner Records/Loud & Proud) and an extensive support tour. At the end of 2012, Geoff released his first solo album in over a decade titled, Kings & Thieves (InsideOut Music), that was quickly followed by the news of a 25th Anniversary Mindcrime Tour that would encompass the United States in 2013. Also that year, Geoff would release what would be his last album under the Queensryche name, Frequency Unknown (Cleopatra Records), an effort that would feature such guest musicians as Ty Tabor, K.K. Downing, Brad Gillis, Dave Meniketti and Chris Poland along with the members of his version of Queensryche at the time - Rudy Sarzo, Robert Sarzo, Simon Wright, Kelly Gray and Randy Gane. In 2014, it was announced that Geoff and his band mates would be embarking on their farewell tour as Queensryche, with a subsequent announcement stating that Queensryche with original lead singer Geoff Tate would be changing its name to "Operation: Mindcrime" in September for future tours and recordings. By the end of the year, Geoff began working on one of his most ambitious works to date, an entirely new concept album, titled The Key, that would be the first in a trilogy. Released in September of 2015 (Frontiers Music SRL), the debut album examined the question, "What would you do if you discovered the key to changing the way we view the world, the way we look at time, the way we travel, and could essentially change the human condition -- for better or for worse?" Next in the trilogy would be 2016's Resurrection, completed by 2017's The New Reality. All three albums were followed up with international tours that included extensive tours of the United States. Beginning in June of 2018, Geoff and the current line-up of Operation: Mindcrime, will be are hitting the road to celebrate the 30th Anniversary of Operation: Mindcrime, performing the 1988 landmark concept album from beginning to end in its entirety... It's a show that Geoff loves to perform and fans love to see, only proving that good music never goes out of style. As always, Geoff looks forward to the musical journey that lies ahead.

SHORT BIO:

"Geoff Tate celebrates the 30th Anniversary of one of the best-selling rock concept albums, Operation:Mindcrime - certified Platinum and named as one of the “100 Greatest Heavy Metal Albums Of All Time”. Come again and follow Nikki through his journey of a corrupt society as he gets involved with a revolutionary group along with Father William, Dr. X and Sister Mary.

Geoff and his electric band will perform the album in its entirety, featuring the hits “Revolution Calling”, “I Don’t Believe In Love” and “Eyes Of A Stranger” along with a greatest hits set featuring “Jet City Woman” “Empire” and the forever signature “Silent Lucidity”.

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Yellow Brick Road - Elton John Tribute
Riviera Theatre North Tonawanda, North Tonawanda, NY, United States
Apr 05, 2025
7:30PM EDT
Riley Green
Budweiser Gardens, London, ON, Canada
Apr 05, 2025
7:00PM EDT
More info

Riley Green has been compelling Country music fans to raise a drink, shed a tear, and, above all, celebrate where they are from, since his self-titled EP in 2018 debuted with Big Machine Label Group. His songs like the No. 1 PLATINUM hit “There Was This Girl,” the 2X-PLATINUM-certified heart-tugger “I Wish Grandpas Never Died,” and his chart-topping collab with Thomas Rhett, “Half of Me,” have made the Academy of Country Music’s 2020 New Male Artist of the Year synonymous with what Country music does best: making listeners feel something with his no-gimmick, relatable writing and classic feel.

A huge 2023 for the avid sports fan, former athlete (Jacksonville State University quarterback) and outdoorsman, Green secured his third No. 1 single “Different ‘Round Here (Ft. Luke Combs),” played to an average of 65,000 fans each night as direct support on massive tours for Luke Combs and Morgan Wallen and released his latest full-length studio album Ain’t My Last Rodeo. The Dann Huff-produced album features his current Top 25-and-climbing single “Damn Good Day To Leave,” and gave a deeper look into the life of good ol’ boy who still lives in his hometown of Jacksonville, AL.

Currently riding a wave of massive success that grows stronger each day, 2024 has been a rocket for Green. He released his Way Out Here EP, which included two solo writes that had critics and fans alike gushing (the poignant “Jesus Saves” and the sultry “Worst Way,” which sparked a frenzy on the internet), the humorous tune “Rather Be,” as well as the wildly viral “you look like you love me” with Ella Langley, which has also taken social media by storm. He played for the biggest Country crowd in UK history (on his first trip across the pond no less), headlined his own (largely sold out) amphitheater tour, hosted his own festival, became one of only three Country artists to grace the cover of Cigar & Spirits and has become one of the most buzzed-about artists in Nashville. With another project on its way this fall, it’s clear, “there’s no slowing down for Riley Green” (Pollstar). See tour dates and learn more at RileyGreenMusic.com.

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Lyle Lovett with The Nashville Symphony
Schermerhorn Symphony Center, Nashville, TN, United States
Apr 05, 2025
7:30PM CDT
Traveling Wilburys Tribute
Asbury Hall at Babeville Buffalo, Buffalo, NY, United States
Apr 05, 2025
8:00PM EDT
Colorado Springs Philharmonic
Bootlegger's Bash - Saturday
Pikes Peak Center, Colorado Springs, CO, United States
Apr 05, 2025
7:30PM MDT
Colorado Symphony Orchestra - Carmina Burana
Boettcher Concert Hall, Denver, CO, United States
Apr 05, 2025
7:30PM MDT
Arts & Lectures Presents
An Evening with Yo-Yo Ma
Arlington Theatre, Santa Barbara, CA, United States
Apr 05, 2025
7:00PM PDT
More info
Ticket Information
Join cellist Yo-Yo Ma for an evening of music and words as he performs a special selection of his favorite pieces and shares stories illuminating his thinking about art, human nature and our search for meaning.
“That Ma has used his gifts in the service of spreading humanistic values – via cross-cultural musical collaboration, civic engagement and huge amounts of heart – means that his connection with the public goes far deeper than mere admiration.” The New York Times Join cellist Yo-Yo Ma for an evening of music and words. In this one-night-only performance, Yo-Yo performs a special selection of his favorite pieces and shares stories about a life dedicated to music. Yo-Yo Ma’s multifaceted career is testament to his belief in culture’s power to generate trust and understanding. He strives to foster connections that stimulate the imagination and reinforce our humanity. This exceptional program will pair repertoire from the center of Yo-Yo’s musical firmament with reflections on how it has shaped his thinking about art, human nature and our search for meaning. Together, the cellist’s music and words ask us to consider what music is for, and how it can guide us on a path towards hope.
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Hulvey
Wonder Ballroom, Portland, OR, United States
Apr 05, 2025
8:00PM PDT
More info
Knowing God plays a central role as both a catalyst and medium in Hulvey’s personal and creative growth. The 24-year-old Brunswick, GA native’s music delves into themes of thankfulness, maturity and comfort that reflect the peace of mind he currently inhabits. In the five years since signing with Reach Records, Hulvey has released his debut, self-titled album, Christopher, to widespread acclaim and toured nationally – welcoming a season of newfound success filled with transformative moments. His reverence for God is inextricably linked to his upbringing in Southeast Georgia, where Hulvey was steeped in an all-encompassing church life. After being saved at age 4, his spiritual journey started to take form. From then on out, Hulvey made a conscious effort to seek God in all of his experiences and direct every fiber of his being to developing a deeper understanding of his Creator. In doing so, he naturally surrounded himself with people who have similar values, which led to a fortuitous run-in with a gentleman by the name of Doug. This alignment marked a pivotal turning point in Hulvey’s life when a bible verse resonated with him unlike any other, John 17:3 – “This is eternal life, that they may know you, the only true God, and Jesus Christ whom you have sent.” Hulvey went on to attend college before deciding to drop out and pursue a career in music full-time. And so far it has worked out for him. To date, he’s released a plethora of compelling singles, five EP’s and his aforementioned debut album, which made waves across the music industry and debuted at #8 on Billboard’s Top Christian/Gospel Albums chart, and #19 on the Top Rap Albums chart. 2023 was no different, evidenced by the runaway success of his immensely popular singles such as “Used By You,” “Love Like That,” “Fly Away,” and “Altar.” The latter was remixed by Grammy Award-winning R&B-pop star Ciara, and the original version peaked at #25 on Billboard’s Hot Christian Songs, with seven total weeks on the chart. Hulvey’s impressive versatility and ability to draw connections across the ever-growing musical landscape is a testament to the reach of faith-based rap. With more music and major moves on the horizon, he’s squarely positioned to bring people closer to God with his now-signature blend of nuance, effort, intentionality.
Show full bio
Colorado Symphony Orchestra - Carmina Burana
Boettcher Concert Hall, Denver, CO, United States
Apr 06, 2025
1:00PM MDT
Swept Away
Longacre Theatre, New York, NY, United States
Apr 06, 2025
7:30PM EDT
Iluminate
Pikes Peak Center, Colorado Springs, CO, United States
Apr 06, 2025
7:00PM MDT
Ty Segall
Tower Theatre - OKC, Oklahoma City, OK, United States
Apr 08, 2025
8:00PM CDT
More info

The man in the tree has a guitar, he’s gonna sing. But the sun shining through the branches— are those rays yellow or hazy gray? What day is today? When are you not going to feel this way again?

“Hello, Hi”: welcome in to a new room to play the styles and feels that lie under Ty Segall’s fingers, easing fresh air into acoustic space with an assortment of love songs flowering in righteous unconsciousness. Plaintive and wistful, but unafraid. Like rain washing away yesterday, “Hello, Hi” pushes open the door, inviting the new to pass through all the old shades and degrees of hot and cold. Dark paths turn off abruptly into absurd darkness, then wind back through the broken rocks, ecstatic again. Absurdity again. It happens everyday.

“Hello, Hi” is expansively rendered by Ty, mostly by himself, at home. The isolation suits the songs: you’re only ever as “at home” as you are with yourself in the mirror. Ty’s acoustic and electric guitars and vocal harmonies layer self upon self, forming a spiny backbone for the album. Textures at once gentle and dissonant root the songs as they make their move: melodic arcs convulsing in doubt and bliss and rage. Busting out of the endless gridlock into open space, these spirits pass on through.

“Hello, Hi”’s flickering awakening to this trip: the opening three tracks’ train of sweet and salty reflections, before the abrupt crunch of the title track electrifies the senses. Good morning’s turned to good mourning in nothing flat, but there’s still a way up from the doldrums, to try again. Why can’t it be just as simple as “Hello, Hi”? What to do with yourself when love triggers loathing? How many more times do you have to go back there again? Pulling at the scratchy wool threads of an old sweater favored for warmth, comfort, protection, rejection, denial, blindness etc, Ty Segall dives from a clear, open sky, down through the marine layer and the shimmering waves of all the years.

Radiating from the same mind fields as Goodbye Bread and Sleeper, mixed with shard edges of contrast and contradiction from things like Freedom’s Goblin, Manipulator, and First Taste, “Hello, Hi” is Ty’s most relaxed and complete production to date, an ebb-and flow fusion of words and music offering abstraction and acceptance as it wrestles itself through a fucked-up time. Your life and what you make of it — throughout “Hello, Hi,” Ty Segall charts a passage through its enduring tangles honestly, with clarity and confusion.

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Tindersticks
The Fillmore San Francisco, San Francisco, CA, United States
Apr 08, 2025
8:00PM PDT
Live Nation
Michael Ball & Alfie Boe
first direct arena Leeds, Leeds, United Kingdom
Apr 10, 2025
7:30PM BST
More info
Ticket Information
Under 14's must be accompanied by an Adult 18+ at all times. No Under 14's on Standing Floor.
Our Planet Live in Concert
Kentucky Center - Bomhard Theater, Louisville, KY, United States
Apr 10, 2025
7:00PM EDT
Maddie and Tae (16+ Event)
Irving Plaza, New York City, NY, United States
Apr 10, 2025
7:00PM EDT
More info

About Maddie & Tae:Award-winning duo Maddie & Tae channel their unbreakable bond, honest songwriting and“some of the tightest harmonies on Music Row” (Rolling Stone) into their upcoming EP,What AWoman Can Do, out September 13. Together as longtime friends and music collaborators,Maddie Font and Taylor Kerr previously drew praise for their 1-2 punch projectThrough TheMadness Vol. 1andVol. 2,and their No. 1 debutingThe Way It Feelsalbum. The album’s 3XPlatinum-certified No. 1 hit, “Die From A Broken Heart” topped the country airplay charts,making Maddie & Tae the first and only female twosome with multiple No. 1s.Maddie & Tae first broke out in 2013 with their brilliant counter to bro-country, the Platinum-selling smash, “Girl In A Country Song,” which took Country radio by storm, skyrocketing tothe top of the charts and establishing them as only the third female duo in 70 years to top theCountry Airplay charts. They took home Group/Duo Video of theYear (“Woman You Got”) atthe 2022 CMT Music Awards, and were recently nominated for Duo of the Year at the 59thACMAwards. They have earned trophies from the Radio Disney Music Awards and CMA Awards,along with multiple ACM, Billboard and CMT Music Awardnominations. Maddie & Tae havereceived widespread praise fromAssociated Press, Billboard, Entertainment Weekly, NPR, TheTennessean, The Washington Post, Glamourand others. The celebrated duo has toured withcountry music’s biggest names including Carrie Underwood, Dierks Bentley, and Brad Paisley.They are currently on the road for their headliningHere’s To Friends Tourthrough fall. For more information, visit www.maddieandtae.com.
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Ty Segall (18+ Event)
The Basement East, Nashville, TN, United States
Apr 10, 2025
8:00PM CDT
More info

The man in the tree has a guitar, he’s gonna sing. But the sun shining through the branches— are those rays yellow or hazy gray? What day is today? When are you not going to feel this way again?

“Hello, Hi”: welcome in to a new room to play the styles and feels that lie under Ty Segall’s fingers, easing fresh air into acoustic space with an assortment of love songs flowering in righteous unconsciousness. Plaintive and wistful, but unafraid. Like rain washing away yesterday, “Hello, Hi” pushes open the door, inviting the new to pass through all the old shades and degrees of hot and cold. Dark paths turn off abruptly into absurd darkness, then wind back through the broken rocks, ecstatic again. Absurdity again. It happens everyday.

“Hello, Hi” is expansively rendered by Ty, mostly by himself, at home. The isolation suits the songs: you’re only ever as “at home” as you are with yourself in the mirror. Ty’s acoustic and electric guitars and vocal harmonies layer self upon self, forming a spiny backbone for the album. Textures at once gentle and dissonant root the songs as they make their move: melodic arcs convulsing in doubt and bliss and rage. Busting out of the endless gridlock into open space, these spirits pass on through.

“Hello, Hi”’s flickering awakening to this trip: the opening three tracks’ train of sweet and salty reflections, before the abrupt crunch of the title track electrifies the senses. Good morning’s turned to good mourning in nothing flat, but there’s still a way up from the doldrums, to try again. Why can’t it be just as simple as “Hello, Hi”? What to do with yourself when love triggers loathing? How many more times do you have to go back there again? Pulling at the scratchy wool threads of an old sweater favored for warmth, comfort, protection, rejection, denial, blindness etc, Ty Segall dives from a clear, open sky, down through the marine layer and the shimmering waves of all the years.

Radiating from the same mind fields as Goodbye Bread and Sleeper, mixed with shard edges of contrast and contradiction from things like Freedom’s Goblin, Manipulator, and First Taste, “Hello, Hi” is Ty’s most relaxed and complete production to date, an ebb-and flow fusion of words and music offering abstraction and acceptance as it wrestles itself through a fucked-up time. Your life and what you make of it — throughout “Hello, Hi,” Ty Segall charts a passage through its enduring tangles honestly, with clarity and confusion.

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Hulvey
The Observatory North Park, San Diego, CA, United States
Apr 10, 2025
8:00PM PDT
More info
Knowing God plays a central role as both a catalyst and medium in Hulvey’s personal and creative growth. The 24-year-old Brunswick, GA native’s music delves into themes of thankfulness, maturity and comfort that reflect the peace of mind he currently inhabits. In the five years since signing with Reach Records, Hulvey has released his debut, self-titled album, Christopher, to widespread acclaim and toured nationally – welcoming a season of newfound success filled with transformative moments. His reverence for God is inextricably linked to his upbringing in Southeast Georgia, where Hulvey was steeped in an all-encompassing church life. After being saved at age 4, his spiritual journey started to take form. From then on out, Hulvey made a conscious effort to seek God in all of his experiences and direct every fiber of his being to developing a deeper understanding of his Creator. In doing so, he naturally surrounded himself with people who have similar values, which led to a fortuitous run-in with a gentleman by the name of Doug. This alignment marked a pivotal turning point in Hulvey’s life when a bible verse resonated with him unlike any other, John 17:3 – “This is eternal life, that they may know you, the only true God, and Jesus Christ whom you have sent.” Hulvey went on to attend college before deciding to drop out and pursue a career in music full-time. And so far it has worked out for him. To date, he’s released a plethora of compelling singles, five EP’s and his aforementioned debut album, which made waves across the music industry and debuted at #8 on Billboard’s Top Christian/Gospel Albums chart, and #19 on the Top Rap Albums chart. 2023 was no different, evidenced by the runaway success of his immensely popular singles such as “Used By You,” “Love Like That,” “Fly Away,” and “Altar.” The latter was remixed by Grammy Award-winning R&B-pop star Ciara, and the original version peaked at #25 on Billboard’s Hot Christian Songs, with seven total weeks on the chart. Hulvey’s impressive versatility and ability to draw connections across the ever-growing musical landscape is a testament to the reach of faith-based rap. With more music and major moves on the horizon, he’s squarely positioned to bring people closer to God with his now-signature blend of nuance, effort, intentionality.
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Forks Corks and Kegs
Deadwood Mountain Grand, Deadwood, SD, United States
Apr 11, 2025
11:00AM MDT
Dawes Parking
The Fillmore Philadelphia, Philadelphia, PA, United States
Apr 11, 2025
7:00PM EDT
Mary J Blige Parking
UBS Arena, Belmont Park, NY, United States
Apr 11, 2025
7:01PM EDT
Scarecrow - John Mellencamp Tribute
Riviera Theatre North Tonawanda, North Tonawanda, NY, United States
Apr 11, 2025
7:30PM EDT
Bullet for My Valentine Parking
YouTube Theater, Inglewood, CA, United States
Apr 11, 2025
6:31PM PDT
Flint Symphony Orchestra
The Whiting, Flint, MI, United States
Apr 12, 2025
7:30PM EDT
Swept Away
Longacre Theatre, New York, NY, United States
Apr 12, 2025
7:30PM EDT
Rubblebucket
Mohawk, Austin, TX, United States
Apr 12, 2025
8:00PM CDT
Armaan Malik - Live in Concert
indigo at The O2, London, United Kingdom
Apr 13, 2025
7:30PM BST
More info
They say age is no bar to success, well this young boy is a testament to that adage. Armaan Malik is the Youngest and the most promising singer of India. Aged just 20 years, he has more than 15 Super-Hit bollywood songs to his credit and has won various prestigious awards like Filmfare, Dadasaheb Phalke Award, Stardust, Big Star, Radio Mirchi, GiMA for both Film as well as Non-Film Music.

His hit Bollwood songs Main Hoon Hero Tera, Main Rahoon Ya Na Rahoon, Tumhe Apna Banane Ka, Wajah Tum Ho, Bol Do Na Zara & Sab Tera have been massive global hits and have catapulted him to being one of the top singers in India today.

A trained student of Hindustani Classical Music, Armaan's artistic versatility extends to other world genres like Pop/R&B, EDM & Big Band to name a few. Hailing from a renowned musical family, spanning three generations of Bollywood Music, Armaan takes forward the musical legacy, to emerge as one of the brightest talents from India.
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Ty Segall
9:30 Club, Washington, DC, United States
Apr 14, 2025
8:00PM EDT
More info

The man in the tree has a guitar, he’s gonna sing. But the sun shining through the branches— are those rays yellow or hazy gray? What day is today? When are you not going to feel this way again?

“Hello, Hi”: welcome in to a new room to play the styles and feels that lie under Ty Segall’s fingers, easing fresh air into acoustic space with an assortment of love songs flowering in righteous unconsciousness. Plaintive and wistful, but unafraid. Like rain washing away yesterday, “Hello, Hi” pushes open the door, inviting the new to pass through all the old shades and degrees of hot and cold. Dark paths turn off abruptly into absurd darkness, then wind back through the broken rocks, ecstatic again. Absurdity again. It happens everyday.

“Hello, Hi” is expansively rendered by Ty, mostly by himself, at home. The isolation suits the songs: you’re only ever as “at home” as you are with yourself in the mirror. Ty’s acoustic and electric guitars and vocal harmonies layer self upon self, forming a spiny backbone for the album. Textures at once gentle and dissonant root the songs as they make their move: melodic arcs convulsing in doubt and bliss and rage. Busting out of the endless gridlock into open space, these spirits pass on through.

“Hello, Hi”’s flickering awakening to this trip: the opening three tracks’ train of sweet and salty reflections, before the abrupt crunch of the title track electrifies the senses. Good morning’s turned to good mourning in nothing flat, but there’s still a way up from the doldrums, to try again. Why can’t it be just as simple as “Hello, Hi”? What to do with yourself when love triggers loathing? How many more times do you have to go back there again? Pulling at the scratchy wool threads of an old sweater favored for warmth, comfort, protection, rejection, denial, blindness etc, Ty Segall dives from a clear, open sky, down through the marine layer and the shimmering waves of all the years.

Radiating from the same mind fields as Goodbye Bread and Sleeper, mixed with shard edges of contrast and contradiction from things like Freedom’s Goblin, Manipulator, and First Taste, “Hello, Hi” is Ty’s most relaxed and complete production to date, an ebb-and flow fusion of words and music offering abstraction and acceptance as it wrestles itself through a fucked-up time. Your life and what you make of it — throughout “Hello, Hi,” Ty Segall charts a passage through its enduring tangles honestly, with clarity and confusion.

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Dean Lewis
Royale, Boston, MA, United States
Apr 14, 2025
8:00PM EDT
More info
Ticket Information
$.25 from each ticket purchased will go to The Shout Syndicate, a Boston-based, volunteer-run fundraising effort who raises money to help fund youth-led arts programs at proven non-profit creative youth development organizations in Greater Boston. Housed at The Boston Foundation, The Shout Syndicate works in partnership with the Mayor's Office of Arts & Culture's creative plan, Boston Creates. https://www.theshoutsyndicate.com/

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.

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WXPN 88.5 Welcomes
Ani DiFranco
Union Transfer, Philadelphia, PA, United States
Apr 15, 2025
7:30PM EDT
More info
These days, every artist’s album needs to have a story. The music can’t speak for itself. But after 22 records, why can’t Ani DiFranco’s work speak for itself? Yes, her forthcoming album is shaped by stories — ones about reproductive freedom, the double-edged sword of the pandemic, identity and ever-evolving belief systems that have shaped each of its 11 songs. There are songs that were written in 2011 and in 2022; some for musicals, others for children’s books. The album isn’t linear, but it is inherently teeming with DiFranco’s spirit. It was paramount to the folk-feminist hero that listeners not be saddled with preconceived notions while diving into her 23rd album Unprecedented Sh!t. “I believe there is a rhyme and a reason as to why these songs have come together in this way now and I want people to experience this album as a journey, a piece of art, without being influenced by a cacophony of surrounding narratives.” While many of DiFranco’s albums were made more insularly, she’s opened herself up to collaboration in recent years. For 21 of DiFranco’s 22 albums, she opted to self-produce. With Unprecedented Sh!t, she wanted to try working with a producer and tapped BJ Burton, who produced one of her favorite albums, Bon Iver’s 22, A Million. With Burton’s help, largely from afar, they created soundscapes often using only DiFranco’s voice and guitar as the raw materials and manipulating them with effects and filters. “I really wanted to lean into the power of machines in a way that I never have before, so BJ and I communicating through many layers of them in order to collaborate, seemed apropos. This record was made almost entirely by me and BJ alone, bouncing things back and forth.” The title Unprecedented Sh!t is not only representative of how much of a sonic departure the 11-track album is from Ani’s other work, but also a political and social commentary on the current state of the world. “We find ourselves in unprecedented times in many ways, faced with unprecedented challenges. So, our responses to them and our discourse around them, need to rise to that level.” The lead single of Unprecedented Sh!t, “Baby Roe” — an anxious folk number that explodes into an industrial-tinged crescendo — embodies that ethos. Inspired by Joshua Prager’s literary masterpiece The Family Roe: An American Story which digs into the history of how abortion became a strategic tool for the right to gain power, “Baby Roe” widens the lens with which abortion rights are viewed to include an existential awareness of non-duality. Of the song, DiFranco says, “In Prager’s book we meet all the characters involved in Roe V. Wade, including the adult child of Norma McCorvey (aka Jane Roe), born and adopted-off in the course of her mother’s quest for the right to a legal abortion. Baby Roe, unaware of her role in history until she was an adult, remains, nonetheless, in support of a woman’s right to choose. As I would be. Life is much longer than the ego would have us believe. It transcends the body, any individual body, and is infinite in fact. Consciousness need not be born into any specific body at any specific time to be manifesting to its fullest. This is one of the ego’s many illusions.” The crushing weight of patriarchal systems on the female psyche and the complicity of women in their own oppression are focal points of the psych-folk number “You Forgot to Speak.” “Between first sleep and second sleep / I stare into the dark / and I can feel there are two of me / so I put um both on the ark,” Di Franco sings with a dreamy lilt. “New Bible” is a rallying cry for a new world order centered around DiFranco’s gravelly vocals: “I think we should have a new bible / that just says: mother earth /and I think men should stand down when women give birth.” On “Virus,” a symphony of sensual jazz, hand-drumming and Nine Inch Nails-style guitar drops, which samples her 1995 classic “32 Flavors,” DiFranco navigates the paradoxical nature of the pandemic, which brought both healing and suffering. “I was given permission to stay home with my family, so it was an incredible gift on that level. It was also a gift to the planet, for our species to shut up and sit down for a minute. Of course, it was also an incredible struggle for humans, full of pain and suffering.” “Spinning Room” visits the related subject of an earth besieged by human pollution and exploitation and seems to come from the voice of nature and the voice of the individual at the same time. Within the world of the song, these voices are presented as one and the same, inseparable. Against a backdrop of finger-picked guitar, “More or Less Free” explores the dynamic of a friendship with someone who is serving life in prison and how they exist throughout the world. “I never thought that I was special / been that way since we were kids / there’s a million people that are like me / in this world, stuck doin bids.” Inspired by Ed Yong’s tome about perception An Immense World, DiFranco contemplates the lives her 1960s army boots have lived and explores the concept of subjective realities in “Boots of a Soldier.” “Wherever these boots have been, wherever they walked, now they're on my feet and they're walking my life. If only I could know the story these boots could tell! It boggles the mind, the radically different umwelts playing out around us at any given moment. This animal, this tree, this guitar I am holding, these boots. The multiplicity of perspectives and stories are unfathomable.” What is at the heart of the album is its final track, “The Knowing,” a tender, existential lullaby that inspired DiFranco’s eponymous 2023 children's book and explores and affirms the importance of selfhood while conveying how the concept can be limiting. In a lot of ways, DiFranco believes if there’s an overarching message to come from her record, it’s in this song; the idea that we can harness the power and value of identity without being limited to it. Identity is a tool perhaps, for understanding and affirming diversity, but beyond that, it is an illusion, and our true nature exists on a level wholly more primary than any of the stories we tell. DiFranco has been known as a feminist icon and pioneer of DIY for nearly 35 years. Since founding her record label Righteous Babe Records in 1990, she has released 22 albums, traversing folk, punk, hip-hop, soul and electronic genres and addressing a range of autobiographical, political and social issues. While her first four albums Ani DiFranco (1990), Not So Soft (1991), and Imperfectly (1992), Puddle Dive (1993), harnessed a more raw sound, Out Of Range (1994), Not A Pretty Girl (1995) and Dilate (1996) were more rooted in DiFranco’s folk ethos. She released eight more albums over the next 10 years, earning a Grammy Award for her 2003 album Evolve and numerous nominations. Her most recent albums include 2008’s Red Letter Year and 2017’s Binary. Most recently, fans have been thrilled by 2021’s Revolutionary Love and the 25th Anniversary Edition reissues of both her iconic 1997 live album Living In Clip and 1998’s Little Plastic Castle, via Righteous Babe Records in 2023. 
DiFranco is also a poet, author and Broadway performer. She released a collection of poems and paintings titled Verses in 2007. Her memoir No Walls and the Recurring Dream was a New York Times Top 10 best seller in 2019, and her children’s books The Knowing and Show Up and Vote are out now. DiFranco also recently completed a 5-month run on Broadway as ‘Persephone’ in the Tony and Grammy Award-winning Best Musical, Hadestown.
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Rubblebucket (21+ Event)
The Music Farm, Charleston, SC, United States
Apr 15, 2025
9:00PM EDT
More info

Rubblebucket’s seeds were sown when Kalmia Traver and Alex Toth, the group’s front persons, co-writers and co-producers, first began a friendship as jazz students at the University of Vermont. Soon after, they formed Rubblebucket, using the project to delve into pop, funk, dance and psychedelia; performances have spanned Bonnaroo to Glastonbury to their self-curated Dream Picnic Festival, and they’ve collaborated with kindred genre-blenders including Arcade Fire and Scissor Sisters’ Jake Shears. Their latest full-length LP ‘Year of the Banana’ is perhaps their deepest and grooviest work yet. It speaks to the power of transforming and adapting relationships in a time when the world needs it most.

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Bullet for My Valentine and Trivium
Featuring: Bullet For My Valentine Trivium
Boeing Center at Tech Port, San Antonio, TX, United States
Apr 16, 2025
6:30PM CDT
More info
Featuring:
Bullet For My Valentine
Trivium
The Rocket Man Show
Van Wezel Performing Arts Hall, Sarasota, FL, United States
Apr 16, 2025
7:30PM EDT
Rubblebucket
Cat's Cradle, Carrboro, NC, United States
Apr 16, 2025
8:00PM EDT
More info

Rubblebucket’s seeds were sown when Kalmia Traver and Alex Toth, the group’s front persons, co-writers and co-producers, first began a friendship as jazz students at the University of Vermont. Soon after, they formed Rubblebucket, using the project to delve into pop, funk, dance and psychedelia; performances have spanned Bonnaroo to Glastonbury to their self-curated Dream Picnic Festival, and they’ve collaborated with kindred genre-blenders including Arcade Fire and Scissor Sisters’ Jake Shears. Their latest full-length LP ‘Year of the Banana’ is perhaps their deepest and grooviest work yet. It speaks to the power of transforming and adapting relationships in a time when the world needs it most.

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Sean Healy Presents
2025 8TURN 1st World Tour
The Vic Theatre, Chicago, IL, United States
Apr 16, 2025
7:30PM CDT
More info
Ticket Information
No backpacks, laptops or tablets allowed in the venue. No bags larger than 12 inches by 12 inches in size. For a full list of prohibited items, please click here.
Rising K-pop rookie boy group 8TURN is coming to Chicago to meet fans in America through their very first world tour, 8TURN 1st World Tour [8TURNRISE] in Chicago on April 16, 2025 at The Vic Theatre.

The 8-member boy group under MNH Entertainment, with members MYUNGHO, JAEYUN, MINHO, YOONSUNG, HAEMIN, KYUNGMIN, YUNGYU, and SEUNGHEON, marched into the K-pop scene after their debut on January 30, 2023, with their first mini-album, ‘8TURNRISE’. With their debut track ‘TIC TAC’, the boys quickly garnered the attention of many fans with its addictive beat.

Making their first comeback only a few months after their debut, 8TURN surpassed their own records with their second mini-album ‘UNCHARTED DRIFT’, reaching over 10 million views on their music video on YouTube. Their growing popularity exhilarated fans for their powerful music.

Not only in the K-pop scene, but 8TURN also participated in an original soundtrack for the OCN, tvN original series ‘The Uncanny Counter Season 2’, which can be streamed worldwide on Netflix. The group revealed their color of music with the series, with an amazing electric guitar soundtrack, ‘Watch’.

As a rookie group, 8TURN proved their popularity worldwide, making their marks on the global stage such as KCON Thailand and Japan, Siam Paragon Summer Ultrasonic 2023, and SONGKRAN SIAM in Thailand, and KAMPFEST CDMX in Mexico.

Starting 2024 strong, the group released their latest album, ‘STUNNING’, in January of this year, keeping the momentum of making the fans wild. 8TURN is set to bring its explosive stages to cities all across America with 8TURN 1st World Tour [8TURNRISE].

Tickets for the 8TURN 1st World Tour [8TURNRISE] in Chicago will go on sale on September 12, 2024 at 1 PM local time.
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AEG Presents
Warren Zeiders
Supported by: Tyler Braden
The BayCare Sound, Clearwater, FL, United States
Apr 17, 2025
7:00PM EDT
More info

Warren Zeiders was just 21 years old when he released his debut single, "Ride the Lightning." Rooted in a platinum-selling mix of country storytelling, heartland twang, and larger-than-life rock & roll, "Ride the Lightning" was every bit as electrifying as its title, catapulting Zeiders then a collegiate star athlete, from the sports field to the stage.

That momentum continues with Pretty Little Poison. Delivered on the heels of his 717 Tapes releases and compilation album — a collection of stripped-back singles and EP songs that introduced his powerhouse voice and sharp songwriting — Pretty Little Poison repositions him as Nashville's newest headliner at just 24 years of age. He's amodern country artist for a generation of music fans who don't mind blurring the boundaries between different styles. "I was raised on country, rock, and Christian music," says the Pennsylvania native, who grew up in Hershey before relocating to Tennessee. "That music helped shape me into who I am. I needed this album to touch all of those bases, because if I'm going to create something, I have to believe in it."

Belief has always played a central role in Zeiders’ life. Sitting in the pews of his childhood church, he lifted his voice for the very first time, singing gospel hymns with the rest of the members. He was devoted to his faith, and that devotion also served him well on the lacrosse field, where Zeiders quickly became a star player. The sport taught him accountability, discipline, and an old-fashioned work ethic. It shaped him into a road warrior, too, years before he embarked upon his first tour as a musician. "I played lacrosse all year long for more than a decade," he remembers. "There were so many tournaments in different cities. So many different hotel rooms. It felt a lot like touring, and it taught me about travel, commitment, and hard work at a young age."

Years later, Zeiders found himself on the sidelines, having suffered too many concussions to continue playing lacrosse safely. Fortunately, a new passion was brewing: music. He began playing guitar in his bedroom, picking along to songs by Luke Combs and Chris Stapleton. One night, while out to dinner with his family, a local musician asked the room for song requests. "I asked her to play 'Beautiful Crazy' by Luke Combs, but she didn't know it," says Zeiders, who offered to play the tune himself. The crowd loved his performance. "I went onstage and had an out-of-body experience," he recalls. "In that moment, a lightbulb went off and I thought, 'This is something I should pursue.'"

Not long after, Zeiders recorded an acoustic cover of "Tennessee Whiskey." Overnight, the homemade video went viral on TikTok, where thousands of country lovers became his first fans. He continued releasing music on the platform during the months that followed, alternating between covers of his favorite artists and heartwarming, hook-driven songs that he wrote himself. The reaction was seismic, and things snowballed from there. Before Zeiders had played his first show in a brick-and-mortar venue, his Spotify streams, YouTube views, and social media stats had already climbed into the millions around the world. By the time he played his 100th show — a main stage performance at the Stagecoach Festival in April 2023, months before Pretty Little Poison's release — he'd racked up a staggering 1.4 billion TikTok views, and 1 billion audio streams.

If Zeiders built his audience the old-school way — by taking his music directly to the people, armed with nothing more than his acoustic guitar and gravelly voice — then Pretty Little Poison shows what he can do with an amplified band, two chart-topping producers (Ross Copperman and Bart Butler), and the best music of his songwriting career. The past two years have been a whirlwind period filled with milestones: his first national television appearance on The Kelly Clarkson Show; his first national tour, which sold out in 72 hours; his debut performance on the Grand Ole Opry stage; and even his first Top 40 hit on the Billboard charts, all before he began recording the album. Maybe that's why Pretty Little Poison brims with such excitement and self-assurance. "A lot of this album is about a girl, and a lot of it is about me," says Zeiders, who fills the album with honest lyrics about life, love, and lessons learned. "I'm paying tribute to that classic country sound, but I'm keeping things modern, too. At the end of the day, I'm just putting my heart on my sleeve and putting myself onstage."

Zeiders' muscular brand of country music is as broad as his shoulders, which still bear the evidence of a longtime sports career. "God Only Knows" and "Comin' Down High" are southern rock anthems built for summertime parties and backwoods joyrides. Songs like "Painkiller" and "Love's A Leaving" explore the darkness of outlaw country. The bright choruses of "West Texas Weather" and "Some Whiskey" are showcases for his powerhouse vocals, while"Pretty Little Poison" — the album's title track and lead single — is country music at its most cinematic, pairing dusty western textures with a radio-ready refrain. "Inside Your Head," written by eight-time Grammy winner Chris Stapleton, makes room for the lap steel guitars and timeless twang of classic country. For Zeiders, whose viral cover of "Tennessee Whiskey" played such a crucial role in his own rise to success, featuring a Stapleton cut on Pretty Little Poison feels a whole lot like fate. He worked with a number of other songwriters, too, co-writing songs with Eric Paslay, Randy Montana, Ryan Beaver, Lee Thomas Miller, Benjy Davis, Austin Taylor Smith, Jarred Keim, and others.

Zeiders' push into mainstream culture has been nothing short of meteoric. Few young artists can announce a headline show at Nashville’s iconic Ryman Auditorium (this Oct 4, ’23) before the release of their major-label debut. Even fewer can generate the genuine excitement that Zeiders summoned with 717 Tapes tracks and magnified with Pretty Little Poison's four advance songs: "Coming Down High," "Inside Your Head," "West Texas Weather," and the title track. Pretty Little Poison is his coming of age, and despite the rapid growth of his music career, Zeiders remains true to his all-American roots.

Show full bio
Supported By
Tyler Braden

Tyler Braden has the gritty powerhouse vocal, the expressive pen and the
ability to deliver a lyric with complete conviction worthy of a headliner. Braden
began crafting his sound as a teenager in Slapout, AL, where he
demonstrated his mettle playing four-hour cover sets. He continued to
perform between shifts as a firefighter in both Montgomery and Nashville; a
set at the homegrown Whiskey Jam concert series in January 2017 paved
his path to today. His Warner Music Nashville EP, Neon Grave, combines
deep-rooted country tradition with the rollicking, high-energy instincts of a
born rock ‘n’ roller. The project’s flagship single, “Try Losing One,” hit No. 1
on SiriusXM The Highway’s Hot 30 Countdown. Braden is currently making
waves with viral track “Devil You Know” – a won’t-back-down anthem that
attracted 10+ million views across social media in just two weeks. In April
2024 “Devil You Know” hit the Country radio airwaves, and now touts a
whopping 60+ million streams and over 45k ‘creates’ on TikTok for the surefire hit. With 385+ million global streams to his name, Braden is now taking
stages world-round. After wrapping his first-ever headline tour (The Real
Friends Tour), with five of the stops being SOLD OUT, the Alabama native
will join Brothers Osborne on their Might As Well Be Us world tour with legs
in the UK and Ireland in January 2025. Braden’s previous list of fellow artists
that she’s shared the stage with includes Luke Bryan, Brooks & Dunn,
Brantley Gilbert, Chris Stapleton, Dierks Bentley and Mitchell Tenpenny.
With studio recordings that pack the punch of his propulsive live
performances, Braden’s energy and emotion are connecting with fans across
the world.

Show full bio
Gabrielle
The O2, London, United Kingdom
Apr 18, 2025
More info
Ticket Information

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Get ready for an unmissable live experience as Jungle, takes over The O2 for the first time on Thursday 12 September 2024. This major milestone and headline performance for the duo comes off the back of their critically acclaimed fourth album, 'VOLCANO and monster hit ‘back on 74’.

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.
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Carlos Simons Gospel Mass with Dudamel
Walt Disney Concert Hall, Los Angeles, CA, United States
Apr 17, 2025
8:00PM PDT
AEG Presents
Dean Lewis
Royal Oak Music Theatre, Royal Oak, MI, United States
Apr 18, 2025
7:00PM EDT
More info

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.

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Chris Tomlin
Bridgestone Arena, Nashville, TN, United States
Apr 18, 2025
7:00PM CDT
More info
Likely "the most often sung artist anywhere" according to TIME Magazine, Chris Tomlin is among the most influential artists in Christian music. Selling over 7.5 million albums and 10.7 million digital tracks, Tomlin has 16 No. 1 radio singles, a GRAMMY® Award, three Billboard Music Awards, two platinum and five gold albums to his name. Honored last fall as the fourth recipient of the SoundExchange Digital Radio Award, recognizing more than 1 billion digital radio plays, Tomlin’s latest album Never Lose Sight and debut children’s book Good Good Father are available now.
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AEG Presents
Warren Zeiders
Supported by: Tyler Braden
St Augustine Amphitheatre, St. Augustine, FL, United States
Apr 19, 2025
7:30PM EDT
More info

Warren Zeiders was just 21 years old when he released his debut single, "Ride the Lightning." Rooted in a platinum-selling mix of country storytelling, heartland twang, and larger-than-life rock & roll, "Ride the Lightning" was every bit as electrifying as its title, catapulting Zeiders then a collegiate star athlete, from the sports field to the stage.

That momentum continues with Pretty Little Poison. Delivered on the heels of his 717 Tapes releases and compilation album — a collection of stripped-back singles and EP songs that introduced his powerhouse voice and sharp songwriting — Pretty Little Poison repositions him as Nashville's newest headliner at just 24 years of age. He's amodern country artist for a generation of music fans who don't mind blurring the boundaries between different styles. "I was raised on country, rock, and Christian music," says the Pennsylvania native, who grew up in Hershey before relocating to Tennessee. "That music helped shape me into who I am. I needed this album to touch all of those bases, because if I'm going to create something, I have to believe in it."

Belief has always played a central role in Zeiders’ life. Sitting in the pews of his childhood church, he lifted his voice for the very first time, singing gospel hymns with the rest of the members. He was devoted to his faith, and that devotion also served him well on the lacrosse field, where Zeiders quickly became a star player. The sport taught him accountability, discipline, and an old-fashioned work ethic. It shaped him into a road warrior, too, years before he embarked upon his first tour as a musician. "I played lacrosse all year long for more than a decade," he remembers. "There were so many tournaments in different cities. So many different hotel rooms. It felt a lot like touring, and it taught me about travel, commitment, and hard work at a young age."

Years later, Zeiders found himself on the sidelines, having suffered too many concussions to continue playing lacrosse safely. Fortunately, a new passion was brewing: music. He began playing guitar in his bedroom, picking along to songs by Luke Combs and Chris Stapleton. One night, while out to dinner with his family, a local musician asked the room for song requests. "I asked her to play 'Beautiful Crazy' by Luke Combs, but she didn't know it," says Zeiders, who offered to play the tune himself. The crowd loved his performance. "I went onstage and had an out-of-body experience," he recalls. "In that moment, a lightbulb went off and I thought, 'This is something I should pursue.'"

Not long after, Zeiders recorded an acoustic cover of "Tennessee Whiskey." Overnight, the homemade video went viral on TikTok, where thousands of country lovers became his first fans. He continued releasing music on the platform during the months that followed, alternating between covers of his favorite artists and heartwarming, hook-driven songs that he wrote himself. The reaction was seismic, and things snowballed from there. Before Zeiders had played his first show in a brick-and-mortar venue, his Spotify streams, YouTube views, and social media stats had already climbed into the millions around the world. By the time he played his 100th show — a main stage performance at the Stagecoach Festival in April 2023, months before Pretty Little Poison's release — he'd racked up a staggering 1.4 billion TikTok views, and 1 billion audio streams.

If Zeiders built his audience the old-school way — by taking his music directly to the people, armed with nothing more than his acoustic guitar and gravelly voice — then Pretty Little Poison shows what he can do with an amplified band, two chart-topping producers (Ross Copperman and Bart Butler), and the best music of his songwriting career. The past two years have been a whirlwind period filled with milestones: his first national television appearance on The Kelly Clarkson Show; his first national tour, which sold out in 72 hours; his debut performance on the Grand Ole Opry stage; and even his first Top 40 hit on the Billboard charts, all before he began recording the album. Maybe that's why Pretty Little Poison brims with such excitement and self-assurance. "A lot of this album is about a girl, and a lot of it is about me," says Zeiders, who fills the album with honest lyrics about life, love, and lessons learned. "I'm paying tribute to that classic country sound, but I'm keeping things modern, too. At the end of the day, I'm just putting my heart on my sleeve and putting myself onstage."

Zeiders' muscular brand of country music is as broad as his shoulders, which still bear the evidence of a longtime sports career. "God Only Knows" and "Comin' Down High" are southern rock anthems built for summertime parties and backwoods joyrides. Songs like "Painkiller" and "Love's A Leaving" explore the darkness of outlaw country. The bright choruses of "West Texas Weather" and "Some Whiskey" are showcases for his powerhouse vocals, while"Pretty Little Poison" — the album's title track and lead single — is country music at its most cinematic, pairing dusty western textures with a radio-ready refrain. "Inside Your Head," written by eight-time Grammy winner Chris Stapleton, makes room for the lap steel guitars and timeless twang of classic country. For Zeiders, whose viral cover of "Tennessee Whiskey" played such a crucial role in his own rise to success, featuring a Stapleton cut on Pretty Little Poison feels a whole lot like fate. He worked with a number of other songwriters, too, co-writing songs with Eric Paslay, Randy Montana, Ryan Beaver, Lee Thomas Miller, Benjy Davis, Austin Taylor Smith, Jarred Keim, and others.

Zeiders' push into mainstream culture has been nothing short of meteoric. Few young artists can announce a headline show at Nashville’s iconic Ryman Auditorium (this Oct 4, ’23) before the release of their major-label debut. Even fewer can generate the genuine excitement that Zeiders summoned with 717 Tapes tracks and magnified with Pretty Little Poison's four advance songs: "Coming Down High," "Inside Your Head," "West Texas Weather," and the title track. Pretty Little Poison is his coming of age, and despite the rapid growth of his music career, Zeiders remains true to his all-American roots.

Show full bio
Supported By
Tyler Braden

Tyler Braden has the gritty powerhouse vocal, the expressive pen and the
ability to deliver a lyric with complete conviction worthy of a headliner. Braden
began crafting his sound as a teenager in Slapout, AL, where he
demonstrated his mettle playing four-hour cover sets. He continued to
perform between shifts as a firefighter in both Montgomery and Nashville; a
set at the homegrown Whiskey Jam concert series in January 2017 paved
his path to today. His Warner Music Nashville EP, Neon Grave, combines
deep-rooted country tradition with the rollicking, high-energy instincts of a
born rock ‘n’ roller. The project’s flagship single, “Try Losing One,” hit No. 1
on SiriusXM The Highway’s Hot 30 Countdown. Braden is currently making
waves with viral track “Devil You Know” – a won’t-back-down anthem that
attracted 10+ million views across social media in just two weeks. In April
2024 “Devil You Know” hit the Country radio airwaves, and now touts a
whopping 60+ million streams and over 45k ‘creates’ on TikTok for the surefire hit. With 385+ million global streams to his name, Braden is now taking
stages world-round. After wrapping his first-ever headline tour (The Real
Friends Tour), with five of the stops being SOLD OUT, the Alabama native
will join Brothers Osborne on their Might As Well Be Us world tour with legs
in the UK and Ireland in January 2025. Braden’s previous list of fellow artists
that she’s shared the stage with includes Luke Bryan, Brooks & Dunn,
Brantley Gilbert, Chris Stapleton, Dierks Bentley and Mitchell Tenpenny.
With studio recordings that pack the punch of his propulsive live
performances, Braden’s energy and emotion are connecting with fans across
the world.

Show full bio
AWOLNATION
Supported by: Bryce Fox
Royale, Boston, MA, United States
Apr 19, 2025
7:00PM EDT
More info
Ticket Information
$.25 from each ticket purchased will go to The Shout Syndicate, a Boston-based, volunteer-run fundraising effort who raises money to help fund youth-led arts programs at proven non-profit creative youth development organizations in Greater Boston. Housed at The Boston Foundation, The Shout Syndicate works in partnership with the Mayor's Office of Arts & Culture's creative plan, Boston Creates. https://www.theshoutsyndicate.com/

Aaron Bruno, the de facto leader, songwriter, and creative force behind the Los Angeles-based project AWOLNATION, has spent the better part of two decades steering the band’s ship of pop-friendly electronic and alternative rock to millions of record sales and streams, a handful of chart-topping singles, and countless shows played to adoring fans around the world. From the 2010 debut’s smash “Sail” and the hype of sophomore album Run to 2018’s organic-leaning Here Come the Runts and 2020’s rock-forward Angel Miners & the Lightning Riders, plus a handful of EPs, remixes, and a covers album, Bruno has mined his sonic creativity for an output of music on par with anyone’s from the last two decades. Following the pandemic, Bruno parted ways with his record label in favor of a new self-releasing/distribution partnership, formed a hardcore band called The Barbarians of California, and became a first-time father of twin boys, all before finishing his long-awaited fifth full-length album, The Phantom Five.

The Phantom Five is a collection of ten songs that highlights every different impulse and urge Bruno has learned to master with AWOLNATION in a cohesive, anthemic pastiche of modern music. It functions almost as a “greatest hits” album, in the sense that it offers something for everyone who has followed the band’s arc in its celebrated, shape-shifting way. The first single, “Panoramic View,” stands out with its sincerity on its sleeve; written on piano at the very start of the pandemic, Bruno calls it the sincerest and his favorite song on the album. The upstart, tongue-in-cheek blasts like “Jump Sit Stand March” and “When I Was Young,” the Roy Orbison, oldies-inspired ode to beauty and self-destruction “A Letter to No One,” and the jangly segue “City of Nowhere” calling to mind The Cars and Grandaddy, not to mention guest spots from Dead Sara’s Emily Armstrong and Del the Funky Homosapien, reveal how The Phantom Five is concerned with trying to find one’s way to happiness in a bizarrely upside-down time. Bruno credits the album’s overall sense of maturity plus the up-tempo energy on songs like “Party People,” “I Am Happy,” and “Bang Your Head” to the ecstatic moments of Dad-life he has experienced with his boys, while affixing the record’s ever-present frustration with our modern times to pundits, talking heads, and politicians. The final track, “Outta Here,” is a tremendous sign-off to the album that may in fact also tease at Bruno killing the AWOL engine for good. But while it’s too early to know whether The Phantom Five will be AWOLNATION’s swan song, it’s certain that these ten songs represent the culmination of a long, fulfilling journey and the joy one can find in being free, independent, and true to one’s art, and to oneself.

Show full bio
Supported By
Bryce Fox
If cutting-edge pop music in America is a melting pot of styles, genres, and influences, then the Nashville-based alt-rock artist Bryce Fox has one hand firmly on the stirring stick. The singer, who was born and raised in Bloomington, Indiana, before moving west to cut his teeth in Los Angeles, explored myriad musical avenues in the first decade of his career and has now fused his diverse tastes and talents with his chameleon-like songwriting abilities to develop a truly wide-reaching yet singular sound. With his forthcoming album, Fox has moved beyond the sensual songcraft he made his name on to explore an expansive and mature series of songs concerned with his fresh yet fragile family trying to survive in a chaotic, dangerous world. By harnessing this mix of inspirations and diverse sonic pathways while embracing the regional touchstones and personal details of his own melting-pot All-American story, Bryce Fox has arrived in a major way.
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The Doo Wop Project
Belushi Performance Hall, Glen Ellyn, IL, United States
Apr 19, 2025
7:30PM CDT
Rubblebucket
Asbury Lanes, Asbury Park, NJ, United States
Apr 19, 2025
8:00PM EDT
More info

Rubblebucket’s seeds were sown when Kalmia Traver and Alex Toth, the group’s front persons, co-writers and co-producers, first began a friendship as jazz students at the University of Vermont. Soon after, they formed Rubblebucket, using the project to delve into pop, funk, dance and psychedelia; performances have spanned Bonnaroo to Glastonbury to their self-curated Dream Picnic Festival, and they’ve collaborated with kindred genre-blenders including Arcade Fire and Scissor Sisters’ Jake Shears. Their latest full-length LP ‘Year of the Banana’ is perhaps their deepest and grooviest work yet. It speaks to the power of transforming and adapting relationships in a time when the world needs it most.

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Hang Time
ASU Gammage, Tempe, AZ, United States
Apr 19, 2025
7:00PM MST
OTEP
Goldfield Trading Post - Sacramento, Sacramento, CA, United States
Apr 19, 2025
7:30PM PDT
Ty Segall
Mr. Smalls Theatre, Millvale, PA, United States
Apr 21, 2025
8:00PM EDT
More info

The man in the tree has a guitar, he’s gonna sing. But the sun shining through the branches— are those rays yellow or hazy gray? What day is today? When are you not going to feel this way again?

“Hello, Hi”: welcome in to a new room to play the styles and feels that lie under Ty Segall’s fingers, easing fresh air into acoustic space with an assortment of love songs flowering in righteous unconsciousness. Plaintive and wistful, but unafraid. Like rain washing away yesterday, “Hello, Hi” pushes open the door, inviting the new to pass through all the old shades and degrees of hot and cold. Dark paths turn off abruptly into absurd darkness, then wind back through the broken rocks, ecstatic again. Absurdity again. It happens everyday.

“Hello, Hi” is expansively rendered by Ty, mostly by himself, at home. The isolation suits the songs: you’re only ever as “at home” as you are with yourself in the mirror. Ty’s acoustic and electric guitars and vocal harmonies layer self upon self, forming a spiny backbone for the album. Textures at once gentle and dissonant root the songs as they make their move: melodic arcs convulsing in doubt and bliss and rage. Busting out of the endless gridlock into open space, these spirits pass on through.

“Hello, Hi”’s flickering awakening to this trip: the opening three tracks’ train of sweet and salty reflections, before the abrupt crunch of the title track electrifies the senses. Good morning’s turned to good mourning in nothing flat, but there’s still a way up from the doldrums, to try again. Why can’t it be just as simple as “Hello, Hi”? What to do with yourself when love triggers loathing? How many more times do you have to go back there again? Pulling at the scratchy wool threads of an old sweater favored for warmth, comfort, protection, rejection, denial, blindness etc, Ty Segall dives from a clear, open sky, down through the marine layer and the shimmering waves of all the years.

Radiating from the same mind fields as Goodbye Bread and Sleeper, mixed with shard edges of contrast and contradiction from things like Freedom’s Goblin, Manipulator, and First Taste, “Hello, Hi” is Ty’s most relaxed and complete production to date, an ebb-and flow fusion of words and music offering abstraction and acceptance as it wrestles itself through a fucked-up time. Your life and what you make of it — throughout “Hello, Hi,” Ty Segall charts a passage through its enduring tangles honestly, with clarity and confusion.

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Jesse Cook
Northern Alberta Jubilee Auditorium, Edmonton, AB, Canada
Apr 21, 2025
8:00PM MDT
More info

For Jesse Cook, music has been a journey. Sonically and literally.

“Over the years, I’ve taken my music and tried to cross-pollinate it with music from different parts of the world,” explains the 50-year-old global-guitar virtuoso. “For the (2003) album Nomad, I went to Cairo and recorded with musicians there. On my (2009) record The Rumba Foundation, I went to Colombia, and worked with musicians from Cuba as well. On (1998’s) Vertigo, I went down to Lafayette, La., and recorded with Buckwheat Zydeco. For me, the question has always been: Where did you go? Where did you take your guitar?”

The short answer this time? Nowhere. And everywhere. After two decades of criss-crossing the world in restless pursuit of inspiration, innovation and collaboration, the Paris-born, Toronto-raised Cook changed course for his ninth studio albumOne World, out April, 28th, 2015 on eOne Music Canada. Instead of exotic locales, he stayed home in his studio. Instead of a foreign legion of performers, he relied on his own devices. And instead of exploring cul de sacs of music — flamenco, classical, rumba, world beat, pop, blues or jazz — he united them.

“On this record, it’s not really about going someplace,” he says of the album, whose cover depicts a vast, ancient tree. “The idea is that there really is just one world. If you pull your focus back far enough, you start to see all music as being branches of the same tree. They’re all connected to the same trunk from way back.

“For example, my strange way of playing guitar is a hybrid of styles. I was a classical guitarist as a kid, and I studied flamenco and then I studied jazz. So there are three musical and guitar traditions in my background. And one of the forms I use, rumba flamenco, is itself a hybrid created in the 1800s when sailors were coming back to Spain from Cuba, having heard these Cuban rhythms. And here I am, 150 years later, taking it and mixing it back with modern music and seeing where it takes me. Music is a constantly evolving thing.”

As is Cook’s creative approach. Despite its humble home-made origins, One World begins another chapter in the multi-tasking artist, composer and producer’s quest. His destination: The digital realm. To create the disc’s emotive melodies, fluid grooves and rich sonic tapestries, he incorporated technology more than ever before. Give credit to his precocious young assistant.

“I have two small children, and my son is forever trying to get on my computer. If I’m in my studio, he’ll come in and sit down and just start pushing buttons and making things happen in the recording program I use. At first I was terrified he would mess things up. But he actually got really good at poking around. I started going, ‘Wow, what’s that? What are you doing? Let me in there!’ I started writing tunes using weird loops and metallic and electronic sounds. And I found myself interested in taking what I do and putting it in a more modern context. I’ve leaned heavily on ancient instruments. But for this record, I put those instruments side by side with modern sounds — unabashedly so.”

What results is the most sonically diverse and distinctive disc in Cook’s vast and varied catalogue, which has earned 11 Juno nominations and one win for 2000’s Free Fall. On these 11 instrumentals, programmed beats and dusty electronic textures are interwoven with syncopated handclaps, deep dubby basslines and popping percussion. Sitars and violin share the space with synthesizers and sound effects. Notes and rhythms dance playfully back and forth between speakers. Naturally, Cook’s masterful guitar work commands centre stage with its elegant balance of subtlety, in-the-moment honesty and blazing technical prowess. But here, it also pivots between worlds — past and future, familiar and fresh, acoustic and electronic — redefined by technology like every element of modern life.

“We’re all involved with our computers in a big way, though we malign them,” laughs Cook. “People complain social media is ruining communication and that people just text instead of call. But love and romance and imagination and art also happen through computers. People fall in love online. People talk to loved ones on Skype. People write great love letters on the computer, create great works of art, great compositions. It has become this integral part of human expression and I wanted to give it a voice in what I was doing.”

And in doing so, the artist who hadn’t planned to travel for this album found himself in the most exotic locale imaginable.

“I wanted to make what I was doing feel like Constantinople, the ancient city that existed between the East and the West. It was the meeting point of all these great cultures — Africa, Europe, Asia, India. I want my music to be that place: The Constantinople of sound. A place where ancient sounds meet with modern ones and pass though that port.”

The journey continues.

Show full bio
Bullet for My Valentine and Trivium
Featuring: Bullet For My Valentine Trivium
EPIC Event Center, Green Bay, WI, United States
Apr 22, 2025
6:30PM CDT
More info
Featuring:
Bullet For My Valentine
Trivium
Myles Smith
House of Blues Boston, Boston, MA, United States
Apr 22, 2025
8:00PM EDT
More info

A hugely talented singer-songwriter hailing from Luton, London whose profile has risen meteorically in the last year alongside a string of releases mixing Folk, Americana and Pop.

Hugely inspired by a broad range of music he listened to growing up, Myles cites the likes of Green Day, Ben Howard, Labrinth and UK Rap as some of his many influences. Myles cut his teeth with open mic nights and support slots before he released any of his own music and spent time in between classes in the studio honing his craft.

He is an artist who found solace in music to overcome and navigate the complexities of life and situations he couldn't make sense of. Now he is carrying that torch with the mantra 'It's okay to feel, helping the same people who may not have the vocabulary to explain things in their own terms, fostering a community of fans who aren't afraid to wear their hearts on their sleeves. As Myles calls it - “Group Therapy.”

Show full bio
Jesse Cook
Southern Alberta Jubilee Auditorium, Calgary, AB, Canada
Apr 22, 2025
8:00PM MDT
More info

For Jesse Cook, music has been a journey. Sonically and literally.

“Over the years, I’ve taken my music and tried to cross-pollinate it with music from different parts of the world,” explains the 50-year-old global-guitar virtuoso. “For the (2003) album Nomad, I went to Cairo and recorded with musicians there. On my (2009) record The Rumba Foundation, I went to Colombia, and worked with musicians from Cuba as well. On (1998’s) Vertigo, I went down to Lafayette, La., and recorded with Buckwheat Zydeco. For me, the question has always been: Where did you go? Where did you take your guitar?”

The short answer this time? Nowhere. And everywhere. After two decades of criss-crossing the world in restless pursuit of inspiration, innovation and collaboration, the Paris-born, Toronto-raised Cook changed course for his ninth studio albumOne World, out April, 28th, 2015 on eOne Music Canada. Instead of exotic locales, he stayed home in his studio. Instead of a foreign legion of performers, he relied on his own devices. And instead of exploring cul de sacs of music — flamenco, classical, rumba, world beat, pop, blues or jazz — he united them.

“On this record, it’s not really about going someplace,” he says of the album, whose cover depicts a vast, ancient tree. “The idea is that there really is just one world. If you pull your focus back far enough, you start to see all music as being branches of the same tree. They’re all connected to the same trunk from way back.

“For example, my strange way of playing guitar is a hybrid of styles. I was a classical guitarist as a kid, and I studied flamenco and then I studied jazz. So there are three musical and guitar traditions in my background. And one of the forms I use, rumba flamenco, is itself a hybrid created in the 1800s when sailors were coming back to Spain from Cuba, having heard these Cuban rhythms. And here I am, 150 years later, taking it and mixing it back with modern music and seeing where it takes me. Music is a constantly evolving thing.”

As is Cook’s creative approach. Despite its humble home-made origins, One World begins another chapter in the multi-tasking artist, composer and producer’s quest. His destination: The digital realm. To create the disc’s emotive melodies, fluid grooves and rich sonic tapestries, he incorporated technology more than ever before. Give credit to his precocious young assistant.

“I have two small children, and my son is forever trying to get on my computer. If I’m in my studio, he’ll come in and sit down and just start pushing buttons and making things happen in the recording program I use. At first I was terrified he would mess things up. But he actually got really good at poking around. I started going, ‘Wow, what’s that? What are you doing? Let me in there!’ I started writing tunes using weird loops and metallic and electronic sounds. And I found myself interested in taking what I do and putting it in a more modern context. I’ve leaned heavily on ancient instruments. But for this record, I put those instruments side by side with modern sounds — unabashedly so.”

What results is the most sonically diverse and distinctive disc in Cook’s vast and varied catalogue, which has earned 11 Juno nominations and one win for 2000’s Free Fall. On these 11 instrumentals, programmed beats and dusty electronic textures are interwoven with syncopated handclaps, deep dubby basslines and popping percussion. Sitars and violin share the space with synthesizers and sound effects. Notes and rhythms dance playfully back and forth between speakers. Naturally, Cook’s masterful guitar work commands centre stage with its elegant balance of subtlety, in-the-moment honesty and blazing technical prowess. But here, it also pivots between worlds — past and future, familiar and fresh, acoustic and electronic — redefined by technology like every element of modern life.

“We’re all involved with our computers in a big way, though we malign them,” laughs Cook. “People complain social media is ruining communication and that people just text instead of call. But love and romance and imagination and art also happen through computers. People fall in love online. People talk to loved ones on Skype. People write great love letters on the computer, create great works of art, great compositions. It has become this integral part of human expression and I wanted to give it a voice in what I was doing.”

And in doing so, the artist who hadn’t planned to travel for this album found himself in the most exotic locale imaginable.

“I wanted to make what I was doing feel like Constantinople, the ancient city that existed between the East and the West. It was the meeting point of all these great cultures — Africa, Europe, Asia, India. I want my music to be that place: The Constantinople of sound. A place where ancient sounds meet with modern ones and pass though that port.”

The journey continues.

Show full bio
Ty Segall (17+ Event)
Thalia Hall, Chicago, IL, United States
Apr 23, 2025
8:00PM CDT
More info

The man in the tree has a guitar, he’s gonna sing. But the sun shining through the branches— are those rays yellow or hazy gray? What day is today? When are you not going to feel this way again?

“Hello, Hi”: welcome in to a new room to play the styles and feels that lie under Ty Segall’s fingers, easing fresh air into acoustic space with an assortment of love songs flowering in righteous unconsciousness. Plaintive and wistful, but unafraid. Like rain washing away yesterday, “Hello, Hi” pushes open the door, inviting the new to pass through all the old shades and degrees of hot and cold. Dark paths turn off abruptly into absurd darkness, then wind back through the broken rocks, ecstatic again. Absurdity again. It happens everyday.

“Hello, Hi” is expansively rendered by Ty, mostly by himself, at home. The isolation suits the songs: you’re only ever as “at home” as you are with yourself in the mirror. Ty’s acoustic and electric guitars and vocal harmonies layer self upon self, forming a spiny backbone for the album. Textures at once gentle and dissonant root the songs as they make their move: melodic arcs convulsing in doubt and bliss and rage. Busting out of the endless gridlock into open space, these spirits pass on through.

“Hello, Hi”’s flickering awakening to this trip: the opening three tracks’ train of sweet and salty reflections, before the abrupt crunch of the title track electrifies the senses. Good morning’s turned to good mourning in nothing flat, but there’s still a way up from the doldrums, to try again. Why can’t it be just as simple as “Hello, Hi”? What to do with yourself when love triggers loathing? How many more times do you have to go back there again? Pulling at the scratchy wool threads of an old sweater favored for warmth, comfort, protection, rejection, denial, blindness etc, Ty Segall dives from a clear, open sky, down through the marine layer and the shimmering waves of all the years.

Radiating from the same mind fields as Goodbye Bread and Sleeper, mixed with shard edges of contrast and contradiction from things like Freedom’s Goblin, Manipulator, and First Taste, “Hello, Hi” is Ty’s most relaxed and complete production to date, an ebb-and flow fusion of words and music offering abstraction and acceptance as it wrestles itself through a fucked-up time. Your life and what you make of it — throughout “Hello, Hi,” Ty Segall charts a passage through its enduring tangles honestly, with clarity and confusion.

Show full bio
Million Dollar Time Machine
Paramount Theatre Anderson, Anderson, IN, United States
Apr 24, 2025
8:00PM EDT
Jesse Cook
Burton Cummings Theatre, Winnipeg, MB, Canada
Apr 24, 2025
8:00PM CDT
More info

For Jesse Cook, music has been a journey. Sonically and literally.

“Over the years, I’ve taken my music and tried to cross-pollinate it with music from different parts of the world,” explains the 50-year-old global-guitar virtuoso. “For the (2003) album Nomad, I went to Cairo and recorded with musicians there. On my (2009) record The Rumba Foundation, I went to Colombia, and worked with musicians from Cuba as well. On (1998’s) Vertigo, I went down to Lafayette, La., and recorded with Buckwheat Zydeco. For me, the question has always been: Where did you go? Where did you take your guitar?”

The short answer this time? Nowhere. And everywhere. After two decades of criss-crossing the world in restless pursuit of inspiration, innovation and collaboration, the Paris-born, Toronto-raised Cook changed course for his ninth studio albumOne World, out April, 28th, 2015 on eOne Music Canada. Instead of exotic locales, he stayed home in his studio. Instead of a foreign legion of performers, he relied on his own devices. And instead of exploring cul de sacs of music — flamenco, classical, rumba, world beat, pop, blues or jazz — he united them.

“On this record, it’s not really about going someplace,” he says of the album, whose cover depicts a vast, ancient tree. “The idea is that there really is just one world. If you pull your focus back far enough, you start to see all music as being branches of the same tree. They’re all connected to the same trunk from way back.

“For example, my strange way of playing guitar is a hybrid of styles. I was a classical guitarist as a kid, and I studied flamenco and then I studied jazz. So there are three musical and guitar traditions in my background. And one of the forms I use, rumba flamenco, is itself a hybrid created in the 1800s when sailors were coming back to Spain from Cuba, having heard these Cuban rhythms. And here I am, 150 years later, taking it and mixing it back with modern music and seeing where it takes me. Music is a constantly evolving thing.”

As is Cook’s creative approach. Despite its humble home-made origins, One World begins another chapter in the multi-tasking artist, composer and producer’s quest. His destination: The digital realm. To create the disc’s emotive melodies, fluid grooves and rich sonic tapestries, he incorporated technology more than ever before. Give credit to his precocious young assistant.

“I have two small children, and my son is forever trying to get on my computer. If I’m in my studio, he’ll come in and sit down and just start pushing buttons and making things happen in the recording program I use. At first I was terrified he would mess things up. But he actually got really good at poking around. I started going, ‘Wow, what’s that? What are you doing? Let me in there!’ I started writing tunes using weird loops and metallic and electronic sounds. And I found myself interested in taking what I do and putting it in a more modern context. I’ve leaned heavily on ancient instruments. But for this record, I put those instruments side by side with modern sounds — unabashedly so.”

What results is the most sonically diverse and distinctive disc in Cook’s vast and varied catalogue, which has earned 11 Juno nominations and one win for 2000’s Free Fall. On these 11 instrumentals, programmed beats and dusty electronic textures are interwoven with syncopated handclaps, deep dubby basslines and popping percussion. Sitars and violin share the space with synthesizers and sound effects. Notes and rhythms dance playfully back and forth between speakers. Naturally, Cook’s masterful guitar work commands centre stage with its elegant balance of subtlety, in-the-moment honesty and blazing technical prowess. But here, it also pivots between worlds — past and future, familiar and fresh, acoustic and electronic — redefined by technology like every element of modern life.

“We’re all involved with our computers in a big way, though we malign them,” laughs Cook. “People complain social media is ruining communication and that people just text instead of call. But love and romance and imagination and art also happen through computers. People fall in love online. People talk to loved ones on Skype. People write great love letters on the computer, create great works of art, great compositions. It has become this integral part of human expression and I wanted to give it a voice in what I was doing.”

And in doing so, the artist who hadn’t planned to travel for this album found himself in the most exotic locale imaginable.

“I wanted to make what I was doing feel like Constantinople, the ancient city that existed between the East and the West. It was the meeting point of all these great cultures — Africa, Europe, Asia, India. I want my music to be that place: The Constantinople of sound. A place where ancient sounds meet with modern ones and pass though that port.”

The journey continues.

Show full bio
Randy Travis
Performing Arts Center at Kent State Tuscarawas, New Philadelphia, OH, United States
Apr 25, 2025
7:30PM EDT
More info
Born on May 4, 1959, Randy Bruce Traywick was the second of six children. His father Harold, raised turkeys, bred horses, and ran a construction business, and his mother Bobbie, worked in a textile plant. Randy's father always wanted him to become a country singer, filling the house with the sounds of Hank Williams and Stonewall Jackson albums. Harold bought his four sons western outfits and guitars, and promoted them locally as the Traywick Brothers. By the time Randy was ten years old, he and his brother, Ricky, had their own duo, playing throughout the South at fiddler's conventions, private parties, VFW halls and anywhere and everywhere they could draw a crowd. Even at his young age Randy's voice startled people with its resonance. Randy was finally signed to Warner Brothers Records in 1985. Record company executives changed his name to Travis, and Randy's first recorded effort for his new label was "Prairie Rose," on the soundtrack to the film, "Rustler's Rhapsody." It was followed by the release of the album, "Storms of Life" in 1986, and the rest is country music history. The first single, "On the Other Hand," was a perfect slice of Randy's authentic country talent. "1982" followed, and with that hit, Randy established himself as a singer and performer in the grand tradition of George Jones, Lefty Frizell, Merle Haggard and a handful of others. The success of both singles led to wide-spread demand for live shows, and Randy next set out on an extensive and ongoing tour, taking him across the United States and Canada before record-setting crowds. Soon it seemed every award in the music business had Randy's name on it. A string of country chart-toppers ensued, and by the end of the decade, Randy's record sales topped 13 million copies. In September, 1997, after twelve albums with Warner Brothers, Randy was the first artist to sign with the newly formed DreamWorks Records label in Nashville. When "Out of My Bones," the first single from the new label's debut album, "You and You Alone" was released in 1998, he delivered the label its first number one country hit. In 2001 Randy independently released a live-concert album, "Randy Travis Live," and a CD single, "America Will Always Stand". In 2003 Randy was awarded the Christian Country Music Association's "Mainstream Country Artist of the Year". That same year, his Word Records/Curb/Warner Bros. album, "Rise And Shine" was awarded a Dove Award for "Country Album of the Year," and the single, "Three Wooden Crosses," won the Christian Country Music Association's "Song of the Year" award. "Three Wooden Crosses" also won the 2003 CMA Award for "Song of the Year," and had the distinction of being the only song from a Christian label to ever make it to the number one position on the country charts. In 2004 Randy's "Rise And Shine" album was honored again, with a Grammy for "Best Southern, Country, or Bluegrass, Gospel Album". His single, "Three Wooden Crosses" won the ACM's "Song of the Year" award, and a Dove Award, for "Country Recorded Song of the Year". Also in 2004, Randy's traditional hymns album, "Worship & Faith," won a Dove Award for "Country Album of the Year". In 2005 Randy was awarded a Grammy for "Best Southern, Country, or Bluegrass, Gospel Album" for his "Worship & Faith" album. In April 2006 he won a Dove Award for "Country Album of the Year" for his Word Records/Curb/Warner Bros. album of traditional hymns, "Glory Train". 2006 also finds Randy back on the big screen, this time in a thriller, The Visitation, from 20th Century Fox. The film was directed by Robby Henson and is based on the New York Times-bestselling novel by Frank Peretti. In the late 1980's, Randy opened the floodgates for the new traditionalist movement in country music. With 22 number one hits, 6 number one albums, 5 Grammy's, 6 CMA's, 9 ACM's, 10 AMA's, 6 Dove Awards, and a star on the Hollywood Walk of fame, Randy is the rare lucky man who has been able to make all of his dreams come true.
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Million Dollar Time Machine
Morris Performing Arts Center, South Bend, IN, United States
Apr 25, 2025
7:30PM EDT
Zakir Hussain
Tilles Center, Greenvale, NY, United States
Apr 25, 2025
8:00PM EDT
CVJO: The Wonderous Music of Stevie Wonder
JAMF Theatre, Eau Claire, WI, United States
Apr 25, 2025
7:30PM CDT
More info
Join us for a night of jazz, funk, pop, and rock as we celebrate the remarkable catalog of the one, the only, Stevie Wonder. You'll hear songs you know, songs that are new to you, all performed by the CVJO, including new arrangements never before performed in the Chippewa Valley!
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Niko Moon (21+ Event)
Gold Country Casino Resort, Oroville, CA, United States
Apr 25, 2025
8:00PM PDT
More info

Niko Moon has really clear memories. Music, cars, school. How much his parents loved each other, created a place where life was an adventure – and what you had was all you needed.

His dad, a drummer turned truck driver, loved old cars. As a boy, he remembers a Falcon, “red interior, and the carpet. The way it smelled.” He used to love to pile in with his dad, riding around, going to get donuts – and listening to music.

Like Prine, Moon’s finger is on simple things that really matter; easy joy and how to find it, loving where you are and finding ways to write about it so everyone – the really smart, the can’t be-bothered – can find their way to the bliss. It’s what Moon seeks to capture and sow in his songs.

Growing up an hour outside of Atlanta, back when it was country not exurbia, life moved at a different pace. People knew each other, took their time, shared a meal on Sunday with their family and pitched in when someone needed a hand.

Moon wanted to extract the essence of growing up in small-town Georgia. Banjo forward, swaggy back beat, guitars that tang as much as twang. Sonic tags, melodies that tumble and moments that embody all the warm welcome and friendliness that defined his life as a kid listening to his mama play Alison Krauss in her car, his debut album GOOD TIME creates an old school sort of country ethos that also drags a bit of Michael Franti, Prine, the Eagles and Outkast through songs that simmer, stir and sizzle in all the right places.

All of it turned out to be more than anyone could’ve bargained for. A musically curious kid, he remembers watching his dad practicing drums in the garage. “I got chills. I couldn’t comprehend how he was doing it,” he remembers. “I was so little, but he was in a touring regional country/rock band, had hair down to his waist. He gave it up, made the decision it was better for his family to just drive. I always respected him for that. You know, he was getting up at 4 a.m. to provide for his family.

That rhythm is shot through every track on GOOD TIME, a self-cultivated positivity starter kit. Whether the staccato/dobro punctuated laundry list of ‘can’ts’ that forms “GOOD AT LOVING YOU,” the double entendre “WAY BACK,” the slinky, finger-snapping “SMALL TOWN STATE OF MIND,” or the strummy philosophy of “WITHOUT SAYIN’ A WORD,” Moon recognizes you can’t have heart without the beat.

If the secret sauce is the alchemy, it’s been years in the slow-steeping. Not only did Moon produce Franti’s acclaimed Stay Human, Vol. 2, he’s been the secret weapon for Zac Brown for almost a decade. In love with music, the young kid caught up with the circus, “back at the Dixie Tavern on Wednesday nights, 200 people with the line wrapped around the bar and across the back. ‘Chicken Fried,’ ‘Toes,’ ‘Free,’ yes, but he would do Metallica, Rage Against the Machine, Keith Whitley. And his picking, there’s always a hook built into the chord, even when he’s just playing G, C, D.”

Writing, traveling, seeing the world, Moon absorbed a precision and commitment to music that was exacting, even as it embodied simple pleasures. “Everyone in that band is so good. Spending 10 years watching them arrange and create was intense. Relentlessly authentic and refusing to adapt to other people’s ideas of what you should be was a real lesson.”

Ten years was also spent living the life.

Moon’s latest effort, COASTIN’, is available now.

Show full bio
Bullet for My Valentine and Trivium
Featuring: Bullet For My Valentine Trivium
Byline Bank Aragon Ballroom, Chicago, IL, United States
Apr 26, 2025
6:00PM CDT
More info
Featuring:
Trivium
Bullet For My Valentine
AEG Presents
Scott Bradlee's Postmodern Jukebox
Brighton Dome, Brighton, United Kingdom
Apr 27, 2025
More info
Ticket Information
Age Restriction: Under 14 accompanied by an adult 18+

When pianist Scott Bradlee started the time-twisting musical collective from a basement apartment in Queens, NY, an online, “viral” success story was born —one that quickly led to sold out shows across North America and Europe in the Summer of 2014.

The touring act received rave reviews from industry publications and world-renowned artists alike. In the years that followed, “PMJ” built a reputation as the “Saturday Night Live of Singers” by introducing audiences to dozens of exceptional musical artists —many of whom had been previously overlooked by the modern record industry — and turning them into bonafide stars.

Ten years and two billion views on their YouTube channel later, a Postmodern Jukebox show has become something of an annual musical tradition for hundreds of thousands of dedicated fans all over the world — fans that often show up dressed to the nines in their vintage best, eager to immerse themselves in the experience.

Show full bio
Atlanta Symphony Orchestra - Sibelius Violin Concerto
Atlanta Symphony Hall, Atlanta, GA, United States
Apr 26, 2025
8:00PM EDT
Ana Barbara (Rescheduled from 8/31/2024)
Saroyan Theatre, Fresno, CA, United States
Apr 26, 2025
8:00PM PDT
Swept Away
Longacre Theatre, New York, NY, United States
Apr 27, 2025
2:00PM EDT
Colorado Symphony Orchestra - Tchaikovsky Piano Concerto No. 1
Boettcher Concert Hall, Denver, CO, United States
Apr 27, 2025
1:00PM MDT
Jesse Cook
Sheldon Concert Hall, St. Louis, MO, United States
Apr 27, 2025
7:30PM CDT
More info

For Jesse Cook, music has been a journey. Sonically and literally.

“Over the years, I’ve taken my music and tried to cross-pollinate it with music from different parts of the world,” explains the 50-year-old global-guitar virtuoso. “For the (2003) album Nomad, I went to Cairo and recorded with musicians there. On my (2009) record The Rumba Foundation, I went to Colombia, and worked with musicians from Cuba as well. On (1998’s) Vertigo, I went down to Lafayette, La., and recorded with Buckwheat Zydeco. For me, the question has always been: Where did you go? Where did you take your guitar?”

The short answer this time? Nowhere. And everywhere. After two decades of criss-crossing the world in restless pursuit of inspiration, innovation and collaboration, the Paris-born, Toronto-raised Cook changed course for his ninth studio albumOne World, out April, 28th, 2015 on eOne Music Canada. Instead of exotic locales, he stayed home in his studio. Instead of a foreign legion of performers, he relied on his own devices. And instead of exploring cul de sacs of music — flamenco, classical, rumba, world beat, pop, blues or jazz — he united them.

“On this record, it’s not really about going someplace,” he says of the album, whose cover depicts a vast, ancient tree. “The idea is that there really is just one world. If you pull your focus back far enough, you start to see all music as being branches of the same tree. They’re all connected to the same trunk from way back.

“For example, my strange way of playing guitar is a hybrid of styles. I was a classical guitarist as a kid, and I studied flamenco and then I studied jazz. So there are three musical and guitar traditions in my background. And one of the forms I use, rumba flamenco, is itself a hybrid created in the 1800s when sailors were coming back to Spain from Cuba, having heard these Cuban rhythms. And here I am, 150 years later, taking it and mixing it back with modern music and seeing where it takes me. Music is a constantly evolving thing.”

As is Cook’s creative approach. Despite its humble home-made origins, One World begins another chapter in the multi-tasking artist, composer and producer’s quest. His destination: The digital realm. To create the disc’s emotive melodies, fluid grooves and rich sonic tapestries, he incorporated technology more than ever before. Give credit to his precocious young assistant.

“I have two small children, and my son is forever trying to get on my computer. If I’m in my studio, he’ll come in and sit down and just start pushing buttons and making things happen in the recording program I use. At first I was terrified he would mess things up. But he actually got really good at poking around. I started going, ‘Wow, what’s that? What are you doing? Let me in there!’ I started writing tunes using weird loops and metallic and electronic sounds. And I found myself interested in taking what I do and putting it in a more modern context. I’ve leaned heavily on ancient instruments. But for this record, I put those instruments side by side with modern sounds — unabashedly so.”

What results is the most sonically diverse and distinctive disc in Cook’s vast and varied catalogue, which has earned 11 Juno nominations and one win for 2000’s Free Fall. On these 11 instrumentals, programmed beats and dusty electronic textures are interwoven with syncopated handclaps, deep dubby basslines and popping percussion. Sitars and violin share the space with synthesizers and sound effects. Notes and rhythms dance playfully back and forth between speakers. Naturally, Cook’s masterful guitar work commands centre stage with its elegant balance of subtlety, in-the-moment honesty and blazing technical prowess. But here, it also pivots between worlds — past and future, familiar and fresh, acoustic and electronic — redefined by technology like every element of modern life.

“We’re all involved with our computers in a big way, though we malign them,” laughs Cook. “People complain social media is ruining communication and that people just text instead of call. But love and romance and imagination and art also happen through computers. People fall in love online. People talk to loved ones on Skype. People write great love letters on the computer, create great works of art, great compositions. It has become this integral part of human expression and I wanted to give it a voice in what I was doing.”

And in doing so, the artist who hadn’t planned to travel for this album found himself in the most exotic locale imaginable.

“I wanted to make what I was doing feel like Constantinople, the ancient city that existed between the East and the West. It was the meeting point of all these great cultures — Africa, Europe, Asia, India. I want my music to be that place: The Constantinople of sound. A place where ancient sounds meet with modern ones and pass though that port.”

The journey continues.

Show full bio
Saint Motel
9:30 Club, Washington, DC, United States
Apr 29, 2025
7:00PM EDT
More info
Founded by vocalist A/J Jackson and guitarist Aaron Sharp—film-school classmates with a shared appreciation of obscurist cinema—and later rounded out by bassist Dak Lerdamornpong and drummer Greg Erwin, Saint Motel first revealed their imaginative take on alt-pop with their 2009 debut EP ForPlay. The band soon amassed a devoted underground following, thanks in part to a series of “experiential concerts” with such themes as Zombie Prom and Judgment Day, then found breakout success with their critically acclaimed 2012 debut album Voyeur. After signing to Elektra Records, Saint Motel saw their fanbase grow exponentially with the release of My Type EP, a 2014 effort whose platinum-certified title track became a top 10 alternative radio hit. In 2016, they flipped the script once again with saintmotelevision—a first-of-its-kind full-length accompanied by virtual music videos for all ten of its tracks, making it the world’s first-ever virtual-reality album. In addition to touring with acts like Arctic Monkeys, Imagine Dragons, Band of Skulls, and Weezer, Saint Motel have also spent much of the last half-decade bringing their captivating live show to leading festivals like Coachella, Lollapalooza, and Bonnaroo.
Show full bio
Michael Feinstein
Winspear Opera House, Dallas, TX, United States
Apr 29, 2025
7:30PM CDT
Ty Segall (21+ Event)
Metro Music Hall, Salt Lake City, UT, United States
Apr 29, 2025
7:00PM MDT
More info

The man in the tree has a guitar, he’s gonna sing. But the sun shining through the branches— are those rays yellow or hazy gray? What day is today? When are you not going to feel this way again?

“Hello, Hi”: welcome in to a new room to play the styles and feels that lie under Ty Segall’s fingers, easing fresh air into acoustic space with an assortment of love songs flowering in righteous unconsciousness. Plaintive and wistful, but unafraid. Like rain washing away yesterday, “Hello, Hi” pushes open the door, inviting the new to pass through all the old shades and degrees of hot and cold. Dark paths turn off abruptly into absurd darkness, then wind back through the broken rocks, ecstatic again. Absurdity again. It happens everyday.

“Hello, Hi” is expansively rendered by Ty, mostly by himself, at home. The isolation suits the songs: you’re only ever as “at home” as you are with yourself in the mirror. Ty’s acoustic and electric guitars and vocal harmonies layer self upon self, forming a spiny backbone for the album. Textures at once gentle and dissonant root the songs as they make their move: melodic arcs convulsing in doubt and bliss and rage. Busting out of the endless gridlock into open space, these spirits pass on through.

“Hello, Hi”’s flickering awakening to this trip: the opening three tracks’ train of sweet and salty reflections, before the abrupt crunch of the title track electrifies the senses. Good morning’s turned to good mourning in nothing flat, but there’s still a way up from the doldrums, to try again. Why can’t it be just as simple as “Hello, Hi”? What to do with yourself when love triggers loathing? How many more times do you have to go back there again? Pulling at the scratchy wool threads of an old sweater favored for warmth, comfort, protection, rejection, denial, blindness etc, Ty Segall dives from a clear, open sky, down through the marine layer and the shimmering waves of all the years.

Radiating from the same mind fields as Goodbye Bread and Sleeper, mixed with shard edges of contrast and contradiction from things like Freedom’s Goblin, Manipulator, and First Taste, “Hello, Hi” is Ty’s most relaxed and complete production to date, an ebb-and flow fusion of words and music offering abstraction and acceptance as it wrestles itself through a fucked-up time. Your life and what you make of it — throughout “Hello, Hi,” Ty Segall charts a passage through its enduring tangles honestly, with clarity and confusion.

Show full bio
Ty Segall
Shrine Social Club, Boise, ID, United States
Apr 30, 2025
8:00PM MDT
More info

The man in the tree has a guitar, he’s gonna sing. But the sun shining through the branches— are those rays yellow or hazy gray? What day is today? When are you not going to feel this way again?

“Hello, Hi”: welcome in to a new room to play the styles and feels that lie under Ty Segall’s fingers, easing fresh air into acoustic space with an assortment of love songs flowering in righteous unconsciousness. Plaintive and wistful, but unafraid. Like rain washing away yesterday, “Hello, Hi” pushes open the door, inviting the new to pass through all the old shades and degrees of hot and cold. Dark paths turn off abruptly into absurd darkness, then wind back through the broken rocks, ecstatic again. Absurdity again. It happens everyday.

“Hello, Hi” is expansively rendered by Ty, mostly by himself, at home. The isolation suits the songs: you’re only ever as “at home” as you are with yourself in the mirror. Ty’s acoustic and electric guitars and vocal harmonies layer self upon self, forming a spiny backbone for the album. Textures at once gentle and dissonant root the songs as they make their move: melodic arcs convulsing in doubt and bliss and rage. Busting out of the endless gridlock into open space, these spirits pass on through.

“Hello, Hi”’s flickering awakening to this trip: the opening three tracks’ train of sweet and salty reflections, before the abrupt crunch of the title track electrifies the senses. Good morning’s turned to good mourning in nothing flat, but there’s still a way up from the doldrums, to try again. Why can’t it be just as simple as “Hello, Hi”? What to do with yourself when love triggers loathing? How many more times do you have to go back there again? Pulling at the scratchy wool threads of an old sweater favored for warmth, comfort, protection, rejection, denial, blindness etc, Ty Segall dives from a clear, open sky, down through the marine layer and the shimmering waves of all the years.

Radiating from the same mind fields as Goodbye Bread and Sleeper, mixed with shard edges of contrast and contradiction from things like Freedom’s Goblin, Manipulator, and First Taste, “Hello, Hi” is Ty’s most relaxed and complete production to date, an ebb-and flow fusion of words and music offering abstraction and acceptance as it wrestles itself through a fucked-up time. Your life and what you make of it — throughout “Hello, Hi,” Ty Segall charts a passage through its enduring tangles honestly, with clarity and confusion.

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Riley Green
Akins Ford Arena at The Classic Center, Athens, GA, United States
May 01, 2025
7:00PM EDT
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Riley Green has been compelling Country music fans to raise a drink, shed a tear, and, above all, celebrate where they are from, since his self-titled EP in 2018 debuted with Big Machine Label Group. His songs like the No. 1 PLATINUM hit “There Was This Girl,” the 2X-PLATINUM-certified heart-tugger “I Wish Grandpas Never Died,” and his chart-topping collab with Thomas Rhett, “Half of Me,” have made the Academy of Country Music’s 2020 New Male Artist of the Year synonymous with what Country music does best: making listeners feel something with his no-gimmick, relatable writing and classic feel.

A huge 2023 for the avid sports fan, former athlete (Jacksonville State University quarterback) and outdoorsman, Green secured his third No. 1 single “Different ‘Round Here (Ft. Luke Combs),” played to an average of 65,000 fans each night as direct support on massive tours for Luke Combs and Morgan Wallen and released his latest full-length studio album Ain’t My Last Rodeo. The Dann Huff-produced album features his current Top 25-and-climbing single “Damn Good Day To Leave,” and gave a deeper look into the life of good ol’ boy who still lives in his hometown of Jacksonville, AL.

Currently riding a wave of massive success that grows stronger each day, 2024 has been a rocket for Green. He released his Way Out Here EP, which included two solo writes that had critics and fans alike gushing (the poignant “Jesus Saves” and the sultry “Worst Way,” which sparked a frenzy on the internet), the humorous tune “Rather Be,” as well as the wildly viral “you look like you love me” with Ella Langley, which has also taken social media by storm. He played for the biggest Country crowd in UK history (on his first trip across the pond no less), headlined his own (largely sold out) amphitheater tour, hosted his own festival, became one of only three Country artists to grace the cover of Cigar & Spirits and has become one of the most buzzed-about artists in Nashville. With another project on its way this fall, it’s clear, “there’s no slowing down for Riley Green” (Pollstar). See tour dates and learn more at RileyGreenMusic.com.

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iLuminate
The Whiting, Flint, MI, United States
May 01, 2025
8:00PM EDT
Bullet for My Valentine and Trivium
Featuring: Bullet For My Valentine Trivium
MGM Music Hall at Fenway, Boston, MA, United States
May 02, 2025
6:30PM EDT
More info
Featuring:
Bullet For My Valentine
Trivium
Saint Motel
The Fillmore Philadelphia, Philadelphia, PA, United States
May 02, 2025
8:00PM EDT
More info
Founded by vocalist A/J Jackson and guitarist Aaron Sharp—film-school classmates with a shared appreciation of obscurist cinema—and later rounded out by bassist Dak Lerdamornpong and drummer Greg Erwin, Saint Motel first revealed their imaginative take on alt-pop with their 2009 debut EP ForPlay. The band soon amassed a devoted underground following, thanks in part to a series of “experiential concerts” with such themes as Zombie Prom and Judgment Day, then found breakout success with their critically acclaimed 2012 debut album Voyeur. After signing to Elektra Records, Saint Motel saw their fanbase grow exponentially with the release of My Type EP, a 2014 effort whose platinum-certified title track became a top 10 alternative radio hit. In 2016, they flipped the script once again with saintmotelevision—a first-of-its-kind full-length accompanied by virtual music videos for all ten of its tracks, making it the world’s first-ever virtual-reality album. In addition to touring with acts like Arctic Monkeys, Imagine Dragons, Band of Skulls, and Weezer, Saint Motel have also spent much of the last half-decade bringing their captivating live show to leading festivals like Coachella, Lollapalooza, and Bonnaroo.
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Chicago Symphony Orchestra - Community Pride
Orchestra Hall at Symphony Center, Chicago, IL, United States
May 03, 2025
11:00AM CDT
Olly Murs
P&J Live, Aberdeen, United Kingdom
May 03, 2025
6:00PM BST
More info

Don’t believe everything you see on TV: Olly Murs has been away.

For sure, the singer, songwriter and solid-gold pop star has been all over our screens in recent weeks and months. He’s been front and centre as host of ITV’s Starstruck, helping the public make real their musical dreams, with wing-persons assistance from the likes of Shania Twain, Ronan Keating and Beverley Knight.

Then, he returned to the big swivelly chair on The Voice. Appearing alongside fellow coaches Anne-Marie, Sir Tom Jones and will.i.am in the current run, this is his fifth consecutive season on the hit talent show.

But in the artist world – the world that forged him, where he burnished the creative credentials that makes him an invaluable part of those musical shows – Murs has been off the radar for over four years. For a musician who had four Number One singles and four Number One albums in a near-back-to-back run after bursting onto the scene with his double-platinum self-titled debut in 2010, that’s a big gap.

But as he matter-of-factly admits, after the release of 2018’s sixth album You Know I Know (a double that was half greatest hits, half new tracks) he needed a rest. And a reset. The result is Olly Murs’ most consistent, most ambitious, punchiest, poppiest – and, in places, proudly soppiest – album yet.

It’s the Essex-machine at his happiest, too. How do we know? The clue’s in the title: Marry Me. The answer? Hint: she said yes. But before we get to that…

“I won’t lie,” Murs begins. “I was against doing the hits album. That's why I made it a double album – the songs you know, the songs that I know. Because I just wasn't ready for a hits album at that point in my career.”

As it happened, he then needed time to rebuild himself, personally and professionally. Firstly, after the 2019 You Know I Know tour, this keen footballer needed knee surgery. Secondly, he decided it was time to work with a fresh team, leaving Sony to sign a new record deal with EMI/Universal.

“It was just a weird time for me,” he reflects. “I was still single, personal life was a little bit all over the place… Work life was good, overall, but with that album campaign, my heart wasn't really in it. But my heart's in it now.”

That cardiac boost came from multiple directions. Firstly, Murs’ ears lit up when he was sent a work-in-progress track by songwriter David Stewart. 'Die Of A Broken Heart' needed a second verse, and a proper vocal, but he could hear that this was a smash-in-waiting.

“I went to David’s studio in West London and we got into the writing together. That was really the start and the spearhead of everything. It gave me a direction of where the album could go.”

'Die Of A Broken Heart' would become the first track on the album, and the first single. From the opening notes, you can hear why – this is an instant ear-worm, a one-listen-and-you’re-hooked pop-reggae outlier. As Murs describes it: “It has that steel drum at the intro, which just gets in your head straight away. It has a very Gotye, ‘Somebody I Used to Know’ feel to it, with a touch of The Police – and just a coolness to it. That really excited me.”

So much so that Murs decided to dive deep and commit. Forging an instant connection with Stewart, and with the producer and multi-instrumentalist’s songwriting partner Jessica Agombar, Murs ripped up entirely the creative process that had previously worked brilliantly for him.

“I've done all my albums with lots of producers over the years, predominantly Steve Robson, Claude Kelly, Steve Mac, Wayne Hector, guys I've had great relationships and success with. But David just had a BTS hit with their song ‘Dynamite’, stuff with Jonas Brothers, DNCE, more stuff with BTS, and he'd just done the new Shania Twain record…”

So he jumped in, committing to writing and recording the album solely with David Stewart and Jessica Agombar. “I've never done this before. It felt weird writing with the same people constantly. But I loved the routine, and the consistency. We just kept writing good songs.

“They are in the mix right now,” he continues. “They just had a great vibe and an enthusiasm, and a hunger. They’ve just had a Billboard number one, a number one in over 100 countries. That enthusiasm and energy that I got from them, that was it. That was the start.”

The start, but no starting pistol: Murs was determined not to race to the finish. Even though, again, that was something that had paid dividends in the past.

“Previous albums, I've done them in 12 weeks, 10 weeks, sometimes eight weeks, nonstop, jumping from studio to studio, benefiting from that injection of enthusiasm from someone new, that new producer, that new room – new lunch menu!"

But to craft the tight set of 11 songs that would become Marry Me, he took the best part of two years, working a week here, and a week there.

“And we had space,” he adds. “That’s the best thing about this album: we were patient. We didn't waste time. We took our time. And when it felt good, we finished the song. When it didn't feel good, we moved on. There was no pressure.”

Murs met his partner in 2019, another big change. This life-changing jolt is reflected in another new song. ‘I Found Her’ is a big tune with big energy and a big, soaring synth line.

“I was hearing Eighties-sounding songs in the charts like what The Weeknd was doing,” remembers this keen student of pop music. “That's where that big energy you’re describing came from, all dramatic and Eighties-like. We wrote the song based on my partner – or any woman. She's at the centre of the earth, and all these superheroes are trying to get to her. But if the world ends, at least – at last – I've found her.

“We wanted that bounce in the chorus, and that Jagger or Bowie strut, me with my chest out – I can imagine me in a sequinned onesie,” he hoots, as if storyboarding a video for what is surely a nailed-on single. “Yeah, we had fun writing that one.”

Also bringing the good-time party vibes is ‘Dancing on Cars’, a tune with an exuberant ‘Pull Up To The Bumper’ feel. And if you’re gonna tap into anyone’s funky vibe, Grace Jones is the one, right?

“This is the only one I didn't write. David said, ‘look, I wrote this fucking banger and I think it would work perfectly on the album.’ It's got that, again, modern funk feel – but my granddad would love to dance to it because it's got that old ’70s funk in it, with brass. It just ticks all the boxes. And I like the idea of me dancing on a car!” he hoots, scripting yet another surely inevitable iconic video moment.

Then, after the dancing and the partying, the romance. Rounding out Marry Me is ‘Let Me Just Say’. The album’s closing track is the only ballad, and offers not just a showcase for Murs’ effortlessly classy voice but also for his deepest emotions.

“It was probably the last song we wrote on the album, and you can probably tell at that point I was engaged,” he acknowledges. “So it's almost a story, really – the whole album is the two years leading up to me proposing. This is the final song on the album, and it's written as if the lights are down low, we’re on the dancefloor for our wedding, looking at each other…”

...and, fade to marital bliss. “That's the most open I’ve ever written,” Murs admits, clearly high on being able to honour and immortalise his bride-to-be in this way. “That's genuine love. But as for ‘Marry Me’ itself,” he adds of the finger-snapping, hip-shaking, dance floor-ready title track, “that's more my cheeky side. I’m saying: I think it's time you married me, really!’”

It’s sure to have them dancing – if not proposing – in the aisles next year, when Olly Murs gets back on tour. Last time round he sold 180,000 tickets for UK arenas in 2019. He’s determined to go bigger, better, louder next time in a show that will, he thinks, open with another new track. The Greatest Showman-esque ‘The Best Night of Your Life’ features strings by the legendary Mike Batt (who also appears on two other tracks), and the larky lyrics reference songs by other great showmen he rates, notably Elton John and Robbie Williams. "I can already see me on stage doing that one," nods this natural-born stage performer.

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Clubland
Utilita Arena Newcastle, Newcastle upon Tyne, United Kingdom
May 03, 2025
6:00PM BST
More info
Ticket Information
U14s accompanied by an adult / 14+ for floor tickets
Bullet for My Valentine and Trivium
Featuring: Bullet For My Valentine Trivium
Place Bell, Laval, QC, Canada
May 03, 2025
6:30PM EDT
More info
Featuring:
Bullet For My Valentine
Trivium
Larry Fleet
Toads Place - CT, New Haven, CT, United States
May 03, 2025
7:00PM EDT
More info
Blue-collar, Tennessee native Larry Fleet grew up with a love of music sparked by an eclectic mix of influences spanning from Merle Haggard to Marvin Gaye. To make ends meet, Fleet spent tireless hours working construction jobs – never losing his dream of making music. A chance encounter with Jake Owen in 2017 led to a collaborative friendship and an opening slot on the road with Owen. Not long after, Fleet was sharing the stage with a living legend and one of his heroes – Willie Nelson – and etching his mark in the Nashville songwriting community co-writing with esteemed tunesmiths including Rhett Akins, Brett James and Kendell Marvel. The hard-working family man is now turning heads with his “Where I Find God” – a powerful ode to finding peace in the higher power’s presence. Garnering Fleet praise for his “emotive vocals” (Billboard), the song’s official music video continues to resonate with fans, amassing 19 MILLION+ YouTube views. “Where I Find God” follows the release of Fleet’s aptly-titled debut on Big Loud Records, WORKIN’ HARD. On September 24, Fleet will release his brand-new, full-length album, STACK OF RECORDS, produced by studio ace Joey Moi.
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Saint Motel
Brooklyn Paramount, Brooklyn, NY, United States
May 03, 2025
7:00PM EDT
More info
Founded by vocalist A/J Jackson and guitarist Aaron Sharp—film-school classmates with a shared appreciation of obscurist cinema—and later rounded out by bassist Dak Lerdamornpong and drummer Greg Erwin, Saint Motel first revealed their imaginative take on alt-pop with their 2009 debut EP ForPlay. The band soon amassed a devoted underground following, thanks in part to a series of “experiential concerts” with such themes as Zombie Prom and Judgment Day, then found breakout success with their critically acclaimed 2012 debut album Voyeur. After signing to Elektra Records, Saint Motel saw their fanbase grow exponentially with the release of My Type EP, a 2014 effort whose platinum-certified title track became a top 10 alternative radio hit. In 2016, they flipped the script once again with saintmotelevision—a first-of-its-kind full-length accompanied by virtual music videos for all ten of its tracks, making it the world’s first-ever virtual-reality album. In addition to touring with acts like Arctic Monkeys, Imagine Dragons, Band of Skulls, and Weezer, Saint Motel have also spent much of the last half-decade bringing their captivating live show to leading festivals like Coachella, Lollapalooza, and Bonnaroo.
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Alison Moyet
Big Night Live, Boston, MA, United States
May 03, 2025
7:00PM EDT
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To celebrate 40 years as a solo artist, Alison Moyet releases Key, a collection of 16 reworked singles and deep cuts, alongside two brand new tracks

It is, says Alison Moyet, quite remarkable to think that she’s been singing for “some serious years”. She formed her first band at 16 in Basildon, was in Yazoo at 20 and released her first solo album Alf at 23. In the four decades since Alf, Moyet’s solo work has been defined not only by her refusal to repeat herself, but by that extraordinary voice: still recognisable in an instant, still capable of stopping you in your tracks, a voice big enough to fill a stadium and yet intimate enough to make you feel as though she’s singing just for you.

Key is a blazing showcase of the depth and breadth of Moyet’s song writing ability that unlocks who she is as a creative artist. With nine studio solo albums to choose from to celebrate her fortieth year as a solo artist, Moyet wanted “to look at the trajectory of those decades and explore songs that, in their original form, were never fully realised or have had their relevance to me altered by time.”

There are inevitably certain songs Moyet won’t sing again simply because they “don’t resonate with me anymore.” Perhaps because she was on the cusp of adulthood when she originally sang them or hadn’t yet had her heart broken. Perhaps they are cover songs that she “doesn’t recognise as part of my language now.” No matter: for Key she took to the studio with Sean McGhee, her long-standing musical director for live shows and producer and arranger across all the songs on the new album. It was a gargantuan task which included readdressing fan favourites such as Love Resurrection and All Cried Out, both from Alf. Meanwhile, Is This Love?, from the 1986 album Raindancing, co-written with Dave Stewart and featured in the BAFTA-nominated film All of Us Strangers, has been reworked as a giant shimmering ballad.

In Yazoo, Moyet largely wrote on her own, with the exception of Situation and State Farm, which were crafted with Vince Clarke. As a solo artist, she has collaborated with myriad songwriters and producers. Working with Steve Jolley and Tony Swain on Alf was “a new and interesting experience unhindered by the burden of experience”, but it was her significant work with Pete Glenister that would identify her melodic and lyrical imperatives as a solo artist. “Pete is a supremely talented fellow who constructs sublime chord progressions and is a truly fine writer.” The Insects, producers of 2002’s Hometime, later created a perfect sound bed to showcase the Moyet/Glenister songs. “That was my first personal experience of finding synergy on an album; it was an important career shape shifter.”

It was, however, with Guy Sigsworth that Moyet found her perfect foil. “In many ways he has been reward for my dogged endurance. I’m totally unbound when working with Guy. He writes tracks that I then write songs to. No ‘what to do?’ No preamble. A creative trust. We allow each our own language.” The two albums made with Sigsworth – the minutes from 2013 and Other from 2017 – Moyet considers highlights of her career. Key includes two reworkings from those records, All Signs of Life and Filigree. “My work with Guy needed to be referenced, but didn’t demand alteration. That said, Sean has arranged an exquisite take on Filigree quite unlike all the rest. It’s a song about perseverance, which is really quite fitting.”

The two new songs on Key – the lavish Such Small Ale and exquisite pop of The Impervious Me – were written respectively with Sean McGhee and co-writers Richard Oakes and John Garden. “I wanted to write the new material with Sean because so very much of him is on Key. He produced and arranged all 18 tracks. A ridiculous polymath.”

With touring stalled by the lockdown years – Moyet enrolled at Brighton University and graduated with a first-class degree in Fine Art Printmaking BA (Hons) in the summer of 2023 – she is keen to take Key on the road. “Live work really matters to me,” she says. “I can’t dial in a performance. I love the physical feeling that singing gives me. It’s totally primal and euphoric. On stage I remember how to connect with myself.”

Key distils 40 years of music making, presenting a cohesive overview of a long and dazzling journey. “I hope this collection will be the key to those unopened doors. Let yourself in.”

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Metallica Parking
Nissan Stadium, Nashville, TN, United States
May 03, 2025
6:01PM CDT
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It's the sort of story that scriptwriters would get laughed out of conference rooms for entering. The sort of story that illustrates perfect synchronicity between hunger, passion and time. The sort of story that only happens every 30-odd years. And the sort of story that would approximately 500 pages to do it true justice. Metallica. A household name. The 7th biggest selling act in American history. Who'd have thought it when, on October 28th, 1981, drummer Lars Ulrich made guitar player/singer James Hetfield an offer he couldn't refuse: "I've got a track saved for my band on Brian Slagel's new Metal Blade label." The truth is, Lars didn't have a band at that time, but he did that day when James joined him. The two recorded their first track on a cheap recorder with James performing singing duties, rhythm guitar duties and bass guitar duties. Lars dutifully pounded the drums, helped with musical arrangements and acted as manager. Hetfield's friend and housemate Ron McGovney was eventually talked into taking up bass and Dave Mustaine took lead guitar duties. The band adopted the moniker Metallica after a suggestion from Bay Area friend Ron Quintana, and they quickly began gigging in the Los Angeles area opening for bands like Saxon. Eventually recording a fully-fledged demo called No Life Til Leather, Metallica quickly saw the tape whistle around the metal tape-trading underground and become a hot commodity, with San Francisco and New York particularly receptive. Metallica performed 2 shows in San Francisco and found the crowds friendlier and more honest than LA's "there to be seen" mob. They also caught up-and-coming band Trauma, and most importantly their bass player, Cliff Burton. Cliff refused to move to Southern California: it was enough to convince Metallica to relocate to the Bay Area, and Cliff subsequently joined Metallica. Metallica's first album, Kill 'Em All, was released in late 1983 and some ferocious touring which saw the band's reputation soar both in the US and Europe. In 1984 they went to work with producer Flemming Rassmussen in Copenhagen at Sweet Silence Studios on their second album. 'Ride The Lightning' proved that Metallica were not some thrash-in-the-pan one trick pony, the writing and sound illustrating a growth, maturity and intensity which saw them immediately targeted by major management in QPrime, and a major label in Elektra. Both deals were done by the fall of '84 and their reputation continued to grow worldwide. Returning to the same studios in 1985, the group recorded 'Master Of Puppets', mixing in LA with Michael Wagner and releasing in early 1986. They quickly secured a tour with Ozzy Osbourne, and that stint (plus a top 30 album chart position) saw their fan base and name take a quantum leap. What had seemed so unlikely was nearer than ever to coming true; world domination.
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Saint Motel
Brooklyn Paramount, Brooklyn, NY, United States
May 03, 2025
7:00PM EDT
More info
Founded by vocalist A/J Jackson and guitarist Aaron Sharp—film-school classmates with a shared appreciation of obscurist cinema—and later rounded out by bassist Dak Lerdamornpong and drummer Greg Erwin, Saint Motel first revealed their imaginative take on alt-pop with their 2009 debut EP ForPlay. The band soon amassed a devoted underground following, thanks in part to a series of “experiential concerts” with such themes as Zombie Prom and Judgment Day, then found breakout success with their critically acclaimed 2012 debut album Voyeur. After signing to Elektra Records, Saint Motel saw their fanbase grow exponentially with the release of My Type EP, a 2014 effort whose platinum-certified title track became a top 10 alternative radio hit. In 2016, they flipped the script once again with saintmotelevision—a first-of-its-kind full-length accompanied by virtual music videos for all ten of its tracks, making it the world’s first-ever virtual-reality album. In addition to touring with acts like Arctic Monkeys, Imagine Dragons, Band of Skulls, and Weezer, Saint Motel have also spent much of the last half-decade bringing their captivating live show to leading festivals like Coachella, Lollapalooza, and Bonnaroo.
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iLuminate
Belushi Performance Hall, Glen Ellyn, IL, United States
May 03, 2025
7:30PM CDT
Maribou State
Théâtre Beanfield, Montréal, QC, Canada
May 03, 2025
8:00PM EDT
More info

Maribou State are Chris Davids and Liam Ivory, the UK duo giving electronic music a
much-needed shot of soul. Since 2011, they’ve established themselves as major
players on the global dance music circuit, melding a genre-fluid range of influences into
a distinctly organic sound, redefining downtempo electronica for a new generation.
They’ve become a hugely acclaimed live act who’ve performed roadblock shows from
Glastonbury to the Sydney Opera House, as well as back-to-back sold-out UK, EU and
North American tours.
Over three albums – including a new, forthcoming release – Maribou State have honed
a delicate balance of intricacy, intimacy and electronic expansiveness. Their vast sonic
universe pulls on UK club music, vintage soul and evocative samples to create
something completely unique. Their 2015 debut, Portraits, was written and recorded in
the shed at the bottom of Liam’s parents’ garden in leafy Hertfordshire, just outside of
London, where the duo both grew up. Building on Portrait’s success, Maribou State
relocated to the UK capital but looked further afield for inspiration: 2018’s Kingdom of
Colour wove together a sonic collage of ideas and field recordings from their travels
across India, Australia, Morocco, America and beyond. Lead single ‘Feel Good’, a
collaboration with Texan trio Khruangbin, was a runaway success, while the album itself
was released to widespread acclaim. It led dance music bible Mixmag to crown Maribou
State one of their artists of the year.
The duo have always stayed true to their club roots: they started DJing together in the
mid-2000s and pay homage to the lineage of UK dance music throughout their
productions, such as the much-loved single ‘Turnmills’, named for the legendary former
London club. They followed it with 2019’s Kingdoms In Colour Remixed, featuring
reworkings from the likes of HAAi, Maceo Plex and DJ Tennis and, in 2020, an
instalment of Fabric’s esteemed Fabric Presents series. The compilation evidenced their
wide-reaching music tastes and linked soul, disco and bumpier house grooves with UK
jazz and even neo-classical.
Maribou State’s live show has simultaneously evolved to the next level, where they
have become must-see headliners. Their band has come to its fullest realisation on their
new and third album, Hallucinating Love. It’s a beacon of hopefulness after a turbulent
past few years both personally and professionally, where Chris has been coming to
terms with a major brain condition, bringing the duo closer together than ever before.
The hotly-anticipated release brings together a host of impressive talents, including
vocalists Holly Walker and Andreya Triana, and incredibly talented producer Jack
Sibley, for a celebration of community, togetherness and triumphing against the odds.
Hallucinating Love is preceded by two exceptional singles, and soothing balms for
tempestuous times. ‘Blackoak’ typifies Maribou State’s earthy blend of folk, epic strings,
elastic funk bass and earworm vocal hooks, plus ‘Otherside’ which features long-term
collaborator and vocalist Holly Walker. It’s a complex tapestry of sound, but one that
always brings heart and soul to the forefront.

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iLuminate
Belushi Performance Hall, Glen Ellyn, IL, United States
May 04, 2025
3:00PM CDT
Saint Motel
House of Blues Boston, Boston, MA, United States
May 04, 2025
7:00PM EDT
More info
Founded by vocalist A/J Jackson and guitarist Aaron Sharp—film-school classmates with a shared appreciation of obscurist cinema—and later rounded out by bassist Dak Lerdamornpong and drummer Greg Erwin, Saint Motel first revealed their imaginative take on alt-pop with their 2009 debut EP ForPlay. The band soon amassed a devoted underground following, thanks in part to a series of “experiential concerts” with such themes as Zombie Prom and Judgment Day, then found breakout success with their critically acclaimed 2012 debut album Voyeur. After signing to Elektra Records, Saint Motel saw their fanbase grow exponentially with the release of My Type EP, a 2014 effort whose platinum-certified title track became a top 10 alternative radio hit. In 2016, they flipped the script once again with saintmotelevision—a first-of-its-kind full-length accompanied by virtual music videos for all ten of its tracks, making it the world’s first-ever virtual-reality album. In addition to touring with acts like Arctic Monkeys, Imagine Dragons, Band of Skulls, and Weezer, Saint Motel have also spent much of the last half-decade bringing their captivating live show to leading festivals like Coachella, Lollapalooza, and Bonnaroo.
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Allison Russell: All Returners Tour
Supported by: Kara Jackson
Webster Hall, New York, NY, United States
May 06, 2025
8:00PM EDT
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Allison Russell — poet, singer, songwriter, multi-instrumentalist, activist, and co-founder of Our Native Daughters and Birds of Chicago — embarks upon her next chapter in The Returner, a body-shaking, mind-expanding, soulful expression of Black liberation, Black love, of Black self-respect. Written and co-produced by Allison along with dim star (her partner JT Nero and Drew Lindsay), The Returner was recorded over Solstice week in December 2022 at Henson Recording Studios in Los Angeles, CA. It features Russell's "Rainbow Coalition" band of all female musicians along with special guest appearances from the legendary Wendy & Lisa, Brandi Carlile, Brandy Clark, and Hozier.

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Saint Motel
Théâtre Beanfield, Montréal, QC, Canada
May 06, 2025
8:00PM EDT
More info
Founded by vocalist A/J Jackson and guitarist Aaron Sharp—film-school classmates with a shared appreciation of obscurist cinema—and later rounded out by bassist Dak Lerdamornpong and drummer Greg Erwin, Saint Motel first revealed their imaginative take on alt-pop with their 2009 debut EP ForPlay. The band soon amassed a devoted underground following, thanks in part to a series of “experiential concerts” with such themes as Zombie Prom and Judgment Day, then found breakout success with their critically acclaimed 2012 debut album Voyeur. After signing to Elektra Records, Saint Motel saw their fanbase grow exponentially with the release of My Type EP, a 2014 effort whose platinum-certified title track became a top 10 alternative radio hit. In 2016, they flipped the script once again with saintmotelevision—a first-of-its-kind full-length accompanied by virtual music videos for all ten of its tracks, making it the world’s first-ever virtual-reality album. In addition to touring with acts like Arctic Monkeys, Imagine Dragons, Band of Skulls, and Weezer, Saint Motel have also spent much of the last half-decade bringing their captivating live show to leading festivals like Coachella, Lollapalooza, and Bonnaroo.
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Nick Cave & The Bad Seeds
Mission Ballroom, Denver, CO, United States
May 07, 2025
8:00PM MDT
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Ticket Information

Ticket prices may fluctuate, at any time, based on demand.

This show is GENERAL ADMISSION with a RESERVED East or West Balcony configuration

Please see below for the different ticket options available on this event

*Access is granted based on your purchased ticket type

*All East and West Balcony tickets have access to the general admission areas

GENERAL ADMISSION TICKETS

First-come, First-served Access to the Floor and Bowl Areas

RESERVED TICKETS

Seated Balcony Access in the East or West Sections with Nearby Bar and Exclusive Restrooms

Bullet for My Valentine and Trivium
Featuring: Bullet For My Valentine Trivium
Wind Creek Event Center, Bethlehem, PA, United States
May 09, 2025
6:30PM EDT
More info
Featuring:
Bullet For My Valentine
Trivium
CVSO New Frontiers
Supported by: Sponsored by Jennifer and Samir Murty
RCU Theatre, Eau Claire, WI, United States
May 09, 2025
7:30PM CDT
More info
CVSO concludes its 50th anniversary season with an epic performance of Gustav Mahler's Symphony No. 2 "Resurrection" in collaboration with Chippewa Valley Festival Choir and guest soloists Christine Amon and Emily Sternfeld-Dunn. It is a symphony of hope, determination, and excitement – sentiments that have sustained CVSO for 50 years and will lead it into new frontiers. Concert Sponsors: Jennifer and Samir Murty
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Riley Green
Lake Charles Event Center, Lake Charles, LA, United States
May 09, 2025
7:00PM CDT
More info

Riley Green has been compelling Country music fans to raise a drink, shed a tear, and, above all, celebrate where they are from, since his self-titled EP in 2018 debuted with Big Machine Label Group. His songs like the No. 1 PLATINUM hit “There Was This Girl,” the 2X-PLATINUM-certified heart-tugger “I Wish Grandpas Never Died,” and his chart-topping collab with Thomas Rhett, “Half of Me,” have made the Academy of Country Music’s 2020 New Male Artist of the Year synonymous with what Country music does best: making listeners feel something with his no-gimmick, relatable writing and classic feel.

A huge 2023 for the avid sports fan, former athlete (Jacksonville State University quarterback) and outdoorsman, Green secured his third No. 1 single “Different ‘Round Here (Ft. Luke Combs),” played to an average of 65,000 fans each night as direct support on massive tours for Luke Combs and Morgan Wallen and released his latest full-length studio album Ain’t My Last Rodeo. The Dann Huff-produced album features his current Top 25-and-climbing single “Damn Good Day To Leave,” and gave a deeper look into the life of good ol’ boy who still lives in his hometown of Jacksonville, AL.

Currently riding a wave of massive success that grows stronger each day, 2024 has been a rocket for Green. He released his Way Out Here EP, which included two solo writes that had critics and fans alike gushing (the poignant “Jesus Saves” and the sultry “Worst Way,” which sparked a frenzy on the internet), the humorous tune “Rather Be,” as well as the wildly viral “you look like you love me” with Ella Langley, which has also taken social media by storm. He played for the biggest Country crowd in UK history (on his first trip across the pond no less), headlined his own (largely sold out) amphitheater tour, hosted his own festival, became one of only three Country artists to grace the cover of Cigar & Spirits and has become one of the most buzzed-about artists in Nashville. With another project on its way this fall, it’s clear, “there’s no slowing down for Riley Green” (Pollstar). See tour dates and learn more at RileyGreenMusic.com.

Show full bio
Colorado Springs Philharmonic
Star Wars: A New Hope - Friday
Pikes Peak Center, Colorado Springs, CO, United States
May 09, 2025
7:30PM MDT
HaAsh
Rialto Theatre Tucson, Tucson, AZ, United States
May 09, 2025
9:00PM MDT
Hippo Campus
Roseland Theater, Portland, OR, United States
May 09, 2025
8:00PM PDT
More info

Hippo Campus were sitting in the green room of a sold-out amphitheater show at the start of the Summer of 2023 when they realized they had a major problem. Their fourth LP simply wasn’t good enough. Singer Jake Luppen had been listening to the band’s work as they rolled around the country, trying to tease out how much work remained. All of it, he soon decided. The soul wasn’t there, obfuscated by the need to sound sophisticated and the overwhelming ambition to make the best Hippo Campus LP ever, adeeper and more profound record that reflected how their lives were changing.

They’d committed to that vow with longtime producer and collaborator Caleb Wright a little more than a year earlier, soon after a party where they celebrated the release of LP3. That very night, the call came that a longtime friend had unexpectedly died. They started this band as kids and enjoyed quick momentum, their thrill-a-minute live shows and charismatically experimental pop albums creating almost-instant, avid attention. But this was Hippo Campus’ first close brush with death; as adulthood encroached, the actual call of mortality reminded them of the stakes of art, friendship, and life.

So they committed to doing something major, even if it meant taking five years to do it. They took the task seriously, too: getting sober for an entirely improvisational session at North Carolina’s Drop of Sun months later, regularly attending therapy as a full band, writing more than 100 songs in only a year. That was all well and good, until Luppen and, really, all of Hippo Campus decided they didn’t actually like what they were making. Life and work had been dark in their orbit for a second—death and dejection, addiction and anxiety. This uneasy epiphany wasn’t helping.

So that night, in the dressing room, they called an audible. They were going to start over. Three months later, the four-member core of Hippo Campus rendezvoused with Wright and producer Brad Cook at Sonic Ranch, a playground-like studio complex on the Texas border. They gave themselves 10 days to cut the tracks they liked best, to make something to which they could commit at last. And Cook, in turn, gave them an edict of no second guessing or listening back, only forward momentum. Less than two weeks later, they emerged with what they’d given themselves half a decade to make—Flood, or the best album Hippo Campus has ever made.

You can immediately hear as much in a pair of wondrous songs toward the end, when the love-lost-and-found sing-along “Forget It” fades into the bittersweet and beautiful ache of “Closer,” a gem about trying and maybe failing to surrender your trust to someone else. This is a band that has learned to grow up by learning to let go. When Hippo Campus finally stopped trying to force the issue of making a masterpiece, they tapped intersecting veins of vulnerability and urgency, walking away with 13 tracks that reckon with their uncanny lives through at least that many totally absorbing hooks.

During the last several years, Hippo Campus has had to navigate the tougher wages of success. They are, of course, grateful that a pop band they named on the lark of some psychology lesson blew up, but it certainly eliminated the segue from adolescence to adulthood that most of us enjoy in relative privacy. How could they survive inside and alongside this thing they had created and had outgrown them? And what’s more, how could they endure the vagaries of the music industry, so that they didn’t let a disappointing tour or disspiriting release demoralize them? Or, to ask the cumulative question, how do four people connected so intimately for so long grow as individuals while preserving the bond that makes what they do so special? Or is that actually too much to ask?

For a minute there, the answer seemed possibly like yes. But soon after that improvisational session, the band returned to its own Minneapolis studio and dug in. They stumbled upon “Everything at Once,” with Nathan Stocker’s tricky little guitar lope becoming the basis for the slowly rising rhythm of drummer Whistler Allen and bassist Zach Sutton. Stepping outside for some space, Luppen quickly penned a thesis of self-criticism and self-forgiveness. Being less than the expectations of an industry, a family, or a faith are totally normal, he suggests in an anthem of empowerment that is almost casual. He gives himself the grace of being human: “You gotta lay down sometimes, be patient sometimes,” Luppen sings, layers of lean vocals crisscrossing one another like light beams. “And feel everything at once.”

That is precisely what Hippo Campus do best on Flood—feel everything and transmute it all into songs that are inescapable. Take “Brand New,” three minutes of brilliantly coiled pop, its spring-loaded rhythm lifting a guitar line built from pin pricks skyward. It’s about being ruined by the letdown of a failed relationship and then finding a way forward, toward something so good you haven’t even imagined it yet. It sounds that way, too. There’s the completely compulsive “Tooth Fairy,” a quick-moving meditation on the confusion of interpersonal dynamics. Hippo Campus smear bits of gentle psychedelia around a rhythm, riff, and hook that have the sleek lines of a sports car; the result is a dynamic wonder, a song that feels emphatic at the start but reaches full triumph by the end. Inspired by staring down cycles of addiction too long without taking steps to break them, “Corduroy” finds the space between a bummer country blues and a sweetly devotional waltz. Its vows of love, trust, and doubt are buoyed and also undercut by its slow rises and falls, a musical portrait of trying to take that difficult next step.

The sentiments on Flood are raw, real, and unguarded, a testament to Hippo Campus dropping preconceptions of how they had to sound after so many failed attempts to re-record these songs. They wiped the slate clean, starting over without beliefs about what Hippo Campus or this record needed to be. Still, sophistication lurks in subtle key and tempo changes, in the almost innate shifts that a band of longtime best friends can tap after so much time spent helping to shape one another’s musical language. Flood doesn’t need to tell you it’s important or interesting; it simply is, just by virtue of how it’s written, built, and rendered, a map of what it’s like to feel everything at once. This rebirth is accompanied by a crucial career shift for Hippo Campus, too, as they exit the traditional label system to issue LP4 via Psychic Hotline, a truly independent imprint run by peers and pals. If you’re working to let go of expectations, why not jettison them all? There’s a bravery to that, and you can hear its revivifying spirit in every second of LP4.

Early into the endlessly propulsive “Paranoid,” where stunted acoustic strums undergird an inescapable jangle, Luppen asks an existential question: “Is there something waiting out there for us at the finish line?” For the next three minutes, the band cycles with him through his woes, from the title’s overwhelming worry to notions of dislocation and loneliness. (Also, is there any other refrain ever that manages to make the phrase “so god-damned fucking” sound so catchy and natural?) But in the final verse, with his voice breaking through a scrim of distortion, he stumbles upon a new credo: “Wait, I wanna give this life all that I have in me.” That is precisely what Hippo Campus have done with Flood after realizing it doesn’t take a lifetime—or, well, five years—to do just that.

Show full bio
The Jesus Lizard (21+ Event)
Revolution Hall, Portland, OR, United States
May 09, 2025
8:00PM PDT
More info

The Jesus Lizard formed in late 80's Austin, TX after David Yow (vox) and David Wm. Sims' (bass) previous band Scratch Acid broke up. They started the Jesus Lizard with Duane Denison (guitar) and a drum machine and recorded their debut EP Pure with Steve Albini in 1989. A move to Chicago prompted the firing of the drum machine in favor of Mac McNeilly (drums) and in 1990 the band recorded their first fulllength, Head, for Touch and Go.

While the labels "seminal" and "legendary" are often applied too easily, they both accurately describe the Jesus Lizard. They released five more remarkable LPs before disbanding in 1999, the last being 1998's Blue. During that time, they toured endlessly and issued not only the critically acclaimed studio LPs but also assorted singles, EPs, compilations and a live album. Pitchfork has said of them: "the Jesus Lizard raised a bar that few bands have reached since...Rarely does a band have each member adding something essential to such a united, ferocious whole."

December's tour will no doubt remind everyone that the Jesus Lizard excelled not only in the studio but on stage. The band is indeed matchless in that capacity. Stereogum have called them "one of the greatest live bands ever" and The New York Times has used the words "extravagantly good" while Rolling Stone speaks of the band's "shattering live performances."

2008 saw the band regroup and the following year they toured the world with dates that included a slot at the Pitchfork Music Festival in Chicago and All Tomorrow's Parties in the UK and upstate New York. No plans exist for any performances beyond this December slate.

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Red Hot Chilli Pipers - Tribute
Bankhead Theater, Livermore, CA, United States
May 09, 2025
8:00PM PDT
Swept Away
Longacre Theatre, New York, NY, United States
May 10, 2025
2:00PM EDT
Rockford Symphony Orchestra - Beethoven's 9th
Coronado Performing Arts Center, Rockford, IL, United States
May 10, 2025
7:30PM CDT
Riley Green
Cadence Bank Arena, Tupelo, MS, United States
May 10, 2025
7:00PM CDT
More info

Riley Green has been compelling Country music fans to raise a drink, shed a tear, and, above all, celebrate where they are from, since his self-titled EP in 2018 debuted with Big Machine Label Group. His songs like the No. 1 PLATINUM hit “There Was This Girl,” the 2X-PLATINUM-certified heart-tugger “I Wish Grandpas Never Died,” and his chart-topping collab with Thomas Rhett, “Half of Me,” have made the Academy of Country Music’s 2020 New Male Artist of the Year synonymous with what Country music does best: making listeners feel something with his no-gimmick, relatable writing and classic feel.

A huge 2023 for the avid sports fan, former athlete (Jacksonville State University quarterback) and outdoorsman, Green secured his third No. 1 single “Different ‘Round Here (Ft. Luke Combs),” played to an average of 65,000 fans each night as direct support on massive tours for Luke Combs and Morgan Wallen and released his latest full-length studio album Ain’t My Last Rodeo. The Dann Huff-produced album features his current Top 25-and-climbing single “Damn Good Day To Leave,” and gave a deeper look into the life of good ol’ boy who still lives in his hometown of Jacksonville, AL.

Currently riding a wave of massive success that grows stronger each day, 2024 has been a rocket for Green. He released his Way Out Here EP, which included two solo writes that had critics and fans alike gushing (the poignant “Jesus Saves” and the sultry “Worst Way,” which sparked a frenzy on the internet), the humorous tune “Rather Be,” as well as the wildly viral “you look like you love me” with Ella Langley, which has also taken social media by storm. He played for the biggest Country crowd in UK history (on his first trip across the pond no less), headlined his own (largely sold out) amphitheater tour, hosted his own festival, became one of only three Country artists to grace the cover of Cigar & Spirits and has become one of the most buzzed-about artists in Nashville. With another project on its way this fall, it’s clear, “there’s no slowing down for Riley Green” (Pollstar). See tour dates and learn more at RileyGreenMusic.com.

Show full bio
Colorado Springs Philharmonic
Star Wars: A New Hope - Saturday
Pikes Peak Center, Colorado Springs, CO, United States
May 10, 2025
7:30PM MDT
Seattle Rock Orchestra
The Moore Theatre, Seattle, WA, United States
May 10, 2025
7:30PM PDT
Saint Motel
The Sylvee, Madison, WI, United States
May 11, 2025
8:00PM CDT
More info
Founded by vocalist A/J Jackson and guitarist Aaron Sharp—film-school classmates with a shared appreciation of obscurist cinema—and later rounded out by bassist Dak Lerdamornpong and drummer Greg Erwin, Saint Motel first revealed their imaginative take on alt-pop with their 2009 debut EP ForPlay. The band soon amassed a devoted underground following, thanks in part to a series of “experiential concerts” with such themes as Zombie Prom and Judgment Day, then found breakout success with their critically acclaimed 2012 debut album Voyeur. After signing to Elektra Records, Saint Motel saw their fanbase grow exponentially with the release of My Type EP, a 2014 effort whose platinum-certified title track became a top 10 alternative radio hit. In 2016, they flipped the script once again with saintmotelevision—a first-of-its-kind full-length accompanied by virtual music videos for all ten of its tracks, making it the world’s first-ever virtual-reality album. In addition to touring with acts like Arctic Monkeys, Imagine Dragons, Band of Skulls, and Weezer, Saint Motel have also spent much of the last half-decade bringing their captivating live show to leading festivals like Coachella, Lollapalooza, and Bonnaroo.
Show full bio
Showbox Presents
Hippo Campus
With Hotline TNT
The Showbox, Seattle, WA, United States
May 12, 2025
8:00PM PDT
More info

Hippo Campus were sitting in the green room of a sold-out amphitheater show at the start of the
Summer of 2023 when they realized they had a major problem. Their fourth LP simply wasn’t
good enough. Singer Jake Luppen had been listening to the band’s work as they rolled around
the country, trying to tease out how much work remained. All of it, he soon decided. The soul
wasn’t there, obfuscated by the need to sound sophisticated and the overwhelming ambition to
make the best Hippo Campus LP ever, a deeper and more profound record that reflected how
their lives were changing.
They’d committed to that vow with longtime producer and collaborator Caleb Wright a little
more than a year earlier, soon after a party where they celebrated the release of LP3. That very
night, the call came that a longtime friend had unexpectedly died. They started this band as kids
and enjoyed quick momentum, their thrill-a-minute live shows and charismatically experimental
pop albums creating almost-instant, avid attention. But this was Hippo Campus’ first close brush
with death; as adulthood encroached, the actual call of mortality reminded them of the stakes of
art, friendship, and life.
So they committed to doing something major, even if it meant taking five years to do it. They
took the task seriously, too: getting sober for an entirely improvisational session at North
Carolina’s Drop of Sun months later, regularly attending therapy as a full band, writing more
than 100 songs in only a year. That was all well and good, until Luppen and, really, all of Hippo
Campus decided they didn’t actually like what they were making. Life and work had been dark
in their orbit for a second—death and dejection, addiction and anxiety. This uneasy epiphany
wasn’t helping.
So that night, in the dressing room, they called an audible. They were going to start over. Three
months later, the four-member core of Hippo Campus rendezvoused with Wright and producer
Brad Cook at Sonic Ranch, a playground-like studio complex on the Texas border. They gave
themselves 10 days to cut the tracks they liked best, to make something to which they could
commit at last. And Cook, in turn, gave them an edict of no second guessing or listening back,
only forward momentum. Less than two weeks later, they emerged with what they’d given
themselves half a decade to make—Flood, or the best album Hippo Campus has ever made.
You can immediately hear as much in a pair of wondrous songs toward the end, when the love-
lost-and-found sing-along “Forget It” fades into the bittersweet and beautiful ache of “Closer,” a
gem about trying and maybe failing to surrender your trust to someone else. This is a band that
has learned to grow up by learning to let go. When Hippo Campus finally stopped trying to force
the issue of making a masterpiece, they tapped intersecting veins of vulnerability and urgency,
walking away with 13 tracks that reckon with their uncanny lives through at least that many
totally absorbing hooks.
During the last several years, Hippo Campus has had to navigate the tougher wages of success.
They are, of course, grateful that a pop band they named on the lark of some psychology lesson
blew up, but it certainly eliminated the segue from adolescence to adulthood that most of us
enjoy in relative privacy. How could they survive inside and alongside this thing they had created
and had outgrown them? And what’s more, how could they endure the vagaries of the music
industry, so that they didn’t let a disappointing tour or disspiriting release demoralize them? Or,
to ask the cumulative question, how do four people connected so intimately for so long grow as
individuals while preserving the bond that makes what they do so special? Or is that actually too
much to ask?
For a minute there, the answer seemed possibly like yes. But soon after that improvisational
session, the band returned to its own Minneapolis studio and dug in. They stumbled upon
“Everything at Once,” with Nathan Stocker’s tricky little guitar lope becoming the basis for the
slowly rising rhythm of drummer Whistler Allen and bassist Zach Sutton. Stepping outside for
some space, Luppen quickly penned a thesis of self-criticism and self-forgiveness. Being less
than the expectations of an industry, a family, or a faith are totally normal, he suggests in an
anthem of empowerment that is almost casual. He gives himself the grace of being human: “You
gotta lay down sometimes, be patient sometimes,” Luppen sings, layers of lean vocals
crisscrossing one another like light beams. “And feel everything at once.”
That is precisely what Hippo Campus do best on Flood—feel everything and transmute it all into
songs that are inescapable. Take “Brand New,” three minutes of brilliantly coiled pop, its spring-
loaded rhythm lifting a guitar line built from pin pricks skyward. It’s about being ruined by the
letdown of a failed relationship and then finding a way forward, toward something so good you
haven’t even imagined it yet. It sounds that way, too. There’s the completely compulsive “Tooth
Fairy,” a quick-moving meditation on the confusion of interpersonal dynamics. Hippo Campus
smear bits of gentle psychedelia around a rhythm, riff, and hook that have the sleek lines of a
sports car; the result is a dynamic wonder, a song that feels emphatic at the start but reaches full
triumph by the end. Inspired by staring down cycles of addiction too long without taking steps to
break them, “Corduroy” finds the space between a bummer country blues and a sweetly
devotional waltz. Its vows of love, trust, and doubt are buoyed and also undercut by its slow rises
and falls, a musical portrait of trying to take that difficult next step.
The sentiments on Flood are raw, real, and unguarded, a testament to Hippo Campus dropping
preconceptions of how they had to sound after so many failed attempts to re-record these songs.
They wiped the slate clean, starting over without beliefs about what Hippo Campus or this record
needed to be. Still, sophistication lurks in subtle key and tempo changes, in the almost innate
shifts that a band of longtime best friends can tap after so much time spent helping to shape one
another’s musical language. Flood doesn’t need to tell you it’s important or interesting; it simply
is, just by virtue of how it’s written, built, and rendered, a map of what it’s like to feel everything
at once. This rebirth is accompanied by a crucial career shift for Hippo Campus, too, as they exit
the traditional label system to issue LP4 via Psychic Hotline, a truly independent imprint run by
peers and pals. If you’re working to let go of expectations, why not jettison them all? There’s a
bravery to that, and you can hear its revivifying spirit in every second of LP4.
Early into the endlessly propulsive “Paranoid,” where stunted acoustic strums undergird an
inescapable jangle, Luppen asks an existential question: “Is there something waiting out there for
us at the finish line?” For the next three minutes, the band cycles with him through his woes,
from the title’s overwhelming worry to notions of dislocation and loneliness. (Also, is there any
other refrain ever that manages to make the phrase “so god-damned fucking” sound so catchy
and natural?) But in the final verse, with his voice breaking through a scrim of distortion, he
stumbles upon a new credo: “Wait, I wanna give this life all that I have in me.” That is precisely
what Hippo Campus have done with Flood after realizing it doesn’t take a lifetime—or, well,
five years—to do just that.

Show full bio
Bullet for My Valentine and Trivium
Featuring: Bullet For My Valentine Trivium
Corbin Arena, Corbin, KY, United States
May 13, 2025
6:30PM EDT
More info
Featuring:
Trivium
Bullet For My Valentine
AEG Presents
Francis Rossi
Eden Court, Inverness, United Kingdom
May 14, 2025
More info
Ticket Information
Age Restriction: All ages (Under 16s must be accompanied by an adult 18+)
Showbox Presents
Hippo Campus
With Hotline TNT
The Showbox, Seattle, WA, United States
May 13, 2025
8:00PM PDT
More info

Hippo Campus were sitting in the green room of a sold-out amphitheater show at the start of the
Summer of 2023 when they realized they had a major problem. Their fourth LP simply wasn’t
good enough. Singer Jake Luppen had been listening to the band’s work as they rolled around
the country, trying to tease out how much work remained. All of it, he soon decided. The soul
wasn’t there, obfuscated by the need to sound sophisticated and the overwhelming ambition to
make the best Hippo Campus LP ever, a deeper and more profound record that reflected how
their lives were changing.
They’d committed to that vow with longtime producer and collaborator Caleb Wright a little
more than a year earlier, soon after a party where they celebrated the release of LP3. That very
night, the call came that a longtime friend had unexpectedly died. They started this band as kids
and enjoyed quick momentum, their thrill-a-minute live shows and charismatically experimental
pop albums creating almost-instant, avid attention. But this was Hippo Campus’ first close brush
with death; as adulthood encroached, the actual call of mortality reminded them of the stakes of
art, friendship, and life.
So they committed to doing something major, even if it meant taking five years to do it. They
took the task seriously, too: getting sober for an entirely improvisational session at North
Carolina’s Drop of Sun months later, regularly attending therapy as a full band, writing more
than 100 songs in only a year. That was all well and good, until Luppen and, really, all of Hippo
Campus decided they didn’t actually like what they were making. Life and work had been dark
in their orbit for a second—death and dejection, addiction and anxiety. This uneasy epiphany
wasn’t helping.
So that night, in the dressing room, they called an audible. They were going to start over. Three
months later, the four-member core of Hippo Campus rendezvoused with Wright and producer
Brad Cook at Sonic Ranch, a playground-like studio complex on the Texas border. They gave
themselves 10 days to cut the tracks they liked best, to make something to which they could
commit at last. And Cook, in turn, gave them an edict of no second guessing or listening back,
only forward momentum. Less than two weeks later, they emerged with what they’d given
themselves half a decade to make—Flood, or the best album Hippo Campus has ever made.
You can immediately hear as much in a pair of wondrous songs toward the end, when the love-
lost-and-found sing-along “Forget It” fades into the bittersweet and beautiful ache of “Closer,” a
gem about trying and maybe failing to surrender your trust to someone else. This is a band that
has learned to grow up by learning to let go. When Hippo Campus finally stopped trying to force
the issue of making a masterpiece, they tapped intersecting veins of vulnerability and urgency,
walking away with 13 tracks that reckon with their uncanny lives through at least that many
totally absorbing hooks.
During the last several years, Hippo Campus has had to navigate the tougher wages of success.
They are, of course, grateful that a pop band they named on the lark of some psychology lesson
blew up, but it certainly eliminated the segue from adolescence to adulthood that most of us
enjoy in relative privacy. How could they survive inside and alongside this thing they had created
and had outgrown them? And what’s more, how could they endure the vagaries of the music
industry, so that they didn’t let a disappointing tour or disspiriting release demoralize them? Or,
to ask the cumulative question, how do four people connected so intimately for so long grow as
individuals while preserving the bond that makes what they do so special? Or is that actually too
much to ask?
For a minute there, the answer seemed possibly like yes. But soon after that improvisational
session, the band returned to its own Minneapolis studio and dug in. They stumbled upon
“Everything at Once,” with Nathan Stocker’s tricky little guitar lope becoming the basis for the
slowly rising rhythm of drummer Whistler Allen and bassist Zach Sutton. Stepping outside for
some space, Luppen quickly penned a thesis of self-criticism and self-forgiveness. Being less
than the expectations of an industry, a family, or a faith are totally normal, he suggests in an
anthem of empowerment that is almost casual. He gives himself the grace of being human: “You
gotta lay down sometimes, be patient sometimes,” Luppen sings, layers of lean vocals
crisscrossing one another like light beams. “And feel everything at once.”
That is precisely what Hippo Campus do best on Flood—feel everything and transmute it all into
songs that are inescapable. Take “Brand New,” three minutes of brilliantly coiled pop, its spring-
loaded rhythm lifting a guitar line built from pin pricks skyward. It’s about being ruined by the
letdown of a failed relationship and then finding a way forward, toward something so good you
haven’t even imagined it yet. It sounds that way, too. There’s the completely compulsive “Tooth
Fairy,” a quick-moving meditation on the confusion of interpersonal dynamics. Hippo Campus
smear bits of gentle psychedelia around a rhythm, riff, and hook that have the sleek lines of a
sports car; the result is a dynamic wonder, a song that feels emphatic at the start but reaches full
triumph by the end. Inspired by staring down cycles of addiction too long without taking steps to
break them, “Corduroy” finds the space between a bummer country blues and a sweetly
devotional waltz. Its vows of love, trust, and doubt are buoyed and also undercut by its slow rises
and falls, a musical portrait of trying to take that difficult next step.
The sentiments on Flood are raw, real, and unguarded, a testament to Hippo Campus dropping
preconceptions of how they had to sound after so many failed attempts to re-record these songs.
They wiped the slate clean, starting over without beliefs about what Hippo Campus or this record
needed to be. Still, sophistication lurks in subtle key and tempo changes, in the almost innate
shifts that a band of longtime best friends can tap after so much time spent helping to shape one
another’s musical language. Flood doesn’t need to tell you it’s important or interesting; it simply
is, just by virtue of how it’s written, built, and rendered, a map of what it’s like to feel everything
at once. This rebirth is accompanied by a crucial career shift for Hippo Campus, too, as they exit
the traditional label system to issue LP4 via Psychic Hotline, a truly independent imprint run by
peers and pals. If you’re working to let go of expectations, why not jettison them all? There’s a
bravery to that, and you can hear its revivifying spirit in every second of LP4.
Early into the endlessly propulsive “Paranoid,” where stunted acoustic strums undergird an
inescapable jangle, Luppen asks an existential question: “Is there something waiting out there for
us at the finish line?” For the next three minutes, the band cycles with him through his woes,
from the title’s overwhelming worry to notions of dislocation and loneliness. (Also, is there any
other refrain ever that manages to make the phrase “so god-damned fucking” sound so catchy
and natural?) But in the final verse, with his voice breaking through a scrim of distortion, he
stumbles upon a new credo: “Wait, I wanna give this life all that I have in me.” That is precisely
what Hippo Campus have done with Flood after realizing it doesn’t take a lifetime—or, well,
five years—to do just that.

Show full bio
Bullet for My Valentine and Trivium
Featuring: Bullet For My Valentine Trivium
Coca-Cola Roxy, Atlanta, GA, United States
May 14, 2025
6:30PM EDT
More info
Featuring:
Bullet For My Valentine
Trivium
Swept Away
Longacre Theatre, New York, NY, United States
May 14, 2025
7:30PM EDT
Saint Motel
The Hawthorn, St. Louis, MO, United States
May 14, 2025
8:00PM CDT
More info
Founded by vocalist A/J Jackson and guitarist Aaron Sharp—film-school classmates with a shared appreciation of obscurist cinema—and later rounded out by bassist Dak Lerdamornpong and drummer Greg Erwin, Saint Motel first revealed their imaginative take on alt-pop with their 2009 debut EP ForPlay. The band soon amassed a devoted underground following, thanks in part to a series of “experiential concerts” with such themes as Zombie Prom and Judgment Day, then found breakout success with their critically acclaimed 2012 debut album Voyeur. After signing to Elektra Records, Saint Motel saw their fanbase grow exponentially with the release of My Type EP, a 2014 effort whose platinum-certified title track became a top 10 alternative radio hit. In 2016, they flipped the script once again with saintmotelevision—a first-of-its-kind full-length accompanied by virtual music videos for all ten of its tracks, making it the world’s first-ever virtual-reality album. In addition to touring with acts like Arctic Monkeys, Imagine Dragons, Band of Skulls, and Weezer, Saint Motel have also spent much of the last half-decade bringing their captivating live show to leading festivals like Coachella, Lollapalooza, and Bonnaroo.
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AEG Presents
Francis Rossi
The Tivoli Theatre, Aberdeen, United Kingdom
May 16, 2025
More info
Ticket Information
Age Restriction: All Ages
Asafatov (19+ Event) (Rescheduled from 9/20/2024) (Moved from The Opera House Toronto)
The Axis Club, Toronto, ON, Canada
May 16, 2025
8:00PM EDT
AEG Presents
Francis Rossi
The Queen's Hall, Edinburgh, United Kingdom
May 17, 2025
More info
Ticket Information
Age Restriction: 14+, under 18 must be accompanied by an adult (18+)
Bullet for My Valentine Parking
Skyla Credit Union Amphitheatre, Charlotte, NC, United States
May 17, 2025
6:31PM EDT
Flint Symphony Orchestra
The Whiting, Flint, MI, United States
May 17, 2025
7:30PM EDT
Reading Symphony Orchestra - Sibelius 1
Santander Performing Arts Center, Reading, PA, United States
May 17, 2025
7:30PM EDT
Alan Jackson Parking
Fiserv Forum, Milwaukee, WI, United States
May 17, 2025
7:01PM CDT
More info

Alan Jackson is one of the most successful and respected singer-songwriters in music. He is in the elite company of Paul McCartney and John Lennon among songwriters who’ve written more than 20 songs that they’ve recorded and taken to the top of the charts. Jackson is one of the 10 best-selling artists since the inception of SoundScan, ranking alongside the likes of Eminem and Metallica. His current single, “You Go Your Way,” is from his chart-topping album, Thirty Miles West, which was released June 5.

Jackson has sold nearly 60 million albums worldwide, topped the country singles charts 35 times, and scored more than 50 Top-10 hits. He has written or co-written 24 of his 35 #1 hit singles. Jackson is a 18-time ACM Award winner, a 16-time CMA Award recipient, and a two-time Grammy-winning artist whose songwriting has earned him the prestigious ASCAP Founders Award and an induction into the Nashville Songwriters Hall of Fame as a 2011 Songwriter/Artist inductee.

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Alan Jackson Parking
Fiserv Forum, Milwaukee, WI, United States
May 17, 2025
7:01PM CDT
More info

Alan Jackson is one of the most successful and respected singer-songwriters in music. He is in the elite company of Paul McCartney and John Lennon among songwriters who’ve written more than 20 songs that they’ve recorded and taken to the top of the charts. Jackson is one of the 10 best-selling artists since the inception of SoundScan, ranking alongside the likes of Eminem and Metallica. His current single, “You Go Your Way,” is from his chart-topping album, Thirty Miles West, which was released June 5.

Jackson has sold nearly 60 million albums worldwide, topped the country singles charts 35 times, and scored more than 50 Top-10 hits. He has written or co-written 24 of his 35 #1 hit singles. Jackson is a 18-time ACM Award winner, a 16-time CMA Award recipient, and a two-time Grammy-winning artist whose songwriting has earned him the prestigious ASCAP Founders Award and an induction into the Nashville Songwriters Hall of Fame as a 2011 Songwriter/Artist inductee.

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Alan Jackson
Fiserv Forum, Milwaukee, WI, United States
May 17, 2025
7:00PM CDT
More info

Alan Jackson is one of the most successful and respected singer-songwriters in music. He is in the elite company of Paul McCartney and John Lennon among songwriters who’ve written more than 20 songs that they’ve recorded and taken to the top of the charts. Jackson is one of the 10 best-selling artists since the inception of SoundScan, ranking alongside the likes of Eminem and Metallica. His current single, “You Go Your Way,” is from his chart-topping album, Thirty Miles West, which was released June 5.

Jackson has sold nearly 60 million albums worldwide, topped the country singles charts 35 times, and scored more than 50 Top-10 hits. He has written or co-written 24 of his 35 #1 hit singles. Jackson is a 18-time ACM Award winner, a 16-time CMA Award recipient, and a two-time Grammy-winning artist whose songwriting has earned him the prestigious ASCAP Founders Award and an induction into the Nashville Songwriters Hall of Fame as a 2011 Songwriter/Artist inductee.

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Jam Presents
Larkin Poe
With Amythyst Kiah
The Vic Theatre, Chicago, IL, United States
May 17, 2025
7:30PM CDT
More info
Ticket Information
No backpacks, bags, laptops or tablets allowed in the venue. For a full list of prohibited items, please click here.
Larkin Poe, the dynamic sister duo known for their electrifying blend of Southern rock, blues, and Americana, emerges once again onto the musical landscape with their eagerly anticipated album, ‘Bloom’. Following their Grammy-winning success with ‘Blood Harmony’ in 2024, the duo has ventured deeper into their musical journey, crafting a collection of songs that resonate with introspection, authenticity, and a profound connection to their roots in American music.

The album "Bloom" marks a significant evolution in Larkin Poe's creative journey. All the songs were born from collaborations between Megan, Rebecca, and co-producer Tyler Bryant, reflecting a synergy that extends beyond mere musical partnership. As Rebecca observes, "'Bloom' is about finding oneself amidst the noise of the world, about wholeheartedly embracing the flaws and idiosyncrasies that make us real." This theme of self-acceptance is central to the album's narrative: celebrating individuality against a backdrop of contemporary blues and rock influences.

Reflecting on the album’s thematic core, Megan explains, “In one way or another, pretty much all of the songs on this album are about finding yourself, knowing yourself, and separating the truth of who you are from societal expectations.” This sentiment permeates through the first song, “Mockingbird”, a contemplative piece on personal growth and staying true to oneself amidst life’s twists and turns. Rebecca adds, “‘Mockingbird’ is a tender reflection on the perpetual journey of becoming. When viewed through a reductive lens, the inevitable countless missteps I’ve taken in my life can feel disheartening — but looking too long in the rearview can be harmful to one’s future. Choosing to find the hidden meaning in the pitstops and messy detours that life sometimes demands has felt like a very important perspective shift.”

Known for their sincere songwriting, the Lovell sisters place a spotlight on storytelling with ‘Bloom’. Each track unfolds like a chapter, with lyrics that wind deeper and deeper towards the heart of Larkin Poe. Rebecca reflects, “Songwriting takes center stage with this record; the lyrics hit home in a real way.” Their influences from ‘70s Southern rock are unmistakable, yet woven into a modern context that feels simultaneously nostalgic and fresh. The album’s lead single, “Bluephoria”, captures the essence of Larkin Poe’s genre-bending exploration. Rebecca describes, "It's a rock ’n’ roll rumination on the duality of the human experience, where suffering and joy intertwine to create meaning." With lyrics inspired by blues legend Furry Lewis, the track exemplifies their ability to blend personal narratives with universal themes; while the riff-heavy, psychedelic-flavored musical underpinnings make it primed for take off into the stratosphere on the live stage.

Another standout track, “If God Is A Woman”, melds lush sonic landscapes with lyrics that ground listeners in contemporary questions through the blues-soaked sounds of the Mississippi hill country; while the gritty rock anthem and punk energy of “Pearls” addresses the challenges of maintaining authenticity in a digital age where public personas are under constant scrutiny. It’s a testament to Larkin Poe’s willingness to confront modern realities while staying true to their musical heritage.

Closing the album is “Bloom Again”, a poignant love song in the style of the Everly Brothers, showcasing the sisters’ harmonies in a deeply personal light. Megan fondly recalls, “One of our friends and heroes, Mike Campbell suggested we write a song following in the footsteps of Phil and Don Everly to showcase our sister harmonies; we took his counsel to heart, and ‘Bloom Again’ was born.” It’s a fitting finale that leaves listeners with a sense of catharsis and a desire for more.

With their distinctive blend of poetic lyricism, masterful instrumentation, and soulful harmonies ‘Bloom’ not only cements Larkin Poe’s status as musical innovators, but also reaffirms their commitment to crafting meaningful, soul-stirring music. As modern torchbearers of American roots music, the Lovell sisters continue their journey of self-discovery and celebration of the authentic self. With this album, Larkin Poe invites us to bloom alongside them, embracing the beauty of growth and the richness of their American, musical heritage.
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Supported By
Amythyst Kiah

Produced by Butch Walker (Taylor Swift, Green Day, Weezer) and recorded at his Nashville studio, Amythyst Kiah’s new album Still + Bright explores the vast expanse of her inner world: her deep-rooted affinity for Eastern philosophies and spiritual traditions, a near-mystical connection with the natural world, the life lessons learned in her formative years as a self-described “anime-nerd mall goth.” In dreaming up the backdrop to her revelatory storytelling, Kiah and Walker arrived at a darkly cinematic and exhilarating twist on the rootsy alt-rock of her 2021 breakthrough album Wary + Strange—an LP that landed on Rolling Stone’s list of the 25 Best Country and Americana Albums of 2021 and drew acclaim from major outlets like Pitchfork. With its sonic palette encompassing everything from fuzzed-out guitars and industrial-leaning beats to gilded pedal steel and Kiah’s exquisitely graceful banjo work, Still + Bright fully affirms her as an artist of both daring originality and uncompromising depth.

On Wary + Strange, Kiah offered up a collection of spellbinding songs detailing her experience with grief and trauma and alienation, each illuminating the extraordinary impact of her songwriting. An electrifying showcase for her singular musicality and soul-stirring voice, Kiah’s Rounder Records debut soon found many leading critics hailing her as a formidable new talent, adding to a list of accolades that includes earning a Grammy nomination for her powerhouse anthem “Black Myself.” But when it came time to create her follow-up, the Tennessee-born singer/songwriter felt compelled toward a profound shift in her artistry. “On the last record it felt so cathartic to write about all the pain I was dealing with, but this time the songs came from a place of finding joy in the music,” says Kiah. “In the past I felt so mired down with anxiety that I sometimes held back from what I really wanted to write about; I felt like I needed to play it safe and keep certain thoughts to myself. But now I’m at a point where I’m confident in what I value and love, and because of that I’ve made the album I’ve always wanted to make.”

Although Kiah’s third full-length marks a departure from the anguished emotionality of its predecessor (an album informed by losing her mother to suicide at age 17), Kiah imparts all of Still + Bright with a hypnotic intensity born from boldly stating her convictions. To that end, the LP opens on the stormy grandeur of “Play God and Destroy the World”: an immediately captivating coming-of-age tale featuring guest vocals from Kentucky-bred singer/songwriter S.G. Goodman. With its title taken from a song Kiah penned and performed at a talent show in high school, the hard-charging track dispenses a bit of searing commentary on the hypocrisy she witnessed throughout her childhood—and ultimately speaks to the sense of hope and possibility she discovered in unexpected places (e.g., the humanistic sci-fi of The Matrix). “I grew up in a good neighborhood and had parents with good jobs, but in many respects my family was different,” says Kiah, who was raised in Chattanooga and later moved to Johnson City. “In order to fit in, you had to go to church and have conservative values—and I know that being Black wasn’t doing us any favors either. This song was written for the 15-year-old version of me who suspected that there was a big world out there that allowed for many beliefs and a more connected humanity.”

On songs like “S P A C E,” Kiah turns inward and ponders her search for peace of mind in times of maddening uncertainty. “As someone whose identity is tied up in being a touring musician, the pandemic created a lot of anxiety where I started questioning who I was if I wasn’t out on the road,” says Kiah. “There were moments when I dealt with that by scrolling through Instagram, but over time I started to treasure the quiet. Meditation became an important part of my life, and I eventually wrote ‘S P A C E’ about learning to be more present.” Partly written on banjo, “S P A C E” unfolds as a soulful outpouring laced with lush mandolin lines, lovely fiddle melodies, and a powerfully soaring vocal performance from Kiah. “One of my main goals for this album was to show a new side of myself as a singer,” she notes. “I’ve always loved really strong, gospel-style vocals, and I put a lot of work into increasing my range for this record.”

Another track spotlighting the stunning force of her voice, “Empire of Love” presents what Kiah refers to as “my personal theme song”: an impassioned statement of devotion to her journey as a spiritual seeker, gorgeously wrought in brooding guitar riffs and fiercely delivered poetry (“My religion is none at all/I build my own cathedrals and let them fall…I pledge allegiance to my soul/I’ll follow where she needs to go/I’m a pilgrim for the empire of love”). Inspired by her ever-deepening connection to the Appalachian landscape—and by her interest in Western humanities and Eastern religions—“Empire of Love” finds Kiah constructing her own belief system firmly rooted in compassion and curiosity. “I believe in carving a path in life that honors my own experiences in the context of the wider world,” says Kiah, who co-wrote “Empire of Love” with Sean McConnell. “As a seeker in the mountains, my sense of spiritual connection stems from nature, which is connected to all of the cosmos. And there is no religious or social dogma that can change that.”

All throughout Still + Bright, Kiah reveals her rare ability to spin her fascinations into songs uncovering essential truths about human nature. On “I Will Not Go Down,” for instance, she looks back on a barbaric moment in history and unleashes a furiously stomping folk epic, featuring background vocals and nimble guitar work from bluegrass phenomenon Billy Strings. “I read about the Crusades in high school, and I was disgusted at the prospect of coercing people into spilling an unimaginable amount of blood and brainwashing them into believing they were serving their god—when in fact they were simply doing the bidding of warmongers,” says Kiah. “I wrote the chorus in my high school journal, and it became a song about people-pleasing to a fault, then reclaiming your autonomy and finding a balance between serving yourself and serving others.” Meanwhile, on “Silk and Petals,” Ellen Angelico’s feverish guitar tones merge with strangely euphoric grooves in a gothic love song sparked from Kiah’s viewing of the supernatural horror-drama of The Haunting of Bly Manor. “‘Silk and Petals’ was inspired by the story of the Lady in the Lake, the ghost of a woman named Viola Lloyd,” Kiah explains. “After falling ill with tuberculosis, Viola leaves her chest of her finest clothes and jewelry to her daughter, then becomes violent as she witnesses the affection between her husband Arthur and her sister Perdita. While Arthur is away on business, Perdita smothers Viola in her sleep, only to later be strangled to death by Viola’s ghost. The Lady in the Lake then wanders the hallways for centuries searching for her daughter, killing anyone who moves into the house along the way. I wrote ‘Silk and Petals’ thinking about the idea of ghosts being unable to leave this realm because they’re hanging onto something they’ve lost, and the song came from being so intrigued by that very intimate intermingling of love and death.”

For Kiah, the making of Still + Bright involved a careful transformation of the songwriting process she adopted after composing her first song on a Fender acoustic at age 13. The latest turn in a dynamic career that’s included joining Our Native Daughters (an all-women-of-color supergroup also featuring Rhiannon Giddens, Leyla McCalla, and Allison Russell), the album marks her first time opening up her approach and working with co-writers, including punk legend Tim Armstrong, Sadler Vaden (a guitarist/vocalist for Jason Isbell’s 400 Unit), former Pentatonix member Avi Kaplan, and Sean McConnell (a singer/songwriter who’s also written with Brittney Spencer and Bethany Cosentino). “In a way I almost felt like I had to relearn how to write songs, because the experience had changed so much for me after taking better care of my mental and physical wellbeing over the past few years,” she says. “It felt completely different to write from a place of fulfillment and wanting to have fun with what I was creating.”

While Still + Bright undoubtedly finds Kiah pushing into new emotional and musical terrain, the album also makes for a vital new addition to a body of work largely dedicated to exploring the struggle and joy of true self-discovery. “With all of my music, I’d love to leave people with the feeling that it’s okay to go off the beaten path and to structure your life in a way that feels right to you,” says Kiah. “And just like with the last record, I hope that these songs can help people out if they’re going through a difficult time. That’s what I always hope for more than anything: for my music to continue to be a part of the healing process for anyone who might need it.”

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Megan Moroney
The Criterion, Oklahoma City, OK, United States
May 17, 2025
8:00PM CDT
More info

A Country phenomenon with major star power and massive talent to match, Megan Moroney is the rare artist to earn icon status soon after breaking onto the scene. With over 1.5 BILLION total global streams to date, the Georgia-bred singer/songwriter kicked off the latest era of her formidable career with her critically acclaimed sophomore album Am I Okay?: a July 2024 release that debuted at No. 9 on the Billboard 200, emerged as the year’s third-biggest debut from a female Country artist, and won rave reviews from many of the music world’s leading publications (including Rolling Stone, The New York Times, Variety, Billboard, American Songwriter, and more). Featuring the Emo Cowgirl’s post-breakup ballad “No Caller ID” — a track that shattered the record for the biggest Country female song debut in streams in the U.S. — Am I Okay? continues the meteoric rise first set in motion with “Tennessee Orange,” a 2X PLATINUM #1 hit included on her 2023 blockbuster debut Lucky. Soon after Lucky’s arrival, Moroney began amassing a steady stream of accolades, including winning Breakthrough Female Video of the Year at the 2023 CMT Music Awards, MusicRow’s Breakout Artist of the Year at the 2024 CountryBreakout Awards, and New Female Artist of the Year at the 59th ACM Awards (where she reigned as the most nominated female artist with SIX NODS), in addition to racking up nominations from the CMA, iHeart, CMT Music, and Billboard Music Awards. With her live experience including selling out three consecutive headline tours, playing stadiums across the country as support for Kenny Chesney, and taking the stage at high-profile festivals like Stagecoach and Lollapalooza, Moroney will head overseas in September for the GEORGIA GIRL TOUR — a 15-date headlining run bringing her notoriously dazzling live show to audiences all over the UK and Europe.

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Maribou State
The Echo Lounge and Music Hall, Dallas, TX, United States
May 17, 2025
8:00PM CDT
Hovvdy
Launchpad, Albuquerque, NM, United States
May 17, 2025
8:00PM MDT
Hippo Campus
Brooklyn Bowl - Las Vegas, Las Vegas, NV, United States
May 17, 2025
7:30PM PDT
More info

Hippo Campus were sitting in the green room of a sold-out amphitheater show at the start of the Summer of 2023 when they realized they had a major problem. Their fourth LP simply wasn’t good enough. Singer Jake Luppen had been listening to the band’s work as they rolled around the country, trying to tease out how much work remained. All of it, he soon decided. The soul wasn’t there, obfuscated by the need to sound sophisticated and the overwhelming ambition to make the best Hippo Campus LP ever, adeeper and more profound record that reflected how their lives were changing.

They’d committed to that vow with longtime producer and collaborator Caleb Wright a little more than a year earlier, soon after a party where they celebrated the release of LP3. That very night, the call came that a longtime friend had unexpectedly died. They started this band as kids and enjoyed quick momentum, their thrill-a-minute live shows and charismatically experimental pop albums creating almost-instant, avid attention. But this was Hippo Campus’ first close brush with death; as adulthood encroached, the actual call of mortality reminded them of the stakes of art, friendship, and life.

So they committed to doing something major, even if it meant taking five years to do it. They took the task seriously, too: getting sober for an entirely improvisational session at North Carolina’s Drop of Sun months later, regularly attending therapy as a full band, writing more than 100 songs in only a year. That was all well and good, until Luppen and, really, all of Hippo Campus decided they didn’t actually like what they were making. Life and work had been dark in their orbit for a second—death and dejection, addiction and anxiety. This uneasy epiphany wasn’t helping.

So that night, in the dressing room, they called an audible. They were going to start over. Three months later, the four-member core of Hippo Campus rendezvoused with Wright and producer Brad Cook at Sonic Ranch, a playground-like studio complex on the Texas border. They gave themselves 10 days to cut the tracks they liked best, to make something to which they could commit at last. And Cook, in turn, gave them an edict of no second guessing or listening back, only forward momentum. Less than two weeks later, they emerged with what they’d given themselves half a decade to make—Flood, or the best album Hippo Campus has ever made.

You can immediately hear as much in a pair of wondrous songs toward the end, when the love-lost-and-found sing-along “Forget It” fades into the bittersweet and beautiful ache of “Closer,” a gem about trying and maybe failing to surrender your trust to someone else. This is a band that has learned to grow up by learning to let go. When Hippo Campus finally stopped trying to force the issue of making a masterpiece, they tapped intersecting veins of vulnerability and urgency, walking away with 13 tracks that reckon with their uncanny lives through at least that many totally absorbing hooks.

During the last several years, Hippo Campus has had to navigate the tougher wages of success. They are, of course, grateful that a pop band they named on the lark of some psychology lesson blew up, but it certainly eliminated the segue from adolescence to adulthood that most of us enjoy in relative privacy. How could they survive inside and alongside this thing they had created and had outgrown them? And what’s more, how could they endure the vagaries of the music industry, so that they didn’t let a disappointing tour or disspiriting release demoralize them? Or, to ask the cumulative question, how do four people connected so intimately for so long grow as individuals while preserving the bond that makes what they do so special? Or is that actually too much to ask?

For a minute there, the answer seemed possibly like yes. But soon after that improvisational session, the band returned to its own Minneapolis studio and dug in. They stumbled upon “Everything at Once,” with Nathan Stocker’s tricky little guitar lope becoming the basis for the slowly rising rhythm of drummer Whistler Allen and bassist Zach Sutton. Stepping outside for some space, Luppen quickly penned a thesis of self-criticism and self-forgiveness. Being less than the expectations of an industry, a family, or a faith are totally normal, he suggests in an anthem of empowerment that is almost casual. He gives himself the grace of being human: “You gotta lay down sometimes, be patient sometimes,” Luppen sings, layers of lean vocals crisscrossing one another like light beams. “And feel everything at once.”

That is precisely what Hippo Campus do best on Flood—feel everything and transmute it all into songs that are inescapable. Take “Brand New,” three minutes of brilliantly coiled pop, its spring-loaded rhythm lifting a guitar line built from pin pricks skyward. It’s about being ruined by the letdown of a failed relationship and then finding a way forward, toward something so good you haven’t even imagined it yet. It sounds that way, too. There’s the completely compulsive “Tooth Fairy,” a quick-moving meditation on the confusion of interpersonal dynamics. Hippo Campus smear bits of gentle psychedelia around a rhythm, riff, and hook that have the sleek lines of a sports car; the result is a dynamic wonder, a song that feels emphatic at the start but reaches full triumph by the end. Inspired by staring down cycles of addiction too long without taking steps to break them, “Corduroy” finds the space between a bummer country blues and a sweetly devotional waltz. Its vows of love, trust, and doubt are buoyed and also undercut by its slow rises and falls, a musical portrait of trying to take that difficult next step.

The sentiments on Flood are raw, real, and unguarded, a testament to Hippo Campus dropping preconceptions of how they had to sound after so many failed attempts to re-record these songs. They wiped the slate clean, starting over without beliefs about what Hippo Campus or this record needed to be. Still, sophistication lurks in subtle key and tempo changes, in the almost innate shifts that a band of longtime best friends can tap after so much time spent helping to shape one another’s musical language. Flood doesn’t need to tell you it’s important or interesting; it simply is, just by virtue of how it’s written, built, and rendered, a map of what it’s like to feel everything at once. This rebirth is accompanied by a crucial career shift for Hippo Campus, too, as they exit the traditional label system to issue LP4 via Psychic Hotline, a truly independent imprint run by peers and pals. If you’re working to let go of expectations, why not jettison them all? There’s a bravery to that, and you can hear its revivifying spirit in every second of LP4.

Early into the endlessly propulsive “Paranoid,” where stunted acoustic strums undergird an inescapable jangle, Luppen asks an existential question: “Is there something waiting out there for us at the finish line?” For the next three minutes, the band cycles with him through his woes, from the title’s overwhelming worry to notions of dislocation and loneliness. (Also, is there any other refrain ever that manages to make the phrase “so god-damned fucking” sound so catchy and natural?) But in the final verse, with his voice breaking through a scrim of distortion, he stumbles upon a new credo: “Wait, I wanna give this life all that I have in me.” That is precisely what Hippo Campus have done with Flood after realizing it doesn’t take a lifetime—or, well, five years—to do just that.

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Goldenvoice presents
The Cavemen.
Fonda Theatre, Los Angeles, CA, United States
May 17, 2025
9:00PM PDT
Colorado Symphony Orchestra - Christopher Dragon
Boettcher Concert Hall, Denver, CO, United States
May 18, 2025
1:00PM MDT
AEG Presents
Francis Rossi
Perth Concert Hall, Perth, United Kingdom
May 19, 2025
C2C Presents
Alexandra Kay
XOYO Birmingham, Birmingham, United Kingdom
May 23, 2025
More info
Ticket Information
Age Restriction: 14+, under 16 must be accompanied by an adult (18+)

Generating millions of plays weekly on her videos, Alexandra Kay commands the attention of country music fans. With a voice reminiscent of Dolly Parton, Alison Kraus and Leanne Womack, AK is bringing country music back to its roots. Growing up about 40 minutes from St. Louis Missouri in Waterloo, Illinois Alexandra began writing songs at the age of 15 as a way to cope with being a teenager, her first loves and finding herself. Alexandra started working in the entertainment business at a young age by booking commercials and voice-over work. While performing in multiple musical theater productions, Alexandra decided to try her luck as a contestant on American Idol in 2011.

Alexandra Kay started working in hip hop and R&B in early 2012. Using the platform Nelly created, AK sewed herself into the St. Louis music scene. Working with notable STL artists such as Nelly and Huey Alexandra created enough buzz to sign an independent record deal with Nettwork Entertainment in 2013. AK’s first single “No More” was a radio hit spending three weeks at #1 on the New Music Weekly Top 40 pop chart, also scoring at the top of Hot AC and Hot 100 charts.

Starting her country music career independently at 22, Alexandra began recording cover videos of many 90’s country music favorites and posting them on her Facebook fan page, going viral dozens of times. Since taking social media by storm Alexandra Kay has collaborated with some of the most iconic names in the music industry like Randy Travis, Tim McGraw, and Scott Stapp of Creed.

Alexandra Kay joined Tim McGraw, Russell Dickerson, and Brandon Davis on the McGraw Tour 2022 amphitheater tour. The tour began Friday, April 29, 2022 in Rogers, AR and ended in Mansfield, MA on June 4, 2022. Alexandra also shared the stage with with country greats Tracy Lawrence and Clay Walker in 2022. In 2023 Alexandra Kay performed at C2C 2023 in London, England for the first time as well as headlined her own sold out out show in Manchester.

Alexandra has proved that artists can captivate audiences around the world and turn the social media recognition into an adoring fan base.

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C2C Presents
Alexandra Kay
Chalk, Brighton, United Kingdom
May 24, 2025
More info
Ticket Information
Age Restriction: 14+

Generating millions of plays weekly on her videos, Alexandra Kay commands the attention of country music fans. With a voice reminiscent of Dolly Parton, Alison Kraus and Leanne Womack, AK is bringing country music back to its roots. Growing up about 40 minutes from St. Louis Missouri in Waterloo, Illinois Alexandra began writing songs at the age of 15 as a way to cope with being a teenager, her first loves and finding herself. Alexandra started working in the entertainment business at a young age by booking commercials and voice-over work. While performing in multiple musical theater productions, Alexandra decided to try her luck as a contestant on American Idol in 2011.

Alexandra Kay started working in hip hop and R&B in early 2012. Using the platform Nelly created, AK sewed herself into the St. Louis music scene. Working with notable STL artists such as Nelly and Huey Alexandra created enough buzz to sign an independent record deal with Nettwork Entertainment in 2013. AK’s first single “No More” was a radio hit spending three weeks at #1 on the New Music Weekly Top 40 pop chart, also scoring at the top of Hot AC and Hot 100 charts.

Starting her country music career independently at 22, Alexandra began recording cover videos of many 90’s country music favorites and posting them on her Facebook fan page, going viral dozens of times. Since taking social media by storm Alexandra Kay has collaborated with some of the most iconic names in the music industry like Randy Travis, Tim McGraw, and Scott Stapp of Creed.

Alexandra Kay joined Tim McGraw, Russell Dickerson, and Brandon Davis on the McGraw Tour 2022 amphitheater tour. The tour began Friday, April 29, 2022 in Rogers, AR and ended in Mansfield, MA on June 4, 2022. Alexandra also shared the stage with with country greats Tracy Lawrence and Clay Walker in 2022. In 2023 Alexandra Kay performed at C2C 2023 in London, England for the first time as well as headlined her own sold out out show in Manchester.

Alexandra has proved that artists can captivate audiences around the world and turn the social media recognition into an adoring fan base.

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C2C Presents
Alexandra Kay
SWX, Bristol, United Kingdom
May 25, 2025
More info
Ticket Information
Age Restriction: 14+, under 16 must be accompanied by an adult (18+)

Generating millions of plays weekly on her videos, Alexandra Kay commands the attention of country music fans. With a voice reminiscent of Dolly Parton, Alison Kraus and Leanne Womack, AK is bringing country music back to its roots. Growing up about 40 minutes from St. Louis Missouri in Waterloo, Illinois Alexandra began writing songs at the age of 15 as a way to cope with being a teenager, her first loves and finding herself. Alexandra started working in the entertainment business at a young age by booking commercials and voice-over work. While performing in multiple musical theater productions, Alexandra decided to try her luck as a contestant on American Idol in 2011.

Alexandra Kay started working in hip hop and R&B in early 2012. Using the platform Nelly created, AK sewed herself into the St. Louis music scene. Working with notable STL artists such as Nelly and Huey Alexandra created enough buzz to sign an independent record deal with Nettwork Entertainment in 2013. AK’s first single “No More” was a radio hit spending three weeks at #1 on the New Music Weekly Top 40 pop chart, also scoring at the top of Hot AC and Hot 100 charts.

Starting her country music career independently at 22, Alexandra began recording cover videos of many 90’s country music favorites and posting them on her Facebook fan page, going viral dozens of times. Since taking social media by storm Alexandra Kay has collaborated with some of the most iconic names in the music industry like Randy Travis, Tim McGraw, and Scott Stapp of Creed.

Alexandra Kay joined Tim McGraw, Russell Dickerson, and Brandon Davis on the McGraw Tour 2022 amphitheater tour. The tour began Friday, April 29, 2022 in Rogers, AR and ended in Mansfield, MA on June 4, 2022. Alexandra also shared the stage with with country greats Tracy Lawrence and Clay Walker in 2022. In 2023 Alexandra Kay performed at C2C 2023 in London, England for the first time as well as headlined her own sold out out show in Manchester.

Alexandra has proved that artists can captivate audiences around the world and turn the social media recognition into an adoring fan base.

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AEG Presents
Kylie
The O2, London, United Kingdom
May 27, 2025
More info
Ticket Information

Age Restriction: Under 16's to be accompanied by an adult and seated - no under 16's in standing area

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.

Widely considered one of the biggest pop-stars around the world, Kylie Minogue songs have awarded her incredible career spanning more than two decades. Kylie Minogue's best-known songs include: 'Can’t Get You Out of My Head', 'All The Lovers', 'Spinning Around', 'I Should Be So Lucky' and many others. Kylie Minogue's setlist ranges from dance floor fillers, to powerhouse ballads, set against dramatic stage production and perfectly choregraphed routines. Kylie Minogue UK tours never fail to pull out all the stops as she travels around some of the largest and most spectacular arenas.

Kylie Minogue, currently on a high with her new track 'Dancing', will bring her extraordinary creativity as a live performer back to the stage this autumn when she plays a UK and Ireland tour. Kylie, who always raises the bar with her live performances, promises a brand-new extravaganza for this production which will be centred around her new album 'Golden', although of course her amazing back catalogue will be embraced.

Kylie Minogue OBE shot to fame after starring in Australian soap opera ‘Neighbours,’ since then she has managed an incredible career as both a singer-songwriter and actress. Widely known as both the Princess of Pop and the Goddess of Pop, recognised as the highest selling Australia artist of all time (ARIA.) As of 2015, Kylie has achieved worldwide record sales of more than 80 million worldwide, a figure which continues to grow.

Since then she has released eleven studio albums, two live CDs, eight live concert DVD's, plus her Greatest Hits and the Ultimate Kylie double album and multiple video packages. This is of course in addition to almost 50 singles released internationally, all of which have been hits.

Kylie's 11th studio album 'Aphrodite' generated huge levels of excitement even before release, and the first single, 'All the Lovers' has been hailed as 'one of the best Kylie songs ever' (News Of The World). Aphrodite sees Kylie collaborating with an impressive array of talent from the pop and dance worlds including: Calvin Harris, Jake Shears, Sebastian Ingrosso (Swedish House Mafia) Nerina Pallot, Cutfather, Nervo & Tim Rice-Oxley. The maestro that is Stuart Price executive produced the album and Music Week declared that 'Aphrodite has seen Kylie Minogue return to her uplifting dance-pop best'!

Show full bio
C2C Presents
Alexandra Kay
Galvanizers, SWG3, Glasgow, United Kingdom
May 27, 2025
More info
Ticket Information
Age Restriction: 14+, under 16 must be accompanied by an adult (18+)

Generating millions of plays weekly on her videos, Alexandra Kay commands the attention of country music fans. With a voice reminiscent of Dolly Parton, Alison Kraus and Leanne Womack, AK is bringing country music back to its roots. Growing up about 40 minutes from St. Louis Missouri in Waterloo, Illinois Alexandra began writing songs at the age of 15 as a way to cope with being a teenager, her first loves and finding herself. Alexandra started working in the entertainment business at a young age by booking commercials and voice-over work. While performing in multiple musical theater productions, Alexandra decided to try her luck as a contestant on American Idol in 2011.

Alexandra Kay started working in hip hop and R&B in early 2012. Using the platform Nelly created, AK sewed herself into the St. Louis music scene. Working with notable STL artists such as Nelly and Huey Alexandra created enough buzz to sign an independent record deal with Nettwork Entertainment in 2013. AK’s first single “No More” was a radio hit spending three weeks at #1 on the New Music Weekly Top 40 pop chart, also scoring at the top of Hot AC and Hot 100 charts.

Starting her country music career independently at 22, Alexandra began recording cover videos of many 90’s country music favorites and posting them on her Facebook fan page, going viral dozens of times. Since taking social media by storm Alexandra Kay has collaborated with some of the most iconic names in the music industry like Randy Travis, Tim McGraw, and Scott Stapp of Creed.

Alexandra Kay joined Tim McGraw, Russell Dickerson, and Brandon Davis on the McGraw Tour 2022 amphitheater tour. The tour began Friday, April 29, 2022 in Rogers, AR and ended in Mansfield, MA on June 4, 2022. Alexandra also shared the stage with with country greats Tracy Lawrence and Clay Walker in 2022. In 2023 Alexandra Kay performed at C2C 2023 in London, England for the first time as well as headlined her own sold out out show in Manchester.

Alexandra has proved that artists can captivate audiences around the world and turn the social media recognition into an adoring fan base.

Show full bio
Riley Green
Youngstown Foundation Amphitheatre, Youngstown, OH, United States
May 29, 2025
6:00PM CDT
More info

Riley Green has been compelling Country music fans to raise a drink, shed a tear, and, above all, celebrate where they are from, since his self-titled EP in 2018 debuted with Big Machine Label Group. His songs like the No. 1 PLATINUM hit “There Was This Girl,” the 2X-PLATINUM-certified heart-tugger “I Wish Grandpas Never Died,” and his chart-topping collab with Thomas Rhett, “Half of Me,” have made the Academy of Country Music’s 2020 New Male Artist of the Year synonymous with what Country music does best: making listeners feel something with his no-gimmick, relatable writing and classic feel.

A huge 2023 for the avid sports fan, former athlete (Jacksonville State University quarterback) and outdoorsman, Green secured his third No. 1 single “Different ‘Round Here (Ft. Luke Combs),” played to an average of 65,000 fans each night as direct support on massive tours for Luke Combs and Morgan Wallen and released his latest full-length studio album Ain’t My Last Rodeo. The Dann Huff-produced album features his current Top 25-and-climbing single “Damn Good Day To Leave,” and gave a deeper look into the life of good ol’ boy who still lives in his hometown of Jacksonville, AL.

Currently riding a wave of massive success that grows stronger each day, 2024 has been a rocket for Green. He released his Way Out Here EP, which included two solo writes that had critics and fans alike gushing (the poignant “Jesus Saves” and the sultry “Worst Way,” which sparked a frenzy on the internet), the humorous tune “Rather Be,” as well as the wildly viral “you look like you love me” with Ella Langley, which has also taken social media by storm. He played for the biggest Country crowd in UK history (on his first trip across the pond no less), headlined his own (largely sold out) amphitheater tour, hosted his own festival, became one of only three Country artists to grace the cover of Cigar & Spirits and has become one of the most buzzed-about artists in Nashville. With another project on its way this fall, it’s clear, “there’s no slowing down for Riley Green” (Pollstar). See tour dates and learn more at RileyGreenMusic.com.

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Los Angeles Philharmonic - Tchaikovsky and Pereira
Walt Disney Concert Hall, Los Angeles, CA, United States
May 29, 2025
8:00PM PDT
Riley Green
Andrew J Brady ICON Music Center, Cincinnati, OH, United States
May 30, 2025
7:00PM EDT
More info

Riley Green has been compelling Country music fans to raise a drink, shed a tear, and, above all, celebrate where they are from, since his self-titled EP in 2018 debuted with Big Machine Label Group. His songs like the No. 1 PLATINUM hit “There Was This Girl,” the 2X-PLATINUM-certified heart-tugger “I Wish Grandpas Never Died,” and his chart-topping collab with Thomas Rhett, “Half of Me,” have made the Academy of Country Music’s 2020 New Male Artist of the Year synonymous with what Country music does best: making listeners feel something with his no-gimmick, relatable writing and classic feel.

A huge 2023 for the avid sports fan, former athlete (Jacksonville State University quarterback) and outdoorsman, Green secured his third No. 1 single “Different ‘Round Here (Ft. Luke Combs),” played to an average of 65,000 fans each night as direct support on massive tours for Luke Combs and Morgan Wallen and released his latest full-length studio album Ain’t My Last Rodeo. The Dann Huff-produced album features his current Top 25-and-climbing single “Damn Good Day To Leave,” and gave a deeper look into the life of good ol’ boy who still lives in his hometown of Jacksonville, AL.

Currently riding a wave of massive success that grows stronger each day, 2024 has been a rocket for Green. He released his Way Out Here EP, which included two solo writes that had critics and fans alike gushing (the poignant “Jesus Saves” and the sultry “Worst Way,” which sparked a frenzy on the internet), the humorous tune “Rather Be,” as well as the wildly viral “you look like you love me” with Ella Langley, which has also taken social media by storm. He played for the biggest Country crowd in UK history (on his first trip across the pond no less), headlined his own (largely sold out) amphitheater tour, hosted his own festival, became one of only three Country artists to grace the cover of Cigar & Spirits and has become one of the most buzzed-about artists in Nashville. With another project on its way this fall, it’s clear, “there’s no slowing down for Riley Green” (Pollstar). See tour dates and learn more at RileyGreenMusic.com.

Show full bio
Colorado Symphony Orchestra - Tchaikovsky Violin Concerto
Boettcher Concert Hall, Denver, CO, United States
May 31, 2025
7:30PM MDT
AEG Presents
Kylie - EXTRA DATE ADDED
The O2, London, United Kingdom
Jun 02, 2025
More info
Ticket Information

Age Restriction: Under 16's to be accompanied by an adult and seated - no under 16's in standing area

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.

Widely considered one of the biggest pop-stars around the world, Kylie Minogue songs have awarded her incredible career spanning more than two decades. Kylie Minogue's best-known songs include: 'Can’t Get You Out of My Head', 'All The Lovers', 'Spinning Around', 'I Should Be So Lucky' and many others. Kylie Minogue's setlist ranges from dance floor fillers, to powerhouse ballads, set against dramatic stage production and perfectly choregraphed routines. Kylie Minogue UK tours never fail to pull out all the stops as she travels around some of the largest and most spectacular arenas.

Kylie Minogue, currently on a high with her new track 'Dancing', will bring her extraordinary creativity as a live performer back to the stage this autumn when she plays a UK and Ireland tour. Kylie, who always raises the bar with her live performances, promises a brand-new extravaganza for this production which will be centred around her new album 'Golden', although of course her amazing back catalogue will be embraced.

Kylie Minogue OBE shot to fame after starring in Australian soap opera ‘Neighbours,’ since then she has managed an incredible career as both a singer-songwriter and actress. Widely known as both the Princess of Pop and the Goddess of Pop, recognised as the highest selling Australia artist of all time (ARIA.) As of 2015, Kylie has achieved worldwide record sales of more than 80 million worldwide, a figure which continues to grow.

Since then she has released eleven studio albums, two live CDs, eight live concert DVD's, plus her Greatest Hits and the Ultimate Kylie double album and multiple video packages. This is of course in addition to almost 50 singles released internationally, all of which have been hits.

Kylie's 11th studio album 'Aphrodite' generated huge levels of excitement even before release, and the first single, 'All the Lovers' has been hailed as 'one of the best Kylie songs ever' (News Of The World). Aphrodite sees Kylie collaborating with an impressive array of talent from the pop and dance worlds including: Calvin Harris, Jake Shears, Sebastian Ingrosso (Swedish House Mafia) Nerina Pallot, Cutfather, Nervo & Tim Rice-Oxley. The maestro that is Stuart Price executive produced the album and Music Week declared that 'Aphrodite has seen Kylie Minogue return to her uplifting dance-pop best'!

Show full bio
OMD - Orchestral Manoeuvres in the Dark (Rescheudled from 9/27/2024)
Majestic Theatre - Dallas, Dallas, TX, United States
Jun 01, 2025
7:30PM CDT
More info

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!"

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Live Nation presenterar
Imagine Dragons: LOOM World Tour
Supporting act: Declan Mckenna
Tele2 Arena, Stockholm, Sweden
Jun 05, 2025
7:30PM CEST
More info
Ticket Information

Åldersgräns: 13 år - oavsett om målsman är med eller ej, med anledning av svenska myndigheters krav om begränsning av höga ljudnivåer för unga.

På detta evenemang gäller endast app-biljett (AXS Mobile ID), vårt säkraste digitala alternativ. Tänk på att dina digitala biljetter levereras till Stockholm Lives app. Ladda ner appen för att hämta och hantera dina helt digitala biljetter och få en smidig och säker inscanning vid entrén.

Max 6 biljetter per person. Biljettöverföring & Resale startar 3 dagar efter biljettsläpp

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.

IMAGINE DRAGONS ÅKER UT PÅ OMFATTANDE EUROPATURNÉ – ÅTERVÄNDER TILL SVERIGE 2025

Äntligen kan Grammy-belönade och multiplatinasäljande Imagine Dragons meddela att de tar
med LOOM World Tour till Europa nästa år! Stadionturnén följer upp bandets kritikerrosade
album LOOM som släpptes i somras och kommer att besöka 16 länder runtom Europa. Den 5
juni återvänder Imagine Dragons till Sverige för en efterlängtad konsert på Tele2 Arena i
Stockholm!

Nästa år tar Imagine Dragons med sin tokhyllade turné LOOM World Tour till Europa.
Stadionturnén kommer att besöka 16 länder, bland annat Estland, Tjeckien, Italien, Spanien,
Frankrike, Nederländerna och den 5 juni har turen kommer till Sverige.

Tidigare i somras släppte Imagine Dragons sitt efterlängtade sjätte album LOOM. Albumet
representerar höjdpunkten i deras konstnärliga resa och anses vara deras bästa verk hittills.
LOOM, som är helt producerat av Imagine Dragons tillsammans med de svenska hitmakarna
och långvariga samarbetspartnerna Mattman och Robin, hittar den perfekta balansen mellan de
klassiska sounds som gjort dem till superstjärnor en nytänkande kreativitet.

“Imagine Dragons are flying higher than ever ….Ten years after their commercial breakthrough,
the Las Vegas rockers are still scoring real crossover hits, playing to packed houses, and playing
a U2-esque long game” - Billboard

“Imagine Dragons still know how to efficiently stomp stadiums into rubble…The alt-rock band
remains reliably, radioactively enormous” - Rolling Stone
“Imagine Dragons is one of the few remaining mega acts filling arenas with a real-life electric
guitar loud and visible onstage.” - The Washington Post
EUROPATURNÉ

Om Imagine Dragons
Imagine Dragons fortsätter att omdefiniera rockmusiken i det nuvarande århundradet. De säljer
ut arenor, skapar mäktiga anthems och slår rekord gång på gång.

Det diamantcertifierade och
GRAMMY-belönade Las Vegas-baserade bandet är ett av de största rockbanden i världen. Med
en försäljning på över 74 miljoner album och över 160 miljarder streams, sticker de ut som “the
only band in history to earn four RIAA Diamond singles”: Radioactive (16x-platinacertifierad),
Believer (13x-platina), Thunder (12x-platina) och Demons (11x-platina).

Sedan deras debut 2009 har de haft fem raka top 10 album på Billboard Top 200 med Night
Visions (2012), Smoke + Mirrors (2015), Evolve (2017), Origins (2018) och Mercury – Act 1
(2021).

Med releasen Mercury – Act 2 (2022) avslutade de sitt första dubbelalbum, producerat
av legendariska Rick Rubin. Hitlåten Bones från Mercury – Act 2 nådde första plats på
Alternative Radio och finns kvar på Spotifys Global Top 50.

Imagine Dragons dominerar radio och är ett av endast fyra band som har haft flera topp 5
singlar i rad på Alternative Radio.

De skrev även historia på Spotify när Bad Liar blev deras
tionde låt att passera en miljard streams. Bandet är nu det med flest låtar som nått över en
miljard streams på plattformen.

Dessutom har deras musikvideor till Thunder och Believer över
2 miljarder visningar på YouTuber, medan Radioactive och Demons överstigit en miljard
visningar.

Bandet har samarbetat med artister som Kendrick Lamar, Lil Wayne, Wiz Khalifa, Avicii och
filmkompositören Hans Zimmer. De har även samlat in miljontals dollar för olika ändamål,
inklusive deras barncancerstiftelse Tyler Robinson Foundation och frontmannen Dan Reynolds’
LOVELOUD Foundation, som stödjer HBTQ+-ungdomar. 2022 blev de utsedda till ambassadörer
för UNITED 24 av Ukrainas president Volodymyr Zelensky, för att stödja humanitärt arbete i
Ukraina.

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SJM & AEG Presents
Holly Johnson
Royal Albert Hall, London, United Kingdom
Jun 09, 2025
More info
Ticket Information
U14s accompanied by adult
SJM & AEG Presents
Holly Johnson
Bath Forum, Bath, United Kingdom
Jun 12, 2025
More info
Ticket Information
U14s accompanied by an adult
Riley Green
Pier Six Pavilion, Baltimore, MD, United States
Jun 12, 2025
7:00PM EDT
More info

Riley Green has been compelling Country music fans to raise a drink, shed a tear, and, above all, celebrate where they are from, since his self-titled EP in 2018 debuted with Big Machine Label Group. His songs like the No. 1 PLATINUM hit “There Was This Girl,” the 2X-PLATINUM-certified heart-tugger “I Wish Grandpas Never Died,” and his chart-topping collab with Thomas Rhett, “Half of Me,” have made the Academy of Country Music’s 2020 New Male Artist of the Year synonymous with what Country music does best: making listeners feel something with his no-gimmick, relatable writing and classic feel.

A huge 2023 for the avid sports fan, former athlete (Jacksonville State University quarterback) and outdoorsman, Green secured his third No. 1 single “Different ‘Round Here (Ft. Luke Combs),” played to an average of 65,000 fans each night as direct support on massive tours for Luke Combs and Morgan Wallen and released his latest full-length studio album Ain’t My Last Rodeo. The Dann Huff-produced album features his current Top 25-and-climbing single “Damn Good Day To Leave,” and gave a deeper look into the life of good ol’ boy who still lives in his hometown of Jacksonville, AL.

Currently riding a wave of massive success that grows stronger each day, 2024 has been a rocket for Green. He released his Way Out Here EP, which included two solo writes that had critics and fans alike gushing (the poignant “Jesus Saves” and the sultry “Worst Way,” which sparked a frenzy on the internet), the humorous tune “Rather Be,” as well as the wildly viral “you look like you love me” with Ella Langley, which has also taken social media by storm. He played for the biggest Country crowd in UK history (on his first trip across the pond no less), headlined his own (largely sold out) amphitheater tour, hosted his own festival, became one of only three Country artists to grace the cover of Cigar & Spirits and has become one of the most buzzed-about artists in Nashville. With another project on its way this fall, it’s clear, “there’s no slowing down for Riley Green” (Pollstar). See tour dates and learn more at RileyGreenMusic.com.

Show full bio
Thomas Rhett
Broadview Stage at SPAC, Saratoga Springs, NY, United States
Jun 12, 2025
7:30PM EDT
More info

PLATINUM-selling Thomas Rhett leads the pack as one of country music’s elite new artists with the fastest rising single of his career, the Top 5 GOLD certified upbeat breakup anthem “Crash And Burn” from his upcoming sophomore release TANGLED UP out Sept. 25 (The Valory Music Co.). As "one of country music's most successful – and divisive – new artists" (The Guardian), the new music follows his debut album IT GOES LIKE THIS, which spawned three consecutive No. one hits, making him Billboard’s first male country artist to do so from a debut album in over two decades. The CMA and ACM “New Artist of the Year” nominee initially garnered attention as a gifted songwriter with credits including hits by Florida Georgia Line, Jason Aldean and Lee Brice. It is his “high-energy all the way” (El Paso Times) live show that has “the audience dancing all the way up in the rafters of the stadium” (Billboard) that continues to catch the attention of critics out on the road. For tour dates and more visit, thomasrhett.com.

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Riley Green
Live Oak Bank Pavilion, Wilmington, NC, United States
Jun 13, 2025
7:00PM EDT
More info

Riley Green has been compelling Country music fans to raise a drink, shed a tear, and, above all, celebrate where they are from, since his self-titled EP in 2018 debuted with Big Machine Label Group. His songs like the No. 1 PLATINUM hit “There Was This Girl,” the 2X-PLATINUM-certified heart-tugger “I Wish Grandpas Never Died,” and his chart-topping collab with Thomas Rhett, “Half of Me,” have made the Academy of Country Music’s 2020 New Male Artist of the Year synonymous with what Country music does best: making listeners feel something with his no-gimmick, relatable writing and classic feel.

A huge 2023 for the avid sports fan, former athlete (Jacksonville State University quarterback) and outdoorsman, Green secured his third No. 1 single “Different ‘Round Here (Ft. Luke Combs),” played to an average of 65,000 fans each night as direct support on massive tours for Luke Combs and Morgan Wallen and released his latest full-length studio album Ain’t My Last Rodeo. The Dann Huff-produced album features his current Top 25-and-climbing single “Damn Good Day To Leave,” and gave a deeper look into the life of good ol’ boy who still lives in his hometown of Jacksonville, AL.

Currently riding a wave of massive success that grows stronger each day, 2024 has been a rocket for Green. He released his Way Out Here EP, which included two solo writes that had critics and fans alike gushing (the poignant “Jesus Saves” and the sultry “Worst Way,” which sparked a frenzy on the internet), the humorous tune “Rather Be,” as well as the wildly viral “you look like you love me” with Ella Langley, which has also taken social media by storm. He played for the biggest Country crowd in UK history (on his first trip across the pond no less), headlined his own (largely sold out) amphitheater tour, hosted his own festival, became one of only three Country artists to grace the cover of Cigar & Spirits and has become one of the most buzzed-about artists in Nashville. With another project on its way this fall, it’s clear, “there’s no slowing down for Riley Green” (Pollstar). See tour dates and learn more at RileyGreenMusic.com.

Show full bio
Riley Green
Coastal Credit Union Music Park at Walnut Creek, Raleigh, NC, United States
Jun 14, 2025
7:00PM EDT
More info

Riley Green has been compelling Country music fans to raise a drink, shed a tear, and, above all, celebrate where they are from, since his self-titled EP in 2018 debuted with Big Machine Label Group. His songs like the No. 1 PLATINUM hit “There Was This Girl,” the 2X-PLATINUM-certified heart-tugger “I Wish Grandpas Never Died,” and his chart-topping collab with Thomas Rhett, “Half of Me,” have made the Academy of Country Music’s 2020 New Male Artist of the Year synonymous with what Country music does best: making listeners feel something with his no-gimmick, relatable writing and classic feel.

A huge 2023 for the avid sports fan, former athlete (Jacksonville State University quarterback) and outdoorsman, Green secured his third No. 1 single “Different ‘Round Here (Ft. Luke Combs),” played to an average of 65,000 fans each night as direct support on massive tours for Luke Combs and Morgan Wallen and released his latest full-length studio album Ain’t My Last Rodeo. The Dann Huff-produced album features his current Top 25-and-climbing single “Damn Good Day To Leave,” and gave a deeper look into the life of good ol’ boy who still lives in his hometown of Jacksonville, AL.

Currently riding a wave of massive success that grows stronger each day, 2024 has been a rocket for Green. He released his Way Out Here EP, which included two solo writes that had critics and fans alike gushing (the poignant “Jesus Saves” and the sultry “Worst Way,” which sparked a frenzy on the internet), the humorous tune “Rather Be,” as well as the wildly viral “you look like you love me” with Ella Langley, which has also taken social media by storm. He played for the biggest Country crowd in UK history (on his first trip across the pond no less), headlined his own (largely sold out) amphitheater tour, hosted his own festival, became one of only three Country artists to grace the cover of Cigar & Spirits and has become one of the most buzzed-about artists in Nashville. With another project on its way this fall, it’s clear, “there’s no slowing down for Riley Green” (Pollstar). See tour dates and learn more at RileyGreenMusic.com.

Show full bio
SJM & AEG Presents
Holly Johnson
O2 City Hall, Newcastle upon Tyne, United Kingdom
Jun 15, 2025
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Ticket Information
No U8s / U14 accom by adult
SJM & AEG Presents
Holly Johnson
Glasgow Royal Concert Hall, Glasgow, United Kingdom
Jun 18, 2025
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Ticket Information
U14 accom by adult
Riley Green
FirstBank Amphitheater, Franklin, TN, United States
Jun 19, 2025
8:00PM EDT
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Riley Green has been compelling Country music fans to raise a drink, shed a tear, and, above all, celebrate where they are from, since his self-titled EP in 2018 debuted with Big Machine Label Group. His songs like the No. 1 PLATINUM hit “There Was This Girl,” the 2X-PLATINUM-certified heart-tugger “I Wish Grandpas Never Died,” and his chart-topping collab with Thomas Rhett, “Half of Me,” have made the Academy of Country Music’s 2020 New Male Artist of the Year synonymous with what Country music does best: making listeners feel something with his no-gimmick, relatable writing and classic feel.

A huge 2023 for the avid sports fan, former athlete (Jacksonville State University quarterback) and outdoorsman, Green secured his third No. 1 single “Different ‘Round Here (Ft. Luke Combs),” played to an average of 65,000 fans each night as direct support on massive tours for Luke Combs and Morgan Wallen and released his latest full-length studio album Ain’t My Last Rodeo. The Dann Huff-produced album features his current Top 25-and-climbing single “Damn Good Day To Leave,” and gave a deeper look into the life of good ol’ boy who still lives in his hometown of Jacksonville, AL.

Currently riding a wave of massive success that grows stronger each day, 2024 has been a rocket for Green. He released his Way Out Here EP, which included two solo writes that had critics and fans alike gushing (the poignant “Jesus Saves” and the sultry “Worst Way,” which sparked a frenzy on the internet), the humorous tune “Rather Be,” as well as the wildly viral “you look like you love me” with Ella Langley, which has also taken social media by storm. He played for the biggest Country crowd in UK history (on his first trip across the pond no less), headlined his own (largely sold out) amphitheater tour, hosted his own festival, became one of only three Country artists to grace the cover of Cigar & Spirits and has become one of the most buzzed-about artists in Nashville. With another project on its way this fall, it’s clear, “there’s no slowing down for Riley Green” (Pollstar). See tour dates and learn more at RileyGreenMusic.com.

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SJM & AEG Presents
Holly Johnson
M&S Bank Arena, Liverpool, United Kingdom
Jun 21, 2025
OMD - Orchestral Manoeuvres in the Dark (Rescheduled from 9/19/24)
Greek Theatre, Los Angeles, CA, United States
Jun 20, 2025
8:00PM PDT
More info

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!"

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Riley Green
Marshall Health Network Arena, Huntington, WV, United States
Jun 21, 2025
7:00PM EDT
More info

Riley Green has been compelling Country music fans to raise a drink, shed a tear, and, above all, celebrate where they are from, since his self-titled EP in 2018 debuted with Big Machine Label Group. His songs like the No. 1 PLATINUM hit “There Was This Girl,” the 2X-PLATINUM-certified heart-tugger “I Wish Grandpas Never Died,” and his chart-topping collab with Thomas Rhett, “Half of Me,” have made the Academy of Country Music’s 2020 New Male Artist of the Year synonymous with what Country music does best: making listeners feel something with his no-gimmick, relatable writing and classic feel.

A huge 2023 for the avid sports fan, former athlete (Jacksonville State University quarterback) and outdoorsman, Green secured his third No. 1 single “Different ‘Round Here (Ft. Luke Combs),” played to an average of 65,000 fans each night as direct support on massive tours for Luke Combs and Morgan Wallen and released his latest full-length studio album Ain’t My Last Rodeo. The Dann Huff-produced album features his current Top 25-and-climbing single “Damn Good Day To Leave,” and gave a deeper look into the life of good ol’ boy who still lives in his hometown of Jacksonville, AL.

Currently riding a wave of massive success that grows stronger each day, 2024 has been a rocket for Green. He released his Way Out Here EP, which included two solo writes that had critics and fans alike gushing (the poignant “Jesus Saves” and the sultry “Worst Way,” which sparked a frenzy on the internet), the humorous tune “Rather Be,” as well as the wildly viral “you look like you love me” with Ella Langley, which has also taken social media by storm. He played for the biggest Country crowd in UK history (on his first trip across the pond no less), headlined his own (largely sold out) amphitheater tour, hosted his own festival, became one of only three Country artists to grace the cover of Cigar & Spirits and has become one of the most buzzed-about artists in Nashville. With another project on its way this fall, it’s clear, “there’s no slowing down for Riley Green” (Pollstar). See tour dates and learn more at RileyGreenMusic.com.

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OMD - Orchestral Manoeuvres in the Dark (Rescheduled from 9/20/24)
Greek Theatre, Los Angeles, CA, United States
Jun 21, 2025
8:00PM PDT
More info

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!"

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New Kids On the Block
Dolby Live at Park MGM, Las Vegas, NV, United States
Jun 21, 2025
8:00PM PDT
OMD - Orchestral Manoeuvres in the Dark (18+ Event) (Rescheduled from 9/17/2024)
House of Blues Las Vegas, Las Vegas, NV, United States
Jun 22, 2025
7:00PM PDT
More info

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!"

Show full bio
Atlanta Symphony Orchestra
Atlanta Symphony Hall, Atlanta, GA, United States
Jun 25, 2025
7:30PM EDT
RED Entertainment and Cuffe & Taylor Present
Miss Americana – A Tribute to Taylor Swift
York Barbican, York, United Kingdom
Jun 29, 2025
7:30PM BST
More info
Ticket Information
Under 14s must be accompanied by an adult over 18.
RED Entertainment, Cuffe & Taylor and Live Nation present the mesmerising Miss Americana – A Tribute to Taylor Swift.

Step into the unparalleled world of Taylor Swift and her Eras experience in this electrifying show featuring the incredible Xenna. A celebration of the iconic pop sensation's music, style, and unrivalled stage presence. Xenna embodies every essence of Taylor Swift, capturing her voice, signature looks, and magnetic charisma.

Whether performing in an intimate venue or a packed stadium, audiences are up on their feet dancing and singing along to the huge success of this tribute to the multi-Brit and Grammy Award-winning artist.

From her country roots to her chart-topping pop hits, Xenna delivers a thrilling journey through “The Eras” of Taylor's illustrious career.

Audiences will be transported to Taylor Swift’s world as they sing along to timeless classics like "Love Story," "Blank Space," and "Shake It Off." With stunning replica costume changes, captivating storytelling, and incredible dancers, that ensures an unforgettable ‘Eras Tour’ experience for fans of all ages.

Whether you're a die-hard Swiftie, or simply love great music, this is the ultimate homage to one of the biggest stars in the world. Get ready to relive Taylor Swift's greatest hits in a show that is as close to the real thing as it gets!

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New Kids On the Block
Dolby Live at Park MGM, Las Vegas, NV, United States
Jul 05, 2025
8:00PM PDT
Palomazo Norteno
Kiva Auditorium, Albuquerque, NM, United States
Jul 28, 2025
7:00PM MDT
Rufus Du Sol Parking
Pine Knob Music Theatre, Clarkston, MI, United States
Aug 05, 2025
6:01PM EDT
More info

RÜFÜS DU SOL have emerged as one of the world’s preeminent live electronic acts. The Australian three-piece, known formerly to the world as just RÜFÜS, have thus far won the world over with two platinum-certified albums, ATLAS and Bloom , with a much-anticipated third on the way.

Comprised of members Tyrone Lindqvist, Jon George and James Hunt, RÜFÜS DU SOL first made their break in 2013, when their debut album, ATLAS , reached #1 in Australia. Their sophomore follow-up, 2016’s Bloom , subsequently hit #1 as well, transforming them from national heroes into a rising global phenomenon.

The album, which produced such iconic singles as “You Were Right” and “Innerbloom,” notably spawned a momentous two-year tour, including a milestone appearance at Coachella in 2016.

Now residing in Los Angeles, RÜFÜS DU SOL have spent the past year finishing their third album, largely influenced by the stark desert landscapes of California and their experiences on the road. With a new record on the horizon and a standout two-year tour at their backs, RÜFÜS DU SOL have entered a new era of their career.

“It feels like a new RÜFÜS,” the trio says. “We’re excited about this new music. We’re ambitious as ever.”

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Riley Green
KettleHouse Amphitheater, Bonner, MT, United States
Aug 21, 2025
8:00PM MDT
More info

Riley Green has been compelling Country music fans to raise a drink, shed a tear, and, above all, celebrate where they are from, since his self-titled EP in 2018 debuted with Big Machine Label Group. His songs like the No. 1 PLATINUM hit “There Was This Girl,” the 2X-PLATINUM-certified heart-tugger “I Wish Grandpas Never Died,” and his chart-topping collab with Thomas Rhett, “Half of Me,” have made the Academy of Country Music’s 2020 New Male Artist of the Year synonymous with what Country music does best: making listeners feel something with his no-gimmick, relatable writing and classic feel.

A huge 2023 for the avid sports fan, former athlete (Jacksonville State University quarterback) and outdoorsman, Green secured his third No. 1 single “Different ‘Round Here (Ft. Luke Combs),” played to an average of 65,000 fans each night as direct support on massive tours for Luke Combs and Morgan Wallen and released his latest full-length studio album Ain’t My Last Rodeo. The Dann Huff-produced album features his current Top 25-and-climbing single “Damn Good Day To Leave,” and gave a deeper look into the life of good ol’ boy who still lives in his hometown of Jacksonville, AL.

Currently riding a wave of massive success that grows stronger each day, 2024 has been a rocket for Green. He released his Way Out Here EP, which included two solo writes that had critics and fans alike gushing (the poignant “Jesus Saves” and the sultry “Worst Way,” which sparked a frenzy on the internet), the humorous tune “Rather Be,” as well as the wildly viral “you look like you love me” with Ella Langley, which has also taken social media by storm. He played for the biggest Country crowd in UK history (on his first trip across the pond no less), headlined his own (largely sold out) amphitheater tour, hosted his own festival, became one of only three Country artists to grace the cover of Cigar & Spirits and has become one of the most buzzed-about artists in Nashville. With another project on its way this fall, it’s clear, “there’s no slowing down for Riley Green” (Pollstar). See tour dates and learn more at RileyGreenMusic.com.

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Riley Green
Hero Arena at Mountain America Center, Idaho Falls, ID, United States
Aug 22, 2025
8:00PM CDT
More info

Riley Green has been compelling Country music fans to raise a drink, shed a tear, and, above all, celebrate where they are from, since his self-titled EP in 2018 debuted with Big Machine Label Group. His songs like the No. 1 PLATINUM hit “There Was This Girl,” the 2X-PLATINUM-certified heart-tugger “I Wish Grandpas Never Died,” and his chart-topping collab with Thomas Rhett, “Half of Me,” have made the Academy of Country Music’s 2020 New Male Artist of the Year synonymous with what Country music does best: making listeners feel something with his no-gimmick, relatable writing and classic feel.

A huge 2023 for the avid sports fan, former athlete (Jacksonville State University quarterback) and outdoorsman, Green secured his third No. 1 single “Different ‘Round Here (Ft. Luke Combs),” played to an average of 65,000 fans each night as direct support on massive tours for Luke Combs and Morgan Wallen and released his latest full-length studio album Ain’t My Last Rodeo. The Dann Huff-produced album features his current Top 25-and-climbing single “Damn Good Day To Leave,” and gave a deeper look into the life of good ol’ boy who still lives in his hometown of Jacksonville, AL.

Currently riding a wave of massive success that grows stronger each day, 2024 has been a rocket for Green. He released his Way Out Here EP, which included two solo writes that had critics and fans alike gushing (the poignant “Jesus Saves” and the sultry “Worst Way,” which sparked a frenzy on the internet), the humorous tune “Rather Be,” as well as the wildly viral “you look like you love me” with Ella Langley, which has also taken social media by storm. He played for the biggest Country crowd in UK history (on his first trip across the pond no less), headlined his own (largely sold out) amphitheater tour, hosted his own festival, became one of only three Country artists to grace the cover of Cigar & Spirits and has become one of the most buzzed-about artists in Nashville. With another project on its way this fall, it’s clear, “there’s no slowing down for Riley Green” (Pollstar). See tour dates and learn more at RileyGreenMusic.com.

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Fresh Coast Cruise
Edelweiss Port, Milwaukee, WI, United States
Aug 23, 2025
1:00PM CDT
Thomas Rhett Parking
Veterans United Home Loans Amphitheater at Virginia Beach, Virginia Beach, VA, United States
Aug 23, 2025
7:31PM EDT
More info

PLATINUM-selling Thomas Rhett leads the pack as one of country music’s elite new artists with the fastest rising single of his career, the Top 5 GOLD certified upbeat breakup anthem “Crash And Burn” from his upcoming sophomore release TANGLED UP out Sept. 25 (The Valory Music Co.). As "one of country music's most successful – and divisive – new artists" (The Guardian), the new music follows his debut album IT GOES LIKE THIS, which spawned three consecutive No. one hits, making him Billboard’s first male country artist to do so from a debut album in over two decades. The CMA and ACM “New Artist of the Year” nominee initially garnered attention as a gifted songwriter with credits including hits by Florida Georgia Line, Jason Aldean and Lee Brice. It is his “high-energy all the way” (El Paso Times) live show that has “the audience dancing all the way up in the rafters of the stadium” (Billboard) that continues to catch the attention of critics out on the road. For tour dates and more visit, thomasrhett.com.

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Dua Lipa Parking
Scotiabank Arena, Toronto, ON, Canada
Sep 01, 2025
7:31PM EDT
More info

“This whole album is me, who I am and how I want to be seen as an artist,” says Dua Lipa. “I want people to really get to know me, so the album is everything that has happened in my life so far, and every song tells a different story.”

She may be young, but Lipa has plenty of stories to tell. The London-born child of Kosovar parents, she has already been nominated for awards by the BBC and MTV Europe, and was a finalist for the prestigious “Critics’ Choice” prize at the Brit Awards. She also won Best New Artist at the NME Awards, and two European Border Breakers Awards—she was one of only ten global recipients of the EBBA—including the night’s biggest prize, the “Public Choice” award, voted on by fans.

Her strong presence onstage (indicated by her European Festival Award for Best Newcomer of the Year) immediately separates her from so many emerging pop acts. But with 3.5 million in global sales, it’s her singles that have rapidly established her as a rising star—"Be the One" reached the Top Ten in a dozen European territories, "Hotter Than Hell" hit the Top Twenty in the UK, and “Blow Your Mind (Mwah)” climbed into Billboard’s Top 25 in the US. All of this, mind you, before putting out her first album.

Now, with the release of Dua Lipa, she reveals the full range of her ambitions—not just the dance-floor fire of her singles, but also a more introspective side. “I’ve been describing it as ‘dark pop’ because people have only heard the pop moments, but there are some really dark, singer-songwriter parts that I’m excited about,” she says.

Before Lipa was born, her father was a pop star in his native Kosovo; growing up, she absorbed the music of his favorite artists—Radiohead, Oasis, Stereophonics, Sting. Meanwhile, she was still a regular pop-obsessed kid, singing along to Destiny’s Child and S Club 7 (“stuff that you’d listen with your friends”) and especially Nelly and Pink. Those singers stood out, she says, for their “coolness and honesty—it was pop music, but there was something real about it.”

She attended the Sylvia Young Theater School until she was 11, when she and her family moved back to Kosovo, a country which she considers much more complex than its war-torn image. “Kosovo is changing and evolving so much,” she says. “It’s still very poor, there’s lot of places that are really run-down, but every time I go back there’s something new and better happening. There’s so much talent there, and people are starting to find out about it.”

Encouraged by a teacher who would make her perform Alicia Keys and Toni Braxton hits in school, Lipa began to think about singing—which had always been her “playground dream”—more seriously, and convinced her parents to let her move back to London when she was 15. Living with friends, she made it through high school, but failed her first year of A Levels as partying took priority over attendance.

Too ashamed to tell her friends (“I felt so bad, I just wanted to cover it up”), Lipa applied the same tenacity that has propelled her career ever since: She found an intensive one-year study program, got straight As, and was accepted into four universities. Though she wanted to prove that she could meet these academic challenges, her commitment to her music and her vision never wavered.

“I always told myself never to have a plan B - I feel like that's also one of the reasons I'm doing what I'm doing now, because I have never thought about doing anything else.”

Lipa was working in a restaurant, recording covers and posting them on social media, trying to find a way into the music business, when she was noticed on the street by a modeling agency. “Some of my friends were doing it,” she says. “But I was never put up for any good jobs, just random salons and whatever. And they said ‘If you want to do this properly, you need to lose a lot of weight.’ I tried to do it at first, but it made me very unhappy and caused me a lot of issues, a lot of body confidence problems. Modeling sounds so glamorous, but it really wasn’t a successful thing for me.”

"Every woman should have the privilege to love their body and feel sexy just the way they are,” she continues. “Being able to spread that message and to support all my girls who need to be told they’re fucking hot and that they don’t need to change for anyone inspires me and makes me feel I am exactly where I need to be.”

One thing the agency did accomplish, though, was securing Lipa an audition for a commercial for The X Factor—and when her voice appeared in the ad, she eventually drew the attention of a management team working with Lana Del Rey. She signed a deal that allowed her to quit the restaurant and go from working on demos in her spare moments to focusing on recording.

“I always had a really clear idea of what I liked and what I didn’t, which made the process easier,” she says. During her years in Kosovo, she became a huge hip-hop fan; a Method Man/Redman show was her first concert. “I wanted to bring in my love for hip-hop and find some middle ground,’ she says. “Lyrically, the songs have more of a flow—especially ‘Bad Together’ and ‘Last Dance,’ where it’s really fast-paced, like I’m singing a rap but I have a pop chorus. That was always the goal.”

Lipa says that “Hotter Than Hell,” written before she got signed, was the first time she felt in command of her songwriting, but points to “Garden of Eden” as a turning point. “It kind of wrote itself,” she says. “All I had to do was set it off and be open and honest, and the story just happened.”

While recording Dua Lipa in New York, Los Angeles, Toronto, and London, she was rapidly learning the fearlessness and confidence necessary to write great songs. She says that more personal songs like “Genesis” and “No Goodbyes” indicate where her life is right now.

Lipa recently concluded her first tour, opening for Troye Sivan in the US and headlining dates of her own in the UK. Other than a brief panic attack during her very first show (“luckily people found it endearing, but I was terrified,” she says), performing live quickly became comfortable territory. “I can really be creative and let loose onstage,” she says. “Be really free, just go for it and enjoy it, and get lost in what I’m doing.” The critics instantly took notice: NPR said that she “hypnotized” on stage, while Idolator called her “completely badass” and SPIN raved “she’s headliner material—catch her while you can.”

Perhaps the most emotional experience in Dua Lipa’s young career was her triumphant return to Kosovo for a concert last summer. The appearance drew an astonishing 18,000 fans, and the singer needed a police escort to get from her family’s residence to the venue. “It was the craziest moment of my life,” she says. “Just so insane and so much fun.”

She used the proceeds from the homecoming show to create the Sunny Hill Foundation, named for the neighborhood where her parents reside. “We’re going to give to different charities every month for the youth of Kosovo,” she says. “I just want to do my part, because they’ve done so much for me there.”

This kind of hands-on involvement carries over to Lipa’s relationship with her fans, including close communication on social media and collaborations with her followers on merchandise design. A small group of dedicated Twitter followers rapidly grew into a community too big to keep up with as much as she would like. “We talk about all kinds of things on Twitter, though it’s getting harder now to reply to everything,” she says. “They can tell my moods from my tweets—they ask if I’m feeling OK.

The songs on Dua Lipa announce the arrival of a new force in pop—irresistible on the dance floor, thoughtful under closer inspection, constantly discovering creative possibilities. “I’ve grown a lot as a writer,” Lipa says. “It used to take me a really long time to write a song, but now it’s easier to be more open and say what I’m thinking without having to filter or hide from the people I’m in the room with. Just learning who I am and being able to tell a story.”

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Dua Lipa Parking
Scotiabank Arena, Toronto, ON, Canada
Sep 02, 2025
7:31PM EDT
More info

“This whole album is me, who I am and how I want to be seen as an artist,” says Dua Lipa. “I want people to really get to know me, so the album is everything that has happened in my life so far, and every song tells a different story.”

She may be young, but Lipa has plenty of stories to tell. The London-born child of Kosovar parents, she has already been nominated for awards by the BBC and MTV Europe, and was a finalist for the prestigious “Critics’ Choice” prize at the Brit Awards. She also won Best New Artist at the NME Awards, and two European Border Breakers Awards—she was one of only ten global recipients of the EBBA—including the night’s biggest prize, the “Public Choice” award, voted on by fans.

Her strong presence onstage (indicated by her European Festival Award for Best Newcomer of the Year) immediately separates her from so many emerging pop acts. But with 3.5 million in global sales, it’s her singles that have rapidly established her as a rising star—"Be the One" reached the Top Ten in a dozen European territories, "Hotter Than Hell" hit the Top Twenty in the UK, and “Blow Your Mind (Mwah)” climbed into Billboard’s Top 25 in the US. All of this, mind you, before putting out her first album.

Now, with the release of Dua Lipa, she reveals the full range of her ambitions—not just the dance-floor fire of her singles, but also a more introspective side. “I’ve been describing it as ‘dark pop’ because people have only heard the pop moments, but there are some really dark, singer-songwriter parts that I’m excited about,” she says.

Before Lipa was born, her father was a pop star in his native Kosovo; growing up, she absorbed the music of his favorite artists—Radiohead, Oasis, Stereophonics, Sting. Meanwhile, she was still a regular pop-obsessed kid, singing along to Destiny’s Child and S Club 7 (“stuff that you’d listen with your friends”) and especially Nelly and Pink. Those singers stood out, she says, for their “coolness and honesty—it was pop music, but there was something real about it.”

She attended the Sylvia Young Theater School until she was 11, when she and her family moved back to Kosovo, a country which she considers much more complex than its war-torn image. “Kosovo is changing and evolving so much,” she says. “It’s still very poor, there’s lot of places that are really run-down, but every time I go back there’s something new and better happening. There’s so much talent there, and people are starting to find out about it.”

Encouraged by a teacher who would make her perform Alicia Keys and Toni Braxton hits in school, Lipa began to think about singing—which had always been her “playground dream”—more seriously, and convinced her parents to let her move back to London when she was 15. Living with friends, she made it through high school, but failed her first year of A Levels as partying took priority over attendance.

Too ashamed to tell her friends (“I felt so bad, I just wanted to cover it up”), Lipa applied the same tenacity that has propelled her career ever since: She found an intensive one-year study program, got straight As, and was accepted into four universities. Though she wanted to prove that she could meet these academic challenges, her commitment to her music and her vision never wavered.

“I always told myself never to have a plan B - I feel like that's also one of the reasons I'm doing what I'm doing now, because I have never thought about doing anything else.”

Lipa was working in a restaurant, recording covers and posting them on social media, trying to find a way into the music business, when she was noticed on the street by a modeling agency. “Some of my friends were doing it,” she says. “But I was never put up for any good jobs, just random salons and whatever. And they said ‘If you want to do this properly, you need to lose a lot of weight.’ I tried to do it at first, but it made me very unhappy and caused me a lot of issues, a lot of body confidence problems. Modeling sounds so glamorous, but it really wasn’t a successful thing for me.”

"Every woman should have the privilege to love their body and feel sexy just the way they are,” she continues. “Being able to spread that message and to support all my girls who need to be told they’re fucking hot and that they don’t need to change for anyone inspires me and makes me feel I am exactly where I need to be.”

One thing the agency did accomplish, though, was securing Lipa an audition for a commercial for The X Factor—and when her voice appeared in the ad, she eventually drew the attention of a management team working with Lana Del Rey. She signed a deal that allowed her to quit the restaurant and go from working on demos in her spare moments to focusing on recording.

“I always had a really clear idea of what I liked and what I didn’t, which made the process easier,” she says. During her years in Kosovo, she became a huge hip-hop fan; a Method Man/Redman show was her first concert. “I wanted to bring in my love for hip-hop and find some middle ground,’ she says. “Lyrically, the songs have more of a flow—especially ‘Bad Together’ and ‘Last Dance,’ where it’s really fast-paced, like I’m singing a rap but I have a pop chorus. That was always the goal.”

Lipa says that “Hotter Than Hell,” written before she got signed, was the first time she felt in command of her songwriting, but points to “Garden of Eden” as a turning point. “It kind of wrote itself,” she says. “All I had to do was set it off and be open and honest, and the story just happened.”

While recording Dua Lipa in New York, Los Angeles, Toronto, and London, she was rapidly learning the fearlessness and confidence necessary to write great songs. She says that more personal songs like “Genesis” and “No Goodbyes” indicate where her life is right now.

Lipa recently concluded her first tour, opening for Troye Sivan in the US and headlining dates of her own in the UK. Other than a brief panic attack during her very first show (“luckily people found it endearing, but I was terrified,” she says), performing live quickly became comfortable territory. “I can really be creative and let loose onstage,” she says. “Be really free, just go for it and enjoy it, and get lost in what I’m doing.” The critics instantly took notice: NPR said that she “hypnotized” on stage, while Idolator called her “completely badass” and SPIN raved “she’s headliner material—catch her while you can.”

Perhaps the most emotional experience in Dua Lipa’s young career was her triumphant return to Kosovo for a concert last summer. The appearance drew an astonishing 18,000 fans, and the singer needed a police escort to get from her family’s residence to the venue. “It was the craziest moment of my life,” she says. “Just so insane and so much fun.”

She used the proceeds from the homecoming show to create the Sunny Hill Foundation, named for the neighborhood where her parents reside. “We’re going to give to different charities every month for the youth of Kosovo,” she says. “I just want to do my part, because they’ve done so much for me there.”

This kind of hands-on involvement carries over to Lipa’s relationship with her fans, including close communication on social media and collaborations with her followers on merchandise design. A small group of dedicated Twitter followers rapidly grew into a community too big to keep up with as much as she would like. “We talk about all kinds of things on Twitter, though it’s getting harder now to reply to everything,” she says. “They can tell my moods from my tweets—they ask if I’m feeling OK.

The songs on Dua Lipa announce the arrival of a new force in pop—irresistible on the dance floor, thoughtful under closer inspection, constantly discovering creative possibilities. “I’ve grown a lot as a writer,” Lipa says. “It used to take me a really long time to write a song, but now it’s easier to be more open and say what I’m thinking without having to filter or hide from the people I’m in the room with. Just learning who I am and being able to tell a story.”

Show full bio
Dua Lipa
Scotiabank Arena, Toronto, ON, Canada
Sep 02, 2025
7:30PM EDT
More info

“This whole album is me, who I am and how I want to be seen as an artist,” says Dua Lipa. “I want people to really get to know me, so the album is everything that has happened in my life so far, and every song tells a different story.”

She may be young, but Lipa has plenty of stories to tell. The London-born child of Kosovar parents, she has already been nominated for awards by the BBC and MTV Europe, and was a finalist for the prestigious “Critics’ Choice” prize at the Brit Awards. She also won Best New Artist at the NME Awards, and two European Border Breakers Awards—she was one of only ten global recipients of the EBBA—including the night’s biggest prize, the “Public Choice” award, voted on by fans.

Her strong presence onstage (indicated by her European Festival Award for Best Newcomer of the Year) immediately separates her from so many emerging pop acts. But with 3.5 million in global sales, it’s her singles that have rapidly established her as a rising star—"Be the One" reached the Top Ten in a dozen European territories, "Hotter Than Hell" hit the Top Twenty in the UK, and “Blow Your Mind (Mwah)” climbed into Billboard’s Top 25 in the US. All of this, mind you, before putting out her first album.

Now, with the release of Dua Lipa, she reveals the full range of her ambitions—not just the dance-floor fire of her singles, but also a more introspective side. “I’ve been describing it as ‘dark pop’ because people have only heard the pop moments, but there are some really dark, singer-songwriter parts that I’m excited about,” she says.

Before Lipa was born, her father was a pop star in his native Kosovo; growing up, she absorbed the music of his favorite artists—Radiohead, Oasis, Stereophonics, Sting. Meanwhile, she was still a regular pop-obsessed kid, singing along to Destiny’s Child and S Club 7 (“stuff that you’d listen with your friends”) and especially Nelly and Pink. Those singers stood out, she says, for their “coolness and honesty—it was pop music, but there was something real about it.”

She attended the Sylvia Young Theater School until she was 11, when she and her family moved back to Kosovo, a country which she considers much more complex than its war-torn image. “Kosovo is changing and evolving so much,” she says. “It’s still very poor, there’s lot of places that are really run-down, but every time I go back there’s something new and better happening. There’s so much talent there, and people are starting to find out about it.”

Encouraged by a teacher who would make her perform Alicia Keys and Toni Braxton hits in school, Lipa began to think about singing—which had always been her “playground dream”—more seriously, and convinced her parents to let her move back to London when she was 15. Living with friends, she made it through high school, but failed her first year of A Levels as partying took priority over attendance.

Too ashamed to tell her friends (“I felt so bad, I just wanted to cover it up”), Lipa applied the same tenacity that has propelled her career ever since: She found an intensive one-year study program, got straight As, and was accepted into four universities. Though she wanted to prove that she could meet these academic challenges, her commitment to her music and her vision never wavered.

“I always told myself never to have a plan B - I feel like that's also one of the reasons I'm doing what I'm doing now, because I have never thought about doing anything else.”

Lipa was working in a restaurant, recording covers and posting them on social media, trying to find a way into the music business, when she was noticed on the street by a modeling agency. “Some of my friends were doing it,” she says. “But I was never put up for any good jobs, just random salons and whatever. And they said ‘If you want to do this properly, you need to lose a lot of weight.’ I tried to do it at first, but it made me very unhappy and caused me a lot of issues, a lot of body confidence problems. Modeling sounds so glamorous, but it really wasn’t a successful thing for me.”

"Every woman should have the privilege to love their body and feel sexy just the way they are,” she continues. “Being able to spread that message and to support all my girls who need to be told they’re fucking hot and that they don’t need to change for anyone inspires me and makes me feel I am exactly where I need to be.”

One thing the agency did accomplish, though, was securing Lipa an audition for a commercial for The X Factor—and when her voice appeared in the ad, she eventually drew the attention of a management team working with Lana Del Rey. She signed a deal that allowed her to quit the restaurant and go from working on demos in her spare moments to focusing on recording.

“I always had a really clear idea of what I liked and what I didn’t, which made the process easier,” she says. During her years in Kosovo, she became a huge hip-hop fan; a Method Man/Redman show was her first concert. “I wanted to bring in my love for hip-hop and find some middle ground,’ she says. “Lyrically, the songs have more of a flow—especially ‘Bad Together’ and ‘Last Dance,’ where it’s really fast-paced, like I’m singing a rap but I have a pop chorus. That was always the goal.”

Lipa says that “Hotter Than Hell,” written before she got signed, was the first time she felt in command of her songwriting, but points to “Garden of Eden” as a turning point. “It kind of wrote itself,” she says. “All I had to do was set it off and be open and honest, and the story just happened.”

While recording Dua Lipa in New York, Los Angeles, Toronto, and London, she was rapidly learning the fearlessness and confidence necessary to write great songs. She says that more personal songs like “Genesis” and “No Goodbyes” indicate where her life is right now.

Lipa recently concluded her first tour, opening for Troye Sivan in the US and headlining dates of her own in the UK. Other than a brief panic attack during her very first show (“luckily people found it endearing, but I was terrified,” she says), performing live quickly became comfortable territory. “I can really be creative and let loose onstage,” she says. “Be really free, just go for it and enjoy it, and get lost in what I’m doing.” The critics instantly took notice: NPR said that she “hypnotized” on stage, while Idolator called her “completely badass” and SPIN raved “she’s headliner material—catch her while you can.”

Perhaps the most emotional experience in Dua Lipa’s young career was her triumphant return to Kosovo for a concert last summer. The appearance drew an astonishing 18,000 fans, and the singer needed a police escort to get from her family’s residence to the venue. “It was the craziest moment of my life,” she says. “Just so insane and so much fun.”

She used the proceeds from the homecoming show to create the Sunny Hill Foundation, named for the neighborhood where her parents reside. “We’re going to give to different charities every month for the youth of Kosovo,” she says. “I just want to do my part, because they’ve done so much for me there.”

This kind of hands-on involvement carries over to Lipa’s relationship with her fans, including close communication on social media and collaborations with her followers on merchandise design. A small group of dedicated Twitter followers rapidly grew into a community too big to keep up with as much as she would like. “We talk about all kinds of things on Twitter, though it’s getting harder now to reply to everything,” she says. “They can tell my moods from my tweets—they ask if I’m feeling OK.

The songs on Dua Lipa announce the arrival of a new force in pop—irresistible on the dance floor, thoughtful under closer inspection, constantly discovering creative possibilities. “I’ve grown a lot as a writer,” Lipa says. “It used to take me a really long time to write a song, but now it’s easier to be more open and say what I’m thinking without having to filter or hide from the people I’m in the room with. Just learning who I am and being able to tell a story.”

Show full bio
Teddy Swims
McMenamins Historic Edgefield Manor, Troutdale, OR, United States
Sep 03, 2025
6:30PM PDT
More info

Teddy Swims is a lover. The 29-year-old artist, who merges honeyed soul with raucous rock energy and pleasing pop hooks, writes nearly all his songs about falling in or out of romantic entanglements. He zeroes in his focus on his latest EP, Tough Love—a six-song collection of heartbreak horror stories and earnest declarations of devotion. “To me, that’s just all there is,” he says. “You’re either making love or crying about it.” The Atlanta native, born Jaten Dimsdale, has been tugging at heartstrings since posting a series of covers from his bedroom studio, which generated hundreds of millions of views and scored him a deal with Warner Records. Teddy changed his focus to introspective originals on 2020’s Unlearning EP and garnered praise from American Songwriter, Billboard, Rolling Stone, among others. Soon, performances on The Kelly Clarkson Show, Today, and The Late Show With Stephen Colbert cemented his status as a rising star. With more than 500 million global streams to his credit, as well as a social following that exceeds 8 million, Teddy’s songs of devotion have clearly connected. And part of reaching that audience, for him, is getting to show his love in person.

Show full bio
Dua Lipa
United Center, Chicago, IL, United States
Sep 05, 2025
7:30PM CDT
More info

“This whole album is me, who I am and how I want to be seen as an artist,” says Dua Lipa. “I want people to really get to know me, so the album is everything that has happened in my life so far, and every song tells a different story.”

She may be young, but Lipa has plenty of stories to tell. The London-born child of Kosovar parents, she has already been nominated for awards by the BBC and MTV Europe, and was a finalist for the prestigious “Critics’ Choice” prize at the Brit Awards. She also won Best New Artist at the NME Awards, and two European Border Breakers Awards—she was one of only ten global recipients of the EBBA—including the night’s biggest prize, the “Public Choice” award, voted on by fans.

Her strong presence onstage (indicated by her European Festival Award for Best Newcomer of the Year) immediately separates her from so many emerging pop acts. But with 3.5 million in global sales, it’s her singles that have rapidly established her as a rising star—"Be the One" reached the Top Ten in a dozen European territories, "Hotter Than Hell" hit the Top Twenty in the UK, and “Blow Your Mind (Mwah)” climbed into Billboard’s Top 25 in the US. All of this, mind you, before putting out her first album.

Now, with the release of Dua Lipa, she reveals the full range of her ambitions—not just the dance-floor fire of her singles, but also a more introspective side. “I’ve been describing it as ‘dark pop’ because people have only heard the pop moments, but there are some really dark, singer-songwriter parts that I’m excited about,” she says.

Before Lipa was born, her father was a pop star in his native Kosovo; growing up, she absorbed the music of his favorite artists—Radiohead, Oasis, Stereophonics, Sting. Meanwhile, she was still a regular pop-obsessed kid, singing along to Destiny’s Child and S Club 7 (“stuff that you’d listen with your friends”) and especially Nelly and Pink. Those singers stood out, she says, for their “coolness and honesty—it was pop music, but there was something real about it.”

She attended the Sylvia Young Theater School until she was 11, when she and her family moved back to Kosovo, a country which she considers much more complex than its war-torn image. “Kosovo is changing and evolving so much,” she says. “It’s still very poor, there’s lot of places that are really run-down, but every time I go back there’s something new and better happening. There’s so much talent there, and people are starting to find out about it.”

Encouraged by a teacher who would make her perform Alicia Keys and Toni Braxton hits in school, Lipa began to think about singing—which had always been her “playground dream”—more seriously, and convinced her parents to let her move back to London when she was 15. Living with friends, she made it through high school, but failed her first year of A Levels as partying took priority over attendance.

Too ashamed to tell her friends (“I felt so bad, I just wanted to cover it up”), Lipa applied the same tenacity that has propelled her career ever since: She found an intensive one-year study program, got straight As, and was accepted into four universities. Though she wanted to prove that she could meet these academic challenges, her commitment to her music and her vision never wavered.

“I always told myself never to have a plan B - I feel like that's also one of the reasons I'm doing what I'm doing now, because I have never thought about doing anything else.”

Lipa was working in a restaurant, recording covers and posting them on social media, trying to find a way into the music business, when she was noticed on the street by a modeling agency. “Some of my friends were doing it,” she says. “But I was never put up for any good jobs, just random salons and whatever. And they said ‘If you want to do this properly, you need to lose a lot of weight.’ I tried to do it at first, but it made me very unhappy and caused me a lot of issues, a lot of body confidence problems. Modeling sounds so glamorous, but it really wasn’t a successful thing for me.”

"Every woman should have the privilege to love their body and feel sexy just the way they are,” she continues. “Being able to spread that message and to support all my girls who need to be told they’re fucking hot and that they don’t need to change for anyone inspires me and makes me feel I am exactly where I need to be.”

One thing the agency did accomplish, though, was securing Lipa an audition for a commercial for The X Factor—and when her voice appeared in the ad, she eventually drew the attention of a management team working with Lana Del Rey. She signed a deal that allowed her to quit the restaurant and go from working on demos in her spare moments to focusing on recording.

“I always had a really clear idea of what I liked and what I didn’t, which made the process easier,” she says. During her years in Kosovo, she became a huge hip-hop fan; a Method Man/Redman show was her first concert. “I wanted to bring in my love for hip-hop and find some middle ground,’ she says. “Lyrically, the songs have more of a flow—especially ‘Bad Together’ and ‘Last Dance,’ where it’s really fast-paced, like I’m singing a rap but I have a pop chorus. That was always the goal.”

Lipa says that “Hotter Than Hell,” written before she got signed, was the first time she felt in command of her songwriting, but points to “Garden of Eden” as a turning point. “It kind of wrote itself,” she says. “All I had to do was set it off and be open and honest, and the story just happened.”

While recording Dua Lipa in New York, Los Angeles, Toronto, and London, she was rapidly learning the fearlessness and confidence necessary to write great songs. She says that more personal songs like “Genesis” and “No Goodbyes” indicate where her life is right now.

Lipa recently concluded her first tour, opening for Troye Sivan in the US and headlining dates of her own in the UK. Other than a brief panic attack during her very first show (“luckily people found it endearing, but I was terrified,” she says), performing live quickly became comfortable territory. “I can really be creative and let loose onstage,” she says. “Be really free, just go for it and enjoy it, and get lost in what I’m doing.” The critics instantly took notice: NPR said that she “hypnotized” on stage, while Idolator called her “completely badass” and SPIN raved “she’s headliner material—catch her while you can.”

Perhaps the most emotional experience in Dua Lipa’s young career was her triumphant return to Kosovo for a concert last summer. The appearance drew an astonishing 18,000 fans, and the singer needed a police escort to get from her family’s residence to the venue. “It was the craziest moment of my life,” she says. “Just so insane and so much fun.”

She used the proceeds from the homecoming show to create the Sunny Hill Foundation, named for the neighborhood where her parents reside. “We’re going to give to different charities every month for the youth of Kosovo,” she says. “I just want to do my part, because they’ve done so much for me there.”

This kind of hands-on involvement carries over to Lipa’s relationship with her fans, including close communication on social media and collaborations with her followers on merchandise design. A small group of dedicated Twitter followers rapidly grew into a community too big to keep up with as much as she would like. “We talk about all kinds of things on Twitter, though it’s getting harder now to reply to everything,” she says. “They can tell my moods from my tweets—they ask if I’m feeling OK.

The songs on Dua Lipa announce the arrival of a new force in pop—irresistible on the dance floor, thoughtful under closer inspection, constantly discovering creative possibilities. “I’ve grown a lot as a writer,” Lipa says. “It used to take me a really long time to write a song, but now it’s easier to be more open and say what I’m thinking without having to filter or hide from the people I’m in the room with. Just learning who I am and being able to tell a story.”

Show full bio
Dua Lipa
State Farm Arena, Atlanta, GA, United States
Sep 13, 2025
7:30PM EDT
More info

“This whole album is me, who I am and how I want to be seen as an artist,” says Dua Lipa. “I want people to really get to know me, so the album is everything that has happened in my life so far, and every song tells a different story.”

She may be young, but Lipa has plenty of stories to tell. The London-born child of Kosovar parents, she has already been nominated for awards by the BBC and MTV Europe, and was a finalist for the prestigious “Critics’ Choice” prize at the Brit Awards. She also won Best New Artist at the NME Awards, and two European Border Breakers Awards—she was one of only ten global recipients of the EBBA—including the night’s biggest prize, the “Public Choice” award, voted on by fans.

Her strong presence onstage (indicated by her European Festival Award for Best Newcomer of the Year) immediately separates her from so many emerging pop acts. But with 3.5 million in global sales, it’s her singles that have rapidly established her as a rising star—"Be the One" reached the Top Ten in a dozen European territories, "Hotter Than Hell" hit the Top Twenty in the UK, and “Blow Your Mind (Mwah)” climbed into Billboard’s Top 25 in the US. All of this, mind you, before putting out her first album.

Now, with the release of Dua Lipa, she reveals the full range of her ambitions—not just the dance-floor fire of her singles, but also a more introspective side. “I’ve been describing it as ‘dark pop’ because people have only heard the pop moments, but there are some really dark, singer-songwriter parts that I’m excited about,” she says.

Before Lipa was born, her father was a pop star in his native Kosovo; growing up, she absorbed the music of his favorite artists—Radiohead, Oasis, Stereophonics, Sting. Meanwhile, she was still a regular pop-obsessed kid, singing along to Destiny’s Child and S Club 7 (“stuff that you’d listen with your friends”) and especially Nelly and Pink. Those singers stood out, she says, for their “coolness and honesty—it was pop music, but there was something real about it.”

She attended the Sylvia Young Theater School until she was 11, when she and her family moved back to Kosovo, a country which she considers much more complex than its war-torn image. “Kosovo is changing and evolving so much,” she says. “It’s still very poor, there’s lot of places that are really run-down, but every time I go back there’s something new and better happening. There’s so much talent there, and people are starting to find out about it.”

Encouraged by a teacher who would make her perform Alicia Keys and Toni Braxton hits in school, Lipa began to think about singing—which had always been her “playground dream”—more seriously, and convinced her parents to let her move back to London when she was 15. Living with friends, she made it through high school, but failed her first year of A Levels as partying took priority over attendance.

Too ashamed to tell her friends (“I felt so bad, I just wanted to cover it up”), Lipa applied the same tenacity that has propelled her career ever since: She found an intensive one-year study program, got straight As, and was accepted into four universities. Though she wanted to prove that she could meet these academic challenges, her commitment to her music and her vision never wavered.

“I always told myself never to have a plan B - I feel like that's also one of the reasons I'm doing what I'm doing now, because I have never thought about doing anything else.”

Lipa was working in a restaurant, recording covers and posting them on social media, trying to find a way into the music business, when she was noticed on the street by a modeling agency. “Some of my friends were doing it,” she says. “But I was never put up for any good jobs, just random salons and whatever. And they said ‘If you want to do this properly, you need to lose a lot of weight.’ I tried to do it at first, but it made me very unhappy and caused me a lot of issues, a lot of body confidence problems. Modeling sounds so glamorous, but it really wasn’t a successful thing for me.”

"Every woman should have the privilege to love their body and feel sexy just the way they are,” she continues. “Being able to spread that message and to support all my girls who need to be told they’re fucking hot and that they don’t need to change for anyone inspires me and makes me feel I am exactly where I need to be.”

One thing the agency did accomplish, though, was securing Lipa an audition for a commercial for The X Factor—and when her voice appeared in the ad, she eventually drew the attention of a management team working with Lana Del Rey. She signed a deal that allowed her to quit the restaurant and go from working on demos in her spare moments to focusing on recording.

“I always had a really clear idea of what I liked and what I didn’t, which made the process easier,” she says. During her years in Kosovo, she became a huge hip-hop fan; a Method Man/Redman show was her first concert. “I wanted to bring in my love for hip-hop and find some middle ground,’ she says. “Lyrically, the songs have more of a flow—especially ‘Bad Together’ and ‘Last Dance,’ where it’s really fast-paced, like I’m singing a rap but I have a pop chorus. That was always the goal.”

Lipa says that “Hotter Than Hell,” written before she got signed, was the first time she felt in command of her songwriting, but points to “Garden of Eden” as a turning point. “It kind of wrote itself,” she says. “All I had to do was set it off and be open and honest, and the story just happened.”

While recording Dua Lipa in New York, Los Angeles, Toronto, and London, she was rapidly learning the fearlessness and confidence necessary to write great songs. She says that more personal songs like “Genesis” and “No Goodbyes” indicate where her life is right now.

Lipa recently concluded her first tour, opening for Troye Sivan in the US and headlining dates of her own in the UK. Other than a brief panic attack during her very first show (“luckily people found it endearing, but I was terrified,” she says), performing live quickly became comfortable territory. “I can really be creative and let loose onstage,” she says. “Be really free, just go for it and enjoy it, and get lost in what I’m doing.” The critics instantly took notice: NPR said that she “hypnotized” on stage, while Idolator called her “completely badass” and SPIN raved “she’s headliner material—catch her while you can.”

Perhaps the most emotional experience in Dua Lipa’s young career was her triumphant return to Kosovo for a concert last summer. The appearance drew an astonishing 18,000 fans, and the singer needed a police escort to get from her family’s residence to the venue. “It was the craziest moment of my life,” she says. “Just so insane and so much fun.”

She used the proceeds from the homecoming show to create the Sunny Hill Foundation, named for the neighborhood where her parents reside. “We’re going to give to different charities every month for the youth of Kosovo,” she says. “I just want to do my part, because they’ve done so much for me there.”

This kind of hands-on involvement carries over to Lipa’s relationship with her fans, including close communication on social media and collaborations with her followers on merchandise design. A small group of dedicated Twitter followers rapidly grew into a community too big to keep up with as much as she would like. “We talk about all kinds of things on Twitter, though it’s getting harder now to reply to everything,” she says. “They can tell my moods from my tweets—they ask if I’m feeling OK.

The songs on Dua Lipa announce the arrival of a new force in pop—irresistible on the dance floor, thoughtful under closer inspection, constantly discovering creative possibilities. “I’ve grown a lot as a writer,” Lipa says. “It used to take me a really long time to write a song, but now it’s easier to be more open and say what I’m thinking without having to filter or hide from the people I’m in the room with. Just learning who I am and being able to tell a story.”

Show full bio
Dua Lipa
State Farm Arena, Atlanta, GA, United States
Sep 14, 2025
7:30PM EDT
More info

“This whole album is me, who I am and how I want to be seen as an artist,” says Dua Lipa. “I want people to really get to know me, so the album is everything that has happened in my life so far, and every song tells a different story.”

She may be young, but Lipa has plenty of stories to tell. The London-born child of Kosovar parents, she has already been nominated for awards by the BBC and MTV Europe, and was a finalist for the prestigious “Critics’ Choice” prize at the Brit Awards. She also won Best New Artist at the NME Awards, and two European Border Breakers Awards—she was one of only ten global recipients of the EBBA—including the night’s biggest prize, the “Public Choice” award, voted on by fans.

Her strong presence onstage (indicated by her European Festival Award for Best Newcomer of the Year) immediately separates her from so many emerging pop acts. But with 3.5 million in global sales, it’s her singles that have rapidly established her as a rising star—"Be the One" reached the Top Ten in a dozen European territories, "Hotter Than Hell" hit the Top Twenty in the UK, and “Blow Your Mind (Mwah)” climbed into Billboard’s Top 25 in the US. All of this, mind you, before putting out her first album.

Now, with the release of Dua Lipa, she reveals the full range of her ambitions—not just the dance-floor fire of her singles, but also a more introspective side. “I’ve been describing it as ‘dark pop’ because people have only heard the pop moments, but there are some really dark, singer-songwriter parts that I’m excited about,” she says.

Before Lipa was born, her father was a pop star in his native Kosovo; growing up, she absorbed the music of his favorite artists—Radiohead, Oasis, Stereophonics, Sting. Meanwhile, she was still a regular pop-obsessed kid, singing along to Destiny’s Child and S Club 7 (“stuff that you’d listen with your friends”) and especially Nelly and Pink. Those singers stood out, she says, for their “coolness and honesty—it was pop music, but there was something real about it.”

She attended the Sylvia Young Theater School until she was 11, when she and her family moved back to Kosovo, a country which she considers much more complex than its war-torn image. “Kosovo is changing and evolving so much,” she says. “It’s still very poor, there’s lot of places that are really run-down, but every time I go back there’s something new and better happening. There’s so much talent there, and people are starting to find out about it.”

Encouraged by a teacher who would make her perform Alicia Keys and Toni Braxton hits in school, Lipa began to think about singing—which had always been her “playground dream”—more seriously, and convinced her parents to let her move back to London when she was 15. Living with friends, she made it through high school, but failed her first year of A Levels as partying took priority over attendance.

Too ashamed to tell her friends (“I felt so bad, I just wanted to cover it up”), Lipa applied the same tenacity that has propelled her career ever since: She found an intensive one-year study program, got straight As, and was accepted into four universities. Though she wanted to prove that she could meet these academic challenges, her commitment to her music and her vision never wavered.

“I always told myself never to have a plan B - I feel like that's also one of the reasons I'm doing what I'm doing now, because I have never thought about doing anything else.”

Lipa was working in a restaurant, recording covers and posting them on social media, trying to find a way into the music business, when she was noticed on the street by a modeling agency. “Some of my friends were doing it,” she says. “But I was never put up for any good jobs, just random salons and whatever. And they said ‘If you want to do this properly, you need to lose a lot of weight.’ I tried to do it at first, but it made me very unhappy and caused me a lot of issues, a lot of body confidence problems. Modeling sounds so glamorous, but it really wasn’t a successful thing for me.”

"Every woman should have the privilege to love their body and feel sexy just the way they are,” she continues. “Being able to spread that message and to support all my girls who need to be told they’re fucking hot and that they don’t need to change for anyone inspires me and makes me feel I am exactly where I need to be.”

One thing the agency did accomplish, though, was securing Lipa an audition for a commercial for The X Factor—and when her voice appeared in the ad, she eventually drew the attention of a management team working with Lana Del Rey. She signed a deal that allowed her to quit the restaurant and go from working on demos in her spare moments to focusing on recording.

“I always had a really clear idea of what I liked and what I didn’t, which made the process easier,” she says. During her years in Kosovo, she became a huge hip-hop fan; a Method Man/Redman show was her first concert. “I wanted to bring in my love for hip-hop and find some middle ground,’ she says. “Lyrically, the songs have more of a flow—especially ‘Bad Together’ and ‘Last Dance,’ where it’s really fast-paced, like I’m singing a rap but I have a pop chorus. That was always the goal.”

Lipa says that “Hotter Than Hell,” written before she got signed, was the first time she felt in command of her songwriting, but points to “Garden of Eden” as a turning point. “It kind of wrote itself,” she says. “All I had to do was set it off and be open and honest, and the story just happened.”

While recording Dua Lipa in New York, Los Angeles, Toronto, and London, she was rapidly learning the fearlessness and confidence necessary to write great songs. She says that more personal songs like “Genesis” and “No Goodbyes” indicate where her life is right now.

Lipa recently concluded her first tour, opening for Troye Sivan in the US and headlining dates of her own in the UK. Other than a brief panic attack during her very first show (“luckily people found it endearing, but I was terrified,” she says), performing live quickly became comfortable territory. “I can really be creative and let loose onstage,” she says. “Be really free, just go for it and enjoy it, and get lost in what I’m doing.” The critics instantly took notice: NPR said that she “hypnotized” on stage, while Idolator called her “completely badass” and SPIN raved “she’s headliner material—catch her while you can.”

Perhaps the most emotional experience in Dua Lipa’s young career was her triumphant return to Kosovo for a concert last summer. The appearance drew an astonishing 18,000 fans, and the singer needed a police escort to get from her family’s residence to the venue. “It was the craziest moment of my life,” she says. “Just so insane and so much fun.”

She used the proceeds from the homecoming show to create the Sunny Hill Foundation, named for the neighborhood where her parents reside. “We’re going to give to different charities every month for the youth of Kosovo,” she says. “I just want to do my part, because they’ve done so much for me there.”

This kind of hands-on involvement carries over to Lipa’s relationship with her fans, including close communication on social media and collaborations with her followers on merchandise design. A small group of dedicated Twitter followers rapidly grew into a community too big to keep up with as much as she would like. “We talk about all kinds of things on Twitter, though it’s getting harder now to reply to everything,” she says. “They can tell my moods from my tweets—they ask if I’m feeling OK.

The songs on Dua Lipa announce the arrival of a new force in pop—irresistible on the dance floor, thoughtful under closer inspection, constantly discovering creative possibilities. “I’ve grown a lot as a writer,” Lipa says. “It used to take me a really long time to write a song, but now it’s easier to be more open and say what I’m thinking without having to filter or hide from the people I’m in the room with. Just learning who I am and being able to tell a story.”

Show full bio
Dua Lipa Parking
Madison Square Garden, New York City, NY, United States
Sep 18, 2025
7:31PM EDT
More info

“This whole album is me, who I am and how I want to be seen as an artist,” says Dua Lipa. “I want people to really get to know me, so the album is everything that has happened in my life so far, and every song tells a different story.”

She may be young, but Lipa has plenty of stories to tell. The London-born child of Kosovar parents, she has already been nominated for awards by the BBC and MTV Europe, and was a finalist for the prestigious “Critics’ Choice” prize at the Brit Awards. She also won Best New Artist at the NME Awards, and two European Border Breakers Awards—she was one of only ten global recipients of the EBBA—including the night’s biggest prize, the “Public Choice” award, voted on by fans.

Her strong presence onstage (indicated by her European Festival Award for Best Newcomer of the Year) immediately separates her from so many emerging pop acts. But with 3.5 million in global sales, it’s her singles that have rapidly established her as a rising star—"Be the One" reached the Top Ten in a dozen European territories, "Hotter Than Hell" hit the Top Twenty in the UK, and “Blow Your Mind (Mwah)” climbed into Billboard’s Top 25 in the US. All of this, mind you, before putting out her first album.

Now, with the release of Dua Lipa, she reveals the full range of her ambitions—not just the dance-floor fire of her singles, but also a more introspective side. “I’ve been describing it as ‘dark pop’ because people have only heard the pop moments, but there are some really dark, singer-songwriter parts that I’m excited about,” she says.

Before Lipa was born, her father was a pop star in his native Kosovo; growing up, she absorbed the music of his favorite artists—Radiohead, Oasis, Stereophonics, Sting. Meanwhile, she was still a regular pop-obsessed kid, singing along to Destiny’s Child and S Club 7 (“stuff that you’d listen with your friends”) and especially Nelly and Pink. Those singers stood out, she says, for their “coolness and honesty—it was pop music, but there was something real about it.”

She attended the Sylvia Young Theater School until she was 11, when she and her family moved back to Kosovo, a country which she considers much more complex than its war-torn image. “Kosovo is changing and evolving so much,” she says. “It’s still very poor, there’s lot of places that are really run-down, but every time I go back there’s something new and better happening. There’s so much talent there, and people are starting to find out about it.”

Encouraged by a teacher who would make her perform Alicia Keys and Toni Braxton hits in school, Lipa began to think about singing—which had always been her “playground dream”—more seriously, and convinced her parents to let her move back to London when she was 15. Living with friends, she made it through high school, but failed her first year of A Levels as partying took priority over attendance.

Too ashamed to tell her friends (“I felt so bad, I just wanted to cover it up”), Lipa applied the same tenacity that has propelled her career ever since: She found an intensive one-year study program, got straight As, and was accepted into four universities. Though she wanted to prove that she could meet these academic challenges, her commitment to her music and her vision never wavered.

“I always told myself never to have a plan B - I feel like that's also one of the reasons I'm doing what I'm doing now, because I have never thought about doing anything else.”

Lipa was working in a restaurant, recording covers and posting them on social media, trying to find a way into the music business, when she was noticed on the street by a modeling agency. “Some of my friends were doing it,” she says. “But I was never put up for any good jobs, just random salons and whatever. And they said ‘If you want to do this properly, you need to lose a lot of weight.’ I tried to do it at first, but it made me very unhappy and caused me a lot of issues, a lot of body confidence problems. Modeling sounds so glamorous, but it really wasn’t a successful thing for me.”

"Every woman should have the privilege to love their body and feel sexy just the way they are,” she continues. “Being able to spread that message and to support all my girls who need to be told they’re fucking hot and that they don’t need to change for anyone inspires me and makes me feel I am exactly where I need to be.”

One thing the agency did accomplish, though, was securing Lipa an audition for a commercial for The X Factor—and when her voice appeared in the ad, she eventually drew the attention of a management team working with Lana Del Rey. She signed a deal that allowed her to quit the restaurant and go from working on demos in her spare moments to focusing on recording.

“I always had a really clear idea of what I liked and what I didn’t, which made the process easier,” she says. During her years in Kosovo, she became a huge hip-hop fan; a Method Man/Redman show was her first concert. “I wanted to bring in my love for hip-hop and find some middle ground,’ she says. “Lyrically, the songs have more of a flow—especially ‘Bad Together’ and ‘Last Dance,’ where it’s really fast-paced, like I’m singing a rap but I have a pop chorus. That was always the goal.”

Lipa says that “Hotter Than Hell,” written before she got signed, was the first time she felt in command of her songwriting, but points to “Garden of Eden” as a turning point. “It kind of wrote itself,” she says. “All I had to do was set it off and be open and honest, and the story just happened.”

While recording Dua Lipa in New York, Los Angeles, Toronto, and London, she was rapidly learning the fearlessness and confidence necessary to write great songs. She says that more personal songs like “Genesis” and “No Goodbyes” indicate where her life is right now.

Lipa recently concluded her first tour, opening for Troye Sivan in the US and headlining dates of her own in the UK. Other than a brief panic attack during her very first show (“luckily people found it endearing, but I was terrified,” she says), performing live quickly became comfortable territory. “I can really be creative and let loose onstage,” she says. “Be really free, just go for it and enjoy it, and get lost in what I’m doing.” The critics instantly took notice: NPR said that she “hypnotized” on stage, while Idolator called her “completely badass” and SPIN raved “she’s headliner material—catch her while you can.”

Perhaps the most emotional experience in Dua Lipa’s young career was her triumphant return to Kosovo for a concert last summer. The appearance drew an astonishing 18,000 fans, and the singer needed a police escort to get from her family’s residence to the venue. “It was the craziest moment of my life,” she says. “Just so insane and so much fun.”

She used the proceeds from the homecoming show to create the Sunny Hill Foundation, named for the neighborhood where her parents reside. “We’re going to give to different charities every month for the youth of Kosovo,” she says. “I just want to do my part, because they’ve done so much for me there.”

This kind of hands-on involvement carries over to Lipa’s relationship with her fans, including close communication on social media and collaborations with her followers on merchandise design. A small group of dedicated Twitter followers rapidly grew into a community too big to keep up with as much as she would like. “We talk about all kinds of things on Twitter, though it’s getting harder now to reply to everything,” she says. “They can tell my moods from my tweets—they ask if I’m feeling OK.

The songs on Dua Lipa announce the arrival of a new force in pop—irresistible on the dance floor, thoughtful under closer inspection, constantly discovering creative possibilities. “I’ve grown a lot as a writer,” Lipa says. “It used to take me a really long time to write a song, but now it’s easier to be more open and say what I’m thinking without having to filter or hide from the people I’m in the room with. Just learning who I am and being able to tell a story.”

Show full bio
Dua Lipa Parking
Kaseya Center, Miami, FL, United States
Sep 27, 2025
7:31PM EDT
More info

“This whole album is me, who I am and how I want to be seen as an artist,” says Dua Lipa. “I want people to really get to know me, so the album is everything that has happened in my life so far, and every song tells a different story.”

She may be young, but Lipa has plenty of stories to tell. The London-born child of Kosovar parents, she has already been nominated for awards by the BBC and MTV Europe, and was a finalist for the prestigious “Critics’ Choice” prize at the Brit Awards. She also won Best New Artist at the NME Awards, and two European Border Breakers Awards—she was one of only ten global recipients of the EBBA—including the night’s biggest prize, the “Public Choice” award, voted on by fans.

Her strong presence onstage (indicated by her European Festival Award for Best Newcomer of the Year) immediately separates her from so many emerging pop acts. But with 3.5 million in global sales, it’s her singles that have rapidly established her as a rising star—"Be the One" reached the Top Ten in a dozen European territories, "Hotter Than Hell" hit the Top Twenty in the UK, and “Blow Your Mind (Mwah)” climbed into Billboard’s Top 25 in the US. All of this, mind you, before putting out her first album.

Now, with the release of Dua Lipa, she reveals the full range of her ambitions—not just the dance-floor fire of her singles, but also a more introspective side. “I’ve been describing it as ‘dark pop’ because people have only heard the pop moments, but there are some really dark, singer-songwriter parts that I’m excited about,” she says.

Before Lipa was born, her father was a pop star in his native Kosovo; growing up, she absorbed the music of his favorite artists—Radiohead, Oasis, Stereophonics, Sting. Meanwhile, she was still a regular pop-obsessed kid, singing along to Destiny’s Child and S Club 7 (“stuff that you’d listen with your friends”) and especially Nelly and Pink. Those singers stood out, she says, for their “coolness and honesty—it was pop music, but there was something real about it.”

She attended the Sylvia Young Theater School until she was 11, when she and her family moved back to Kosovo, a country which she considers much more complex than its war-torn image. “Kosovo is changing and evolving so much,” she says. “It’s still very poor, there’s lot of places that are really run-down, but every time I go back there’s something new and better happening. There’s so much talent there, and people are starting to find out about it.”

Encouraged by a teacher who would make her perform Alicia Keys and Toni Braxton hits in school, Lipa began to think about singing—which had always been her “playground dream”—more seriously, and convinced her parents to let her move back to London when she was 15. Living with friends, she made it through high school, but failed her first year of A Levels as partying took priority over attendance.

Too ashamed to tell her friends (“I felt so bad, I just wanted to cover it up”), Lipa applied the same tenacity that has propelled her career ever since: She found an intensive one-year study program, got straight As, and was accepted into four universities. Though she wanted to prove that she could meet these academic challenges, her commitment to her music and her vision never wavered.

“I always told myself never to have a plan B - I feel like that's also one of the reasons I'm doing what I'm doing now, because I have never thought about doing anything else.”

Lipa was working in a restaurant, recording covers and posting them on social media, trying to find a way into the music business, when she was noticed on the street by a modeling agency. “Some of my friends were doing it,” she says. “But I was never put up for any good jobs, just random salons and whatever. And they said ‘If you want to do this properly, you need to lose a lot of weight.’ I tried to do it at first, but it made me very unhappy and caused me a lot of issues, a lot of body confidence problems. Modeling sounds so glamorous, but it really wasn’t a successful thing for me.”

"Every woman should have the privilege to love their body and feel sexy just the way they are,” she continues. “Being able to spread that message and to support all my girls who need to be told they’re fucking hot and that they don’t need to change for anyone inspires me and makes me feel I am exactly where I need to be.”

One thing the agency did accomplish, though, was securing Lipa an audition for a commercial for The X Factor—and when her voice appeared in the ad, she eventually drew the attention of a management team working with Lana Del Rey. She signed a deal that allowed her to quit the restaurant and go from working on demos in her spare moments to focusing on recording.

“I always had a really clear idea of what I liked and what I didn’t, which made the process easier,” she says. During her years in Kosovo, she became a huge hip-hop fan; a Method Man/Redman show was her first concert. “I wanted to bring in my love for hip-hop and find some middle ground,’ she says. “Lyrically, the songs have more of a flow—especially ‘Bad Together’ and ‘Last Dance,’ where it’s really fast-paced, like I’m singing a rap but I have a pop chorus. That was always the goal.”

Lipa says that “Hotter Than Hell,” written before she got signed, was the first time she felt in command of her songwriting, but points to “Garden of Eden” as a turning point. “It kind of wrote itself,” she says. “All I had to do was set it off and be open and honest, and the story just happened.”

While recording Dua Lipa in New York, Los Angeles, Toronto, and London, she was rapidly learning the fearlessness and confidence necessary to write great songs. She says that more personal songs like “Genesis” and “No Goodbyes” indicate where her life is right now.

Lipa recently concluded her first tour, opening for Troye Sivan in the US and headlining dates of her own in the UK. Other than a brief panic attack during her very first show (“luckily people found it endearing, but I was terrified,” she says), performing live quickly became comfortable territory. “I can really be creative and let loose onstage,” she says. “Be really free, just go for it and enjoy it, and get lost in what I’m doing.” The critics instantly took notice: NPR said that she “hypnotized” on stage, while Idolator called her “completely badass” and SPIN raved “she’s headliner material—catch her while you can.”

Perhaps the most emotional experience in Dua Lipa’s young career was her triumphant return to Kosovo for a concert last summer. The appearance drew an astonishing 18,000 fans, and the singer needed a police escort to get from her family’s residence to the venue. “It was the craziest moment of my life,” she says. “Just so insane and so much fun.”

She used the proceeds from the homecoming show to create the Sunny Hill Foundation, named for the neighborhood where her parents reside. “We’re going to give to different charities every month for the youth of Kosovo,” she says. “I just want to do my part, because they’ve done so much for me there.”

This kind of hands-on involvement carries over to Lipa’s relationship with her fans, including close communication on social media and collaborations with her followers on merchandise design. A small group of dedicated Twitter followers rapidly grew into a community too big to keep up with as much as she would like. “We talk about all kinds of things on Twitter, though it’s getting harder now to reply to everything,” she says. “They can tell my moods from my tweets—they ask if I’m feeling OK.

The songs on Dua Lipa announce the arrival of a new force in pop—irresistible on the dance floor, thoughtful under closer inspection, constantly discovering creative possibilities. “I’ve grown a lot as a writer,” Lipa says. “It used to take me a really long time to write a song, but now it’s easier to be more open and say what I’m thinking without having to filter or hide from the people I’m in the room with. Just learning who I am and being able to tell a story.”

Show full bio
Dua Lipa
Kaseya Center, Miami, FL, United States
Sep 27, 2025
7:30PM EDT
More info

“This whole album is me, who I am and how I want to be seen as an artist,” says Dua Lipa. “I want people to really get to know me, so the album is everything that has happened in my life so far, and every song tells a different story.”

She may be young, but Lipa has plenty of stories to tell. The London-born child of Kosovar parents, she has already been nominated for awards by the BBC and MTV Europe, and was a finalist for the prestigious “Critics’ Choice” prize at the Brit Awards. She also won Best New Artist at the NME Awards, and two European Border Breakers Awards—she was one of only ten global recipients of the EBBA—including the night’s biggest prize, the “Public Choice” award, voted on by fans.

Her strong presence onstage (indicated by her European Festival Award for Best Newcomer of the Year) immediately separates her from so many emerging pop acts. But with 3.5 million in global sales, it’s her singles that have rapidly established her as a rising star—"Be the One" reached the Top Ten in a dozen European territories, "Hotter Than Hell" hit the Top Twenty in the UK, and “Blow Your Mind (Mwah)” climbed into Billboard’s Top 25 in the US. All of this, mind you, before putting out her first album.

Now, with the release of Dua Lipa, she reveals the full range of her ambitions—not just the dance-floor fire of her singles, but also a more introspective side. “I’ve been describing it as ‘dark pop’ because people have only heard the pop moments, but there are some really dark, singer-songwriter parts that I’m excited about,” she says.

Before Lipa was born, her father was a pop star in his native Kosovo; growing up, she absorbed the music of his favorite artists—Radiohead, Oasis, Stereophonics, Sting. Meanwhile, she was still a regular pop-obsessed kid, singing along to Destiny’s Child and S Club 7 (“stuff that you’d listen with your friends”) and especially Nelly and Pink. Those singers stood out, she says, for their “coolness and honesty—it was pop music, but there was something real about it.”

She attended the Sylvia Young Theater School until she was 11, when she and her family moved back to Kosovo, a country which she considers much more complex than its war-torn image. “Kosovo is changing and evolving so much,” she says. “It’s still very poor, there’s lot of places that are really run-down, but every time I go back there’s something new and better happening. There’s so much talent there, and people are starting to find out about it.”

Encouraged by a teacher who would make her perform Alicia Keys and Toni Braxton hits in school, Lipa began to think about singing—which had always been her “playground dream”—more seriously, and convinced her parents to let her move back to London when she was 15. Living with friends, she made it through high school, but failed her first year of A Levels as partying took priority over attendance.

Too ashamed to tell her friends (“I felt so bad, I just wanted to cover it up”), Lipa applied the same tenacity that has propelled her career ever since: She found an intensive one-year study program, got straight As, and was accepted into four universities. Though she wanted to prove that she could meet these academic challenges, her commitment to her music and her vision never wavered.

“I always told myself never to have a plan B - I feel like that's also one of the reasons I'm doing what I'm doing now, because I have never thought about doing anything else.”

Lipa was working in a restaurant, recording covers and posting them on social media, trying to find a way into the music business, when she was noticed on the street by a modeling agency. “Some of my friends were doing it,” she says. “But I was never put up for any good jobs, just random salons and whatever. And they said ‘If you want to do this properly, you need to lose a lot of weight.’ I tried to do it at first, but it made me very unhappy and caused me a lot of issues, a lot of body confidence problems. Modeling sounds so glamorous, but it really wasn’t a successful thing for me.”

"Every woman should have the privilege to love their body and feel sexy just the way they are,” she continues. “Being able to spread that message and to support all my girls who need to be told they’re fucking hot and that they don’t need to change for anyone inspires me and makes me feel I am exactly where I need to be.”

One thing the agency did accomplish, though, was securing Lipa an audition for a commercial for The X Factor—and when her voice appeared in the ad, she eventually drew the attention of a management team working with Lana Del Rey. She signed a deal that allowed her to quit the restaurant and go from working on demos in her spare moments to focusing on recording.

“I always had a really clear idea of what I liked and what I didn’t, which made the process easier,” she says. During her years in Kosovo, she became a huge hip-hop fan; a Method Man/Redman show was her first concert. “I wanted to bring in my love for hip-hop and find some middle ground,’ she says. “Lyrically, the songs have more of a flow—especially ‘Bad Together’ and ‘Last Dance,’ where it’s really fast-paced, like I’m singing a rap but I have a pop chorus. That was always the goal.”

Lipa says that “Hotter Than Hell,” written before she got signed, was the first time she felt in command of her songwriting, but points to “Garden of Eden” as a turning point. “It kind of wrote itself,” she says. “All I had to do was set it off and be open and honest, and the story just happened.”

While recording Dua Lipa in New York, Los Angeles, Toronto, and London, she was rapidly learning the fearlessness and confidence necessary to write great songs. She says that more personal songs like “Genesis” and “No Goodbyes” indicate where her life is right now.

Lipa recently concluded her first tour, opening for Troye Sivan in the US and headlining dates of her own in the UK. Other than a brief panic attack during her very first show (“luckily people found it endearing, but I was terrified,” she says), performing live quickly became comfortable territory. “I can really be creative and let loose onstage,” she says. “Be really free, just go for it and enjoy it, and get lost in what I’m doing.” The critics instantly took notice: NPR said that she “hypnotized” on stage, while Idolator called her “completely badass” and SPIN raved “she’s headliner material—catch her while you can.”

Perhaps the most emotional experience in Dua Lipa’s young career was her triumphant return to Kosovo for a concert last summer. The appearance drew an astonishing 18,000 fans, and the singer needed a police escort to get from her family’s residence to the venue. “It was the craziest moment of my life,” she says. “Just so insane and so much fun.”

She used the proceeds from the homecoming show to create the Sunny Hill Foundation, named for the neighborhood where her parents reside. “We’re going to give to different charities every month for the youth of Kosovo,” she says. “I just want to do my part, because they’ve done so much for me there.”

This kind of hands-on involvement carries over to Lipa’s relationship with her fans, including close communication on social media and collaborations with her followers on merchandise design. A small group of dedicated Twitter followers rapidly grew into a community too big to keep up with as much as she would like. “We talk about all kinds of things on Twitter, though it’s getting harder now to reply to everything,” she says. “They can tell my moods from my tweets—they ask if I’m feeling OK.

The songs on Dua Lipa announce the arrival of a new force in pop—irresistible on the dance floor, thoughtful under closer inspection, constantly discovering creative possibilities. “I’ve grown a lot as a writer,” Lipa says. “It used to take me a really long time to write a song, but now it’s easier to be more open and say what I’m thinking without having to filter or hide from the people I’m in the room with. Just learning who I am and being able to tell a story.”

Show full bio
Dua Lipa Parking
American Airlines Center, Dallas, TX, United States
Sep 30, 2025
7:31PM CDT
More info

“This whole album is me, who I am and how I want to be seen as an artist,” says Dua Lipa. “I want people to really get to know me, so the album is everything that has happened in my life so far, and every song tells a different story.”

She may be young, but Lipa has plenty of stories to tell. The London-born child of Kosovar parents, she has already been nominated for awards by the BBC and MTV Europe, and was a finalist for the prestigious “Critics’ Choice” prize at the Brit Awards. She also won Best New Artist at the NME Awards, and two European Border Breakers Awards—she was one of only ten global recipients of the EBBA—including the night’s biggest prize, the “Public Choice” award, voted on by fans.

Her strong presence onstage (indicated by her European Festival Award for Best Newcomer of the Year) immediately separates her from so many emerging pop acts. But with 3.5 million in global sales, it’s her singles that have rapidly established her as a rising star—"Be the One" reached the Top Ten in a dozen European territories, "Hotter Than Hell" hit the Top Twenty in the UK, and “Blow Your Mind (Mwah)” climbed into Billboard’s Top 25 in the US. All of this, mind you, before putting out her first album.

Now, with the release of Dua Lipa, she reveals the full range of her ambitions—not just the dance-floor fire of her singles, but also a more introspective side. “I’ve been describing it as ‘dark pop’ because people have only heard the pop moments, but there are some really dark, singer-songwriter parts that I’m excited about,” she says.

Before Lipa was born, her father was a pop star in his native Kosovo; growing up, she absorbed the music of his favorite artists—Radiohead, Oasis, Stereophonics, Sting. Meanwhile, she was still a regular pop-obsessed kid, singing along to Destiny’s Child and S Club 7 (“stuff that you’d listen with your friends”) and especially Nelly and Pink. Those singers stood out, she says, for their “coolness and honesty—it was pop music, but there was something real about it.”

She attended the Sylvia Young Theater School until she was 11, when she and her family moved back to Kosovo, a country which she considers much more complex than its war-torn image. “Kosovo is changing and evolving so much,” she says. “It’s still very poor, there’s lot of places that are really run-down, but every time I go back there’s something new and better happening. There’s so much talent there, and people are starting to find out about it.”

Encouraged by a teacher who would make her perform Alicia Keys and Toni Braxton hits in school, Lipa began to think about singing—which had always been her “playground dream”—more seriously, and convinced her parents to let her move back to London when she was 15. Living with friends, she made it through high school, but failed her first year of A Levels as partying took priority over attendance.

Too ashamed to tell her friends (“I felt so bad, I just wanted to cover it up”), Lipa applied the same tenacity that has propelled her career ever since: She found an intensive one-year study program, got straight As, and was accepted into four universities. Though she wanted to prove that she could meet these academic challenges, her commitment to her music and her vision never wavered.

“I always told myself never to have a plan B - I feel like that's also one of the reasons I'm doing what I'm doing now, because I have never thought about doing anything else.”

Lipa was working in a restaurant, recording covers and posting them on social media, trying to find a way into the music business, when she was noticed on the street by a modeling agency. “Some of my friends were doing it,” she says. “But I was never put up for any good jobs, just random salons and whatever. And they said ‘If you want to do this properly, you need to lose a lot of weight.’ I tried to do it at first, but it made me very unhappy and caused me a lot of issues, a lot of body confidence problems. Modeling sounds so glamorous, but it really wasn’t a successful thing for me.”

"Every woman should have the privilege to love their body and feel sexy just the way they are,” she continues. “Being able to spread that message and to support all my girls who need to be told they’re fucking hot and that they don’t need to change for anyone inspires me and makes me feel I am exactly where I need to be.”

One thing the agency did accomplish, though, was securing Lipa an audition for a commercial for The X Factor—and when her voice appeared in the ad, she eventually drew the attention of a management team working with Lana Del Rey. She signed a deal that allowed her to quit the restaurant and go from working on demos in her spare moments to focusing on recording.

“I always had a really clear idea of what I liked and what I didn’t, which made the process easier,” she says. During her years in Kosovo, she became a huge hip-hop fan; a Method Man/Redman show was her first concert. “I wanted to bring in my love for hip-hop and find some middle ground,’ she says. “Lyrically, the songs have more of a flow—especially ‘Bad Together’ and ‘Last Dance,’ where it’s really fast-paced, like I’m singing a rap but I have a pop chorus. That was always the goal.”

Lipa says that “Hotter Than Hell,” written before she got signed, was the first time she felt in command of her songwriting, but points to “Garden of Eden” as a turning point. “It kind of wrote itself,” she says. “All I had to do was set it off and be open and honest, and the story just happened.”

While recording Dua Lipa in New York, Los Angeles, Toronto, and London, she was rapidly learning the fearlessness and confidence necessary to write great songs. She says that more personal songs like “Genesis” and “No Goodbyes” indicate where her life is right now.

Lipa recently concluded her first tour, opening for Troye Sivan in the US and headlining dates of her own in the UK. Other than a brief panic attack during her very first show (“luckily people found it endearing, but I was terrified,” she says), performing live quickly became comfortable territory. “I can really be creative and let loose onstage,” she says. “Be really free, just go for it and enjoy it, and get lost in what I’m doing.” The critics instantly took notice: NPR said that she “hypnotized” on stage, while Idolator called her “completely badass” and SPIN raved “she’s headliner material—catch her while you can.”

Perhaps the most emotional experience in Dua Lipa’s young career was her triumphant return to Kosovo for a concert last summer. The appearance drew an astonishing 18,000 fans, and the singer needed a police escort to get from her family’s residence to the venue. “It was the craziest moment of my life,” she says. “Just so insane and so much fun.”

She used the proceeds from the homecoming show to create the Sunny Hill Foundation, named for the neighborhood where her parents reside. “We’re going to give to different charities every month for the youth of Kosovo,” she says. “I just want to do my part, because they’ve done so much for me there.”

This kind of hands-on involvement carries over to Lipa’s relationship with her fans, including close communication on social media and collaborations with her followers on merchandise design. A small group of dedicated Twitter followers rapidly grew into a community too big to keep up with as much as she would like. “We talk about all kinds of things on Twitter, though it’s getting harder now to reply to everything,” she says. “They can tell my moods from my tweets—they ask if I’m feeling OK.

The songs on Dua Lipa announce the arrival of a new force in pop—irresistible on the dance floor, thoughtful under closer inspection, constantly discovering creative possibilities. “I’ve grown a lot as a writer,” Lipa says. “It used to take me a really long time to write a song, but now it’s easier to be more open and say what I’m thinking without having to filter or hide from the people I’m in the room with. Just learning who I am and being able to tell a story.”

Show full bio
Dua Lipa Parking
American Airlines Center, Dallas, TX, United States
Oct 01, 2025
7:31PM CDT
More info

“This whole album is me, who I am and how I want to be seen as an artist,” says Dua Lipa. “I want people to really get to know me, so the album is everything that has happened in my life so far, and every song tells a different story.”

She may be young, but Lipa has plenty of stories to tell. The London-born child of Kosovar parents, she has already been nominated for awards by the BBC and MTV Europe, and was a finalist for the prestigious “Critics’ Choice” prize at the Brit Awards. She also won Best New Artist at the NME Awards, and two European Border Breakers Awards—she was one of only ten global recipients of the EBBA—including the night’s biggest prize, the “Public Choice” award, voted on by fans.

Her strong presence onstage (indicated by her European Festival Award for Best Newcomer of the Year) immediately separates her from so many emerging pop acts. But with 3.5 million in global sales, it’s her singles that have rapidly established her as a rising star—"Be the One" reached the Top Ten in a dozen European territories, "Hotter Than Hell" hit the Top Twenty in the UK, and “Blow Your Mind (Mwah)” climbed into Billboard’s Top 25 in the US. All of this, mind you, before putting out her first album.

Now, with the release of Dua Lipa, she reveals the full range of her ambitions—not just the dance-floor fire of her singles, but also a more introspective side. “I’ve been describing it as ‘dark pop’ because people have only heard the pop moments, but there are some really dark, singer-songwriter parts that I’m excited about,” she says.

Before Lipa was born, her father was a pop star in his native Kosovo; growing up, she absorbed the music of his favorite artists—Radiohead, Oasis, Stereophonics, Sting. Meanwhile, she was still a regular pop-obsessed kid, singing along to Destiny’s Child and S Club 7 (“stuff that you’d listen with your friends”) and especially Nelly and Pink. Those singers stood out, she says, for their “coolness and honesty—it was pop music, but there was something real about it.”

She attended the Sylvia Young Theater School until she was 11, when she and her family moved back to Kosovo, a country which she considers much more complex than its war-torn image. “Kosovo is changing and evolving so much,” she says. “It’s still very poor, there’s lot of places that are really run-down, but every time I go back there’s something new and better happening. There’s so much talent there, and people are starting to find out about it.”

Encouraged by a teacher who would make her perform Alicia Keys and Toni Braxton hits in school, Lipa began to think about singing—which had always been her “playground dream”—more seriously, and convinced her parents to let her move back to London when she was 15. Living with friends, she made it through high school, but failed her first year of A Levels as partying took priority over attendance.

Too ashamed to tell her friends (“I felt so bad, I just wanted to cover it up”), Lipa applied the same tenacity that has propelled her career ever since: She found an intensive one-year study program, got straight As, and was accepted into four universities. Though she wanted to prove that she could meet these academic challenges, her commitment to her music and her vision never wavered.

“I always told myself never to have a plan B - I feel like that's also one of the reasons I'm doing what I'm doing now, because I have never thought about doing anything else.”

Lipa was working in a restaurant, recording covers and posting them on social media, trying to find a way into the music business, when she was noticed on the street by a modeling agency. “Some of my friends were doing it,” she says. “But I was never put up for any good jobs, just random salons and whatever. And they said ‘If you want to do this properly, you need to lose a lot of weight.’ I tried to do it at first, but it made me very unhappy and caused me a lot of issues, a lot of body confidence problems. Modeling sounds so glamorous, but it really wasn’t a successful thing for me.”

"Every woman should have the privilege to love their body and feel sexy just the way they are,” she continues. “Being able to spread that message and to support all my girls who need to be told they’re fucking hot and that they don’t need to change for anyone inspires me and makes me feel I am exactly where I need to be.”

One thing the agency did accomplish, though, was securing Lipa an audition for a commercial for The X Factor—and when her voice appeared in the ad, she eventually drew the attention of a management team working with Lana Del Rey. She signed a deal that allowed her to quit the restaurant and go from working on demos in her spare moments to focusing on recording.

“I always had a really clear idea of what I liked and what I didn’t, which made the process easier,” she says. During her years in Kosovo, she became a huge hip-hop fan; a Method Man/Redman show was her first concert. “I wanted to bring in my love for hip-hop and find some middle ground,’ she says. “Lyrically, the songs have more of a flow—especially ‘Bad Together’ and ‘Last Dance,’ where it’s really fast-paced, like I’m singing a rap but I have a pop chorus. That was always the goal.”

Lipa says that “Hotter Than Hell,” written before she got signed, was the first time she felt in command of her songwriting, but points to “Garden of Eden” as a turning point. “It kind of wrote itself,” she says. “All I had to do was set it off and be open and honest, and the story just happened.”

While recording Dua Lipa in New York, Los Angeles, Toronto, and London, she was rapidly learning the fearlessness and confidence necessary to write great songs. She says that more personal songs like “Genesis” and “No Goodbyes” indicate where her life is right now.

Lipa recently concluded her first tour, opening for Troye Sivan in the US and headlining dates of her own in the UK. Other than a brief panic attack during her very first show (“luckily people found it endearing, but I was terrified,” she says), performing live quickly became comfortable territory. “I can really be creative and let loose onstage,” she says. “Be really free, just go for it and enjoy it, and get lost in what I’m doing.” The critics instantly took notice: NPR said that she “hypnotized” on stage, while Idolator called her “completely badass” and SPIN raved “she’s headliner material—catch her while you can.”

Perhaps the most emotional experience in Dua Lipa’s young career was her triumphant return to Kosovo for a concert last summer. The appearance drew an astonishing 18,000 fans, and the singer needed a police escort to get from her family’s residence to the venue. “It was the craziest moment of my life,” she says. “Just so insane and so much fun.”

She used the proceeds from the homecoming show to create the Sunny Hill Foundation, named for the neighborhood where her parents reside. “We’re going to give to different charities every month for the youth of Kosovo,” she says. “I just want to do my part, because they’ve done so much for me there.”

This kind of hands-on involvement carries over to Lipa’s relationship with her fans, including close communication on social media and collaborations with her followers on merchandise design. A small group of dedicated Twitter followers rapidly grew into a community too big to keep up with as much as she would like. “We talk about all kinds of things on Twitter, though it’s getting harder now to reply to everything,” she says. “They can tell my moods from my tweets—they ask if I’m feeling OK.

The songs on Dua Lipa announce the arrival of a new force in pop—irresistible on the dance floor, thoughtful under closer inspection, constantly discovering creative possibilities. “I’ve grown a lot as a writer,” Lipa says. “It used to take me a really long time to write a song, but now it’s easier to be more open and say what I’m thinking without having to filter or hide from the people I’m in the room with. Just learning who I am and being able to tell a story.”

Show full bio
Dua Lipa
Kia Forum, Inglewood, CA, United States
Oct 04, 2025
7:30PM PDT
More info

“This whole album is me, who I am and how I want to be seen as an artist,” says Dua Lipa. “I want people to really get to know me, so the album is everything that has happened in my life so far, and every song tells a different story.”

She may be young, but Lipa has plenty of stories to tell. The London-born child of Kosovar parents, she has already been nominated for awards by the BBC and MTV Europe, and was a finalist for the prestigious “Critics’ Choice” prize at the Brit Awards. She also won Best New Artist at the NME Awards, and two European Border Breakers Awards—she was one of only ten global recipients of the EBBA—including the night’s biggest prize, the “Public Choice” award, voted on by fans.

Her strong presence onstage (indicated by her European Festival Award for Best Newcomer of the Year) immediately separates her from so many emerging pop acts. But with 3.5 million in global sales, it’s her singles that have rapidly established her as a rising star—"Be the One" reached the Top Ten in a dozen European territories, "Hotter Than Hell" hit the Top Twenty in the UK, and “Blow Your Mind (Mwah)” climbed into Billboard’s Top 25 in the US. All of this, mind you, before putting out her first album.

Now, with the release of Dua Lipa, she reveals the full range of her ambitions—not just the dance-floor fire of her singles, but also a more introspective side. “I’ve been describing it as ‘dark pop’ because people have only heard the pop moments, but there are some really dark, singer-songwriter parts that I’m excited about,” she says.

Before Lipa was born, her father was a pop star in his native Kosovo; growing up, she absorbed the music of his favorite artists—Radiohead, Oasis, Stereophonics, Sting. Meanwhile, she was still a regular pop-obsessed kid, singing along to Destiny’s Child and S Club 7 (“stuff that you’d listen with your friends”) and especially Nelly and Pink. Those singers stood out, she says, for their “coolness and honesty—it was pop music, but there was something real about it.”

She attended the Sylvia Young Theater School until she was 11, when she and her family moved back to Kosovo, a country which she considers much more complex than its war-torn image. “Kosovo is changing and evolving so much,” she says. “It’s still very poor, there’s lot of places that are really run-down, but every time I go back there’s something new and better happening. There’s so much talent there, and people are starting to find out about it.”

Encouraged by a teacher who would make her perform Alicia Keys and Toni Braxton hits in school, Lipa began to think about singing—which had always been her “playground dream”—more seriously, and convinced her parents to let her move back to London when she was 15. Living with friends, she made it through high school, but failed her first year of A Levels as partying took priority over attendance.

Too ashamed to tell her friends (“I felt so bad, I just wanted to cover it up”), Lipa applied the same tenacity that has propelled her career ever since: She found an intensive one-year study program, got straight As, and was accepted into four universities. Though she wanted to prove that she could meet these academic challenges, her commitment to her music and her vision never wavered.

“I always told myself never to have a plan B - I feel like that's also one of the reasons I'm doing what I'm doing now, because I have never thought about doing anything else.”

Lipa was working in a restaurant, recording covers and posting them on social media, trying to find a way into the music business, when she was noticed on the street by a modeling agency. “Some of my friends were doing it,” she says. “But I was never put up for any good jobs, just random salons and whatever. And they said ‘If you want to do this properly, you need to lose a lot of weight.’ I tried to do it at first, but it made me very unhappy and caused me a lot of issues, a lot of body confidence problems. Modeling sounds so glamorous, but it really wasn’t a successful thing for me.”

"Every woman should have the privilege to love their body and feel sexy just the way they are,” she continues. “Being able to spread that message and to support all my girls who need to be told they’re fucking hot and that they don’t need to change for anyone inspires me and makes me feel I am exactly where I need to be.”

One thing the agency did accomplish, though, was securing Lipa an audition for a commercial for The X Factor—and when her voice appeared in the ad, she eventually drew the attention of a management team working with Lana Del Rey. She signed a deal that allowed her to quit the restaurant and go from working on demos in her spare moments to focusing on recording.

“I always had a really clear idea of what I liked and what I didn’t, which made the process easier,” she says. During her years in Kosovo, she became a huge hip-hop fan; a Method Man/Redman show was her first concert. “I wanted to bring in my love for hip-hop and find some middle ground,’ she says. “Lyrically, the songs have more of a flow—especially ‘Bad Together’ and ‘Last Dance,’ where it’s really fast-paced, like I’m singing a rap but I have a pop chorus. That was always the goal.”

Lipa says that “Hotter Than Hell,” written before she got signed, was the first time she felt in command of her songwriting, but points to “Garden of Eden” as a turning point. “It kind of wrote itself,” she says. “All I had to do was set it off and be open and honest, and the story just happened.”

While recording Dua Lipa in New York, Los Angeles, Toronto, and London, she was rapidly learning the fearlessness and confidence necessary to write great songs. She says that more personal songs like “Genesis” and “No Goodbyes” indicate where her life is right now.

Lipa recently concluded her first tour, opening for Troye Sivan in the US and headlining dates of her own in the UK. Other than a brief panic attack during her very first show (“luckily people found it endearing, but I was terrified,” she says), performing live quickly became comfortable territory. “I can really be creative and let loose onstage,” she says. “Be really free, just go for it and enjoy it, and get lost in what I’m doing.” The critics instantly took notice: NPR said that she “hypnotized” on stage, while Idolator called her “completely badass” and SPIN raved “she’s headliner material—catch her while you can.”

Perhaps the most emotional experience in Dua Lipa’s young career was her triumphant return to Kosovo for a concert last summer. The appearance drew an astonishing 18,000 fans, and the singer needed a police escort to get from her family’s residence to the venue. “It was the craziest moment of my life,” she says. “Just so insane and so much fun.”

She used the proceeds from the homecoming show to create the Sunny Hill Foundation, named for the neighborhood where her parents reside. “We’re going to give to different charities every month for the youth of Kosovo,” she says. “I just want to do my part, because they’ve done so much for me there.”

This kind of hands-on involvement carries over to Lipa’s relationship with her fans, including close communication on social media and collaborations with her followers on merchandise design. A small group of dedicated Twitter followers rapidly grew into a community too big to keep up with as much as she would like. “We talk about all kinds of things on Twitter, though it’s getting harder now to reply to everything,” she says. “They can tell my moods from my tweets—they ask if I’m feeling OK.

The songs on Dua Lipa announce the arrival of a new force in pop—irresistible on the dance floor, thoughtful under closer inspection, constantly discovering creative possibilities. “I’ve grown a lot as a writer,” Lipa says. “It used to take me a really long time to write a song, but now it’s easier to be more open and say what I’m thinking without having to filter or hide from the people I’m in the room with. Just learning who I am and being able to tell a story.”

Show full bio
Dua Lipa Parking
Kia Forum, Inglewood, CA, United States
Oct 04, 2025
7:31PM PDT
More info

“This whole album is me, who I am and how I want to be seen as an artist,” says Dua Lipa. “I want people to really get to know me, so the album is everything that has happened in my life so far, and every song tells a different story.”

She may be young, but Lipa has plenty of stories to tell. The London-born child of Kosovar parents, she has already been nominated for awards by the BBC and MTV Europe, and was a finalist for the prestigious “Critics’ Choice” prize at the Brit Awards. She also won Best New Artist at the NME Awards, and two European Border Breakers Awards—she was one of only ten global recipients of the EBBA—including the night’s biggest prize, the “Public Choice” award, voted on by fans.

Her strong presence onstage (indicated by her European Festival Award for Best Newcomer of the Year) immediately separates her from so many emerging pop acts. But with 3.5 million in global sales, it’s her singles that have rapidly established her as a rising star—"Be the One" reached the Top Ten in a dozen European territories, "Hotter Than Hell" hit the Top Twenty in the UK, and “Blow Your Mind (Mwah)” climbed into Billboard’s Top 25 in the US. All of this, mind you, before putting out her first album.

Now, with the release of Dua Lipa, she reveals the full range of her ambitions—not just the dance-floor fire of her singles, but also a more introspective side. “I’ve been describing it as ‘dark pop’ because people have only heard the pop moments, but there are some really dark, singer-songwriter parts that I’m excited about,” she says.

Before Lipa was born, her father was a pop star in his native Kosovo; growing up, she absorbed the music of his favorite artists—Radiohead, Oasis, Stereophonics, Sting. Meanwhile, she was still a regular pop-obsessed kid, singing along to Destiny’s Child and S Club 7 (“stuff that you’d listen with your friends”) and especially Nelly and Pink. Those singers stood out, she says, for their “coolness and honesty—it was pop music, but there was something real about it.”

She attended the Sylvia Young Theater School until she was 11, when she and her family moved back to Kosovo, a country which she considers much more complex than its war-torn image. “Kosovo is changing and evolving so much,” she says. “It’s still very poor, there’s lot of places that are really run-down, but every time I go back there’s something new and better happening. There’s so much talent there, and people are starting to find out about it.”

Encouraged by a teacher who would make her perform Alicia Keys and Toni Braxton hits in school, Lipa began to think about singing—which had always been her “playground dream”—more seriously, and convinced her parents to let her move back to London when she was 15. Living with friends, she made it through high school, but failed her first year of A Levels as partying took priority over attendance.

Too ashamed to tell her friends (“I felt so bad, I just wanted to cover it up”), Lipa applied the same tenacity that has propelled her career ever since: She found an intensive one-year study program, got straight As, and was accepted into four universities. Though she wanted to prove that she could meet these academic challenges, her commitment to her music and her vision never wavered.

“I always told myself never to have a plan B - I feel like that's also one of the reasons I'm doing what I'm doing now, because I have never thought about doing anything else.”

Lipa was working in a restaurant, recording covers and posting them on social media, trying to find a way into the music business, when she was noticed on the street by a modeling agency. “Some of my friends were doing it,” she says. “But I was never put up for any good jobs, just random salons and whatever. And they said ‘If you want to do this properly, you need to lose a lot of weight.’ I tried to do it at first, but it made me very unhappy and caused me a lot of issues, a lot of body confidence problems. Modeling sounds so glamorous, but it really wasn’t a successful thing for me.”

"Every woman should have the privilege to love their body and feel sexy just the way they are,” she continues. “Being able to spread that message and to support all my girls who need to be told they’re fucking hot and that they don’t need to change for anyone inspires me and makes me feel I am exactly where I need to be.”

One thing the agency did accomplish, though, was securing Lipa an audition for a commercial for The X Factor—and when her voice appeared in the ad, she eventually drew the attention of a management team working with Lana Del Rey. She signed a deal that allowed her to quit the restaurant and go from working on demos in her spare moments to focusing on recording.

“I always had a really clear idea of what I liked and what I didn’t, which made the process easier,” she says. During her years in Kosovo, she became a huge hip-hop fan; a Method Man/Redman show was her first concert. “I wanted to bring in my love for hip-hop and find some middle ground,’ she says. “Lyrically, the songs have more of a flow—especially ‘Bad Together’ and ‘Last Dance,’ where it’s really fast-paced, like I’m singing a rap but I have a pop chorus. That was always the goal.”

Lipa says that “Hotter Than Hell,” written before she got signed, was the first time she felt in command of her songwriting, but points to “Garden of Eden” as a turning point. “It kind of wrote itself,” she says. “All I had to do was set it off and be open and honest, and the story just happened.”

While recording Dua Lipa in New York, Los Angeles, Toronto, and London, she was rapidly learning the fearlessness and confidence necessary to write great songs. She says that more personal songs like “Genesis” and “No Goodbyes” indicate where her life is right now.

Lipa recently concluded her first tour, opening for Troye Sivan in the US and headlining dates of her own in the UK. Other than a brief panic attack during her very first show (“luckily people found it endearing, but I was terrified,” she says), performing live quickly became comfortable territory. “I can really be creative and let loose onstage,” she says. “Be really free, just go for it and enjoy it, and get lost in what I’m doing.” The critics instantly took notice: NPR said that she “hypnotized” on stage, while Idolator called her “completely badass” and SPIN raved “she’s headliner material—catch her while you can.”

Perhaps the most emotional experience in Dua Lipa’s young career was her triumphant return to Kosovo for a concert last summer. The appearance drew an astonishing 18,000 fans, and the singer needed a police escort to get from her family’s residence to the venue. “It was the craziest moment of my life,” she says. “Just so insane and so much fun.”

She used the proceeds from the homecoming show to create the Sunny Hill Foundation, named for the neighborhood where her parents reside. “We’re going to give to different charities every month for the youth of Kosovo,” she says. “I just want to do my part, because they’ve done so much for me there.”

This kind of hands-on involvement carries over to Lipa’s relationship with her fans, including close communication on social media and collaborations with her followers on merchandise design. A small group of dedicated Twitter followers rapidly grew into a community too big to keep up with as much as she would like. “We talk about all kinds of things on Twitter, though it’s getting harder now to reply to everything,” she says. “They can tell my moods from my tweets—they ask if I’m feeling OK.

The songs on Dua Lipa announce the arrival of a new force in pop—irresistible on the dance floor, thoughtful under closer inspection, constantly discovering creative possibilities. “I’ve grown a lot as a writer,” Lipa says. “It used to take me a really long time to write a song, but now it’s easier to be more open and say what I’m thinking without having to filter or hide from the people I’m in the room with. Just learning who I am and being able to tell a story.”

Show full bio
Dua Lipa Parking
Kia Forum, Inglewood, CA, United States
Oct 05, 2025
7:31PM PDT
More info

“This whole album is me, who I am and how I want to be seen as an artist,” says Dua Lipa. “I want people to really get to know me, so the album is everything that has happened in my life so far, and every song tells a different story.”

She may be young, but Lipa has plenty of stories to tell. The London-born child of Kosovar parents, she has already been nominated for awards by the BBC and MTV Europe, and was a finalist for the prestigious “Critics’ Choice” prize at the Brit Awards. She also won Best New Artist at the NME Awards, and two European Border Breakers Awards—she was one of only ten global recipients of the EBBA—including the night’s biggest prize, the “Public Choice” award, voted on by fans.

Her strong presence onstage (indicated by her European Festival Award for Best Newcomer of the Year) immediately separates her from so many emerging pop acts. But with 3.5 million in global sales, it’s her singles that have rapidly established her as a rising star—"Be the One" reached the Top Ten in a dozen European territories, "Hotter Than Hell" hit the Top Twenty in the UK, and “Blow Your Mind (Mwah)” climbed into Billboard’s Top 25 in the US. All of this, mind you, before putting out her first album.

Now, with the release of Dua Lipa, she reveals the full range of her ambitions—not just the dance-floor fire of her singles, but also a more introspective side. “I’ve been describing it as ‘dark pop’ because people have only heard the pop moments, but there are some really dark, singer-songwriter parts that I’m excited about,” she says.

Before Lipa was born, her father was a pop star in his native Kosovo; growing up, she absorbed the music of his favorite artists—Radiohead, Oasis, Stereophonics, Sting. Meanwhile, she was still a regular pop-obsessed kid, singing along to Destiny’s Child and S Club 7 (“stuff that you’d listen with your friends”) and especially Nelly and Pink. Those singers stood out, she says, for their “coolness and honesty—it was pop music, but there was something real about it.”

She attended the Sylvia Young Theater School until she was 11, when she and her family moved back to Kosovo, a country which she considers much more complex than its war-torn image. “Kosovo is changing and evolving so much,” she says. “It’s still very poor, there’s lot of places that are really run-down, but every time I go back there’s something new and better happening. There’s so much talent there, and people are starting to find out about it.”

Encouraged by a teacher who would make her perform Alicia Keys and Toni Braxton hits in school, Lipa began to think about singing—which had always been her “playground dream”—more seriously, and convinced her parents to let her move back to London when she was 15. Living with friends, she made it through high school, but failed her first year of A Levels as partying took priority over attendance.

Too ashamed to tell her friends (“I felt so bad, I just wanted to cover it up”), Lipa applied the same tenacity that has propelled her career ever since: She found an intensive one-year study program, got straight As, and was accepted into four universities. Though she wanted to prove that she could meet these academic challenges, her commitment to her music and her vision never wavered.

“I always told myself never to have a plan B - I feel like that's also one of the reasons I'm doing what I'm doing now, because I have never thought about doing anything else.”

Lipa was working in a restaurant, recording covers and posting them on social media, trying to find a way into the music business, when she was noticed on the street by a modeling agency. “Some of my friends were doing it,” she says. “But I was never put up for any good jobs, just random salons and whatever. And they said ‘If you want to do this properly, you need to lose a lot of weight.’ I tried to do it at first, but it made me very unhappy and caused me a lot of issues, a lot of body confidence problems. Modeling sounds so glamorous, but it really wasn’t a successful thing for me.”

"Every woman should have the privilege to love their body and feel sexy just the way they are,” she continues. “Being able to spread that message and to support all my girls who need to be told they’re fucking hot and that they don’t need to change for anyone inspires me and makes me feel I am exactly where I need to be.”

One thing the agency did accomplish, though, was securing Lipa an audition for a commercial for The X Factor—and when her voice appeared in the ad, she eventually drew the attention of a management team working with Lana Del Rey. She signed a deal that allowed her to quit the restaurant and go from working on demos in her spare moments to focusing on recording.

“I always had a really clear idea of what I liked and what I didn’t, which made the process easier,” she says. During her years in Kosovo, she became a huge hip-hop fan; a Method Man/Redman show was her first concert. “I wanted to bring in my love for hip-hop and find some middle ground,’ she says. “Lyrically, the songs have more of a flow—especially ‘Bad Together’ and ‘Last Dance,’ where it’s really fast-paced, like I’m singing a rap but I have a pop chorus. That was always the goal.”

Lipa says that “Hotter Than Hell,” written before she got signed, was the first time she felt in command of her songwriting, but points to “Garden of Eden” as a turning point. “It kind of wrote itself,” she says. “All I had to do was set it off and be open and honest, and the story just happened.”

While recording Dua Lipa in New York, Los Angeles, Toronto, and London, she was rapidly learning the fearlessness and confidence necessary to write great songs. She says that more personal songs like “Genesis” and “No Goodbyes” indicate where her life is right now.

Lipa recently concluded her first tour, opening for Troye Sivan in the US and headlining dates of her own in the UK. Other than a brief panic attack during her very first show (“luckily people found it endearing, but I was terrified,” she says), performing live quickly became comfortable territory. “I can really be creative and let loose onstage,” she says. “Be really free, just go for it and enjoy it, and get lost in what I’m doing.” The critics instantly took notice: NPR said that she “hypnotized” on stage, while Idolator called her “completely badass” and SPIN raved “she’s headliner material—catch her while you can.”

Perhaps the most emotional experience in Dua Lipa’s young career was her triumphant return to Kosovo for a concert last summer. The appearance drew an astonishing 18,000 fans, and the singer needed a police escort to get from her family’s residence to the venue. “It was the craziest moment of my life,” she says. “Just so insane and so much fun.”

She used the proceeds from the homecoming show to create the Sunny Hill Foundation, named for the neighborhood where her parents reside. “We’re going to give to different charities every month for the youth of Kosovo,” she says. “I just want to do my part, because they’ve done so much for me there.”

This kind of hands-on involvement carries over to Lipa’s relationship with her fans, including close communication on social media and collaborations with her followers on merchandise design. A small group of dedicated Twitter followers rapidly grew into a community too big to keep up with as much as she would like. “We talk about all kinds of things on Twitter, though it’s getting harder now to reply to everything,” she says. “They can tell my moods from my tweets—they ask if I’m feeling OK.

The songs on Dua Lipa announce the arrival of a new force in pop—irresistible on the dance floor, thoughtful under closer inspection, constantly discovering creative possibilities. “I’ve grown a lot as a writer,” Lipa says. “It used to take me a really long time to write a song, but now it’s easier to be more open and say what I’m thinking without having to filter or hide from the people I’m in the room with. Just learning who I am and being able to tell a story.”

Show full bio
Dua Lipa
Chase Center, San Francisco, CA, United States
Oct 11, 2025
7:30PM PDT
More info

“This whole album is me, who I am and how I want to be seen as an artist,” says Dua Lipa. “I want people to really get to know me, so the album is everything that has happened in my life so far, and every song tells a different story.”

She may be young, but Lipa has plenty of stories to tell. The London-born child of Kosovar parents, she has already been nominated for awards by the BBC and MTV Europe, and was a finalist for the prestigious “Critics’ Choice” prize at the Brit Awards. She also won Best New Artist at the NME Awards, and two European Border Breakers Awards—she was one of only ten global recipients of the EBBA—including the night’s biggest prize, the “Public Choice” award, voted on by fans.

Her strong presence onstage (indicated by her European Festival Award for Best Newcomer of the Year) immediately separates her from so many emerging pop acts. But with 3.5 million in global sales, it’s her singles that have rapidly established her as a rising star—"Be the One" reached the Top Ten in a dozen European territories, "Hotter Than Hell" hit the Top Twenty in the UK, and “Blow Your Mind (Mwah)” climbed into Billboard’s Top 25 in the US. All of this, mind you, before putting out her first album.

Now, with the release of Dua Lipa, she reveals the full range of her ambitions—not just the dance-floor fire of her singles, but also a more introspective side. “I’ve been describing it as ‘dark pop’ because people have only heard the pop moments, but there are some really dark, singer-songwriter parts that I’m excited about,” she says.

Before Lipa was born, her father was a pop star in his native Kosovo; growing up, she absorbed the music of his favorite artists—Radiohead, Oasis, Stereophonics, Sting. Meanwhile, she was still a regular pop-obsessed kid, singing along to Destiny’s Child and S Club 7 (“stuff that you’d listen with your friends”) and especially Nelly and Pink. Those singers stood out, she says, for their “coolness and honesty—it was pop music, but there was something real about it.”

She attended the Sylvia Young Theater School until she was 11, when she and her family moved back to Kosovo, a country which she considers much more complex than its war-torn image. “Kosovo is changing and evolving so much,” she says. “It’s still very poor, there’s lot of places that are really run-down, but every time I go back there’s something new and better happening. There’s so much talent there, and people are starting to find out about it.”

Encouraged by a teacher who would make her perform Alicia Keys and Toni Braxton hits in school, Lipa began to think about singing—which had always been her “playground dream”—more seriously, and convinced her parents to let her move back to London when she was 15. Living with friends, she made it through high school, but failed her first year of A Levels as partying took priority over attendance.

Too ashamed to tell her friends (“I felt so bad, I just wanted to cover it up”), Lipa applied the same tenacity that has propelled her career ever since: She found an intensive one-year study program, got straight As, and was accepted into four universities. Though she wanted to prove that she could meet these academic challenges, her commitment to her music and her vision never wavered.

“I always told myself never to have a plan B - I feel like that's also one of the reasons I'm doing what I'm doing now, because I have never thought about doing anything else.”

Lipa was working in a restaurant, recording covers and posting them on social media, trying to find a way into the music business, when she was noticed on the street by a modeling agency. “Some of my friends were doing it,” she says. “But I was never put up for any good jobs, just random salons and whatever. And they said ‘If you want to do this properly, you need to lose a lot of weight.’ I tried to do it at first, but it made me very unhappy and caused me a lot of issues, a lot of body confidence problems. Modeling sounds so glamorous, but it really wasn’t a successful thing for me.”

"Every woman should have the privilege to love their body and feel sexy just the way they are,” she continues. “Being able to spread that message and to support all my girls who need to be told they’re fucking hot and that they don’t need to change for anyone inspires me and makes me feel I am exactly where I need to be.”

One thing the agency did accomplish, though, was securing Lipa an audition for a commercial for The X Factor—and when her voice appeared in the ad, she eventually drew the attention of a management team working with Lana Del Rey. She signed a deal that allowed her to quit the restaurant and go from working on demos in her spare moments to focusing on recording.

“I always had a really clear idea of what I liked and what I didn’t, which made the process easier,” she says. During her years in Kosovo, she became a huge hip-hop fan; a Method Man/Redman show was her first concert. “I wanted to bring in my love for hip-hop and find some middle ground,’ she says. “Lyrically, the songs have more of a flow—especially ‘Bad Together’ and ‘Last Dance,’ where it’s really fast-paced, like I’m singing a rap but I have a pop chorus. That was always the goal.”

Lipa says that “Hotter Than Hell,” written before she got signed, was the first time she felt in command of her songwriting, but points to “Garden of Eden” as a turning point. “It kind of wrote itself,” she says. “All I had to do was set it off and be open and honest, and the story just happened.”

While recording Dua Lipa in New York, Los Angeles, Toronto, and London, she was rapidly learning the fearlessness and confidence necessary to write great songs. She says that more personal songs like “Genesis” and “No Goodbyes” indicate where her life is right now.

Lipa recently concluded her first tour, opening for Troye Sivan in the US and headlining dates of her own in the UK. Other than a brief panic attack during her very first show (“luckily people found it endearing, but I was terrified,” she says), performing live quickly became comfortable territory. “I can really be creative and let loose onstage,” she says. “Be really free, just go for it and enjoy it, and get lost in what I’m doing.” The critics instantly took notice: NPR said that she “hypnotized” on stage, while Idolator called her “completely badass” and SPIN raved “she’s headliner material—catch her while you can.”

Perhaps the most emotional experience in Dua Lipa’s young career was her triumphant return to Kosovo for a concert last summer. The appearance drew an astonishing 18,000 fans, and the singer needed a police escort to get from her family’s residence to the venue. “It was the craziest moment of my life,” she says. “Just so insane and so much fun.”

She used the proceeds from the homecoming show to create the Sunny Hill Foundation, named for the neighborhood where her parents reside. “We’re going to give to different charities every month for the youth of Kosovo,” she says. “I just want to do my part, because they’ve done so much for me there.”

This kind of hands-on involvement carries over to Lipa’s relationship with her fans, including close communication on social media and collaborations with her followers on merchandise design. A small group of dedicated Twitter followers rapidly grew into a community too big to keep up with as much as she would like. “We talk about all kinds of things on Twitter, though it’s getting harder now to reply to everything,” she says. “They can tell my moods from my tweets—they ask if I’m feeling OK.

The songs on Dua Lipa announce the arrival of a new force in pop—irresistible on the dance floor, thoughtful under closer inspection, constantly discovering creative possibilities. “I’ve grown a lot as a writer,” Lipa says. “It used to take me a really long time to write a song, but now it’s easier to be more open and say what I’m thinking without having to filter or hide from the people I’m in the room with. Just learning who I am and being able to tell a story.”

Show full bio
Dua Lipa Parking
Chase Center, San Francisco, CA, United States
Oct 11, 2025
7:31PM PDT
More info

“This whole album is me, who I am and how I want to be seen as an artist,” says Dua Lipa. “I want people to really get to know me, so the album is everything that has happened in my life so far, and every song tells a different story.”

She may be young, but Lipa has plenty of stories to tell. The London-born child of Kosovar parents, she has already been nominated for awards by the BBC and MTV Europe, and was a finalist for the prestigious “Critics’ Choice” prize at the Brit Awards. She also won Best New Artist at the NME Awards, and two European Border Breakers Awards—she was one of only ten global recipients of the EBBA—including the night’s biggest prize, the “Public Choice” award, voted on by fans.

Her strong presence onstage (indicated by her European Festival Award for Best Newcomer of the Year) immediately separates her from so many emerging pop acts. But with 3.5 million in global sales, it’s her singles that have rapidly established her as a rising star—"Be the One" reached the Top Ten in a dozen European territories, "Hotter Than Hell" hit the Top Twenty in the UK, and “Blow Your Mind (Mwah)” climbed into Billboard’s Top 25 in the US. All of this, mind you, before putting out her first album.

Now, with the release of Dua Lipa, she reveals the full range of her ambitions—not just the dance-floor fire of her singles, but also a more introspective side. “I’ve been describing it as ‘dark pop’ because people have only heard the pop moments, but there are some really dark, singer-songwriter parts that I’m excited about,” she says.

Before Lipa was born, her father was a pop star in his native Kosovo; growing up, she absorbed the music of his favorite artists—Radiohead, Oasis, Stereophonics, Sting. Meanwhile, she was still a regular pop-obsessed kid, singing along to Destiny’s Child and S Club 7 (“stuff that you’d listen with your friends”) and especially Nelly and Pink. Those singers stood out, she says, for their “coolness and honesty—it was pop music, but there was something real about it.”

She attended the Sylvia Young Theater School until she was 11, when she and her family moved back to Kosovo, a country which she considers much more complex than its war-torn image. “Kosovo is changing and evolving so much,” she says. “It’s still very poor, there’s lot of places that are really run-down, but every time I go back there’s something new and better happening. There’s so much talent there, and people are starting to find out about it.”

Encouraged by a teacher who would make her perform Alicia Keys and Toni Braxton hits in school, Lipa began to think about singing—which had always been her “playground dream”—more seriously, and convinced her parents to let her move back to London when she was 15. Living with friends, she made it through high school, but failed her first year of A Levels as partying took priority over attendance.

Too ashamed to tell her friends (“I felt so bad, I just wanted to cover it up”), Lipa applied the same tenacity that has propelled her career ever since: She found an intensive one-year study program, got straight As, and was accepted into four universities. Though she wanted to prove that she could meet these academic challenges, her commitment to her music and her vision never wavered.

“I always told myself never to have a plan B - I feel like that's also one of the reasons I'm doing what I'm doing now, because I have never thought about doing anything else.”

Lipa was working in a restaurant, recording covers and posting them on social media, trying to find a way into the music business, when she was noticed on the street by a modeling agency. “Some of my friends were doing it,” she says. “But I was never put up for any good jobs, just random salons and whatever. And they said ‘If you want to do this properly, you need to lose a lot of weight.’ I tried to do it at first, but it made me very unhappy and caused me a lot of issues, a lot of body confidence problems. Modeling sounds so glamorous, but it really wasn’t a successful thing for me.”

"Every woman should have the privilege to love their body and feel sexy just the way they are,” she continues. “Being able to spread that message and to support all my girls who need to be told they’re fucking hot and that they don’t need to change for anyone inspires me and makes me feel I am exactly where I need to be.”

One thing the agency did accomplish, though, was securing Lipa an audition for a commercial for The X Factor—and when her voice appeared in the ad, she eventually drew the attention of a management team working with Lana Del Rey. She signed a deal that allowed her to quit the restaurant and go from working on demos in her spare moments to focusing on recording.

“I always had a really clear idea of what I liked and what I didn’t, which made the process easier,” she says. During her years in Kosovo, she became a huge hip-hop fan; a Method Man/Redman show was her first concert. “I wanted to bring in my love for hip-hop and find some middle ground,’ she says. “Lyrically, the songs have more of a flow—especially ‘Bad Together’ and ‘Last Dance,’ where it’s really fast-paced, like I’m singing a rap but I have a pop chorus. That was always the goal.”

Lipa says that “Hotter Than Hell,” written before she got signed, was the first time she felt in command of her songwriting, but points to “Garden of Eden” as a turning point. “It kind of wrote itself,” she says. “All I had to do was set it off and be open and honest, and the story just happened.”

While recording Dua Lipa in New York, Los Angeles, Toronto, and London, she was rapidly learning the fearlessness and confidence necessary to write great songs. She says that more personal songs like “Genesis” and “No Goodbyes” indicate where her life is right now.

Lipa recently concluded her first tour, opening for Troye Sivan in the US and headlining dates of her own in the UK. Other than a brief panic attack during her very first show (“luckily people found it endearing, but I was terrified,” she says), performing live quickly became comfortable territory. “I can really be creative and let loose onstage,” she says. “Be really free, just go for it and enjoy it, and get lost in what I’m doing.” The critics instantly took notice: NPR said that she “hypnotized” on stage, while Idolator called her “completely badass” and SPIN raved “she’s headliner material—catch her while you can.”

Perhaps the most emotional experience in Dua Lipa’s young career was her triumphant return to Kosovo for a concert last summer. The appearance drew an astonishing 18,000 fans, and the singer needed a police escort to get from her family’s residence to the venue. “It was the craziest moment of my life,” she says. “Just so insane and so much fun.”

She used the proceeds from the homecoming show to create the Sunny Hill Foundation, named for the neighborhood where her parents reside. “We’re going to give to different charities every month for the youth of Kosovo,” she says. “I just want to do my part, because they’ve done so much for me there.”

This kind of hands-on involvement carries over to Lipa’s relationship with her fans, including close communication on social media and collaborations with her followers on merchandise design. A small group of dedicated Twitter followers rapidly grew into a community too big to keep up with as much as she would like. “We talk about all kinds of things on Twitter, though it’s getting harder now to reply to everything,” she says. “They can tell my moods from my tweets—they ask if I’m feeling OK.

The songs on Dua Lipa announce the arrival of a new force in pop—irresistible on the dance floor, thoughtful under closer inspection, constantly discovering creative possibilities. “I’ve grown a lot as a writer,” Lipa says. “It used to take me a really long time to write a song, but now it’s easier to be more open and say what I’m thinking without having to filter or hide from the people I’m in the room with. Just learning who I am and being able to tell a story.”

Show full bio
Dua Lipa
Climate Pledge Arena, Seattle, WA, United States
Oct 15, 2025
7:30PM PDT
More info

“This whole album is me, who I am and how I want to be seen as an artist,” says Dua Lipa. “I want people to really get to know me, so the album is everything that has happened in my life so far, and every song tells a different story.”

She may be young, but Lipa has plenty of stories to tell. The London-born child of Kosovar parents, she has already been nominated for awards by the BBC and MTV Europe, and was a finalist for the prestigious “Critics’ Choice” prize at the Brit Awards. She also won Best New Artist at the NME Awards, and two European Border Breakers Awards—she was one of only ten global recipients of the EBBA—including the night’s biggest prize, the “Public Choice” award, voted on by fans.

Her strong presence onstage (indicated by her European Festival Award for Best Newcomer of the Year) immediately separates her from so many emerging pop acts. But with 3.5 million in global sales, it’s her singles that have rapidly established her as a rising star—"Be the One" reached the Top Ten in a dozen European territories, "Hotter Than Hell" hit the Top Twenty in the UK, and “Blow Your Mind (Mwah)” climbed into Billboard’s Top 25 in the US. All of this, mind you, before putting out her first album.

Now, with the release of Dua Lipa, she reveals the full range of her ambitions—not just the dance-floor fire of her singles, but also a more introspective side. “I’ve been describing it as ‘dark pop’ because people have only heard the pop moments, but there are some really dark, singer-songwriter parts that I’m excited about,” she says.

Before Lipa was born, her father was a pop star in his native Kosovo; growing up, she absorbed the music of his favorite artists—Radiohead, Oasis, Stereophonics, Sting. Meanwhile, she was still a regular pop-obsessed kid, singing along to Destiny’s Child and S Club 7 (“stuff that you’d listen with your friends”) and especially Nelly and Pink. Those singers stood out, she says, for their “coolness and honesty—it was pop music, but there was something real about it.”

She attended the Sylvia Young Theater School until she was 11, when she and her family moved back to Kosovo, a country which she considers much more complex than its war-torn image. “Kosovo is changing and evolving so much,” she says. “It’s still very poor, there’s lot of places that are really run-down, but every time I go back there’s something new and better happening. There’s so much talent there, and people are starting to find out about it.”

Encouraged by a teacher who would make her perform Alicia Keys and Toni Braxton hits in school, Lipa began to think about singing—which had always been her “playground dream”—more seriously, and convinced her parents to let her move back to London when she was 15. Living with friends, she made it through high school, but failed her first year of A Levels as partying took priority over attendance.

Too ashamed to tell her friends (“I felt so bad, I just wanted to cover it up”), Lipa applied the same tenacity that has propelled her career ever since: She found an intensive one-year study program, got straight As, and was accepted into four universities. Though she wanted to prove that she could meet these academic challenges, her commitment to her music and her vision never wavered.

“I always told myself never to have a plan B - I feel like that's also one of the reasons I'm doing what I'm doing now, because I have never thought about doing anything else.”

Lipa was working in a restaurant, recording covers and posting them on social media, trying to find a way into the music business, when she was noticed on the street by a modeling agency. “Some of my friends were doing it,” she says. “But I was never put up for any good jobs, just random salons and whatever. And they said ‘If you want to do this properly, you need to lose a lot of weight.’ I tried to do it at first, but it made me very unhappy and caused me a lot of issues, a lot of body confidence problems. Modeling sounds so glamorous, but it really wasn’t a successful thing for me.”

"Every woman should have the privilege to love their body and feel sexy just the way they are,” she continues. “Being able to spread that message and to support all my girls who need to be told they’re fucking hot and that they don’t need to change for anyone inspires me and makes me feel I am exactly where I need to be.”

One thing the agency did accomplish, though, was securing Lipa an audition for a commercial for The X Factor—and when her voice appeared in the ad, she eventually drew the attention of a management team working with Lana Del Rey. She signed a deal that allowed her to quit the restaurant and go from working on demos in her spare moments to focusing on recording.

“I always had a really clear idea of what I liked and what I didn’t, which made the process easier,” she says. During her years in Kosovo, she became a huge hip-hop fan; a Method Man/Redman show was her first concert. “I wanted to bring in my love for hip-hop and find some middle ground,’ she says. “Lyrically, the songs have more of a flow—especially ‘Bad Together’ and ‘Last Dance,’ where it’s really fast-paced, like I’m singing a rap but I have a pop chorus. That was always the goal.”

Lipa says that “Hotter Than Hell,” written before she got signed, was the first time she felt in command of her songwriting, but points to “Garden of Eden” as a turning point. “It kind of wrote itself,” she says. “All I had to do was set it off and be open and honest, and the story just happened.”

While recording Dua Lipa in New York, Los Angeles, Toronto, and London, she was rapidly learning the fearlessness and confidence necessary to write great songs. She says that more personal songs like “Genesis” and “No Goodbyes” indicate where her life is right now.

Lipa recently concluded her first tour, opening for Troye Sivan in the US and headlining dates of her own in the UK. Other than a brief panic attack during her very first show (“luckily people found it endearing, but I was terrified,” she says), performing live quickly became comfortable territory. “I can really be creative and let loose onstage,” she says. “Be really free, just go for it and enjoy it, and get lost in what I’m doing.” The critics instantly took notice: NPR said that she “hypnotized” on stage, while Idolator called her “completely badass” and SPIN raved “she’s headliner material—catch her while you can.”

Perhaps the most emotional experience in Dua Lipa’s young career was her triumphant return to Kosovo for a concert last summer. The appearance drew an astonishing 18,000 fans, and the singer needed a police escort to get from her family’s residence to the venue. “It was the craziest moment of my life,” she says. “Just so insane and so much fun.”

She used the proceeds from the homecoming show to create the Sunny Hill Foundation, named for the neighborhood where her parents reside. “We’re going to give to different charities every month for the youth of Kosovo,” she says. “I just want to do my part, because they’ve done so much for me there.”

This kind of hands-on involvement carries over to Lipa’s relationship with her fans, including close communication on social media and collaborations with her followers on merchandise design. A small group of dedicated Twitter followers rapidly grew into a community too big to keep up with as much as she would like. “We talk about all kinds of things on Twitter, though it’s getting harder now to reply to everything,” she says. “They can tell my moods from my tweets—they ask if I’m feeling OK.

The songs on Dua Lipa announce the arrival of a new force in pop—irresistible on the dance floor, thoughtful under closer inspection, constantly discovering creative possibilities. “I’ve grown a lot as a writer,” Lipa says. “It used to take me a really long time to write a song, but now it’s easier to be more open and say what I’m thinking without having to filter or hide from the people I’m in the room with. Just learning who I am and being able to tell a story.”

Show full bio
Dua Lipa Parking
Climate Pledge Arena, Seattle, WA, United States
Oct 16, 2025
7:31PM PDT
More info

“This whole album is me, who I am and how I want to be seen as an artist,” says Dua Lipa. “I want people to really get to know me, so the album is everything that has happened in my life so far, and every song tells a different story.”

She may be young, but Lipa has plenty of stories to tell. The London-born child of Kosovar parents, she has already been nominated for awards by the BBC and MTV Europe, and was a finalist for the prestigious “Critics’ Choice” prize at the Brit Awards. She also won Best New Artist at the NME Awards, and two European Border Breakers Awards—she was one of only ten global recipients of the EBBA—including the night’s biggest prize, the “Public Choice” award, voted on by fans.

Her strong presence onstage (indicated by her European Festival Award for Best Newcomer of the Year) immediately separates her from so many emerging pop acts. But with 3.5 million in global sales, it’s her singles that have rapidly established her as a rising star—"Be the One" reached the Top Ten in a dozen European territories, "Hotter Than Hell" hit the Top Twenty in the UK, and “Blow Your Mind (Mwah)” climbed into Billboard’s Top 25 in the US. All of this, mind you, before putting out her first album.

Now, with the release of Dua Lipa, she reveals the full range of her ambitions—not just the dance-floor fire of her singles, but also a more introspective side. “I’ve been describing it as ‘dark pop’ because people have only heard the pop moments, but there are some really dark, singer-songwriter parts that I’m excited about,” she says.

Before Lipa was born, her father was a pop star in his native Kosovo; growing up, she absorbed the music of his favorite artists—Radiohead, Oasis, Stereophonics, Sting. Meanwhile, she was still a regular pop-obsessed kid, singing along to Destiny’s Child and S Club 7 (“stuff that you’d listen with your friends”) and especially Nelly and Pink. Those singers stood out, she says, for their “coolness and honesty—it was pop music, but there was something real about it.”

She attended the Sylvia Young Theater School until she was 11, when she and her family moved back to Kosovo, a country which she considers much more complex than its war-torn image. “Kosovo is changing and evolving so much,” she says. “It’s still very poor, there’s lot of places that are really run-down, but every time I go back there’s something new and better happening. There’s so much talent there, and people are starting to find out about it.”

Encouraged by a teacher who would make her perform Alicia Keys and Toni Braxton hits in school, Lipa began to think about singing—which had always been her “playground dream”—more seriously, and convinced her parents to let her move back to London when she was 15. Living with friends, she made it through high school, but failed her first year of A Levels as partying took priority over attendance.

Too ashamed to tell her friends (“I felt so bad, I just wanted to cover it up”), Lipa applied the same tenacity that has propelled her career ever since: She found an intensive one-year study program, got straight As, and was accepted into four universities. Though she wanted to prove that she could meet these academic challenges, her commitment to her music and her vision never wavered.

“I always told myself never to have a plan B - I feel like that's also one of the reasons I'm doing what I'm doing now, because I have never thought about doing anything else.”

Lipa was working in a restaurant, recording covers and posting them on social media, trying to find a way into the music business, when she was noticed on the street by a modeling agency. “Some of my friends were doing it,” she says. “But I was never put up for any good jobs, just random salons and whatever. And they said ‘If you want to do this properly, you need to lose a lot of weight.’ I tried to do it at first, but it made me very unhappy and caused me a lot of issues, a lot of body confidence problems. Modeling sounds so glamorous, but it really wasn’t a successful thing for me.”

"Every woman should have the privilege to love their body and feel sexy just the way they are,” she continues. “Being able to spread that message and to support all my girls who need to be told they’re fucking hot and that they don’t need to change for anyone inspires me and makes me feel I am exactly where I need to be.”

One thing the agency did accomplish, though, was securing Lipa an audition for a commercial for The X Factor—and when her voice appeared in the ad, she eventually drew the attention of a management team working with Lana Del Rey. She signed a deal that allowed her to quit the restaurant and go from working on demos in her spare moments to focusing on recording.

“I always had a really clear idea of what I liked and what I didn’t, which made the process easier,” she says. During her years in Kosovo, she became a huge hip-hop fan; a Method Man/Redman show was her first concert. “I wanted to bring in my love for hip-hop and find some middle ground,’ she says. “Lyrically, the songs have more of a flow—especially ‘Bad Together’ and ‘Last Dance,’ where it’s really fast-paced, like I’m singing a rap but I have a pop chorus. That was always the goal.”

Lipa says that “Hotter Than Hell,” written before she got signed, was the first time she felt in command of her songwriting, but points to “Garden of Eden” as a turning point. “It kind of wrote itself,” she says. “All I had to do was set it off and be open and honest, and the story just happened.”

While recording Dua Lipa in New York, Los Angeles, Toronto, and London, she was rapidly learning the fearlessness and confidence necessary to write great songs. She says that more personal songs like “Genesis” and “No Goodbyes” indicate where her life is right now.

Lipa recently concluded her first tour, opening for Troye Sivan in the US and headlining dates of her own in the UK. Other than a brief panic attack during her very first show (“luckily people found it endearing, but I was terrified,” she says), performing live quickly became comfortable territory. “I can really be creative and let loose onstage,” she says. “Be really free, just go for it and enjoy it, and get lost in what I’m doing.” The critics instantly took notice: NPR said that she “hypnotized” on stage, while Idolator called her “completely badass” and SPIN raved “she’s headliner material—catch her while you can.”

Perhaps the most emotional experience in Dua Lipa’s young career was her triumphant return to Kosovo for a concert last summer. The appearance drew an astonishing 18,000 fans, and the singer needed a police escort to get from her family’s residence to the venue. “It was the craziest moment of my life,” she says. “Just so insane and so much fun.”

She used the proceeds from the homecoming show to create the Sunny Hill Foundation, named for the neighborhood where her parents reside. “We’re going to give to different charities every month for the youth of Kosovo,” she says. “I just want to do my part, because they’ve done so much for me there.”

This kind of hands-on involvement carries over to Lipa’s relationship with her fans, including close communication on social media and collaborations with her followers on merchandise design. A small group of dedicated Twitter followers rapidly grew into a community too big to keep up with as much as she would like. “We talk about all kinds of things on Twitter, though it’s getting harder now to reply to everything,” she says. “They can tell my moods from my tweets—they ask if I’m feeling OK.

The songs on Dua Lipa announce the arrival of a new force in pop—irresistible on the dance floor, thoughtful under closer inspection, constantly discovering creative possibilities. “I’ve grown a lot as a writer,” Lipa says. “It used to take me a really long time to write a song, but now it’s easier to be more open and say what I’m thinking without having to filter or hide from the people I’m in the room with. Just learning who I am and being able to tell a story.”

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Jose Gonzalez (Rescheduled from 10/15/2024)
The Hall, Little Rock, AR, United States
Nov 11, 2025
8:00PM CDT
More info

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.

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New Kids On the Block
Dolby Live at Park MGM, Las Vegas, NV, United States
Nov 14, 2025
8:00PM PDT