State Champ Radio Concerts
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Wednesday (Oct. 23) evening in New Orleans, a white SUV tentatively peeks around the corner of Chartres Street in the French Quarter. Though Taylor Swift’s “Fearless” is the song wafting from its window, the man behind the wheel is visibly uneasy as he drives his family past boozed-up revelers stumbling toward Bourbon Street.
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By Friday (Oct. 25), however, Swift’s presence in the city has made all the tables turn. SUVs sporting song titles scrawled in marker (“Getaway Car” is a popular choice) and decals of Taylor’s face clog the streets as tens of thousands of tourists descend upon the city for the first of three sold-out shows at Caesars Superdome.
Fans wearing Eras Tour merch (or unofficial t-shirts playing on the tour’s distinctive color palette) are everywhere from the Bywater (Swift ordered her Lavender Haze birthday cake from Bywater Bakery in 2022) to Frenchman Street to the Instagram-friendly Skeleton House way over by Audubon Park, which this year is themed “Terror Swift: The ScEras Tour” (sample offering: a skeleton in a yellow evermore dress clutches a guitar next to a “No Body, No Crime” sign).
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“Taylor Swift Takes Over New Orleans” trumpets a “visitor’s guide” pamphlet crafted by The Times-Picayune and NOLA.com. The infamous Bourbon Street is almost family-friendly. Aside from “Blank Space,” “You Belong With Me” and “Anti-Hero” playing on repeat, nearly every bar and restaurant is boasting tie-in programming (karaoke, trivia, look-alike contests offering the winner as much as $500) or themed drinks (Taylorita, Lavender Haze fizz, Holy Ground hurricane).
Even the city’s music hotspots, places that skew toward jazz and the blues, aren’t immune to the pop star’s impact. Over on Frenchman, d.b.a. is hosting a friendship bracelet-making station; at the Mahogany Jazz Hall on Chartres, one of the bartenders is slinging lyrical references along with sazeracs (“I knew you were trouble when you walked in,” he quips while serving a customer two cocktails); while Esplanade Studios, where Swift recorded three songs from The Tortured Poets Department (“Who’s Afraid of Little Old Me,” “Fresh Out the Slammer” and “Florida!!!”), serves as an incentive for Swifties to explore the Treme neighborhood.
Back in the French Quarter, Antoine’s Restaurant — the oldest eatery in the city and the birthplace of oysters Rockefeller – is getting in on the fun, doling out pink to-go cups and writing “Eras Tour 2024” in frosting on their signature dessert, baked Alaska.
“[Right now is] as big and as busy as Mardi Gras and that’s the busiest time of year,” says Lisa Blount, who handles publicity for Antoine’s and is married to the CEO of the fifth-generation family-run business. “In the next three days we’ll do over 3,000 guests.”
“New Orleans always enjoys a busy pre-Halloween weekend,” says Steve Pettus of Dickie Brennan’s, a New Orleans restaurant group that includes Tableau, a French-Creole spot that hosted a Swiftie “balcony bash” on Saturday. “This weekend is more than double what we have traditionally seen. The requests for reservations have not stopped. I’ve never felt so popular in my life — I have more ‘friends’ than I realized.”
“We had guests start calling over the summer asking when they could book a table, so we knew what was coming,” says Kyle Brechtel, president & CEO of Brechtel Hospitality, which hosted a Swift-themed rooftop soiree on Friday. (Thanks to on-staff Swifties, “Taylor Tenders & Seemingly Ranch” were on the menu, referencing a viral Swift-related tweet from Sept. 2023.) “[Halloween] is always a big weekend in the city, but this is a whole different level.”
A growing New Orleans’ Halloween tradition is the witches’ luncheon, where locals don black robes, pointy hats and grab brunch. While the witches were out in force earlier in the day on Friday (even belting “Cruel Summer” at a karaoke bar in the crossover spirit of the weekend), by 5:00 p.m. the witching hour had given way to the Swifting hour. Taylor Swift costumes – from the purple “Enchanted” gown to the gold-tasseled “Fearless” dress to variations on the “22” t-shirt (“A Lot of Potholes Going on at the Moment,” “A Lot to Vote on at the Moment”) – and Kansas City Chiefs jerseys became as inescapable as Mardi Gras beaded necklaces.
Fortunately, New Orleans is a city that’s used to hosting massive cultural events. Case in point: Next year’s Super Bowl will take place at Caesars Superdome on Feb. 9, bringing halftime headliner Kendrick Lamar to the same venue Swift just sold out for three nights. So even with the Eras Tour bringing an estimated extra 100,000-150,000 people to New Orleans, the city doesn’t miss a beat.
“We have a lot of practice with this,” says Walt Leger, president and CEO of New Orleans & Company, the city’s official sales and marketing organization. “We have a lot of great professionals on the public safety side who know how to coordinate traffic and other issues that may impact us when we have an influx. Our city excels at these events – we have a professional hospitality community. It’s muscle memory.”
Still, the Eras Tour hits different. “This weekend will be more foot traffic, whereas the Super Bowl is a lot of corporate events scattered around town,” Brechtel says. “I haven’t seen anything rival the impact of a Super Bowl [here] until now.”
“The Super Bowl is very much a corporate event,” Blount echoes. “Large parties, a lot of VIPs. They buy out the restaurant, things like that. This is a different type of busy.” She offers a point of comparison: “We love those weekends where it’s the Saints vs. the Dallas Cowboys. We have massive amounts of people in town, the restaurants are busy, everybody is busy. A friend of mine said, ‘You know what’s great about this? It’s like a football weekend but we’re all rooting for the same team.’”
Not everyone is fully onboard the Taylor train, however. During a Halloween-themed drag show on Wednesday, one of the performers announced they would be hosting a series of Swift-themed drag shows over the weekend and was greeted with light boos. “I know, I know, she’s ruining Halloween,” the queen declared. “I feel the same as you, but I gotta pay rent.”
Another local, after getting off her work shift and finding herself in a sea of Swifties, put it more bluntly: “I’m sick of these motherf—kers and their t-shirts.” (To be fair, if your coffee shop suddenly had a line of 150 people waiting around the block to get a themed plastic cup, you might be irked, too.) Karen-coded behavior reared its head on occasion, too — such as a pair of Swifties telling a local street musician playing blues instrumentals to sing Swift songs instead. Or a table of adults at Lafitte’s Blacksmith Shop chanting Taylor’s name at the piano player, despite the pianist politely stating that song requests should come with a couple bucks (they did not tip, and their chants went unanswered).
But those brief bad blood moments were few and far between. The city is more than accustomed to tourists, and most locals were more than happy to strike up a conversation with visiting Swifties to offer food recommendations or share bits of the city’s history.
“Our city recognizes that we benefit greatly from who invest in our community by spending dollars and supporting jobs and infrastructure,” Leger says. “Data shows that in the first leg of the Eras Tour, we’re expecting an excess of $200 million in extra spending, conservatively. It’ll probably be more than that.”
Ultimately, the Taylor Swift New Orleans takeover – like the Eras Tour itself – is about something that runs deeper than dollars, though. Walking down a cobblestone street on Friday, a young woman on her smoke break stops a first-time New Orleans visitor with quiet but eager question: “Are you a Swiftie?” Putting out her cigarette, she reveals a wrist covered in friendship bracelets. “Wanna trade?”
“Everybody is walking around having a great time,” Blount says. “It’s a great positive time. In this world today, having it be happy? My God, with the election in two weeks and all the caustic things with the election, it’s so nice to see people smiling.”
Christian Nodal electrified the stage, evoking a torrent of emotions at New York’s Barclays Center on Saturday night (Oct. 26), leaving no doubt about his unmatched vocal prowess.
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Unlike many of today’s concerts — especially in the música urbana landscape, which often rely heavily on pyrotechnics, costume changes, and choreography — Nodal’s performance, part of his Pa’l Cora tour, spotlighted his commanding voice above all.
Opening the concert at 9 p.m. with “El Mariachi” from the Antonio Banderas-starring Desperado soundtrack, Nodal immediately set the tone for the evening. Dressed sharply in beige snakeskin pants with turquoise accents, a matching vest, and a white long-sleeved shirt unbuttoned to reveal a silver chain with a cross and his tattoos, he embodied his signature cowboy rocker aesthetic. The Sonoran singer’s stage was embellished by a mariachi troupe in elegant deep-red outfits, an accordionist, backup singers, a brass section, and an electric guitarist — perfectly merging mariachi with norteño into his famed “mariacheño” fusion.
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One of the many performance highlights was when Nodal seamlessly delivered a medley of Vicente Fernández classics, including “El Rey,” “Volver Volver,” “Acá Entre Nos” and “Mujeres Divinas.” Again, the tribute showcased his extensive vocal chops and ability to emotively convey pain, sadness, and elation, leaving the audience spellbound.
Further amplifying the night, Christian Nodal brought out surprise guest Ángela Aguilar, his wife, who only the night before made an appearance in Bogotá, Colombia, with her father, the legend Pepe Aguilar. Nodal playfully asked the crowds, “¡¿You all want her to sing?!” Ángela, donning in a sleek black outfit, pranced out and they sang their duet on “Dime Cómo Quieres.” She then exclaimed, “Because you are my husband, Christian!” showing off her ring, during the song, and by the end of it they shared a kiss before her exit, drawing cheers and applause.
Nodal’s affection for his audience was evident as he addressed them between songs, expressing a special anticipation for his New York performance. “Not to be a nice guy, but I’m going to tell you something. On the tour, there were 26 dates around the United States. But among all of them, the one I was dreaming about the most was with you, New York. Something I love about here, about New York, is that it’s a beautiful place for Latinos,” he said.
He further customized his set for the New York crowd, acknowledging the significant Dominican presence and performing a bachata live for the first time with “La Bachatita.” Additionally, unexpected covers like Maná’s “Clavado en un Bar” and Hombres G’s “Devuélveme a Mi Chica” showcased his versatility, while his renditions of “Como la Flor” by Selena further demonstrated his broad appeal.
Nodal concluded his over two-hour performance without a vocal break — a testament to his impressive stamina. His performances of “La Intención” originally with Peso Pluma, and “Por El Resto de Tu Vida” originally with TINI, were climactic points that underscored a night of intimate connection.
The Mexican music hitmaker will continue his Pa’l Cora tour, making stops in Boston, Orlando, Atlanta, Baltimore, and more. See the remainder tour dates here.
Perhaps it was the ultimate irony that Concert for Carolina, Saturday night’s (Oct. 26) benefit for Hurricane Helene relief organized by Luke Combs and Eric Church, was delayed for nearly two hours because of severe weather as patrons were sent to shelter in the concourse at Charlotte’s Bank of America stadium, home of the Carolina […]
With Billboard Hot 100 hits like “Hungry Like the Wolf,” “Union of the Snake,” “New Moon on Monday” and “A View to a Kill,” Duran Duran’s catalog is frighteningly fitting for spooky season. So in 2022, when the English quartet found itself playing a Halloween-night gig in Las Vegas ahead of its induction into the Rock & Roll Hall of Fame, the band decided to don costumes, sprinkle in seasonally appropriate covers and embrace the darkness.
The show was successful enough to inspire the band’s 2023 album, Danse Macabre, a top 10 hit on the Top Album Sales chart. With an expanded version of the album out now, the veterans — who have grossed $118.6 million and sold 1.8 million tickets since 1987, according to Billboard Boxscore — are set to play a show at New York’s Madison Square Garden on Oct. 31 that keyboardist Nick Rhodes promises “will be entirely different than any other Duran Duran show you will ever see.”
Is Halloween as big in the United Kingdom?
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We don’t celebrate it in such grand style as you do in America. I remember the first time I came to America was over the Halloween period. I literally thought, “Wow, they’re so far ahead of us. Why don’t we have these giant blow-up things outside our houses? Why can’t bats be 20 feet wide?” I love the sense of fun, the absurdity and that everybody gets to be a villain for a day.
The deluxe Danse Macabre has “New Moon (Dark Phase),” a moodier take on one of your classics; a cover of ELO’s “Evil Woman”; and “Masque of the Pink Death,” which I’m guessing is inspired by Edgar Allan Poe.
I’ve always been a great admirer [of Poe]. We grew up in England in the ’70s, where Hammer horror movies on [TV on] a Friday night, whether it was a Dracula or a mummy movie, were the thing you looked forward to all week. Plus, [I love] Tim Burton’s great contribution to everyone who loves goth. Those things shape the way you feel about life and the possibilities creatively. That’s what makes artists unique — their influences and the different areas they take from, even if it’s subliminal.
The Madison Square Garden show will be your second Halloween-themed concert. Do you see this becoming a tradition?
I don’t know. It’s a lot of work for one show. But Madison Square Garden just happened to be available, and New York is such a good place to be for Halloween. It was irresistible. We are going to make it something unusual and special. It won’t be like a regular show at all. The fans in Europe have been writing in already saying, “When are you going to do one in Europe? This is the second one in America; that’s not fair.” I sympathize with that. We always like to try to balance things, so maybe [we’ll do] one in Europe next year.
You have several other U.S. shows this fall beyond MSG. Will Halloween elements work their way into those?
I suspect some of them will feature a few bits that we’re preparing for Halloween. We didn’t think we’d be back in America this year, but when we decided to do the Halloween one, we slotted some more in. I rather like that way of working. For many years, we haven’t been a band that announces big world tours and ends up on the road for 18 months. But we do seem to play a lot of shows. We just add them when we want to, and somehow the chaos is working.
This story appears in the Oct. 26, 2024, issue of Billboard.
Stevie Wonder used his Detroit homecoming as an opportunity to clap back at presidential candidate Donald Trump for disrespecting the city during the campaign.
“I just gotta say for the record, I don’t like nobody talking bad about Detroit,” the Motown icon told a sold-out crowd on Tuesday night at Detroit’s Little Caesars Arena on the latest stop of his Sing Your Song! As We Fix Our Nation’s Broken Heart tour. He then led the audience in a chant of “Don’t cha do it!,” pointedly aimed at Trump.
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Wonder was referencing the Republican candidate’s disparaging remarks during an Oct. 13 speech to the Detroit Economic Club, where he warned that if his Democratic opponent, Vice-President Kamala Harris, is elected, “the whole country will end up being like Detroit — a mess.”
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He also called Detroit “a developing area more than most places in China.” His remarks generated equally harsh criticism from Detroit and Michigan civic leaders as well as labor leaders.
Wonder, who has publicly, endorsed Harris as “not just any woman, a wonderful woman, and she has done the work consistently.”
He announced the Sing Our Song! tour less than three weeks before its Oct. 8 opening in Pittsburgh, playing 11 shows in mostly swing states such as Michigan, Pennsylvania and Wisconsin in the wake of his surprise single, “As We Fix Our Nation’s Broken Heart.”
The swipe at Trump — on a night former President Barack Obama was campaigning for Harris nearby at Detroit’s Huntington Center (introduced by Eminem) — was not Wonder’s only political comment on Tuesday.
Later in the show he recited, for the first time ever, the lyrics of a new song, “Politic Playa,” which Wonder said will appear on his next album, Through the Eyes of Wonder, slated for release in March. T
he pointed song includes verses such as “you campaigned throughout the nation, saying you’ll unite the land/But when you get in office, you completely change the plan,” with a chorus that runs, “Politic playa/Why you playin’ politics so wrong/Politic playa/You get what you want, then you’re absent, up and gone.”
Introducing “Village Ghetto Land,” on which he sang accompanied only by a 12-piece string section, Wonder, who was born in Saginaw and moved to Detroit when he was four years old, recalled the violence and poverty he witnessed in the neighborhood in which he grew up.
“I just remember all this stuff was going on…a lot of what we saw then is what we’re seeing now, and that’s unacceptable. We gotta fix that,” he said, turning his attention to politicians as he added, “It’s not about what they say; it’s what they do. And my freedom and my rights for what I want can’t be bought.”
Wonder took one more shot at Trump while vamping during “Do I Do,” referencing the Economic Club remarks again before saying, “All this has gotta stop…Let’s make America LOVE again.”
Wonder’s Detroit show was also distinguished by some special moments, including a bit of fellow Motowners the Four Tops’ “I Can’t Help Myself (Sugar Pie Honey Bunch)” early on and the tour debut of “My Eyes Don’t Cry,” which had a line of fans on the arena floor doing an impromptu hustle.
During his mid-show break from the stage, meanwhile, Detroit’s Perfecting Greater Grace Singers choir performed Aretha Franklin’s “Until You Come Back to Me (That’s What I’m Gonna Do)” before Wonder’s six backing vocalists paid tribute to the late Frankie Beverly with a rendition of Maze’s “Before I Let Go.”
Wonder also had to overcome some technical problems that shorted out the PA system three times during the night.
After the first — which interrupted “Master Blaster (Jammin’)” — was resolved he thanked the fans “for being patient, ’cause we can work it out, right?” before launching an impromptu rendition of the Beatles’ “We Can Work It Out,” which he covered for a Top 20 single in 1970. The second and third came in rapid succession during “Don’t You Worry ’bout a Thing,” and an exasperated Wonder, while remaining composed, commented, “I’m sure the sound crew feels messed up.”
When it was finally fixed, he quipped “Oh, Stevie, Stevie, we forgive the mess up, and we’ll never mess up like that again.”
Wonder has four more dates on the Sing Your Song! tour, which wraps up Nov. 2 in Chicago.
Jason Isbell is leaving the 400 Unit at home next year for what is being billed as an “Intimate Evening” with the six-time Grammy winner.
The tour begins on Feb. 15 in Chicago and runs through the end of March, with select stops in smaller markets, including Portsmouth, NH, and large cities like New York City, Los Angeles and Nashville.
Isbell recently wrapped an eight-show residency at Music City’s Ryman Auditorium to mark the release of Live From The Ryman Vol. 2, a collection of recordings from four of the last six years of sold-out shows at legendary venue.
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Earlier this year, Isbell won his fifth and sixth Grammy when 2023’s Weathervanes (recorded with the 400 Unit) earned best Americana album and the track “Cast Iron Skillet” scored best American roots song. The Alabama native and former Drive-By Trucker first broke out in solo form in 2013 with his Dave Cobb-produced fourth LP Southeastern. His next two albums, Something More Than Free (2015) and The Nashville Sound (2017), were Grammy magnets and each won awards for best Americana album and roots song (for “24 Frames” and “If We Were Vampires,” respectively).
Tickets go on sale Friday, Oct. 25 via Isbell’s website.
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JASON ISBELL SOLO DATES
February 15 – Chicago, IL – Auditorium Theatre
February 16 – Ithaca, NY – State Theatre
February 17 – Portsmouth, NH – The Music Hall
February 18 – Providence, RI – Providence Performing Arts Center
February 21 – New York, NY – Beacon Theatre
February 22 – New York, NY – Beacon Theatre
February 28 – Washington, DC – Warner Theatre
March 1 – Washington, DC – Warner Theatre
March 14 – Los Angeles, CA – Walt Disney Hall
March 15 – Santa Barbara, CA – Arlington Theatre
March 20 – Nashville, TN – The Pinnacle
March 21 – Nashville, TN – The Pinnacle
March 22 – Nashville, TN – The Pinnacle
March 28 – Nashville, TN – The Pinnacle
March 29 – Atlanta, GA – Fox Theater
Jason Isbell
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Cruel World festival will return in 2025 with headliners New Order and Nick Cave & the Bad Seeds. Southern California promoter Goldenvoice (the folks behind Coachella) will head back to the Rose Bowl in Pasadena, Calif., on Saturday, May 17, with additional performances from legendary acts Devo, Orchestral Manoeuvres in the Dark, Death Cult, Garbage, […]
At Travis Scott’s Circus Maximus show in Sydney, Australia, on Oct. 18, fans were treated to a massive surprise when The Weeknd, who also happened to be in the country, joined him on stage for four of their collaborative tracks.
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Scott had teased the surprise during his first Sydney show on Oct. 17, telling the crowd, “I’m gonna see my friend tomorrow morning and see if he can get on the stage. I was trying to get him today.”
He then performed “CIRCUS MAXIMUS,” a track featuring The Weeknd, fueling the excitement for night two.
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Both artists also dropped cryptic videos from Sydney’s iconic Luna Park before the performance. The park’s enormous, illuminated face at its entrance bears an uncanny resemblance to the imagery from Scott’s ASTROWORLD—a carnival vibe that’s been a major part of his branding. Fans quickly caught on, adding to the buzz that something big was brewing.
True to his word, The Weeknd made his appearance on stage the following night (Oct. 18), performing alongside the rapper for an assortment of their numerous collaborations together, including, “CIRCUS MAXIMUS,” “Pray 4 Love,” “SKELETONS,” and “WAKE UP.”
The pair’s long-standing collaboration and chemistry were evident as they lit up the stage, much to the crowd’s delight. Scott introduced The Weeknd to the audience as “the greatest of all time.”
“This man right here gave me my first arena tour ever,” Scott told the audience of the Weeknd. “If it wasn’t for him, I probably wouldn’t be on this stage right now.”
Scott’s Circus Maximus Australian and New Zealand tour continues through Oct. 31, with a final show in Auckland, New Zealand. After wrapping up his tour Down Under, Scott and his Cactus Jack crew are set to take over Complexcon in Las Vegas on Nov. 17.
The rapper’s Circus Maximus tour continues to break records, following the global success of Utopia, which debuted at No. 1 on Billboard 200 chart, earning 496,000 album-equivalent units (including 252,000 in pure album sales) in its first week.
Meanwhile, The Weeknd is in Australia for his After Hours Til Dawn tour, with upcoming shows at Sydney’s Accor Stadium on Oct. 22 and 23. This marks his first return to Australia since 2017, with fans eagerly awaiting his next album, Hurry Up Tomorrow, which has already teased singles like “Dancing in the Flames” and “Timeless.”
“I feel a strong pull to perform in Australia before moving on to the next chapter and want to make sure you all know I hadn’t forgotten about you,” The Weeknd said in a statement announcing his new Australian tour dates back in August. “When I return now, it will be the right time, and I promise it will be such a special experience. I can’t wait to see you all!”
Mike Dean, Chxrry22 and Sydney’s own Anna Lunoe are currently supporting The Weeknd on the four Australia dates.
Check out The Weeknd’s surprise performance with Travis Scott below.
Singer-songwriter GOAT Joni Mitchell took over the Hollywood Bowl in Los Angeles on Saturday (Oct. 19) for the first of two “Joni Jam” concerts.
Despite the size of the open-air, highway-adjacent venue, a crowd of 17,000 worshipful fans was gifted with a show that felt like an intimate, inviting look into life for Mitchell at 80: shooting the breeze with friends and admirers from the comfort of a plush (yet appropriately regal) chair, sipping pinot grigio by the mellow lamplight and singing a song (or 25) when the spirit takes her.
Cozy at that may sound, getting to this warm hug of a victory lap has been a hard-fought victory for Mitchell — a brain aneurysm in 2015 left her unable to speak or walk, and she had to watch videos of herself playing guitar to relearn her own songs. But the Canadian artist, who suffered from polio as a child, is no stranger to uphill battles, and after years of keeping out of the public eye following her health crisis, the Grammy-winning Rock & Roll Hall of Famer stunned the world in 2022 by making an unannounced return to the stage at the Newport Folk Festival.
A proper headlining gig followed in June 2023 at The Gorge Amphitheatre in Washington, and her soul-scraping turn at the 2024 Grammys allowed an even wider audience to experience the depth and gravitas Mitchell is still capable of bringing to a performance.
Joining her at each of those gigs was Brandi Carlile, an avowed acolyte whom Mitchell has described as “my ambassador.” Naturally, Carlile joined Mitchell onstage Saturday at the Bowl, too, radiating joy and nervous excitement as she sang with her hero and served as the de facto emcee/hype woman for the evening. Carlile even revealed that the Joni Jams – when held in Mitchell’s real-life living room “five or six years ago” – helped Mitchell heal following the aneurysm. It started out with friends and musicians singing Mitchell’s own material to her as she recovered, an experience Carlile said was “terrifying”; before too long, Mitchell began harmonizing and taking a verse or two from the comfort of her couch. Now, she’s regained enough vocal control to command an audience of thousands.
“Joni is about to destroy us right now,” Carlile said with a Cheshire Cat grin before Mitchell sang the Blue standout “A Case of You” in a resonant, husky tone. That statement could easily have been inserted into any number of between-song moments, given how frequently folks could be spotted wiping away tears to the icon’s lyrically incisive meditations on love, pain and our brief lives on a rock circling a giant ball of gas.
“I’m honored to have her as a friend because she brought me out of retirement,” Mitchell said of Carlile during the show, laughing.
Thanks to a backing band that included Blake Mills, Robin Pecknold, Jacob Collier, Lucius, Annie Lennox, Marcus Mumford, Jon Batiste, Allison Russell, Wendy & Lisa, Rita Wilson, Celisse and more, Mitchell’s remarkable songs were treated more like jazz compositions than pop songs, stretched out and contracted depending on the lead vocal, embellished with curious flourishes in some moments then pointedly unadorned the next. Even if the Bowl got a little chilly toward the end of the evening, the warm tapestry of Mitchell’s music kept spirits warm.
Here are some of the highlights from an unforgettable evening.
‘Hejira’ Highlights
