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louisupdates · 6 months

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The Habit He Can’t Break, 1/4

IQ 123 | Gordon Masson | 9.11.2023

Usually, when an act completes a world tour, they come off the road for an extended period to rest, record new material, and then typically two or three years later, the wheels are set in motion for an album, released, promo, and tour dates.

Louis Tomlinson did not get that memo.

His first solo tour ran late due to the pandemic restrictions, meaning that by the time it concluded in September 2022, his second album, Faith in the Future, was scheduled to drop and tickets for the associated tour were ready to go on sale.

“This tour went on sale late October or November - basically a year in advance,” explains agent, Holly Rowland, who represents Tomlinson alongside Alex Hardee, internationally, while Wasserman Music colleagues, Marty Diamond and Ash Mowry-Lewis do likewise for North America.

Despite that quick turnaround between tours, Rowland reports that ticket sales for the current tour are going very well indeed. “The first leg went through Scandinavia before doing the Baltics and Eastern Europe – Romania, Bulgaria, and Greece – places that most people, especially arena-level acts, don’t really go. And the second leg, which is more mainland Europe, started 2 October.”

The tour is big. Very big for just a second outing in his own name.

Between May and July this year, Tomlinson played 39 dates in the US and Canada across a mix of amphitheaters, arenas, pavilions, and stadiums. In August, he returned to Europe, where he currently is in the midst of another 39 dates in arenas across the continent and the UK, which will take him to 18 November. Then, in early 2024, the Faith in the Future tour goes to Australia for two outdoor dates in Melbourne and Brisbane, before he takes the show to the country’s biggest indoor venue, the Qudos Bank Arena in Sydney.

And, as IQ went to press, Louis Tomlinson released dates for a return to Latin America in May 2024 for a mix of indoor and outdoor shows, including stadia, across Mexico, Argentina, Brazil, Chile, Colombia, Costa Rica, Panama, Paraguay, Puerto Rico, and Uruguay.

“We’re going to Australia and part of Asia early next year,” states artist manager Matt Vines of London-based Seven 7 Management. We then go into Latin America in May and June. And then we’ll handpick a selection of festivals next summer, before we draw the line on the campaign at the end of the summer.”

Rowland comments, “The tour before obviously was a Covid tour where the dates had to be chopped and changed. The positive aspect of that was that we were able to upgrade venues where that made sense. But it was really nice to start from scratch on this tour to make sure the routing was all going in the right direction.”

Back to You

Playing a major role in shifting that ticketing inventory is a network of promoters also enjoying Tomlinsons rising star.

“On this tour, it’s mainly Live Nation – we use a lot of the One Direction promoter,” explains Rowland. “But for Greece, we used Honeycomb Live, Charmenko did Romania, 8 Days A Week promoted the three shows in the Baltics, All Things Live did Finland, Fource are doing Orague, it’s Gadget in Switzerland, Atelier in Luxembourg, and when we get to the UK, it’s SJM, and MCD in Ireland.”

With a total of 39 European dates, Rowland split the outing into separate legs, scheduling a break after Scandinavia, the Balkans, Baltics, and Athens, Greece, and another after mainland Europe, ending in Zürich, Switzerland.

“It’s a perfect ratio, if I do say so myself,” she laughs. “It was right to split it up – 39 dates is a long, long tour, especially with the American tour throughout the summer being 11 weeks! We made sure to schedule days off, for everyone to recharge their batteries.”

In Spain, Nacho Córdoba at Live Nation promoted Tomlinson’s shows in Bilbao, Madrid, and Barcelona, and reports sell-outs at each of the arenas involved.

“When Louis was last here, it was three days before the pandemic shut everything down in Spain. In fact, I think he played the final show before the market closed because of Covid.,” says Córdoba.

“Last year, Louis organized his Away From Home Festival in Fuengirola, and that also sold out, so we know he has a big following in Spain, and we also know that Spanish fans are super loyal. So, on this tour we sold out 7,000 tickets at Bilbao Arena Miribilla, 13,600 tickets at Wizink in Madrid, and 11,200 at Palau St Jordi in Barcelona.”

Already looking forward to Tomlinson “and his fantastic team” returning on the next tour, Córdoba believes it will be important to see what happens with the next album – and Tomlinson’s expectations – before making any plans.

“The most important thing is to keep the fans happy and keep the momentum building with Louis,” he states. “I am a big fan of the arenas, because the atmosphere at his shows was incredible. So, rather than look at going bigger, it might be a case of looking at other arenas in other markets. Whatever he does, we cannot wait to have Louis back in Spain.”

Stefan Wyss at Gadget abc Entertainment in Switzerland promoted Tomlinson when he visited Zurich’s Hallenstadion on 23 October and explains that he previously played the city’s Halle 622 venue on the first tour.

Recalling the debut solo outing, Wyss tells IQ, “At first, we announced a mid-size theatre club show, 1,800-capacity, but it sold out instantly. Then we moved it to Halle 62, which is 3-500-cap and that also sold out immediately, so it was a really big success.

“They’ve invested a lot in the production of this current tour, and it’s doing really strong numbers, so that’s why we decided to go to the arena this time around, where we set a mid-size capacity of 7,000, which is good for a small market like Switzerland, especially because he’s coming back just one year later and playing a much bigger show.”

Wyss adds, “He’s kept the ticket prices reasonable – and he never wants to do any gold circle or VIP tickets. I think that’s why he’s so close to his fans, because it’s not about maximising profits. Another reason for his success is that in addition to attracting a mainstream audience, he’s also getting the music lovers because he’s just a very good songwriter and has brilliant songs.”

Wyss also notes that with many young fans typically arriving the day before the concert, the responsibility to look after them is extended. “We set up toilets, we have security overnight, we give water away. It’s part of the organization that we will take care of the fans.”

Fresh from announcing 12 dates across Argentina, Brazil, Chile, Colombia, Costa Rica, Peru, Paraguay, Panama, Puerto Rico, and Uruguay, promoter Fabiano Lima De Queiroz at Move Concerts reports that Tomlinson will visit a mix of arenas, as well as stadiums in Santiago, São Paulo, and Buenos Aires, during his May tour.

“Our first tour with Louis was supposed to be in 2020 and we’d booked half arenas everywhere – 5,000–6,000 capacities,” he informs IQ. “Louis was one of those acts who connected very well with the fans during the pandemic, so when we shifted the dates, first to 2021, and then to 2022, we ended up selling out and having to upgrade in certain metropolitan markets.”

2/4, 3/4, 4/4

#iq magazine #louis tomlinson #louis press #9.11.2023

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dailytomlinson · 6 months

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Faith In The Future Tour (Behind The Scenes) for IQ

Full interview with Matt Vines, tour promoters, agents and more people involved in the making of the tour under the cut:

Usually, when an act completes a world tour they come off the road for an extended period to rest, record new material, and then typically two or three years later the wheels are set in motion for an album release, promo, and tour dates. Louis Tomlinson did not get that memo. His first solo tour ran late due to the pandemic restrictions, meaning that by the time it concluded in September 2022, his second album, Faith In The Future, was scheduled to drop and tickets for the associated tour were ready to go on sale.

“This tour went on sale last October or November ‒ basically a year in advance,” explains agent Holly Rowland, who represents Tomlinson, alongside Alex Hardee, internationally, while Wasserman Music colleagues Marty Diamond and Ash Mowry-Lewis do likewise for North America.

Despite that quick turnaround between tours, Rowland reports that ticket sales for the current tour are going very well indeed. “The first leg went through Scandinavia before doing the Baltics and Eastern Europe ‒ Romania, Bulgaria, and Greece ‒ places that most people, especially arena-level acts, don’t really go. And the second leg, which is more mainland Europe, started on 2 October.”

The tour is big. Very big for just a second outing in his own name.

Between May and July this year, Tomlinson played 39 dates in the US and Canada across a mix of amphitheaters, arenas, pavilions, and stadiums. In August, he returned to Europe, where he is currently in the midst of another 39 dates in arenas across the continent and the UK, which will take him to 18 November. Then, in early 2024, the Faith In The Future tour goes to Australia for two outdoor dates in Melbourne and Brisbane, before he takes the show to the country’s biggest indoor venue, the Qudos Bank Arena in Sydney.

And, as IQ went to press, Tomlinson released dates for a return to Latin America in May 2024 for a mix of indoor and outdoor shows, including stadia, across Mexico, Argentina, Brazil, Chile, Colombia, Costa Rica, Panama, Paraguay, Puerto Rico, and Uruguay.

“We’re going to Australia and part of Asia early next year,” states artist manager Matt Vines of London-based Seven 7 Management. “We then go into Latin America in May and June. And then we’ll handpick a selection of festivals next summer, before we draw the line on the campaign at the end of the summer.”

Rowland comments, “The tour before obviously was Covid tour where the date had to be chopped and changed. The positive aspect of that was that we were able to upgrade venues where that made sense. But it was really nice to start from scratch on this tour to make sure the routing was all going in the right direction.” She reports, “We’ve done nearly 16,000 tickets in Amsterdam, and 14,000 in Paris, which I think just underlines his credibility as an artist and his growing reputation among fans.”

Playing a major role in shifting that ticketing inventory is a network of promoters also enjoying Tomlinson’s rising star.

“On this tour, it’s mainly Live Nation ‒ we use a lot of the One Direction promoter,” explains Rowland. “But for Greece, we used Honeycomb Live, Charmenko did Romania, 8 Days A Week promoted the three shows in the Baltics, All Things Live did Finland, Fource are doing Prague, it’s Gadget in Switzerland, Atelier in Luxembourg, and when we get to the UK, it’s SJM, and MCD in Ireland.”

With a total of 39 European dates, Rowland split the outing into separate legs, scheduling a break after Scandinavia, the Balkans, Baltics and Athens, Greece and another after mainland Europe ending in Zurich, Switzerland.

“It's a perfect ratio, if I do say so myself,” she laughs. “It was right to split it up ‒ 39 dates in a long, long tour, especially with the American tour throughout the summer being 11 weeks! We made sure to schedule days off, for everyone to recharge their batteries.”

In Spain, Nacho Córdoba at Live Nation promoted Tomlinson’s shows in Bilbao, Madrid, and Barcelona and reports sell-outs at each of the arenas involved.

“When Louis was last here, it was three days before the pandemic shut everything down in Spain. In fact, I think he played the final show before the market closed because of Covid,” says Córdoba.

“Last year, Louis organised his Away From Home festival in Fuengirola, and that also sold out, so we know he has a big following in Spain, and we also know that Spanish fans are super loyal. So, on this tour we sold out 7,000 tickets at Bilbao Arena Miribilla, 13,600 tickets at WiZink in Madrid, and 11,200 at Palau St Jordi in Barcelona.”

Already looking forward to Tomlinson “and his fantastic team” returning on the next tour, Córdoba believes it will be important to see what happens with the next album ‒ and Tomlinson’s expectations ‒ before making any plans.

Recalling that debut solo outing, Wyss tells IQ, “At first, we announced a mid-size theatre club show, 1,800-capacity, but it sold out instantly. Then we moved it to Halle 622, which it 3,500-cap, and that also sold out immediately, so it was a really big success.

Wyss adds, “He’s kept the ticket prices reasonable ‒ and he never wants to do any gold circle or VIP tickets. I think that’s why he’s so close to his fans, because it’s not about maximising profits. Another reason for his success is that in addition to attracting a mainstream audience, he’s also getting music lovers because he’s just a very good songwriter and has brilliant songs.”

Fresh from announcing 12 dates across Argentina, Brazil (x 3), Chile, Colombia, Costa Rica, Pery, Paraguay, Panama, Puerto Rico, and Uruguay, promoter Fabiano Lime de Queiroz at Move Concerts reports that Tomlinson will visit a mix of arenas, as well as stadiums in Santiago, São Paulo, and Buenos Aires during his May tour.

“Our first tour with Louis was supposed to be in 2020 and we’d booked half arenas everywhere ‒ 5,000-6,000 capacities,” he informs IQ. “Louis was one of those acts who connected very well with the fans during the pandemic, so when we shifted dates, first to 2021, and then to 2022, we ended up selling out and having to upgrade in certain metropolitan markets.”

“In Santiago, for instance, we’d sold out two full arenas of 13,000 cap, but then the government declared that for mass gatherings the numbers needed to be limited to 10,000 people.”

Rather than let fans down, Move added a third date, which again ended up selling out. “I remember being on a night plane from Miami, while Matt Vines was flying in from Dallas, and we were both using the aircraft wi-fi to negotiate via text for that third show,” says Queiroz. “It was an interesting way to confirm putting the third date on sale, just three days before the actual show!”

He adds, “We’re taking a big bet on this tour when it comes to the number of cities and the capacities of the venues, but we’re hoping for the best and we’ve gone out strong. We feel that the artist is in a good moment and that the latest album has just created more interest, so we’re looking forward to when he arrives in May.”

Further north, Ocesa will prompte three dates in Mexico, including a stadium show at the F1 circuit, Autódromo Hermanos Rodríguez, deepening Tomlinson’s footprint in that crucial North America market.

Meanwhile, in Tomlinson’s homeland, Jack Downling at SJM is promoting seven UK dates in November at arenas in Sheffield, Manchester, Glasgow, Brighton, Cardiff, London, and Birmingham, which will round out the European leg of the tour.

“SJM has done every show Louis has been involved with, including all the One Direction arena and stadium shows,” notes Dowling, adding that on the first tour, the London show was originally pencilled in as a Roundhouse, then two Roundhouse shows, before finally being upgraded to Wembley Arena.

“This time, The O2 arena show in London will be sold out, while all the others have passed the expectations of where we wanted to be on this tour. In fact, when the UK dates were announced, it ranked as the fourth most engaged tour on social media in SJM’s history ‒ his fans are just nuts.”

But Downling also reports that the fanbase for Tomlinson is expanding. “The demographics are pulling not just from pop but also from indie rock now.”

Downling adds, “Louis really looks after his fans. On the last tour they did a deal with Greggs {bakery chain} to give free food to the people waiting in line, as some of them camped out for days in advance.”

Ensuring his fans are looked after properly is the number-one priority in Tomlinson’s live career.

Noting that Tomlinson’s audience comprises mainly young women and girls, Rowland reveals that, at the artists’s insistence, a safety team has been added to the tour to ensure everyone that attends his shows is looked after. “Thry manage all the safety within the shows for the fans,” she explains. “They came in for the Wembley show last year and have been with us ever since ‒ they’ve been beneficial to the running of the tour.”

“When he played in South America, some of his fans were camping outside for a month. So we have a responsibility to look after them. Coming to a show should be a safe space, it’s where they find joy, and we have a responsibility to protect that.”

Manager Vines comments, “One issue we came up against almost all last year was crushing and fans passing out. We adopted a system where we could communicate with fans, who could hold up a mobile phone with a flashing red-and-white sign if they were in trouble but then we’d see them all popping up.”

“I don’t know whether some of that was a hangover of the pandemic where fans just weren’t used to being in venues. But we experienced a number of situations where hydration and temperatures in venues became an issue. I know Billie Eilish went through similar issues.”

With Tomlinson determined to meet a duty of care towards his fans, Vines says that the team now sends a “considerable advance package” to promoters ahead of their tour dates. “Our safety team goes into venues in the morning and basically ensures that a number of different things are in place ‒ making sure that water is given to the fans, where the water comes from, and at what points in the show it happens.”

And on the crushing phenomena, he reports, “We’ve worked out how many fans it’s safe to have without a secondary barrier. So we instruct promoters to have certain barriers in place to relieve that pressure and avoid crushing.”

He adds, “I get detailed incident reports after each show, which lets myself and my management team know exactly what happened, and so far on this tour, we haven’t had any issues with crushing or hydration, which is fantastic.”

Production manager Craig Sherwood is impressed by the way the tour has pivoted to protect the ‘Louies’. “The welfare officers are vital for the young girls who are aged from, I guess, 14 upwards. They can get dehydrated and malnourished pretty quickly if they are camping out for days, so it’s important that we look out for their wellbeing,” says Sherwood.

Citing the extremes that the Louies will put themselves through in an effort to secure themselves prime positions at the front of the stage, Sherwood recalls, “The first show on our US tour was in February, and it was freezing, but we found out that girls had been camping out on the pavement for five days. It’s crazy, as we know these young girls are coming from all over the world to see Louis.”

However, Tomlinson’s connection with those fans is evident in the level of merchandise sales at each show. “It’s a huge part of our business,” says Vines. “In America, we averaged about $36 a head, and it’s not much shy of that in Europe ‒ we’ve set a few national records in terms of spend per head. But we spend a lot of time on merch plans, and we do venue-specific drops and give it a lot of care and attention, as it’s a really important element of Louis’ business.”

Making sure that the Faith In The Future tour delivers Tomlinson to his growing legion of fans, PM Sherwoord’s long association with artist manager Vines made him the obvious choice when the artist first began his solo career.

“I remember doing a lot of promo dates around the UK and US before we started touring properly,” says Sherwood of his work with Tomlinson. “In fact, one of the first shows I remember doing with Louis was in Madrid when he played in a stadium, and I could see it was a taste of things to come.”

The partnership between Sherwood and Vines is crucial.

“In terms of the show growing, our biggest challenge is keeping costs down, because we’re extremely cautious on ticket pricing,” says Vines. “We don’t do dynamic pricing, we don’t do platinium ticketing, we don’t do paid VIPs, we don’t increase ticket prices on aisle seats ‒ all those tricks that everyone does that most fans don’t know about: we don’t do any of those.”

“So, when it comes to the production side of things, we need to be incredibly careful. But I’ve been working with Craig for a decade, and he knows the importance of trying to keep costs as low as possible. For instance, we’ll run the show virtually a number of times so Louis can watch it with the show designer, Tom Taylor, make comments and tweak things. Then we’ll go into pre-production. But we try to do as much in virtual reality as possible before we take it into the physical world.”

Sherwood states, “Basically, we started out with two or three trucks, but now we’re up to nine, and things seem to be getting bigger day by day.”

Thankfully, Sherwood has amassed a vastly experienced crew over the years, allowing them to handle even the most unexpected scenarios. “I’ve been touring since the dawn of time, but the core crew I work with now have been together since about 2010, and I trust them implicitly, so I leave it up to them who they hire, as long as they think I’m going to like them, and they’ll get along with everyone. So far, it has worked well,” Sherwood reports.

And that veteran crew has dealt with some terrifying weather extremes on the current tour, including a show at Red Rocks in Colorado where the audience were subjected to a freak storm with golf ball-sized hailstones injuring dozens of people.

Elsewhere, the crew has had to act quickly when the threat of high winds in Nashville caused problems on that outdoor run. “We didn’t want the video screens blowing about above the heads of the band, so it must have been amusing for the audience to see us taking them down,” Sherwood reports.

Indoors in Europe, the environment has been more controllable. The production itself involves an A-stage set 180 degrees across the barricades, although Sherwood says that on occasion a catwalk is also used by the performers.

“It’s a great lighting show and fantastic for audio, as we have a phenomenal front-of-house sound engineer ‒ John Delf from Edge Studios ‒ who makes life very easy for the rest of us,” says Sherwood. He also namechecks Barrie Pitt (monitor engineer), Oli Crump (audio system designer), Tom Taylor (lighting designer), Sam Kenyon (lighting technical director), and Torin Arnold (stage manager), while he praises Solo-Tech for supplying the sound, and Colour Sound Experiment (CSE) for taking charge of lighting video, and rigging equipment.

Indeed, CSE has ten personnel out with the Faith In The Future tour. “We have eight screens on the road ‒ six on stage plus two IMAGS that we use wherever appropriate,” the company’s Haydn Cruickshank tells IQ.

“We need to tweak the rigging on a daily basis, as we move to different venues, but other than that it’s a fairly smooth process thanks to Craig Sherwood. He is old-school and planned and worked on the production very far in advance, which is a great scenario for all involved. Craig is definitely one of our favourite production managers to work with.”

Garry Lewis at bussing contractors Beat The Street is also a fan of PM Sherwood.

“Craig split the European tour into different runs. So, from Hamburg to Zurich, we had two super high-decker 12-berth buses for the tour party and two 16-berth double-deckers for the crew,” says Lewis. “After the show in Athens, we still have the two super high-deckers, as Louis loves them ‒ he prefers to spend time on the bus, rather than in hotels ‒ but we also have two 12-berth super high-deckers for the crew, as well as another crew 16-berth double-decker.”

Lewis continues, “We’ve worked with Craig for a good few years, and we have a great relationship with him. He plans everything way in advance, so it means it’s all very straightforward for us with no issues. So, we use single drivers for each bus, except on the longer runs or when our drivers are scheduled for prolonged breaks, and then we’ll fly in extra drivers as needed.”

With the production travelling to Australia in early 2024, before shifting to Latin America, Andy Lovell at Freight Minds is gearing up to become involved with Tomlinson once again.

“We did the Central and South America dates on the tour last year, and onto Mexico,” says Lovell. “It was very challenging back then as we were still coming back from Covid, and various systems and infrastructure were in pieces. But it all went well in the end, as we kept an eye on things and worked on it every day to make sure we had solutions to everything that was thrown our way.”

Lovell continues, “Things on this tour kick in early next year for us. Historically, Australian services were quite reliable, as we could use any number of airlines. But post-pandemic, the number of long-haul flights still aren’t as frequent as they were. As a result, the production is being reverse engineered with the budget being worked out before we can see what we can afford to take as freight, and then we try to plan accordingly.”

“Similarly, in Central and South America there are still just a fraction of the flights operating, compared to pre-Covid, so that makes it very challenging. If there aren’t the flights to handle the gear, then you have to start looking at chartering aircraft, or alter your schedule, and that can become very expensive, very fast.”

With everyone working on the artist’s behalf to make sure the tour remains on track, being able to call on such experienced production experts is paying off on a daily basis.

Sherwood notes, “There are a few back-to-back shows over long distances that occasionally mean we don’t arrive at the next venue until 11am, rather than 6am. But we’ve never failed anywhere to open the doors on time, so we know we’re capable of getting things done, even if we have a late start at mid-day.”

Such dilemmas are not lost on agent Rowland. “It’s not so much the routing, it’s more like the timings, because Louis does have two support acts, so the show starts at 7 o’clock, and then when we’re done, we need to load out to get to the next show in good time for loading in the next morning and soundchecks, etc.”

Nonetheless, Sherwood admits that he loves the trickier venues and schedules. “Because I’m a dinosaur, I relish anything that makes things difficult or awkward for us on the production side of things,” he says. “I think everyone on the crew looks forward to challenges and finding the solutions to problems.”

Having amassed millions of fans through his association with One Direction, Tomlinson very much has a ‘pay it forward’ attitude to music and is building a reputation as a champion for emerging talent, wherever he performs.

“He’s a great advocate for alternative music,” says manager Vines. “Louis realises that he’s in an incredibly privileged position in terms of what he can create in terms of awareness. He loves alternative music and indie music, and he understands how hard it is for that music to be heard. But we have this amazing platform where we can put these bands in front of these audiences as a showcase that allows them to build these authentic new audiences. It’s a hude part of his love of music, wanting to help younger bands.”

Rowland agrees. “He took an act called Andrew Cushin ‒ a very new artist ‒ on the road in America with him as his support, and he’s doing the same for Europe. Louis is a fan and is championing his career.”

Indeed, Tomlinson’s A&R skills have knock-on effects for his agent, too. “He asked me to confirm the Australian band Pacific Avenue as support for his Australian tour last year. The music was great and they didn’t have an agent, so now I’m representing them!” says Rowland.

As the European tour speeds toward its conclusion, agent Rowland is enjoying every minute of it.

“It’s incredible ‒ they’ve really stepped things up,” she says, fresh from seeing the show in Athens and Paris. “They’ve got 6 hanging LED screens on the stage, and the whole production just looks polished and professional.”

And Rowland is especially excited about next year’s Latin America dates, which will deliver her first stadium shows as an agent.

“The return to Latin America is going to be huge ‒ Louis is playing arenas and stadiums in South America and Mexico: 15 shows in 11 countries,” she says.

Vines is similarly enthused. Harking back to the Covid situation, when a show would go on sale, sell out, be postponed, and then rescheduled in a bigger venue, Vines says, “For example, in Chile, originally the show was scheduled at a 5,000-cap, half-capacity arena in Santiago. And what we ended up doing was three nights at 10,000-cap in that same venue.”

Vines contends that Tomlinson’s work ethic is outstanding. “He loves his fans, and he loves performing for them, it’s as simple as that,” he says. “He just loves being on the road and seeing how the songs connect live. In fact, the second album was very much written with the tour and live shows in mind ‒ ‘This song could work live,’ ‘This one will open the set,’ ‘This is the one we can do for the encore.’”

Another element to Tomlinson’s psyche has been his decision to visit places off the usual tour circuit.

“Louis has a real desire to perform to fans in markets that are often overlooked,” says Rowland.

Manager Vines explains that while the Covid-delayed first tour allowed them to upgrade venues pretty much everywhere, “On this tour, we’re a bit more competent on venue sizes, but we still speculate a little bit in different territories. In Europe, for example, we’ve gone into the Baltics and a number of different places to test the markets there, while in America, we are looking at A and B markets but also tertiary markets as well ‒ we go to places where people just don’t tour in America, just to see what the reaction is. That was something that very much interested Louis ‒ to play in front of people who don’t normally have gigs in their town. So there’s been a lot of experimentation on this tour in terms of where we go and what room to play.”

That concept is something that Vines has employed before. “I manage a band called Hurts who were pretty much overlooked by the British radio system and we have spent 15 years building a business outside of the UK. And that was built on going to play at those places where people didn’t normally go. They built to multiple arena level in Russia, for instance.”

“If you can build fanbases in lots of different places, you have festivals that you can play every summer, as well as youring those places. It allows you to have more consistency over a number of years, by having more opportunities.”

Such a strategy found a convert in Tomlinson. Vines tells IQ, “Louis also is extremely fan-focused in everything that he does. He comes at it from a perspective of ‘I want to take the show to them,’ meaning he’s always more willing to take the risky option to try something out.”

And the results? “It’s a combination,” concludes Vines. “There have been a couple of places where we now understand why tours don’t go there. But there are more places where it’s worked incredibly well. For example, we enjoyed incredibly good sales in Budapest. And overall, it’s allowing us to get a clearer idea, globally, of where the demand it, which will help us when we go into the next tour cycle.”

#louis tomlinson #iq magazine #matt vines #interview #faith in the future tour bts #holly rowland #this was a PAIN to transcribe my god

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author-morgan · 10 months

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Title: Riverside Rating: M Pairing: Harald Finehair x fem!Reader (and Halfdan the Black) Summary: Harald Finehair may be a fool, but at least he has his brother, and at least he has you. ❤️plot bunny that's been collecting dust for two years by @mrsragnarlodbrok ❤️

down by the river by the boats, where everybody goes to be alone

“YOUR BROTHER IS a fool,” you remark, watching Harald Finehair slip away with the princess who once promised to be his queen—the woman whose husband had only just been murdered in the early hours of the morn. Halfdan the Black watches his brother too, lips twitching as he lifts his cup of ale, taking a short quaff of the weak brew. He’ll be glad to leave England—an army of this size meant dwindling supplies, game, and ever-weakening ale and mead.

He picks off another hunk of meat from a roast pheasant. “Is that meant to be news?” Halfdan asks in turn, smiling as he flicks his stringy blond hair aside and out of his eyes—his dark gaze flitting back to you. Harald’s always been a fool when it comes to women and love, and Halfdan doubts time and age will ever change that.

“Halfdan,” you chide. Harald is a fool—a fool for thinking Ellisif would wait for him, a fool for killing Vik so crassly in the heart of the camp. You both know he is, but watching Princess Ellisif slip away with her husband’s killer makes you uneasy. Grief and the thought of vengeance would not have left her mind yet. And such things can drive people to act in unpredictable ways. “You don’t think it’s odd she wishes to seek a private audience with him only a few hours after he killed her husband?”

Halfdan raises his brow—the blue-black ink of the tattoo on his temple and forehead twitches and wrinkles. At the moment, he’s more content with filling his belly and entertaining your company than fretting over his brother, yet you won’t let the subject rest so easily, and deep down, Halfdan knows you are right, as is the feeling of dread in his liver. “Had it been me, the thought of retribution would not yet be gone, nor the fog of dolor.”

You make a convincing case, and with a sighing frown, Halfdan pushes away from the table and you, heading toward Harald’s tent—hand resting on the hilt of his sword, knowing already he will have to serve as his brother’s protector once more. A moment later, Halfdan emerges from his brother’s pavilion. The sword in his hand is coated with blood, bright and red. And it would seem, after all, he knew women far better than his brother—or at least how to listen to you.

He frees a cloth from his belt and slides it down the blade, cleaning it with a single long swipe as he looks at you, watching and waiting. Halfdan doesn’t have to say anything as he approaches for you to know, but regardless, your lips quirk upward. “Told you,” you declare, and he makes a low sound of agreement from the back of his throat, taking the cup of ale you offer. You knew Ellisif would not have so easily nor quickly forgiven Harald for his transgression, especially after not upholding her promise to wait for marriage.

Harald’s curses and fit of rage ring out in the brisk air. You know there’s little that can soothe his heart and pride, but if anyone in the Ragnarsson encampment can make an earnest attempt, it is you—Halfdan knows this too. “I’ll see to him,” you breathe, taking one last drink of ale. Halfdan grips your arm before you can go to his brother and leans close, offering a soft, quick kiss over too soon.

THE RIVER FLOWS slowly, given its breadth near the encampment of the Sons of Ragnar—a hundred longships are pushed up against the banks and moored in the water. Together, you and Harald walk along the water’s edge, heading north, where fewer ships and wandering eyes and ears are. The blood on his hands and chest is nigh dry, and it makes his red woolen tunic stick to him and stiffens his silver-tinged beard.

Harald Finehair looks at you but cannot dispel what you must think of him, of these circumstances—your expression is only a cool mix of solicitude and what he thinks is annoyance. Yet again, he finds himself failing to understand the mind and heart of a woman—one he has known since childhood, no less. “My brother is lucky,” Harald admits, feeling a spike of jealousy stab at him as he thinks about you and Halfdan, “to have only ever loved you.” But had he ever truly loved Ellisif beyond his desire for her beauty? Even he is not sure of the answer.

You stop near the prowl of one of Jarl Olavsson’s ships—his shields and sails marked by white and dark green—and stare at Harald, aghast and confused by his insinuation. “Do I no longer have your love?” You ask, reaching for him and the leather ties at the neck of his tunic.

“I had thought–” his voice trails off as he looks at the flock of blackbirds flying overhead, unsure if it is a sign from the gods or just an ill omen. He lets you draw him nearer, but it’s only when the flat of your hand connects with his bloody cheek that his gaze and attention return to you—his stormy blue eyes filled with bewilderment and indignation. He stares at you, nostrils flared.

“No, Harald!” You’ve finally grown exasperated by his foolishness—you could tolerate his laments about love and marriage, but to nigh let himself be killed by a recreant woman under such circumstances? “You didn’t think!” You tell him, and Harald steps back, hands curling to fists at his sides. He needs to hear this, though, if not from his brother, then from you. “And if you did, it was with the wrong head.” The same head all men think with first when it comes to women.

“You speak to a king,” he reminds you, puffing out his chest—a weak reply, and you both know it.

You shake your head and reach for him, hands settling on either side of his blood-spattered face—thumbs following the blue-black scrollwork of the tattoos on his cheeks. “And I am also speaking to one of my oldest friends,” you remind him. King or no, Harald and his brother are among your oldest and dearest friends—they could be little more than farmers or simple whalers, and you would think no less of them nor love them less. There’s a shift in Harald’s expression then, as though he realizes the error of his ways in disregarding your and Halfdan’s counsel, and hubris fades to humility. “One whom I care for and love very much.” Love, the word catches him off-guard. Then an ephemeral smile returns to grace your lips. “Even if he is pigheaded at times.”

He forces down the growing knot in his throat. “My brother–” Harald starts, but you press your fingertips to his weathered lips, shushing him and chasing away any apprehension or fear of driving a rift between the three of you with what comes next. “Halfdan knows,” you tell Harald with airy unconcern—fingers slipping down to comb through his silver-tinged wiry beard. Your trysts had never been clandestine, even before whatever this unspoken thing with his brother began before the first raid on Paris. “He’s very astute,” you remark, the corner of your lips quirking upward again. “You could stand to learn a thing to two.”

He huffs, then goes to the river, shrugging off his tunic, and kneels at the water’s edge, splashing the cold water on his face and chest—scrubbing the drying blood of the woman he once intended to marry. He stares at his reflection, shoulders falling forward, accepting his ill-fated pursuit of marriage and defeat, alas. “I’ve been a fool,” he grumbles. You crouch next to him, dipping your hand in the river to help wash the blood from his shoulders and the back of his neck, humming your agreement—gladdened to know it is no longer a whispered secret between you and Halfdan. “You’re not supposed to agree with me,” he admonishes, mirth slipping back into his tone.

There’s a scar on his shoulder, and without thought, you lean toward him, placing the gentlest and quickest of kisses on the raised patch of silvery skin. You can recall how he and Halfdan have gotten most of their scars, but the history of this small mark evades you right now. When you meet his eyes, you see him staring at you with a look of raw hunger and desperation you’re entirely unprepared for, and it sends a wave of heat washing over you. But he’s so gentle when he handles you—even in all his lingering anger and hurt.

He holds your chin until his thumb swipes across your flushed cheek—always touching you like you’re some fragile, precious thing and not a shieldmaiden—and then his lips part, and he exhales a shaky breath, waiting for your permission, spoken or otherwise. You give it with a breathy sigh of his name. Harald. His warm breath hits your cheek, followed by the faint tickle of his scraggly beard at your jaw before his lips are fully on yours. “Let me have you.” His plea is soft against your mouth—and you cannot deny him.

Skirts rucked up around your waist, Harald grips your hips, drawing you closer to him until his wool and linen-clad thigh presses between yours. His touch is fervent—hot palms, calloused from years of battle, scrape over the bare skin they touch. His tongue sweeps across your bottom lip before kissing you—languid and soft. Your hands grasp at his back to pull his chest to your own. And then he fumbles to loosen his belt, but you knock away his hands, and Harald curses and groans when your hand slides into his undone britches, fingers wrapping around his half-hard cock—stroking him.

Your stomach flutters as his fingers caress you briefly, fleetingly—but gone far too soon. Your hips move towards his touch, but now is not the time for drawn-out caresses and teasing. In truth, he's not focused on your pleasure but more on his desire.

Harald pushes forward, rocking his hips slowly until his cock is fully sheathed inside the warmth of your cunt, and his hips meet yours. You gasp, somewhere between a whine and moan, head tipping back, and Harald takes the chance to press his lips to the base of your neck. He’s gentle as he trails a hand down your side and holds your waist—he and Halfdan have always been two sides of the same coin as lovers.

You lay back—letting him do as he pleases. He needs this moment, this release, far more than you do. His thrusts start slow, lazy almost, as though you’ve all the time in the world—like you’re back in Tamdrup on a spring night in a patch of wildflowers or bale of loose straw in a stable, not lying on a muddy English riverbank on the verge of another battle—not knowing if tomorrow will be the day Valhalla beckons you home.

He looks down at you—splayed beneath him and his gut twists with a sickening realization. I’ve been a fool, Harald thinks again, cradling your cheek, the rough pad of his thumb pressed against your parted lips, chasing a woman who could never love me. But you. It did not matter what misfortunes or victories the gods bestowed upon him. You were always there—never faltering from your place at his and Halfdan’s side. He’s only ashamed not to have realized or acted sooner.

Your legs spread wider to welcome him, squeezing at his shoulders to urge him to move faster. Every push and pull of his hips brings him deeper inside you. Harald pants at your ear, his breathing ragged and strained as his pace falters—thrusts growing quicker and rougher as he seeks release. Beneath your palms, the muscles in his back ripple, contracting with each thrust. His lips find yours again, and you pull him down closer until his bare chest presses against the rumpled wool of your dress bodice—nails scraping across his shoulders and the patchwork of tattoos on his shoulder blades.

The look in Harald’s eyes is nigh unsettling—a mix of emotion you do not wish to think about in this moment of lust and carnality—and you squeeze at his biceps, urging him to move faster, and when his trance breaks, he obliges. He breathes hushed praises against your neck and strokes a thumb over the racing pulse in your neck as he rolls his hips up into yours—strokes long and deep.

You whine and squirm for him, grinding your hips into his. The next time he moves, his cock strikes the place inside you that makes you cry out without thinking, and your toes start to curl—he does it again and again, thrice over. “Harald.” He works himself deeper still, pelvis rubbing against your clit, and he doesn’t miss the shiver that goes through you or the way your muscles tense—cunt squeezing his cock tighter. His breathy, open-mouth kisses grow sloven as you fumble to keep in rhythm, your movements slack—distracted by the fog of ecstasy in your head.

Breath hot against your lips, his eyes drift shut in unison with yours. Behind closed eyes, all that triumphs is the feel of your bodies sinking into each other. He will not last much longer. Harald barely manages a coherent rasp of your name, teeth gnashing, when his entire body shivers and he stills deep, deep inside, cock twitching.

His livid eyes are dark, like a stormy sea when they open once more, and there’s a crease between his brows that you have a yearning impulse to kiss away—and so you do, and in the wake of your lips, you smooth your fingertips over his brow. “I do love you, Harald,” you tell him—a breathless whisper—and suddenly, the knot in his throat and the offbeat feeling in his heart is back. “Just as I love Halfdan.”

He says nothing, only rests his forehead against your shoulder and shivers when your hand runs along his back, finding his dark braid to run your fingers along. But there’s a new dampness on your flesh—tears for love lost and love found.

HIS TEMPER IS quelled upon returning to the encampment, even if his heart has yet to mend. Halfdan rises from his spot at one of the fires, leaving the waning conversation with Björn Ironside when he sees you and his brother approach. The whispers around the camp of what happened between Harald, Vik, and Ellisif have already faded with new discussions of the army��s next move in Mercia—steadily creeping closer to Wessex and retribution upon King Ecbert for his part in Ragnar’s death. Harald swallows his pride and glimpses you before turning his attention to Halfdan. “Thank you, brother,” he says. “Yet again, I owe you my life.”

“I’ll always watch your back,” Halfdan replies, pressing a cup of ale into Harald’s hand before clasping his shoulder—then his gaze flits to you, and he smiles, a glimmer shining in his dark eyes. “But next time we tell you to kill someone, you should listen, yeah?” Harald shakes his head, looking down into the cup of ale with a dry laugh. You both told him to rid himself of Ellisif before setting sail to England. He should have listened then—knows he was a fool not to have. But once more, it is the three of you, and maybe that is how the gods always intended it to be.

[Harald & Halfdan taglist: @ahotmesswithprivilege / @alicedopey / @certifiedlittleshit / @charming-merlin / @elluvians / @erzsebetrosztoczy / @gearhead66 / @gossamarnie / @hc-geralt-23 / @kaexiao / @midnightmuze / @moonlightsspirit / @n0sferatus / @naaladareia / @queenfinehair / @queenyalo / @savagemickey03 / @xinyourdreamsx / @yalos-writing ] if your name is italicized, tumblr would not let me tag you. if you’d like to be added to my Vikings taglist, or any other taglist, just let me know with this Google Form!

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daisiesonafield-blog · 11 months

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Info for Faith In The Future World Tour CHICAGO, IL - JUN 15 2023

With special guests THE SNUTS & ANDREW CUSHIN!

Important Times:

4:00 PM – General Queuing for GA Begins (no wristbands required)

4:30 PM – Parking Opens (you will be able to park earlier if needed)

5:30 PM - Doors Open

7:00 PM - The Snuts

8:00 PM - Andrew Cushin

9:00 PM - Louis Tomlinson

Times are all approximate and subject to change.

General admission (pit tickets):

We do not allow camping or overnight parking of any kind.

Guests with General Admission tickets can begin lining up no earlier than 9am on 6/15.

Sequentially numbered wristbands will be given out on a first-come first served basis.

Guests must have a valid ticket for the Huntington Bank Pavilion June 15 show to receive a wristband, and All guests must be present to receive wristbands.

Any guest camping overnight or arriving before 9 am will not be given wristbands and be sent to the back of the line.

Guests are encouraged to return at 3pm to queue for General Admission entry at THE MAIN TICKET GATES.

Security will honor wristbands from 3:00 PM - 4:00 PM. After 4:00 PM, guests will join the line on a first come, first served basis

Loss, removal or tampering with a wristband will result in loss of place in the GA line.

Guests are not permitted to hold places in line.

Please be respectful and courteous to all other guests in line.

If you have seats there's no need to line up!

Note: the venue seems to be quite strict and professional about this policy (see their socials)!

Subject to change. Check the venue’s socials for updates (IG / Twittter)!

⚠️ HYDRATION REMINDER ⚠️

Hydrate before the show, while waiting in line and during the show

For optimal hydration drink something with electrolytes such as Gatorade or LiquidIV

Eat well!

Here are important policies:

The venue is CASHLESS! Pay with a card or mobile pay!

Parking: Several parking options available. Info here and here. $40 Adler Planetarium Lot, East Parking Lot, and $35 North Garage, Waldron Deck, and South Lot (subject to availability). Soldier Field's North Parking Garage available, book in advance here ($35-40). VIP parking sold out.

Upgrades: Lakefront VIP Club ($50), Live Nation Blanket ($20) - buy here.

ADA info here

Cameras: camera phones, disposable cameras, and small digital cameras ALLOWED. Any camera that has a detachable lens will be considered professional and not allowed in. If the camera lens zooms out more than 1 inch it will not be allowed in.

Water: up to 1-gallon in a factory sealed or empty bottle. NO Metal water bottles.

Food: in a clear, 1-gallon ziploc bag

Designated smoking areas are in the plaza and lawn area (when the lawn is open).

NO alcohol

NO Animals (except service animals)

NO Marijuana or any cannabis products

NO drugs

NO Coolers, umbrellas, strollers

NO Glass, Metal, or Hard Plastic Containers

NO Metal water bottles or Hydration packs/Camelbacks

NO knives, firearms, Brass knuckles, Tasers & mace/pepper spray or weapons of any kind

NO Fireworks

NO Laptops

NO Lawn chairs

NO Selfie sticks

NO Laser Pointers

There is NO RE-ENTRY!

VIEW VENUE MAP here and here

VIEW SEAT MAP

*This list is not exhaustive. Items not appearing on the list may still be prohibited at the discretion of Security

For more details click here

Bag Policy:

Clear plastic, vinyl, or PVC tote bags no larger than 12” x 6” x 12” ALLOWED and/or

small clutch bags (6”x 9”) approximately the size of a hand ALLOWED - doesn’t need to be clear.

NOT allowed: Non-clear purses larger than a clutch bag, coolers, briefcases, backpacks, fanny packs, cinch bags, luggage of any kind, computer bags, camera bags, or any bag larger than the permissible size.

No other bags of any type will be allowed.

Banners, signs and flag policy:

Signs larger than 8.5" x 11" are not allowed (this is the size of a standard sheet of paper)

We do not allow flags per venue policy.

More here and here

Contact:

For additional questions please call the venue at (312) 288-3190 or 312-540-2668. You can also access their website. Check their twitter here and IG here for updates. Address: Huntington Bank Pavilion at Northerly Island, 1300 S. Linn White Drive, Chicago, IL 60605

#fitfwt chicago #venue policy #venue info

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tomlinsins · 1 year

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FAITH IN THE FUTURE TOUR 2023

Venue Capacities, North America under the cut!

Uncasville -> Mohegan Sun Arena- 10,000

Gilford -> Bank Of New Hampshire Pavilion - 9,000

Laval -> Place Bell - 10,000

Toronto -> Budweisar Stage - 16,000

Cuyahoga Falls -> Blossom Music Center - 23,000

Sterling Heights -> Michigan Lottery Amphitheatre - 7,200

Cincinnati -> The Icon Festival Stage - 8,000

Columbus -> Kemba Live! Outdoor - 5,200

Indianapolis -> TCU Amphitheatre - 6,000

St. Louis -> Saint Louis Music Park - 4,500

Kansas City -> Starlight Theatre - 7,958

Milwaukee -> BMO Pavilion - 10,000

Chicago -> Huntington Bank Pavilion - 14,000(seating)/30,000(max.)

Minneapolis -> The Armory - 8,500

Council Bluffs -> Harrah's Stir Cove - 4,000

Sioux Falls -> Denny Sanford Premier Center - 12,000

Morrison -> Red Rocks Amphitheatre - 9,500

Seattle -> Wamu Theater - 9,000

Vancouver -> Doug Mitchell Thunderbird Sports Center - 8,000

Troutdale -> Mcmenamins Edgefield Concerts - 7,000

Berkeley -> The Greek Theater - 5,900

Los Angeles -> The Hollywood Bowl - 17,500

Las Vegas -> The Chelsea At The Cosmopolitan - 3,000

Phoenix -> Arizona Financial Theatre - 5,000

Dallas -> The Pavilion At Toyota Music Factory - 8,000

Austin -> Moody Amphitheater At Waterloo Park- 5,000

Woodlands -> The Cynthia Woods Mitchell Pavilion - 16,500

St. Augustine -> St. Augustine Amphitheatre - 4,092

Hollywood -> Hard Rock Live - 7,000

Tampa -> Yeungling Center - 10,411

Atlanta -> Cadence Bank Amphitheatre At Chastain Park - 6,900

Nashville -> Ascend Amphithetre - 6,800

Charlotte -> Metro Credit Union Amphitheatre - 5,000

Raleigh -> Red Hat Amphitheater - 6,000

Columbia -> Merriweather Post Pavilion - 19,319

Boston -> MGM Music Hall at Fenway - 5,000

Philadelphia -> TD Pavilion At The Mann - 14,000

Asbury Park -> Stone Pony Summer Stage - 3,000

New York -> Forest Hills Stadium - 13,000

UK & EU capacities | Australia capacities

#soo freaking excited for this tour!!!!#fitf live is gonna fuck!!!#louis tomlinson #fitf #faith in the future #venue capacity #fitf world tour #hljournal #dailytomlinson #tour #hltracks #axp #fitf tour 2023

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nwbeerguide · 8 months

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Two Roads Brewing collaborates with Vermonter, Noah Kahan, to release Northern Attitude IPA.

Press Release

STRATFORD, Conn. ... Craft brewing meets musical artistry with Two Roads Brewing Co.’s new collaborative brewing project with Vermont native Noah Kahan: Northern Attitude IPA. New England through and through, Northern Attitude IPA is a piney, resinous, 7% ABV IPA inspired by the music that Noah’s fans have come to know and love.

“Noah, his music, and his values embody the same Road Less Traveled mindset we take to crafting beer,” said Collin Kennedy, Director of Marketing of Two Roads. “Noah and Two Roads are both from, and of, New England, wear their regional pride on their sleeves and draw upon that region to inspire their respective crafts. So, teaming up with Noah to create a beer that pays homage to our roots and benefits an important cause in The Busyhead Project was just a natural from the start. Not to mention we have a ton of employees that are huge fans of Noah’s music!”

Two Roads and Kahan worked closely together to create Northern Attitude IPA, from taste profile to package design – all while Kahan is on tour. The beer aims to drive awareness and funds for The Busyhead Project, an organization founded by Kahan that provides resources to mental health organizations dedicated to meeting the needs of marginalized communities with both crisis care and tools for sustainable resilience.

Northern Attitude IPA will first be available at Two Roads’ Stratford, Conn. brewery on September 3rd, but fans can also get a taste at Kahan’s upcoming concert at the Hartford HealthCare Amphitheater in Bridgeport, Conn. onSeptember 5th and the Bank of New Hampshire Pavilion on September 6th and 7th. Following the concert, Northern Attitude IPA will be available in 16 oz. 4-packs at retailers within the brewery’s New England footprint, for a suggested retail price of $15.99.

To learn more about Two Roads and find it near you, visit www.tworoadsbrewing.com.

About Two Roads Brewing Co.

Two Roads Brewing Co., launched in 2012, is a privately owned craft beverage company offering a wide-ranging portfolio of beers, canned cocktails, hard seltzers, distilled spirits, and other Road Less Traveled beverages. Located in Stratford Connecticut, Two Roads is ranked 54th among 9,500+ independently owned breweries in the US according to the Brewer’s Association’s 2021 survey. For more information visit www.tworoadsbrewing.com.

About Noah Kahan

Over the past year, Vermont singer & songwriter Noah Kahan has exploded from his New England roots into the global mainstream and has been touted as one of 2023’s biggest and best new artists. At the core of his music are vulnerable lyrics and an unfiltered yet relatable honesty, as the critically acclaimed artist pens songs straight from the heart and cracks jokes with his signature, self-deprecating sense of humor. Across his three albums and an EP, Kahan has garnered global renown that includes more than two billion streams, a Platinum Certification for his hit single “Stick Season,” and collaborations with the likes of Post Malone, Joy Oladokun, and GRAMMY-nominated artists Julia Michaels and Wesley Schulz of The Lumineers. His widely adored album, Stick Season, is inspired by his New England roots and conveys a vivid representation of what he loves, fears, and struggles with most passionately. Noah has been on his sold-out “Stick Season Tour” across North America since the album’s release last year, selling half-a-million tickets to date and performing in the biggest venues of his career, with newly announced global dates on the horizon. In June, he released an extended version of Stick Season (We’ll All Be Here Forever), which has gone on to surpass sales of the original and shows no signs of slowing down. His latest single, “Dial Drunk,” has already amassed millions of streams and a slew of critical acclaim, cementing Noah Kahan as one of the most successful breakout artists of the year.

#Vermont #VT #Two Roads Brewing Company #Beer #Craft Beer #Press Release #Noah Kahan #Connecticut #CT #Stratford

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davisexplainableart · 4 months

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Mixels 10 Years Tour

[Taken directly from "News" section of Mixels site]

(Also this isn't actually real)

Attention, Mixels fans. This year marks the 10th anniversary of the premiere of Mixels!!

To celebrate, the Mixels are gearing up for yet another musical trip on the road!

We'll be traveling all across, playing in as many countries as we can!

Best of all, we'll be starting a month early!

The tour begins Friday January 12th in Morrison, Colorado, and will remain in the US for about a month (see dates below). Specific venues have already been announced, the rest will be unveiled at a later date.

Here's how it'll work: each show will start with about 2-3 opening acts (the unofficial number is because one of those acts will sometimes be too busy to perform on some dates; the other openers will remain throughout the whole tour). While the opening acts will be the same people, the "headliner" as we'll name them will be sorta different for each show.

When we say "sorta different", we mean that there will be a pattern for what headliners will appear.

And now, without further ado, here is the planned tour route for America:

1/12: Red Rocks Amphitheater; Morrison, CO

1/13: Treasure Island Amphitheater; Red Wing, MN

1/16: Jay Pritzker Pavilion; Chicago, IL

1/17: Starlight Theatre; Kansas City, MO

1/18: Radio City Music Hall; NY

1/19: PNC Pavilion; Cincinnati, OH

1/20: Aretha Franklin Amphitheater; Detroit, MI

1/22: Craig Ranch Amphitheater; North Las Vegas, NV

1/23: Greek Theatre; Los Angeles, CA

1/25: Leader Bank Pavilion; Boston, MA

1/26: Maine Savings Amphitheater; Bangor, ME

1/28: American Family Insurance Amphitheater; Milwaukee, WI

1/29: Grossinger Motors Arena; Bloomington, IL

1/31: SumTur Amphitheater; Papillion, NE

Tour manager [Mr. Meanie] was asked about what his hopes were in regards to the tour. He said...

"My hopes are for the shows we play to give off a positive attitude, to show the magic of playing music, and to bring wonder and joy to the masses."

More locations and venues will be revealed later!!

------------------------------------------------------------------------------

*grumbling*

'Positive attitude' my a**...

The gall of that stupid tour manager to make it seem like he has no flaws. You can't see it in his interview, but I sure can. I've seen it before...

I'm not even gonna show his real name, I'm replacing any mention of his name with stuff like "Mr. Meanie" because it describes him perfectly.

There is no way I'm letting that guy drag me across the world, just to strain my vocals for days on end, all while playing in frigid cold temperatures.

And there's no way in h**l that I'm performing at the show in Bloomington (hence why I've crossed it out)! I've heard too many bad stories from that place. What Davis is really trying to say is that he and his friends are excited to be one of the openers for the tour. As always, their band is sort of a tribute act to Oasis.

UPDATE: Every venue has been announced for each location on this list! See you this Friday!!

#announcement #Mixels

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thelensofyashunews · 18 days

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Superstar Mexican Act Fuerza Regida Announces "Pero No Te Enamores Tour," Their Summer 2024 Tour

Led by their smooth-voiced singer Jesús Ortiz Paz, regional Mexican outfit Fuerza Regida has been climbing charts on both sides of the border. Today, the Platinum-selling grupo announces "Pero No Te Enamores Tour," their next headlining tour. Produced by Live Nation and kicking off on June 6th in Austin, TX, the "Pero No Te Enamores Tour" takes the group across North America for a series of dates, including shows in Atlanta, New York, Houston, and more, before closing with a show in Inglewood, CA. The 5-man group saluted their hometown fans with a special mural in their native San Bernardino, CA, displaying the tour artwork and dates in the center of the city.

TICKETS: General onsale tickets will be available beginning on Friday, April 12 at 10am local time at livenation.com.

VIP: Fans can also purchase VIP Packages, which may include premium tickets, access to the VIP after party with members of the band, Soundcheck, Meet & Greet + group photo with Fuerza Regida, Pre-show VIP Lounge, specially designed VIP gift item & more. VIP package contents vary based on offer selected. For more information, visit vipnation.com.

Fuerza's upcoming nationwide tour is their latest step on the road to world domination, following a 2023 full of new commercial heights and well-deserved accolades. The group shared their biggest album to date, Pa Las Baby's Y Belikeada, which peaked at #2 on Billboard's Latin Albums chart and reached the Top 15 of the Billboard 200. The album generated billions of streams across platforms, led by hits like "TQM" (peaked at #34 at the Billboard Hot 100), "Sabor Fresa" (#26 on the Hot 100), and "HARLEY QUINN" (#40 on the Hot 100), their collaboration with Marshmello that became their first-ever #1 hit on the Latin Airplay chart. The success of Pa Las Baby's Y Belikeada propelled Fuerza Regida to two Billboard Music Awards in 2023, plus the #1 spot on Billboard's Top Duo/Group year-end artist chart.

Most recently, Fuerza released their EP, Dolido Pero No Arrepentido, which arrived just in time for Valentine's Day. The album debuted at #2 on Billboard's Latin Albums chart, and all six songs from the EP reached Billboard's Hot Latin Songs chart. The upcoming tour will feature the first performances of songs from the new EP.

Stay tuned for much more information about Fuerza Regida in the near future.

"Pero No Te Enamores Tour" dates: *Not A Live Nation Date

Jun 06 Austin, TX Moody Center Jun 09 Edinburg, TX Bert Ogden Arena Jun 14 Oklahoma City, OK Paycom Center Jun 15 Ridgedale, MO Thunder Ridge Nature Arena Jun 16 Kansas City, MO T-Mobile Center Jun 21 San Diego, CA Viejas Arena Jun 22 Phoenix, AZ Footprint Center Jun 29 Portland, OR Moda Center Jun 30 Seattle, WA Climate Pledge Arena Jul 06 San Jose, CA SAP Center Jul 07 Fresno, CA Save Mart Center at Fresno State Jul 13 Houston, TX Toyota Center Jul 20 Dallas, TX Dos Equis Pavilion Jul 26 Atlanta, GA State Farm Arena Jul 27 Tampa, FL Amalie Arena Jul 28 Sunrise, FL Amerant Bank Arena Aug 02 Greensboro, NC Greensboro Coliseum Complex Aug 04 Belmont Park, NY UBS Arena Aug 16 Milwaukee, WI Fiserv Forum Aug 17 Indianapolis, IN Gainbridge Fieldhouse Sep 01 Tinley Park, IL Credit Union 1 Amphitheatre Sep 06 Salt Lake City, UT Delta Center Sep 08 Denver, CO Ball Arena Sep 15 Las Vegas, NV T-Mobile Arena Sep 20 San Antonio, TX Frost Bank Center Sep 21 El Paso, TX UTEP Don Haskins Center Sep 28 Anaheim, CA Honda Center Sep 29 Palm Desert, CA Acrisure Arena Oct 05 Sacramento, CA Golden 1 Center Oct 11 Leon, MX Mega Velaria* Oct 12 Mexico City, MX Plaza De Toros* Oct 31 Monterrey, MX Arena Monterrey* Nov 1 Monterrey, MX Arena Monterrey* Nov 2 Torreon, MX Coliseo Centenario* Nov 7 Oaxaca, MX Auditorio GNP* Nov 9 San Luis Potosi, MX El Domo Nov 16 Inglewood, CA Intuit Dome

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seasurfacefullofclouds1 · 1 year

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FAITH IN THE FUTURE WORLD TOUR 2023: NORTH AMERICA

• 26 May - Mohegan Sun Arena, UNCASVILLE CT (10,000)

• 27 May - Bank of New Hampshire Pavilion, GUILFORD NH (9,000)

• 29 May - Place Bell, LAVAL QC (10,000)

• 30 May - Budweiser Stage, TORONTO ON (16,000)

• 1 Jun - Blossom Music Center, CUYAHOGA FALLS, OH (23,000)

• 2 Jun - Michigan Lottery Amphitheater, STERLING HEIGHTS, MI (7,300)

• 3 Jun - The Icon Festival Stage, CINCINNATI (4,500)

• 6 Jun - Kemba Live! Outdoor, COLUMBUS OH (5,200)

• 7 Jun - TCU Amphitheater at White River State Park, INDIANAPOLIS (6,000)

• 9 Jun - Saint Louis Music Park, SAINT LOUIS (4,500)

• 10 Jun - Starlight Theatre, KANSAS CITY MO (8,000)

• 13 Jun - BMO Pavilion, MILWAUKEE (10,000)

• 15 Jun - Huntington Bank Pavilion, CHICAGO (15,818)

• 16 Jun - The Armory, MINNEAPOLIS (8,400)

• 17 Jun - Harrah’s Stir Cove, COUNCIL BLUFFS, IA (3,500)

• 19 Jun - Denny Sanford Premiere Center, SIOUX FALLS, SD (12,000)

• 21 Jun - Red Rocks Amphitheatre, MORRISON, CO (9,545)

• 24 Jun - Wamu Theater, SEATTLE (7,200)

• 26 Jun - Doug Mitchell Thunderbird Sports Center, VANCOUVER BC (5,054)

• 27 Jun - Mcmenamins Edgefield Concerts, TROUTDALE OR (7,000)

• 29 Jun - The Greek Theatre, BERKELEY CA (5,900)

• 30 Jun - The Hollywood Bowl, LOS ANGELES (17,500)

• 1 Jul - The Chelsea at the Cosmopolitan, LAS VEGAS (3,000)

• 3 Jul - Arizona Financial Theatre, PHOENIX (5,000)

• 6 Jul - The Pavilion at Toyota Music Factory, DALLAS (4,000)

• 7 Jul - Moody Amphitheater at Waterloo Park, AUSTIN TX (15,000)

• 8 Jul - The Cynthia Woods Mitchell Pavilion, WOODLANDS TX (16,500)

• 11 Jul - St. Augustine Amphitheatre, ST. AUGUSTINE FL (4,092)

• 13 Jul - Hard Rock Live at Seminole Hard Rock Hollywood, HOLLYWOOD FL (7,034)

• 14 Jul - Yuengling Center, TAMPA FL (10,411)

• 15 Jul - Cadence Bank Amphitheatre at Chastain Park, ATLANTA (6,900)

• 18 Jul - Ascend Amphitheater, NASHVILLE (6,800)

• 19 Jul - Charlotte Metro Credit Union Amphitheatre, CHARLOTTE NC (5,000)

• 21 Jul - Red Hat Amphitheater, RALEIGH NC (5,990)

• 22 Jul - Merriweather Post Pavilion, Columbia MD (19,319)

• 24 Jul - MGM Music Hall at Fenway, BOSTON (5,009)

• 25 Jul - MGM Music Hall at Fenway, BOSTON (5,009)

• 27 Jul - TD Pavilion at the Mann, PHILADELPHIA (7,200)

• 28 Jul - Stone Pony Summer Stage, ASBURY PARK NJ (3,000)

• 29 Jul - Forrest Hills Stadium, NEW YORK (13,000)

Link

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thegreatdaydreamer · 2 years

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Miller House | Eero Saarinen

Columbus, Indiana | United States | 1957

Architect Eero Saarinen developed a long association with the small city of Columbus. In the early Forties, Saarinen’s father Eliel designed the First Christian Church there; other commissions followed on for his son during the Fifties, including the Irwin Union Bank (1954) and the North Christian Church (1964). Most of these projects were connected - one way ore another - with Joseph Irwin Miller and his family, who became key patrons and friends to Eero Saarinen. Miller - president of the Irwin Union Bank, and a pivotal figure in the city - turned to Saarinen with a request for a new family home in the modern style. This substantial dwelling of 750 square metres (8,000 square feet) is arranged on one level with an overhanging roof (supported by sixteen steel columns) spanning the entire building and also sheltering a series of verandas. Four internal pavilions sit in each corner - closed to the interior but open to the gardens - holding the master suite, children`s bedrooms, kitchen and other ancillary spaces. The spacious hub of the house is its living area, completed with a central conversation pit. With interiors by Alexander Girard and landscaping by Dan Kiley, it is the most cohesive and rounded of Saarinen’s residential projects.

Images: © Leslie Williamson

Words: © thegreatdaydreamer

#architecture #ludwig mies van der rohe #eero saarinen #modern home #midcenturymodernhome #midcentury #house design #design #bungalow #luxury houses #luxuryhomes #furniture #interior #interior design #columbus #indiana #miller house

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jacforklift · 9 months

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Tengwang Pavilion is a building in the north west of the city of Nanchang, in Jiangxi province, China, on the east bank of the Gan River and is one of the Three Great Towers of southern China.

It has been destroyed and rebuilt many times over its history. The present building was rebuilt in 1989 on the original site.

The rebuilding plan was devised by the famous architect Liang Sicheng，and now the Pavilion of Prince Teng is the landmark of Nanchang.

#nanchang #南昌 #滕王阁 #tengwangpavilion #china

#china #nanchang #city

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louisupdates · 11 months

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FITFWT23: TOUR RECAP MASTERPOST

FASHION RECAP: NORTH AMERICA, EUROPE (Top Ten)

LITHOGRAPHS and PORTRAITS

OUTRO SONGS

IQ 123: Tour promo and production interviews

TOUR TECHNICAL SPECS [TPI MAGAZINE]

GROUP PHOTOS NA

Louis’ care for his fans

NORTH AMERICA

26 May - Mohegan Sun Arena, UNCASVILLE, CT

27 May - Bank of New Hampshire Pavilion, GILFORD, NH

29 May - Place Bell, LAVAL QC

30 May - Budweiser Stage, TORONTO ON

1 Jun - Blossom Music Center, CUYAHOGA FALLS, OH

2 Jun - Michigan Lottery Amphitheater, STERLING HEIGHTS, MI

FITFWT23: WEEK 1

3 Jun - The Icon Festival Stage, CINCINNATI, OH

6 Jun - Kemba Live! Outdoor, COLUMBUS, OH

7 Jun - TCU Amphitheater at White River State Park, INDIANAPOLIS, IN

9 Jun - Saint Louis Music Park, ST. LOUIS, MO

PORTRAITS, 1st set [10.6.2023]

IG stories and selfies [10.6.2023]

10 Jun - Starlight Theatre, KANSAS CITY, MO

13 Jun - BMO Pavilion, MILWAUKEE, WI

15 Jun - Huntington Bank Pavilion, CHICAGO, IL

16 Jun - The Armory, MINNEAPOLIS, MN

17 Jun - Harrah’s Stir Cove, COUNCIL BLUFFS, IA

19 Jun - Denny Sanford Premiere Center, SIOUX FALLS, SD

21 Jun - Red Rocks Amphitheatre, MORRISON, CO: CANCELLED 😪

24 Jun - Wamu Theater, SEATTLE, WA

26 Jun - Doug Mitchell Thunderbird Sports Center, VANCOUVER BC

27 Jun - McMenamins Edgefield Concerts, TROUTDALE, OR

29 Jun - The Greek Theatre, BERKELEY, CA

PORTRAITS, 2nd set [29.6.2023]

PORTRAITS posted 30.6 [x]

30 Jun - Louis Instagram recap

30 Jun - The Hollywood Bowl, LOS ANGELES, CA

1 Jul - The Chelsea at the Cosmopolitan, LAS VEGAS, NV

3 Jul - Arizona Financial Theatre, PHOENIX, AZ

6 Jul - The Pavilion at Toyota Music Factory, IRVING, TX

7 Jul - Moody Amphitheater at Waterloo Park, AUSTIN, TX

8 Jul - The Cynthia Woods Mitchell Pavilion, THE WOODLANDS, TX

PORTRAITS, 3rd set [9.7.2023]

9 Jul: Louis Instagram recap

10 Jul RTL Radio Interviews

11 Jul - St. Augustine Amphitheatre, ST. AUGUSTINE, FL

13 Jul - Hard Rock Live at Seminole Hard Rock Hollywood, HOLLYWOOD, FL

14 Jul - Yuengling Center, TAMPA, FL

15 Jul - Cadence Bank Amphitheatre at Chastain Park, ATLANTA, GA

18 Jul - Ascend Amphitheater, NASHVILLE, TN

19 Jul - Charlotte Metro Credit Union Amphitheatre, CHARLOTTE, NC

21 Jul - Red Hat Amphitheater, RALEIGH, NC

22 Jul - Merriweather Post Pavilion, COLUMBIA, MD

PORTRAITS, 4th set [23.7.2023]

24 Jul - MGM Music Hall at Fenway, BOSTON1, MA

25 Jul - MGM Music Hall at Fenway, BOSTON2, MA

27 Jul - TD Pavilion at the Mann, PHILADELPHIA, PA

28 Jul - Stone Pony Summer Stage, ASBURY PARK, NJ

29 Jul - Forrest Hills Stadium, NEW YORK, NY

PORTRAITS, 5th set [31.7.2023]

North America FAN EDIT

AUGUST 2023 GAP 1 recap

AWAY FROM HOME FESTIVAL

19 Aug - Parco Bussoladomani, LIDO DI CAMAIORE, Italy

AUGUST 2023 GAP 2 recap (including the 28 launch)

EUROPE

29 Aug - Barclays Arena, HAMBURG

31 Aug - Royal Arena, COPENHAGEN

1 Sep - Spektrum, OSLO [Bigger Than Me anniversary content]

PORTRAITS, 6th set [2.9.2023]

2 Sep - Hovet, STOCKHOLM

4 Sep - Ice Hall, HELSINKI

DORK MAGAZINE PHOTOS 2022 w/ links

5 Sep - Saku Arena, TALLINN

7 Sep - Arena Riga, RIGA

PORTRAITS, 7th set [8.9.2023]

8 Sep - Zalgiris Arena, KAUNAS

10 Sep - Tauron Arena, KRAKOW

11 Sep - Atlas Arena, ŁÓDŹ

13 Sep - Wiener Stadhalle D, VIENNA

14 Sep - Stozice Arena, LJUBLJANA

15 Sep - Budapest Arena, BUDAPEST

PORTRAITS, 8th set [16.9.2023]

17 Sep - Arenele Romane, BUCHAREST

18 Sep - Arena Armeets, SOFIA

20 Sep - Plateia Nerou, ATHENS w/ links to AOTV announcements

SEPTEMBER 2023 GAP recap

1 Oct - Bilbao Arena Miribilla, BILBAO (VIZCAYA)

3 Oct - Altice Arena, LISBON

5 Oct - Wizink Center, MADRID

6 Oct - Palau Sant Jordi, BARCELONA

PORTRAITS, 9th set [7.10]

8 Oct - Pala Alpitur, TURIN

9 Oct - Unipol Arena, BOLOGNA

11 Oct - Rockhal, ESCH-SUR-ALZETTE

12 Oct - Sportspaleis, ANTWERP

14 Oct - Accor Arena, PARIS

15 Oct - Ziggo Dome, AMSTERDAM

17 Oct - Lanxess Arena, COLOGNE

19 Oct - O2 Arena, PRAGUE

20 Oct - Mercedes Benz Arena, BERLIN

PORTRAITS, 10th set [21.10]

22 Oct - Olympiahalle, MUNICH

23 Oct - Hallenstadion, ZURICH

FITFWT23: LATAM promo begins [28.10]

Twitter spree: part 1, part 2, part 3, part 4 Hall Of Fame, [31.10]

IGTV [1.11]: transcript, gifs [x] [x] [x] [x] [x]

8 Nov - 3Arena, DUBLIN

10 Nov - Utilita Arena, SHEFFIELD

11 Nov - AO Arena, MANCHESTER

12 Nov - Ovo Hydro, GLASGOW

14 Nov - Brighton Center, BRIGHTON

15 Nov - International Arena, CARDIFF

17 Nov - The O2, LONDON

18 Nov - Resorts World Arena, BIRMINGHAM

FITFWT23 has come to an end!

ROLLING STONE UK 2023 AWARDS

23 Nov - Camden Roundhouse, LONDON

#fitfwt23 #fitfwt23: mp #fitfwt23: recap #louis tomlinson

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kickmag · 1 year

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Boy George & Culture Club Announce The Letting It Go Show Tour With Howard Jones & Berlin

Boy George and Culture Club are going on The Letting It Go Show Tour with Howard Jones and Berlin. The pop legends are performing all their classic hits including "Do You Really Want To Hurt Me," "Karma Chameleon," "Church Of The Poisoned Mind" and more. Live Nation is producing the 25-city tour that happens not long after their sold-out Las Vegas shows. The tour starts on July 13th in West Palm Beach, Florida at iThink Financial Amphitheatre. The last show takes place on August 20th at the Concord Pavilion in Concord, California. Tickets are on sale now.

Tour Dates

Thu Jul 13 – West Palm Beach, FL – iTHINK Financial Amphitheatre

Sat Jul 15 – Tampa, FL – MIDFLORIDA Credit Union Amphitheatre

Sun Jul 16 – Jacksonville, FL – Daily's Place Amphitheatre

Tue Jul 18 – Atlanta, GA – Cadence Bank Amphitheatre at Chastain Park

Wed Jul 19 – Charlotte, NC – PNC Music Pavilion

Thu Jul 20 – Nashville, TN – Ascend Amphitheater

Sat Jul 22 – Bethel, NY – Bethel Woods Center for the Arts

Sun Jul 23 – Wantagh, NY – Northwell Health at Jones Beach Theatre

Tue Jul 25 – Mansfield, MA – Xfinity Center

Wed Jul 26 – Holmdel, NJ – PNC Bank Arts Center

Fri Jul 28 – Bristow, VA – Jiffy Lube Live

Sat Jul 29 – Darien Center, NY – Darien Lake Amphitheater

Sun Jul 30 – Philadelphia, PA – TD Pavilion at the Mann

Tue Aug 01 – Toronto, ON – Budweiser Stage

Thu Aug 03 – Tinley Park, IL – Hollywood Casino Amphitheatre

Fri Aug 04 – Clarkston, MI – Pine Knob Music Theatre

Sat Aug 05 – Cincinnati, OH – Riverbend Music Center

Tue Aug 08 – Kansas City, MO – Starlight Theatre

Thu Aug 10 – Dallas, TX – Dos Equis Pavilion

Fri Aug 11 – The Woodlands, TX – Cynthia Woods Mitchell Pavilion

Sat Aug 12 – Austin, TX – Germania Insurance Amphitheater

Mon Aug 14 – Rogers, AR – Walmart AMP

Fri Aug 18 – Phoenix, AZ – Talking Stick Resort Amphitheatre

Sat Aug 19 – San Diego, CA – North Island Credit Union Amphitheatre

Sun Aug 20 – Concord, CA – Concord Pavilion

#boy george #culture club #howard jones #berlin

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skateboardmarketing · 1 year

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HEAVY METAL ICONS PANTERA ANNOUNCE 2023 NORTH AMERICAN TOUR LAMB OF GOD TO JOIN RUN AS SPECIAL GUESTS Tickets On Sale Starting Friday, Jan. 27 at 10 AM Local Time on LiveNation.com

WHO: Pantera with special guest Lamb of God

WHAT: 2023 PANTERA TOUR

Pantera, one of the most successful and influential bands in heavy metal history, have announced their long awaited return to the stage. They will be touring North America this summer with Lamb of God as special guests.One of the most anticipated tours of 2023, this celebration tour includes original members Philip Anselmo and Rex Brown joined by Zakk Wylde (guitar) and Charlie Benante (drums). In December 2022, they kicked off the highly anticipated return in Mexico City to incredible reviews.Produced by Live Nation, the 20-city tour kicks off on Tuesday, July 28th in Burgettstown, PA at The Pavilion at Star Lake making stops in Milwaukee, Toronto, Austin, Denver, and more before wrapping up in Bristow, VA on September 15th at Jiffy Lube Live.Fans can also see Pantera at their recently announced support dates during Metallica’s North America Stadium tour dates in 2023 & 2024 and headlining major rock festivals in 2023 including Rockfest, Inkcarceration, and more.TICKETS: Tickets go on sale starting Friday, January 27th starting at 10 AM Local Time on LiveNation.com.PRESALE: Citi is the official card of the Pantera tour.

Citi cardmembers will have access to presale tickets beginning Tuesday, January 24th at 10 AM local time until Thursday, January 26 at 10 PM local time through the Citi Entertainment program. For complete presale details visit www.citientertainment.com.

TOUR DATES:*Festival Date | #Support Act TBD | ^Pantera Support for Metallica Dates|2023 Dates

Fri May 20 – Daytona, FL – Welcome to Rockville

Thu Jul 13 – Cadott, WI – Rockfest

Sat Jul 15 – Mansfield, OH – Inkcarceration

Jul 28 – Burgettstown, PA – The Pavilion at Star Lake

Jul 29 – Noblesville, IN – Ruoff Music Center

Jul 31 – Milwaukee, WI – American Family Insurance Amphitheater

Aug 02 – Camden, NJ – Freedom Mortgage Pavilion

Fri Aug 04 – East Rutherford, NJ – MetLife Stadium

Aug 05 – Hershey, PA – Hersheypark StadiumSun

Aug 06 – Scranton, PA – The Pavilion at Montage Mountain

Aug 08 – Syracuse, NY – St. Joseph's Health Amphitheater at Lakeview

Aug 09 – Darien Center, NY – Darien Lake Amphitheater

Aug 11 – Montreal, QC – Olympique Stadium

Aug 12 – Toronto, ON – Budweiser Stage

Aug 15 – Rogers, AR – Walmart AMP

Aug 17 – Woodlands, TX – The Cynthia Woods Mitchell Pavilion

Aug 18 – Arlington, TX – AT&T Stadium

Aug 20 – Austin, TX – Germania Insurance Amphitheater

Aug 23 – Denver, CO – Ball Arena

Aug 25 – Inglewood, CA – SoFi Stadium

Sat Aug 26 – Chula Vista, CA – North Island Credit Union Amphitheatre

Aug 29 – Salt Lake City, UT – USANA Amphitheatre

Aug 31 – Albuquerque, NM – Isleta Amphitheater

Sep 01 – Glendale, AZ – State Farm Stadium

Sep 03 - Pryor, OK - Rocklahoma

Sep 07 – Bangor, ME – Maine Savings Amphitheater

Sep 08 – Gilford, NH – Bank of New Hampshire Pavilion

Sep 10 – Alton, VA – Blue Ridge Rock Festival

Sep 12 – Alpharetta, GA – Ameris Bank Amphitheatre

Sep 14 – Virginia Beach, VA – Veterans United Home Loans Amphitheater

Sep 15 – Bristow, VA – Jiffy Lube Live

Sep 23 - Louisville, KY - Louder Than Life

Oct 07 - Sacramento, CA - Aftershock

Nov 03 – St. Louis, MO – The Dome at America’s Center

Nov 10 – Detroit, MI – Ford Field^2024 Dates

Aug 02 – Foxborough, MA – Gillette Stadium

Aug 09 – Chicago, IL – Soldier Field

Aug 16 – Minneapolis, MN – U.S. Bank Stadium

Aug 23 – Edmonton, AB – Commonwealth Stadium

Aug 30 – Seattle, WA – Lumen Field

MORE INFO:Pantera got its start in Arlington, TX with its best-known lineup, consisting of founding members drummer Vinnie Paul and guitarist Dimebag Darrell, along with bassist Rex Brown and vocalist Philip Anselmo. Pantera is credited with the development and popularization of the groove metal subgenre. To date, the group has sold 20 million records worldwide and has received four Grammy nominations. www.pantera.com

#pantera panteraband livenation metalcontraband skateboardmarketing

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innovacancy · 2 years

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Flogging Molly Leader Bank Pavilion, Boston, MA 1 July 2022 👉 click or scroll down for article 🔽

After a five-year gap in releases, venerable Celtic folk-punk outfit Flogging Molly are set to return in late 2022 with their seventh studio record, Anthem. In advance of the August release, they’ve taken to the road with a substantial lineup to preview some of the new tracks as well as digging into their classic, well, anthems for massive crowds in outdoor arenas around the country. Joining Dave King and co. on the tour are The Skints, Tiger Army, and the Interrupters, the last of whom are co-headlining all the North American dates. The Skints run a wide gamut between dub reggae, ska, and all-out punk ragers, while Tiger Army brings west-coast psychobilly punkish vibes with an upright bass – as well as a cover of the classic Link Wray track ‘Rumble’. The Interrupters are an absolutely magnetic ska-punk fusion, guitarists constantly airborne (possibly the best use-case ever for wireless pickups), and vocalist Aimee “Interrupter” Allen is positively magnetic with a furious, wide-eyed delivery that finds her perched on the very edge of the stage, leaning over the crowd.

Taking the stage, Flogging Molly are a large seven-piece outfit with equal parts traditional and modern instrumentation: a fiddle, accordion, and electric banjo are balanced out by the traditional structure of guitar, bass, and drums, with King able to lean one way or the other at will on his acoustic. King cracks open a trademark Guinness early in the night and right away begins with ‘Drunken Lullabies’, the title track of their much-loved sophomore album. A couple songs later he quips, “This one’s for me!” - turns out it’s ‘Selfish Man’, one of the first-released Flogging Molly songs that captivated hearts and ears nearly a quarter-century ago. Speaking of the Guinness, next comes ‘These Times Have Got Me Drinking’, the lead single from Anthem. Released back in March, its sentiment has only become more relevant as 2022 has worn on. It begins with a forlorn vocal, sounding on the studio version like it’s trying to squeeze out of an ill-maintained phonograph, before a scratchy guitar stinger sees it explode into a seven-piece rush anchored by the banjo and bass while Bridget Regan’s fiddle sings over top.

It’s one of a few tracks previewed from the new disc throughout the night, second of which is the as-yet-unreleased ‘A Song of Liberty’, which King dedicates to the Irish diaspora and to the memory of the Easter Rising in 1916. ‘The Croppy Boy ‘98’ – that being 1798 – makes reference a similarly rebellious period of Irish history, although the tale told is much more personal, a classic recounting of heartbreak and betrayal. As in many of the band’s tunes, Mike Alonso provides a rolling drum beat, and the whole of it possesses traditional, shanty-like quality, which makes sense considering the seafaring history of Ireland, what with it being an island and all.

Around the middle of the evening, there’s a man in the crowd who’s holding up a sign with some check-boxes on it, completed ones for New York and Boston, with an empty slot for Dublin. The reverse reads “See you fucks in Dublin!” - to which the band are set to return after this leg of tour. Bassist Nathen Maxwell notices first and points it out to King, who cracks a smile and points him out to everyone. King is a real character as one might expect from a band such as this, lovably foul-mouthed and theatrical to the core – at one point during ‘Tobacco Island’ he untucks his long-sleeved shirt, wiggles its newly-liberated tails a bit, and then during an instrumental break does a high-kicking dance at each end of the stage.

Maxwell tightens accordionist Matt Hensley’s straps for him and the band moves into another early-period rouser, ‘Devil’s Dance Floor’, which features Regan on the tin whistle, a small type of flute. Before ‘If I Ever Leave This World Alive’, King pauses for a moment and dedicates the song to Al Barr of the Dropkick Murphys, as well as his mom, whom King says Barr is currently caring for at home. King starts the song solo on his acoustic guitar, but it evolves into a huge sing-along by the end. After evergreen hit ‘What’s Left of the Flag’, he summons the crowd in all singing a ‘D’ note together, sustaining it under the orangey lights of the pavilion, before closing the night with ‘The Seven Deadly Sins’. As has been true for the whole evening, everyone is joined together in song. The convivial atmosphere of a Flogging Molly show [my first, as it happens] is undeniably powerful – these songs, from the oldest to most recent, were truly meant to be sung along to, beers in hand, swaying side to side with old friends and new.

#flogging molly #drunken lullabies

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