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Beach House Tour History

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The enduring brilliance of beach house.

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Beach House  

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Beach House (formed in 2004) is the American dream pop and ethereal indie-rock duo of Victoria Legrand and Alex Scally, hailing from Baltimore, Maryland, U.S.

French-born vocalist and organist Victoria Legrand and guitarist Alex Scally met amidst the buzz of Baltimore’s indie rock community in 2004. The pair soon formed Beach House and began crafting their combinations of drone-like organ sounds, electronic drums, tremolo-induced guitar, and soaring, dreamy vocals. Beach House issued their debut single “Apple Orchard” in August 2006, earning a feature from reputable music critic Pitchfork. The band’s self-titled full-length arrived in October that year, receiving critical acclaim from a host of sources and making a number of year-end best-of lists.

The duo’s sophomore album “Devotion”, issued by Carpark Records, was released in February 2008. Led by the single “Gila”, the album once again generated a stream of positive reviews, and charted at No. 195 on the Billboard 200. Following the release and subsequent worldwide tour, Beach House recorded a version of Queen’s “Play the Game” in aid of the Red Hot Organisation’s “Dark Was The Night” compilation. Legrand went on to provide backing vocals on fellow indie-rockers Grizzly Bear’s hit single “Two Weeks”, before contributing the song “Slow Life” to the “Twilight: New Moon” soundtrack.

Often dubbed as their breakthrough album, the band’s third full-length “Teen Dream” took the indie blogosphere by storm upon release. The record represents a sound honed in on, crafted, and long considered, melancholic melodies floating alongside half-speed percussion and clean guitars notes. Produced by the esteemed Chris Coady, the album exposed Beach House to a huge audience, aided by the singles “Zebra”, “Used to Be” and “Take Care”.

Ahead of their fourth studio album the duo released the single “Myth” on their new label Sub Pop Records in March 2012. A second single “Lazuli” followed in April, before the full-length “Bloom” was issued in May. The album debuted at No. 7 on the Billboard 200, a remarkable feat for an independent band, and was greeted with critical acclaim. Without divagating too far away from their ethereal sway, the record builds upon their earlier releases, adding weight and an experimental edge to their distinguished and polished sound.

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Sometimes it’s nice to be on the receiving end of a surprise, to have your expectations confounded. I had gone along to Beach House at the Riviera expecting a pleasant, if somewhat melancholy, show. I’ve been a fan of their music for a few years now, and I put the albums on during all the contexts in which I listen to music: walking around town, in the metro, peeling the spuds, having dinner, at night on the sofa along with a few bevvies. And while the music is good and often excellent — an aural treat, mesmerising, otherworldly — and Victoria Legrand’s voice is wonderful and uniquely deep and smoky, at certain times and in certain doses it lacks the required energy, gusto and vim to truly grab hold of me. My big surprise last Sunday was that Beach House live are better than on record. The washed-out drear that sometimes leaves me cold when I listen to their records is replaced by a dynamism and aggression that for me lifts Beach House into the realm of the great live acts I’ve seen.

Last Sunday wasn’t just about Beach House being louder* than on record. Loud does not mean good. You can be loud and appalling — Donald Trump is proof of this. Beach House were loud, but they were also a whole panoply of stuff which, as an old goth and shoegazer, tickled me as pink as the sleeve of Loveless. They were brooding, they were menacing, they were aggressive, creepy, disturbing, distorted. When you read any review of Beach House or go to their entry on Wikipedia a you cannot escape the D-word: dream pop. But live, my friends, Beach House are anything but dreamy. “Enter Sandman” eat your heart out, because Beach House are taking over your nightmare.

Road House blues!

Beach House’s sound rests on three pillars (to co-opt that contemptible and ubiquitous business-speak term): Victoria Legrand’s voice; Alex Scally’s guitar; and Victoria Legrand’s keyboards. On Sunday last, all three were not just standing tall, but had grown in stature compared to the restricted dimensions afforded to them in the recording studio. Sometimes compared to Dusty Springfield, Victoria Legrand is the lucky owner of a voice that is both unmistakable and so amazing that the word “gift” is almost always invoked. The voice’s standard setting is low and husky, but it does do high and sweet. Victoria Legrand uses her voice masterfully: it has the clout to knock listeners over the head with its sheer power, like one of those wannabe divas on The X Factor whose winning strategy is to scream the house down, but she uses it as a painter would her brush, dotting splashes of colour and emotion where needed and wanted. Live, the voice is spine tingling. Unlike on record, she let loose a few times and nearly blew a path, Gandalf-like, through the crowd. As a keyboard play, she’s no dunce either. Most songs are driven by her chords and arpeggios. Her rhythmic style and the pads and synth sounds she uses put much of the dream (or otherwise) in Beach House’s pop. She proves that a frontwoman who stands behind a keyboard isn’t necessarily a yawn-factor. She somehow manages to combine being static with dramatic dynamism — her headbanging as she plays and gesturing with whatever hand happens to be free draws the interested eye every bit as much as a hyperactive, twerking Ke$ha/Mylie/Taylor.

Another reason why Beach House should never work live (at least visually) is that Alex Scally sits down for many of the songs. Every bit as anti-rock ‘n’ roll as having your lead singer stuck behind a keyboard, his sit-down style is as distinctive as his bandmate’s voice. He rarely strums or bashes out power chords, but picks out notes to intertwine with voice and keyboard. Many of the songs (“Myth” and “Zebra” for example) hang on Alex Scally’s hooks and melodies, which range from the deceptively simple to the baroque. His sound is somewhere in between Robin Guthrie and David Roback, less spacey than the Cocteaus but less blue than Mazzy Star. It is remarkable that more than three decades have passed since the post-punk explosion but someone like him can still pull a unique and recognisable combination of style of play and choice of effects out of the air — because it is true that he really does sound like no one else. On the night, just like his partner in chime (!), Alex Scally’s sound was more robust than on record. Songs were driven with more urgency and aggression and there was even something of the tormented guitar hero in the way he bashed and twisted and turned the neck of his instrument. As you would expect, there were no five-minute solos, but a degree of improvisation added plenty of new twists to some of the familiar songs.

I read somewhere that Victoria Legrand is a fan of David Lynch. Indeed, Beach House have a song (“Silver Soul”) for which the chorus goes “it is happening again” — a well known catchphrase from Twin Peaks. There is something distinctly lynchian about the atmosphere the band create in a live context. More than once I looked towards the stage and felt I was in the Road House watching the house band, or even in the Red Room hearing secrets I could never understand. It’s the weird sweetness of their sound, their 1950s structures with a nightmare twist that transports one to the Bookhouse or the Black Lodge. I can easily see them soundtracking the new Twin Peaks, if it ever appears.

From a distance!

The icing on the cake of a great concert was Victoria Legrand’s humour and warmth. In between songs she built up a rap about the cheesiness of the venue (it has a fake oasis as its central bar) and then got on to the serious topic of what happened in Paris the week before (she was born in France). She thanked us for venturing out to see the band with all that was going on. We cannot thank them enough for keeping the flag flying for challenging and arresting live music.

*Being a loud live act in Spain has the advantage of drowning out the chatter of those that come to a gig to catch up with their buddies and generally chew the fat.

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Ever since 'Apple Orchard' way back in 2006 I have followed and revelled in the music of Beach House and watching them live just compounds what an amazing band they are.

This was my fourth time of seeing Victoria and Alex perform live, my first time at the Troxy and I was not disappointed, these guys deliver in spades and the ninety minute set is gone before you have time to catch your breath.

They covered a great back catalogue of tracks and obviously show-pieced many songs from their latest offering; 7.

Right from the opening of 'Leviathan' it was pretty apparent the Baltimore duo were on form and raring to give the audience what they had come for.

My only regret, purely personal, was they did not play the finely anthemic 'Irene' however, it did not detract from what was a real spectacle.

Having seen them perform before to muted monochrome sets or fairly simple lighting displays, the Troxy performance was backed by a stunning exhibition of light, colour, smoke, silhouettes and back-screen images.

A stunning amalgam of dazzling stage display and the finest dream-pop you'll ever hear delivered with utter professionalism and with just a dash of ad-lib which Beach House only serve to bring their audience even closer.

Never seen them live? Do yourself a favour and lose yourself in the presence and music of one of the best contemporary rock/pop/ambient bands around.

Oh, and by the way, their support band whose name I irritatingly missed but will endeavour to find out, were absolutely superb too, a really exciting drum and synth duo also from Baltimore who delivered a blistering set of high-octane electronica performed by two exceptionally accomplished musicians.

Thank you Beach House, 'til the next time, play on.

Phil Jarvis, aged fifty five and a quarter.

There are few bands that can match the surreal beauty of Beach House and seeing them live was something I had to do. I wanted to experience this dream pop duo as they were meant to be heard and not just how they were recorded on the album.

I went to see them at a smaller venue, holding only a couple hundred people. As soon as I arrived, there was a line to go in. Beach House was more popular then I thought. It took me a few minutes to get in, but I still had a good spot by the time the opening bands had played. When Victoria Legrand and Alex Scally took the stage the crowd went still. I don’t think anyone was sure what to expect. The recordings are so soft but strong, would the live performance be the same?

Just then the band started playing “Myth” one of their most popular songs. Everyone got into it. Most had their hands in the air, swaying, dancing, and feeling the music.

Victoria’s vocals were spot on the whole set, both moody and powerful. Alex was great as well playing a simple and overwhelming sound from his guitar. The show closed with the song “Zebra” a true crowd favorite. The song seemed to rock the crowd to sleep. Sadly, as it ended the band left the stage. I think we all could have listened to that set forever.

This was the first proper concert I'd ever been to, and it was spectacular. They really, really don't disappoint in their performance. Victoria is stunning and her voice is magic. The lights and everything were great too - props to their team.

When they started playing 'Walk in the Park', it made me so inexplicably happy I almost cried haha - and that was just their second song in! They played pretty much all the songs I was hoping they'd play: Levitation, Walk in the Park, 10 Mile Stereo, Silver Soul, Beyond Love, Space Song, All Your Yeahs, Elegy to the Void - god, they almost didn't play 'Sparks' and that would have left me so so disappointed.

Thankfully, they came on for an encore and that was their last song of the night. The performance felt way too short, and when Victoria came back on stage, she said something like "thank you for coming before we leave Melbourne forever". Ahhh forever?!

The only issue I had was with the crowd which seemed pretty dead (or at least the people around me), and they were more consumed with filming the performance than really getting into the music - which was unfortunate. The girl next to me was frigid and kept checking her phone like she couldn't wait for it to end.

Despite only forming in 2004, dream pop duo Beach House have already received great critical acclaim and are beginning to be recognised worldwide. Hailing from Baltimore, Maryland, USA, the dreamy duo have been praised for their ethereal sound and indie rock talent. Hearing them perform live is a million times more magical than hearing them recorded: they are simply one of those bands that demand to be seen live, in their natural form. Victoria Legrand and Alex Scally are a beautiful pair: Victoria’s phenomenal vocals, beautiful and soft yet strong, harmonise perfectly with Alex’s skillful guitar strumming. They have great chemistry on stage and really are a wonder to watch. One of the nicest things about their gig was the intimate atmosphere, mostly created by the rather small venue, that really suited the band’s style and sound. The room captured their sounds without losing any to muffled echoes. The crowd swayed, clapped and waved their hands along to such hits like ‘Zebra’ and ‘Myth’ but in large part, remained silent so as not to disturb a single moment of the magic going on on stage.

This is the third time I see Beach House, and frankly, it will be the last if they don't reinvent their live act. The first two times were at festivals where they played late, and people where drunk and chatty, so I was hoping that a designated act on a Tuesday evening would present a different experience, but unfortunately it didn't. The show is quite stale, and certainly not fitting for a standing crowd. I think it could be an enjoyable experience if it was at a concert hall with seating and impeccable sound, but when the stage performance consists of light and not much else--as per usual the three band members barely moved, and seeing their silhouettes was about as personal as it got--and the rest of the setting is essentially a rock-'n'-roll gig, there's just something that doesn't add up. On a positive note a few of the songs did have an extra layer of dynamism in their live form--Space Song and Lazuli come to mind.

Overall, though, I was hoping that third time would be a charm, but I left disappointed.

Dream pop duo Beach House have achieved a universal critical acclaim and global notoriety in their short spanning career. Thanks to the near perfection of the first three studio albums and proficiently designed live show, fans sell out the group's fleeting appearances as soon as tickets are available.

They were offered the honour of headlining the Big Top stage at Latitude Festival 2013 which is a known celebration of all things indie and performed with a surreal expertise. The glowing colours, impactful synth and droning bass tones came together in a truly indescribable way as Victoria Legrand and Alex Scally carefully led their audience through a detailed and well thought out setlist. 'Bloom' has been there most successful release thus far so therefore a large majority of the setlist was comprised of these tracks including immaculate versions of 'New Year' and 'Wild' whilst older fans were rewarded for their dedication with an airing of 'Zebra' and 'Silver Soul'.

One of my favourite band to listen to whenever because they chase the anxiety so efficiently and never fails to put me on a rocketship, directly to space. You feel the same calmness as when the night has fallen and all is asleep and silent.

Their live show perfectly recreates that. The atmosphere you feel in their music is recreated with the darkness of the room and the really amazing light show they put on. Often, on my favourite songs, the show hold my emotions very tightly. It was very magical and ethereal. But i am this enthusiastic about this because their songs already please me so much. It's deffo a chill concert, that can transport you to another universe. And even though it was my first time at the back of the room, i still enjoyed it very v much. so glad i was them and really hope i can see them again live!

What a great concert! They're surely great musicians and I had great expectations for this one! They covered more musics from the last 2 albuns, mostly from Depression Cherry (Levitation, Beyond Love, Sparks, PPP) as expected but they also played musics from the previous (and not only the most popular ones). Heartbreaker, the first music that Alex and Vitoria composed together, Wishes and Walk in the Park were an example <3 They managed to create the appropriate atmosphere, dazing and introspective, and the stars from the Bloom album cover projected behind them were just magical. Finishing with Irene was the cherry on top of the cake for me. I'm eager to see them again as soon as I can and thankfull to my lucky stars for being there <3

This is the third city I've had the pleasure of seeing Beach House in. Outside beneath the stars or indoors, this band always has the power to penetrate your very being and make you feel all the regret or nostalgia that the singer, Victoria Legrand is trying to convey with her deep, echo-ed voice. Older tracks had me singing along, almost clutching my chest to hold in all the emotion and unknown tracks had me excited at the prospect of a new album. Although the rest of the band, Alex Scally included were on the quiet side, Legrand's brief interactions with the crowd in between songs kept the show light-hearted and feeling more intimate. Definitely a band I will see live, again and again.

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Beach House Detail New Album 7 , Plot World Tour

By Michelle Hyun Kim and Evan Minsker

Beach House have revealed the title and release date for their new album: 7 arrives May 11 via Sub Pop , Bella Union , and Mistletone . It features their new single “ Dive ,” which they dropped last night, and the previously shared track “ Lemon Glow .” It also includes contributions from Spacemen 3’s Sonic Boom and the band’s touring drummer James Barone. In addition to the 7 details, Beach House have announced a world tour, which begins next month. Find those dates, along with the 7 artwork and tracklist, below.

In 2015, Beach House shared two albums: Depression Cherry and Thank Your Lucky Stars . Last year, they released a compilation of unreleased music called B-Sides and Rarities . It featured a cover of Queen’s “The Game,” as well as the track “ Chariot ” (which later received a self-directed music video ).

Revisit Pitchfork’s 2015 conversation with Beach House, “ All the Feels: Beach House’s Intangible Truth .”

01 Dark Spring 02 Pay No Mind 03 Lemon Glow 04 L’Inconnue 05 Drunk in LA 06 Dive 07 Black Car 08 Lose Your Smile 09 Woo 10 Girl of the Year 11 Last Ride​

Beach House:

04-30 Chattanooga, TN - The Signal 05-01 New Orleans, LA - Civic Theatre 05-02 Little Rock, AR - Metroplex Live 05-04 Oxford, MS - The Lyric 05-05 Tulsa, OK - Cain’s Ballroom 05-07 Albuquerque, NM - Sunshine Theater 05-08 El Paso, TX - Tricky Falls 05-11 Mexico City, Mexico - Auditorio Blackberry 05-13 Mayer, AZ - Form Arcosanti 06-02 Barcelona, Spain - Primavera Sound 07-26 Philadelphia, PA - Tower Theater 07-27 Raleigh, NC - The Ritz 07-28 Atlanta, GA - Buckhead Theatre 07-30 Dallas, TX - Bomb Factory 07-31 Austin, TX - ACL Live at the Moody Theater 08-02 Tucson, AZ - Rialto Theatre 08-03 Los Angeles, CA - Hollywood Forever Cemetery 08-05 San Diego, CA - The Observatory at North Park 08-07 Oakland, CA - The Fox Theater 08-10 Portland, OR - Keller Auditorium 08-12 Vancouver, British Columbia - Orpheum Theatre 08-14 Salt Lake City, UT - The Depot 08-15 Denver, CO - Ogden Theatre 08-17 St. Paul, MN - The Palace Theatre 08-18 Chicago, Il - Chicago Theatre 08-19 Detroit, MI - Royal Oak Music Theatre 08-20 Toronto, Ontario - Sony Centre 08-22 New York, NY - United Palace Theatre 08-23 Brooklyn, NY - Kings Theatre 08-24 Boston, MA - House of Blues 08-25 Washington, DC - The Anthem 09-25 Lisbon, Portugal - Coliseu dos Recreios 09-26 Porto, Portugal - Teatro sa da Bandeira 09-30 Lyon, France - Epicerie Moderne 10-01 Cologne, Germany - Gloria 10-02 Berlin, Germany - Huxleys 10-04 Lund, Sweden - Mejeriet 10-05 Gothenburg, Sweden - Tradgarn 10-07 Oslo, Norway - Rockefeller 10-08 Stockholm, Sweden - Munchenbryggeriet 10-09 Copenhagen, Denmark - Forum Black Box 10-11 Hamburg, Germany - Kampnagel 10-12 Utrecht, Netherlands - TivoliVredenburg 10-13 Brussels, Belgium - AB 10-15 Paris, France - Olympia 10-18 London, England - Troxy 10-19 Manchester, England - Albert Hall 10-20 Dublin, Ireland - Vicar Street

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Artist Spotlight: Beach House puts the ‘dreamy’ in dream pop

Beach House, consisting of Victoria Legrand and Alex Scally, is known for its distinct musical style, which is characterized by the hypnotic interplay between Legrand's melodic voice and keyboards and Scally's guitar. Its music often incorporates dream pop and indie rock elements, creating a lush and dreamy sound.

Beach House was formed in 2004 when Legrand and Scally met in Baltimore. The pair quickly started working on music together, combining their talent and similar passions for music.

The duo has gained a large following for their ability to craft a captivating and unique sound. Beach House's discography includes albums such as "Teen Dream," "Bloom," "Depression Cherry" and "7," among others. With every release, Beach House revealed new possibilities within the dream pop genre.

Beach House’s self-titled debut album, “Beach House,” was released in 2006. The album showcased its dream pop sound and garnered positive reviews, drawing attention to its unique blend of atmospheric melodies and Legrand's captivating voice.

In 2008, Beach House released its second album, "Devotion." The album featured tracks like, “Gila” and “Heart of Chambers.”

Beach House's breakthrough moment came with the release of "Teen Dream" in 2010. This album earned extensive praise and was widely acclaimed. The popular track, “Silver Soul,” came from this album and was sampled by Kendrick Lamar in “Money Trees .”

Beach House’s music has been sampled by other prominent artists. In 2011, The Weeknd sampled “ Master of None ” and “ Gila ” in his songs “ The Party & The After Party ” and “ Loft Music .”

“Bloom” was released in 2012 and continued the duo's success. The album maintained Beach House’s dreamy sound, and songs such as "Myth" and "Lazuli" set the tone for the album.

In a surprising move, Beach House released two albums in 2015, "Depression Cherry" and " Thank Your Lucky Stars ." Both albums showcased its commitment to artistic exploration and experimentation.

The fan-favorite song “Space Song,” from their album "Depression Cherry,” is approaching one billion listens on Spotify. The song can even be heard in the popular Netflix series, “ Wednesday .”

In 2017, Beach House released “B-Sides and Rarities.” This album brought together 14 tracks that included the previously unreleased “ Chariot ” and “ Baseball Diamond .”

In 2018, “7," was released and marked a departure from Beach House’s previous sound. It featured a darker and more experimental tone. The album included tracks like "Black Car" and "Lemon Glow."

Beach House has continued to release music and tour, maintaining a consistent presence in the indie music scene. Its albums, including "Once Twice Melody," released in 2022, have showcased the band’s evolution while staying true to its dream pop roots.

An EP of unreleased songs from "Once Twice Melody” was released in April 2023. “Become” was first released as a limited-edition Record Store Day release and became available on streaming services later that month.

Beach House emerged as one of the most influential 2000s indie bands and is still going strong. Each album holds its own sound, lyrical composure and weight. The albums all come together to write the legacy and story that Beach House fans and listeners have come to treasure.

Legrand, in an interview with Glamcult Magazine said, “In feeling our music, I feel many things that are not ‘dream’ or ‘pop’. Some of it is so physical; there’s much more than just two words.”

Despite Beach House being placed in the “dream pop” category, anyone who has listened to and felt their music knows it cannot be placed into one box.

Beach House's history is marked by a consistent commitment to its unique identity and dreamy atmosphere. It has carved out a unique niche in the indie music scene, and its sound continues to evolve while maintaining the atmospheric and captivating qualities that define its music.

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Beach House announce new album Once Twice Melody , reveal 2022 tour dates

The project will be released in four chapters, with the first four songs out tonight at midnight..

Beach House , one of the most acclaimed and beloved dream-pop acts of the century, have announced their eighth studio album Once Twice Melody . The project will be released over the next few months in four separate chapters, with the first out this evening (November 9) at midnight.

The songs that will be released tonight are titled "Once Twice Melody," "Superstar," "Pink Funeral," and "Through Me." The second batch of songs will be released on December 8, the third on January 19, and the fourth and final on February 18. In total, 18 songs will span Once Twice Melody 's tracklist. The album is the first produced entirely by Beach House.

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In 2022, Beach House will embark on an extensive world tour. Tickets go on sale Friday, November 19th, 2021 at 10 a.m. local time, and you can register for an artist presale here .

Beach House 2022 tour dates

2/18 - Pittsburgh, PA - Stage AE 2/19 - Royal Oak, MI - Royal Oak Music Theatre 2/20 - Grand Rapids, MI - GLC Live at 20 Monroe 2/22 - Kansas City, MO - Arvest Bank Theatre at the Midland 2/23 - Des Moines, IA - Val Air Ballroom 2/25 - Madison, WI - The Sylvee 2/26 - St. Paul, MN - The Palace Theatre 2/27 - Milwaukee, WI - Riverside Theatre 3/1 - Indianapolis, IN - Egyptian Room at Old National Centre 3/2 - Cincinnati, OH - PromoWest Pavilion at Ovation 3/22 - Raleigh, NC - The Ritz 3/23 - Atlanta, GA - The Eastern 3/25 - Austin, TX - Moody Amphitheatre at Waterloo Park 3/26 - Houston, TX - House of Blues 3/27 - Dallas, TX - The Factory in Deep Ellum 3/29 - Santa Fe, NM - Lensic Performing Arts Center 3/30 - Denver, CO - Mission Ballroom 4/1 - Missoula, MT - The Wilma 4/2 - Spokane, WA - Knitting Factory 4/3 - Seattle, WA - Paramount Theatre 4/5 - Vancouver, British Columbia - Queen Elizabeth Theatre 4/6 - Portland, OR - The Keller Auditorium 4/8 - Berkeley, CA - Greek Theatre at UC Berkeley 4/9 - Los Angeles, CA - Greek Theatre 5/21 - Dublin, Ireland - The National Stadium 5/23 - Glasgow, Scotland - Barrowland Ballroom 5/24 - Manchester, England - Manchester Academy 5/26 - London, England - O2 Academy Brixton 5/28 - Antwerp, Belgium - De Roma 5/30 - Brussels, Belgium - Ancienne Belgique 5/31 - Paris, France - L’Olympia 6/2 - Nimes, France - Paloma 6/4- Barcelona, Spain - Primavera Sound Festival 6/7 - Cologne, Germany - Carlswerk Victoria 6/8 - Berlin, Germany - Columbiahalle 6/9 - Copenhagen, Denmark - Falkoner Centre 7/8 - Richmond, VA - The National 7/9 - Asheville, NC - Rabbit Rabbit 7/10 - Louisville, KY - Old Forester’s Paristown Hall 7/12 - Cleveland, OH - Agora Theatre 7/13 - Chicago, IL - Radius 7/15 - Toronto, Ontario - Massey Hall 7/16 - Montreal, Quebec - M Telus 7/18 - New Haven, CT - College Street Music Hall 7/19 - Brooklyn, NY - Kings Theatre 7/20 - Brooklyn, NY - Kings Theatre 7/22 - Boston, MA - Roadrunner 7/23 - Philadelphia, PA - The Met 7/24 - Washington, D.C. - The Anthem

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Beach House Plot North American Tour Surrounding Festival Appearances

The Baltimore-based duo reveal a string of dates connecting their festival plans at Just Like Heaven, Bonnaroo and more

Last May, Baltimore dream-pop duo Beach House dropped their seventh album, the aptly titled 7 . Now they have announced a run of shows this spring and summer in between several major festival appearances.

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Beach House will kick off the run on Apr. 30 in San Luis Obispo, Calif., at the picturesque Madonna Inn and hit Seattle, Brooklyn, N.Y., and their hometown of Baltimore, Md., in between appearances at festivals such as Just Like Heaven in Long Beach, Calif., All Points East in London, England, Bonnaroo in Manchester, Tenn. and Bellwether in Waynesvill, Ohio.

The duo also kicks off a four-date run in Australia and New Zealand tomorrow. Back in October 2018, they released a special limited edition tour vinyl 7" single for "Lose Your Smile" featurinig a new song, "Alien," as the B-side. 

<blockquote class="twitter-tweet" data-lang="en"><p lang="en" dir="ltr">Having just completed A sold out EU + North American tour, <a href="https://twitter.com/BeaccchHoussse?ref_src=twsrc%5Etfw">@BeaccchHoussse</a> are pleased to announce the release of a limited edition 7&quot; slime green vinyl featuring the magnificent &quot;Alien&quot; + &quot;Lose Your Smile&quot;. Stocks are limited so get it while it lasts!  <a href="https://t.co/dsW7TEaAWB">https://t.co/dsW7TEaAWB</a></p>&mdash; bella union (@bellaunion) <a href="https://twitter.com/bellaunion/status/1055823209482862593?ref_src=twsrc%5Etfw">October 26, 2018</a></blockquote>

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As an album, 7 brought the duo's musical style and fan base to new levels. Spin called the album, "the group’s shortest, most accomplished, and confident record," saying, "Beach House has finally leaned into the sheer force of their music."

Tickets for the upcoming tour can be purchased via Ticketmaster's website .

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Photo: Jeff Kravitz/FilmMagic

GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016

Upon winning the GRAMMY for Best Rap Album for 'To Pimp a Butterfly,' Kendrick Lamar thanked those that helped him get to the stage, and the artists that blazed the trail for him.

Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly . Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly .

"Hip-hop. Ice Cube . This is for hip-hop," he said. "This is for Snoop Dogg , Doggystyle . This is for Illmatic , this is for Nas . We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal , Anna Wise and Thundercat ). He also won Best Music Video for the remix of Taylor Swift 's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN ., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers .

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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10 Record Store Day Releases You Need This Year: Taylor Swift, Nas, Dolly Parton & More

Celebrate Record Store Day this April 22 by stocking up on new, exclusive LPs from Taylor Swift, Björk, The Rolling Stones and more at your local participating record store.

From Post Malone to Peppa Pig vinyls, record stores around the world are stocking up on limited exclusive releases for Record Store Day 2023.

Held annually every April since 2007, the event honors independently owned record stores and the unity of fans and artists. This year, many stores will globally welcome more than 300 limited, exclusive records ranging from rock to jazz to rap on April 22.

With former official ambassadors including Taylor Swift , Metallica , Ozzy Osbourne , Jack White , Chuck D , and St. Vincent , Record Store Day celebrates music of all genres. And that's exactly the case with this year's lineup of special releases, spanning from Miles Davis to Beach House.

In honor of Record Store Day 2023, get excited about these 10 limited, exclusive releases dropping in your local participating store.

The 1975 — I like it when you sleep, for you are so beautiful yet so unaware of it: Live With The BBC Philharmonic Orchestra

Serving as the official Record Store Day UK Ambassadors this year, the 1975 take us back to 2016 with their second LP, I like it when you sleep, for you are so beautiful yet so unaware of it — this time, along with the BBC Philharmonic Orchestra. Available for the first time on double clear vinyl, this orchestral version of the British rock band's second studio album also features a version of their breakout hit, "Chocolate."

Miles Davis — TURNAROUND: Unreleased Rare Vinyl from On the Corner

Miles Davis ' album On the Corner celebrated its 50th birthday last October, and its innovation takes yet another turn on Record Store Day. Titled Turnaround , this sky-blue vinyl features four cuts from the expanded 2007 album The Complete On The Corner Sessions , also offering appearances from Herbie Hancock , Dave Liebman and Bennie Maupin.

Björk — the fossora remixes

Fill your record collection with some flora and fauna — natural, eccentric scarlet and green patterns adorn each vinyl sleeve of Björk 's exclusive the fossora remixes . The release features two dynamic songs: A1 Ovule featuring Shygirl (Sega Bodega remix) and A2 Atopos (sideproject remix).

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Beach House — Become

Fourteen months after psychedelic pop duo Beach House unveiled their eighth studio album, Once Twice Melody , they continue the story with a new EP. Titled Become, the five-song project — which is available on crystal-clear vinyl on Record Store Day — features five formerly unreleased songs from their 2022 LP.

Nas — Made You Look: God's Son Live 2002

Just over 20 years ago, Nas gave a spectacular performance at Webster Hall in New York City, further solidifying his status as a legend of East Coast hip-hop. The spirited 20-song concert now appears on vinyl for the first time, with familiar artwork calling back to its original DVD release in 2003.

Dolly Parton — The Monument Singles Collection 1964-1968

More than six decades into her career, Dolly Parton joins the Record Store Day fun with a celebration of her early years. The country legend's remastered singles from the 1960s are hitting record store shelves, and the special first-time collection also features liner notes from two-time GRAMMY nominee Holly George-Warren .

The Rolling Stones — Beggars Banquet

As the Rolling Stones sang of "a swirling mass of grey, blue, black, and white" on "Salt Of The Earth," the rock band's upcoming limited vinyl for Beggars Banquet will be pressed with a swirl pattern of the same four colors in tribute. The group merges classic rock with their blues roots on Beggars Banquet , and the vinyl of their 1968 critically-acclaimed album features the original artwork and window display poster.

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Taylor Swift — folklore: the long pond studio sessions

In September 2020, Taylor Swift's GRAMMY-winning album folklore was reimagined at New York's Long Pond Studio with a pair of the singer's closest collaborators, Aaron Dessner ( The National ) and Jack Antonoff ( fun. /Bleachers). And in November that year, fans got to witness those sessions in a Disney+ documentary. Now, more than two years later, the serene album's acoustic studio sessions are available on vinyl for the first time, including four sides and bonus track "the lakes."

'Ol Dirty Bastard — Return to the 36 Chambers: The Dirty Version

ODB 's memory lives on in the vinyl rerelease of his iconic 1995 debut album, Return to the 36 Chambers: The Dirty Version . Featuring the 2020 remasters of 15 tracks, this drop is the first posthumous release from ODB since 2011, but not the first time fans have heard his voice since then: SZA 's SOS track "Forgiveless" concludes with a previously unreleased verse from the late rapper.

Donna Summer — A Hot Summer Night (40th Anniversary Edition)

This year marks the 40th anniversary of Donna Summer 's momentous Hard For The Money Tour . This exclusive vinyl celebrates the Queen of Disco in all her glory, capturing her live concert at Costa Mesa's Pacific Amphitheatre from August 1983. The vinyl offers performances by special guests Musical Youth , her sisters Dara and Mary Ellen, and her eldest daughter Mimi.

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A Guide To Modern Funk For The Dance Floor: L'Imperatrice, Shiro Schwarz, Franc Moody, Say She She & Moniquea

James Brown changed the sound of popular music when he found the power of the one and unleashed the funk with "Papa's Got a Brand New Bag." Today, funk lives on in many forms, including these exciting bands from across the world.

It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown . The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.

Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.

Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton , who created P-funk, an expansive, Afrofuturistic , psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic . Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis , Silk Sonic , and Omar Apollo; and Kendrick Lamar , Flying Lotus , and Thundercat , respectively.

In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.

Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels , while its sparkly sprinklings can be heard in pop from Dua Lipa , Doja Cat , and, in full "Soul Train" character, Silk Sonic . There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin ’s global sonic collage.

There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music , Amazon Music and Pandora .

Say She She

Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.

While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism . Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and " Norma " is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers , from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."

Moniquea 's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’ s "Get It Right" and Gladys Knight ’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.

Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat .

Shiro Schwarz

Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.

Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.

L'Impératrice

L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.

During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo , is a sunny, playful French disco journey.

Franc Moody

Franc Moody 's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.

Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether .

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Living Legends: Billy Idol On Survival, Revival & Breaking Out Of The Cage

"One foot in the past and one foot into the future," Billy Idol says, describing his decade-spanning career in rock. "We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol."

Living Legends is a series that spotlights icons in music still going strong today. This week, GRAMMY.com spoke with Billy Idol about his latest EP,   Cage , and continuing to rock through decades of changing tastes.

Billy Idol is a true rock 'n' roll survivor who has persevered through cultural shifts and personal struggles. While some may think of Idol solely for "Rebel Yell" and "White Wedding," the singer's musical influences span genres and many of his tunes are less turbo-charged than his '80s hits would belie.  

Idol first made a splash in the latter half of the '70s with the British punk band Generation X. In the '80s, he went on to a solo career combining rock, pop, and punk into a distinct sound that transformed him and his musical partner, guitarist Steve Stevens, into icons. They have racked up multiple GRAMMY nominations, in addition to one gold, one double platinum, and four platinum albums thanks to hits like "Cradle Of Love," "Flesh For Fantasy," and "Eyes Without A Face." 

But, unlike many legacy artists, Idol is anything but a relic. Billy continues to produce vital Idol music by collaborating with producers and songwriters — including Miley Cyrus — who share his forward-thinking vision. He will play a five-show Vegas residency in November, and filmmaker Jonas Akerlund is working on a documentary about Idol’s life. 

His latest release is Cage , the second in a trilogy of annual four-song EPs. The title track is a classic Billy Idol banger expressing the desire to free himself from personal constraints and live a better life. Other tracks on Cage incorporate metallic riffing and funky R&B grooves. 

Idol continues to reckon with his demons — they both grappled with addiction during the '80s — and the singer is open about those struggles on the record and the page. (Idol's 2014 memoir Dancing With Myself , details a 1990 motorcycle accident that nearly claimed a leg, and how becoming a father steered him to reject hard drugs. "Bitter Taste," from his last EP, The Roadside , reflects on surviving the accident.)

Although Idol and Stevens split in the late '80s — the skilled guitarist fronted Steve Stevens & The Atomic Playboys, and collaborated with Michael Jackson, Rick Ocasek, Vince Neil, and Harold Faltermeyer (on the GRAMMY-winning "Top Gun Anthem") —  their common history and shared musical bond has been undeniable. The duo reunited in 2001 for an episode of " VH1 Storytellers " and have been back in the saddle for two decades. Their union remains one of the strongest collaborations in rock 'n roll history.

While there is recognizable personnel and a distinguishable sound throughout a lot of his work, Billy Idol has always pushed himself to try different things. Idol discusses his musical journey, his desire to constantly move forward, and the strong connection that he shares with Stevens. 

Steve has said that you like to mix up a variety of styles, yet everyone assumes you're the "Rebel Yell"/"White Wedding" guy. But if they really listen to your catalog, it's vastly different.

Yeah, that's right. With someone like Steve Stevens, and then back in the day Keith Forsey producing... [Before that] Generation X actually did move around inside punk rock. We didn't stay doing just the Ramones two-minute music. We actually did a seven-minute song. [ Laughs ]. We did always mix things up. 

Then when I got into my solo career, that was the fun of it. With someone like Steve, I knew what he could do. I could see whatever we needed to do, we could nail it. The world was my oyster musically. 

"Cage" is a classic-sounding Billy Idol rocker, then "Running From The Ghost" is almost metal, like what the Devil's Playground album was like back in the mid-2000s. "Miss Nobody" comes out of nowhere with this pop/R&B flavor. What inspired that?

We really hadn't done anything like that since something like "Flesh For Fantasy" [which] had a bit of an R&B thing about it. Back in the early days of Billy Idol, "Hot In The City" and "Mony Mony" had girls [singing] on the backgrounds. 

We always had a bit of R&B really, so it was actually fun to revisit that. We just hadn't done anything really quite like that for a long time. That was one of the reasons to work with someone like Sam Hollander [for the song "Rita Hayworth"] on The Roadside . We knew we could go [with him] into an R&B world, and he's a great songwriter and producer. That's the fun of music really, trying out these things and seeing if you can make them stick. 

I listen to new music by veteran artists and debate that with some people. I'm sure you have those fans that want their nostalgia, and then there are some people who will embrace the newer stuff. Do you find it’s a challenge to reach people with new songs?

Obviously, what we're looking for is, how do we somehow have one foot in the past and one foot into the future? We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol. 

You want to do things that are true to you, and you don't just want to try and do things that you're seeing there in the charts today. I think that we're achieving it with things like "Running From The Ghost" and "Cage" on this new EP. I think we’re managing to do both in a way. 

** Obviously, "Running From The Ghost" is about addiction, all the stuff that you went through, and in "Cage" you’re talking about  freeing yourself from a lot of personal shackles. Was there any one moment in your life that made you really thought I have to not let this weigh me down anymore ? **

I mean, things like the motorcycle accident I had, that was a bit of a wake up call way back. It was 32 years ago. But there were things like that, years ago, that gradually made me think about what I was doing with my life. I didn't want to ruin it, really. I didn't want to throw it away, and it made [me] be less cavalier. 

I had to say to myself, about the drugs and stuff, that I've been there and I've done it. There’s no point in carrying on doing it. You couldn't get any higher. You didn't want to throw your life away casually, and I was close to doing that. It took me a bit of time, but then gradually I was able to get control of myself to a certain extent [with] drugs and everything. And I think Steve's done the same thing. We're on a similar path really, which has been great because we're in the same boat in terms of lyrics and stuff. 

So a lot of things like that were wake up calls. Even having grandchildren and just watching my daughter enlarging her family and everything; it just makes you really positive about things and want to show a positive side to how you're feeling, about where you're going. We've lived with the demons so long, we've found a way to live with them. We found a way to be at peace with our demons, in a way. Maybe not completely, but certainly to where we’re enjoying what we do and excited about it.

[When writing] "Running From The Ghost" it was easy to go, what was the ghost for us? At one point, we were very drug addicted in the '80s. And Steve in particular is super sober [now]. I mean, I still vape pot and stuff. I don’t know how he’s doing it, but it’s incredible. All I want to be able to do is have a couple of glasses of wine at a restaurant or something. I can do that now.

I think working with people that are super talented, you just feel confident. That is a big reason why you open up and express yourself more because you feel comfortable with what's around you.

Did you watch Danny Boyle's recent Sex Pistols mini-series?

I did, yes.

You had a couple of cameos; well, an actor who portrayed you did. How did you react to it? How accurate do you think it was in portraying that particular time period?

I love Jonesy’s book, I thought his book was incredible. It's probably one of the best bio books really. It was incredible and so open. I was looking forward to that a lot.

It was as if [the show] kind of stayed with Steve [Jones’ memoir] about halfway through, and then departed from it. [John] Lydon, for instance, was never someone I ever saw acting out; he's more like that today. I never saw him do something like jump up in the room and run around going crazy. The only time I saw him ever do that was when they signed the recording deal with Virgin in front of Buckingham Palace. Whereas Sid Vicious was always acting out; he was always doing something in a horrible way or shouting at someone. I don't remember John being like that. I remember him being much more introverted.

But then I watched interviews with some of the actors about coming to grips with the parts they were playing. And they were saying, we knew punk rock happened but just didn't know any of the details. So I thought well, there you go . If ["Pistol" is]  informing a lot of people who wouldn't know anything about punk rock, maybe that's what's good about it.

Maybe down the road John Lydon will get the chance to do John's version of the Pistols story. Maybe someone will go a lot deeper into it and it won't be so surface. But maybe you needed this just to get people back in the flow.

We had punk and metal over here in the States, but it feels like England it was legitimately more dangerous. British society was much more rigid.

It never went [as] mega in America. It went big in England. It exploded when the Pistols did that interview with [TV host Bill] Grundy, that lorry truck driver put his boot through his own TV, and all the national papers had "the filth and the fury" [headlines].

We went from being unknown to being known overnight. We waited a year, Generation X. We even told them [record labels] no for nine months to a year. Every record company wanted their own punk rock group. So it went really mega in England, and it affected the whole country – the style, the fashions, everything. I mean, the Ramones were massive in England. Devo had a No. 1 song [in England] with "Satisfaction" in '77. Actually, Devo was as big as or bigger than the Pistols.

You were ahead of the pop-punk thing that happened in the late '90s, and a lot of it became tongue-in-cheek by then. It didn't have the same sense of rebelliousness as the original movement. It was more pop.

It had become a style. There was a famous book in England called Revolt Into Style — and that's what had happened, a revolt that turned into style which then they were able to duplicate in their own way. Even recently, Billie Joe [Armstrong] did his own version of "Gimme Some Truth," the Lennon song we covered way back in 1977.

When we initially were making [punk] music, it hadn't become accepted yet. It was still dangerous and turned into a style that people were used to. We were still breaking barriers.

You have a band called Generation Sex with Steve Jones and Paul Cook. I assume you all have an easier time playing Pistols and Gen X songs together now and not worrying about getting spit on like back in the '70s?

Yeah, definitely. When I got to America I told the group I was putting it together, "No one spits at the audience."

We had five years of being spat on [in the UK], and it was revolting. And they spat at you if they liked you. If they didn't like it they smashed your gear up. One night, I remember I saw blood on my T-shirt, and I think Joe Strummer got meningitis when spit went in his mouth.

You had to go through a lot to become successful, it wasn't like you just kind of got up there and did a couple of gigs. I don't think some young rock bands really get that today.

With punk going so mega in England, we definitely got a leg up. We still had a lot of work to get where we got to, and rightly so because you find out that you need to do that. A lot of groups in the old days would be together three to five years before they ever made a record, and that time is really important. In a way, what was great about punk rock for me was it was very much a learning period. I really learned a lot [about] recording music and being in a group and even writing songs.

Then when I came to America, it was a flow, really. I also really started to know what I wanted Billy Idol to be. It took me a little bit, but I kind of knew what I wanted Billy Idol to be. And even that took a while to let it marinate.

You and Miley Cyrus have developed a good working relationship in the last several years. How do you think her fans have responded to you, and your fans have responded to her?

I think they're into it. It's more the record company that she had didn't really get "Night Crawling"— it was one of the best songs on Plastic Hearts , and I don't think they understood that. They wanted to go with Dua Lipa, they wanted to go with the modern, young acts, and I don't think they realized that that song was resonating with her fans. Which is a shame really because, with Andrew Watt producing, it's a hit song.

But at the same time, I enjoyed doing it. It came out really good and it's very Billy Idol. In fact, I think it’s more Billy Idol than Miley Cyrus. I think it shows you where Andrew Watt was. He was excited about doing a Billy Idol track. She's fun to work with. She’s a really great person and she works at her singing — I watched her rehearsing for the Super Bowl performance she gave. She rehearsed all Saturday morning, all Saturday afternoon, and Sunday morning and it was that afternoon. I have to admire her fortitude. She really cares.

I remember when you went on " Viva La Bam "  back in 2005 and decided to give Bam Margera’s Lamborghini a new sunroof by taking a power saw to it. Did he own that car? Was that a rental?

I think it was his car.

Did he get over it later on?

He loved it. [ Laughs ] He’s got a wacky sense of humor. He’s fantastic, actually. I’m really sorry to see what he's been going through just lately. He's going through a lot, and I wish him the best. He's a fantastic person, and it's a shame that he's struggling so much with his addictions. I know what it's like. It's not easy.

Musically, what is the synergy like with you guys during the past 10 years, doing Kings and Queens of the Underground and this new stuff? What is your working relationship like now in this more sober, older, mature version of you two as opposed to what it was like back in the '80s?

In lots of ways it’s not so different because we always wrote the songs together, we always talked about what we're going to do together. It was just that we were getting high at the same time.We're just not getting [that way now] but we're doing all the same things.

We're still talking about things, still [planning] things:What are we going to do next? How are we going to find new people to work with? We want to find new producers. Let's be a little bit more timely about putting stuff out.That part of our relationship is the same, you know what I mean? That never got affected. We just happened to be overloading in the '80s.

The relationship’s… matured and it's carrying on being fruitful, and I think that's pretty amazing. Really, most people don't get to this place. Usually, they hate each other by now. [ Laughs ] We also give each other space. We're not stopping each other doing things outside of what we’re working on together. All of that enables us to carry on working together. I love and admire him. I respect him. He's been fantastic. I mean, just standing there on stage with him is always a treat. And he’s got an immensely great sense of humor. I think that's another reason why we can hang together after all this time because we've got the sense of humor to enable us to go forward.

There's a lot of fan reaction videos online, and I noticed a lot of younger women like "Rebel Yell" because, unlike a lot of other '80s alpha male rock tunes, you're talking about satisfying your lover.

It was about my girlfriend at the time, Perri Lister. It was about how great I thought she was, how much I was in love with her, and how great women are, how powerful they are.

It was a bit of a feminist anthem in a weird way. It was all about how relationships can free you and add a lot to your life. It was a cry of love, nothing to do with the Civil War or anything like that. Perri was a big part of my life, a big part of being Billy Idol. I wanted to write about it. I'm glad that's the effect.

Is there something you hope people get out of the songs you've been doing over the last 10 years? Do you find yourself putting out a message that keeps repeating?

Well, I suppose, if anything, is that you can come to terms with your life, you can keep a hold of it. You can work your dreams into reality in a way and, look, a million years later, still be enjoying it.

The only reason I'm singing about getting out of the cage is because I kicked out of the cage years ago. I joined Generation X when I said to my parents, "I'm leaving university, and I'm joining a punk rock group." And they didn't even know what a punk rock group was. Years ago, I’d write things for myself that put me on this path, so that maybe in 2022 I could sing something like "Cage" and be owning this territory and really having a good time. This is the life I wanted.

The original UK punk movement challenged societal norms. Despite all the craziness going on throughout the world, it seems like a lot of modern rock bands are afraid to do what you guys were doing. Do you think we'll see a shift in that?

Yeah.  Art usually reacts to things, so I would think eventually there will be a massive reaction to the pop music that’s taken over — the middle of the road music, and then this kind of right wing politics. There will be a massive reaction if there's not already one. I don’t know where it will come from exactly. You never know who's gonna do [it].

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Once Twice Melody Tour w/ Ami Dang

Proof of vaccination (or negative test) and masks required. Service charges apply. Ticket limit=4.

Beach House

BEACH HOUSE is VICTORIA LEGRAND, lead singer and multi-instrumentalist, and ALEX SCALLY, guitarist and multi-instrumentalist. They write all of their songs together.

ONCE TWICE MELODY, the new album, was Produced entirely by BEACH HOUSE, a first for the band. Like their previous record 7, the live drums are by JAMES BARONE. Live drums were recorded at PACHYDERM studio in Minnesota and UNITED Studio in LA. The Writing and Recording of ONCE TWICE MELODY began in 2018 and was completed in JULY 2021. Most of the songs were created during this time, though a few date back over the previous 10 years. Much of this recording was done at APPLE ORCHARD STUDIO in Baltimore.

Across the 18 Songs, many types of STYLE, SONG STRUCTURE, and SPIRIT can be heard; Songs WITHOUT drums, Songs centered around ACOUSTIC guitar, mostly ELECTRONIC Songs with no guitar, wandering melodies, repetitive melodies, Songs built around the STRING SECTIONS. While there are a lot of new sounds, many of the drum machines, organs, keyboards, and tones that listeners may associate with previous BEACH HOUSE records are still present throughout many of the compositions.

Featuring supporting act Ami Dang:

Amrita “Ami” Kaur Dang is a South Asian-American, Sikh composer, music producer, vocalist and sitarist from Baltimore. Combining ideas from South Asian music with synthesizers, MIDI controllers, lighting design and gestural movement, her work invites the audience to reframe their assumptions about the colonial history of music, the arts, technology, and performance and its place in the contemporary musical landscape.

Dang studied voice and sitar in New Delhi and Maryland from a young age, and she also holds a bachelor’s degree in Technology in Music & Related Arts from Oberlin College Conservatory of Music. She has performed throughout North America, Asia, and Europe and has released five solo albums. She collaborates with cellist Alexa Richardson as Raw Silk and is a member of new age/ambient group Galdre Visions. She has received two Individual Artist Awards from the Maryland State Arts Council, and she is a 2020 Baker Artist Award winner. Her work has received accolades from The Guardian , The Washington Post , Spin , and Pitchfork , to name a few.

UPDATED COVID-19 ATTENDANCE POLICY

All ticket holders, regardless of age, are required to show proof of full COVID vaccination or a negative test result (within 72 hours) from a healthcare provider for entry into the theatre . “Fully vaccinated” means that ticket holders have received their final vaccination dose of either the two-dose regimen of the Pfizer or Moderna vaccines or one dose of Johnson & Johnson at least 14 days before your performance date. Be sure to have your ID with you as well.

Also, in accordance with state and local guidelines,  face masks are required for entry . Masks must completely cover nose and mouth. Gaiters and bandanas are not acceptable. If wearing a face mask that does not comply with Metro policy, Portland’5 will provide a face mask for patrons. Masks must be worn at all times except while eating or drinking for brief periods. Prolonged periods of mask removal are not permitted for eating or drinking – masks must be worn between bites and sips.

This policy is subject to change.

Keller Auditorium : Upcoming Events

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TEDxPortland presents the Year 12 conference at the Portland'5 Keller Auditorium on April 27, 2024 from...

Jason Bonham’s Led Zeppelin Evening

Live Nation presents Jason Bonham’s Led Zeppelin Evening at the Portland'5 Keller Auditorium on Friday,...

Ben Schwartz & Friends

Live Nation presents comedian Ben Schwartz & Friends at the Portland'5 Keller Auditorium on Saturday,...

Puccini: In Concert

Portland Opera presents the one-night-only concert  Puccini: In Concert at the Portland'5 Keller...

Alicia Villarreal

Live Nation presents Mexican singer Alicia Villarreal at the Portland'5 Keller Auditorium on Sunday, May...

Broadway in Portland presents Annie at the Portland'5 Keller Auditorium May 14–19, 2024, as part...

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Portland'5 Hosts Art About Agriculture Competition and Touring Exhibition

View 60 jury-selected artworks from artists representing 20 counties throughout Oregon, Washington, and Idaho in the Hatfield Hall lobby through December 31, 2023.

Experience 'Wild Spaces'—Paintings by Linda Robertson & Kimberly Kent—through October

Wild Spaces , a collection of paintings by Linda Robertson and Kimberly Kent, is on display at the Portland'5 gallery, in the lobby of Antoinette Hatfield Hall (1111 SW...

Portland’5 Employee & Volunteer Appreciation Art Show

Portland’5 Employee & Volunteer Appreciation Art Show is on display in Hatfield Hall through August 23, 2023 and celebrates the many hardworking individuals that keep the...

Tour Details

Moscow metro tour: architectural styles of the subway.

Duration: 2 hours

Categories: Culture & History, Sightseeing

This metro tour of Russia’s capital and most populous city, Moscow, is your chance to get a unique insight into the beautiful and impressive architecture of the city's underground stations. Admire their marble walls and high ceilings representing Stalin's desire for glory after World War 2, and see first-hand how the interiors change with the rise of new political eras. Your guide will lead you through the complex network, which is one of the most heavily used rapid transit systems worldwide, with over two billion travelers in 2011.

Opened in 1935, Moscow’s underground system, now 190 miles (305 km) long with 185 stations, is today one the largest and most heavily used rapid transit systems in the world. On this Moscow metro tour, discover the impressive architecture of Moscow’s underground stations and learn how they reflect the Soviet era.

Getting around by metro, your local guide will take you through parts of Moscow’s infamous history. Stop at stations built during the time of the USSR (Soviet Union) that are praised as one of the most extravagant architectural projects from Stalin’s time. After World War 2, he was keen on establishing Stalinist architecture to represent his rising regime and a recognized empire. Learn how when his successor started the de-Stalinization of the former Soviet Union in 1953, the extravagancy of the architecture was toned down.

Discover how the unique character of each station reflected several different eras. While stations like Kievskaya and Slavyansky Bulvar have pompous halls and high stucco ceilings brimming with extravagant decorations, those built later, like Volzhskaya, are lightly adorned with sparse furnishings. Architect Alexey Dushkin and painter Alexander Deyneka were just two of the many artists who made these magnificent landmarks possible.

Revel in Moscow's glory days, as well as the years of scarcity, on this fascinating Moscow metro experience. Conclude your tour at one of the central stations in Moscow. If you're lucky, you may even find the secret entrance to the unconfirmed Metro-2, a parallel underground system used by the government -- a mystery which has neither been denied nor confirmed today.

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Culture Shock Rating

We have a wide range of tours designed to give you an insight into the destination you're travelling in and there is something for everybody. The culture shock ratings considers the destination visited, transport used, activities undertaken and that "Wow, I'm really not at home now!" factor. While generalisations are always tricky, a summary of our gradings is as follows…

This is the least confronting of our tour range. Transport used on the trip is either private or a very comfortable public option, the activities included are usually iconic sites and locations that are not all too confronting.

The tour can include a mix of private and public transport providing a level of comfort that is slightly below what you would experience at home. Sites visited are usually iconic sites, tours can also include market visits, visits to communities etc that provide the traveller with a fantastic insight into destination.

Expect to rough it for parts of this tour, whether it's a packed public bus where you are forced to stand, a visit to a local market, a local community, you are sure to have an experience that is very different from what you're used to at home.

The comforts of your home town and the environment you are used to are more of a rarity. Expect some challenging transport options, visits to local sites and areas that don't resemble anything at home.

You're out there in the global community! You are likely to be exposed to the elements, travel in whatever means of transport is available and basically take it as it comes, whatever comes! It can be tough.

Physical Rating

Our physical rating gives you an idea of how much huffing and puffing you can expect on the tour. While generalisations are always tricky, a summary of our gradings is as follows…

These tours have very limited physical activity. Usually climbing in and out of the transport provided, walking through sites, markets etc included in the itinerary.

These tours have a bit of physical activity but nothing that should challenge you too much. This could be climbing on and off public transport through to a walk through the destination you're travelling in, they can include walking only tours or a combination of walking and transport.

These tours involve a bit of physical activity from walking up and down hills in the destination you're travelling in or the surrounding areas. Climbing on and off local transport or riding a bike up to 30 kms along predominantly flat terrain or jumping in a kayak for a gentle paddle on flat water.

These Tours will provide you with some solid physical activity. Whether its bike riding, walking, trekking, kayaking or riding on public transport you will need to have a good level of fitness to enjoy this tour.

Be prepared for some serious physical activity. These tours are our most challenging and involve some serious walking, hiking or bike riding. Can involve step climbs by foot or pedal and some challenging public transport options in the destination you are travelling.

Luxury Rating

Some trips are like a stroll on the beach, while others have you trekking alpine passes. Some of you thrive on camping out on the savannah, while others may prefer a hot shower and a comfortable bed in a lodge. Follow the grading systems below to find the right trip for you.

To help you choose the trip that's right for you, we've broken all of our trips down into four service levels. Measuring the comfort level of the accommodation and transport. So whether you're travelling on a budget and want to save money by using public transport, or prefer upgraded accommodation and are happy to pay a little more, then we have a level for you.

This is grassroots travel at its most interesting

Authentic experiences with some of the comforts of home

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All the unique experiences wrapped up with a gold ribbon

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A ride across passages of history - Moscow Metro rolls on

Click on the map to enlarge it

Lying at a depth of 5 (Pechatniki station) to 80 metres (Park Pobedy station), the history of the last eight decades unfold before your eyes, carved out of marble and granite and built in iron and glass – revealing the tastes, ideas, dreams, hopes and disappointments of the previous generations and contemporaries. The Moscow Metro dates back to 1931, when its construction first began, although engineers Pyotr Balinsky and Evgeny Knorre submitted their first designs to the Moscow City Duma as far back as 1902. “His speeches carried a strong temptation: like a true demon, he would promise to cast Moscow down to the bottom of the sea and raise it above the clouds”, a journalist for the Russkoye Slovo newspaper commented on Balinsky’s idea. Yet the Duma, made up of rich people, did not bite the bait: after all, they all lived in the centre of the city and never rode overcrowded trams.

After five failed proposals before the Duma, the Moscow Metro finally threw open its doors on May 15, 1935, 18 years after the revolution, and carried the first passengers on its moving staircases, escalators, and the padded seats of its new wagons (unlike the wooden seats in trams). The first metro line – from Sokolniki to Dvorets Sovetov (now known as Kropotkinskaya) -- was 11 km long and had 13 stations. Now, the Moscow Metro has a track of over 300 km with 12 lines and 182 stations. The city’s development outline for 2020 envisages that, by then, another 120 km will have been added to the existing routes.

For the first 20 years of its history, the Moscow Metro was named after Lazar Kaganovich, the “iron commissar” and Stalin’s right hand man, who was in-charge of construction of the first stage of the metro (incidentally, he personally blew up the Cathedral of Christ the Saviour in December 1931 as a part of the Proletarian Capital project). In 1955, however, the Metro was renamed after Vladimir Lenin. Although Russia has long since changed its political track, you can still find the images of the former leader at over 10 stations, including, for instance, busts of Lenin at Belorusskaya and Komsomolskaya stations, impressive mosaics at Baumanskaya and Kievskaya stations, a tile panel in the passage between the Borovitskaya and Biblioteka Imeni Lenina stations. By a bitter irony of fate, Lenin’s full-face and side-face images decorate the Tsaritsyno (translated as the Tsarina’s Estate) station (dubbed Lenino up until 1990) – images of the very person who ordered the shooting of the royal family. You will not, however, find any images of Stalin in Moscow’s underground. A symbol of Russia's victory, he was omnipresent in the late 1940s. After his death in 1953 and the denunciation of Stalin’s personality cult, his images were gradually withdrawn from the Moscow Metro.

“Architecture developed along the same lines, both above and below the surface. Anything that emerged above ground had a reflection underground. It is equally true that vice versa never occurred: good architecture underground but bad architecture above the ground,” says Nikolay Shumakov, chief architect of the Moscow Metro. The first metro stations, up until the mid-1950s, were conceived and built as luxurious “palaces for the people”, great architecture for a great state. Art historians insist that the richly-decorated underground was a deliberate ideological move to eulogise the young Soviet country. Stations built between 1937 and 1955 are characteristic of the first architectural period. Everything completed at this time is worthy of special attention. For instance, look at the ceiling at Mayakovskaya and Novokuznetskaya stations to see mosaic panels based on designs by artist Alexander Deineka – 24-Hour Soviet Sky and Heroic Labour of the Soviet People on the Home Front. The mosaics were assembled by famous mosaic artist Vladimir Frolov, author of the mosaic icons in St. Petersburg’s Church of the Saviour on Blood. The Ploshchad Revolutsii station was decorated with 76 bronze sculptures of workers, soldiers, farmers, students and other Soviet people. You can even find a frontier guard with a dog and rub its nose for good luck. You may also note that all the figures (except pioneers) are either sitting or bent, which engendered the sad joke – “Any Soviet man is either in jail or on his knees.”

 Elements of decoration in Moscow's metro.   Photos by Alexandr Ganyushin

1955 heralded the end of the good times for Russian architecture – both underground and above ground – after the Communist Party issued a decree "On elimination of extravagance in design and construction.” Dull stations, without any stucco work, mosaics, original columns or other “unjustified” elements, were built under the slogan “Kilometres at the expense of architecture”. Things were the same above the ground, where entire cities were built of commonplace five-storey apartment blocks, all looking the same, nicknamed ‘Khrushchevkas’ after the then leader, Nikita Khrushchev. To get a sense of this period’s architecture, see the few stations built in the 1960s-1980s like Tverskaya, Kitay-Gorod and Kolomenskaya. In 2002, with the reconstruction of the Vorobyovy Gory station, the development of the Moscow Metro entered a third stage, which could be defined as ‘renaissance’. The platform of the station offers a splendid view of the Moskva River, the Luzhniki Olympic Complex and the Academy of Sciences building. Architectural canons of the 1930s-1940s were once again in use in the design of underground stations. By the same token, artists once again become involved in decorating the stations. As such, the Sretensky Bulvar station boasts silhouettes of Pushkin, Gogol, and Timiryazev and Moscow sights; the Dostoevskaya station is decorated with black-and-white panels featuring the main characters from Dostoyevsky’s novels The Idiot, Demons, Crime and Punishment, The Brothers Karamazov, and the Maryina Roshcha station flaunts its pastoral mosaic landscapes. In 2004, Russia's first monorail transport system was launched into service – an elevated track (running 6 to 12 metres above the ground) in the northern part of Moscow, linking the All-Russian Exhibition Centre and the Timiryazevskaya metro station. The evolution of the Moscow Metro goes on. It’s still a work in progress, with ambitious plans to move the Moscow Metro even closer to passengers over the next ten years, not just by adding an extra 120 km to its total track. “We want to strip the stations of everything we can,” says Nikolai Shumakov. “We are trying to show the passengers their very framework, what the metro is made of. Cast iron and concrete are beautiful.”

Joy ride: Read Gogol, Dante or savour art

The Aquarelle Train.   Source: Reuters/Vostock-Photo

With any luck, you can ride in a retro train, a moving art gallery or a library. The trains are actually a part of the general traffic (i.e., they do not run to any special schedule) and are used on certain lines. The Reading Moscow Train , an ordinary train on the face of it, features extracts from literary works for adults and children. Each wagon has its own selection, from children’s fairy tales to Gogol. Circle Line. The Poetry in Metro Train carries an exposition, updated this year, dedicated to Italian poets Dante Alighieri, Francesco Petrarch, Giacomo Leopardi, etc. All the poems are featured in two languages, Russian and Italian. Filevskaya Line. The Sokolniki Retro Train looks exactly like the first Moscow Metro train, both inside and out. Painted brown, it has padded seats, typical wall decorations and retro lamps. Sokolnicheskaya Line. The Aquarelle Train looks like a cabinet painted with flowers and fruit on the outside. Inside, it is an art gallery featuring art reproductions from the Vyatka Apollinary and Viktor Vasnetsov Art Museum. Arbatsko-Pokrovskaya Line.

Revolution Square station (built in 1938) is close to the Red Square area. There are 72 sculptures in the station, depicting the people of the Soviet Union, including soldiers, farmers, athletes, writers, industrial workers and school children.

All rights reserved by Rossiyskaya Gazeta.

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