verbinde dich mit uns: uacentr@gmail.com

Musik

Green Day, Weezer, Fall Out Boy Preview Hella Mega Tour at Club

Avatar

Veröffentlicht

auf

Early Tuesday morning (Sept. 10), Green Day announced a new album with a single, “Father of All…”. Twelve hours later, they were performing it for 500 people in Los Angeles. Twice, in fact. As the two-and-a-half-minute track faded out, frontman Billie Joe Armstrong — with bright red lipstick smeared across the entire bottom half of his face — griped that it was “too short,” so the band started it over and played it again.

The super-intimate gig took place at West Hollywood’s Whisky-a-Go-Go as a very early preview of what’s to come for Green Day—an album that won’t be out for another five months and a tour that won’t hit stadiums in the U.S. until July 2020. The show’s co-headliners, Weezer and Fall Out Boy, will be on board for the 42-city worldwide stadium tour, along with special guests The Interrupters. It’s been dubbed the Hella Mega Tour, and for good reason. As far as rock lineups go, it’s comically overstacked.

The three-headed tour is a rock ‘n’ roll show of force given that all three bands have fanbases large enough to fill amphitheaters and arenas on their own. And while there’s likely some overlap, all three bands have carved out their own place in rock history over the years. Weezer injected some much needed geek culture into the macho rock scene of the 90s. FOB tapped into a mid-aughts zeitgeist with a modernized version of pop-emo. And then there’s the mighty Green Day, whose 1994 album Dookie was the rising tide that lifted all punk ships for a generation.

“We’re you’re friendly neighborhood opening band,” Weezer frontman Rivers Cuomo told the crowd to kick off the show. The sheer premise of it — that Weezer were some local kids playing for gas money — got some laughs out of the audience. As did his baseball shirt which featured Fall Out Boy’s name above a photo of the members of Green Day.

Weezer squeezed a lot into a tight 35-minute set, with old-school crowd-pleasers like “Undone (The Sweater Song)” and “Say It Ain’t So,” as well as some Green Album material including “Hash Pipe” and “Island in the Sun.” Like Green Day, they also premiered a new song they’d released that morning, called “The End of the Game,” though they only played it once. With its over-the-top metal guitar shredding intro, it fit right in at the Whisky, a venue that once served as a hair metal mecca in the genre’s late 1980s heyday. 

Weezer closed their set with their freak phenomenon cover of Toto’s “Africa,” with Cuomo taking full advantage of his wireless microphone. He did a lap around the venue’s perimeter, including the second level, while blessing the rains and leading the upper deck in a chorus that’s just too catchy to deny. After putting their instruments down, the four members remembered they had one last thing they wanted to do and whipped out a barbershop quartet-style version of “Buddy Holly,” which seemed like an inside bet among them to see if they’d actually go through with it.

FOB then played a similarly tight 35 minutes, making the evening feel like a competition to see which band could out-hit-single each other. They ran through such beloved anthems as “Saturday” and “This Ain’t a Scene, It’s an Arms Race,“ and, like Weezer and Green Day, they also sneaked a new song which they had debuted earlier in the day, “Dear Future Self (Hands Up).“ The triple debut peeled back the curtain on a surgical strike rollout operation coordinated by the three bands and their respective teams.

“Right now, we’re gonna time travel,” bassist Pete Wentz told the room. “The last time we played a show here, it was right when this song came out.” The band then launched into their 2005 sing-along staple “Sugar, We’re Goin‘ Down.“

If the evening was indeed a contest to flex the deepest catalog of rock singles, Green Day handily took the prize as the band played hit after hit after hit during an abridged setlist that has spanned more than two hours in stadium settings. “American Idiot,” “Basket Case,” “Brain Stew,” and “Minority” all got trotted out, as did a pleasantly surprising Dookie cut, “She.”

“We’re so excited for this tour because fuckin’ rock ‘n’ roll is fuckin’ alive!” Armstrong told the audience which, for reasons that didn’t seem clear to anyone in attendance, suddenly included a person dressed as the Jacksonville Jaguars’ mascot. Armstrong also suggested that everyone get naked, because why not?

“We’re all going streaking down Sunset Boulvard tonight!” he said, pointing towards the street where fans had lined up earlier that day while it was barely light out, hoping to score a ticket. There were dozens of Green Day classics left unplayed, but the house music coming on and bassist Mike Dirnt showering the crowd in champagne was a pretty good indicator that no encore was forthcoming.

On the way out of the venue, employees handed out still-warm t-shirts with HELLA MEGA printed on the front and the three bands’ names on the back. An attendee grabbed one and passed it to his girlfriend. “Just think,” he told her, “the next time we see this tour, it’ll be in a baseball stadium.”






Quelle

Weiterlesen
Klicken Sie, um zu kommentieren

Hinterlasse eine Antwort

Deine E-Mail-Adresse wird nicht veröffentlicht. Erforderliche Felder sind mit * markiert.

Musik

Beyonce Visits Africa for ‚Making the Gift‘ Film

Avatar

Veröffentlicht

auf

von

Beyonce could give her fans a behind-the-scenes documentary for every project she completes and it still wouldn’t be enough for the Hive, but Monday night’s (Sept. 16) airing of Making The Gift ought to tide them over until the next album. 

Beyonce opens the film speaking on the intuitive connection she feels whenever a trip to Africa is on the itinerary and her goals that her three children experience the same. “It’s like I’m making peace with the part of me that’s yearning for an ancestral connection,” she shares as a variety of clips flash across the screen. There are dancers dressed in flowy garments, heavily pigmented outfits against the minimal beauty of a number of African landscapes. If The Gift is nothing else, it certainly is timely. 

Afrobeat was a force, both this year and last, with artists like Davido and Afro B on the frontlines of the movement in 2018 and Burna Boy (who is blessed with his own song on The Gift) leading the charge in 2019. Rhythms clearly inspired by African drums have popped up everywhere within the last couple of years, so The Gift was a win since inception. 

But to be fair, it is a solid album — whose main criticism is the fact that it mainly pulled from the continent’s west side for talent and inspiration. Seems that the Parkwood team made a note and was sure to include all of the countries the Knowles-Carters visited in the film, including Kenya, Burundi, Egypt and Ethiopia — all in Eastern Africa. There’s even a moment once they return to the States, where Blue Ivy explains the significance of the beading in the Kenyan headdress  she wore to her grandmother’s Wearable Art Gala back in June 2019.  

The album, which Beyonce calls her “love letter to Africa,” is inspired by the movie as well as time spent on the continent throughout her 20-plus year career. She reveals that she was overwhelmed by the offer from Disney to co-star as the voice of Nala, claiming The Lion King to be her favorite movie as a child.

“I didn’t wanna take away the grit and the reality,” she insists. “Because there are very real life lessons on The Lion King. I did not want to water it down or lose the authenticity of Africa and it all starts with the drum beat and the groove.”

“It was also really important to me that the music was not the typical soundtrack but something that kids felt safe and excited about sharing with their parents as well as their parents [wanting to share] with their kids.”

Throughout the film, we catch glimpses of the rarely-seen Carter twins, quick peeks that feel intimate, more than a few moments long, with Beyonce testing Rumi on animal sounds. We see Blue Ivy growing into a young lady who finds no real use for the written lyrics of “Brown Skin Girl” — as her mom holds the paper, she merely glances at it and sings it all into the mic from memory. 

Throughout the film, Beyonce shows us her process: she scats until something clicks in front of the mic. She hits long runs with her voice, again and again. At one point toward the end of the documentary, she sits and a piano and tenderly sings the lyrics to “Spirit” with only the keys backing her vocals. It always goes back to the music.

“Kendrick sent me something back that sounded like your subconscious,” she explained. “It felt like that moment before you pass on, where your life sort of flashes and you’re fighting for your life.” What a way to describe a K Dot verse.

The spotlight is also on each and every one of the up-and-coming African stars included on the album, from producers Lord Afrixana and Shizzi to Moonchild Sanelly, Tiwa Savage and Shatta Wale. Beyonce reveals in Making of that the team didn’t have a lot of time to put the project together but those with a certain level of passion, came to Parkwood Entertainment in Los Angeles, ready to work. “When I saw all these people,” Shizzi says, “Then it was real, it felt like home a little bit.”






Quelle

Weiterlesen

Musik

‘DWTS’: Fifth Harmony’s Ally Brooke Dances to ‚Work From Home‘

Avatar

Veröffentlicht

auf

von

Dancing With the Stars is back on our screens, and Ally Brooke lit up the dancefloor on opening night.

The former Fifth Harmony’s singer and her partner Sasha Farber performed a cha cha for Monday night’s Season 28 premiere.

She knew the score as well as anyone; the pair performed to 5H’s „Work From Home,“ which hit No. 4 on the Billboard Hot 100 back in 2016. 

Fans loved it, judges not so much, scoring the dancers 5 (from Carrie Ann), 5 (from Len) and 6 (Bruno) for a total of 16.

Watch here.






Quelle

Weiterlesen

Musik

Sam Fender’s ‚Hypersonic Missiles‘ on Target For U.K. No. 1

Avatar

Veröffentlicht

auf

von

Sam Fender’s Hypersonic Missiles (Polydor) is right on target for the U.K. chart crown.

The 25-year-old Newcastle singer and songwriter, who won the Brits Critics‘ Choice for 2019, an award previously won by Adele, Sam Smith and Florence + the Machine, takes a substantial lead on the Official U.K. Albums Chart Update with his debut LP.

Hypersonic Missiles is outselling the rest of the top 5 combined, according to the OCC, and is over 21,000 combined chart sales ahead of nearest rival, Post Malone’s Hollywood’s Bleeding (Republic Records), which dips 1-2.

Also on the midweek chart, Scottish artist Emeli Sande is eyeing a third top 10 album as Real Life (EMI) starts at No. 4, while Boston alternative rock legends Pixies are aiming for a sixth top 10, with Beneath the Eyrie (Infectious Music) opening at No. 5.

Meanwhile, The Lumineers could score a third top 10 with III (Decca), their third album which starts at No. 6, as metal vets Korn chase a fourth top 10 with The Nothing (Asylum), new at No. 7.

British singer and producer Charli XCX could earn a career-best when the Official U.K. Albums Chart is published this Friday. Her third release Charli (Asylum) starts at No. 10, well up from the No. 15 peak of her 2015 set Sucker.

There’s been some action at the point end of the Official Singles Chart Update, where Ed Sheeran and Stormzy’s “Take Me Back to London” (Asylum) takes top spot from “Don’t Call Me Angel” (Polydor/RCA/Republic Records), the Charlie’s Angels pop super-collaboration from Ariana Grande, Miley Cyrus and Lana Del Rey, which enjoyed the best start over the weekend.

Kygo’s cover of „Higher Love“ (Columbia/Kygo) featuring the late Whitney Houston comes in at No. 3. 






Quelle

Weiterlesen

Trending

We use cookies in order to give you the best possible experience on our website. By continuing to use this site, you agree to our use of cookies.
Accept