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Lollapalooza glided to a close on Sunday night (Aug. 6) on the wings of two very different California vibes. While the Red Hot Chili Peppers helped shut down the T-Mobile stage at the South end of the mud bog previously known as Grant Park, Lana Del Rey did the honors about a mile up the road on the Bud Light stage, drawing a huge crowd of superfans who’d been waiting all day for their beloved queen of disaster.
Del Rey brought a bit of old Hollywood glamour to what was an otherwise not-at-all glamorous, soggy, cloudy day — the second one of the four-day weekend in Chicago — one that reduced so many cute outfits and carefully curated looks to muddy messes as fans tromped through giant puddles.
In the wind-up to her commanding, mesmerizing 90-minute set, the day featured some fun lead-ins, including Afrojack getting the crowd absolutely mental with a taste of the remix of LDR’s “Summertime Sadness” on the Perry’s EDM stage. Just moments earlier, Joey Bada$$ made his fans equally bonkers by inviting hometown hero Chance the Rapper out for a surprise cameo run through Chance’s “No Problem and the live debut of their collab “Highs & the Lows.”
In another tip to Chi-town hip-hop royalty, both A Boogie Wit Da Hoodie and Lil Yachty shouted out late Chicago MC Juice WRLD during their sets, with the latter wowing the far-as-the-eye-could-see crowd with a rocking performance that leaned hard into the indie guitar vibes of his Let’s Start Here album.
An hour before LDR cast her soothing spell, Rina Sawayama lit up the Bud Light stage with a decidedly more high-energy vibe, literally cracking a whip during “XS” as she playfully teased her back-up dancers with a variety of S&M gear while rocking a red latex bondage outfit. And in a kind of foreshadowing of LDR’s headlining set, Rina took time out during her show to get her hair done on stage, change shoes and have a sip of Bud Light — she was, after all, on the Bud Light stage. She also slipped in a quip to the audience that seemed to allude to the beer brand’s Dylan Mulvaney flap, reminding them that “trans rights is not just for pride month.”
All of that, however, was just a simple appetizer for the tens of thousands who camped out to see Lana, who took the stage dressed as the world’s loneliest bride, complete with a white wedding mini-dress with a colossal train. While her set was low on the pyrotechnics that marked some of the other headliners over the weekend — from Karol G’s history-making appearance, to the 1975’s cheeky, antics-filled show, Billie Eilish’s eye-popping spectacle and Kendrick Lamar’s intense, stripped-down set — what it lacked in flames it more than made up for in smoldering elegance.
Check out the six best moments from LDR’s set below.
Wedding Bell Blues
Surely you didn’t think The 1975 singer Matty Healy wouldn’t address the band’s recent controversial set in Malaysia during their first gig back since that international incident? After all, it was Healy’s broadside against the country’s anti-LGBTQ laws — not to mention an onstage same-sex kiss with bassist Ross MacDonald — that got the band’s set cut short and led to the cancelation of the Good Vibes festival and Healy’s claim that his group is now banned from Kuala Lumpur.
Well, Healy took the matter head-on, kind of, during a typically raucous, unpredictable headlining slot at Lollapalooza in Chicago on Friday night (Aug. 4). Playing on the Bud Light Stage at the same time as Kendrick Lamar top-lined at the other end of the park, the band lit into the intro to “It’s Not Living If It’s Not With You,” during which Healy said, “You want my travel tip? Don’t go to…”
But he never got to finish his thought, because as the band often does during this wind-up, they cut Healy off before he could say something else that would get them into hot water.
At another point in the set that included runs through “Chocolate,” “Oh Caroline,” “Somebody Else” and “Love It If We Made It,” Healy again seemed to allude to his headline-making talents, joking, “What would we do without a little bit of drama, right?” before swigging from his ever-present flask.
The set had some other predictably unpredictable moments as well, as when during “Robbers,” Healy stole a moment to hop down off the stage to go hug one of his musical heroes after spotting him in the photo pit. Appearing gobsmacked by the sight, Healy scrambled down to give a surprised-looking Blink-182 singer-guitarist Tom DeLonge a giant hug. Even as he continued to sing the song — cradling both his mic and a cigarette in his right hand — Healy paused for a moment to tell Tom, “I love you so much, I love you so so much.”
DeLonge had also been in the same area a few hours earlier during 30 Seconds to Mars’ high-energy, death-defying set, during which singer and rock climber Jared Leto did a tethered free-fall from the top of the stage to gasps from the crowd.
After the song was over, Healy shared with the huge crowd how excited he was to meet one of his rock icons. “The person who inspired me to talk about my d–k as much as I do and I thank him for that forever,” he joked about DeLonge in a nod to Blink’s proud history of juvenile lyricism.
Lollapalooza soldiers on Saturday night (Aug. 5) with sets from Morgan Wade, Alex G, Pusha T, Odesza and Tomorrow X Together. The massive four-day fest winds down on Sunday night (Aug. 6) with music from Joey Bada$$, Alvvays, Lil Yachty, Red Hot Chili Peppers and Lana Del Rey.
At long last, Taylor Swift has arrived in Los Angeles for the final stop of her U.S. tour — or so fans thought.
Earlier on Thursday, August 3 — hours before the superstar would take the stage at SoFi Stadium — she announced a second leg of North American dates for 2024. The new dates include stops in Miami, New Orleans, Indianapolis and Toronto. “Turns out it’s NOT the end of an era,” Swift wrote on X (formerly known as Twitter).
And as she made perfectly clear on the first of her six-night run in L.A., slowing down is simply not in the cards. Neither is performing the same show night after night, as evidenced by the addition of two surprise songs to each set list, which Swift says is a fun way to challenge herself to dig deep into her extensive catalog — while also keeping fans on their toes, creating a sort of “gotta catch ’em all” energy.
But on Thursday, there was an even greater buzz radiating throughout the packed stadium as 70,000 fans poured in, many of whom were eagerly discussing rumors that Selena Gomez may make an appearance or that the next Taylor’s Version could be announced on this very night.
That’s the thing about the Eras Tour: it’s safe to expect the unexpected.
As it turns out, neither rumor was true. And yet, Swift’s opening night was nothing short of magical and filled with firsts, like having never performed at SoFi before or selecting a surprise song that she has never played live. And thankfully, it was all captured by a cameraman following her every move on stage, filming for something, as Swift managed to kick her power and poise into an even higher gear.
The night also included stellar opening sets from Gracie Abrams, who will join Swift on her 2024 dates, and HAIM. Of the sister trio, Swift said: “Not only are these three individuals my besties, but they’re my favorite band,” also noting it was a hometown show for the rockers.
“We have a lot to catch up on, musically speaking,” Swift said later on. “I haven’t toured in five years before the Eras Tour; This is the last city on the U.S. leg and we knew we wanted to end someplace special.”
And that is was. Below are the best moments from Swift’s opening night in L.A.
HAIM’s Not-So-Surprise Guest Appearance
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Less than two weeks after the Good Vibes Festival was canceled by Malaysian authorities following The 1975 singer Matty Healy’s same-sex onstage kiss with a bandmate, the band’s envelope-pushing singer seemed to have thoughts on another rock group’s actions in the country with notoriously strict anti-LGBTQ laws. According to NME, Healy weighed in on Muse‘s […]
Taylor Swift teamed up with her frequent collaborator Aaron Dessner for the first live performance of “Right Where You Left Me” in Santa Clara, Calif., on Friday (July 28).
The live debut of the 2020 Evermore bonus track, which was co-written by The National frontman, arrived during the surprise songs portion of the pop superstar’s set at Levi’s Stadium. Prior to the performance, Swift warned Eras Tour concert-goers that it was one of her more challenging songs to play live.
“Because it’s one of our favorites, there’s more pressure on it,” Swift told the crowd. “Also, this is one of the wordiest songs. I have been rehearsing this for weeks, OK? And I’ve never, ever gotten it 100% right. Not even one time. If this is the time that I get it right, you have no idea what kind of celebration I’m going to be exhibiting after that. And also, this goes for you. If you can get all the words right to this song, you get to pat yourself on the back. You win an imaginary prize. It’s yours. We love this song and I hope that I somewhat do it justice.”
As expected, the songstress goofed up the lyrics before laughing it off and starting again where they left off. “It was too good to be true!” she said. “I knew that I would f— that up! We really can’t let that be it, so now we’ve got to go back.”
This isn’t the first time Dessner has appeared with Swift during the Eras Tour. The singer-songwriter has also popped up in several cities for onstage collaborations of “The Great War,” “Would’ve, Could’ve, Should’ve,” “Seven” and “Ivy.”
Swift’s second surprise song of Friday evening was the first live performance of “Castles Crumbling,” from her recently released album, Speak Now (Taylor’s Version), which debuted at No. 1 on the Billboard 200. The studio version of the track features Paramore‘s Hayley Williams, but Swift delivered the track solo on piano.
The North American leg of the Eras Tour will continue in Santa Clara on Saturday (July 29) and close with six shows at Los Angeles’ SoFi Stadium (Aug. 3-5 and 7-9).
Watch Swift and Dessner perform “Right Where You Left Me” here.
If Ginger Rogers did everything Fred Astaire did, but backwards and in high heels, then on Wednesday night (July 27) at her U.S. Summer Carnival tour kick-off in Cincinnati, P!nk did everything Rogers did, but in higher (sparklier) heels, while adding sideways, upside down and round-and-round into the mix.
The high-flying singer brought her signature aerial rig to a sold-out, sweltering Great American Ballpark for the second show of her summer extravaganza — it kicked off in Toronto on Monday night — singing flawlessly while boomeranging 100 feet in the air during a two-hour show that mixed joy, pain, pleasure and poignancy with pure spectacle.
Fans have come to expect the former gymnast to take to the air during her concerts, and while P!nk didn’t disappoint on that level during the show that featured spirited opening sets from Grouplove and Brandi Carlile, the singer also found moments to pay loving tribute to her late dad and her musical idol Sinead O’Connor, whose death was reported just hours before showtime.
Inviting Carlile up to join her, P!nk dueted on a reverent cover of O’Connor’s signature Billboard Hot 100 No. 1 hit, “Nothing Compares 2 U,” with both women summoning their full emotional range to pay homage to the supremely talented, complicated singer who died at age 56 of as-yet-undisclosed causes.
The solemn moment came amid a flashy spectacular that featured neon flamingo scooters and glowing grocery carts skittering around the stage and a mega-trampoline set-up on which dancers performed daring flips and spins to accompany the title track from P!nk’s most recent album, Trustfall. There were also several sweet moments when the singer kneeled down and stopped the show to acknowledge superfans who brought her homemade gifts, which she promised to find a place for at home.
Amid the expected hits (“Get the Party Started,” “Raise Your Glass,” “What About Us,” “F–kin’ Perfect,” “Never Gonna Not Dance Again”) there were some surprise covers and just plain silly moments during a show that featured enough different pink costumes to rival the Barbie movie.
Check out our favorite seven moments from the Summer Carnival show.
Radiohead, Joni Mitchell, Sade and Pat Benatar Cameos
Very few bands can play exciting international shows without a new album, but the beloved Café Tacvba can. Fresh off two back-to-back shows at the Hollywood Bowl, the mercurial Mexican group landed in New York on Monday (July 24) at Central Park’s Capital One City Parks Foundation SummerStage and captivated crowds with a dazzling two-hour show.
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Donning black jeans and matching long-sleeved shirt, frontman Rubén Albarrán commanded the stage from the start when he began to belt out “Seguir Siendo,” a rock masterpiece from their 2007 album SINO. The song, which runs through disparate vibes and emotions, with pensive chants and chilling howls, has the ability to hypnotize listeners instantly, in an almost shamanic way.
The summer night show began as clear as day at 8:00 p.m., a civil twilight, with blue skies and lush foliage. “Friends, look at this great afternoon, with the moon, the sky, and the trees in this wonderful place — thank you so much for bringing us here to Mexa York,” the frontman said with a chuckle.
Spanning through their three-decade discography, the band’s musical prowess was on full display throughout the evening. Their ability to seamlessly transition between different genres, from the raw power of rock to the soulful melodies of folk, was nothing short of impressive. Each band member brought their unique talents to the forefront, creating a harmonious blend of instruments that elevated the songs to new heights.
Here are five reasons why Café Tacvba is an enduring force in Latin music.
Their uncanny ability to evoke a range of emotions
Right from the jump, Café Tacvba has shown its ability to take us on a ride of emotions, from euphoric highs to devastating lows, with songs that span a wide range of stylistic configurations, such as rock balladry, folk, and electronica. In a way, the members — also comprised of Emmanuel del Real (keyboards), Joselo Rangel (guitar), and Enrique Rangel (bass) — convey a supreme musicality in the vein of musical greats (a Beatle-like quality, we dare to say), balancing moods with harmonic delivery that sounds equally as impressive in an outdoor setting as it does indoors with perfect acoustics.
Will Oliver/City Parks Foundation
Albarrán’s multifaceted voice
The band has written some timeless ballads like “María,” “Esa Noche,” “Quiero Ver” and “Diente de León”, which we had the pleasure of hearing on Monday. And Albarrán’s unparalleled, crystalline voice is capable of piercing your heart and soul. Equally, that same voice can turn harsh and raw, unleashing ominous growls — as evinced in songs like “Bar Tacuba,” “Futuro,” and “Déjate Caer” — that make you wonder if it’s all coming from the same person. Listening to the band’s two-hour set with such an eclectic set, and that voice, is truly an unforgettable experience.
Their charming, occasional silly choreography
The band has pulled out some of the funnest choreography of the Spanish-language rock game. Who else doesn’t shy away from busting some charmingly silly moves like we see on “Déjate Caer”? Then they do the duck walk somewhere in between their set, with the Rangel brothers pulling their heavy instruments near the ground with them, while still playing them. Albarrán does some kind of air split, dances and flirts with the crowd. Every band member is always active and vibrant, giving us visual entertainment with just their moves — which never feel forced, but just a sign of having fun on stage while engaging with the audience.
Their audience engagement
Mexican flags lofted high throughout the scene. Yet there were Colombians, Puerto Ricans, Brazilians, Ecuadorians, Argentinians and more in the house, people of all ages. Most in my immediate surroundings seemed to know most of Café Tacvba’s lyrics, singing along with them. They watched in awe during moments of serene vibes with their captivating ballads and rocked the heck out with them in the raucous numbers. The thousands in attendance were there to be engrossed by the show and it showed.
Their uniqueness and continued relevance
Although Cafeta has been around since the late 80’s, their songs still sound as vibrant as ever: That is their gift. Few bands have been able to evolve and transform, while staying true to themselves, with each album they release. From embracing their folk roots (Café Tacvba, Re) to becoming strange and experimental (SINO, El Objeto Antes Llamado Disco), their sound is unique and singular in concept and execution.