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Concerts

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It finally happened.

Following all the rumors and cryptic memes last fall that led to an MTV VMAs appearance and a red-carpet group photo thanks to *NSYNC’s new song for the Trolls Band Together soundtrack, fans were left desperate for a live performance from the boy band. After all, it was a band that made its name with performative music videos, blockbuster stadium tours and iconic choreography, so when fans think “*NSYNC,” they think performance. Fans were clamoring for a full tour, sure, but they really would have settled for the band singing live together just one more time.

Well, on Wednesday night (March 13), we got that one more time. More than a decade after they last performed together at the 2013 Video Music Awards as part of Justin Timberlake’s VMA Vanguard Award medley, they once again hit JT’s stage, this time for a one-night-only concert at The Wiltern in Los Angeles ahead of the Friday (March 15) release of his sixth solo album, Everything I Thought It Was.

It all started with a trip down memory lane, when DJ Andrew Hypes played a series of hit Timberlake features, including Timbaland’s “Give It to Me,” Jay-Z’s “Holy Grail” and 50 Cent’s “Ayo Technology.” Justin had included this segment in his other two pre-release shows as well, at his hometown concert at Memphis’ Orpheum Theatre on Jan. 19 and his show at New York’s Irving Plaza on Jan. 31. Hypes had also played a handful of *NSYNC songs at those concerts, but on Wednesday night, when he dropped the first *NSYNC song — “Gone” from 2000’s Celebrity — the curtains opened behind Timberlake to reveal his four bandmates singing harmony on the chorus.

“Ear-piercing” doesn’t properly describe the volume of the fan reaction in the room. Maybe eardrum-shattering. Or “book an appointment for your ENT to investigate the possibility of shriek-induced hearing loss” levels. This was 15 songs into an already epic concert, which included three of Timberlake’s five Billboard Hot 100 solo No. 1 hits and pretty much every other song that comes to mind when you think of Justin. But there was truly a before and after point of the concert from that moment on.

“I don’t know what to do after that,” Timberlake admitted once he was alone again onstage, before saying, “But this” and giving us one final song (what more could this crowd possibly ask for?), ending the night with 2013’s “Mirrors.”

So let’s take a step back and look at all the highlights from this concert, lest it go down in history as an *NSYNC reunion and nothing more. In fact, there were two other surprise guests who popped up during the nearly two-hour show and a host of other special moments. Below, find all the best moments – yes, of course including the reunion – from Billboard’s vantage point as a lucky crowd member at the history-making show.

Tobe Nwigwe Is the First Surprise Guest

Kylie Minogue’s golden year continues with a headlining spot at Splendour in the Grass 2024, Australia’s famous mid-winter camping festival.
The pop superstar will headline the first night of Splendour, slated for Friday, July 19 to Sunday, July 21, at Ngarindjin / North Byron Parklands. U.S. hip-hop star Future is the Saturday night headliner, and Canadian alt-rock heroes Arcade Fire top the bill on the third and final night.

Kylie has been spinning around since the release last year of Tension, her 16th studio album. Tension blasted to No. 1 in Australia and the U.K. where it became her ninth leader, and its hit “Padam Padam” cracked the U.K. top 10.

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The party never stopped. Her Las Vegas residency, the More Than Just a Residency show at Voltaire at the Venetian, has been extended through May; she collected her second Grammy Award last month, and the BRITs Global Icon award at the 2024 BRIT Awards in England; she recently signed with United Talent Agency (UTA) for live representation in the U.S. and Canada and acting roles worldwide; and last week, she was celebrated with the Icon Award at the Billboard Women in Music event and, separately, joined Madonna on stage during the Queen of Pop’s five-night stand at the Kia Forum.

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Also on the bill for this year’s Splendour is Girl In Red, Yeat, Turnstile, G Flip, The Last Dinner Party, Tash Sultana, Fontaines D.C. and many more.

Established in 2001 and held each year in Byron Bay, a dreamy beach town on the most easterly tip of Australia, Splendour is a destination event. It hasn’t been all-dreamy for organizers Secret Sounds in recent years. The popular event was announced, then shelved several times during the pandemic. Then, in 2022, extreme weather conditions wrecked the first day of Splendour 2022, contributing to softer-than-usual ticket sales for the 2023 edition.

Tickets for Splendour 2024 go on sale from Thursday, March 21 via moshtix.com.au, with the SITG members pre-sale opening March 14. Single day tickets are priced at A$179 (plus fees), three-day tickets are $399 (plus fees), camping tickets cost $159 (plus fees) and the premium “VIP Village VIP” three-day ticket is A$599 (plus fees). 

Sting, who was a member of a pretty famous trio back in the day with The Police, is returning to a similarly stripped down configuration for his Sting 3.0 tour. 

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The vocalist/bassist will be joined by longtime touring mate, guitarist Dominic Miller, and drummer Chris Maas (Mumford & Sons), on the North American theater tour presented by Cherrytree Music Company and Live Nation.  

The tour will start Sept. 17 at the Fillmore in Detroit and play 12 markets before wrapping in Los Angeles on Nov. 13. The tour includes multiple dates in each city, including three nights at the Brooklyn Paramount Theater in Brooklyn, NY, and two nights at Toronto’s Massey Hall. The three-piece will perform songs from the 17-time Grammy winner’s solo career, as well as his time leading the Police. 

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It’s a busy touring time for Sting, who will play San Diego’s Petco Park with Billy Joel on April 13, as well as continue on a European arena tour for much of the summer before the kick-off of this fall’s theater tour. 

Tickets go on sale Friday (March 15) at sting.com to the general public, while tickets are already available to members of Sting’s Fan Club on the site. 

“STING 3.0” TOUR ITINERARY

Tue. Sept. 17                     Detroit, MI                                        Fillmore DetroitWed. Sept. 18                    Detroit, MI                                        Fillmore DetroitFri. Sept. 20                       Toronto, ON                                      Massey HallSat. Sept. 21                       Toronto, ON                                      Massey HallMon. Sept. 30                    Philadelphia, PA                              The MetTue. Oct. 01                        Philadelphia, PA                              The MetFri. Oct. 04                         Boston, MA                                        MGM Music Hall @ Fenway ParkMon. Oct. 07                      Brooklyn, NY                                     Brooklyn ParamountWed. Oct. 09                      Brooklyn, NY                                     Brooklyn ParamountThu. Oct. 10                       Brooklyn, NY                                    Brooklyn ParamountSat. Oct. 12                         Port Chester, NY                              The Capitol TheatreTue. Oct. 15                        Washington, DC                               MGM National HarborSun. Oct. 20                        Miami, FL                                            Fillmore Miami BeachTue. Oct. 22                        Atlanta, GA                                         Cobb Energy Performing Arts Centre

Mon. Oct. 28                      Chicago, IL                                         Auditorium TheatreTue. Oct. 29                        Chicago, IL                                         Auditorium TheatreWed. Nov. 06                     San Francisco, CA                            The MasonicThu. Nov. 07                      San Francisco, CA                           The MasonicTue. Nov. 12                       Los Angeles, CA                               The WilternWed. Nov. 13                     Los Angeles, CA                               The Wiltern

There was nothing Jimmy Buffett liked more than a wild party. So it’s fitting that some of the late “Margaritaville” singer’s friends and musical compatriots are planning to pay homage to his celebratory legacy on April 11 with an all-star concert at the Hollywood Bowl entitled “Keep the Party Going: A Tribute to Jimmy Buffett.” […]

Vince Power, the legendary Irish impresario who founded the U.K.’s Mean Fiddler Music Group, had a hand in many of Europe’s leading festivals, and was made an honorary Commander of the Order of the British Empire (CBE) for his work in the live music industry, died Saturday (March 9). He was 76.

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Power had the right name for the job. Born into a rural family in 1947 in County Waterford, Ireland, the concert promoter and venue operator founded MFMG in 1982, then a small northwest London country music venue.

He made his move to London at age 16, and initially ventured into the secondhand furniture business, but his love of music led him to invest in that derelict former drinking club in Harlesden. The Mean Fiddler was born, and it proved to be the platform from which he built an empire.

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At its peak, the group encompassed some 30 venues and events, including the London Astoria, Jazz Cafe, the Leeds and Reading festivals, Fleadh Festival, and an interest in Europe’s biggest and best-known annual festival, England’s Glastonbury.He sold his stake in MFMG in 2005 to Clear Channel, now Live Nation, and returned to the game with a new live entertainment venture, the Vince Power Music Group, initially comprising a portfolio of London live-music venues, bars and nightclubs.

The following year, in 2006, Power was made an honorary CBE for his “valuable contribution to music.”

Power reentered the festival business with the Day at the Hop Farm fest, and took a controlling interest in Spain’s Benicassim (Vince Power Music Group was hammered by the global financial crisis and went under in 2010).

“I just love organizing festivals,” he told Billboard in 2008. “It’s a challenge again—and I’m not ready to keel over just yet. With the Mean Fiddler, we had a huge amount of stuff which we did—live music festivals, dance festivals, bars, tours—and when I sold it out three years ago, it had got to the stage that it was huge. It was a [public limited company], it [had] £80 million [$158 million] [in revenue], and I lost the sort of touch that I have now, the hands-on touch. I looked at retiring for about two weeks. [laughs] That didn’t really work for me.”

Power is remembered as a music man, and a maverick with a tough-guy image, but in an interview with The Irish Times, he described himself as a “lucky chancer”.

Power never switched off the music, never forget his Irish roots. In recent years, he produced Liverpool Feis festival, billed as “the biggest celebration of Irish culture the city has ever seen.”

As news of his passing spread, the music community paid their respects to the powerful Irish concerts specialist. “I’m going to miss you so very much, my friend in music, in thinking, in dreaming,” writes Welsh singer and songwriter Cerys Matthews, co-founder of Catatonia. “Love you very much.”

Irish Imelda May writes on social media, “So sad to hear of the passing of the great Vince Power. I adored him. He took a chance on me at the start of my career when I needed it most. He was so important to Irish culture and community at home and the UK. He’ll be greatly missed. Love to his family.”

Power is survived by his wife Sharon.

Don Omar’s Back to Reggaetón tour made a remarkable stop at New York’s Barclays Center on Saturday night (March 9), showcasing the undiminished prowess of the Puerto Rican legend. His performance, filled with energy and nostalgia, underlined his title as the King of Reggaetón, engaging the audience with a mix of his greatest hits and a captivating stage presence.

The Back to Reggaetón U.S. tour, produced by CMN, marks his much-awaited return to the stage, celebrating two decades of influential hits that have cemented his status as a global superstar. The tour, which launched in Reading, Pennsylvania, on March 7, will also include stops in major cities such as Los Angeles, Chicago, Miami, Las Vegas, and Houston.

The stage was set ablaze with reggeatón pioneer DJ Nelson behind the turntables, featuring classics that took the audience on a journey through the genre’s history. He kicked off with his own hit, reggaetón’s breakthrough “Vengo Acabando,” originally also sung with Alberto Stylee. He also spun “Noche de Travesuras” by Nicki Jam, “Lo Que Pasó Pasó” by Daddy Yankee, “Yo Voy” by Zion & Lennox, “Saoco” by Wisin, and “Tusa” by Karol G with Nicki Minaj, priming the crowd for the main event.

Don Omar’s entrance was a spectacle in itself, with a gigantic, rotating skull serving as his dramatic lift onto the stage. The audience erupted into a standing ovation as he appeared, his figure accentuated by a striking black snakeskin trench coat trimmed with red fur, and rocking his iconic cornrows. His performance was both a homage to reggaetón’s legacy and a celebration of his monumental career.

He ran through two-hours of bangers such as “Salió El Sol,” “Hasta Abajo” and “Dile.” “Pobre Diabla’ is a hit because of this city in the U.S., he shouted after performing it. “This song means New York to me,” he told the crowd.

Here are five best moments at Don Omar at Barclays Center.

A Post-Apocalyptic Spectacle

Saddle up: There’s a big anniversary in Asbury Park, N.J.
The Stone Pony, birthplace of Southside Johnny & The Asbury Jukes, is celebrating 50 years. In February 1974, New York native Jack Roig opened the Ocean Avenue club, situated across from the Asbury Park boardwalk, and local superstar Bruce Springsteen soon brought it to national fame.

The Jukes started playing regularly at the Pony in 1974 as one of the venue’s first house bands — and early incarnations included future E Street Band member Little Steven Van Zandt. Springsteen began to hang around soon after.

The 1976 record release party for the Jukes’ debut, I Don’t Want To Go Home, helped put the club on the map. Springsteen, members of the E Street Band and legendary singers Ronnie Spector and Lee Dorsey made guest appearances at the concert, which was simulcast across the region including on major Philadelphia rock station WMMR-FM. The sound of Asbury Park — a merging of rock’n’roll and horn-fueled R&B and soul — was a hit.

The venue has had several owners since its ’70s heyday with Roig and his partner, Robert “Butch” Pielka, who sold the venue in 1991 before it became a short-lived dance club called Vinyl from 1998 to 1999. A year later, Domenic Santana reopened the club with a ballyhooed press conference that included an appearance by then-New Jersey Gov. Christine Todd Whitman, only to move on by 2003 and leave real estate company Asbury Partners in charge. With the future of the Stone Pony in doubt, it hired Asbury Park local Caroline O’Toole, who left a nearby club to manage the venue. O’Toole stayed on when developer Madison Marquette took ownership in 2008. The company brought Live Nation on board that year.

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For more than 30 years, the city and oceanfront had been in a downward spiral that included riots in 1970, a desolate downtown and empty beaches on hot summer days. Springsteen spoke of Asbury Park’s “boarded-up windows, the empty streets” in “My City of Ruins.” These days, the city and its famed music venue are choice destinations.

“Shows were sold out at the Stone Pony,” President Barack Obama said on the city’s boardwalk, steps away from the venue, in 2013 after Superstorm Sandy. “I think a friend of mine from here once put it pretty well: ‘Down the shore, everything’s all right.’ ”

The modest- looking venue (shown here in 2005) has helped drive the revitalization of Asbury Park.

John Cavanaugh

The Stone Pony’s 850-capacity indoor stage and 4,500-capacity outdoor Summer Stage have hosted stars from Elvis Costello to Blondie, Green Day to Demi Lovato, as well as local favorites like Springsteen over its 50-year history. The modest building, painted white stucco on the outside with a simple rectangular floor plan, will continue its storied legacy with anniversary shows throughout the year. The Jukes played there Feb. 16 and Feb. 17 (although Southside Johnny left the second show early and was briefly hospitalized for dehydration, according to a band spokesman).

On the boardwalk overlooking the venue, O’Toole — whom Roig has called the Stone Pony’s “best manager” — discusses the venue today, its role in Asbury Park and the magic of a rock’n’roll night on the Jersey Shore.

Founding owner Jack Roig is still a familiar sight at the Stone Pony.

One of the things that makes the venue so special is that we’ve never tried to erase the past. We embrace the past. And Jack, it doesn’t get any earlier than him and Butch [Pielka], and his spirit is always there.

When you’re in the club off-hours, what do the walls talk to you about?

Probably most of the things I can’t tell you. (Laughs.) But I think it speaks volumes about customers’ experiences and band experiences and history that was being made when we didn’t even know it was being made. A lot of E Street members meeting their wives there; Bruce [Springsteen], especially, meeting Patti [Scialfa] there. All of these things were happening in addition to the music being played. It’s amazing to hear those stories and know that the Stone Pony was part of that.

Why do you think people make such a strong connection with the Stone Pony?

People come there for the music and the vibe. It’s like perfect conditions for meeting somebody, and you’re meeting somebody with the same interest, same ideology that you have. That music is a source for the good things in your life.

The Stone Pony Summer Stage, adjacent to the club, has hosted scores of national acts such as Asking Alexandria in 2019.

Chris Spiegel/Blue Revision

What were the venue and the city like when you first started working here?

It was 2003, and the boardwalk was still very much a desolate area. The redevelopment company at the time, Asbury Partners, was here, but everything was still in the very early stages. What I noticed the most [as someone] coming from the Belmar community [where O’Toole lived at the time] was that Memorial Day weekend in Belmar was a big deal. I remember being here in the summer thinking, “This is nothing like Belmar,” and it’s only three towns away. I couldn’t get over that. I just couldn’t believe what Asbury was like [in the midst of its decadeslong economic decline] in the summer. It took every bit of effort on my part, on a couple of other people’s parts, to keep [the Stone Pony] there because there were so many times in that five years [it] could have gone out of business.

What shows does Live Nation book at the Stone Pony? How does that work?

They book 99% of the outside shows [on the Summer Stage, adjacent to the club]. Once in a while, I’ll throw in one, or there will be a special rental or something like that. They book a lot of our inside shows, mostly all the national acts, and it’s probably well over 100 a year inside alone. Outside, we average 35 shows.

What happened in 2008 when the current owner, developer Madison Marquette, came in?

2008 was the turning point. Gary Mottola, who’s with Madison [as president of property investments], just when the real estate market tanked, he said to the company, “Let’s go, let’s do this.” They threw $90 million at the boardwalk [after the crash], and that’s what turned Asbury Park around.

Southside Johnny & The Asbury Jukes’ 1976 live broadcast really put the Stone Pony on the map.

No doubt about that, and it’s why he gets a lot of credit for the Pony being here. Not only is he a part of the history, but he has created moments for other people to create history. He’s a special guy; they’re a special band.

One thing that people get wrong is Springsteen did not get his start here — though he obviously helped put the Stone Pony on the map, too.

I always say Southside and Bruce made the Pony famous, not the other way around.

Springsteen’s a familiar face, too. He’ll play private benefits from time to time, he danced with Scialfa at a Quincy Mumford sound check in 2019, and he came to the memorial for longtime club fan Kerry Layton, whom many called “the Ambassador of the Stone Pony.”

Every time he’s there, it’s special. Especially when it’s just a regular moment, like him wanting to show Patti the new back bar, and that’s when the dance happened because Quincy Mumford was onstage sound-checking. Something that simple, like him wanting to show his wife how nice it looks in there, that was really cool.

A benefit show in 2003 for the Light of Day Foundation (which raises money to research cures for Parkinson’s disease and related illnesses) that featured (from left) Joe Grushecky, Bob Benjamin, Michael J. Fox and Bruce Springsteen.

John Cavanaugh

What do musicians playing the Stone Pony for the first time say to you or want to know about the venue?

It’s funny. During sound check, I’ll [sometimes] hear them doing a Bruce song that they don’t normally do. There’s nothing else they need or want to know. They’re here because of the history, and they want to be part of it. Every act that comes in here and adds to the history just keeps the legacy going.

The area has experienced two really tough times in recent years: Superstorm Sandy in 2012 and the coronavirus pandemic. The club helped build a sense of community in the aftermath of those two events.

It’s being a beacon of hope, a beacon of light in our town and on our shore. People say, “Is the Pony OK? OK! The Pony’s OK, I’m OK, we’ll get through it OK.” It mattered to a lot of people that it was still here after both terrible events.

What’s the Stone Pony’s role with the big festivals that come through?

We’re glad to be included. Stacie George, vp of Live Nation New York, was determined from the beginning to really make [the annual New Jersey LGBTQ+ Pride Celebration in Asbury Park] something. Up until then, it was maybe a show here or there, but this year we will have three or four solid days of Pride shows, and that has never happened before. Again, it’s history in the making, and I’m very proud that’s what’s happening. I’m glad the community has embraced the acts that have come here. [For] Sea.Hear.Now, we’ve had some legendary aftershows, and I’m glad that a festival like that is here. The people who run it [including Asbury Park-based music photographer Danny Clinch] are friends of ours, and they’re incredible people.

What’s the role of the Stone Pony in Asbury Park in 2024?

The future of the community has gotten so much brighter with new things coming through. The Pony is a symbol that we don’t have to let go of our past to embrace our future. The Pony is a symbol of both those things.

Chris Jordan is the music writer for the Asbury Park Press, which is part of the USA Today Network.

This story will appear in the March 9, 2024, issue of Billboard.

Hamilton Leithauser likes to defy expectations, which is one reason the singer-songwriter and frontman of The Walkmen began an annual residency at the Cafe Carlyle in 2018. “It used to be just a weird out-of-touch thing that I thought it was kind of a novelty, and now it’s turned into a regular fun thing,” he said following the sold-out March 6 opening night of his sixth year at this posh location in the Hotel Carlyle, which is better known for jazz and cabaret performances. “Now, people look forward to it.”

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They do. This year’s residency, which runs through March 20, is his longest yet, and tickets sell fast. “I did notice that they were putting in extra tables all night which they definitely do not pay me for. I’ll tell you that much,” he said. “The soundman is my buddy now, and he’s like, ‘Oh, look at that,’ and he pointed to where they put down a couple more tables.”

The vibe at Leithauser’s Cafe Carlyle shows is much different than a Walkmen concert or even Leithauser’s solo performances at larger venues. The show is largely acoustic and takes place inside what is arguably New York’s best-known cabaret performance space, and the former home of legendary pianist Bobby Short for almost 50 years.

“Premium” hospitality has been a buzz word in the live industry for a couple years now, and the Cafe Carlyle experience would be practically impossible to transplant to an arena, it’s one classy joint. The maitre d’ — who goes by the name Gogo — the waiters and bartenders are world-class and will pretend they recognize you even if it’s your first time. The cocktails are strong and top-shelf — not a White Claw or PBR in sight; the wine list, ambitious; the menu is filet mignon and poached island salmon; and jackets are required. (Leithauser performed in a black suit jacket, black jeans, white shirt and loosened tie).

All of which means that the crowd is well-dressed, behaved and reverent. No one is shouting requests for “Free Bird” (or even the band’s own signature rave-up “The Rat”), and because the room is small, there’s much less phone filming and brazen texting than is usually found at shows. If that sounds expensive, it is — about the cost of dinner and a Broadway show — but Leithauser inevitably delivers a performance that leaves the crowd feeling richer the experience.

Here are some of the highlights that residency-goers can expect.

1. New Songs!

Leithauser, who last released two albums in 2020, The Loves of Your Life, and Live! At Cafe Carlyle from an earlier residency, performed two new songs on March 6: He opened his set with “What Do I Know,” a song that he said he didn’t think much of when he first wrote it, but had grown to like because he now thought: “I finally found the depth of my soul.” One of the memorable lines: “The kids they got everything wrong, but that’s a story for another song.”

The second was “Fist of Flowers,” which he co-wrote with Walkmen bandmate Paul Maroon. Both songs were enthusiastically received by the audience, and after the show, Leithauser said that the highlight of his night “was playing my new songs and having them go over pretty f–king well. I guess that’s what everybody wants to say … but I want to say it, too.”

Leithauser, who called himself “a workaholic,” also volunteered that he’s working hard to finish his new record for a 2024 release. “I need three songs,” he said. “I told Daniel [Glass, the CEO of his label, Glassnote] it would come out last year, and it didn’t. Actually, I told him it would come out the year before, and it didn’t. If it doesn’t come out in 2024 I’ve got a problem.”

2. The Storytelling

If Leithauser tired of writing songs, he’d make a heckuva novelist. Many of his tunes — especially those from The Loves of Your Life — are musical short stories based on actual experiences with vibrant characters and narratives, even when they take an abstract turn. His opening night set included “Isabella,” a song about a permanent party girl; “The Stars of Tomorrow,” about a strange encounter that he and his daughters had with a Polish woman on a Long Island, NY beach; “Ocean Roar,” a tribute to his late friend, the singer-songwriter, multi-instrumentalist and producer Richard Swift; “The Bride’s Dad,” a bittersweet tale of a deadbeat dad drunkenly toasting his daughter after crashing her wedding; and “Here They Come,” about a man avoiding relationship problems by hiding out in a movie theater all day.

In the past, Leithauser told audiences and interviewers that the song was about a friend. At this performance, he said it was autobiographical. Fans of “1,000 Miles” and “In a Blackout,” from his 2016 collaborative album with Rostam Batmanglij, I Had a Dream That You Were Mine, were not disappointed, and he ended his set with his abstract realist masterpiece, “The Garbage Men,” in which, “All the playboys dance on the blacktop like a swarm of flies.”

3. The Covers

Deep-cut and left-field covers are always part of Leithauser’s residency shows. In the past, he’s performed songs by Big Thief, Fleet Foxes and Lana Del Rey. On March 6, he broke out Randy Newman’s “Miami” from his 1983 Trouble in Paradise album, played The Pogues’ elegiac “Broad Majestic Shannon” in remembrance of Shane MacGowan, and in what may be the most radical song ever performed at the Cafe Carlyle, performed Royal Trux‘s “Stevie,” which Neil Hagerty wrote about his onetime obsession with the bizarro actor Steven Seagal. (Like the band, Leithauser hails from Washington, D.C.)

4. The Voice

“That’s my calling card,” Leithauser said of his preternatural voice in a 2020 Billboard interview. The high notes he hits have been compared to a howl — but he goes low, too, and in a room like the Cafe Carlyle, where everyone is listening, the nuances of his vocal range are crystal clear.

5. It’s A Family Affair

Leithauser’s band includes his wife Anna Stumpf on keyboards and vocals; also on backing vocals, Lacrisha Brown, who was his daughter’s school teacher.

BONUS: After the show, the action sometimes moves to the legendary Bemelman’s Bar, which is also in the Hotel Carlyle, and it’s not unusual to see Leithauser sharing a cocktail and conversation with frequent Carlyle visitor Bill Murray.

As the release of Everything I Thought It Was draws nearer, Justin Timberlake is treating fans to yet another “One Night Only” experience. On Wednesday (March 6), the “Selfish” singer announced an exclusive show at The Wiltern in Los Angeles. “LA ➡️ THE WILTERN 3/13,” Timberlake simply captioned a carousel that include a picture of […]

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EDC Las Vegas 2024 is promising to be one of the biggest years yet for the dance music festival, with a star-studded lineup that includes Diplo, David Guetta, Kaskade, Tiesto, FISHER, Alesso and John Summit. The news doesn’t end there though as EDC Las Vegas has unveiled Eargasm as the official earplugs of the music festival. Perfect for keeping your hearing in check while you party through the DJ sets, the special-edition concert earplugs are available to pre-order now on Amazon.

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As part of the partnership, Eargasm’s official earplugs for the music festival come in a vibrant EDC-themed box with two transparent earbuds within. You’ll also receive a carrying case for the earplugs, to keep them safe and easily accessible while you’re at the music festival.

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The limited-edition earplugs are available to preorder through Amazon with a guarantee delivery by March 29 (when the concert earplugs are officially released). Since EDC Las Vegas 2024 doesn’t happen until May 17-19 that still leaves you have plenty of time to make sure you get your hands on a pair.

Amazon

Eargasm High Fidelity Earplugs X EDC Las Vegas

Eargasm’s High Fidelity Earplugs come with an expected noise reduction rate of 21 dB (decibels) and a NRR of 16 dB. The clear material helps make it almost unnoticeable when placed inside of your ears while the built-in pull tab makes it easier to take the earplugs out when you’re done using them.

As you start packing your festival gear and other travel necessities, you’ll want to make sure Eargasm’s earplugs are one of the things stocked in your luggage.

Do Earplugs Actually Work At Concerts?

If you’ve ever left a concert or music festival with ringing ears, then you’ve probably experience Tinnitus, which is described by the Iowa Carver College of Medicine as the “perception of sound in the absence of it (such as whistling, buzzing or roaring sounds within the ear or head).” This is just one of the symptoms from music induced hearing loss, which occurs when you’re exposed to high volumes of noise.

Concert earplugs work to minimize hearing damage by muffling sounds and reducing the noise, so your ear cannel doesn’t experience it at full force.

How to Get EDC Las Vegas 2024 Tickets

Tickets for EDC Las Vegas 2024 are still available at VividSeats, Seatgeek and StubHub. Ticket packages on resale sites start at $382 and you can choose from three-day passes to single-day tickets as well as VIP packages. Learn more about the festival including its lineup and tickets here.

Looking for additional deals? First time purchasers on Seatgeek can score $10 off when you use the code BILLBOARD10 at checkout.

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