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Brooklyn experimental rockers MGMT released their self-titled third album in 2013 while continuing to play headlining concert dates and festivals all over the world. Fans scooped up tickets to hear songs like "Kids," "Electric Feel," and "Congratulations." The band's singular style of psychedelic noise-pop, which integrates plenty of electronica elements, was forged beginning in 2002 by founders Ben Goldwasser and Andrew VanWyngarden when they were freshmen at Wesleyan University in Connecticut. Their debut album, Oracular Spectacular, was released in 2006, and MGMT started gaining fans with the help of their opening sets for trend-setting acts like Of Montreal, Radiohead, and Beck. By 2009, MGMT could count Paul McCartney among their growing stable of fans, and they landed a spot opening for the ex-Beatle at Boston's Fenway Park. On tour, the five-piece group has been known to augment the flower-power vibe of their music by projecting repeated colorful, kaleidoscopic images and other random visuals on a backdrop behind the stage.

Reviews 750

The arena was the perfect size and there were no bad seats

Mgmt concert

My family had a great time. They were a cute band!

Amazing time

Easy to Uber over to the Palms. The stage area was smaller then i thought, but every seat was a great seat. MGMT was out front by the walk in before the concert. Shocking.. but amazing performance.

Super fun... Mgmt Concert was amazing. Would like to see them again. Their opening act Cola Boyy was awesome as well. Great sound.

Great show - will be seeing them again

This was the perfect mix of weird meets psychedelic Rock and trance. Down to the opener named cola boy who was unexpectedly very good. To the rock and trance type music in between bands, it was all fantastic! I cannot wait until MGMT come back! And the pearl was a Great venue to see them too. Only 1 reason it's 4 stars: despite everything being so great, I could barely hear any of the words being sang. The music was crystal clear but overall the words were very difficult to hear.

Great Sound, great views and reasonable ticket price! Keeping an eye on the Pearl to see upcoming shows

First time= amazing and exciting

I loved meeting them for the first time and hearing their music they had so many tasteful songs and sounds. They made the crowd get up and dance like the night was never gonna end and I loved feeling every beat through my seat. Even if I went to it alone I still had a wonderful experience for my first Rick concert ever!

waited a long time to see them live, wasn't disappointed. Awesome show

Best concert yet

MGMT put on a show that was beyond excellent. The energy was high, the lineup was pristine, and they sounded better live than I could’ve ever hoped. Warpaint put on a great show as well, I liked them much better live than I’d expected based on their discography.

Everything I expected and more

I have been dreaming of seeing MGMT for probably 8 years and it really was just amazing. They sound so good live and Andrew is such a sweet soul. Other than having to stand on my feet all night, I had an amazing time and would see them over and over.

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MGMT  

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Formed in 2004, MGMT are a psychedelic rock group from Connecticut, US, formed around the core duo of Benjamin Goldwasser and Andrew VanWyngarden. Their first release was the 2005 E.P “Climbing to New Lows” and they’ve released three studio albums since then.

Anyone who remembers the summer of 2008 will have their memories colonized by this band whether they realize it or not. The first MGMT album, “Oracular Spectacular” and especially the two smash hit singles “Kids” and “Time to Pretend” seemed to be the background radiation of everyone’s life and it made an absolutely dismal washout of a season feel like San Francisco in 1967 everywhere you went, even when it was bucketing down relentlessly, which it often did.

That’s just the effect that this band has even to this day, and that stems from the bands attitude as much as it does the music, hitching a stringent adherence to not giving a damn about what anyone else thinks to gorgeously catchy melodies and floaty psychedelia.

I’m not kidding about the not giving a damn part, the band were never about getting famous. What bunch of fame hungry chancers would do as Goldwasser and VanWyngarden did and perform their first gigs dressed as snowmen playing 45 minute versions of the theme from Ghostbusters?

Those shows were played explicitly to annoy their fellow students at the Wesleyan University in Connecticut where they formed, however after Goldwasser and VanWyngarden realized that they had legitimate musical chemistry they developed their brand of psychedelic pop and signed to Columbia Records in 2006. Since their debut the band have shied away from releasing the radio friendly singles that made their name and have released two albums of uncompromising, yet dizzyingly good psychedelic rock as a result and they’re only getting better from here on out.

Live reviews

PSA ANNOUNCEMENT: Their later cds, Congratulations and MGMT, are growers! Listen to them multiple times, in tracklist order, through headphones, in the dark! You won't regret it!

MGMT live is... for lack of better, more descriptive words... chill. The music is still spacey, avant-garde, and deliciously faux-retro. Just don't expect crazy stage shenanigans or wacky stage banter anymore (ok, it does get a bit weird sometimes).

Instead, keep an ear out for when they extend and embellished your favorite tracks. Pure audiogasm. My favorite bits are always when the music takes over, and James starts in on the glorious shredding. Ben, holed up in his electronic fortress, will always add this sort of cosmic texture to performances. All this will be topped off by Andrew distinctive singing. (I like to say he has a buttered baby bunny voice. No, I have no idea what the hell that really means either :) )

If you ever decide to see these guys, keep a couple of things in mind. 1) Kids and Time to Pretend sightings are incredibly rare these days. They have too much offer now! 2) Of Moons, Birds & Monsters and The Handshake live often evolve into this gorgeous rock-outs that make me wish it were on the cd. 3) Ladies, Andrew's gotten really good at not making eye contact. Time for us to give up :( 4) Best seats in the house? In front of James for showmanship, in front of Ben for techies.

If you're fortunate enough, the guys come out later to say hi to fans. They're all sweet as pie (except Matt, he's more like a rhubarb crumble, ha), I highly recommend it!! Hang out by any side door of the venue for a couple of hours.

Gooo. Go to see them. It won't be a "psychedelic rave" like people came to expect after so long. It'll be so much better.

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Opener (Matthew Dear) was okay, played for about 30 minutes from 8:15 - 8:45, MGMT came on about 45 minutes after he ended. MGMT played for about 70 minutes, songs and venue quality were good (played Electric Feel & Kids), but it simply felt short. It ended by 10:45 on a Saturday night, definitely expected them to play at least until 11, 11:15.

OMG!!! MGMT were awesome! I’m so glad I went to see them!!! Wow guys, that was the most magical show I’ve ever been to. Thank you so much. Everyone who is intreastes in going to see MGMT but have a doubt about it, PLEASE JUST GO!!!! You’ll be amazed by them I promise. xx

One the better shows I’ve been to in my life! They had absolutely amazing visuals and a very clean sound. I also enjoyed the vibes they put off and getting the crowd involved with the songs. MGMT is one of my favorite bands and my expectations were exceeded with their show.

Was awesome. The setlist was on point cause it literally had MGMT music for everyone. Visuals we fucking badass. Hated waiting forever door open at 6:30 and says on ticket show starts at 8 wtf. lol they came on at like 9:30 but it was well worth the wait.

Cancelled due to rain in Houston *cries* I was looking forward to this so much but alas!I hope they return again. Also because I need 30 words: Oracular Spectacular is still my favorite album of theirs but Little Dark Age is pretty good if hit or miss.

Brilliant MGMT show in Oslo friday night. The new songs suonded great live. The live set was visually beautiful, especielally during Little Dark Age.

We enjoyed it and looking forward to see the band again, hopefully soon!

Show muito foda! Recomendo!

Eles pareciam super a vontade no palco, tocaram todos os clássicos e se divertiram bastante com o público. Quem estiver em dúvida se deve ir num show do MGMT, não pense duas vezes, só vai.

amazing atmosphere, amazing songs, they were so full of energy and synchrony. one of the bests concerts i’ve ever been! i’m looking forward to see them again. a memorable night that i’m sure i won’t forget.

It's great. But the band showed up late, which was not really good. But the atmosphere in general are really good. That's all I want to say. And this sentence is just for holding the place to more than 30 words

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MGMT on Naming New Album ‘Loss of Life’ — And the ‘Wildness’ of That ‘Saltburn’ Synch

Armed with a fresh creative outlook and a stellar collaborative crew, the enduring psych-rock duo's latest revolves around love's indestructibility.

By Eric Renner Brown

Eric Renner Brown

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You’ve said that your last two records, 2013’s MGMT and 2018’s Little Dark Age , dealt with the paranoia and anxiety of living through the modern era. What was your headspace when making this one? VanWyngarden: We both turned 40 while making this album, and we wanted to find a way to retain our light-hearted, playful approach to things but to challenge ourselves to have more of a sincere and hopeful message. Coming out of the pandemic, there was a whole wave of super doom-oriented art and music and apocalyptic shit. A common condition for humans for, like, the entire history of humanity is that you feel like the world is ending – and it’s probably because you know you’re gonna die. Mortality is an apocalypse that’s common to every human. It’s sure, it’s certain. This album is more reflective and existential and sort of philosophical. But at the core, it’s about always going back to love being something that you can depend on – and that is sort of indestructible.

You reteamed with Little Dark Age producer Patrick Wimberly and longtime studio collaborator Dave Fridmann. What do they bring to the table? Goldwasser: Those are the human beings that we feel most comfortable existing with in the creative process. We just want to feel like uninhibited and natural in the whole process of creating music. Especially having worked with Dave Fridmann since our first record, we just have this level of understanding and communication with him. I don’t know how we would ever build that up with anybody else. VanWyngarden: Considering how naive and new to everything in the music industry we were when we first met [Dave], he’s almost like a dolphin trainer. Like we were these dolphins that came to his complex and he trained. Everything we know traces back to Dave Fridmann. Patrick’s the same, really. He’s a peer; he’s a producer, but more so in the sense of helping preserve the atmosphere and the vibe.

For Loss of Life , you also widened your creative circle compared to your previous albums. Tell me about that decision and how it impacted the record. Goldwasser: Part of that’s a result of us being less precious about the way that we make music. It had been hard for us at a lot of points in time, wanting to be recognized more as producers ourselves and wanting people to know that we’re responsible for the sounds on the records – maybe we’ve had a chip on our shoulder about that in the past. With time and experience, we’ve learned to let go of some of that. The most important thing is to make good music.

How’d it come together, and how have you been reacting to its success? VanWyngarden: I’ve driven around so much listening to classic rock radio, and I recognize that now, in terms of time having passed, we’re like eligible to be on classic rock stations. Along with ’90s Britpop, there’s a lot of classic rock influence [on “Mother Nature”]. When we were first working out the piano riff at the beginning, I always felt like there was a Supertramp feeling to it. It all really came together very naturally and organically on that song. We had known Brian Burton [Danger Mouse] for a really long time and we were we were working in his studio. He was there giving us advice and his opinion and helping work through sections. Then once we developed the song out and invited Oneohtrix Point Never on, he and Ben did a session where they just went hog wild with guitars and made this sort of shoegaze-y bridge. Then we got the song closer to where it ended up when we were working at Sean Lennon’s studio in September 2022. It was in upstate New York and Nels and Yuka [Honda] live close by, and then Oneohtrix Point Never was up there. There was this smorgasbord of amazing musicians. We had Nels go in and just fool around on the guitar and we were like, “Wow, this is incredible.”

Oneohtrix Point Never worked on five of this album’s tracks. Artists from The Weeknd to Soccer Mommy have been collaborating with him lately. How’d you connect with him? What did he add to Loss of Life ? Goldwasser: Andrew met him at a party in New York – and didn’t know who he was at the time. They just ended up having a really cool hang. After that, they hung out again. And then we thought it would be fun to get together with him and see what happened. It turned out we have a lot of the same musical references. We just got along really well. He got where we were going with the record. The way that he works is very curatorial – he mines sounds and has an encyclopedia of sounds that he knows, like, this is how you get this sound. I always get a kick out of seeing people’s different approaches to how they work.

“Time To Pretend” features prominently in Saltburn . How did that synch happen? Goldwasser: We were approached by the filmmakers. I had been a fan of [director Emerald Fennell’s] Promising Young Woman — so I knew it was going to be something a little out of the ordinary. VanWyngarden: I don’t remember exactly when it was brought to us; I don’t think I was paying too close of attention. I was like, “OK, another [person] who wants to use ‘Time To Pretend’… I wish they would use one of our newer songs.” But then I saw Saltburn and I was like, “Oh, this is set in 2007, this totally makes sense.” It’s really great to be kind of passively participating in another cultural phenomenon. I’m impressed that there’s Georges Bataille-level wildness happening in this massive pop cultural film — that’s not very common. To have a song in that is cool, because we like being subversive and irreverent too.

You debuted with Oracular Spectacular almost two decades ago – and played it in full at Just Like Heaven festival last year. How do you look back on that time? Goldwasser: It’s pretty wild how things get put into context, the stories that people tell about things over the years. At the time, we weren’t thinking about how people were going to be writing about it 20 years later. We were young and dumb and somehow we… VanWyngarden: Wait, how are you going to finish that? Goldwasser: …are still here.

A version of this story originally appeared in the Jan. 27, 2024, issue of Billboard.

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MGMT to Perform Live for the First Time in 4 Years at Just Like Heaven Fest 2023

The duo is also hard at work on a “fancy new album.”.

MGMT , the indie rock duo made up of singers Andrew VanWyngarden and Ben Goldwasser, will be performing live for the first time in nearly four years. The band is slated to take the stage at the annual Just Like Heaven Fest, held at the Rose Bowl Stadium in Pasadena, California on May 13.

At the one-day event, MGMT will not only be making their long-awaited return but will also be delivering the first live performance of their debut album Oracular Spectacular in full for the first time.

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Get the latest news on MGMT, including song releases, album announcements, tour dates, festival appearances, and more.

Upcoming MGMT Festivals Appearances

Upcoming mgmt concerts near me.

MGMT on New Album Loss of Life and Old Songs Taking on Fresh Life: Podcast

The band also tells the wild stories behind new songs "Bubblegum Dog" and "Nothing Changes."

February 21, 2024

MGMT Release New Song "Nothing To Declare": Stream

The duo has shared the latest preview of their forthcoming album, Loss of Life

January 10, 2024

MGMT Release Long-Awaited "Bubblegum Dog" As Latest Preview of New Album: Stream

The band's new album, Loss of Life, arrives in February.

November 29, 2023

MGMT Announce New Album Loss of Life, Share "Mother Nature": Stream

The band's first album since 2018 is out February 23rd.

October 31, 2023

MGMT's New Album Might Be Finished

The band's Andrew VanWyngarden posted a photo to reddit that appears to be a pile of test pressings.

September 22, 2023

MGMT Tease "Fancy New Album" Dropping in 2023

The teaser announcement came alongside news of their appearance at Just Like Heaven 2023.

January 17, 2023

Just Like Heaven 2023: Yeah Yeah Yeahs, MGMT, Future Islands Lead 2023 Lineup

M83, Hot Chip, Fever Ray, newly reunited The Walkmen, and more will also hit the one-day festival.

MGMT Release Mythical Live Album 11-11-11, 11 Years Later

The album documents the band's November 11th, 2011 performance at the Solomon R. Guggenheim Museum in New York.

November 11, 2022

Black Country, New Road Cover MGMT's "Time to Pretend": Watch

The cerebral band dabbles in indie pop.

February 8, 2021

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Mgmt on august 5, 2023.

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Tour Dates: MGMT Announces Spring Tour

• By Scott Bernstein
• One Comment

After an extremely quiet 2012, electro-rockers MGMT will get back at it in 2013 as they prep for the release of a new album. MGMT will hit the road on April 26th for a three-week cross-country tour. The jaunt kicks off on April 26th will a free show at Penn State in State College, Pennsylvania and runs through a May 18th gig at Stanford University’s Frost Amphitheatre.

Tickets will first be available through the band’s ticketing site  on Wednesday at noon local times.

Here’s the full list of announced MGMT tour dates thus far…

April 26: State College, PA @ Penn State FREE April 28: Geneseo, NY @ SUNY Geneseo April 30: Portland, ME @ State Theatre May 1: Providence, RI @ Lupo’s May 4: Cleveland, OH @ Masonic Temple May 6: Grand Rapids, MI @ Hoogenboom Center @ Calvin College May 8: Winnipeg, MN @ Burton Cummings Theatre May 9: Saskatoon, SK @ Odeon May 10: Calgary, AB @ MacEwan Hall May 11: Edmonton, AB @ Starlite May 13: Vancouver, BC @ Commodore May 14: Spokane, WA @ Knitting Factory Concert House May 15: Seattle, WA @ Sodo May 16: Portland, OR @ Crystal Ballroom May 18: Stanford, CA @ Frost Amphitheatre June 21-23: Dover, DE @ Firefly Festival June 28-29: Kansas City, MO @ Kanrocksas July 13: Cincinnati, OH @ Bunbury Festival [Source: Band’s Website ]

MGMT is currently working on their third album which is expected to be released this summer.

[Hat Tip – Consequence of Sound ]

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We’ve Got A File On You: MGMT

Jonah Freeman

We’ve Got A File On You features interviews in which artists share the stories behind the extracurricular activities that dot their careers: acting gigs, guest appearances, random internet ephemera, etc.

MGMT are one of the definitive bands of the late-aughts indie-pop boom. Their debut album, Oracular Spectacular , garnered them a lot of attention. It was the kind of fame that discomforted them so much that they made a deliberate left-turn pivot on the inscrutable (but still very good) Congratulations just a few years later. But that doesn’t mean they’ve stopped making compelling music, as recent albums like 2018’s Little Dark Age and the brand-new Loss of Life demonstrate. Along the way, they’ve also experienced a lot of “wild things,” as vocalist Andrew VanWyngarden puts it.

Ahead of Loss of Life , VanWyngarden and multi-instrumentalist Ben Goldwasser hopped on Zoom to discuss their new record and a treasure trove of random, genuinely absurd stories. From soliciting fans to play a four-foot-wide cowbell on tour to how they feel about the term “psych rock” these days, MGMT reflected on their storied history as one of the seminal indie-pop duos of the new millennium.

Oh, and they finally talked about what happened to their planned collaboration with Jay-Z.

Loss Of Life (2024)

Something I noticed when I was listening to it is that it’s decidedly less synth-poppy than Little Dark Age . Was that a conscious decision to move away from that sound?

ANDREW VANWYNGARDEN: It wasn’t conscious in that we were like, “Let’s make an album that’s less synthy.” A lot of these songs were worked out on acoustic guitar first, and there’s definitely a lot of synths on the album, like a lot of synthetic, synthesized sound. But the start of the songs were usually on a piano or acoustic guitar. So it’s also in line with our goal of wanting to make something that was more emotionally direct and raw. I feel like acoustic instruments enhance that quality of it. With synthesizers, it’s like trickery.

BEN GOLDWASSER: Also, because we didn’t start a lot of the songs based on studio jams, we tend to have a bunch of synths and drum machines going as we’re writing. But this was more like sorting things independently and a bit more stripped down. It probably just stayed that way.

How was it working with Christine And The Queens on “Dancing In Babylon?”

VANWYNGARDEN: It was our first real collaboration, a real duet. That song took many forms and was an early idea in the making of the album. We had a family-style way of producing this album with Oneohtrix Point Never, Patrick Wimberly, and Ben, and songs would pass through people’s hands, and layers would be added and then stripped back. Eventually, the instrumental side of that song turned into this ‘80s power ballad for a lot of it. Then we were like, “Oh, this could be a good duet,” and Christine And The Queens is the voice that we thought of immediately. He’s someone that we have had a chance to collaborate with in the past, and it never worked out. It just seemed like a good fit.

This is your first album that’s not on Columbia Records. What was it like signing with Mom + Pop and possibly having a little more say in what you were making?

GOLDWASSER: It’s worth noting that after years of being labeled as an indie band, we finally are actually an indie band. [ laughs ]

It’s poetic!

GOLDWASSER: But yeah, it’s cool. There are a lot fewer layers of abstraction compared to dealing with a major label. We generally had a good working relationship with Columbia, but there are a lot of hoops you have to jump through to get anything done, and things tend to be slower. Mom + Pop is an indie label, but they have a lot of resources. They’re a nice combination of being light on their feet but also able to get a lot of things done.

We got along with them as people from the beginning. We met them and got a generally good gut feeling, which I think is important, like the actual people that you’re dealing with, probably even more so than the business aspect of it.

Kaiser Chiefs, The Kooks, And Weezer Covering MGMT (2008-9)

What was it like releasing your first album and then having three established artists covering your songs right from the get-go?

VANWYNGARDEN: Well, my first response in my head, which I’ll stupidly say, was “You can’t control who covers your music.” But that was really wild, especially the Weezer one, having grown up a pretty big fan of Pinkerton and the Blue Album, and whatever the green one’s called…

It’s called the Green Album.

VANWYNGARDEN: But anyway, I’ve always had a deep appreciation for Weezer and their craft of pop music. So that was wild. But that whole year, you could pick out five stupidly wild things that were happening at any moment for us. This shift from a year prior was so dramatic, that it’s all kind of like a wash, but that was definitely one of the things that cemented it.

GOLDWASSER: I remember when we were recording Congratulations in Malibu, and I got a call from a friend of a friend of mine, a college friend who had a connection to Weezer and told me that they were working on a cover of “Kids” and that they were trying to figure out how to get the synth melody sound. They couldn’t figure out what the sound was. They had him call me and ask how to get the sound.

Straight to the source!

VANWYNGARDEN: He just needed to download Reason. [ laughs ]

Nominated For Grammys (2010)

How did it feel to be up for Grammys on your debut album?

VANWYNGARDEN: It coincided in a time when we were being extra silly. When we went to the Grammys, it all had been so crazy that our way of dealing with it was to be like, “Let’s have fun and participate in a way that we’re really not taking it seriously so that we can mute our super self-conscious, insecure disbelief that we’re actually operating in this world.” So we were at the Grammys; my family had flown out to go, and we were pretty sure we weren’t going to win anything. But our friends styled us in these frilly, ridiculous mismatched plaid pattern suits, and we were being snarky on the red carpet. That was really fun and exciting. Then we got there, and we just sat in the seats, and I remember being like, “Get me out of here! I really just want to go home, please.” But yeah, this is all just throwing it on the pile of stupid, crazy stuff.

I know there’s one interview with Entertainment Tonight or something, and they asked us about our suits. I made the stupidest dad joke. He was like, “You guys look like you have a good tailor.” And I was like, “Yeah, his name is Swift.” It was so stupid. And then Taylor Swift won a lot of Grammys that night.

Almost Working With Jay-Z On The Blueprint 3 (2009)

I read that Jay-Z originally wanted to include you guys on The Blueprint 3 . What happened there?

VANWYNGARDEN: Are we legally in the clear to tell the real version of the story now? It’s pretty juicy.

GOLDWASSER: I mean, I don’t want to talk shit.

VANWYNGARDEN: I think there’s a way to say just the facts. That’s not shit-talking. I can take a stab at it.

GOLDWASSER: Yeah, if you can do it, it’s a great story.

VANWYNGARDEN: So, we were set up in this house in Malibu, spending our label’s money and having a blast making Congratulations and inviting friends over. People came over to party, and it was right after the Grammys, so it was a time when a lot of attention was on us. Our managers connected us with Jay-Z’s manager and said that they wanted to collaborate, and they sent us a beat that Kanye West had made. We were like, “This is cool.” For over a week, we dropped everything. We’re like, “We’re gonna fucking make a Jay-Z song! This is insane.” We had our whole studio set up, and Ben and I ended up making this vampiric, horror-rap beat with this really strange chord progression. Then we fit chords over the chorus that was Kanye West’s disco beat, and we were just like, “This is sick.” It sounded awesome. We sent it and then had a conference call with Jay-Z. He was like, “This is cool, but I want you guys to do your MGMT thing.” And we’re like, “OK,” and at that point, we knew it wasn’t really in the cards, but we had this song. I still have it in my email. It’s really fun. Anyway, flash forward a few months, and they got Empire Of The Sun to sing the chorus over the chords that we had written. So, next story! [ laughs ]

So they got discount MGMT to do it.

GOLDWASSER: No comment!

Wow, that’s crazy!

VANWYNGARDEN: Our lawyer was pretty much like, [ shrugs ] “He’s Jay-Z!”

Participating In Pink Floyd Week On Fallon (2011)

Did you guys ask to participate? Or were you asked to participate?

GOLDWASSER: We were asked. We knew what song we wanted to play, but I can’t remember what the discussion was about, like, “Is the Syd Barrett era OK?”

VANWYNGARDEN: They were excited about that because none of the other artists was representing that era. But that was fun. We dressed like crab fishermen, and then Bradford Cox was dressed as Joey Ramone playing an Akai quarter-inch tape reel machine that we had found on the street. It was actually the one that’s all over Oracular Spectacular .

Is there a reason you guys went with “Lucifer Sam” in particular?

GOLDWASSER: It just seemed like it’d be fun. I think it fit in well with the kind of stuff we were doing as a live band at the time. It was a style that influenced us a lot, so it was a good time.

VANWYNGARDEN: It’s also a pretty poppy song, like “See Emily Play.” But like Ben said, it was kind of what we were wanting to do with our music at the time.

How do you feel about the term “psych rock” these days and being described as such? In the early days, I know you rejected that term.

GOLDWASSER: It’s such a diluted term now. I feel like a lot of people’s impression of psych rock is probably like, some guitar with a phaser effect over a dance beat. [ laughs ]

VANWYNGARDEN: I like being labeled.

You like being labeled in general?

VANWYNGARDEN: Yeah, I think it’s fun. I’ve always wondered about a cool nickname I want to be labeled as.

Getting Mocked By Beavis And Butt-Head (2011)

So you guys have actually been mocked by Beavis and Butt-Head multiple times.

GOLDWASSER: That was a real badge of honor. We’ve had several moments when we probably should have felt like, “Oh, we’ve really made it.” But I feel like that was one of the first times that we were actually like, “Wow, we really made it. Beavis and Butt-Head made fun of our music.”

VANWYNGARDEN: And recently when the Smashing Pumpkins commented on the “Bubblegum Dog” video where we were referencing a Smashing Pumpkins video. I was just like, “Yes, my life is over. We’re getting closer to being complete now.”

Having Fans Take Over Cowbell Duties At Their Shows (2013)

How’d you come up with this idea?

GOLDWASSER: I’m not sure exactly how, but it was an example of something that tended to happen a lot, where we would say something really dumb and then somebody would actually make it happen. We’re like, “Whoa, you actually made this happen!” It was a really big thing, just finding the right person in each place we played to do it. We wanted to make sure that it was somebody who was really a fan but also not a total creep. Also, that cowbell was four feet wide. It was a giant cowbell, and we actually found giant drum sticks that whoever won would use.

VANWYNGARDEN: It was a serious piece of equipment that had to be loaded onto a truck every day.

GOLDWASSER: That NFL player [Andrew Luck] played it at that show in Indiana.

VANWYNGARDEN: Yeah, and Gibby Haynes played it when we played at Barclays Center. Henry Winkler played it in Los Angeles. “The Fonz,” he’s a sweet guy.

Will the cowbell ever come back?

VANWYNGARDEN: No, we have a storage space of shit that, like Ben said, we’d have fabricated off of a joke, and then it would actually be made and we would tour with it. I don’t know what’s going to happen with it. But isn’t there a Frank Black song about how stressful it is to have a storage space? That’s how I feel about it. It’s such a waste of money. [ laughs ]

GOLDWASSER: Especially these days, I get more and more afraid to even think about it because we haven’t toured since 2019.

I guess it’s tucked away in storage for all time then.

VANWYNGARDEN: We should find a giant cow, and they could wear it. We’ll just find a really big cow.

GOLDWASSER: Be careful what you wish for.

Recording A Beatles Cover With Miley Cyrus And Wayne Coyne (2014)

VANWYNGARDEN: Did I do that, or did I just attend the recording session?

I read online that you’d done “Lucy In The Sky With Diamonds.”

VANWYNGARDEN: We’d done it in a way where I went into a studio on the Sunset Strip with my mom. I took my mom there. I don’t remember when, but Wayne Coyne was there. I don’t think Miley Cyrus was there; maybe she was. But there was a producer sitting on the couch. And there were a couple of men on either side of him smoking blunts and looking at their laptops. Wayne Coyne was just doing this thing, like “Yeah, that’s gonna be great! Oh, yeah! Can you sing the Beatles? Just whatever you want to do!” I got in there, and I was like, “I can’t cover the Beatles. I don’t want to. I’m not a singer. I can’t do this.” But my mom had a really awesome time. She was very excited. I can’t remember the name of the producer, but he was really cool. I think my mom may have even smoked some of his blunt.

Writing A Dance Song About COVID (2020)

Andrew, in March 2020, as the pandemic was really starting to take hold of the United States, you wrote a song called “Oh No Corona.”

VANWYNGARDEN: Yeah, it could have been my major break, and, for some reason, I listened to our manager. I love our managers, but at that moment, I listened to him advising against it because it was too serious of a topic to make a hyper, Eurohouse pop song about. But I think it could have been great.

I couldn’t find any snippets to listen to online, but I did see headlines that said it’s pretty Eurodancey.

VANWYNGARDEN: I wonder if it’s in my email.

GOLDWASSER: Eurodance is kind of trendy now, right?

VANWYNGARDEN: Once again, we’re on the forefront. [ laughs ]

What do you think about art that directly addresses COVID?

GOLDWASSER: Anytime something references things that are so current, whoever’s making it has to know that it’s going to be instantly dated. There’s something cool about the intention of that, like, “Well, I’m just going to do it anyway. I know this isn’t going to be this timeless, abstract thing where the meaning can always shift. No, it’s just about this one thing.” We didn’t want to make a COVID record, even though I guess we did in a way. We made an album influenced by the fact that we canceled our tour, and we’re focusing on being at home more, which wouldn’t have happened otherwise. Yeah, so inadvertently, I guess.

Making Music With Karen O For The Animated Film Where Is Anne Frank (2021)

How’d you guys get linked up for that?

GOLDWASSER: We got linked up through Chris Coady, who’s a mutual friend. It was cool. I’d actually never hung out with Karen before, even though we both came up in the New York scene. But we never met each other. It was right when people were trying to start getting back to work and do things, even though, during COVID, people were doing tentative studio sessions wearing masks. We were both super cautious. It ended up being a really cool thing to do, to just focus a bunch of energy on this one thing that was very emotional, obviously, because it was an animated movie about the Holocaust. So, it was pretty intense. We got to go to Cannes, where it premiered. It was pretty surreal.

What are the differences between making music for an album versus a film?

GOLDWASSER: The cool thing for me about making music for film was that it was entirely in the service of somebody else’s vision. It was also the frustrating thing about it because you could work on a piece of music, and then it doesn’t fit within a specific timeframe. Something has to get chopped up, or you have to change the speed of it. But the cool thing was that you’ve got a job to do, and the job is just to make somebody happy and do whatever they feel like they need to have in the film. It’s less of an existential struggle than working on your own thing.

Playing Oracular Spectacular In Full At Just Like Heaven (2023)

Why did you guys decide to play it from front to back?

VANWYNGARDEN: [The festival] booked us to do it. They asked us to do that. And we were like, “Sure.” Immediately, we started thinking of all the different ways we could do something that would be very different from every other show we played, and I loved it. I loved the experience. We kept thinking of outlandish things to do with our live performance, except now we had a budget to do it on this huge scale. It was really satisfying and affirming of our creative bond and friendship. That was great.

Also, we both really enjoyed the fact that it was this one show; we knew we’d only booked one show. Because we had a pretty healthy budget, we could actually just do a lot of things like pre-production and rehearsal and not worry about it too much. We knew that it was only happening one time. So there was something cathartic about pouring way too much energy into one performance, and none of the props on the stage needed to get loaded into a truck every day for a month.

There are a lot of anniversary tours going on right now. Would you ever do that? Or would you prefer to keep full-album playthroughs for special occasions?

GOLDWASSER: It’s weird to us because it’s the kind of thing that often happens when an artist isn’t making current material that people consider to be relevant. Not that there’s anything wrong with it, but it feels like a bit of a signifier of like, “Oh, you’re at that point in your career when you’re looking back more than you’re looking ahead.” That part of it isn’t very exciting to us.

MGMT - Loss Of Life [LP]

Loss Of Life is out 2/23 on Mom+Pop.

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tags in this article

• Andrew Luck
• Beavis And Butt-head
• Bradford Cox
• Christine And The Queens
• Empire Of The Sun
• Gibby Haynes
• Henry Winkler
• Jimmy Fallon
• Kaiser Chiefs
• Miley Cyrus
• Syd Barrett
• The Beatles
• Wayne Coyne

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Brooklyn experimental rockers MGMT released their self-titled third album in 2013 while continuing to play headlining concert dates and festivals all over the world. Fans scooped up tickets to hear songs like "Kids," "Electric Feel," and "Congratulations." The band's singular style of psychedelic noise-pop, which integrates plenty of electronica elements, was forged beginning in 2002 by founders Ben Goldwasser and Andrew VanWyngarden when they were freshmen at Wesleyan University in Connecticut. Their debut album, Oracular Spectacular, was released in 2006, and MGMT started gaining fans with the help of their opening sets for trend-setting acts like Of Montreal, Radiohead, and Beck. By 2009, MGMT could count Paul McCartney among their growing stable of fans, and they landed a spot opening for the ex-Beatle at Boston's Fenway Park. On tour, the five-piece group has been known to augment the flower-power vibe of their music by projecting repeated colorful, kaleidoscopic images and other random visuals on a backdrop behind the stage.

Full of regret

I've been to lots of other concerts and this one was by far the worst one I have ever attended. It was a real disappointment especially because I've been a huge fan of them ever since Oracular Spectacular came out. First of all they started the show late, Kuroma made me want to leave and go home, they only played for about an hour and it took so much chanting to get them to do an encore. The only good thing about the concert was Bens flute solo and that helicopter thing with the camera. And it was so blatantly obvious that many people were leaving to go do drugs and the bouncers did nothing about the rowdy people on drugs picking fights with people trying to enjoy the damn show. It was an extreme let down and I feel disrespected as a fan.

Amazing, psychedelic, and completely unforgettable.

The show was phenomenal. A live performance by mgmt is even better than their album version of songs - it gives even more depth to their art.

The show was really great and the set list was amazing! 16 songs and they even played Indie Rokkers which was a nice surprise! And they also had this cool optimizer visual experience which was super cool. The opening act was okay, not very memorable though.

You get more energy at home

I have been waiting for MGMT to come back to Vancouver for a long time. I was really excited at the beginning when they opened with "The Youth." They played a good mix of older and newer stuff. I noticed they played their big hits really early into the set. They play "Electric Feel" and "Time to Pretend" within the first 20 minutes and i personally thought that was too early. By the time they did their encore they played two songs. Everyone anticipated they would play "Kids" in their encore but they didn't play it at all. Honestly, why didn't they play their most popular song? They hardly said a thing to the audience making for no stage presence. They finally addressed the audience after about half way through their set. They hardly moved. Honestly I found overall their music is way more enjoyable recorded. There was no extra value being their in person. If anything they sounded way more boring live. Save your money and listen to their music really loud at home it will probably sound better.

Definitely a fun time

Good show. Intimate setting was enjoyable. Good music and good beats.

I like MGMT's albums, and was excited to see them, but was totally disappointed. The band had zero stage presence, they didn't engage their audience, or even really move. It was as if their feet were nailed to the floor. I could forgive that if the music selection had been any good. Their songs had zero energy and the audience responded accordingly. Looking around people were more bored with the band than at any other show I've ever been to. There were a few glimmers of hope, but then it was quickly extinguished with another wet blanket performance of a non descript song. To top it off their set was only 60 minutes, and they didn't play "Kids" which is their most popular song. I hope they read the reviews of their shows and solve this before their tour leaves more disappointed fans in its wake.

Why didn't you play the song that made you?

You don't play a three song encore with three slow songs, and neglect what is probably going to be your biggest hit ever. They played fine overall.

MGMT was horrendous

The show lacked flow and consistency. The music drabbed on and worst of all they did NOT play KIDS, their signature song. Shameful, pompous, and dispicable.

Predictable Show

They played everything you would expect them to play. All the hits... Kids, Electric Feel, Time To pretend... to great applause. The Encore had a lot of news song no one had heard of. They didnt really play as if a crowd were there, only in their own bubble which is typical for newer bands like MGMT.

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MGMT tease “fancy new album” set to be released in 2023

The band revealed the news when announcing they would perform debut album 'Oracular Spectacular' in full at the Just Like Heaven festival

MGMT are teasing a “fancy new album” that they say will be finished and released in 2023.

The New York-based duo last released an album with 2018’s  ‘Little Dark Age’ , and frontman Andrew VanWyngarden promised last summer that they would return with new music in 2022 .

That music didn’t materialise last year, but as the band were announced for the Just Like Heaven festival today (January 17), where they will perform debut album ‘Oracular Spectacular’ in full, they gave an update on new music.

“We will be returning to the stage for the first time in nearly four years on May 13th at Just Like Heaven Festival in Pasadena, and we’ll be doing a unique MGMT performance, featuring our entire first album,  Oracular Spectacular ,” the band wrote on Instagram.

“We’ve stocked up on rust remover and are constructing a state of the art elf workshop so as to attempt to provide the most experimental live show since we were wee lads playing hockey in the middle of songs etc.”

Of new music, they added: “Furthermore, keep checking back in with us because we’ve been making some fun new recordings and have a fancy new album (LOL) that should be finished at some point this year, which is the year 2023.”

View this post on Instagram A post shared by MGMT (@whoismgmt)

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Since the 2018 release of ‘Little Dark Age’, the band have been largely quiet, though appeared in feature spots on  The Avalanches ‘  star-studded recent album ‘We Will Always Love You’  and  ColaBoyy’s track ‘Kid Born In Space’ .

In that time, VanWyngarden has also shared new music under his solo moniker Gentle Dom ,  covered Tones and I’s global smash ‘Dance Monkey’  and remixed  Metronomy  and  Club Intl .

Of progress on the new record, he told fans on Reddit last August: “There are irons in the fire and we have been busy. I had forgotten my login info, the mgmt drought ends this year.”

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Announce UK & European winter tour

MGMT have today announced they will embark on an extensive UK and Europe headline tour that includes shows at London’s Eventim Apollo and Manchester’s Albert Hall. Following their spring 2018 tour that saw their first performance in the UK since Glastonbury 2014, their winter run will take them around Europe and the UK in celebration of their recently released, acclaimed fourth album, Little Dark Age. Tickets go on general sale on Friday 1st June, with a fan presale on Wednesday 30th May. See UK and European tour dates below, for further information visit http://whoismgmt.com/ .

MGMT European Winter Tour

27th November – Estragon, Bologna, Italy

29th November – X-TRA, Zurich, Switzerland

3rd December – Docks, Hamburg, Germany

4th December – VEGA, Copenhagen, Denmark

6th December – Nobelberget, Stockholm, Sweden

7th December – Sentrum Scene, Oslo, Norway

9th December – Astra, Berlin, Germany

10th December – TivoliVredenburg Ronda, Utrecht, Netherlands

13th December – Eventim Apollo, London, UK

15th December – SWG3 TV Studio, Glasgow, UK

16th December – O2 Academy, Leeds, UK

17th December – Albert Hall, Manchester, UK

MGMT are Andrew VanWyngarden and Ben Goldwasser, the Grammy-nominated duo who have been producing innovative psychedelic pop anthems since their 2008 debut Oracular Spectacular including some of the biggest songs of the 2000s in ‘Kids’, ‘Time to Pretend’ and ‘Electric Feel’.

The band’s fourth album Little Dark Age, released earlier this year, features the “undeniably brilliant” (NME) lead single ‘Little Dark Age’ as well as ‘When You Die’ and ‘Me And Michael’, and was released earlier this year to widespread critical acclaim. Produced by MGMT, Patrick Wimberly (Chairlift, Kelela, Blood Orange) and long-time collaborator Dave Fridmann (Flaming Lips, Spoon, Tame Impala), Little Dark Age is a true “show of strength” (Q, 4*) and “unironically gorgeous… MGMT doing what MGMT do best” (The Guardian, 4*).

The tour announcement follows MGMT’s appearance on Jimmy Kimmel in the US, where they performed five songs from Little Dark Age, and comes off the back of a sold out US tour. The band will also play a number of festivals across Europe this summer, including Mad Cool in Spain and Belgium’s Rockwerchter. They will perform a sold out show at Somerset House, London, in July.

See below for MGMT 2018 tour dates in the UK and Europe including summer festivals. For a full list of dates visit whoismgmt.com :

10th December – TivoliVredenburg Ronda, Utrecht, NL

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For more information please contact [email protected]

Porter Robinson Announces “SMILE! :D World Tour” 70+ Dates In 2024-2025

Grammy-nominated artist Porter Robinson announces a 5-continent world tour including stops in 30+ North American cities, Europe, and Asia in support of his highly anticipated third studio album SMILE! 😀 , releasing July 26th via MOM+POP. [Pre-order here ]

Robinson will debut a completely new live production including a full live band during his SMILE! 😀 World Tour, after first experimenting with the band format at his own sold-out Second Sky festival and again in 2023 at Coachella’s main stage. Fans can expect opening acts ericdoa in North America, underscores in Europe and Galileo Galilei in Japan.

The SMILE! 😀 World Tour will kick off on August 29 in Boston and hit notable stops along the way including Forrest Hills in New York on August 31 and Hollywood Bowl on October 11, before heading onto an Asian run which spans 9 cities beginning November 2024. Porter concludes the tour by traversing across 8 countries in Europe throughout February and March 2025, including a stop at London’s prestigious Brixton Academy . Dates in Australia and Latin America will also be announced soon. Full routing is available below.

Pre-sale commences Tuesday, April 30 at 10am local time —fans can register for early access to tickets at porterrobinson.com . Various presales will take place throughout the week including a CITI presale in the U.S. (details below) ahead of the general on sale on Friday, May 3 at 10am local time. For more information on the tour and tickets, visit porterrobinson.com .

The tour will also offer a variety of different VIP packages and experiences for fans. VIP Packages may include premium tickets, exclusive access to the pre-show VIP lounge, access to a VIP bar, early entry into the venue, pre-show merchandise shopping opportunity, specially designed gift item, and more. VIP package contents vary based on offer selected. For more information, visit vipnation.com (N. America) or vipnation.eu (Europe).

CITI is the official card of Porter Robinson presents SMILE! 😀 World Tour. CITI Card Members will have access to presale tickets for the U.S. dates beginning Monday, April 29 at 10AM local time until Thursday, May 2 at 10PM local time through the CITI Entertainment program.

For complete presale details visit www.citientertainment.com .

For the Hollywood Bowl show, American Express® Card Members can purchase tickets before the general public beginning Monday, April 29 at 10:00am PST through Thursday, May 2 at 10:00pm PST.

SMILE! 😀 World Tour Dates:

August 29, 2024 – Boston, MA – MGM Music Hall at Fenway

August 30, 2024 – Boston, MA – MGM Music Hall at Fenway

August 31, 2024 – New York, NY – Forest Hills Stadium

September 5, 2024 – Atlanta, GA – Coca-Cola Roxy

September 6, 2024 – Orlando, FL – Addition Financial Arena

September 7, 2024 – Miami, FL – FPL Solar Amphitheater at Bayfront Park

September 10, 2024 – Nashville, TN – Municipal Auditorium

September  11, 2024 – Charlotte, NC – Skyla Credit Union Amphitheatre

September 13, 2024 – Philadelphia, PA – TD Pavilion at the Mann

September 14, 2024 – Washington, DC – Merriweather Post Pavilion

September 15, 2024 – Pittsburgh, PA – UPMC Events Center

September 17, 2024 – Montreal, BC – MTELUS

September 19, 2024 – Toronto, BC – HISTORY

September 21, 2024 – Toronto, BC – HISTORY

September 22, 2024 – Detroit, MI – The Fillmore

September 23, 2024 – Indianapolis, IN – Everwise Amphitheater

September 26, 2024 – Madison, WI – The Sylvee

September 27, 2024 – Chicago, IL – Huntington Bank Pavilion at Northerly Island

September 28, 2024 – Minneapolis, MN – The Armory

September 30, 2024 – St. Louis, MO – Saint Louis Music Park

October 1, 2024 – Oklahoma City, OK – The Criterion

October 8, 2024 – El Paso, TX – El Paso County Coliseum

October 11, 2024 – Los Angeles, CA – Hollywood Bowl

October 12, 2024 – Phoenix, AZ – Talking Stick Resort Amphitheatre

October 13, 2024 – San Diego, CA – The Rady Shell at Jacobs Park

October 15, 2024 – Albuquerque, NM – Revel

October 17, 2024 – Denver, CO – Ball Arena

October 18, 2024 – Salt Lake City, UT – Utah First Credit Union Amphitheatre

October 19, 2024 – Las Vegas, NV – BleauLive Theater

October 24, 2024 – Sacramento, CA – Wheatland Toyota Amphitheatre

October 25, 2024 – San Francisco, CA – Shoreline Amphitheatre

October 29, 2024 – Boise, ID – Revolution Concert House

October 31, 2024 – Portland, OR – Alaska Airlines’ Theater of the Clouds

November 1, 2024 – Vancouver, BC – Doug Mitchell Thunderbird Sports Centre

November 2, 2024 – Seattle, WA – Climate Pledge Arena

November 25, 2024 – Bangkok – Samyan Mitrtown Hall

November 27, 2024 – Singapore – The Star Performing Arts Centre

December 8, 2024 – Manila – The Podium

December 10, 2024 – Taipei – Zepp New Taipei

December 12, 2024 – Seoul – Myunghwa Live Hall

February 10, 2025 – Tokyo – Tokyo Garden Theater

February 11, 2025 – Osaka – Namba Hatch

February 12, 2025 – Nagoya – Diamond Hall

February 14, 2025 – Fukuoka – UNITEDLAB

February 21, 2025 – Berlin – Huxleys Neue Welt

February 22, 2025 – Hamburg – Fabrik

February 24, 2025 – Oslo – Rockefeller Music Hall

February 25, 2025 – Stockholm – Berns

February 26. 2025 – Copenhagen – Vega

February 28, 2025 – Amsterdam – Melkweg

March 3, 2025 – Cologne – Live Music Hall

March 4, 2025 – Paris – Salle Pleyel

March 6, 2025 – London – O2 Academy Brixton

March 7, 2025 – Manchester – Albert Hall

March 8, 2025 – Glasgow – SWG3 Galvanizers

March 10, 2025 – Dublin – 3Olympia Theatre

About Porter Robinson:

At age 18, the North Carolina-based producer and songwriter burst onto the scene with a complex, bombastic brand of electro-house. Following the major success of his 2014 debut album Worlds , Porter released the RIAA Gold single “Shelter” with Madeon in 2016, followed by a Shelter Live Tour spanning 43 dates and four continents. The following year, Porter began releasing music under a new alias, Virtual Self, which led to his first Grammy nomination for the BBC Radio 1 hit single “Ghost Voices.” In 2019, Porter put on the first Second Sky Festival, which sold out all 30,000 tickets for the two-day festival in a single day. In both 2020 and 2021, Porter Robinson hosted editions of his virtual festival Secret Sky, amassing over 6 million viewers combined, and which came to be regarded as the most sophisticated virtual festivals of its time. Later in 2021, following the release of sophomore album Nurture, Second Sky Festival made its return to the Bay Area, selling out 40,000 tickets in a single day. Immediately following, the Nurture Live North American Tour sold over 150,000 concert tickets and was the highest grossing electronic tour of 2021. In 2022, in partnership with Riot Games, Robinson released “Everything Goes On” surpassing 100 million global streams . Later that year was his debut of one of two exclusive full live band performances, first at Second Sky 2022 and again in 2023 at the Coachella Main Stage.

About MOM + POP: 

In their 16th year, Mom+Pop Music has curated a critically acclaimed list of artists including  Courtney Barnett, MGMT, Beach Bunny, Caamp, Ashe, Orion Sun, Porter Robinson, SEB, Tom Morello, and many others. Solely owned and operated by Founder/co-owner Michael Goldstone and co-owner Thaddeus Rudd, M+P has a global team of 25 people and is self-distributed. Known for their artist-first ethos, M+P continues to amass industry accolades from artists, media, and colleagues including Billboard’s Independent Label Power Lists, A2IM’s Libera Award for Label of the Year, and other recognition. They have received consistent media acclaim featured in Forbes, Variety, Billboard and HITS among other outlets. Mom+Pop Music is located in New York City and has offices in Los Angeles.

About Live Nation Entertainment:

Live Nation Entertainment (NYSE: LYV) is the world’s leading live entertainment company comprised of global market leaders: Ticketmaster, Live Nation Concerts, and Live Nation Sponsorship. For additional information, visit www.livenationentertainment.com .

Contact info:

Porter Robinson

Kate Trapani | [email protected]

Lisa Perkins | [email protected]

Live Nation Concerts

Monique Sowinski | [email protected]

Valeska Thomas | [email protected]

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More Money Is Being Handed out in Golf, Again, But There Are Still No Winners

Bob Harig explores the report of PGA Tour equity shares being awarded, some Ryder Cup eligibility news and a tour gets OWGR points (but not that one).

• Author: Bob Harig

You know the plot has been lost—if it hadn’t already occurred long ago—when the social media warriors mocked Rory McIlroy after it was reported he will receive “only” $50 million in the PGA Tour’s equity share plan, while his buddy, Tyrrell Hatton, got $65 million up front from LIV Golf.

Never mind that McIlroy was to receive $27 million in Player Impact Program bonus money the last two years as well as numerous other tour-guided endorsement opportunities.

The fact that anyone on the sideline is claiming “victory” over all of this is beyond comical at this point.

Professional golfers, especially star players, are being rewarded at record levels, some of it overdue, but a good bit of it unsustainable in a commercial world that is still grappling with niche sports status and a divided game.

LIV Golf doesn’t come close to paying its way and almost assuredly never will without big changes. The PGA Tour is asking its nonprofit charitable host organizations to dip into the till to pay future purses to try and keep up. And now the new PGA Tour Enterprises is pledging approximately $930 million to be distributed to 193 players as part of a vesting program that will take eight years.

As part of that program, which was first announced in February , the Tour last week began sending correspondence to players spelling out how much of the loot they are expected to receive. The Telegraph first reported that Tiger Woods is down for $100 million, McIlroy $50 million and players such as Justin Thomas and Jordan Spieth for $30 million.

Who knows if those figures are accurate, and it’s hard to believe anyone will publicly confirm them. But it’s all on paper anyway, as this money is not sitting in a vast pot waiting to be scooped up in four, six or eight years’ time.

The initial $1.5 billion in investment from the Strategic Sports Group that landed in the PGA Tour Enterprises account in late January is not earmarked for the players, contrary to numerous reports. The $930 million is based on a PGA Tour Enterprises valuation in excess of $12 billion. The SSG money is meant to be used by the Tour to grow the business, or, to bring back the kind of return that will allow for those massive pay days down the road.

That is the multi-billion-dollar question.

It doesn’t take a financial wizard to see that getting that kind of return on the existing business model of the PGA Tour is far-fetched. PGA Tour events, most of which are non-profit anyway and give their proceeds to charity, make millions not billions. And hitting them up is just a small piece of the plan.

There has to be something else, something bigger and more lucrative.

Buying the DP World Tour’s rights to the Ryder Cup would be one potential avenue for PGA Tour Enterprises. The PGA Tour and DP World Tour have a working alliance and a purchase of that could come with a windfall that props up the struggling DP World Tour for years. Getting its hands on the Ryder Cup would finally give the PGA Tour a bigger piece of a huge asset, and along with the Presidents Cup, potentially bring in significant revenue.

Beyond that?

Well, that’s where golf fans should really be focused.

All of this money talk hasn’t exactly left the game in a great place. The idea of “unification” first broached nearly a year ago with the controversial and secret “framework agreement” has yet to even see all of the parties meet in the same room.

McIlroy, who captured his 25th PGA Tour title on Sunday when he won the Zurich Classic with partner Shane Lowry, resigned his spot as a player director on the PGA Tour policy board last November and is now talking about returning to that role , in theory, to knock some heads together and see about getting something done.

Because the game is divided—no matter what you think of LIV Golf or the PGA Tour or both—is not good. And thinking it is going back to the old way, and thus, being bitter toward those who have a role in this current climate, is also not productive.

Getting there, of course, is complicated. There have been rumblings that LIV Golf is perfectly content to operate separate from the PGA Tour. And LIV is planning for the future, with no signs that is conceding. If so, how does that bring the game back together?

Without changes, there is no way for players to compete on both LIV Golf and the PGA Tour. McIlroy’s idea for a Champions League-type series of golf events beyond the existing tours is intriguing, but again, how will it work? Who would qualify? When would the events be played? Would any of them count as PGA Tour or LIV events?

A deal with the PIF, in theory, would only enhance PGA Tour Enterprises and allow for some investment into some of these ideas. But getting there remains a long journey.

In the interim, the greater golf world is getting more annoyed by all the money talk. Nobody wants to hear that already well-compensated golfers are going to cash in even more. Meanwhile, TV ratings of PGA Tour events, even the Masters , are down, and fans aren’t exactly switching over to watch LIV in droves.

It's a game-wide problem that could use some serious attention. And soon.

A path to the Ryder Cup

When Jon Rahm and Tyrrell Hatton signed with LIV Golf, Rory McIlroy was quick to say that the rules need to be amended to allow them to play for Europe in the 2025 Ryder Cup at Bethpage Black.

But as new DP World Tour CEO Guy Kinnings said last week that is not necessary.

Those players are already eligible under the current rules—although the qualification process for next year’s matches has yet to begin.

“If you look at what the qualification/eligibility criteria was for 2023, then I think there has been a slight misconception because the reality is under the current rules, if a player is European and is a member of the DP World Tour and abides by the rules as they currently are—so, if you don’t get a release, there are sanctions and if you accept those sanctions and take those penalties and work with that —there is no reason why players who’ve taken LIV membership but maintain membership with the DP World Tour could not a) qualify or b) be available for selection,” Kinnings said in a media session with UK and Irish golf writers.

Jon Rahm (left) and Tyrrell Hatton are with LIV Golf but may not be out of the picture for the 2025 Ryder Cup.

Adam Cairns-USA TODAY Sports

Rahm and Hatton will face a one-event suspension and fine for playing in the LIV Adelaide event. A similar scenario exists for this week’s LIV Singapore event. Both are up against DP World Tour events, thus requiring a release.

But according to Kinnings, as long as the players pay the undisclosed fine and serve a one-tournament suspension—even if they were not planning to play a DP World Tour event—they will be eligible, provided the meet the criteria of playing in four DP World Tour events this season.

“It’s not a loophole,” Kinnings said. “That’s the rules we’ve always had and those are the rules we are going to continue to apply. They have been tested and, if everyone applies and follows those rules as they are ... ”

Asked how a player can be suspended from an event they were not planning to play, Kinnings said: “Because rules are rules. Rules are for all of the membership and it’s important for people to know how those apply and they apply to every member.”

LIV Golf has yet to announce the final two events of its schedule but it is expected to conclude the weekend of Sept. 20-22—which is when the DP World Tour’s BMW PGA Championship is contested.

That means Rahm and Hatton would likely need to play a few events prior to that time because they’ll get one-event suspensions for missing that week, thus possibly knocking Rahm out of a tournament in Madrid. The British Masters and European Masters proceed LIV’s final two events.

Following LIV’s season-ending event are tournaments in Spain, France and Scotland.

A 54-hole tour gets OWGR accreditation

During another point in time, the Official World Golf Ranking announcement that it was accrediting the Clutch Pro Tour beginning this week would have barely been noticed.

There are now 25 tours around the world that are getting OWGR points, and you’d probably be hard-pressed to know a single player competing on the Clutch Pro Tour unless he is a family member or acquaintance.

But in the era of the LIV Golf League—which has quite publicly lamented its lack of accreditation and subsequently withdrew its application—any tour stepping up to get entry into the system at least brings a bit of curiosity.

The Clutch Pro Tour is in its fifth season based in the United Kingdom as a developmental tour or feeder tour to the Challenge Tour, which subsequently allows access to the DP World Tour.

Also referred to as the Mizuno Next Gen Series, the tour has a 17-event schedule in 2024.

What is interesting is how the OWGR seemingly went out of its way to highlight aspects of the Tour that have been sticking points for LIV Golf, including the 54-hole format—which, ultimately, has never been a deal-breaker for LIV.

“The Clutch Pro Tour provides access to its official tournaments, conducted over 54 holes with a 36-hole cut, via its 2024 qualifying series held in the UAE and, for its 2025 season, an annual open qualifying school,” the OWGR said in a statement announcing the accreditation. “It also provides local and regional players opportunities, culminating with a no-cut, season-ending Championship. As such, the Clutch Pro Tour is in keeping with long-standing OWGR Eligibility and Format Criteria.”

The OWGR also noted that the process took 17 months in which the “Tour worked continuously toward the standards required to become eligible.”

LIV Golf officially applied for accreditation in July 2022. Its bid was rejected in October 2023, with OWGR chairman Peter Dawson—the former head of the R&A—basically saying that the closed nature of the league and its small relegation and promotion were the main problems.

“We are not at war with them,” Dawson said in an interview with the Associated Press at the time. “This decision to make them eligible is not political. It is entirely technical. LIV players are self-evidently good enough to be ranked. They’re just not playing a format where they can be ranked equitable with the other (now 25) tours and thousands of players who compete on them.”

How much interaction between LIV and the OWGR there was over this was up for debate and speculation. The bid was denied before LIV Golf played its first promotions event, one that saw three players and the winner of the International Series Order of Merit get promoted—with four LIV players being relegated off the tour.

This year, LIV added a new four-man team for Jon Rahm as well as two “wildcard” players to bring its total from 48 players to 54. But aside from injury, it is the same field every week.

It remains puzzling, however, why LIV Golf would rescind its bid and not try and work with OWGR to fix issues to help comply. OWGR went out of its way to say it did the very thing with the Clutch Tour. Both sides should figure this out, because it doesn’t appear the majors will offer access via LIV’s points list.

“I think it will be difficult to establish any type of point system that has any connection to the rest of the world of golf because they're basically, not totally, but for the most part, a closed shop,” Masters chairman Fred Ridley said of the LIV Golf League structure when asked about LIV getting direct spots in future Masters. “There is some relegation, but not very much. It all really depends on what new players they sign.

“Those concerns were expressed by the OWGR, but I don't think that that prevents us from giving subjective consideration based on talent, based on performance to those players.”

Ridley singled out Joaquin Niemann, who was given a special invitation, having won the Australian Open and posted high finishes at the Australian PGA and the Hero Dubai Desert Classic. He said nothing about Talor Gooch, whose three LIV Golf League wins last year and individual player title, apparently carried little weight.

The PGA Championship is in two weeks and it is expected to announce those who receive exemptions next week. Typically—although not officially—it issues spots to those otherwise not exempt via the top 100 OWGR. A majority of the field finds its way into the tournament through a top-70 year-long PGA Tour points list and PGA Tour victories.

Niemann has already been extended an invitation and Tyrrell Hatton, who remains a top-20 player, finished among the top 15 last year so he is already exempt. Defending champion Brooks Koepka as well as past major champions Johnson, DeChambeau, Cam Smith and Phil Mickelson are also in the field.

LIV players Adrian Meronk, Lucas Herbert and Patrick Reed would also be in line for exemptions, if the PGA continues to invite those in the top 100.

David Puig will be an interesting case. The Spaniard who plays for LIV was 104th going into the weekend. He has risen to that point from 239th at the end of the year, having won twice on the Asian Tour as well as a fifth-place finish at the recent Saudi Open.

LIV Golf’s success Down Under ... and other notes

There is no denying the passion for golf in Australia. For the second year, the LIV Golf Adelaide event delivered, with boisterous crowds, an enhanced party hole and even more spectators than last year. Various media reports put Sunday’s final tally at 35,000 spectators and LIV Golf announced more than 94,000 for the week.

The tournament got an added bonuses of the first-ever team playoff and it included the Australian team captained by Cam Smith. He and Marc Leishman of Ripper GC took on Louis Oosthuizen and Dean Burmester from the all-South African team Stinger GC and went two holes in a sudden-death playoff with both scores counting. The atmosphere was quite lively, as spectators cheered, for example, when Burmester left a shot in a bunker. And the Aussies won to the delirious delight of the Australian fans.

Brendan Steele got his first LIV Golf win in Australia.

Erich Schlegel-USA TODAY Sports

Brendan Steele got his first individual victory and his HyFlyers team captained by Phil Mickelson got a third-place finish and a first time on the podium (only the top three teams share in team prize money). All in all, it appeared a rousing success and makes you wonder if LIV Golf should schedule more than one event for Australia.

Greg Norman, the Aussie legend and LIV Golf commissioner, couldn’t help himself afterward. In an interview with Australian Golf Digest , the two-time major winner who has long sought to bring more meaningful golf to his homeland, took a victory lap.

“Vindication is not the right word,” Norman told the publication, before pausing. “It’s the ignorance of others who simply didn’t understand what we were trying to do. I actually feel sorry for them because they now see the true value of LIV Golf and want to be a part of it.”

The Shark might have gotten caught up in the moment.

“The support Australia gave me during my own playing career for decades was something I have never forgotten,” Norman said. “It’s why I brought LIV Golf back home—I did it for them. The people have well and truly spoken. Both individual and team golf is alive and well in Australia and they deserve it. I knew they would support this event.

“I’m feeling extremely proud right now. With what we’ve (LIV Golf) gone through over the past 16 months, both as a league and what I’ve copped personally ... the hatred ... this makes it all worthwhile.”

Some of the vitriol toward Norman is not likely to subside. To many, he’s viewed as the person who divided the game—even if it is far more complicated than that. But Norman did deliver on his idea in his homeland, and he told Australian Golf Digest that he’s looking to bring the concept to other places, such as South Africa. Next up is this week’s event in Singapore.

And a few more things ...

Rory McIlroy was credited with his 25th PGA Tour victory after winning the Zurich Classic with Shane Lowry . And he’s entered some rare air among all-time PGA Tour winners. That tied him with Johnny Miller at 23rd all time along with Tommy Armour and Macdonald Smith . He’s one behind Henry Picard . The victory moved McIlroy past Dustin Johnson , who now plays for LIV Golf. The only active PGA Tour player ahead of McIlroy is Tiger Woods (82). Phil Mickelson (45), Tom Watson (39) and  Vijay Singh (34) are the only players ahead of McIlroy whom he would have competed against. ... Not surprisingly, Scottie Scheffler is not in his hometown Byron Nelson event this week as he awaits the birth of his first child. The tournament has just four of the top 30 in the Official World Golf Ranking. ... A big stretch awaits as the Wells Fargo Championship, a signature event, follows and then the PGA Championship. Last year, Scheffler skipped Quail Hollow. ... The Byron Nelson is the cutoff for the PGA Championship’s 70-player points list that began the week prior to last year’s PGA Championship. The tournament can go beyond 70 to fill out its field and traditionally also invites the top 100 OWGR who are not otherwise exempt. ... LIV Golf reaches the halfway point of its 14-event schedule when it returns to Singapore and Sentosa Golf Club this week. ... The PGA Championship begins in 17 days.

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How Taylor Swift and Travis Kelce’s Relationship Has Changed After Spending Tour Break Together

As Taylor Swift gets ready for the next leg of her international Eras Tour, she is also preparing to part ways with boyfriend Travis Kelce again. The pair have been dating since 2023, and have had to manage very different and distant obligations. Luckily, a source says that “all the time they’ve spent together recently” in between tour dates has “deepened their bond.”

The source added that the couple took “a trip up the California coast” after Swift’s new album release of The Tortured Poets Department to “celebrate privately,” saying, “They’re making the most of the time they have together.”

The pair were not entirely alone—they were seen in Carmel-by-the-Sea with friends Gigi Hadid and Bradley Cooper, as well as Kelce’s mom, Donna.

Another source previously said that during this break from work, the pair were “focused on rest and recuperation and relaxing at home and having low-key and chill time together.”

“They are enjoying movie nights in her home theater, catching up on films and shows they’ve missed,” they continued, explaining that the couple is working on “scheduling” the upcoming long distance and their various projects so that they can “see each other as much as possible” because they “don’t want to spend too much time apart.”

Kelce is spending the NFL offseason in Los Angeles after the Kansas City Chiefs’ Super Bowl win in February, taking time to see Swift in both Singapore and Australia when she was performing. He is currently filming a new game show called Are You Smarter Than a Celebrity.

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SEVENTEEN on Wrapping Their Tour, New Music, and What’s Next

By Kristine Kwak

Kristine Kwak

The 13 members of SEVENTEEN have been on their FOLLOW Tour since last summer, a tour that ranged from tear-jerking performances to ones that rip pants, and the encore leg (called “FOLLOW AGAIN”) is nearing its end. While the tour is close to wrapping, SEVENTEEN’s activities are not slowing down — the group has just released a new compilation album, 17 Is Right Here. With a run time of just over 96 minutes, the album features all of SEVENTEEN’s Korean language singles, Korean versions of their Japanese-language singles since their debut nine years ago, and four new songs. We’d be remiss not to mention that member Woozi is credited for both composition and lyrics on all 33 tracks. 

Rolling Stone caught up with Jun, Wonwoo, The 8, and Seungkwan over Zoom a few days before the highly anticipated Seoul World Cup Stadium, almost a year since we last spoke, to chat about the FOLLOW Tour, 17 Is Right Here , and anticipation for future shows in North America and Europe. 

At the Seoul World Cup Stadium shows this past weekend, fans got to witness the very first performance of “Maestro,” and for those who missed it, Rolling Stone has the exclusive performance video below.

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Wonwoo: The FOLLOW Tour has been one where we’ve gone to many places and met with so many of our Carats, inspiring them but also getting inspired by them as well. The performances themselves were so enjoyable, it was such a positive experience overall. 

Seungkwan: It was meaningful for us to have encore shows on top of that, and being able to perform as a full group, with members who may have been out sick all healthy and returned, made me feel great.

What, to you, sets FOLLOW apart from other tours you’ve done? Whether it’s how much you’ve grown since it kicked off last summer, or memories from FOLLOW that stand out to you?

Wonwoo: I don’t think I’ve looked back to evaluate how much I’ve grown with each tour, but as we do our performances, while on stage, we end up noticing how much each member has improved. As for special memories, we had a lot of time to eat good food all together. We got together in different countries, had good meals and spent quality time with each other. So that made it really enjoyable. 

Seungkwan: As for things we wish we could have done — North America, Europe, [seeing] the Carats there. We weren’t able to see even more Carats out there, but I’m looking forward to the opportunity in the future.

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Jun: For Follow Again [in] Incheon, there was a drone show for the performance of “April Shower.” It was really memorable and impressive. It contained the story of us and our Carats. It was impactful.

I actually had friends come over and watch the delayed stream of that show. 

Seungkwan: Thank you.

Wonwoo: Well done! [Laughs.]

By the time people read this interview, the two Seoul shows will be done, and “Maestro” will be out. How is preparation going? 

Seungkwan: At the Seoul concerts we’ll be performing “Maestro” for the first time. We’re really excited. And since it’ll be a performance just for the Seoul concerts, we’re going back and practicing more, especially since it’s a new song. We’re working hard to prepare. We’ll also be performing with our respective units. The unit songs are really good, too — I think the performances of the new songs will be a highlight of the concert.

What type of song is “Maestro” to SEVENTEEN?

Wonwoo: I think it’s a song that encompasses everything SEVENTEEN has done thus far. We pulled from previous lead tracks, and it’s a song that fits with us really well right now. It’s a song that captures the essence of SEVENTEEN as we are now. 

I had a chance to preview a choreography video for the song and noticed you have some moves in there that emulate actual conducting. How did you prepare for that? Did you have to research or watch real maestros?

The 8: We didn’t have to actually conduct, but the moves are similar to conducting movements. And we also portrayed personas of musical geniuses that go mad about their craft, so we included nuances from conducting throughout the performance. 

So that being said, which member from SEVENTEEN fits this concept of a maestro best?

Jun: I think for the music video — we haven’t seen the final version yet, but The 8 and I actually discussed this before — Wonwoo was pretty impactful. 

Seungkwan: In the music video, Wonwoo looks really cool.

Jun: When you see it, you’ll see the madness we’re referring to. [Laughs.]

Seungkwan: What do you think, Wonwoo?

Seungkwan: I pick… Me, since I don’t think anyone else will pick me.

Wonwoo: [Laughs.] You’re right. We wouldn’t choose you. 

Wonwoo: [ To Seungkwan: ] You think you killed it again? [Laughs.]

Seungkwan: I just… think I look cool. I like me.

The 8: I choose Woozi as well, for the same reasons stated. 

Wonwoo and The 8, you both also participated in songwriting for this album, for “LALALI” and “SPELL,” your respective unit songs. Can you share how that process was? 

The 8: I had mentioned that I wanted to have raps in the performance unit’s song this time around, and with Dino, we specifically wrote the rap parts. It felt great to write as it’s been a while. 

Wonwoo: I participated in “LALALI” by the hip-hop unit, and wrote very free-spirited lyrics. 

Seungkwan: [Laughs.]

Wonwoo: It’s very free-spirited. 

Seungkwan: But if you listen to the lyrics that Wonwoo wrote, you’ll hear a new voice of his, so I think it’ll be good to look forward to it. The Performance unit too, when looking from the perspective of the Vocal unit, they have been advancing musically a lot, and I think this new song is a high point of theirs. So Vocal’s is really great, the raps are good, and the Performance unit’s song is good — but I think above all, my unit’s “Cheers to Youth,” I think that song is good. It makes you happy when you hear it. To wrap it up, all three songs are good, but out of the three, I think “Cheers to Youth” is the best one. [Laughs.]

Jun: Honestly, all three songs are so different. I think personal preference plays a big part in which one you like most, so I think a lot of fans will be able to enjoy them.

What are you most looking forward to with this album? 

The 8: I’m most looking forward to the performances. You can feel the beat in your heart. I’m excited to see how the fans react to our energetic performances, and seeing how much fun they are having when we look at them from the stage. 

Seungkwan: “Mansae” brings back memories.

Jun: Is “Fallin’ Flower” included?

Seungkwan: Yep! It’s in there.

Jun: Honestly [laughs] I’ve said it before too, but I really like “Fallin’ Flower.” It starts with a piano and when I hear that melody, I think it might just be personal preference, but I get really excited when I hear it.

Seungkwan: It’s a good song.

Wonwoo: “Adore U” for me. It’s a song that was with us from the start, so it’s a song I cherish.

The 8: “FML” for me. I like it the most. I think the lyrics are great, and the melody is also similar to what I normally like to listen to, so I think it’s a good song.

Seungkwan: For me… It’s hard… I will choose “Pretty U.” I have a four-part high note — for months I practiced really hard. I’m proud of myself. Do you know what I mean by “four-part high note?”

I know! Like IU’s famous three-part high notes.

Seungkwan: Yes! Exactly. [Vocalizes] “Ah, ah, ah, I’m in my dream…” It sounds similar too! [Laughs.]

What are you looking forward to doing once the Follow Tour wraps?

Jun: Even with the tour ending, we go straight into promotions for “Maestro,” so I don’t think it’ll feel like an end, but a new start. It’s also called FOLLOW AGAIN [laughs], and I really think our Carats can enjoy it to no end. So don’t think of it as the end, but just continue to enjoy it.  

Wonwoo: It’s AGAIN , but does feel like a new start.

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Seungkwan: I want to be healthy. Have no one get hurt, stay healthy — it’s impossible to not get sick, but to be sick less. Those things feel more important than ever these days. I think we have to stay healthy for Carats to also feel at ease supporting us. Those are the goals. Of course, performing well, too!

Wonwoo: I want our members and our Carats to be healthy and happy. That’s the goal.

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Fans delighted as Janet Jackson ‘finally’ announces 2024 UK tour dates

‘europe, i know it’s been a minute since we’ve seen each other. but the wait is no longer,’ said the star, article bookmarked.

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Janet Jackson has announced she will be touring Europe this year, with multiple dates set for across the UK.

The “Together Again” tour marks the star’s 50 th anniversary in the industry as well as 35 years since her landmark 1989 album Rhythm Nation 1814 . It had previously been hinted that the singer would be revisiting the UK.

It will be the musician’s first major event in the UK since 2019, when she performed at Glastonbury as part of her world tour for the 30th anniversary of her hit record.

In a video message accompanying the announcement on Monday (29 April), Jackson said: “I just wanted to thank you for making this my most successful tour to date.

“And Europe, I know it’s been a minute since we’ve seen each other. But the wait is no longer, I will be taking the ‘Together Again’ tour all over Europe this fall.

“I cannot wait to see you guys, I miss you so much. We’ve had so much fun with this show, so can’t wait to come and have some of that fun with you guys.”

Fans were delighted, and expressed excitement within minutes of the announcement, wity many writing: “Finally!”

“I’ll be there with bells on! Hotel and transport booked,” said one supporter.

“We have been starved!!!” added another.

Supporters were determined that the anticipated rush for tickets wouldn’t hinder their efforts.

“Janet Jackson has announced another UK tour. Is the fact she is notorious for cancelling her shows going to stop me from frantically searching for tickets on Friday morning…” said one Jackson fan along with a gif of the star saying “No.”

Others said they had waited years for the opportunity to see her.

“I’m so scared I won’t get tickets that my anxiety has shot through the roof. I’ve prayed for times like this for years.”

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The European leg will kick off in Paris on 25 September before moving to Birmingham, London and Glasgow – finishing in the beleaguered Co-op Live arena in Manchester on 1 October.

The “Control” singer will continue the 10-date event with gigs in European cities Antwerp, Munich, Cologne and Berlin before concluding in Amsterdam.

The North American leg, opened by “Dilemma” artist Nelly, launched in April and will continue throughout the US and Canada until July.

Meanwhile, the European tour will be supported by The Fugees member Wyclef Jean, except for the London date for which a supporting act is yet to be announced.

Tickets go on sale this Friday (3 May) at 9am on JanetJackson.com.

Special presale & preferred tickets will be available to Mastercard cardholders starting Tuesday (30 April) at http://priceless.com/music.

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Janet Jackson Brings ‘Together Again Tour’ To Europe

• Gideon Gottfried
• 4:29 am, Monday, 04/29/2024

After extending her successful “Together Again Tour” in North America, Janet Jackson is bringing the tour to the UK and Europe in September and October of this year.

According to tour promoter Live Nation, these newly added dates mark Janet Jackson’s first appearance in the UK since her 2019 Glastonbury performance. All European dates below.

The five-time Grammy winner, and Rock and Roll Hall of Fame inductee completed the first leg of the “Together Again Tour” in 2023, which earned her a spot on Pollstar’s Top 200 Worldwide Tours of that year. It ranked on number 94, with a total gross of $32,678,923 off 307,651 tickets sold. Jackson’s two sold-out nights at Madison Square Garden, May 8-9, alone hauled in an impressive $3,839,132 gross off 24,466 tickets.

This year, she’s already been to Hawaii, where she performed three concerts at the Neal S. Blaisdell Arena in Honolulu, selling 17,662 tickets and grossing $2,396,293 across all three shows.

She’s since been to Japan, and had just performed on the Bahamas at the time of writing. The 2024 U.S. leg kicks off June 4 at Acrisure Arena in Palm Desert, CA.

Jackson is repped worldwide by CAA. More details are available to Pollstar subscribers here .

Janet Jackson “Together Again Tour” European Dates:

Sept. 25 – Paris, France – Accor Arena Sept. 27 – Birmingham, England – Utilita Arena Sept. 28 – London, England – The O2 Sept. 30 – Glasgow, Scotland – OVO Hydro

Oct. 1 – Manchester, England – Co-op Live Oct. 3 – Antwerp, Belgium – Sportpaleis Oct. 5 – Munich, Germany – Olympiahalle Oct. 6 – Cologne, Germany – LANXESS Arena Oct. 8 – Berlin, Germany – Uber Arena Oct. 10 – Amsterdam, Netherlands – Ziggo Dome

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LIV Golf: Kevin Na goes full NSFW, shows why he doesn’t belong on PGA Tour

LIV Golf provides more of a laid back atmosphere for fans and golfers, but Kevin Na took that too far in Adelaide.

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LIV Golf , the Saudi-backed rival league to the PGA Tour, has trumpeted their laid back approach to golf. Whether that is the music playing in the background, the fans chanting as golfers hit their shot, or the players themselves acting a little more relaxed.

This weekend, LIV Golf hosted its most successful event, LIV Adelaide in Australia .

CEO Greg Norman declared victory after a record-setting week. Television ratings were up and there were attendance records set during the three days for LIV Golf.

But just because the tournament was an overall success, that does not mean there were not still hiccups.

A fan chucked a water bottle onto the course and hit a caddie in the head, sending him to the ground.

Then, there is the matter of Kevin Na, who finished T34 in a 54-man field.

Video surfaced of Na acting like a child Sunday, cursing like a trucker after failing to get out of the woods.

LIV Golf star Kevin Na loses his sh!t in Adelaide “F—king Bullsh-t!!!” (Via: milz_ting/TT | @ziregolf ) pic.twitter.com/vJ0S0Io6Ok — NUCLR GOLF (@NUCLRGOLF) April 29, 2024

The video opens with Na standing, clearly frustrated as his ball lie in a patron sand path left of the fairway.

His caddie asks fans to move, as they are blocking the pathway for Na’s attempted shot.

He then completely chunks his shot, as it moved forward maybe 20 feet.

“F***ing bullsh**,” Na can be heard yelling aloud. He then punches his bag on his caddie’s shoulder as he mumbles more curse words.

Things did not get any better.

Na’s next shot strikes a tree and squirts out to the right. At this point, frustration boils over and the 40-year-old shows no care in the world.

He just walks to his ball and whacks it into the fairway, dropping more F-bombs along the way.

It was unbelievably childish behavior from a former 5-time PGA Tour winner . But this would be completely unacceptable on the big boy circuit.

You can get away with it in LIV Golf though. He obviously has zero concerns about how he is acting. Why would he? He already got his bag joining the Saudi-funded golf league.

Even I can acknowledge that there are certain elements of LIV that are good for the game, and in particular, for the fans. But creating an environment where a professional feels emboldened enough to act like that is not one of them.

Kendall Capps is the Senior Editor of SB Nation’s Playing Through. For more golf coverage, follow us @_PlayingThrough on all major social media platforms.

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