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Three cheers for Dolly Parton! The superstar set tongues wagging and jaws dropping when she appeared at the Dallas Cowboys’ halftime show on Thanksgiving wearing a Dallas Cowboys cheerleaders outfit. Parton donned the squad’s trademark cropped blue top with a short white vest and tiny white shorts. Being Parton, she completed the look with pantyhose […]
The genie is officially out of the bottle: Pop superstar Christina Aguilera is heading back to Las Vegas. On Tuesday (Oct. 10), Aguilera exclusively announced with Billboard her new series of shows set to take place at the Voltaire Belle de Nuit at The Venetian Resort Las Vegas starting New Year’s Eve weekend. Taking place […]
P!nk suffers no fools, especially when they’re in the audience at her live shows. During her Summer Carnival tour stop in San Antonio on Monday (Sept. 25), the “Trustfall” singer proved yet again that she won’t hold back from clowning on concertgoers. In a fan-filmed TikTok clip, P!nk can be seen interacting with an attendee […]
Stand back — Stevie Nicks is hitting the road again in 2024.
The icon announced Monday (Sept. 25) that she would embark on her new Live in Concert headlining North American tour. Launching Feb. 10 in Atlantic City, N.J., the eight show run will make stops in New York, South Carolina, Florida, Louisiana, Nebraska and Arkansas, before closing in Arlington, Texas, on March 9, featuring support from Billy Joel. See the complete list of dates below.
All but one of the new shows is being produced by Live Nation. Tickets for the first seven shows on the run go on sale this Friday, Sept. 29, with tickets for the Arlington show going on sale at a later date.
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These just-announced shows come on the tail of Nicks’ current North American headlining tour, which will feature 15 shows across the United States from now until mid-December.
This past July, Nicks released Complete Studio Albums & Rarities, a 10-CD set combining each of Nicks’ solo studio albums with a new compilation of hard-to-find tracks. Four of Nicks’ albums — Rock a Little (1985), The Other Side of the Mirror (1989), Street Angel (1994), and Trouble in Shangri-La (2001) — were newly remastered from their analog masters for this new release.
Stevie Nicks Live in Concert 2024 North American Tour Dates
Sat. Feb. 10: Atlantic City, N.J. — Mark G Etess Arena
Wed. Feb. 14: Belmont Park, N.Y. — UBS Arena
Wed. Feb. 21: Greenville, S.C. — Bon Secours Wellness Arena
Sat. Feb. 24: Hollywood, Fla. — Hard Rock Live
Wed. Feb. 28: New Orleans, La. — Smoothie King Center
Sun. Mar. 3: Omaha, Neb. — CHI Health Center
Wed. Mar. 6: North Little Rock, Ark. — Simmons Bank Arena
Sat. Mar. 9: Arlington, Texas — AT&T Stadium
Stevie Nicks
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When Floating Points was recording with Pharoah Sanders in the summer of 2019, he was moving quickly. Possibly too fast.
“I didn’t have very much time to work with Pharoah,” says the British producer born Sam Shepherd, “and so I felt this pressure to just constantly be delivering music.”
But Sanders — the legendary tenor saxophonist who rose to prominence in the ’60s playing with John Coltrane, Alice Coltrane and other greats while also distinguishing himself as a luminary of the spiritual jazz movement — put his foot on the metaphorical brakes during those 10 days making music at Sargent Recorders, a studio in Los Angeles’ Historic Filipinotown neighborhood.
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“He was just calming, slowing everything down,” Shepherd recalls. “He was like, ‘Let’s just listen to this,’ and we’d sit there and listen to the whole thing. And then we’d listen to it again, then again. Three hours would pass and we’d just be listening and listening.”
It wasn’t the speed at which Shepherd — an electronic musician accustomed to the pace of the internet — was used to working. Working with Sanders, more than 40 years Shepherd’s senior, felt like a throwback to the era when there was only so much recording tape available.
“We’d sit and listen,” Shepherd continues, “Then Pharoah would be like, ‘I’m just gonna go into the booth and play this phrase over this thing.’ He’d go in there having had listened to it for a few hours and just play something so succinct and meaningful. He knows it so well that he’s embodied it. It’s not like he’s searching while he’s playing, he’s done all that. He doesn’t need to search on his instrument, he’s done the searching within himself.”
This contemplative, unhurried workflow resulted in Promises, the 2021 collaborative album from Floating Points and Sanders, along with the London Symphony Orchestra. Clocking in at 46 minutes and composed of nine movements, Promises is leisurely, deep and often fairly mystic, with the Philharmonic adding moments of climactic grandeur and Sanders’ playing serving as the sonic and spiritual center, his signature tone offering moments of elegance and cacophony.
Released on Luaka Bop, the label founded by David Byrne in 1988, Promises earned wide and high-brow acclaim, getting glowing reviews from The New York Times, The New Yorker — who called it “a remarkably intimate experience — and earning a 9.0 rating from Pitchfork. The album spent three weeks on Top Albums Sales, where it reached No. 32 in April of 2021.
“It took me by surprise,” Shepherd says of this success. “We originally pressed very few vinyl copies, because we thought this was a relatively niche, jazz/classical crossover record. It connected more than we’d imagined. I’d say, ‘Pharoah, you know, people really like this record.’ He’s like, ‘Oh, yeah?’ And I’d be like, ‘No, people really like this record, Pharoah.’”
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As the pandemic waned, the two artists — Shepherd in the U.K. and Sanders in Los Angeles — along with their respective teams, discussed doing a one-time only live performance of Promises. The Hollywood Bowl was selected as the venue, and Shepherd booked a flight to Los Angeles to meet with Sanders and make plans. Then, the week Shepherd was supposed to get on the plane, Sanders died, passing away on Sept. 24, 2022 at the age of 81. A cause of death was not given.
“So it was very much a long period of of quiet,” Shepherd says of what happened next. “Then conversations about doing it started to get bounced around again… It took me awhile to warm up to the idea.”
But Shepherd did, eventually, warm. So tomorrow (Sept. 20), almost a year to the day after Sanders’ passing, Shepherd will perform the first and likely only live performance of Promises at the Hollywood Bowl.
Speaking to Billboard on the phone from the Burbank studio hosting rehearsals for the show, Shepherd — enthusiastic, thoughtful and completely affable in conversation — allows that doing it without Sanders being around to give it his blessing “feels a little heavy for me. I haven’t vocalized it, I don’t even think I fully understand it. It’s not a normal thing for a musician to collaborate on a project with someone, and that person is no longer around.”
Without the mythic figure at the center of the project, Shepherd has instead assembled a sort of musical league of legends formed from friends, family and frequent collaborators.
Clearly the most crucial element in designing the performance was figuring out who would play Sanders’ part. Luckily, this answer was also obviou:. British saxophonist Shabaka Hutchings is a mutual friend of Sanders and Shepherd’s, who played in Shepherd’s first band and is a person who, Shepherd says, “Pharoah was a great admirer of.” While there’s demand to tour Promises, Shepherd says it simply isn’t possible, given that Hutchings is planning to put down his sax to focus on the flute shortly after the show.
Also in the band: electronic artist Kara-Lis Coverdale, “who every time I hear her play is just the most innovative, interesting electronic music I’ve heard in in my life.” Hinako Omori — “another amazing composer I’ve known for years in London” — will play the celesta. John Escreet, “one of the greatest pianists I’ve ever heard” will keyboard and synthesizer. Jeffrey Makinson, the organist at the U.K.’s towering Lincoln Cathedral and also Shepherds’ brother-in-law, will play an electric organ. Lara Serafin, who transcribed the previously unwritten down Promises into sheet music and “knows the piece better than anyone on a forensic level” will play electronics. Four Tet and Caribou — frequent Floating Points collaborators and also Shepherds’ “bezzie mates,” will play piano and electronics, respectively.
“They get the record because they were there when I was mixing it,” Shepherd says of these two producers and pals. “They were really part of the whole process of it all coming together — and they know me and I know them, and I know how they play.”
The show will be conducted by Los Angeles favorite Miguel Atwood Ferguson, who will guide the band, members of the L.A. Studio Symphony String Orchestra and special guests the Sun Ra Arkestra, with whom Sanders played with throughout his career.
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Surveying the gear laid out in the rehearsal space, Shepherd says Promises is, in a way, quite simple, rooted in four looping chords. “On a technical level, everyone can play their parts.”
As such, rehearsals are more about maintaining morale while also getting to the essence of what makes the piece “kind of magical, I guess,” says Shepherd. “That’s something I’ve got to find again from the beginning.” When asked if he knows how he’s going to do that, he answers, “No, I don’t,” with a laugh.
But then Shepherd, who also has a PhD in neuroscience and epigenetics and first connected with Sanders after Sanders heard his smart, spacial 2015 electronic album Elaenia, weighs the question for a minute. He returns to the recording sessions with Sanders, when Sanders would request that they just sit back and listen to the music.
“That sort of calmness and listening more intently is something I need to try and impart on [this] big group by sort of saying, ‘We need to slow it all down, we need to not feel like this is tedious or not getting anywhere, because it is getting somewhere, it’s just that we’ve got to give our patience to this project as well,’” he relates. “That’s something Pharoah taught me, definitely, patience in listening.”
(He adds that, in his own fast-paced fervor, he recorded enough music with Sanders to make another two albums — but says there is no plans to complete or release these projects. Sanders’ 1977 album Pharoah was re-released this week via Luaka Bop.)
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Given the mysterious, ineffable nature of Promises‘ magic, I ask Shepherd how he’ll know if the show was a success. He thinks about it, then refers to the album’s “Movement 8,” which closes with a minute of silence before the orchestra comes back in for the climax.
“That’s going to be a pinnacle moment for me — if that silence is really silent in the Bowl, and all you hear is the noise of some of the stage gear and buzzing through the speakers,” he shares. “If I’ve gotten a little corner of this noisey-ass American city just to be quiet, and ten or twelve or fifteen thousand people are sitting there together quietly because the previous 40 minutes of music has just brought them to this place… I would feel that’s a big moment.”
One can argue that having people sitting in slowed-down stillness would be what Sanders would have wanted to happen, too.
The opening of a new 2,500-seat venue in the Inland Empire caught many by surprise earlier this year, but the signs of things to come had been in plain sight for months. Since January, those driving along the Southland’s busy interstates, freeways and thoroughfares have all cruised past a bombardment of billboards promoting shows by Missy Elliott, Janet Jackson, Dave Matthews Band, The Killers and Ed Sheeran.
These acts could easily sell out celebrated Los Angeles venues like The Hollywood Bowl or the Dolby Theater, but instead have elected to play a small theater 65 miles east in Highland, Calif., on land owned by the San Manuel Band of Mission Indians, one of California’s wealthiest tribal groups.
The billboard advertising campaign is part of an ambitious national marketing plan to promote the 20-year-old casino following a $750 million upgrade, a name change to Yaamava’ Resort & Casino in Highland (it was formerly called San Manuel Casino) and a first of its kind exclusive booking agreement with Live Nation Southern California aiming to bring 100 shows per year to state-of-the-art venue.
Yaamava’ Theater
Solaiman Fazel
The campaign is designed to be “something that gains much greater national recognition” says Drew Dixon, Yaamava’s vp of entertainment, “something that’s not just a play for these artists, but a tour destination where they want us to be part of something larger that they’re creating.”
Yaamava’ is already well on its way, as the largest of a half-dozen Southern California tribal casinos that are serving as the gateway for artists to access new audiences and lucrative guarantees in California’s fast-growing regions like Sacramento, East San Diego and Palm Springs/Coachella Valley. The location of Yaamava’ and other Southern California tribal casinos makes them convenient tour stops when routing acts to or from Los Angeles, with these facilities just far enough outside the city that they don’t run into too much red tape around L.A. radius clauses.
Tribal gaming in California is a $10 billion business, formally legalized by voters in 2000 after years of operating under a patchwork of local ordinances and supportive rulings of the U.S. Supreme Court. Proposition 1A legalized the operation of slot machines and card games like blackjack, poker and pai gow on tribal land, often in areas outside of San Francisco and Los Angeles that went on to explode in growth throughout the decades that followed. Southern and Northern California, according to a source familiar, are now the most competitive regions for tribal gaming in the U.S. alongside the Atlantic City/Philadelphia area.
As a result, California’s tribal groups are now among some of the richest in the country, with some properties generating hundreds of millions of dollars per year in revenue. While tribal groups are not required to disclose income, a 2004 agreement between then-Gov. Arnold Schwarzeneggar and the United Auburn Indian Community estimated the tribe’s Thunder Valley Casino in Lincoln, the third largest tribal gaming property in the state — about 30 minutes outside Sacramento — generated $350 million a year in revenue from its 3,000 slot machines. It’s a safe bet Yaamava’ is making even more as California’s largest tribal gaming casino with 6,500 slots. And its ownership group, the San Manuel Band of Mission Indians, is expanding outside the state: In April 2022, the tribal group purchased the Palms Hotel and Casino in Las Vegas for $650 million.
With access to millions in capital and a year-round need to draw customers, it’s no surprise that tribal gaming executives believe music and live entertainment can help drive more traffic to tribal casinos. But money alone isn’t enough, explains Seth Shoames, a former UTA agent who now runs his own company Day After Day Productions, which represents Ludacris (who opened for Jackson at her Yaamava’ performance), Staind frontman Aaron Lewis, Brian Wilson and Wayne Newton, and also owns Billy Brill’s Billy Alan Productions with Danny Wimmer Presents in a deal funded by Ron Burkle’s Yucaipa Companies and now books talent on behalf of the company’s casino clients.
“It’s all about how artist and casino can align,” says Shoames, noting that artists can benefit from being exposed to “millions of people in the casino’s database” that the artist might otherwise not have access to through email blasts and social media.
Booking big talent comes at a cost — and often casinos are willing to overpay for talent for strategic purposes, says Shoames. On May 13, for example, Missy Elliot performed at Yaamava’ Theater a week after playing Live Nation’s Friends and Lovers festival in Las Vegas — her only two shows of the year. For Missy Elliot, the Yaamava’ show was a chance to create a more intimate follow up experience; for the casino, the show was a chance to make a statement about Yaamava’ being the host site for unique experience in an intimate setting and worth paying a premium for. A source close to the matter estimates that Janet Jackson was paid $2 million for her June 14 Yaamava’ show and that Andrea Bocelli’s May 18 performance earned the singer between $2-3 million — fees that would exceed ticket sales for the venue.
Concert tickets at Yaamava’ do run higher than average, with tickets for Lionel Richie’s Sept. 16 show at Yaamava’ starting at $250 and going up to $1,050 plus fees. Meanwhile, tickets for Richie’s Sept. 15 show at the Kia Forum in Los Angeles top out at about $250. (A representative for Yaamava’ declined to comment on artist fees or ticket pricing.)
Besides underplays with major acts that boost a casino’s visibility, tribal leaders typically expect concerts to pay for themselves. “Twenty or 30 years ago, [shows at] casinos were a loss leader, but that’s no longer the case,” says Brill, who serves as a talent buyer at Thunder Mountain Casino and the Agua Caliente Casinos’ three locations in Rancho Mirage, Palm Springs and Cathedral City. “In Agua [Caliente’s] case, we want to make money on each show.”
Yaamava’s efforts are designed to attract younger crowds, developing a new generation of gamers while also serving as a convenient alternative to Las Vegas. Yaamava Theater was built with this younger demographic in mind, with its massive 3,800 square foot stage aiming to attract bigger and larger shows like its inaugural April 14 concert by Red Hot Chili Peppers, who performed a private show for Tribal members, journalists and other invited guests. The Black Crowes performed Yaamava Theater’s first public concert in late May.
Yaamava’ Theater
Solaiman Fazel
The property’s partnership with Live Nation helps facilitate the booking of some of its larger acts, which over the next few months include Ed Sheeran, Lionel Richie, The Killers, Kali Uchis and a co-headlining set from Nas and Wu-Tang Clan. Dixon, a former market general manager for Live Nation, also spent 12 years running nightclubs and restaurants in Las Vegas and directs a staff with both casino and music industry backgrounds.
“Yamaava’ is making a substantial effort to rebrand themselves,” says UTA music agent Darius Sabet, who specializes in national casino booking for the agency. “That was obviously a strategic decision that they made, and I believe it’s starting to pay off for them in big ways.”
Monica Reeves who books shows for the three Agua Caliente locations says Yaamava’s upgrades have brought “stronger competitiveness” to the market, with new competition also coming from Acrisure Arena, a 10,000-capacity venue that opened in the Coachella Valley this past December and whose upcoming concerts include ODESZA, Sting, KISS and Madonna.
While all this competition is “great” for artists, says Sabet, the casinos are also competing for the crowds to come see them. Friday and Saturday concerts are most attractive for these properties, given that the fans who come for such events are more likely to stay the entire weekend, not only spending money at the concert, but on rooms, slots, blackjack, food, drinks, spa treatments, steak dinners and other add-ons. That’s a shift from past strategies when many of these casinos did the bulk of their business Monday through Thursday, at which point many locals would decamp to Vegas for the weekend.
Back in this era, performances at the former San Manuel would happen in a bingo hall that was converted into a concert space for shows. With this showroom shut down for years amid the remodel, Yaamava’ “wanted to come back to the market like a boss, and they are,” says Michael Scafuto, CEO of M&M Group, that bought entertainment for San Manuel before the remodel.
“The local casino market is getting to be a brute battle as most of the So Cal Properties are all fighting for the same guests and players,” Scafuto adds. “[Yaamava’] needs to ensure they appeal to SoCal guests and players, so they are dominating the market with a huge brand campaign that involves major stars.”
The first day of the Electric Zoo Festival on New York’s Randall’s Island was abruptly canceled hours before it was set to start, organizers announced Friday (Sept. 1) on X (formerly Twitter).
In the statement, organizers cited “global supply chain issues” as the cause of the cancellation and promised to reopen Saturday. Acts scheduled to play Friday include Kx5, Galantis, The Chainsmokers, Excision and many more.
“Despite our tireless efforts and round-the-clock commitment, we have made the painful decision to cancel the first day of Electric Zoo,” organizers wrote. “This year has presented unparalleled challenges for everyone. The global supply chain disruptions have impacted industries worldwide, and, sadly, our beloved festival has not been immune. These unexpected delays have prevented us from completing the construction of the main stage in time for Day 1.”
Fans who bought tickets for Friday will receive a refund. Fans with multiday tickets “will receive credit for one of the days” to be applied to a future event. The festival will now open at 1 p.m. on Saturday, and “we look forward to uniting with all of you to celebrate life and music, and dance through the sunset with the iconic backdrop of the New York skyline, right in the heart of New York City,” organizers wrote.
“While words cannot fully express the depth of our remorse about Day 1, please know that this decision was not made lightly,” organizers wrote. “We ask for your forgiveness and understanding during this challenging time. We are profoundly sorry for all the inconvenience and disappointment this will cause.”
Dear Electric Zoo Family,It is with a broken heart that we deeply regret to inform you that, despite our tireless efforts and round-the-clock commitment, we have made the painful decision to cancel the first day of Electric Zoo.This year has presented unparalleled challenges… pic.twitter.com/m5tunuANZY— Electric Zoo Festival (@ElectricZooNY) September 1, 2023
The festival’s social media pages announced the news just after 11:30 a.m. ET Friday, hours before doors for the event were set to open at 3 p.m.
Made Events, launched by Long Island City husband-wife team Mike Bindra and Laura De Palm and creators of the long-running Electric Zoo festival, was sold to an investment group that owns the Avant Gardner nightclub and venue in Brooklyn in July 2022 for $15 million.
In 2014, Made Event was acquired by Bob Sillerman‘s electronic dance music conglomerate SFX, which filed for bankruptcy in 2016 and eventually landed in the hands of senior creditor Andrew Axelrod. SFX was rebranded as LiveStyle by former chief executive Randy Phillips, who managed the festival properties for Axelrod and led efforts to sell off SFX’s assets to new buyers. Made Event was the last U.S. festival property held by LiveStyle to be sold.
It’s kind of a miracle Outside Lands ever happened at all.
The team behind the event started pitching it to San Francisco officials in 2006. Inspired by the city’s musical lore and the fact the city somehow didn’t yet have a major fest, their goal was to host a world class music festival in the city’s historic Golden Gate Park, a verdant thousand-acre landmark tucked between the city’s Richmond and Sunset districts.
While the park had hosted bluegrass, drum circles and ’60s-era acid tests, a concert had never happened there after the park’s 7p.m. curfew. But the team pitching the festival — Rick Farman of Superfly, the company behind Bonnaroo, and Allen Scott, Sherry Wasserman and Gregg Perloff of San Francisco’s independent show promoter Another Planet Entertainment — had a vision, and they were willing to jump through hoops to make it happen.
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They mailed the 28,000 residents in the park’s adjacent neighborhoods notifying them of proposed festival hours and road closures. They set up a multilingual community hotline for residents to notify fest officials of blocked driveways, sent out mailers, ran ads in three newspapers and launched a website in English, Russian, Chinese and Spanish with information about the event. The hired an arborist to determine how close to trees and root systems they could build stages. They deployed a sound engineer to measure the park’s ambient noise, re-routed bike lanes and figured out where to put breaks in the the fence line so the feral cats living in the park could enter and exit.
“It was very, very difficult,” says Scott. “The city was very skeptical too, and it took a while for us to trust the city and the park and for them to trust us. Now we’re all in lockstep.”
The team finally got the green light for the festival in 2008, when they launched Outside Lands with headliners Radiohead, Tom Petty and Jack Johnson. 15 years later, the festival is a cultural, musical and economic juggernaut, having evolved along with San Francisco while showcasing the best of local culture. Outside Lands 2023 starts today (August 11) in Golden Gate Park with headliners Kendrick Lamar, Foo Fighters and ODESZA, along with more than 100 other acts.
Outside Lands 2022
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Upon launching in 2008, Outside Lands came to life in the same year as several other major North American music festivals including All Points East in New York and Mile High Music Festival in Denver. This was also the same year as the recession, and while many of the other events launched in 2008 had faded out just a few years later, by this time Outside Lands had become a phenomenon, generating $60 million in economic impact for the city in 2011 alone.
“That [number] changed the entire conversation with the city,” says Scott. “People started not just seeing this not just as a music festival with a bunch of people out having a good time… [In terms of economic impact] it’s like having the Major League Baseball All Star game [in the city] every year.”
Scott and Farman credit the festival’s longevity to Golden Gate Park itself, with the venue providing a singular, distinctly San Franciscan atmosphere. So too does the festival focus on incorporating other elements of the city.
In 2018, the festival debuted Grasslands, becoming the first major U.S. music festival to feature a curated cannabis area two years after California legalized recreational marijuana. (Outside Lands received the city’s first ever permit for cannabis sales and consumption at a festival.)This year Grasslands returns with more than 20 different cannabis brands, many of them local, extending the heady lineage of the park from the era when the Grateful Dead played on the park’s Hippie Hill.
Outside Lands 2022
Alive Coverage
New this year is Dolores, a electronic-focused stage that pays homage to San Francisco’s rich history of queer parties, performances and activism. The area is being programmed by a spate of SF-based queer party promoters including FAKE and GAY, OASIS and Hard French, and will feature a weekend’s worth of music from local and regional DJs, drag queens and more.
Another major infusion of local culture comes via the festival’s food programming, which over the years has grown to feature food from more than 95 local restaurants, as well as drinks from 30 breweries and a flurry of Northern California wineries. (Those who are especially flush this year can also opt for the Premium Experience ticket, which includes unlimited food and drinks, a personal concierge service, golf cart rides to stage and which runs at roughly $5,000.) Scott says organizers have turned down food vendors from Las Vegas, L.A. and New York, and equates the importance of the fest’s food and beverage options to that of the music lineup itself.
“We want to be a force, and I think we have been in representing so many positive elements of what’s going on in the city,” says Farman. “When you look at the amazing culinary and beverage scene that’s going on at Outside Lands, these are local purveyors that are open today that people go to and are thriving and have the ability to do a very difficult thing, which is transforming to being a vendor staffed with quality people out in a park. These are real signs of a healthy community and a healthy economy.”
Demonstrating these healthy aspects of San Francisco has become more crucial for the festival over the last few years in particular, as the city has gained a reputation as a nexus of homelessness, drug use and business closures, particularly following the pandemic.
“Now it’s even more essential that we celebrate what makes San Francisco great,” says Scott. “We’ve been kicked a lot lately. The media and places around the country like to kick us when we’re down. This [festival] is a reminder to everyone of what makes San Francisco such an amazing city.”
This year’s sold out festival anticipates hosting roughly 220,000 attendees over its three days. They’ll hear music at eight stages named after iconic San Francisco locations (Sutro, Twin Peaks, Panhandle, etc.), they’ll drink wines grown in vineyards throughout the region, smoke NorCal kush, eat local foods and generally just add to the musical legacy of the city and park itself. For the organizers, all of that and everything else they’ve achieved more than makes up for the work it took to help them lock in the festival site more than 15 years ago, one they hope to keep utilizing, says Scott, “for as long as time goes.”
“For better for worse, we can’t franchise this festival around the country or world,” he adds. “It’s uniquely San Francisco.”
Outside Lands 2022
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On Tuesday in Las Vegas, July 4th fireworks weren’t the only things lighting up the sky. For the first time ever, the external dome of The Sphere — a new venue opening this September on the Las Vegas strip — was animated in a dynamic visual display demonstrating the full capacity of what this dome, Exosphere, can do.
During the display, Exosphere was lit with an American flag motif, lit as the moon, as fireworks and as other wild visuals.
Exosphere
Sphere Entertainment
“The Exosphere is more than a screen or a billboard — it is living architecture, and unlike anything that exists anywhere in the world,” Guy Barnett, The Sphere’s svp brand strategy and creative development, said in a statement. “Last night’s show provided a glimpse of the Exosphere’s captivating power, and the possibilities for artists, partners, and brands to create compelling and impactful stories to connect with audiences in new ways.”
Exosphere is a 580,000 square foot programmable LED exterior made up of roughly 1.2 million LED “pucks,” each spaced eight inches apart. Each puck is made of 48 LED diodes, and every diode is able to to display 256 million different colors. Exosphere’s July 4 show was the beginning of programming that will continue throughout this month.
Exosphere
Sphere Entertainment
Built and operated by Madison Square Garden Entertainment, The Sphere officially opens this September with a residency from U2. This residency, U2:UV Achtung Baby Live At Sphere, will feature the band playing its 1991 classic LP Achtung Baby, with shows extending from September through December.
For concerts, the MSG Sphere at The Venetian can hold 20,000 standing spectators or 17,500 seated guests, with 23 VIP suites. Connected to the Venetian Resort via a 1,000-foot-long pedestrian bridge, The Sphere will include 160,000 square feet of video viewing space and state-of-the-art spatial audio.
“Sphere’s Exosphere is a 360-degree canvas for brand storytelling that will be seen around the world, offering our partners an unparalleled opportunity to become part of the greatest show on Earth,” said David Hopkinson, president and chief operating officer of MSG Sports. “There’s nothing comparable to the impact from displaying innovative brand and immersive content on the world’s largest video screen. The extraordinary experiences we can create are only limited by imagination, and we’re thrilled to finally share with the world the spectacular potential of the Exosphere.”
See more photos of the Exosphere below:
Exosphere
Sphere Entertainment
Exosphere
Sphere Entertainment
Exosphere
Sphere Entertainment
Studying his face in a mirror, Micah Winters is in the middle of a transformation into his other self — an elegant drag queen named Goldie Dee Collins. “I’m applying some foundation to my face, and things seem to be going according to plan so far,” Winters dryly cracks to Billboard over the phone, focused on making sure his beat looks right.
Winters is preparing for his appearance at the Stonewall Inn’s Pride Kick-off Celebration later that day, where he will appear in his capacity as a board member at Friends of George’s, the Memphis-based theater company that came to national attention for successfully suing the state of Tennessee over their “drag ban.”
With such a groundbreaking lawsuit came plenty of attention for Winters and his compatriots at Friends of George’s, a fact he isn’t entirely thrilled about. “We’re not a group that wants to be in the political fray — we’re a comedic, drag-centric theater troupe,” he says. “We would have preferred never to get involved in something like this. But it was an obstacle that we couldn’t get past if we wanted to keep doing what we love to do.”
Protecting the space that Friends of George’s built over the last decade was of the utmost importance for Winters and his fellow board members. With the number of LGBTQ+ bars and event spaces around the country rapidly dwindling over the last two decades, it’s become harder than ever for members of the queer community to find spaces that feel safe from the outside world — especially when that world is openly hostile toward them.
But it’s not stopping purveyors of queer joy from helping the community have a good time. Trey Stewart, the owner of Mr. Misster in Dallas, knows firsthand what it takes to create intentional space for the LGBTQ+ community. Opening the bar in 2019 on Dallas’ famous Cedar Springs strip, Stewart says the aim was to create “your introductory gay bar — a gay bar that you can bring your mom to.”
Then, COVID-19 hit, and six months into its run, Mr. Misster was forced to shut down. Finding himself forced into a corner, Stewart began looking for ways to get the bar safely operating again. The answer? Drag queens.
“We could sell tickets to a drag show and open up for it — that was when we started our Saturday drag brunch,” he says. “A lot of the city started taking in drag queens on a on a regular basis, because they were able to pay these performers and give them some sort of livelihood as well as keep their doors open.”
Post-pandemic, as Mr. Misster’s drag shows grew in popularity, Stewart and his team decided to throw an event last June called “Drag the Kids to Pride” — a family-friendly drag show intended on celebrating the queer community in a safe environment. Yet what it ultimately sparked was outrage — protestors appeared outside of the event, while photos and videos quickly went viral, leading right-wing lawmakers to use them as pseudo-evidence of prurient drag shows taking place in front of children. Suddenly, Stewart’s safe space was a battleground.
It’s understandable why Stewart observes that in 2023, his bar and a number of others on the Cedar Springs strip are playing it safe. “It’s a little more low-key… just because there is so much crazy going on the world. The last thing we want to do is put ourselves in harm’s way,” he says, recalling the intense response in 2022. “We don’t want to see what we saw last year, where we had automatic rifles outside of our front door.”
For Kae Burke, the co-founder of Brooklyn’s iconic nightlife/circus collective House of Yes, welcoming in members of disparate communities was largely the point. While the organization may not advertise itself as explicitly queer, Burke found that sticking to their core principles of “collaboration, creativity and community” made the space inherently more inclusive.
“By really holding space for community to create together and celebrate in a place that feels good, that just inherently made it more welcoming to our queer community,” she says. “Just being welcoming is somehow a radical act.”
On any given night at House of Yes, partygoers can see anything from a DJ set, to burlesque performances, to an aerialist circus act. Costumes and themed outfits are heavily encouraged, and attendees are asked to “turn off your phone, turn on your heart,” according to their website.
In the 15 years since House of Yes was first founded, Burke and co-founder Anya Sapozhnikova have amade it their expressed mission to not only make nightlife more fun, but also more secure. Whether that was accomplished through a well-expressed consent policy, or even the introduction of dance floor monitors called “consenticorns,” House of Yes proves that fun can be had with boundaries intact.
Burke makes it clear that, even with a well-established track record of keeping the vibe positive, pure protection from unwanted attention and prejudice is impossible. “There’s really no such thing as a safe space,” she explains. “I’ve reframed it as ‘healthy hedonism.’ It’s about having this container for celebration that does the least amount of harm possible, whether it’s to yourself or to other people. It’s about asking, ‘How are you holding yourself accountable and bringing your best onto the dance floor?’”
Creating that atmosphere is central to Winters’ approach to creating live shows at Friends of George’s. “I think it is a kindness to tell people what the boundaries are,” he explains. “You explain to them where the boundary begins, and where it definitely stops.”
At Friends of George’s, those boundaries are well established. As a board member and performer, Winters helps write and perform in shows that are “a healthy portion of Saturday Night Live, The Mary Tyler Moore Show and RuPaul’s Drag Race.” Establishing themselves as a community-focused theater troupe since their founding in 2010, Friends of George’s aims to create entertaining performances in a space outside of the nightlife scene. “We’ve made something accessible out of something that used to be a little inaccessible,” he explains.
Another key factor in making more inclusive environments, as Stewart points out, is having staff that understand the mission. “I’m not going to hire a–holes,” Stewart says. “When you start that at the door, we want to have kind people that are checking your ID. We want to have kind bartenders that remember your face, know your name and know your drink.”
Burke agrees, adding that if you want members of the queer community to feel safe, then having a staff that reflects those identities is vital. “If you’re having an event, and you want queer people to feel welcome, hire queer people to work that event,” she says. “Put people in positions of power where they can affect change.”
It boils down to a simple concept that Stewart reminds himself on a regular basis: “You won’t remember what someone said to you, but you’ll always remember the way they made you feel,” he says. “And people want to feel good.”