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Will of the People World Tour

• 1.2 United States & Canada
• 1.3.1 Stadium gigs
• 1.3.2 Arena gigs
• 1.3.3 Travel packages
• 2 Supporting acts
• 3 Production
• 4 Short tour documentaries
• 5.1 Mexican shows set
• 5.2 U.S./Canada/Ireland/UK indoor shows set
• 5.3 EU/stadium shows set
• 5.4 EU/US festival shows set
• 5.5 Notes & Exceptions
• 8 References

The Will of the People World Tour is the current headlining tour, set to take place in until the summer of this year.

Information

The first gigs of the tour were announced on August 19th, 2022. Four gigs were announced in total, all in the UK and all outdoor stadium gigs. As expected, more tour dates were announced throughout the following months, leading up to the tour itself. Bellamy mentioned, in an interview with Zane Lowe in August of 2022, that the tour is planned to take place between January and July of 2023, starting in Mexico, continuing in the U.S. and Canada, and finishing in Europe. [1]

Mexican dates were announced on October 7th, 2022. The tour included stops at Monterrey's Estadio Banorte , Guadalajara's Arena VFG and Mexico City's Foro Sol, spreading over two dates, on both 22nd and 23rd of January. The additional date in Mexico City, on 23rd, was announced on October 27th, 2022.

The short Mexican leg took place before the U.S. legs.

United States & Canada

Taking place after the short Mexican leg, U.S. and Canada legs exclusively featured indoor shows, with the only exception being the gig at Shaky Knees festival in Atlanta. Most tour dates were announced on September 29th, 2022. Two additional gigs in Montreal and Quebec were announced on October 6th, while additional gigs in St. Louis and Oakland were announced on October 17th.

The tour featured two legs and one "lone" show. The first leg began at Chicago's United Center on February 25th, and ended at Philadelphia's Wells Fargo Center on March 19th. The second leg started with the show at Phoenix's Desert Diamond Arena on April 2nd, ending with a gig at Salt Lake City's Vivint Smart Home Arena . The final show in the U.S. took place on May 6th, at the afforementioned Shaky Knees festival.

Stadium gigs

As mentioned above, the first gigs of the tour that were announced were the UK gigs. These took place in Plymouth's Home Park on May 27th, Huddersfield's John Smith's Stadium on June 20th, Glasgow's Bellahouston Park on June 23rd and Milton Keynes's National Bowl on June 25th. The rest of the tour was announced afterwards. Additional European dates have been announced on January 20th, 2023, including the first show of the tour in Spain, in Santander's El Sardinero on July 4th, and a gig at Nancy's Zénith amphitheatre on July 6th, where they be played a headlining show, as part of the Nancy Open Air festival.

The rest of the European dates were announced soon afterwards. The European features Muse's first shows in the cities of Wiener Neustadt, Austria and Santander, Spain . Additionally, the show at Milton Keynes's National Bowl was Muse's first live show at the site. The last time Muse were at Milton Keynes before, was during the rehearsals for The Resistance stadium tour , in 2010. Additionally, Muse played in the city of The Hague, Netherlands after almost 23 years, and Lyon, France after about a decade.

The European tour featured an indoor production, scaled for an outdoor gig, and included both stadium and festival shows.

On June 26th, the band announced indoor arena gigs for the UK and Ireland in autumn, with Nova Twins supporting. [2] The gigs announced are set to take place in Dublin's 3Arena on September 27th, Manchester's AO Arena on September 29th and London's The O2 on October 1st and 2nd .

Travel packages

Three travel packages were available to buy for three dates off of the European leg of the tour; Cologne (June 9th), Paris (July 8th) and Milan (July 22nd). Each travel package included, together with two tickets, a two-night stay at a hotel (king or twin bed rooms options are available). Hotels which were included are Cologne's Pullman, Paris's Marriott Ambassador and Milan's Marriott. An optional third night add-on was also included in each package, for additional cost. Additionally, two exclusive posters, commemorating Muse's performance at each venue in the city (RheinEnergieStadion in Cologne, Stade de France in Paris and San Siro in Milan) were included in each travel package, as were on-site hosts, and, for the Cologne gig, a roundtrip fare on the metro to the stadium.

More on the travel packages can be seen here .

After being teased on February 16th by the band on social media, the band announced the only Asian gig of the tour in Kuala Lumpur in Malaysia, on February 22nd. The open-air gig took place at the Bukit Jalil National Stadium on 29th July 2023. [3] [4] The show marked the first Muse gig that took place in the country since 2007.

Supporting acts

Thje first support act to be announced were Royal Blood , who opened for Muse during the European open-air leg (exceptions being the Nancy and Glasgow gigs, aswell as festivals). For the U.S. shows, Evanescence were announced as the main opening act. Additional support acts for U.S. shows were announced on November 9th, 2022; One Ok Rock supported Muse during the first half of the U.S. leg (between Chicago and Philadelphia gigs), while Highly Suspect will be supporting Muse during the second half of the U.S. leg (between the Phoenix and Salt Lake City gigs). [5] On January 13th, 2023, The Warning were announced as the support act for the Mexico gigs. [6]

On March 22nd, both The Warning and One Ok Rock were announced as additional support acts for select European dates. The Warning supported Muse on the U.K. leg (plus one stop in Lyon, France), while One Ok Rock supported them on the rest of the European leg (excluding festivals, and the Glasgow gig). Joining the two is Twin Atlantic , who opened together with The Warning on the afforementioned Bellahouston Park gig in Glasgow . [7] A support change was made for the gig in Bern, Switzerland , as One Ok Rock couldn't perform at due to unforeseen circumstances; Replacing them was Emilie Zoé . Kyoto Protocol were announced as the support act for the Kuala Lumpur gig only a few weeks before the show itself, on July 11th, 2023.

On June 26th, alongside the annoucement of the UK and Ireland indoor gigs, Nova Twins were announced to be supporting Muse on these gigs. [8]

As with the previous large headlining tour, the Simulation Theory World Tour , this tour features indoor, outdoor and festival shows. The stage set-up in general is a hybrid between the 2022 festivals tour and the autumn theatre tour setups. It includes an inflatable rotating figure of Will the Hacker as a backdrop, together with a grid of light fixtures, similar to the one from the theatre tour. Joining Will the Hacker is a new figure nicknamed "Baph".

The festival setup (which was also used during the Mexican leg of the tour) bears more resemblance to the 2022 summer festivals setup, with the only major difference being an addition of the lighting grid, replacing the LED strip lights behind the band. An inflatable figure of Will is present throughout the entire show, including the encore, while the setlists themselves (exceptions being the Mexican shows) include no rotations, and are more akin to the 2022 summer festivals setlists

The indoor setup, which premiered at the North American leg, features a stage with transparent floor, allowing for it to be illuminated from below, with an addition of a larger B-stage, six moving glass panels with lights, hung above the band, more lights on the back-grid, and, as mentioned above, an inflatable figure named "Baph", joining "Will", getting inflated for the encore. Because of the differences, the setlists for the North American shows also got "revamped".

The stage for the European outdoor setup had the same core of elements as the indoor arena setup , with an addition of two stage wings on either side, aswell as larger LED screens on both sides of the stage, equipped with light fixtures. It also featured a longer runway to the B-stage, with the B-stage itself being slightly bigger than it was for the indoor shows. "Will" is now equipped with a LED screen inside of his mask, an exclusive to the stadium/headlining shows, as festivals still use the older and smaller version of the figure. The full outdoor set up was officially revealed on Muse's Instagram [9] , a day prior to the first gig in Plymouth , on May 26th, after pictures and videos of the stage being set up surfaced on social media a few days before. [10]

Short tour documentaries

A series of short documentaries is set to be released throughout the tour itself, shot and edited by Muse's new tour photographer Johann Ramos (more known as "The Work of Jar") and Centreline Films, posted on Muse's YouTube channel.

Six documentaries have been released so far. The first one is a recap of the first leg of the tour in Mexico, the second one goes over the rehearsals, which took place in California's Ontario, aswell as the Chicago show. The third one looks back at week one of the U.S. leg of the tour, the fourth one talks about the homecoming Plymouth show, and week one of the European leg, can be seen here . The fifht one shows various clips and highlights from the European stadium tour. The sixth features Matt talking about Kill or Be Killed, while showing pre-show backstage footage.

Average Setlist

During the January leg in Mexico, the setlist remained relatively unchaged from the shows off of the 2022 festivals tour. This changed with leg 1 in the U.S., starting in Chicago , in February, when the show was updated, in turn bringing in a new setlist format. This first indoor leg in the U.S. brought in live premieres of Verona and The Dark Side (Alternate Reality Version) (Instrumental) . STT Interstitials 1 and 3 returned as Simulation Theory Theme , which was played from tape, mashed up with [JFK] , acting as an intro to Kill or Be Killed. Additionally, Kill or Be Killed 's Felsmann + Tiley Reinterpretation version was played from tape, as an interstitial, before Compliance. Also returning after several years were Resistance , Undisclosed Desires and the shortened version of Isolated System . Assassin (Grand Omega Bosses) was also played, making this the second big headlining tour to feature Assassin, played in full since the Black Holes And Revelations Tour , with it previously being only played during The Drones World Tour 2015/16 .

With the announcement of the Absolution XX Anniversary boxset in September of 2023, the band looks to have put an emphasis on songs off of the album during the indoor autumn leg in the UK and Ireland, with both Butterflies & Hurricanes and Apocalypse Please played on the first night of the leg in Dublin . Both songs were played for the first time in 6 years and 7 years respectively. During the leg, Stockholm Syndrome replaced Kill or Be Killed in its slot in Manchester . Space Dementia also made a return.

Mexican shows set

• Will of the People (extended intro)
• Interlude + Hysteria
• [Drill Sergeant] (robot voice) + Psycho
• Pressure / Map of the Problematique / Bliss
• Won't Stand Down
• Stockholm Syndrome / Citizen Erased / New Born
• The Gallery
• Thought Contagion
• Time Is Running Out
• You Make Me Feel Like It's Halloween
• We Are Fucking Fucked
• Supermassive Black Hole
• Plug In Baby (extended outro)
• Behold, The Glove (Matthew Bellamy song)
• Uprising (extended outro)
• Prelude + Starlight
• Kill or Be Killed
• Man With a Harmonica + Knights of Cydonia

U.S./Canada/Ireland/UK indoor shows set

• Bliss (extended outro) / Map of the Problematique / Citizen Erased / New Born / Stockholm Syndrome / Pressure / Assassin (Grand Omega Bosses version) / Butterflies & Hurricanes (UK + Ireland only)
• Kill or Be Killed (Felsmann + Tiley Reinterpretation) (played from tape)
• Verona / Liberation (Canada only) / Apocalypse Please (UK + Ireland only) / Space Dementia (UK only)
• Isolated System (shortened)
• Resistance / Undisclosed Desires
• Toccata and Fugue in D Minor intro + You Make Me Feel Like It's Halloween
• The Dark Side (Alternate Reality Version) (instrumental)
• Simulation Theory Theme (Matthew Bellamy song) (shortened) with JFK
• Kill or Be Killed / Stockholm Syndrome (Manchester only)

EU/stadium shows set

• Bliss (extended outro) / Map of the Problematique / Stockholm Syndrome
• Undisclosed Desires

EU/US festival shows set

Notes & exceptions.

• During the four Mexican shows, rotation slots got swapped around the setlists. Generally, the setlists for these shows were more or less the same to these of the Will of the People Festivals Tour .
• With the start of the U.S. tour, the production was updated, in turn also changing the setlists - Scrambling songs on the setlist and changing its template, replacing The Gallery with Kill or Be Killed (Felsmann + Tiley Remix) and adding songs like Verona , The Dark Side (Alternate Reality Instrumental) and Isolated System to the sets.
• A few gigs into the U.S. leg, Undisclosed Desires was put into rotation with Resistance .
• Liberation was in rotation with Verona on double nights during the NA leg of the tour, which were only the second night of both Quebec City and Montreal. Verona was dropped for the UK indoor leg with Apocalypse Please and Space Dementia played in rotation in its place.
• The Shaky Knees Festival gig featured a shorter setlist with a few changes compared to the indoor gig setlists; Thought Contagion was played earlier in the set, Isolated System was played before Supermassive Black Hole and The Dark Side (Alternate Reality) 's instrumental version and JFK / Simulation Theory Theme intro were ditched from the set. The same setlist was played at the NorthSide festival in Denmark.
• For the stadium shows, Resistance and Undisclosed Desires were brought out of rotation and were both played at each show.
• The stadium shows also feature less songs in the first rotation slot, these being Bliss and Map of the Problematique (with the latter only being played three times so far). Stockholm Syndrome joined the two at the Rome gig.
• Showbiz was played instead of Knights of Cydonia at the Werchter Festival gig after technical issues meant the latter song couldn't be played. This made it the first gig in which all 9 studio albums were represented.
• Will of the People World Tour by FOH Online
• ↑ https://youtu.be/AMvtyphl9rA?t=2297
• ↑ https://www.muse.mu/news/new-uk-ireland-arena-dates-323411/
• ↑ https://www.instagram.com/p/CpMk5jDBxEG/
• ↑ https://twitter.com/muse/status/1628321276896112641
• ↑ https://twitter.com/muse/status/1590403848077803520/photo/1
• ↑ https://www.instagram.com/p/CnXcXiNNSFy/
• ↑ https://twitter.com/muse/status/1638587091020914713/photo/1
• ↑ https://www.instagram.com/p/Csuf6rlqKCS/
• ↑ https://www.instagram.com/p/CsZn26TSifb/

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Muse | March 19

Muse Announces Will Of The People 2023 North America Tour

On top of the global chart success of their ninth studio album Will Of The People , multi-platinum and Grammy Award winning rock band Muse have announced their North American tour for Spring 2023.

Widely recognized as one of the best live bands in the world, Muse have consistently produced exhilarating and ground-breaking shows, and their 2023 Will Of The People world tour will be no exception. The North American arena tour will kick off in Chicago, running its two-month course throughout multiple cities including stops in Minneapolis, Toronto, New York, Los Angeles, and more. The tour features special guest Evanescence.

Muse are Matt Bellamy, Dominic Howard and Chris Wolstenholme . Since forming in 1994 , Muse have released nine studio albums, selling over 30 million units worldwide. Their latest album ‘Will of the People” debuted at #1 in multiple territories including, UK (their 7th consecutive #1) , Austria, France, Finland,  Italy and Switzerland. Their previous album, ‘Simulation Theory’ , debuted at #1 in multiple territories and followed their 2015 album, ‘Drones’, which went on to win a Grammy Award for Best Rock Album , the band’s second.

Muse have won numerous music awards including two Grammy Awards , an American Music Award , five MTV Europe Music Awards , two Brit Awards , eleven NME Awards and seven Q Awards , amongst others.

Tickets for Muse presale begin Tuesday, October 4 at 10am local. Fans can register now at http://www.willofthepeopletour.com. General tickets go on sale Friday, October 7th at 10AM local time at wellsfargocenterphilly.com .

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• February 28, 2023 Setlist

Muse Setlist at Moody Center, Austin, TX, USA

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Tour: Will of the People World Tour Tour statistics Add setlist

• Song played from tape Intro: Chant Play Video
• Will of the People Play Video
• Interlude Play Video
• Hysteria Play Video
• Song played from tape [Drill Sergeant] Play Video
• Psycho ( Rage Against the Machine's 'Township Rebellion' outro ) Play Video
• Citizen Erased Play Video
• Won't Stand Down Play Video
• Song played from tape Kill or Be Killed ( Felsmann + Tiley Reinterpretation ) Play Video
• Compliance Play Video
• Thought Contagion Play Video
• Verona Play Video
• Song played from tape Interstitial 'Parkour' Play Video
• Time Is Running Out Play Video
• The 2nd Law: Isolated System Play Video
• Resistance Play Video
• You Make Me Feel Like It's Halloween ( Bach's 'Toccata and Fugue in D minor' intro ) Play Video
• Madness Play Video
• We Are Fucking Fucked Play Video
• The Dark Side ( Alternate Reality version; instrumental ) Play Video
• Supermassive Black Hole ( Jimi Hendrix's 'Foxey Lady' outro ) Play Video
• Song played from tape Interstitial 'Driving' Play Video
• Plug In Baby Play Video
• Behold, the Glove ( Matt Bellamy  song) Play Video
• Uprising Play Video
• Prelude Play Video
• Starlight Play Video
• Song played from tape Simulation Theory Theme / [JFK] ( Matt Bellamy  song) Play Video
• Kill or Be Killed Play Video
• Knights of Cydonia ( Ennio Morriclne's 'Man with a Harmonica' intro ) Play Video
• Song played from tape How Does It Make You Feel? ( Air  song) Play Video

Edits and Comments

26 activities (last edit by MasterJub , 3 Mar 2023, 13:32 Etc/UTC )

Songs on Albums

• Kill or Be Killed
• We Are Fucking Fucked
• Will of the People
• Won't Stand Down
• You Make Me Feel Like It's Halloween
• Time Is Running Out
• Knights of Cydonia
• Supermassive Black Hole
• The 2nd Law: Isolated System
• Citizen Erased
• Plug In Baby
• The Dark Side
• Thought Contagion
• Behold, the Glove by Matt Bellamy

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Muse Gig Timeline

• Feb 25 2023 United Center Chicago, IL, USA Start time: 9:15 PM 9:15 PM
• Feb 26 2023 Target Center Minneapolis, MN, USA Start time: 9:10 PM 9:10 PM
• Feb 28 2023 Moody Center This Setlist Austin, TX, USA Add time Add time
• Mar 02 2023 Toyota Center Houston, TX, USA Start time: 9:10 PM 9:10 PM
• Mar 03 2023 Dickies Arena Fort Worth, TX, USA Start time: 9:10 PM 9:10 PM

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Muse’s Matt Bellamy: ‘I felt that we could do no wrong. Obviously, we could’

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Matt Bellamy wrote Muse’s new album in a Santa Monica recording studio painstakingly decorated to resemble the so-called red room from “Twin Peaks.”

Crimson curtains, leather armchairs, black-and-white zigzag flooring: The 44-year-old frontman of one of England’s biggest rock bands reproduced every detail of the otherworldly chamber from the cult-fave TV show he remembers devouring during Muse’s first tour on a bus back in the early 2000s.

“It just sets a certain tone, you know?” he says, looking around the space with obvious pride on a recent afternoon.

Yet as Bellamy sat composing amid a thicket of electric guitars and vintage synths — including an old Roland model he says was the same used for the “Stranger Things” theme — what really inspired him was the tumult unfolding outside the studio, which he observed through an enormous one-way mirror in the building’s front wall.

This was mid- to late 2020: Bellamy, who’s written for years about the menacing encroachments of technology and government, watched (without those on the street being able to see inside) as shops went out of business during the pandemic, as Black Lives Matter protesters marched through the city, as riot-gear-clad police and National Guard moved in to shut down demonstrations, as a man took up residence in a car parked right in front of the studio. Helicopters seemed to be circling constantly; a drone hovered over Bellamy one day as he loaded gear in through a back door.

“It was like being inside a scene from ‘RoboCop,’” he says now. “All the anxieties and the dystopian strangeness that had always been kind of speculative in our music — suddenly it felt like it was all coming true. It was actually happening.”

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The result of his observations is Muse’s ninth studio album, “Will of the People,” on which Bellamy rhymes “a life in crisis” with “a deadly virus” and “tsunamis of hate are gonna drown us.” (Sample song titles include “Kill or Be Killed” and “We Are F—ing F—ed.”) But if the LP confronts a brave new world, it also knowingly looks back: Musically, the band — rounded out by bassist Chris Wolstenholme and drummer Dominic Howard — dials down the fluorescent electro-pop vibe of 2018’s “Simulation Theory” in favor of the harder, more guitar-oriented sound that made Muse a prog-metal sensation more than two decades ago.

“We wanted to get back to what made us Muse in the first place — what the best and the worst parts of us are,” Bellamy says, then laughs. “I mean, ideally we focused on the best.”

What are those so-called worst parts of Muse? Probably a tendency to veer off and experiment in areas that we’re not very experienced in. Most of [2012’s] “The 2nd Law,” for instance — classical dubstep, weird clarinet solos, whatever else is on that album. I think we felt we’d achieved so much with [the 2009 hit] “ Uprising ” that we could do no wrong. Obviously, we could.

You produced “Will of the People” yourself after collaborating with the producer Shellback on “Simulation Theory” and with Mutt Lange on 2015’s “Drones.” With people like that who are so successful, I think sometimes we’ve gone in the studio and been a little bit like, “OK, we’ll do just whatever you say.” In hindsight, I wish I’d been more involved and put more of our stamp on it. So we’ve kind of gone back to our safe space on this album. If we’re in complete control, it may not be the most cutting-edge or the most modern-sounding thing, but it’s the only way to guarantee that we’re gonna love it.

Did recording during COVID speed up the process or slow it down? It made us move quicker. We’d finished our last tour at the end of 2019, then I had a baby [with wife Elle Evans] in June 2020. So the plan was to take all of 2020 off, enjoy our families, then come back together in 2021 for some festivals and use that to get back into shape to make an album in 2022. But the pandemic — especially for me and Dom, because we were here in L.A. — it made us want to just get on and do something.

June 2020 was a heck of a time to bring a baby into the world. I came to America in 2010 as a single person looking to experience L.A. for a bit — and, boy, have I had an experience. Ended up with a Hollywood actress [Kate Hudson], had a baby together and the whole cliché scenario of the ups and downs of celebrity life. Then married a Texan [model Elle Evans] and had another baby. Been evacuated from my house during wildfires. Then the pandemic and the full January 6 Trump meltdown. It’s just been an unbelievable period to be here.

“Will of the People” suggests it hasn’t left you terribly optimistic about the future. It depends what your definition of optimism is. To me there’s a fighting spirit in the music, which is a form of optimism. It’s like the moment in “Rocky” when Adrian tells Rocky to win.

Do you think it’s clear to listeners who you’re fighting? In the new song “Compliance,” you’re singing sarcastically about people falling into line and doing as they’re told. It could be interpreted as an anti-woke anthem. I never thought about it that way. I thought about it in terms of the rising authoritarianism that we’re now seeing is a real thing — Trump in this country, but also Putin and the China situation. These ideologies, I feel like we kind of tested the waters in the 20th century and realized that fascism and communism are both just absolute disasters and that we don’t need to go near that stuff ever again. And yet it’s emerging.

What’s your reaction to that? I have an anti-authoritarian nature. My parents say that when I was a young child I was never very good at being told what to do. I don’t like the idea of vast centralized power that’s very far away from where I live. I come from Devon in England, which is a couple hundred miles from London. But when I went to see where my wife’s from in Paris, Texas, it’s like, Holy s—! It’s thousands of miles from the places of power in America. So the resistance to someone deciding how I should live who has no idea what my day-to-day life is — I can understand it, even though there’s a risk of it being hijacked by more extremist factions that have gone down roads I don’t agree with.

Have you considered becoming a U.S. citizen? I have. Overall, I actually think the United States’ structure is really amazing, with all the different ways to make laws at the local level. It seems like every month my wife is voting on some sort of proposition. I’m looking at that going, Wow, England is so behind on that front. We don’t ever get to vote on policy.

The oddest thing about that late-2020 period where things in America and California seemed so chaotic and crazy was that I felt my connection deepening. There’s something going on here that is critical to what’s happening in the entire world. America has become a kind of center point for this idea that there’s an empire on the verge of collapse, and how do we save it? Or how do we know which parts to save and which parts to let fall away?

For some people — Dom, to some extent — it made them want to get out. But for me it had the opposite effect. It’s everything I’m interested in, and it’s massively creatively inspiring.

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Has becoming wealthy shaped your political views? I don’t think so. I remember all my feelings of what it was to be from a poor rural background with no opportunities and all the disadvantages. And I still have some views that would be considered pretty socialist by some. Universal health care is an obvious one; I can’t even believe there’s not universal healthcare here. I’ve also come to the view that maybe land shouldn’t be privately owned.

Can you relate to music that’s unambiguously joyful? Coldplay , let’s say. Absolutely. Chris [Martin] is a friend of mine. I love what they do. I wish I could write more songs that enter the love sphere. But I think it might be against the nature of the sounds our band makes. When the three of us are jamming, it’s like Rage Against the Machine riffs are coming out all the time. I can’t imagine hearing those riffs with Chris Martin singing about peace and love on top.

What’s the happiest Muse song? “ Starlight ” is pretty positive. I think “Verona” on the new album is pretty nice — little bit of “Romeo and Juliet” in there.

Do you think rock music is in good hands with the generation behind yours? My 11-year-old son likes Slipknot and Metallica. My stepson Ryder from a previous situation [with Hudson], he’s 18 and he’s really into rock. He turned me on to Willow Smith.

Can you envision touring in your 60s and 70s like Paul McCartney and the Rolling Stones ? Yeah, but Metallica is the one that’s really made me think we could do it. The Stones and McCartney, they have universally uplifting music. But Metallica — I’m not sure how old they are, but they’re up there — that’s really heavy music and they’re still out there. The great thing about rock is that, even though the genre is largely irrelevant in the mainstream, you can actually grow old with it. You can make a real life career.

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Muse Announce 2023 North American Tour With Evanescence

Muse  bring their "Will of the People Tour" to stateside fans when the English rock band visits venues in the U.S. and Canada for a North American tour in early 2023. Evanescence  provide support on the bill.

Are you ready to rock?  Get Muse tickets here.

Will of the People is Muse's latest album. The futuristically anthemic rockers' ninth studio effort, it emerged last month. It contains the singles "Won't Stand Down," "Compliance," "Kill or Be Killed," "You Make Me Feel Like It's Halloween" and the title track.

Muse singer  Matt Bellamy said that  Slipknot influenced the album, thanks to his son's love of the metal band .

General on-sale for Muse tickets starts Oct. 7 at 10AM. Pre-sale begins Oct. 4. Go to  willofthepeopletour.com  and get info here . See the dates below.

Muse + Evanescence 2023 North American Tour Dates

Feb. 25 – Chicago, Ill. @ United Ctr Feb. 26 – Minneapolis, Minn. @ Target Ctr Feb. 28 – Austin, Texas @ Moody Ctr March 2 – Houston, Texas @ Toyota Ctr March 3 – Fort Worth, Texas @ Dickies Arena March 7 – Columbus, Ohio @ Nationwide Arena March 9 – Toronto, Canada @ Scotiabank Arena March 11 – Quebec City, Canada @ Videotron Ctr March 14 – Montreal, Canada @ Bell Ctr March 17 – New York, N.Y. @ MSG March 19 – Philadelphia, Pa. @ Wells Fargo Ctre April 2 – Glendale, Ariz @ Desert Diamond Arena April 4 – Denver, Colo. @ Ball Arena April 6 – Los Angeles, Calif. @ Crypto.com Arena April 8 – Las Vegas, Nev. @ T-Mobile Arena April 10 – San Diego, Calif. @ Pechanga Arena April 12 – Anaheim, Calif. @ Honda Ctr April 16 – Portland, Ore. @ Moda Ctr April 18 – Seattle, Wash. @ Climate Pledge Arena April 20 – Salt Lake City, Utah @ Vivint Arena

Rock + Metal Bands That Have Played Over 2,000 Shows

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Muse announce 2023 North American tour with Evanescence

Devon alt-rock trio Muse will be heading off across the pond for a North American tour in 2023 with Evanescence as special guests

Muse have announced that they will be heading to North America in the spring of next year for an arena tour in aid of their recently-released album Will Of The People .

Joining the alt-rock trio on the road for their US leg will be goth rock heavyweights Evanescence as special guests.

The trek will kick off on February 25 in Chicago, and will continue on through until April 30 for a final show in Salt Lake City. Meanwhile, Muse will make stops in Minneapolis, Austin, Houston, Toronto, New York, Los Angeles and more. 

Tickets for the presale begin from October 4 at 10am local time. Fans can register now over on the event's website. General tickets go on sale October 7 at 10AM local time.

Earlier this month, the three-piece shared details of the European leg of their world tour, scheduled to begin next year, with Royal Blood playing in support. Muse will also be performing in the UK in May and June 2023, with tickets available now.

Will Of The People was released last month on August 26 via Warner Records and Helium-3.

Check out the North American tour dates below:

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Feb 25: Chicago United Center, IL Feb 26: Minneapolis Target Center, MN Feb 28: Austin Moody Center, TX Mar 02: Houston Toyota Center, TX Mar 03: Fort Worth Dickies Arena, TX Mar 07: Columbus Nationwide Arena, OH Mar 09: Toronto Scotiabank Arena, ON Mar 11: Quebec City Videotron Centre, QB Mar 14: Montreal Bell Centre, QB Mar 17: New York City Madison Square Garden, NY Mar 19: Philadelphia Wells Fargo Center, PA Apr 02: Desert Diamond Arena, Glendale, AZ Apr 04: Ball Arena, Denver, CO Apr 06: Crypto.com Arena, Los Angeles, CA Apr 08: Las Vegas T-Mobile Arena, NV Apr 10: San Diego Pechanga Arena San Diego CA Apr 12: Anaheim Honda Center, CA Apr 16: Portland Moda Center, OR Apr 18: Seattle Climate Pledge Arena, WA Apr 20: Salt Lake City Vivint Arena, UT

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Liz works on keeping the Louder sites up to date with the latest news from the world of rock and metal. Prior to joining Louder as a full time staff writer, she completed a Diploma with the National Council for the Training of Journalists and received a First Class Honours Degree in Popular Music Journalism. She enjoys writing about anything from neo-glam rock to stoner, doom and progressive metal, and loves celebrating women in music.

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Muse Delivers the Neo-Classic-Rock Goods in Eighth Trip to L.A.’s Crypto.com Arena: Concert Review

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I’ll come down as unabashedly in favor, especially when it comes to the highly oxygenated emissions of Bellamy, one of the talented male singers the flagging genre still boasts … a Bono who’s got a few Pavarotti genes spliced into his DNA. Even if he does have to sing “Madness” — the greatest rock power ballad of the last 25 years — a half-step down from the record, his three-octave range is a marvel to aurally behold, at least if you aren’t holding any long-standing grudges against, like, passion. (He’s a guitar hero, too, not incidentally — the 19-second guitar solo in “Madness” sounded even better and more cranked-up than ever.) There is a kind of formula to Muse’s songs — not nearly all of them, but most of ’em that are “hits” — that involves a build from a moody, broody verse to a suspenseful, crescendoing pre-chorus to an explosive peak that is just about as much an aria as rock chorus. And then, rinse and repeat, twice! Over the course of a 22-song set like the one in L.A., you keep thinking Muse just shot their wad too early by placing the most dramatically satisfying song in the set too early, then you’re reminded that there are five more just as viscerally exciting coming down the pike, and they still haven’t remotely gotten to actual clock-punching peaks “Starlight” and “Knights of Cydonia.” In that way it’s a little bit like the “John Wick 4” of rock shows.

Also providing a break in the action, while ramping up the pomp and circumstance of the whole thing, were some FX-filled videos that offered some conceptual continuity to the concert, and offered visual teases of the giant props to come. The first of these segments had a rioter in a mask made up of mirrors being stricken down by a towering, strangely uniformed, horned figure representing The Man. A few songs into the show, the visage of the mirror-masked man appeared behind the band as the first giant inflatable of the night, his head moving slightly to the right or left. When it came time for the encore, he was replaced by his evil nemesis, the possibly “Fantasia”-inspired, horned authoritarian dude, with giant gloved hands outstretched on either side of the massive stage. Did his eyes glow in the dark at appropriate moments? Of course they did. It was, without a doubt, unbelievably cheesy. But you might not think so if you’re, like, Iron Maiden fan, and seeing this giant dude pop out on stage is as natural as seeing Eddie in your nightly dreams.

Accepting something as goofy as these giant inflatables means accepting Bellamy as a little bit of a contradiction at times. He’s the guy who can expound at length on the intricacies of changing global politics who also has no shame for ’80s horror movies and video games. (On this tour, they perform the recent song “You Make Me Feel Like Halloween,” an homage to John Carpenter and Stephen King, preceded by Bellamy sitting at an organ to knock out “Toccata and Fugue in D minor,” a piece so associated with old horror films it can only count as comedy anymore.) And he’s the guy who told Variety last year that, left to his own devices, he might write mostly beautiful music in more of an Enya vein, but also loves Rage Against the Machine so much that you can’t believe Muse’s headbanging side isn’t his first and final love. If you’re going to love part of what Muse does, you kind of take it all — the sense of life-and-death importance that’s implicit in most of their best songs, and the old-school showmanship that comes with that. It’s easier to take the whole shebang, of course, if you have any nostalgia for giant puppets of teachers who won’t leave them kids alone and that sort of thing, and don’t mind seeing the theatricality transposed into the present.

Really, though, for all of the videos and balloons, Muse’s is more of a straightforward rock show than those visual accoutrements might lead you to believe. I caught their promo show at the Wiltern last fall, the one with no props or special effects, just a big emphasis on their most aggro tracks — and didn’t think this return to their normal, full-size production would be as satisfying. Actually, it was, even the presence of a ramp meant Bellamy spent less time standing anywhere near the band’s great bass player, Christopher Tony Wolstenholme, or phenomenal drummer, Dominic Howard, as a visual power trio than usual. In some ways, despite the elaborate lighting and rigging, it felt like a return to ’70s arena shows that predated the onset of massive props and effects.

One of the most ironic things about it was how many of the bells and whistles of the show were downright primitive things that have historically delighted audiences. Very, very early in the show, long, colorful streamers were released. When was the last time you saw streamers in a concert? A few songs later, it was confetti. When was the last time you saw confetti? Well, probably a lot more recently than the streamers, but still . And from there, the band moved on to… a snow effect. No wonder Bellamy prefers to keep calling the venue Staples Center instead of Crypto: As digitally minded and forward-looking as a guy who spends part of the evening dressed in a suit of LED lights may be, he’s keeping alive the best aspects of the age of paper products.

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Independent TV

Showing now | culture.

Holly Patrick | Thursday 25 August 2022 16:54 BST

Muse tour 2023: Where and when can I see the band?

Muse have announced the details for their 2023 “Will Of The People” UK stadium tour.

The band will hit stages in Plymouth, Huddersfield, Glasgow, and Milton Keynes, with special guests Royal Blood supporting for every gig except Glasgow.

Tickets go on sale on Friday (26 August) at 9am, with anyone who has preordered their new album given early access on Thursday.

Their ninth studio album, also titled “Will Of The People,” will be released on Friday.

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Muse announce 2023 European tour with Royal Blood

"See you next summer"

Muse have shared details of a 2023 European tour with Royal Blood – see the full list of dates and ticket details below.

• MORE:  The  NME  Big Read – Muse: “There’s gonna be a big shift. We’re dealing with a disruptive transition”

The summer shows will be in support of their latest album, ‘Will Of The People’ , and see the Devon-formed rock band play stadiums across Europe. It follows details of the UK leg of the tour , which also see the band joined by Royal Blood.

Tickets for most of the new European dates go on sale this Friday (September 16) at 10am local time while the French shows go on sale September 22 at 10am local time. Tickets will be available to buy here .

Muse added on their social media channels that fans who pre-ordered their new album from their official store prior to August 26 will receive a unique code for pre-sale access. The pre-sale sale opens this Wednesday (September 14) at 10am local time.

The #WillOfThePeople tour comes to Europe Summer 2023 with special guests @royalblooduk 🔥 Tickets for most dates are on sale Friday 10am local, French shows go on sale Thursday 22nd at 10am local. pic.twitter.com/XvdNv1gFyL — muse (@muse) September 12, 2022

Muse ‘Will Of The People’ European tour dates 2023 :

JUNE 3 – Stadion Open Air, Wiener Neustadt, Austria 2 – The Hague, Netherlands, Malieveld 9 – Cologne, Germany, RheinEnergieStadion 15 – Lyon, France, Groupama Stadium 29 – Bordeaux, France Matmut Atlantique

JULY 8 – Paris, France, Stade de France 12 – Bern, Switzerland, Bernexpo Areal Openair 15 – Marseille, France, Orange Vélodrome 18 – Rome, Italy, Stadio Olympico 22 – Milan, Italy, Stadio San Siro

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Meanwhile, Muse have shared the official music video for their latest single ‘You Make Me Feel Like It’s Halloween’ .

The song appears on the trio’s ninth studio album, which came out last month.

In keeping with the sound of the ominous electro-rock track, Muse have posted some suitably scary visuals by director Tom Teller. The sinister clip includes references to numerous classic horror films such as  The Shining ,  Friday The 13th ,  Scream ,  It  and  Poltergeist .

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Muse is an English rock band from Teignmouth in Devon that formed in 1994

It includes frontman, vocalist, and multi-instrumentalist Matt Bellamy, bassist and backing vocalist Christopher Wolstenholme, and drummer Dominic Howard. Muse is known for a unique style of alt-rock, with electronic music leanings and a blend of classical music, which lends to an ethereal, melancholic sound.

Starting in the early ’90s under the original name Gothic Plague, the band toured relentlessly with bands such as Skunk Anansie. The band released its first EPs to a loyal fan base and was met with relative success in the UK indie charts. This earned the group crucial backing from the likes of Steve Lamacq and NME, and its debut studio album Showbiz was released in 1999, scoring relative chart success. The album has since gone on to become a certified platinum album in the UK.

Muse’s second album, released in 2001, revealed a growth in sound and ambition that is still evident in its records today. Origin of Symmetry saw the band shift into progressive rock territory, producing momentous singles like “New Born” and “Bliss.” The album acted as a catalyst that moved Muse into commercial and critical success for years to come. Its next four albums all topped the UK album charts, and the band has sold over 15 million albums worldwide.

In 2003, Muse released its third album, Absolution. This album debuted at number one in the UK, and with time, became certified gold in the US. This album is widely considered the band’s breakthrough album, with key hits such as “Time Is Running Out” and “Hysteria” topping the charts. In support of this album, Muse headed out on a year-long international tour.

In 2006, Muse released its fourth studio album, Black Holes and Revelations. This album debuted at number one on the charts in five countries. From this album, two singles, "Supermassive Black Hole" and "Knights of Cydonia," became chart-toppers, reaching the top 10 hits in the UK.

Muse’s live shows also followed the same ambitious, gargantuan elevation of music. Famed for its tours, the band has won two Brit Awards for Best Live Act, and it sells out arenas and stadiums around the globe with ease. Muse has become a legendary force on the festival circuit, and has headlined Reading and Leeds, T in the Park, and Glastonbury over the years. At Glastonbury Festival 2010, a gigantic crowd to its pyramid stage set up at the latter event in 2010.

Around the same time, Muse’s latest album The Resistance was conquering all corners of the UK. The band then scooped three Grammy nominations and a win for Best Rock Album, which helped it officially break into the US. Its explosion in popularity led to its performance at the opening ceremony of the 2012 Olympic Games in London – and to its single “Survival” becoming the official anthem of the event.

Since its acclaimed Olympic performance, Muse has gone on to produce three more albums. Released in 2015, Drones was an album that aimed to return to the original rock sound for which Muse was originally known, but weaved in a powerful statement on the dehumanization of modern warfare. with the release of Drones, Muse began another tour focused on small venues throughout the UK and theAlong US. Drones an immediate hit, topping charts globally.

After touring the globe, including headlining at major festivals, Muse continued its path forward with another album release in 2018 — Simulation Theory. This kicked off the Simulation Theory World Tour, which took the band all the way from Houston, Texas, to a final stop in Lima, Peru.

At the end of 2019, Muse released a special compilation box titled Origin of Muse. This included remastered versions of its albums and previously unreleased music. This special edition is a dream come true for Muse fans. The box contains a 48-page book, nine CDs, four vinyl records. One of the highlights of the set is a fully-remastered version of the band’s debut album Showbiz.

Most recently, in 2022, Muse released the Will of the People. This album showcases the darker, heavier side of Muse’s music, with singles “Won’t Stand Down” and “Compliance” quickly becoming fan favorites.

Known for its flawless performances, Muse continues to capture the depth of its musical history in every show. Fans, who are often referred to as Musers, flock to see the band perform at large arenas around the world. Most shows sell out, and in order to find a position near the front of the stage, Musers arrive hours ahead of showtime.

Not only does Muse deliver an incredibly dynamic and energetic live show, but its sound production is renowned for being top-quality. Bellamy’s vocals can be heard clearly, along with every accompanying instrument. Recently, touring member Morgan Nicholls was replaced by Dan Lancaster. Lancaster now plays additional keys, percussion, and guitar, as well as providing backup vocals.

To snag tickets to a Muse tour date, make sure to pay attention to recently released tour schedules. Muse’s 2022-2023 “The Will of the People World” Tour reaches far and wide.

Live reviews

Enjoyed the band but not the show. The organizers failed in everything they could fail. Believe me, I've been to a lot of international shows here in Argentina and Chile, and this was the first time ever that I couldn't hear the music some times.

The "Complejo al Río" is in a great zone of Vicente López, really near to buses, subway, and two of the most important avenues (Av. Santa Fe/Cabildo/Maipú and Av. Libertador); so I got there without any troubles and even had some food because there were a lot of places to eat or drink near it.

It all went down when the showtime was getting near: I got in without getting checked, as most people, really dangerous; then, the entrance was full of construction debris (dangerous x2). Once I was in, I realized that the venue was pretty much a cement parking lot with a couple of bleachers, wouldn't be much of a problem if it weren't that: a) there were holes in the floor, so somebody could have get hurt while jumping and; b) it was on downhill, so that meant that in certain areas of the "campo trasero" you couldn't see anything.

When it started, everyone was excited, jumping, but two songs in we realised that we couldn't hear sometimes: the sound came and then go away. You could literally heard people talking over the music! And this wasn't an acoustic show! The low-volume stayed the whole gig, and it ruined songs like Madness that I could literally not hear. Bonus track: Matt confused Argentina with Uruguay and used their flag here. Everyone shouting "NOOO" which meant hearing even less.

Going strictly to the show: the band pulled out a pretty good one, they didn't interacted with the public a lot but considering videos I've seen, that's just how they are. The setlist was the very same of two days ago in Chile, so there's nothing to complain about though we Argentinians are used to the fact that the bands always play more songs here, or change the setlist a bit. Muse was not the case.

I still had a great time and would totally go to see this band again, specially because I feel like I didn't got the full experience. It's too much to know that they never come with the full stages and theatrics to add the fact that they came without speakers.

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This was the 3rd concert I have seen Muse at. I have to say as far as concerts go, you won't find one with any more to it than a Muse concert. I have been to many concerts and I love them all. Music made in a studio is never going to capture the real live sound. Music is made to be played live!

The Simulation tour was simply amazing. Visually, audibly and just being there. Having trombones being played, actually played not recorded and being a part of the opening was simply astonishing. It as a great sound and visually it was amazing. The same with Pressure, having the trombones out there added to the song and made it unbelievable.

They also played Dig Down the acoustic gospel version live. With Dom, Matt and Chris playing center of the stadium. Chris on the acoustic guitar, Matt on the piano and Dom obviously on the drums. What a neat set to see them playing so close together and the gospel signers on stage lit up by their costumes. Very well done!

Our son didn't(teenager) didn't understand the Close Encounters of the 3rd kind part. Where Matt was playing the guitar and the mother ship was responding. He is too young. :-) My wife and I got it.

Watching Matt play his guitar by his tong! What? I had never seen anything like it. He is amazing. Chris is just amazing on bass and Dom on drums. These guys can do it all!

What a fun show. I really appreciate what Muse has done to give back to their fan's. Too many bands don't care as long as they sell their tickets. Muse doesn't appear to be like that. Even purchasing tickets, they allow the true fans to purchase first getting the best seats.

I look forward to seeing them again! Great show, great music, and a great time. Playing for almost 2 hours. Great job Muse!

Over the course of two decades, Muse’s live show has evolved into one of the most sensational spectacles in the world - an experience worthy of four (!) live DVDs churned out since the release of Hullabaloo in 2001.

From humble beginnings touring the UK dive bar circuit, the band’s intellectual prog-rock quickly earned them the heavy burden of ‘the next Radiohead’: a stigma brushed aside, and a prophecy fulfilled.

The band’s trajectory to international stardom was driven in the early noughties by huge success around ‘Origin Of Symmetry’ and ‘Absolution’; a pair of records that delivered sold out arena shows across the globe.

From that point on, Muse poured everything into their live show. From huge satellite dishes beaming light into the sky to monumental, rotating pillars, each tour delivers something totally unexpected, and utterly jawdropping. And that’s prior to any mention of the crazy, crazy talent exhibited on stage. Matt Bellamy, one of the few true rockstars of the modern age, thrashes and strokes at his guitar in equal measure, and delivers stunning falsetto vocals. Though the band have recruited extra, ‘behind-the-scenes’ members over recent years, the amount of noise produced by the three piece remains astounding.

With Glastonbury and Coachella headline slots - and just about everything other accolade - under their belts, where now for Muse? Somehow, the only way, still, is up. And it’s guaranteed to be totally bombastic.

Since their incarnation in 1994, the Devon trio has evolved from a garage rock band into a momentous live act that has conquered the largest stages and festivals all around the planet with their space-themed apoco-pop rock. The band has six albums in its discography, which was not seem like very much for an artist that has reached a reputation as saintly as Muse, yet it is what Matt Bellamy and co transform their music into onstage which continues to wow audiences.

As the bass rumbles and begins 'Supremacy', the band appear all at once surrounded by fire and pyrotechnics as they wage some solar war all within their own minds. As they run through their hits such as 'Supermassive Black Hole' and 'Starlight' at blistering speeds, the audience have no choice to watch on in blind amazement. Matt Bellamy is a frontman often likened to the late, great Freddie Mercury and after seeing him perform you realise there is serious weight behind these lofty claims.

No matter how big his crowd, Matt throws himself into every blistering guitar solo and whips crowds into frenzies like no other. When the finale of 'Knights Of Cydonia' kicks in, the audience has completely surrendered itself to the supernatural, surreal world of Muse and simply hope they will never return.

Santiago de Chile - October 13th

The first good surprise was with the opening band, Kaiser Chiefs. The show was short but a very good one! The singer, Ricky Wilson, is very charismatic and an excellent dancer!

About Muse - Tour Simulation Theory:

the sound was very good, the instruments were heard in good frequency and also the voices.

The band has a strong connection on stage and a great dynamic between them.

The setlist was very well chosen, mixing successful songs from previous albums, like Hysteria, Supermassive and Starlight; and new album hits like: Algorithm, Propaganda and Thought Contagion.

The songs were similar to other shows that they played on this tour in all Latin America, but they surprised Santiago with the song Bliss (not in other setlists).

Lead singer Matt sings very well live can make different tones of voice, is incredible, just like the albums!

In addition, the lighting games and dancers who were on the stage during the show further contributed to the whole presentation.

The show finished with Knights of Cydonia and made everyone very happy!

A great night! Thank you Muse!

I had seen Muse a few times at various festivals over the years (Reading twice, V Festival, Download) and wanted to see them in their own show and I thought what better place than to do that than at Londons O2 Arena.

Muse played for 2 hours with a faultless performance. Belting out classics such as Plug In Baby, Stockholm Syndrome and completing the evening with the infectious Knights Of Cydonia as well as promoting songs from the current Drones album.

My only regret of the evening was having to be upstairs on Level 4 for this concert. People standing in the Floor areas and Level 1 seem to be able to let loose and enjoy themselves but upstairs really didn't know how to behave at a rock concert with he majority remaining seated and I was even asked to sit down by the person behind me. Unfortunately the big arenas can bring out the punters who aren't used to what a rock concert can be about but i'll balance this comment by saying that I should have been downstairs if I really wanted to rock out.

Great performance by band, disappointed with the crowd as a whole.

We came in from Houston to see Muse in Austin. I've had to miss their TX shows in the past because I didnt have the money or time, but this year I said fuck it, I'm going to this show and I wont miss them again. It was so worth it. They sounded amazing, the whole band are great performers. They posted the whole concert on facebook so I thought that was cool. I can watch it again if I want. So, so worth it. The stage was really cool with these stacks of video monitors in the back and they were staggered. It's hard to describe, but it looked really good. The only complaint I had was that I bought an actual seat but everyone stood the whole time, so it was kind of pointless, but I'm glad I had something to lean on if I got too tired. It was kind of hard to see the band on stage because people were in the way, but I'm sort of short so...oh well. It was a very minor complaint and nothing against Muse. If (I should say WHEN) I see them again, I'll try to get a seat on the rail with no one in front of me, but you know how it goes.

An impressive start with "Psycho" brought all the energy to the Olympia-halle without any warming up. The setlist was loaded with the tracks of their latest Best-Rock-Album-Grammy winner, "Drones", but also included some classics as "Plug In Baby", "Stockholm Syndrome", and an amazing performance of "Citizen Erased", a song from "Origin of Symmetry" rarely played in the latest years shows.

The stage in itself deserves recognition as it was meant to rotate, while holding a structure from where around ten drones came into the show flashing and wandering around some meters over the crowd. In addition, a series of interactive projections were prepared in accordance to every song lyrics.

Bellamy asked people to help on singing the already classic "Time Is Running Out", as well as "Starlight" and the whole chorus for "Uprising".

A great show that clarifies why they are one of the best live bands at the moment.

There is a reason these guys play in big arenas. It’s not just a few guys on a stage playing their music, it’s a production. Even up in the nosebleeds it was a great show.

Spoiler alert! Don’t read any further if you don’t want to know.

Had it all! Glowing glasses, lit up suits, giant robots, a piano that shoots lasers, dancers with flashlights, smoke machines and glowing batons, and a special appearance by Eddie! People hanging from wires, surprises coming up from trap doors, lasers, lasers and more lasers! The set was a blistering 26 songs lasting a little over two hours!

I will definitely see them again the next time they come to town. Though not from the balcony. They say “Don’t look down if you have a thing about heights.” That’s where the stage is!

Great show.

Saw them in Milan 20/5. I've been attending concerts for more than 10 years now and this gig goes into my top 5!! The show, the energy, the sound (!!) was amazing! I was blown away by Matt's voice, so clear and beautiful, Chris's dexterity with the bass (for me the second best bass player ever) and Dominic's drum solos. I loved the round stage in the center of the arena, you can really see them well from wherever you are standing/seating. I really wish more bands could afford this kind of technology, oh well... And the video projections, especially the puppeteering part during The Handler... genious and scary! The setlist included almost all the songs I wanted to hear live (I only missed Stockholm Syndrome and Bliss). All in all, kudos to the guys, really, I hope too see them again very soon.

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Jamie xx Returns To Present With 'In Waves': How Time Off Led To An Album Of Renewal

On his first album in nine years, Jamie xx shares his renewed joy. “It's been my favorite experience making an album ever," the producer/DJ says.

It’s been nine years since Jamie xx released his massively lauded debut solo album, In Colour . The 2015 release received a GRAMMY nomination for Best Dance/Electronic Album, hit No.1 on the U.S. Top Dance/Electronic Albums chart, and certified gold in the UK.

Beyond its measurable success, In Colour' s 11 tracks were essential in catalyzing the merger of underground dance and pop music.

Jamie (whose real last name is Smith) wasn’t just an artist after In Colour . He was a household name. As a solo artist, he took his obscure sounds to massive gigs all around the world. The momentum continued when in 2017 released I See You , his third album with his celebrated indie band, The xx.  

"I got good at touring and being an artist in my twenties, but I didn't have any room for anything else in my life. So, when I got a chance to stop in the lockdown I realized I didn't really have much else. I spent a long time trying to find what else makes me whole," Smith says.

In the midst of lockdown, Smith spent time cooking, reading, avoiding excessive screen time, and hanging out with friends. When he was ready to make music on his own again, he was completely reinvigorated. The result is In Waves , Jamie xx's first solo record in nine years.

Smith's joy for making music is palpable throughout In Waves . "Life" kicks off with dance vocalist Robyn repeating the hook "You’re giving me life." Then after coasting on a delightful 4/4 beat and energetic horn samples, she sings in her sweet yet searing tone: "No, I’ll never get enough/It’s just a matter of fact." Later, "Breather" asserts Smith’s expertise in producing dastardly unconventional club beats and simultaneously encourages listeners to appreciate the present. The album also features the Avalanches and bandmates from The xx.

"It's been my favorite experience making an album ever. Even though it's been really hard and it's taken a long time," he says. "I've even learned to enjoy all the difficult parts. I've never had a great time having to finish an album because you're really in the weeds. You can't tell what's good and what's not because you've heard it a million times, but this time I was just happy to keep going."

GRAMMY.com spoke to Jaime xx about setting intentions to stay present, his rigorous standards for releasing music, and how he continues to balance his love for the underground and his growing popularity.

Given that there was such a significant gap between your solo albums, with only four official singles in between, would you say that you have a high standard when it comes to your solo work?

I definitely do. Maybe that makes it more difficult for me, and I really envy artists who can just put loads of stuff out every year. It must feel nice to be that free with it. But that's not how I work, and I do think that less is more. All my favorite artists are that way inclined.

What does it take for a song to be worth sharing?

It's something that I can't quite put my finger on, but it's usually a feeling that I get within the first half a day of making a piece of music. I know I can make it into something I'm going to love, and that might connect with other people. But I wish I knew how to get there more often because it seems to just happen without my decision being any part of it.

The idea of being present was very important to this album process. I read that it's difficult for you to remember things between when you were 18 and 30 because you were so entrenched in music and touring. On the song "Breather" you literally invite listeners to slow down, take a breath, and enjoy the moment. What was it like to make an album in this present frame of mind?

It was really enjoyable. Even the hard bits I really enjoyed just because I was aware of what I was doing. 

I also got some great advice from some people that I work with about how to be a long-standing artist. Having gone through all those ups and downs, how to keep your head straight. Robyn really helped me out with that. She's very smart. When we were making "Life," we talked about how when it gets really hard that's the really good stuff, and you shouldn't shy away.

Now that you’ve adopted a new frame of mind, how do you intend to move with this new approach to your career?

I'm gonna try and take the time to make music in the way that is best for me, and hope that people like it. 

I'm really grateful that I'm in this position where I get to play huge shows and tiny clubs, and I can also walk around the street and nobody knows who I am. Perfect level, and I just hope that I can maintain this position as long as possible.

Your first album was essential in introducing underground dance music to a larger audience, which you’ve said you had mixed feelings about. Now underground dance music is incredibly popular . What was it like creating a new album within that ecosystem?

It was difficult, mentally. I think that's why I had to get to a good place in my life really to be able to make music again. It was sending me spinning and confusing me. Then I found myself thinking about what other people were doing, which was never how I made music. I wasn't reflecting on the good parts of what other people were doing either. So I just had to check myself and have faith in people who like good music.

You said earlier that you enjoy playing massive shows, which in spirit goes against the traditional ethos of underground music. Do you feel any conflicting emotions around that?

It's a bit of both, I guess. When I’m doing these big shows, now, I'm really trying to take elements of what I love about playing at intimate shows; what I love about just clubbing and the history of dance floors and inject it into the shows. Even if they're bigger and make it more focused on the crowd and the sound than people staring at me and looking up at the stage.

That's been really fun. We've had dancers in the crowd, and we're filming them, and it integrates the crowd more into facing each other rather than facing the stage. That's one of the things that makes it feel more intimate, more like a club.

The first thing that you need to make a good club night is good people. The majority of people who have come to my shows have been amazing. [They’re] really open to me playing some weird stuff in between my music. I feel able to go on a journey with them and play differently depending on the room and the place. It's great fun for me and it's inspiring.

How do you feel about being a central figure introducing new audiences to new types of music?

That's how I fell in love with a lot of the music that is my favorite music now: from the DJs that I loved when I first started going out. Learning what they were doing, learning about deep cuts, and them being generous enough to share some of the music with me. I hope that I can pass some of that on. 

In dance music, it's all about community and bringing people together. I think what I'm doing is really not that different from what DJs from the '70s were intending to do. At least that's what I'm going for.

You’ve revealed to the world that you are back in the studio with The xx. How have you brought your new mindset as a solo artist to your work with the band?

It's quite difficult. That was the purpose of us going out and doing this solo stuff. When we come back we'll have a bit more of a wider scope, but it will be difficult. The most difficult thing is just maintaining friendships that are 20-30 years old between us. Also, to work, and…live well, with our partners and our families. It's all hard to integrate. 

The last few times we've been in the studio we've really just spent time talking with each other for days on end and barely even picked up our instruments. That's been really great.

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Zedd's Road To 'Telos': How Creating For Himself & Disregarding Commercial Appeal Led To An Evolutionary New Album

'Telos' "isn't going to be that pop album that some people may have wanted me to make," Zedd tells GRAMMY.com of his highly anticipated album — his first in nine years.

At the time of our call, the release of Telos — Zedd 's first studio album in nearly a decade — is just seven days away. Snug in an earthy brown crewneck, the 34-year-old musician joins the Zoom from his new home in Encino, California, with a degree of poise that some might find surprising at this point in the rollout. 

Still, his relaxed body language, decisive, measured speech, and quiet confidence make it clear that any anxiety he once felt about the LP has been replaced by pure anticipation. 

"I am honestly just really excited. I think I've released music in the past that I was nervous about, but it's quite different with this album," he tells GRAMMY.com. "I feel very calm and just happy to be able to release this music that I've been working on for so long, some of which has been in the works as late as nine years ago." 

Out Aug. 30, Telos arrives about four years later than initially announced and about eight years after it was contractually due. Though Zedd confirmed that the long-awaited answer to his second studio album, True Colors (2015), would arrive in 2020, he indefinitely postponed the project at the height of the COVID-19 pandemic.  

"I decided to push back the album to when things are more back to normal," he wrote in a Reddit AMA (ask me anything) in November 2020. "I really wanted it to come out this year, but I put the album on standby because during quarantine, I just didn't feel the inspiration to make this the best album possible."

Timing is everything and Zedd, who counts a clock ticking sample among his stylistic hallmarks, knows this well. Zedd embraced the axiom while making Telos , an album that "isn't for the algorithms" in an era when creative works' cultural capital is largely decided by how well they pander to an algorithm. Telos is decidedly — and in some ways, daringly — non-commercial. "Lucky," alongside singer/songwriter Remi Wolf and "Automatic Yes" with John Mayer , are notably the only two tracks palatable for commercial radio airplay. The 10-track album largely plays like a love letter to classical music (there is an orchestra on the entire LP), with flashes of pop, dance/electronic, jazz, world music, and metal influence. A cross-generational list of collaborators — including 40-year-old musician and composer Jeremy Kittle, who recorded each string for the album one by one, and Gen Z singer-songwriter Bea Miller — further dynamize Telos .

Telos "isn't going to be that pop album that some people may have wanted me to make," Zedd acknowledges. Nor will it be the dance/electronic LP that purists from his name-making run in the early-2010’s might long for. Fans gained during the GRAMMY-winning producer's complextro, electro, and progressive house-heavy era (think "Shave It" ) have been some of his most outspoken critics in recent years, reproaching his stride into commercial pop.

This response is neither surprising nor foreign to Zedd. "I felt the same way about a lot of bands and artists that I grew up listening to when I heard their new music," he reflects. "In the moment, you might be like, I'm disappointed, 'cause I wanted X, Y, Z , and with a little bit of perspective, you realize what an artist has done, and maybe those become your favorite works when you give it time."

Zedd has already proved his ability to craft pop hits with staying power — with help from some of the genre’s most prominent voices. The 2017 single "Stay" with Alessia Cara (2017) and 2018's "The Middle" with Maren Morris and Grey were two of Zedd's biggest smashes in the dance-pop domain post- True Colors . Both singles achieved platinum certification, though "The Middle" has since struck platinum six times. Like "Clarity" — the 2012 breakthrough single that scored Zedd his sole golden gramophone (for Best Dance Recording) — "Stay" and "The Middle" imbued him with the confidence and greater depth of reference to make an album like Telos .

"If I made another album today that felt the same way Clarity felt back then, you wouldn't feel the same way about Clarity today," Zedd reasons, adding that Telos has some of the "internal motivations" and experimentation of Clarity . "It's just a more mature and experienced expression, so I think the people who loved Clarity will find plenty to love on Telos ."

The album's debut single, "Out Of Time" featuring Bea Miller, is likely to serve as one such point of connection. It retains the DNA of Zedd's established, melody-driven sonic identity while still feeling fresh and exploratory.

"It's a really good example of a new version of an old me," he attests. "The real core of what Zedd feels like isn't the sound. It's not the synths, and it's not the kicks you hear at the festival. It's actually really deeply rooted in chord progressions and melodies. Those are well alive, and more than ever, on Telos ."

At nine-and-a-half-years-old, "Out Of Time" is the oldest track on the album, penned just after Zedd delivered True Colors (OG fans will recognize the song's chord progression from the intro to his DJ sets). His motivation to repeatedly rework the track and fashion it into the album opener stems, in part, from the feeling that it was "too theatrical" to be a standalone single.

Telos provided "the perfect canvas to deliver all these meaningful songs to my life and to my career that couldn't just be one-offs," he says.

Zedd’s current musical ethos is born from his disenchantment with the direction of music in the age of algorithms and TikTok, and the resulting Telos is the product of his "decision to really be free musically."  

"There was one moment in making Telos that made me realize this is like my autobiography. This is everything I am as an artist, and everything I do musically is for me," Zedd says with conviction. "That was a really liberating moment because I am essentially guaranteeing that I'm not going to disappoint anyone because the only audience is me. I'm making this for myself." 

"It sounds so silly to even say [this album is just going to be for me] because you would think that everything you make as an artist is for you," he concedes. "But really, the truth is it's hard to block out the feeling that people might be disappointed, and the feeling that you could change a song, and you would make so many people happy." 

Telos ' exhaustive creation process was as much a matter of deconstruction as it was reconstruction. About halfway through the first version of "Z3," as the album is known colloquially among fans, Zedd scrapped 90 percent of what he'd written, salvaging only "Dream Brother." The hypnotic interpretation of Jeff Buckley 's 1994 song embodies the musicality that threads Telos — from the texture of the opening guitar chords and piano, to the swell of strings, and Zedd's signature clock ticking sample in its outro. Telos marks the first and only time the Buckley estate has given an artist the rights to the late creative's work. 

"Dream Brother," Zedd explains, was "the only song that felt lik e this is living very much in the world that I really deeply feel ," citing it as "a song that has inspired me since my early days as a musician." 

Between his successes on Billboard 's Hot Dance/Electronic Songs chart and the coveted Hot 100, it may be easy to forget that Zedd's musicality traces back to childhood. A classically trained musician, Zedd began playing the piano at the age of four and still writes his music on the piano first . Telos is a cerebral reminder that it's reductive to think of Zedd as anything less than a natural-born composer.

Elsewhere, "Sona," featuring the olllam, harkens back to Zedd's days as a member of German metalcore band DIORAMIC in its use of the 7/4 time signature. "Sona" is the first song in this time signature that Zedd has made since his days as a band member (he was the group's drummer from ages 12 to 20). 

Still, Telos ' unequivocal pièce de resistance is "1685" with GRAMMY-winning English rock band Muse . The six-minute and 11-second album finale takes inspiration from Johann Sebastian Bach's "The Well Tempered Clavier" — the first classical piece Zedd ever learned to play on piano as a child and as he calls it, "probably the most influential piece ever written in life for me."

Named for Bach's birth year, "1685" extends the full-circle nature of Telos. Both a tribute to his favorite composer and a reference to Zedd's earliest days as a musician (he performed a cover of Muse during his very first concert with DIORAMIC), these connections imbue Telos with authenticity and soul.  

Intricate and lovingly-crafted, Telos is Zedd at his most musically honest. "It's my entire life in one album," he says. "It's truly an evolution of who I am as a musician." 

His decision to eschew trends and commercial formulae to embrace "music for the sake of art" confers a sense of timelessness to Telos . For those versed in gaming terminology (like the multi-platinum producer, a notorious gamer) Telos is Zedd in his final form — a state unlocked only after the successful completion of considerable, skill-building challenges. 

Fittingly, the multifaceted nature of Telos and its creator is reflected in the album's title. The Greek word has multiple meanings, including accomplishment, completion of human art, and the end. He chose the name "telos" 30 or so minutes before he had to submit the LP — an  ironic timeline for a production that took years to conceive.  Yet like all of the creative choices that culminate in Telos , this, too, was part of a thoughtful strategy. Zedd wanted to be sure that the album's title would faithfully capture its concept, even after the LP’s many metamorphoses. 

"I really relate to all of the meanings," he says. "Accomplishment of a goal is one of them. I made this album that I was dreaming of making my whole life with the artists I love so much who have inspired me, so it's a genuine dream come true to make this album." 

With introspection written on his face, Zedd pauses, then continues: "One of the meanings of 'telos' is the end, and there was a good chunk of time where I thought this might be the last music I will ever release. It's kind of like I put all my emotions and feelings into this one album…is there any reason for me to take space away in this universe if this is all I have left to say? And for a moment towards the tail end, I was like 'yeah, Telos is the name for this album because I will never make another song in my life.'" But Telos is merely another beginning, briefly disguised as an end. Zedd delivered the album, had a second to breathe, moved from Beverly Hills to Encino, put a piano in his bedroom, and "inevitably started writing new music." Timing is everything.

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The L.A. festival is famous for bringing an array of electronic sounds, from dance-pop and experimental techno, to classic house and rare back-to-backs — and this year's lineup features some of the biggest and buzziest acts in dance music.

When it comes to American dance music culture, few events carry the cool cache of a HARD party. Founded on New Year's Eve of 2008 by DJ and former label A&R Gary Richards, the name HARD has become synonymous with taste-making, offering fans an enviable mix of influential headliners and cutting-edge up-and-comers.

HARD parties have been a breakout platform for luminaries like Justice , Skrillex , deadmau5 , and more, and the HARD Summer festival is one of the brand's most celebrated flagship events. In 2017, HARD was absorbed into the Insomniac festival family — the same company that brings fan-favorites EDC Las Vegas and Electric Forest to life — which ensures the stage production, on-site activities and other ancillary fun are sure to be supersized. How many festivals do you know that offer a Ferris wheel and a swimming pool?

Coming to Los Angeles' Hollywood Park near SoFi Stadium on Aug. 3 and 4, this year's lineup continues the tradition of blending authoritative artists, legacy DJs and unique back-to-back headliners with buzzy newcomers in a variety of genres and styles. 

Whether you wanna rave out with club king Jamie xx , bang your head to bass with Zeds Dead, get tropical with Major Lazer , see what it sounds like for UK grime star Skepta to DJ, or just sing along to mid-2000s belters courtesy of dance-pop crossover queen Nelly Furtado , there's something to please every palette. Of course, in true HARD tradition, we seriously recommend exploring the undercard, because the biggest name in electronic music tomorrow is probably playing one of the HARD side stages today.

While you wrap your head around the stacked lineup, check out a quick guide to 10 must-see acts below.

A legend on the decks who can play blissful disco or teeth-shattering techno with a smile, Boys Noize is a must-see on any lineup simply because he loves doing the job. He recently teamed with Skrillex on the anthem "Fine Day," and released an entire EP with alt-rap icon Rico Nasty. He's also the producer behind Lady Gaga 's beloved Ariana Grande collab, "Rain On Me," and Playboi Carti's "Unlock It," but he's likely to unleash a massive set of hard techno bangers for the L.A. crowd — though you never can tell which direction he'll take you in next, so come with an open mind.

As the top-billed headliner for Saturday night, Disclosure should need little to no introduction to any modern dance music fan — but that doesn't mean you should sleep on their set.

Howard and Guy Lawrence emerged on the scene as seemingly an instant success. The brothers' debut album, Settle , almost single-handedly changed the landscape of popular dance in 2012, moving the taste du jour away from the big-room EDM and bass-heavy trap sound toward a UK garage revival that still carries, and helped launch Sam Smith 's career in the process.

In the 12 years that followed, Disclosure has continued to push the envelope — and themselves — working with cross-genre heavyweights including Lorde , Khalid , Miguel , Kelis , Slowthai , and The Weeknd , as well as incorporating international sounds and styles into their club-driven house grooves. Earlier this year, Disclosure returned with the dance floor-ready single "She's Gone, Dance On," announcing themselves as arbiters of disco-laced funk and good-time DJs for 2024 crowds. Surely they'll be in top form come HARD Summer.

If you like your dark techno to come with a side of hip-shaking Latin rhythms, Miami-bred duo INVT is the experimental sound machine you can't possibly pass up. Luca Medici and Delbert Perez have been best friends since they were kids, and that closeness comes through in their tight experimental sets, blending booming bass with glitched-out techno synths, cumbia rhythms, dembow beats, and acidic edge.

INVT are — as the name may imply — extremely innovative, leaning into their own productions and edits to curate an approach that feels hypnotic, exciting and unique. If you're not afraid of beats that go really hard and get a little weird, this is a set that can set your wild mind ablaze.

What happens when you put two of the most unique and hard-hitting producers in electronic music together on one stage? Deadmau5 is one of the scene's leading icons, and Rezz (who released her debut album of deadmau5's Mau5trap label in 2017) shifted bass music culture with her gritty, techno-fueled, half-time sound. The two share a love of dark, stomping, left-field noise, and after years of teasing possible collaborations, those shared interests merged on the 2021 collaboration "Hypnocurrency." Two years later, they released the booming, dystopian 2023 single "Infraliminal" — not just a brilliant rework of deadmau5's 2012 track "Superliminal," but the official introduction to Rezzmau5.

Rezzmau5 haven't released anything since, and live performances from the duo have remained few and far between. But the monolithic duo just warmed up their trippy joint live show at Tomorrowland 2024, which was set in "the mythical realm of Silvyra," a world "filled with creatures, plant life, and people living in harmony." Whether or not their HARD set follows the same storyline, it's certain to shake the skulls of every dancer at Hollywood Park. Prepare your body for something deep, dark and maniacal.

There aren't many electronic acts that bring the same level of frontman energy that Elderbrook boasts on stage. A multi-talented performer, the UK artist sings and plays instruments, creating a rock-show experience unlike most sets at heavily electronic festivals like HARD. He leads the crowd in heartfelt sing-alongs to hits including "Numb," "Something About You," "Inner Light" and, of course, his megahit CamelPhat collab "Cola."

Bouncing between his microphone, synthesizers and keyboards, samplers and drum pads, his one-man band performance is sure to draw a serious crowd. If you're ready for a break from the hard-edged rave noise and want to ascend to heavenly heights, Elderbrook is the man for the job.

Fisher + Chris Lake (Under Construction)

Nothing is more fun than watching two best mates go absolutely nuts on the decks. And when two stellar DJs go back-to-back, everyone wins, because they spend the whole set trying to impress each other.  

Chris Lake is one of the most influential producers in tech house. Fisher is one of the most unhinged and energizing DJs one can ever witness. Together, the besties deliver an over-the-top party with an arsenal of mind-numbing drops, weirdo grooves and just-plain fun vibes that make you wanna hug your friends and dance 'til you sweat. The set is called Under Construction, but make no mistake: these two have completely mastered the blueprint.

If you like your sets to be playful cross-genre explorations of sounds from around the world — tied together by booty-shaking beats and booming bass lines — JYOTY is sure to check all your boxes. She knows how to lead a great party because she spent her childhood frequenting the unmatched clubs of Amsterdam. And with an ethos built around playing whatever the heck she wants, she's comfortable dropping a bit of hip-hop into some Brazilian bops, mixing it up with hard breakbeats, blistering rave synths and more.

Kerri Chandler

If you don't know your history, you're doomed to repeat it, but no one brings the house down quite like Kerri Chandler. A pioneer of the original deep and garage house movements, Chandler was a foundational DJ of the '80s scene, holding down a residency at the legendary Club Zanzibar in New Jersey and founding the MadHouse Records label. If you want to feel the soulful spirit that made electronic music what it is, Chandler's dreamy mix of feel-good melodies served over kickin' club beats are a direct line to house music's roots.

Mary Droppinz

You know how Mary Poppins had a magical bag that held everything from a hat rack to an ornate mirror, a house plant and a Tiffany lamp? Well, California DJ Mary Droppinz comes equipped with a magical USB that's positively bursting with mean beats and original edts.

This woman can blend everything from grimy bouncing bass to ethereal orchestral house, Spice Girls reworks, drum'n'bass bangers, reggae upbeats, '90s R&B remixes and chart-topping hits of the moment twisted into face-melting heaters. You can try to guess where she'll go next, but it's better to just let her take control and follow the vibe through all the devious twists and turns. The one thing you can count on? You'll leave her set dripping with sweat.

Disclosure aren't the only brilliant UK brothers on the HARD Summer lineup. Overmono's Tom and Ed Russell hail from Wales and make some of the most inspired club records of our time.

With backgrounds exploring hard techno, drum'n'bass and rave, the brothers combined their talents in 2015 and have since created an enviable blend of soulful atmospheres and frenetic breakbeats that feels nostalgic and sentimental, but still very heavy. Overmono's 2023 album Good Lies is a great play from start to finish, and a good way to get prepped for their critically acclaimed live set. If you need a big-name co-sign, Overmono was recently featured on Fred again.. 's "Stayinit" with Lil Yachty on the vocal. That's the caliber they're rockin' with — and the prestige they'll bring to HARD Summer.

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"Let Yourself Be Idiosyncratic": Moby Talks New Album 'Always Centered At Night' & 25 Years Of 'Play'

"We're not writing for a pop audience, we don't need to dumb it down," Moby says of creating his new record. In an interview, the multiple-GRAMMY nominee reflects on his latest album and how it contrasts with his legendary release from 1999.

Moby ’s past and present are converging in a serendipitous way. The multiple-GRAMMY nominee is celebrating the 25th anniversary of his seminal work, Play , the best-selling electronic dance music album of all time, and the release of his latest album, always centered at night .  

Where Play was a solitary creation experience for Moby, always centered at night is wholly collaborative. Recognizable names on the album are Lady Blackbird on the blues-drenched "dark days" and serpentwithfeet on the emotive "on air." But always centered at night ’s features are mainly lesser-known artists, such as the late Benjamin Zephaniah on the liquid jungle sounds of "where is your pride?" and Choklate on the slow grooves of "sweet moon."  

Moby’s music proves to have staying power: His early ‘90s dance hits "Go" and "Next is the E" still rip up dancefloors ; the songs on Play are met with instant emotional reactions from millennials who heard them growing up. Moby is even experiencing a resurgence of sorts with Gen Z. In 2023, Australian drum ‘n’ bass DJ/producer Luude and UK vocalist Issey Cross reimagined Moby’s classic "Porcelain" into "Oh My." Earlier this year, Moby released "You and Me" with Italian DJ/producer Anfisa Letyago .  

Music is just one of Moby’s many creative ventures. He wrote and directed Punk Rock Vegan Movie as well as writing and starring in his homemade documentary, Moby Doc . The two films are produced by his production company, Little Walnut , which also makes music videos, shorts and the podcast "Moby Pod ." Moby and co-host Lindsay Hicks have an eclectic array of guests, from actor Joe Manganiello to Ed Begley, Jr., Steve-O and Hunter Biden. The podcast interviews have led to "some of the most meaningful interpersonal experiences," Moby tells GRAMMY.com.  

A upcoming episode of "Moby Pod" dedicated to Play was taped live over two evenings at Los Angeles’ Masonic Lodge at Hollywood Forever Cemetery. The episode focuses on Moby recounting his singular experiences around the unexpected success of that album — particularly considering the abject failure of his previous album, Animal Rights . The narrative was broken up by acoustic performances of songs from Play , as well as material from Always Centered at Night (which arrives June 14) with special guest Lady Blackbird. Prior to the taping, Moby spoke to GRAMMY.com about both albums.  

'Always centered at night' started as a label imprint then became the title of your latest album. How did that happen?  

I realized pretty quickly that I just wanted to make music and not necessarily worry about being a label boss. Why make more busy work for myself ?

The first few songs were this pandemic process of going to SoundCloud, Spotify, YouTube and asking people for recommendations to find voices that I wasn’t familiar with, and then figuring out how to get in touch with them. The vast majority of the time, they would take the music I sent them and write something phenomenal.

That's the most interesting part of working with singers you've never met: You don't know what you're going to get. My only guidance was: Let yourself be creative, let yourself be idiosyncratic, let the lyrics be poetic. We're not writing for a pop audience, we don't need to dumb it down. Although, apparently Lady Blackbird is one of Taylor Swift 's favorite singers .   

Guiding the collaborators away from pop music is an unusual directive, although perhaps not for you?  

What is both sad and interesting is pop has come to dominate the musical landscape to such an extent that it seems a lot of musicians don't know they're allowed to do anything else. Some younger people have grown up with nothing but pop music. Danaé Wellington, who sings "Wild Flame," her first pass of lyrics were pop. I went back to her and said, "Please be yourself, be poetic." And she said, "Well, that’s interesting because I’m the poet laureate of Manchester." So getting her to disregard pop lyrics and write something much more personal and idiosyncratic was actually easy and really special .  

You certainly weren’t going in the pop direction when making 'Play,' but it ended up being an extremely popular album. Did you have a feeling it was going to blow up the way it did?

I have a funny story. I had a date in January 1999 in New York. We went out drinking and I had just gotten back the mastered version of   Play . We're back at my apartment, and before our date became "grown up," we listened to the record from start to finish.   She actually liked it.   And I thought,   Huh, that's interesting. I didn't think anyone was going to like this record .  

You didn’t feel anything different during the making of 'Play?'

I knew to the core of my being that   Play   was going to be a complete, abject failure. There was no doubt in my mind whatsoever. It was going to be my last record and it was going to fail. That was the time of people going into studios and spending half a million dollars. It was   Backstreet Boys   and   Limp Bizkit   and   NSYNC ; big major label records that were flawlessly produced.   Play   was made literally in my bedroom. 

I slept under the stairs like Harry Potter in my loft on Mott Street. I had one bedroom and that's where I made the record on the cheapest of cheap equipment held up literally on milk crates. Two of the songs were recorded to cassette, that's how cheap the record was. It was this weird record made by a has-been, a footnote from the early rave days. There was no world where I thought it was going to be even slightly successful. Daniel Miller from Mute said — and I remember this very clearly — "I think this record might sell over 50,000 copies." And I said, "That’s kind of you to say but let's admit that this is going to be a failure. Thank you for releasing my last record."   

Was your approach in making  'Play'  different from other albums?  

The record I had made before   Play ,   Animal Rights , was this weird, noisy metal punk industrial record that almost everybody hated. I remember this moment so vividly: I was playing Glastonbury in 1998 and it was one of those miserable Glastonbury years.   When it's good, it's paradise; it's really special.   But the first time I played, it was disgusting, truly. A foot and a half of mud everywhere, incessant rain and cold. I was telling my manager that I wanted to make another punk rock metal record. And he said the   most gentle   thing, "I know you enjoy making punk rock and metal. People really   enjoy   when you make electronic music." 

The way he said it, he wasn't saying, "You would help your career by making electronic music." He simply said, "People enjoy it." If I had been my manager, I would have said, "You're a f— ing   idiot. Everyone hated that record. What sort of mental illness and masochism is compelling you to do it again?" Like Freud said, the definition of mental illness is doing the same thing and expecting different results.   But his response was very emotional and gentle and sweet, and that got through to me.   I had this moment where I realized,   I can make music that potentially people will   enjoy   that will make them happy.   Why not pursue that?  

That was what made me not spend my time in ‘98 making an album inspired by Sepultura and   Pantera   and   instead make something more melodic and electronic.  

After years of swearing off touring, what’s making you hit stages this summer?  

I love playing live music. If you asked me to come over and play Neil Young songs in your backyard, I would say yes happily, in a second. But going on tour, the hotels and airports and everything, I really dislike it.   

My manager tricked me. He found strategically the only way to get me to go on tour was to give the money to animal rights charities. My philanthropic Achilles heel. The only thing that would get me to go on tour. It's a brief tour of Europe, pretty big venues, which is interesting for an old guy, but when the tour ends, I will have less money than when the tour begins.  

Your DJ sets are great fun. Would you consider doing DJ dates locally?  

Every now and then I’ll do something. But there’s two problems. As I've become very old and very sober, I go to sleep at 9 p.m. This young guy I was helping who was newly sober, he's a DJ. He was doing a DJ set in L.A. and he said, "You should come down. There's this cool underground scene." I said, "Great! What time are you playing?" And he said "I’m going on at 1 a.m." By that point I've been asleep for almost five hours.

I got invited to a dinner party recently that started at 8 p.m. and I was like, "What are you on? Cocaine in Ibiza? You're having dinner at 8 p.m .  What craziness is that? That’s when you're putting on your soft clothes and watching a '30 Rock' rerun before bed. That's not going out time." And the other thing is, unfortunately, like a lot of middle aged or elderly musicians, I have a little bit of tinnitus so I have to be very cautious around loud music.

Are you going to write a third memoir at any point?  

Only when I figure out something to write. It's definitely not going to be anecdotes about sobriety because my anecdotes are: woke up at 5 a.m., had a smoothie, read The New York Times , lamented the fact that people are voting for Trump, went for a hike, worked on music, played with Bagel the dog, worked on music some more went to sleep, good night. It would be so repetitive and boring. 

It has to be something about lived experience and wisdom. But I don't know if I've necessarily gotten to the point where I have good enough lived experience and wisdom to share with anyone. Maybe if I get to that point, I'll probably be wrong, but nonetheless, that would warrant maybe writing another book.

  Machinedrum's New Album '3FOR82' Taps Into The Spirit Of His Younger Years  

Photo: Grace Phillips

Beatport's Sofia Ilyas On Creating A More Equitable & Connected Music Industry

"What I love about the music industry is there are so many gaps, and so many observations you can make and sort of insert yourself in and create something quite special itself," Sofia Ilyas of carving out a career as a music professional.

Given that Beatport Chief Community Officer Sofia Ilyas has dedicated the last 15 years or so of her life supporting burgeoning artists, subgenres and underrepresented groups, it's somewhat surprising that she grew up in a household without music.

As a teen, a Sony Walkman with a radio and mixtapes featuring the likes of Radiohead were a lifeline to a world Ilyas' family didn't want her to participate in. She was even kept home during school field trips to the National Gallery museum in London, where she's since hosted her Piano Day music and art event, and will soon be curating a room for their 200th anniversary celebration .

Ilyas has had to sacrifice a lot — namely, a relationship with her strict Muslim family — to carve out a career in music, and hers is a story of patience and resilience. After leaving her home in Cardiff, Wales for London to pursue higher education (against her family's wishes), she found solace and connection in live music. She'd hang out around the sound booth and introduce herself and ask questions about how things worked. Slowly but surely, she befriended people that worked at labels and venues, and even artists — Four Tet grew to know her by name after she kept coming back to his shows.

After years of being a part of the London scene as a dedicated fan, at age 30, Ilyas became co-manager of indie record label Erased Tapes, where she helped popularize neoclassical music and one of its purveyors, experimental German pianist Nils Frahm. Alongside Frahm, Ilyas launched Piano Day, where a diverse range of artists help them celebrate the past, present and future of the instrument alongside contemporary dancers and painters.

Now, as the first Chief Community Officer at major dance music platform Beatport, Ilyas is building community within and across disparate global electronic communities. She aims to bring more women and people of color into the mix.

"We're living in a time where people are feeling incredibly lonely and disconnected from community," Ilyas tells GRAMMY.com. "I [want to] facilitate people to come in to hear from each other, especially women, in a room that feels safe to hold discussion."

GRAMMY.com recently caught up with Ilyas for an insightful, engaging conversation on her work to support women and people of color in electronic music, making piano cool, her hopes for a more equitable music industry, and much more.

This interview has been edited for clarity.

You recently hosted your Piano Day annual events in Melbourne and London — tell me your vision for Piano Day.

When we launched Piano Day in London with Nils [Frahm], it gave me an excuse to try my own events. I had the artists performing in different corners of the room and a painter in the middle, watching and being inspired. I've always looked at different arts and wondered why they can't also be present in the music world and why we can't support each other across various industries. I've had a contemporary dancer at almost every event I've done in London. Piano Day was my way of having my own event that I could own and really show off my curation. Even with the first event, people were saying the space was beautiful and the curation was so good. I felt really validated.

[For Piano Day,] I always ask artists what they can do that's a little bit different, beyond performing their album or recent EP. I had one artist who had never played piano before, and he made a few mistakes and everyone was applauding him like it's okay . It's really important to me that Piano Day offers something that maybe the audience will never see again and they feel they've experienced something very special. An even bigger extension of that is the lineup that I curate for the National Gallery; coupling a piano player with a dancer who had never met before, and multiple artists only ever played piano maybe three times. I love that the artists have felt safe to trust me and that it's the type of event where they can take a risk.

I'm always looking for acts that are open to trying something a bit different and to be challenged by the fact that it's solo piano predominantly. And to also be inspired by the space, the National Gallery is such a prestigious, iconic venue. It's quite an unusual event because you've got people who've come to see the artists and regular visitors who have just come to see the paintings and they happen to stumble across what's happening. What's even more special for me is the audience is full of children. [I've been wondering] how we can do more music events that kids can come to, because I saw how inspired they were.

You'll be returning to the National Gallery in May to help curate their 200th anniversary event. How are you thinking about everything it stands for while bringing it into the future with music and women and people of color?

I've always had an attachment to the Gallery because there were school trips to it and my parents would never let me go. So for them to email me, "Hey, we've been to a couple of your events, would you like to bring Piano Day to the National Gallery?" I was just overwhelmed and hugely complimented.

I went to each room, sat down and thought about the feelings [it brought up]. I ended up landing on the blue room, it's got a lot of English paintings in it. I liked the idea of English artists against old English paintings, sort of breaking that mold of stiffness and classical looks to be like, this is now the future of London coming into the gallery. We placed the piano right in front of this really famous huge horse painting to really make that statement.

I am very mindful of having a diverse and interesting lineup. I always have one artist that starts the event that is a nod to the traditional kind of way of playing [piano]. It usually evolves to some artists playing the neoclassical sounds and then it moves into more the dance element and vocalist and then it ends on "this is the future" type of thing. I always like having that momentum.

Let's talk about your new record label RISE . What's your vision is with it and who are the artists you're currently working with?

I started Rise last year for artists that want help to get to the next level and get the attention of the label they want. I wanted to do a label that was within my bandwidth because I have a full-time job. If there're artists that I can help get from point A to B, then they go on to C, that's a great thing. I have Frank Hopkins on the label, who's an electronic artist, and Kareem Kumar , who's a Black artist who is known for playing in the streets of London. [Kumar] has built an incredibly huge audience on socials that has been a real inspiration to so many youngsters during COVID. They played together for the first time at the National Gallery, where Frank added some really nice ambient sounds and Kareem played the piano.

Too often, labels are quite a stiff experience, they want to assign that artist forever. If there are any artists that want help on press releases, overall branding and PR, that's exactly what RISE is there for. We can help them release some records, sort their online profile and offer guidance to basically uplift the artist so they can get the attention of booking agents, a label etc.

I see the future of labels where they are this sort of incubator-type of model, where they help an artist and the artists can grow into their own team or go off into another label. I envisage more labels existing like mine, where they're helping the artists onto that next level.

What do you think needs to shift for the music industry to be more supportive — financially and otherwise — of artists, particularly young people of color?

One thing that could be great is the labels that are doing well commercially — I'm sure they do this to a certain extent — choose two artists every year for an incubator program and make it more visible. Right now, most labels' A&R is a very closed thing. I think [it would help] if the labels made a very clear way of sending them demos. I know it is difficult because these days, even [people at] labels are so overworked and they don't have time to think about things like this. Maybe a music organization or a body out there could pick this idea up and take it to some of the major labels.

On the live side, [we need] more community spaces where an artist can come by and play regularly to fans and bring their friends and family around. Most venues are so hard to get on the bill, [so there's a need for] smaller 100-capacity-or-so spaces that open the doors more to local artists. We rely on the same names over and over again, whether it's festivals or local clubs, etc.

With your work as Beatport's Chief Community Officer, what are you actively doing to bring in and celebrate more women and people of color in dance music ?

I've always been aware of diversity and my color and who I am in the music industry. Especially when I was around all those white male composers who knew everything about production and I knew nothing, that was very daunting. Even things like drinking — I don't drink and the amount of times it feels uncomfortable to be in the music industry. Many people in South Asian communities, especially Pakistani, grew up in a non-drinking culture, and we should have awareness to make those people feel comfortable otherwise they're never going to join the music industry.

What's been incredible is that Robb [McDaniels, Beatport's CEO] and the team have been, "You own it, you do what you believe." In the first few months, I hired a DEI consultant named Vick Bain, who was an amazing mentor for me. I'm a real big believer in experts. I was able to really upskill myself very fast through having her around.

Putting aside diversity, we're living in a time where people are feeling incredibly lonely and disconnected from community. That's why I'm doing panel events with DJ sets with Beatport. I [want to] facilitate people to come in to hear from each other, especially women, in a room that feels safe to hold discussion.

First meeting of the year was at the National Gallery. Can’t wait to curate my piano event there this year 🥳 pic.twitter.com/RVNFNZWdTV — Sofia Ilyas (@sofiailyas) January 5, 2024

How have you taken it upon yourself to bring more women and artists of color with you along the way, and do you make space and advocate for people?

It's always something that's on the top of my mind because being a South Asian woman in music is already quite difficult at moments. You look around wondering Is there any support for me ? And with my journey of having walked away from my family, part of me is already exhausted from that experience and existing in the music industry in an environment that often feels very alien to me.

Just being a woman in a C-Suite position isn't not easy. I've never been in a role where the focus is to champion women and that's why I'm so grateful for Beatport.

Throughout my career, I've always given out a lot of free PR and guidance, and quite often that's been for women. I've always wanted to be available and I'm always happy to give my time. If anyone reads this, and they want to email me and ask me any questions, I'm always really happy to help.

What's some advice you have for young women of color that want to work in the music industry but don't know where to start?

What I love about the music industry is there are so many gaps, and so many observations you can make and sort of insert yourself in and create something quite special itself. Once you start getting to know your local community, [you can get] so much support from others. I made a lot of my friends by going to vinyl markets and going up to my favorite labels and saying hi. When I was trying to work in the music industry and sending a ton of emails, I got nothing in return. But as soon as I started being a bit more active in the live [music] side, I met so many people.

Don't think you need to do it alone. For so many years, I kept what I was experiencing to myself and I would always present this polished person on Instagram. Lately, I've started really opening up more about how I feel. When I turned 43 recently, I posted on Instagram about how I sometimes overwork to avoid [loneliness]. I was surprised by how many people, especially men, messaged me and said I feel that way too. I'm learning to be more vulnerable.

Don't be afraid to ask questions. You just have to get over ego and fear. I can't sugarcoat it; unfortunately, there are [some] people who are going to make you feel really stupid for asking. Lean on your friends and know you're on the right path. Know that we need more women and more diversity in the industry. Look at people that inspire you. When I used to look at Four Tet, I'd be like, Oh my God, an Indian man on stage, that's so cool . So, look for your inspiration points and be vulnerable with your friends, because it is going to be difficult sometimes. And you can definitely email me anytime. [ Chuckles .]

What does a more equitable music industry look like to you?

Well, that's a big question. I think [it would involve] everyone being more conscious. Whether it's a booking agent or a label looking to sign someone, if everyone is thinking around diversity and consciously looking and making their spaces more open to women. I always think about open doors. How can everyone open their doors more while considering the space people are entering into. It's one thing opening your door but it's another thing if that person enters a space and doesn't feel safe.

For me, a place where everyone's consciously thinking about this, and it isn't just on the organization or a few artists or someone like me in my role to try and figure it out. I think if everyone was conscious of it, things would just happen more seamlessly.

How LP Giobbi & Femme House Are Making Space For Women In Dance Music: "If You Really Want To Make A Change, It Can Be Done"

• 1 Jamie xx Returns To Present With 'In Waves': How Time Off Led To An Album Of Renewal
• 2 Zedd's Road To 'Telos': How Creating For Himself & Disregarding Commercial Appeal Led To An Evolutionary New Album
• 3 10 Cant-Miss Sets At HARD Summer 2024: Disclosure, Boys Noize, INVT & More
• 4 "Let Yourself Be Idiosyncratic": Moby Talks New Album 'Always Centered At Night' & 25 Years Of 'Play'
• 5 Beatport's Sofia Ilyas On Creating A More Equitable & Connected Music Industry

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No, Taylor Swift Did Not Cancel Her Eras Tour Concert

A sudden news has recently begun circulating online, claiming that Taylor Swift has decided to cancel the remaining concerts of her record-breaking Eras Tour . The rumor began spreading when a social media post claimed that the “Wildest Dreams” singer has decided to discontinue her tour. Naturally, alarmed Swifties are now wondering if the remaining concert dates are still on the cards.

Without further delay, here is everything you need to know about the remaining dates of Taylor Swift’s Eras Tour.

Did Taylor Swift cancel her Eras Tour concert?

No, global pop sensation Taylor Swift has not canceled the remaining concert dates of her Eras Tour schedule.

The Facebook page, SpaceX Fanclub , where the post was shared, is purely a satirical page. Thus, the news of Swift canceling her remaining concerts is purely false and must be taken humorously.

There are a total of 18 concerts remaining in tour, and Swifties can rest assured that they are all happening. The tickets are available for purchase at Stubhub , Vivid Seats , and SeatGeek . The prices of each seat may vary according to the date and also the sections of the arena.

Here are the remaining dates of the Eras Tour schedule:

Friday, October 18, 2024 – Hard Rock Stadium, Miami, Florida

Saturday, October 19 – Hard Rock Stadium, Miami, Florida

Sunday, October 20 – Hard Rock Stadium, Miami, Florida

Friday, October 25 – Caesars Superdome, New Orleans, Louisiana

Saturday, October 26 – Caesars Superdome, New Orleans, Louisiana

Sunday, October 27 – Caesars Superdome, New Orleans, Louisiana

Friday, November 1 – Lucas Oil Stadium, Indianapolis, Indiana

Saturday, November 2 – Lucas Oil Stadium, Indianapolis, Indiana

Sunday, November 3 – Lucas Oil Stadium, Indianapolis, Indiana

Thursday, November 14 – Rogers Centre, Toronto, Canada

Friday, November 15 – Rogers Centre, Toronto, Canada

Saturday, November 16 – Rogers Centre, Toronto, Canada

Thursday, November 21 – Rogers Centre, Toronto, Canada

Friday, November 22 – Rogers Centre, Toronto, Canada

Saturday, November 23 – Rogers Centre, Toronto, Canada

Friday, December 6 – BC Place Stadium, Vancouver, Canada

Saturday, December 7 – BC Place Stadium, Vancouver, Canada

Sunday, December 8 – BC Place Stadium, Vancouver, Canada

Taylor Swift’s Eras Tour kicked off with its first concert in Glendale, Arizona on March 17, 2023, and is all set to conclude on December 8. It has become a cultural phenomenon, thanks to its incredible production and immersive experience. Moreover, it is dubbed as the second highest-grossing tour in history.

The post No, Taylor Swift Did Not Cancel Her Eras Tour Concert appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More .

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GEAR UP FOR THE SHOW

PM says it would 'cost the taxpayer a fortune' if he didn't accept free Arsenal tickets

The prime minister was asked about his relationship with Arsenal Football Club after the Sky News' Westminster Accounts project revealed he had received two-and-a-half times more gifts and hospitality than the next MP.

Politics reporter @FaithLRidler

Thursday 19 September 2024 19:41, UK

Sir Keir Starmer has insisted it would "cost the taxpayer a fortune" if he were to watch Arsenal from the stands after it emerged he had accepted thousands of pounds worth of free football tickets.

The prime minister has faced criticism after Sky News' Westminster Accounts project revealed he had received two-and-a-half times more gifts and hospitality than any other MP, totalling £107,145, since December 2019.

Sir Keir declared £12,588 of gifts from the Premier League; including four Taylor Swift tickets during the election campaign worth £4,000; two Euros finals tickets worth £1,628; and numerous tickets spanning several Arsenal matches adding up to well over £6,000.

Politics Live: Starmer branded 'ivory tower leader' for taking gifts

Government officials are worried the prime minister's willingness to accept hospitality to go to football matches could amount to a conflict of interest given plans to overhaul the sport's regulator which many clubs oppose.

Asked about his relationship with Arsenal Football Club, Sir Keir said he has attended matches as a season ticketholder for years.

But now he is prime minister, Sir Keir told ITV London the "security advice is that I can't go to the stands".

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The prime minister added that if he did, it would "cost the taxpayer a fortune" on "additional security".

Read more: Westminster Accounts: How to explore the database for yourself Westminster Accounts: Search for your MP

He said: "I've been offered tickets elsewhere in the ground where it's more secure.

"We don't have to use taxpayer money on additional security. And that's why I've taken the decision that I have."

Asked if he is worried about the optics of taking so many hospitality tickets, which cost hundreds of pounds each, Sir Keir said he thinks "most people" would agree his argument for doing so is "fair".

Former Labour MP Harriet Harman has urged Sir Keir to stop trying to "justify" accepting free gifts as it is "making things worse" on the latest episode of Sky News' Electoral Dysfunction podcast .

The baroness said the row was "out of line" for the prime minister and he should change his approach rather than "doubling down".

She told the podcast: "You can either double down on it and try and justify it or you can just say it was probably a misstep, if I had my time again I wouldn't do it and therefore I'm going to auction for charity or something.

"It's not a hanging offence, but I think doubling down and trying to justify it is making things worse."

However, the deputy leader of Reform UK Richard Tice accused Sir Keir of cronyism.

He told the Politics Hub With Sophy Ridge: "We've got a situation where confidence in the recently elected prime minister is collapsing because he stood on one platform, and it turns out he's the biggest crony of all."

Most of Sir Keir's gifts and hospitality - £86,708 of the £107,145 - were accepted in the last parliament, but £20,437 was declared in this parliament for accommodation that straddles the two periods.

The biggest donor of gifts and hospitality is Labour peer Waheed Alli, who gave the equivalent of £39,122.

Speaking to regional broadcasters on Thursday, Sir Keir also insisted he is "completely in control" following a row within government over his top adviser's pay.

The prime minister was asked why chief of staff Sue Gray was getting paid more than him, and told BBC South East: "I'm not going to get into discussions about individual salaries about any members of my staff. I'm sure you wouldn't expect me to."