postmodern jukebox tour 2023 review

Postmodern Jukebox at Royal Festival Hall (Review)

Musical collective Postmodern Jukebox , the brainchild of pianist Scott Bradlee, continues to rack up viral success with their unashamedly retro reimaginations of pop hits. But their archive of YouTube videos does not capture the thrill and exhilaration of their live sets, which combine musical virtuosity, spectacle, and eccentricity in equal measure – and mind-boggling tap dancing courtesy of Jabu Greybeal .

Their current UK tour, including a stop at London’s Royal Festival Hall, is an absolute knockout, with a setlist including Cee Lo Green’s ‘Forget You’, the Spice Girl’s ‘Wannabe’ (I assume included for British fans), and Radiohead’s ‘Creep’ (their signature cover ).

Do all the interpretations equally excite? No. I can’t say I loved the performance of Kate Bush’s ‘Running up That Hill’ – an ’80s evergreen whose popularity has been propelled by its inclusion in the Netflix series Stranger Things – done as a country western number. But you can’t fault the ambition and execution.

Furthermore, the PMJ franchise consistently deploys excellent vocalists in service of their repertoire. Emceeing the evening with ineffable charm and bedazzled blazers, LaVance Colley brought his gospel-honed chops and supersonic falsetto to an uptempo, swinging rendition of Sam Smith’s ‘I’m Not the Only One’, transforming this break-up lament into a snappy rebuke to an unfaithful lover.

Effie Passero , a former American Idol finalist with a multi-octave range and operatic textures, was impressive enough on Kiss’ ‘I Was Made for Loving You’. But then she performed a grand, ever-soaring version of Leonard Cohen’s ‘Hallelujah’ that (deservedly) brought audience members to their feet.

The sumptuously-voiced Tia Simone delivered Metallica’s rock power ballad ‘Nothing Else Matters’ as a soulful dirge, squaring off against terrific trombonist Jay P Floyd. She tip-toed delicately around the opening verse of the White Stripes’ Seven Nation Army, accompanied with just double bass, before letting rip on the chorus as the band kicked in. Nashville-based Sweet Megg was also in strong voice on a 1920s-styled rendition of Dua Lipa’s ‘Levitating’.

Before an encore of Radiohead’s ‘Creep’, the whole ensemble took to the stage to perform Celine Dion’s ‘My Heart Will Go On’, led by Colley. Listening to this archetypal ’90s power ballad be convincingly spun into ’50s doo-wop, I had to simply sit back, laugh, and enjoy the madness.

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LIVE REVIEW — Postmodern Jukebox at Ruth Eckerd Hall (April 15, 2023)

by Christina Wright • April 19, 2023

You know a show is about to take you somewhere when the MC tells you to buckle up and get ready for a trip. A trip back in time. A time where things were simple, jazzy and classy. Scott Bradley’s Postmodern Jukebox took us on a journey of familiarity and style. With a total of eleven talented artists on stage, and countless folks back stage, this was sure to be a performance. Singer and five time Grammy winner, Sarah Potenza, kicked us off with a tremendous start as she bellowed to the crowd adorned in hot pink from head to toe. “Potenza is to blues what Adele is to pop,” according to Rolling Stone Magazine, and I would not disagree. She had a sense of humor, and a confidence that made us all want to embody our true inner divas. Rogelio Douglas Jr., the MC, moved us right along to another truly talented singer, Olivia Harris. We were yet again blown away by an astounding voice. There was a chill in the air.

Postmodern Jukebox Tickets Clearwater 2023

The Postmodern Jukebox typically covers popular songs with a swinging jazzy feel. Covering all genres of music from KISS to Miley Cyrus. The full band is comprised of six musicians, from all over the world, some playing multiple instruments. The dynamics of the piano, guitar, banjo, bass, saxophone, clarinet, trombone and drums allowed all the sounds and songs to be explored and enhanced.

Demi Remick added a whimsical and unique touch to the performance. Her tap dancing skills and rhythm had everyone intently following alon, trying to keep up with her speed and technique. I personally appreciated the Super Mario Brother’s theme songs as she acted out the jumps and coin punches.

The whole band played along with the dialogue between sets and were interactive with each other and the audience throughout their performance. Ruth Eckerd Hall has assigned seating, but by the end of the show, everyone was up out of their seat dancing and singing.

Rogelio Douglas Jr. truly was the master of this ceremony. He introduced himself as an MC, but had a voice that was breathtaking and dance moves that would have you grinning and clapping. Rogelio kept the audience engaged and did a wonderful job introducing all the musicians and performers.

The evening ended with the song “All About the Bass,” originally by Meghan Trainer. This iconic song was a great ending to such a one of a kind show. All 4 singers, Rogelio Douglas Jr., Sarah Potenza, Olivia Harris and Stella Cole joined in on the fun. Rogelio ended the show with sweet sentiments about the true importance of live music and made note of the universality that music has and create. No matter who you are or where you are from live music has a way of connecting us. It was not just about PMJ, but about the music itself. We all need to keep that notion alive. It was clear how much the audience appreciated this performance, and the love of live music.

Postmodern Jukebox Live Review 2023 by Christina Wright.

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Postmodern Jukebox – REVIEW

Scott Bradlee’s Postmodern Jukebox: Life in the Past Lane Tour is a masterclass of music as it reshapes today’s hits with a blend of yesterday’s swing and jazz sound.

April 13th, 2023

It’s a rarity in this day and age to find musical entertainment that is befitting to an entire family, but Postmodern Jukebox (PMJ) accomplishes just that. Behind a collection of incredible vocalists and instrumentalists, each one is worth the price of admission alone. Elder fans of the bygone era will be in love with the sound and vivacious outfits while today’s generation will be singing along to the hits they know so well. It’s a win-win for a family night out.

Music performed included Michael Jackson’s “Thriller,” David Bowie’s “Life on Mars,” Huey Lewis and the News’s “Power of Love,” Billy Joel’s “Uptown Girl,” Blu Cantrell’s “Hit Em’ Up Style,” Imagine Dragons’s “Radioactive,” Sam Smith’s “Stay With Me,” George Michael’s “Careless Whisper,” Kings of Leon’s “Use Somebody,” Miley Cyrus’s “Flower,” Sarah McLachlan’s “Angel,” Ellie Goulding’s “Burn,” U2’s “Still Haven’t Found What I’m Looking For,” Meghan Trainor’s “All About the Bass” and a wacky fun tap dancing number during a Super Mario Medley.

Over the past decade, Scott Bradlee’s Postmodern Jukebox has grown from a viral phenomenon into a worldwide juggernaut, amassing more than five million subscribers on their YouTube channel, growing from Bradlee’s tiny apartment in Astoria, Queens, to a Los Angeles studio befitting the bandleader’s increasingly ambitious vision. Whether you’re a vinyl aficionado or a TikTok fashionista, catch a ride with Scott Bradlee’s Postmodern Jukebox for an unforgettable trip through 100 years of timeless music.

For more information, please visit https://postmodernjukebox.com

Postmodern Jukebox performs at West Palm Beach's Kravis Center.

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Coach is South Florida Insider's Owner, President, Webmaster, as well as a Reporter and Photographer covering events all over the world. Born in West Palm Beach, Scott continues to call the sunny Florida area home. He received his Associate degree from the University of South Florida, then transferred to the University of Florida where he received a Bachelor’s of Arts in Journalism & Communications. During his journalistic career, which has been featured in local newspapers and magazines as well as national publications, Coach has also continued his love of being an educator. It’s through both endeavors that he’s actively got students interested in following in the field of journalism. Coach loves sharing the world of entertainment with others and giving people the opportunity to step out of the everyday life.

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• Nov 19, 2021

REVIEW: Scott Bradlee's "Postmodern Jukebox" — Renée and Henry Segerstrom Concert Hall

Updated: Nov 20, 2021

"PMJ takes current songs and flips them on their heads, converting them into high energy, hand clapping jazzy masterpieces."

Scott Bradlee's “Postmodern Jukebox” roared into Segerstrom Center for the Arts (SCFTA) at Renée and Henry Segerstrom Concert Hall last night, November 18th, in a sizzling Grand Reopening Tour performance that featured an ensemble of multi-talented singers and musicians, bringing some of modern music’s biggest hits alive with Bradlee’s generation-spanning classic styles of bygone eras.

Known for putting pop music in a time machine, PMJ’s dazzling Grand Reopening Tour thrilled a live, music-starved audience in the concert hall, just one stop of many on their 60-city show junket across the US and Canada this fall.

Founded in 2011, and recognized for their vintage take on popular songs, “Postmodern Jukebox” skyrocketed to fame on YouTube, when, in 2012, their cover version video of Macklemore & Ryan Lewis’s “Thrift Shop” went from a viral phenomenon, reaching one million views in its first week, to a worldwide juggernaut, amassing five million subscribers on their channel. Soon after, their debut album introducing “Postmodern Jukebox” hit #8 on the Billboard jazz chart, prompting tours across the globe, including memorable shows at Radio City Music Hall in NYC.

PMJ has gone on to feature swing-flavored takes on hits like One Direction's "Steal My Girl," to the 1950s doo wop era, to Postal Service's "Such Great Heights," to Motown's golden years, and to The Backstreet Boy's "I Want It That Way," shaping them, arranging them, without losing their soul. Their evolving repertoire also includes covers of Miley Cyrus’s “We Can’t Stop,” Katy Perry’s “Roar,” and Meghan Trainor's “All About That Bass.” The diverse band has featured 70 performers, including Dave Koz and Hailey Reinhart of American Idol fame.

In 2015, they were noted in Billboard Magazine for their Motown version of Justin Bieber’s “Sorry,” and their successful Welcome to the Twenties Tour , which kicked off in 2019 as “the most sensational ’20s party this side of The Great Gatsby.”

But, for a band so deeply rooted in Jazz Age aesthetics—though their time warps have touched on virtually every major trend in popular music, from 19th century classics to hair metal—the Twenties Tour became only a symbolic milestone stalled by a new, horrific pandemic called COVID. Ironically, the original Roaring ’20s was itself ushered in by a worldwide flu pandemic.

“It’s crazy how history repeats itself,” Bradlee says, “and it’s striking that people back then reported the same feelings—everybody was beyond tired of being cooped up by themselves after weathering a long pandemic. They just wanted to get out there and dance and party and see each other again. Music has served such a valuable function of inspiring us and reminding us of our shared humanity throughout history, and there’s simply no substitute for gathering together to experience such a powerful force live.”

Yet, in the midst of that, Concord Records released two Essentials compilations featuring PMJ classics, including a 1940's torch song rendition of Radiohead’s “Creep” (switching the gender roles), as well as a Cab Calloway-inspired version of Michael Jackson's "Thriller" by none other than actor-comedian Wayne Brady.

The core ensemble, supported by a multi-talented band (who seems to be able to play any instrument), is often joined by surprise guests to make each concert unique and unpredictable, all shimmying and shimmering in breath-taking costumes, emceed by triple threat #PMJtour Rogelio Douglas Jr. (“Still Haven’t Found What I’m Looking For”), performing a powerful classic soul ballad remake of the Kings Of Leon megahit, “Use Somebody.”

Some of the many revolving artists on tour includes retro songbirds Allison Young (“Where Is My Mind?”) Aubrey Logan ("Smooth Criminal"), Olivia Rodrigo (“Drivers License”), Haley Reinhart (“Don’t Speak”), Aly Ryan (“99 Luftballons”), Ashley Stroud (“Good as Hell”), and many others.

With close to 400 staple songs in their omnibus, they could be said to be the ultimate cover band, but that would be selling them far too short. They are recording artists in their own right, taking contemporary pop, rock, hip-hop, grunge, or garage revival—like Jet’s “Are You Gonna Be My Girl” —and reworking them as if they came from the Roaring Twenties, or the World War II era, or Motown, or the Rat Pack, or even the Swinging Sixties, with occasional nods to Motown, bluegrass, doo-wop, klezmer, and soul.

Consequently, the party-style atmosphere that PMJ has created over the past decade has developed a large worldwide cult following, with attending fans dressed in vintage, roarin' 20's clothing for the concerts (more than I could count last night), like flapper dresses, feathered hats with veils, fedoras and old-fashioned zoot suits. Needless to say, PMJ is ecstatic of these wonderfully contingent perks, but reminds us that beneath all the glitz and glamour, the music is very much the precedence and essence of the show.

So just to clarify, if one is expecting that old timey jazz, and getting instead a stand-on-your-feet, party hearty, clappin' good time, you should know...it's much more than ragtime! Here, PMJ takes current songs and flips them on their heads, converting them into high energy, hand clapping jazzy masterpieces. But, with added bonuses, like some of the most amazing tap dancing, horn solos and banjo picking you will ever see.

For tickets to upcoming performances of Scott Bradlee's “Postmodern Jukebox: The Grand Reopening Tour,” please visit: https://www.ticketmaster.com/scott-bradlees-postmodern-jukebox-tickets/artist/1980379

Chris Daniels

Arts & Entertainment Reviewer

The Show Report

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Review: Postmodern Jukebox puts an old twist on new music

About an hour into Postmodern Jukebox’s 90-minute set inside the Silver Legacy’s Grande Exposition Hall, emcee LaVance Colley slowed the show’s pace for a moment and thanked the audience, mentioning that the collective of musicians, vocalists and dancers are able to tour to crowds excited to see them despite having no backing from a large record label.

In fact Postmodern Jukebox snowballed to popularity from recording YouTube videos of their performances of contemporary radio pop and hip-hop songs performed in refined old-timey styles, so much so that the current groups are able to embark on multiple tours simultaneously using the same formula but with a changing cast of performers.

The result is a musical show that takes on almost theatrical proportions with the differing combinations of singers and dancers on each successive song. And what puts everything over the top is the fact that each of the vocalists seem to have nothing short of powerhouse abilities.

Fronting a five-piece backing band of piano, stand-up bass, drums and a horn section, the group went through a set featuring a swing-style rendition of Lana Del Rey’s “Young And Beautiful,” a burlesque treatment of Britney Spears’ “Oops!…I Did It Again,” a vaudevillian performance of Smash Mouth’s “All Star,” and an a four-piece a capella delivery of Miley Cyrus’ “We Can’t Stop.”

Working with the theater’s seating up to the edge of the stage, the front corners of the room became designated dancing areas, with couples twisting, swinging and even flipping along with the band’s songs. The group’s retro musical style was mirrored by many in the crowd who showed up in flapper outfits and hair to a T, and it seemed that the wide range of ages present in the audience sang along throughout the show.

Among a set list that included songs originally performed by Ellie Goulding, Justin Timberlake, Katy Perry, Celine Dion, Cee Lo Green and Haddaway, highlights of the show were the set-closing rendition of Taylor Swift’s “Shake It Off”, and LaVance Colley’s range-shattering vocals for “Halo” by Beyonce. Not a person remained sitting down during the ovation that followed.

As an especially receptive place for Postmodern Jukebox’s self-fueled efforts to create and promote its project, it seems that few cities embrace an organic art scene in their image as much as Reno. For those in attendance for the group’s stop here, it was that creativity and collection of sheer talent and ability that shined.

– Shaun Astor

ABOUT Shaun Astor

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Such a fan focused experience! From acknowledging their YouTube routes and rise to success from a huge fan base to playing fan favorites and encouraging audience participation, it is no wonder this concert (and the next several) sold out. Scott Bradlee has brought a "direct from me to you" show to the stage with artists who are able to remain independent and able to dictate their own terms. The sound was good, the vocal talent brought great variety, the songs and arrangements by far surpass their original compositions and the venue was welcoming. The entire group came out afterward to sign merch, take selfies and see fans, no one was rushed, no minders to move you along after a brief encounter, just plenty of time to mill about and rub elbows. I have been recommending this group to friends for years and now I will drag said friends to any shows that come within a day's drive. I drove up from Iowa City for the show and would happily do it again.

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Crazy demographic mix of an audience from ZZ top lookalikes to baseball cap wearing teens through to the majority 40+ crowd.

In many ways a strange gig. Early start at 7.30pm and early finish but two hours of solid entertainment. There was no support act but then again, PMJ put on such a complete show with multiple facets throughout, what would be the point?

Brilliant interpretations and clever total jazz re-arrangements of tons of classics performed by the finest collection of individual singers and musicians I think I've ever seen live. This isn't normally my bag (I was a willing +1 to my youngest son who loves the band) but I was totally surprised and delighted by the sheer brilliance of the entire show.

Go see PMJ with an open mind. It'll be better that way!

Awesome show...started a little late and we were disappointed to find that our seats were close to the back with a large number of empty seats in front of us. It would have been great if we could have moved forward to be with the rest of the audience since the seats were obviously not sold.

The artists were extremely talented and entertaining. The show was upbeat throughout and there was lots of audience interaction.

Would love to go back next time they are in town - great evening of fabulous entertainment!!

i agree with kirilov and its REALLY DISAPPOINTING to believe 1 is buying tickets to see SCOTT BRADLEE with shows promoted as SCOTT BRADLEE'S POST MODERN JUKEBOX. its happened 2 of the 3 times ive gone. no one apparently has enough professionalism to do simple sound checks prior to the shows & frankly, as much as i love most the vocalists, it sucks not ever knowing which will be appearing and if scott bradlee will actually be there. better off waiting for a puddles, morgan james, hailey rhinehart or von smith concert

Was amazing from the word go. A series of very talent performers who engaged the audience with amazing musical and vocal talent. LaVance was a brilliant Emcee and what a smooth voice.

If they had played again in Melbourne the next night, I would have gone back.

The audience was packed and every age group was represented. Everyone was smiling, singing and dancing along. The classic venue was appropiate and it is without a doubt one of the best live music shows I have ever seen.

An awesome experience, every single member of the band was very talented. The audio setup was carefully handled in order to have an incredible sound.

The tracklist was perfectly made, with funny, romantic and vintage moments.

The songs were spaced out by entertaining moments of show, which allowed the musicians and the public to rest for a moment and have a good laugh.

I would recommend PMJ to anybody, from 10 to 80 years old, it was a magical and fun experience. 10/10

Scott Bradlee of Scott Bradlee's Postmodern Jukebox didn't show - rather disappointing. The gig was good otherwise, the performers are very good and know what they are doing, but I didn't care for the jester - not quite sure what having him achieves. The flat-floor venue would have benefited from a screen as 90% of attendees didn't get to see Sarah's amazing tap skills.

The concert is really good, musicians, singers all top quality. The venue I didn't like much, as the floor has not any elevation, which makes the life more difficult for those in the back (and near the bar!). Moreover, there are columns that blocks the view from the spectators. I would prefer to watch this concert in other venue, like in Hamemrsmith (Eventim Apollo).

I was hesitant when I went to the show because they had all seats, there wasn't room for dancing and I prefer to stand. The show was amazing- not just the music but these guys actually performed with routines that were really funny. We had a great time, everyone around us had a great time. I'd recommend seeing this band anytime they come to your town.

Para ser Scott Bradlee's falto Scott Bradlee. Hay que admitir que fué muy entretenido, mi parte favorita la bailarina de tap. De resto uno piensa que a lo mejor Puddles o Tambourine Guy (o algún otro del estilo) va a aparecer y no es así, pero no le quita el mérito de los artistas que hicieron un excelente trabajo.

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Scott Bradlee's Postmodern Jukebox is not due to play near your location currently - but they are scheduled to play 84 concerts across 14 countries in 2024-2025. View all concerts.

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Livestream Review: Scott Bradlee's Postmodern Jukebox

Livestream   Los Angeles, CA

Contact: [email protected]

Web: postmodernjukebox.com

Players: Scott Bradlee, piano; Jacob Scesney, woodwinds; Dave Johnstone, drums; Sunny Holiday, vocals; Adam Kubota, vocals; Aubrey Logan, vocals; Ariana Savalas, vocals; Rogelio Douglas J r.

Material: Scott Bradlee formed Postmodern Jukebox with the express purpose of recasting popular hits into throwback styles. Old-school jazz, soul and Motown are their primary flavors. Listeners with a passion for The Whiffenpoofs or Richard Cheese will find this sprawling collective of nearly 100 performers to be utterly irresistible. Superstars receiving their quirky treatment range from Michael Jackson (“Thriller”) and Taylor Swift (“Bad Blood”) to Elton John (“Bennie And The Jets”), U2 (“I Still Haven’t Found What I’m Looking For”) and Lady Gaga (“Bad Romance”).

Musicianship: Given that only a fraction of those involved in the group appeared during this hour-long livestream, a comprehensive evaluation of their talent is impossible. That said, the gang’s abundant members boast some outstanding pedigrees. Not a note was misplaced and their singers are uniformly excellent. According to their website, Bradlee and his troupe take pride in playing every note “the old fashioned way.”

Performance: Presented by Sessions Live, the stream was made possible by audio engineer Thai Long Ly and broadcast engineer Patrick Coleman. The broadcast was clearly optimized for mobile devices; pity the fan who purchased a ticket with the intention of watching via computer. Starting 15 minutes late made audience members grumpy, but all was likely forgiven once the notes began flowing like champagne. Trading vocalists and costumes between songs added crucial visual appeal. When the female singers formed as a trio, they moved in unison a la The Supremes. Rogelio Douglas Jr.’s dance moves, though, displayed the most dynamism. Throughout, Bradlee acted as master of ceremonies, introducing featured performers in between tickling the ivories on every number.

Summary: Postmodern Jukebox is a sugary treat for music aficionados of every generation. Much of the joy they impart comes from realizing which hits are being radically reimagined. In terms of musical ability, they are on par with some of Broadway’s best. The natural delight that comes with re-contextualized classics, however, wears thin over time. Many listeners will feel relieved after the lights dim on one of their powerhouse sets. 

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Music Review: Postmodern Jukebox—Reverence for the Past, With a Dash of Irony

Postmodern Jukebox dials the clock back on contemporary pop, invigoratingly bringing the best out of their source material as well as their vibrant interpretations.

By Matt Hanson

The cover song, particularly the kind that reaches across genres, is an especially beloved phenomenon. Jeff Buckley’s prayer-like “Hallelujah,” Johnny Cash’s soul-bearing “Hurt,” John Coltrane’s transcendent “My Favorite Things,” and Whitney Houston’s epic “I Will Always Love You” (just to name a few) are immortal not only because they are good songs in themselves but also because they radically transform their source material into something entirely new.

Postmodern Jukebox , a musical collective organized by jazz pianist Scott Bradlee, takes modern-day pop songs and reimagines them in the light of classic and unfortunately ignored genres. Usually the chosen songs are recast as 1920s-style jazz tunes, with occasional nods to Motown, bluegrass, doo-wop, klezmer, and soul. PMJ makes good on their stated goal of dialing the clock back on contemporary pop—vibrant interpretations invigorate source material.

According to its stratospheric amount of YouTube clicks (over 11 million and counting), the most popular PMJ song is a version of Radiohead’s “Creep,” redone as a 1940s-style torch ballad sung brilliantly by Haley Reinhart. It’s not just a gimmick. The brooding alienation of the original is turned into a sexy, slow-burning anthem performed with a vulnerability that inexplicably turns into triumph. It also switches the gender roles; instead of being the passive object of desire, in this version it’s the woman who affirms her awkwardness and longing.

PMJ’s (post) modern update on vintage jazz reminds us that beneath all the glitz and glamour, the music is very much about female empowerment. The jazz singer might well play up her sex appeal, shimmying while decked out in fabulous costumes, but it goes beyond showiness and becomes a way of taking control of the stage and broadcasting the singer’s personality as boldly and confidently as possible.

It’s interesting to see how some contemporary pop songs aren’t necessarily that far from what was on the radio a hundred years ago. I’m sure plenty of flappers could have easily jitterbugged along to PMJ’s version of Lady Gaga’s “Bad Romance,” sung with campy lip-curled relish by Ariana Savalas and featuring a tap dancer and a horn section. Zelda Fitzgerald would have been proud. This also applies to PMJ’s versions of “Single Ladies” by Beyoncé, and a particularly ebullient take on Taylor Swift’s “Bad Blood,” adding a trombone solo and some ultra-precise scat singing.

Another pleasure of cover versions is that a good cover can take a boring song and give it new life, making it interesting and vital, finding something galvanic in the boring or saccharine. Celine Dion’s dreadful “My Heart Will Go On” loses its tacky melodrama when it’s delivered via a vocally acrobatic Jackie Wilson-style rave up.

The risk with a musical project like this is that it will degenerate into a stunt, getting by with focusing on the surprise of the song selection and the novelty of the style. Or it turns into a nostalgia-fest, where the sound becomes simulacrum instead of inspiration. Playing these songs live is the true test of their quality. It’s similar to the way actors love the immediacy of theatre rather than the tedium of movie production: it’s harder and more challenging to do it live where the proof is in the audience’s reaction.

When I saw PMJ’s concert at The Wilbur in Boston last Monday, I was glad to see that solid musicianship and playful collaboration made the songs work. The PMJ musical ensemble switched genres a dozen times over the course of the evening and never let the pace sag or become too loosely structured. Singing duties alternated from song to song and singers often changed verses within the same song. At one point, the drummer and the tap dancer challenged each other to a percussive duet, won in my view and by popular consensus by Sarah Reich’s nimble dancing.

The clever cover selections were out in full force, as well. Fountains of Wayne’s power pop ditty “Stacy’s Mom” was remade into a bluegrass hootenanny. The Postal Service’s abstract “Such Great Heights” got a ’70s style makeover, giving it a Jackson 5-ish funkiness that fit surprisingly well. There were a few clunkers: Beyoncé’s “Halo,” “All About That Bass,” and “Hey There Delilah” each missed their respective marks, but that may have been because the original songs gave the band less to play with.

By the end of the night, PMJ finally got the attentive but staid crowd (this is Puritan country, after all) to get up on stage and dance. The final number of the evening was, true to form, a cover version of the theme from Casablanca , but this time it wasn’t drastically different in format than the original, which was an unexpected but poignant way of ending the evening.

After a night spent impishly deconstructing new songs by making them sound old, hearing the band perform a classic as originally intended proved that, for all their whimsicality, Postmodern Jukebox’s project is really about reverence for the sounds and styles of the past, not just mimicry for the ironic consumption of the present.

Matt Hanson is a critic for The Arts Fuse living outside Boston. His writing has appeared in The Millions , 3QuarksDaily , and Flak Magazine (RIP), where he was a staff writer. He blogs about movies and culture for LoveMoneyClothes . His poetry chapbook was published by Rhinologic Press.

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Review: Postmodern Jukebox reimagines music hits in concert at the Garde

It’s a musical brainteaser.

The song starts, and it seems familiar and yet ... not.

You know the lyrics, but they seem weirdly, wonderfully out of context. Wait, what IS this number?

That torch song, building from sultry to explosive — is that Radiohead’s “Creep”?

That fizzy doo-wop confection, could it be Celine Dion’s “My Heart Will Go On”?

And how about the jump-and-jive tune that could have had dancers doing the Charleston in an early era nightclub? It can’t be “Material Girl,” can it?

Yes on all counts, and it was all part of the musical time-traveling that Postmodern Jukebox did Friday at the Garde Arts Center in New London.

As you can guess by the above description, PMJ reimagines current chart-toppers as retro tunes. That might sound like a one-note gimmick, but the show reached way beyond that to create a night of boundless joy and invention.

Key to it all was the sheer talent of the performers — three singers, six instrumentalists, one tap dancer, one tambourine player (I kid you not) and one woman who was basically a one-woman band.

The singers — Tia Simone, Effie Passero and LaVance Colley — could belt like nobody’s business. Colley, in addition to having a rascally sense of humor, hit impossibly sky-high notes on “Halo” and “Forget You.” Passero had a river-deep-mountain-high voice, with gorgeous purity particularly in her upper register. Simone exuded diva energy, serving up a powerhouse voice and moves that Tina Turner would kill for; she was a showstopper. All three of them did plenty of vocal acrobatics, but they found occasional subtle moments as well.

The band, too, was spot-on and into the spirit of playfulness that permeated the evening. As the band members were being introduced to the audience, they played Luciano Michelini’s “Frolic,” better known as the “Curb Your Enthusiasm” theme.

And then there was Gunhild Carling, who not only sang but also played a whole array of instruments. For a brief bit, she played three trumpets — at once, with the mouthpieces all crammed to her lips, and her hands managing to hold them in place and push some valves at the same time.

Jabu Graybeal found amazing percussive possibilities in his nimble tap dancing. He even imitated some Super Mario leaps, as the band approximated the video game’s soundtrack. In another number, he tweaked his moves as the music medley moved from “In the Mood” to “Sir Duke” to Black Sabbath’s “Iron Man.”

As for tambourine man Tim Kubart, well, he wasn’t necessary. But he did add caffeinated energy: The way he danced and smiled recalled nothing so much as Jack on “Will & Grace.”

With its new takes on everything from “Seven Nation Army” to the “Friends” theme song, the concert gave listeners a new appreciation for old hits — and for the mastermind behind Postmodern Jukebox.

How the group began: PMJ guru Scott Bradlee was trying to make a go of it as a jazz musician in The Big Apple when he found his success in this format instead. He and a few college buddies were having fun doing videos in his basement in what would come to be known as PMJ style. A ragtime version of some 1980s tunes drew a lot of attention in 2009. But it wasn’t until 2012 that one of the videos went viral: a throwback take on Macklemore and Ryan Lewis’s “Thrift Shop.”

The little basement-born idea has grown into a rotating musical collective with different groups traveling the world under the PMJ banner.

PMJ has plenty of fans: The crowd at the Garde was enthusiastic, whooping and cheering. Till next time, PMJ.

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Scott Bradlee's Postmodern Jukebox touring the UK in 2023

Scott Bradlee's Postmodern Jukebox are ready to take fans on "an extraordinary journey through bygone music eras" on their UK tour.

The New York City pop-jazz sensation are set to return to Britain, bringing their innovative twist on classic sounds, performing "today's hits yesterday", on an unforgettable 23-date run throughout April and May 2023.

Scott Bradlee’s Postmodern Jukebox's ‘Life In The Past Lane’ Concert Tour is a celebration of the greatest 20th century musical genres, uniquely fused with the recognisable hits of our own modern era, for the perfect patina of vintage and modern. This musical time machine will be landing in the UK next spring, taking the audience on an extraordinary journey through bygone music eras.

Speaking about the upcoming dates, Scott said: "Times change and trends come and go, but - like a 1961 Jaguar XK-E - the classic sounds of the past only appreciate with age. Whether you're a vinyl aficionado or a TikTok fashionista, catch a ride with us for an unforgettable trip through 100 years of timeless music."

Commencing in April 2023, the ‘Life In The Past Lane’ tour is the latest tour from Scott Bradlee’s Postmodern Jukebox who are currently thrilling American audiences up and down their home country.

Postmodern Jukebox are set to debut the show in the UK at Bournemouth’s Pavilion Theatre on 12th April 2023, as well as visiting York, Birmingham, Edinburgh, Sheffield, Manchester, Brighton, Norwich, Nottingham, Liverpool and many more. The tour will also include London’s iconic Royal Festival Hall on the capital’s landmark South Bank on 28th April.

As always with PMJ’s outstanding live performances, ‘Life In The Past Lane’ will feature an ensemble filled to the brim with some of today's most exciting vocalists, instrumentalists, and tap dancers. Surprise special guests often join the core line-up, ensuring each concert experience is tremendously incomparable – making for an electrifying live music experience, of this and any other time period.

Go to Aegpresents.co.uk/events/detail/scott-bradlees-postmodern-jukebox for more information and tickets.

SCOTT BRADLEE’S POSTMODERN JUKEBOX LIFE IN THE PAST LANE TOUR

UK TOUR DATES 2023:

12 APRIL - BOURNEMOUTH PAVILION THEATRE

13 APRIL - BRIGHTON DOME

14 APRIL - NORWICH UEA

15 APRIL - OXFORD NEW THEATRE

16 APRIL - NOTTINGHAM ROYAL CONCERT HALL

17 APRIL - LIVERPOOL PHILHARMONIC

19 APRIL - CARDIFF ST DAVID’S HALL

20 APRIL - STOKE ON TRENT THE VICTORIA HALL

21 APRIL - GUILDFORD G LIVE

22 APRIL - BRISTOL O2 ACADEMY

23 TORQUAY THE PRINCESS THEATRE

24 APRIL - SOUTHEND CLIFF’S PAVILION

26 APRIL - CAMBRIDGE CORN EXCHANGE

27 APRIL - BEXHILL DE LA WARR PAVILION

28 APRIL - LONDON ROYAL FESTIVAL HALL

29 APRIL - BIRMINGHAM SYMPHONY HALL

30 APRIL - YORK BARBICAN

02 MAY - EDINBURGH USHER HALL

03 MAY - ABERDEEN MUSIC HALL

04 MAY - GLASGOW ROYAL CONCERT HALL

05 MAY - GATESHEAD SAGE

06 MAY - SHEFFIELD CITY HALL

07 MAY - MANCHESTER BRIDGEWATER HALL

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Review: Postmodern Jukebox Brings the Riffs Back to OC's Segerstrom Center

What began in 2009 as a celebrated internet sensation with a massive cult following (and more than a billion views) that eventually became the international phenomenon that seamlessly blends big band sounds with pop chart toppers, the super talented ensemble of contemporary-meets-vintage sounds known as Scott Bradlee's Postmodern Jukebox continues to entertain and enthrall audiences at every stop.

It is no surprise that Bradlee's inspired and wonderfully genre-crossing creation---which recently just finished up its third wildly-received appearance at Orange County's Segerstrom Center for the Arts in Costa Mesa---still garners near sold-out concerts attended by rabid, frenzied fans whose screams of delight are more akin to stadium acts like Shawn Mendes or Taylor Swift . The group's latest concert tour entitled "Welcome to the Twenties 2.0" is their take on a Jazz-Age revival timed, appropriately enough, as another 20's decade enters into our lives. The concert, thanks to the group and their enthusiastic audience, turned their Costa Mesa stop at the otherwise fancy-pants Renée and Henry Segerstrom Concert Hall into a genuine party atmosphere that welcomed everyone of various backgrounds and ages.

What's awesome is, yes, Postmodern Jukebox 's shows are literally a shared, communal experience equally enjoyed by young and old. The grandparents will love the big band-era sounds that, sure, feel and sound like Lawrence Welk on multiple Red Bulls. The boomers and Gen-X'ers will love the endless vocal riffs that would even make Mariah and Ariana sit up and notice, and the young'ins will love hearing their favorite radio or Spotify playlists come to life with a slightly skewed "retro" sound that's not at all square or unhip.

My first experience with the group---besides being an early fan online---was back in 2015 when the group made its live O.C. debut as part of the Center's Off-Center Festival, a month-long program that provided "alternative" or avant garde acts to the theatrical campus. At the time, Postmodern Jukebox (PMJ for most of us fans) was already selling out shows globally, but they were still a word-of-mouth act that was more widely-known as the awesome musicians featured in many shared video posts on someone's Facebook wall. But, surprise, their first show was packed and the screams were loud---as if the group has existed for an entire century.

The show was a stunning debut, featuring their now signature showcase of jazzified pop hits with its founder, the handsome and appropriately stylish Mr. Bradlee, behind the piano acting as both emcee and the group's de facto leader and resident piano prodigy. For the group's 2017 return to Costa Mesa, Bradlee---to everyone's surprise---wasn't behind the piano for the show, but he did make a special "guest appearance" towards the latter half and eventually found himself behind the piano, providing the audience with a live recreation of his infamous online "impromptu" piano sessions wherein his viewers type in suggestions of popular (and sometimes truly old school) songs and he in turn, right on the spot, composes a makeshift medley of said suggestions in the musical styling of Ragtime. In the concert versions, attendees shout out various songs out loud and, if he remembers them, plays them one at a time in a gloriously stunning, seamlessly continuous mashup.

Bradlee again made a "surprise guest appearance" during PMJ's third Segerstrom Center appearance on June 15 (he sat in my row during the first half of the concert), and not only did he revive his signature impromptu bit, but also joined in on the big band fun via his fun new instrument, the Key-tar---that totally awesome 80's power band synthesizer keyboard that's worn like a guitar. With PMJ's frequent tours and multiple in demand appearances around the world, it was genuinely cool that Bradlee was able to rejoin the group he founded in its Costa Mesa stop.

At its core, PMJ's place in live music is a clever, remarkable premise, really, that evokes awe and wows from a wide age demographic: the group takes popular hit songs---everything from Prince or Justin Timberlake to Lady Gaga and, yes, Taylor Swift ---and refashions them as fabulous, very old school 20's or 30's era jazz-hot compositions that are heavy on vintage big-band bombast as well as riff-tastic vocalists that leave you completely breathless at their seemingly effortless abilities.

Seriously, if you're looking for a show that features some of the most expressive, complex vocal gymnastics ever uttered on a stage, look no further than a PMJ concert, which gleefully yet humbly trots out some of the most amazing vocalists that, I mean really , should be HUGE music stars on their own right. Chief among the riff-masters on display was the concert's emcee and, at times, lead vocalist Mario Jose, who stunned---and I mean stunned ---the audience with a goosebumps-inducing rendition of Radiohead's "Creep" that had the audience mesmerized. That by itself was worth the price of admission alone. Blessed with a voice that can sweetly croon and fiercely slay, Jose's vocal work was some of the most incredible male singing I've ever heard in any live concert. Beginning with Sam Smith 's jazzified "I'm Not The Only One" then later a growling, blues-y version of Justin Timberlake 's "Cry Me A River," and even a Justin Bieber cover of "Where Are U Now," Jose encapsulates the PMJ experiment to its richest possibilities.

Jose, alongside his duties as host, also provides exemplary work as occasional back-up, doo-wop -er for the other singers in the line-up: Olivia Kuper Harris , Joey Cook and PMJ newcomer Therese Curatolo . Harris' highlights include lovely jazz-flavored covers of Katy Perry 's "Last Friday Night," Maroon 5 's "Sunday Morning," and David Bowie 's "Life On Mars." Pixie-like Cook entertained with her antiquated covers of "Hey There, Delilah" by Plain White T's , Miley Cyrus ' "We Can't Stop," My Chemical Romance's "Welcome to the Black Parade," (an odd choice, but actually bests the original, IMO), and a stylized cover of Iggy Azalea 's "Fancy." For her part, Curatolo impressed both fans and newbies alike with her takes on Paula Abdul 's "Straight Up," and Paramore's "Misery Business."

Throughout the evening the foursome would also trade positions, singing solo on one song then serving backup vocal duties the next. My favorite group numbers featured the ladies doing enjoyable covers of Meghan Trainor's "All About That Bass" (a PMJ audience favorite), Portugal, The Man's "Feel It Still," and Justin Bieber 's "Sorry." I also absolutely loved Jose and Curatolo's duet on Gnarls Barkley's "Crazy."

Joining in the fun is tap dance soloist extraordinaire Anissa Lee and a surprise (kinda) appearance by everyone's favorite, adorkable "Tambourine Guy" Grammy Award-winner Tim Kubart (admittedly, my friend actually commented how loud I shrieked with delight when he leaped out on stage---seriously, his happiness and buoyant demeanor truly makes everything in the world alright, and after missing his presence during the last PMJ OC concert, it was so fun seeing him do his thing here again).

If you have yet to experience Postmodern Jukebox live in concert (rather than just view their lovely YouTube video covers), then you're missing out on hearing some great musicianship both from its incredible band and its rotating roster of stunning singers. Nothing beats hearing live, unfiltered, genuinely great vocals in person, and with a PMJ concert, you can never leave unsatisfied or completely entertained. Plus, seeing the unabashed joy from "Tambourine Guy" will erase all the shit of your bad day, guaranteed.

** Follow this reviewer on Twitter: @cre8iveMLQ **

Photos by Dana Lynn Pleasant, courtesy of Segerstrom Center for the Arts.

For tickets or more information on other concerts or entertainment offerings at Segerstrom Center for the Arts, visit SCFTA.org . Tickets can be purchased online at www.SCFTA.org, by phone at 714-556-2787 or in person at the SCFTA box office (open daily at 10 am). Segerstrom Center for the Arts is located at 600 Town Center Drive in Costa Mesa. For more Postmodern Jukebox tour dates, visit postmodernjukebox.com .

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Great Shows. Good Times. Celebrating 15 Seasons

Postmodern Jukebox

This event has passed, back at dpac the #1 swing, jazz, & ragtime show in the world.

Even in our futuristic age of AI chatbots and virtual realities, there is still nothing in the world that compares with the thrill of hearing classic genres of music, performed live by a group of exceptional singers and musicians that have truly mastered the ability to move an audience. That’s the philosophy behind Scott Bradlee’s Postmodern Jukebox, whose Life In The Past Lane World Tour returns to 40 US cities. The revamped show will blend modern-day earworms and iconic pop hits with the original styles that put American popular music on the map: Ragtime, Swing, Big Band, Country / Western, Doo Wop and Soul. Equal parts time-traveling musical variety show and career-launching talent platform, Postmodern Jukebox (or “PMJ”) will feature a cast of performers from their wildly popular YouTube channel, to bring the musical universe to life. Everything New is Old Again - leave the AI at home and take a road trip to experience Life in The Past Lane! Dressing in vintage attire is encouraged.

Accessible Seating & Accessible Services

DPAC offers a variety of Accessible Seating & Accessible Services to make our performances and facilities accessible to all.

• Accessible entrances, parking, restrooms, and seating options including a variety of wheelchair accessible locations and companion seating.
• ADA compliant ramp access and elevators to all lobbies and seating areas.
• Courtesy shuttles from nearby parking areas, curb-to-seat wheelchair assistance and listening devices at every event.
• Plus, audio description, captioning, and sign language interpretation upon request.

Accessible Services - We’re here to help!

• For additional information, questions or more specific details on accessibility or any accommodation or service listed below, please contact us via e-mail at  [email protected] .

Accessible Seats - Ticket Purchases

• To purchase Accessible Seats, please visit the  Blue Cross Blue Shield of North Carolina Ticket Center

For additional information, questions or details on an accommodation or service not listed below, please contact us via e-mail at  [email protected] . 

• Accessible Seating
• Accessible Parking
• Accessible Restrooms
• Listening Devices
• Drop-off / Pick-up & Courtesy Wheelchairs
• Audio Description
• Sign Language Interpretation
• Service Animals

Age Requirement

Please note that all guests require a ticket, regardless of age. Children under the age of 6 are not allowed at this performance. Children must be able to sit quietly in their own seat without disturbing other guests.

NEW - Cashless Payments for Snacks and Beverages at DPAC

• Cash is no longer accepted for snack or beverage purchases at DPAC’s lobby bars or snack and beverage stands.
• Snack and beverage purchases now require payment using credit or debit cards, Apple Pay or Google Pay or a DPAC gift card.
• If you happen to arrive at DPAC with cash only, guests may purchase a DPAC gift card in $20 increments at our Entry Lobby Guest Services window. These gift cards can then be used at any lobby bar or snack and beverage stand.

Content Advisory

DPAC offers a diverse selection of entertainment. Not all productions will appeal to or be appropriate for every guest or for all ages. Ticket buyers should take responsibility for making informed decisions regarding their purchases. We recommend visiting the official website of each show to learn more about the show you are coming to see at DPAC. If you ever have questions about the content or appropriateness of a show, please contact us at  [email protected] .

Our lobby doors open 60 minutes prior to show time.

Event Schedule

7:00 PM- Lobby Doors 8:00 PM- Performance Begins * Please note all times are approximate and subject to change without notice.

Inclement Weather

All performances scheduled at DPAC normally take place as planned. For more information on our inclement weather policy, please visit  INCLEMENT WEATHER FAQ .

Photography / Video Recording

• This show allows photography and video recording using mobile phones — please no flash.
• We ask that you be courteous to guests behind and around you. Please know that any obtrusive use (such as holding the phone where it can block the view of other guests) or video recording longer than a single song  is prohibited . 
• GoPro’s, tablets, and cameras of any kind  are prohibited  at all DPAC events.

Related Links

• Official Website

Safety First - Bag Check

• For your safety, all guests and their bags are subject to inspection before entry.
• This inspection may include the use of metal detectors.
• Restricted items include, but are not limited to: Alcohol, Cameras, Glass Bottles, and Weapons of any kind.
• In addition, no large bags are allowed including backpacks and large purses 12 or more inches deep.
• Small clutch purses are STRONGLY recommended.
• For family shows that allow very young children, diapers bags are allowed for guests with infants and toddlers (child must be present).
• Safety first is our goal. Please let us know if you have any questions or feedback at  [email protected]   

Special Effects

• For many events at DPAC, the performances contain bright lights, flashing strobe lights and theatrical fog or haze.
• DPAC does not control these lighting effects which are designed as part of the show and are used for dramatic effect.
• Theatrical fog or haze, comprised of safety tested glycol, glycol/water mixtures, water, mineral oil, or dry ice, is used to make lighting effects more visible, and to create a specific sense of mood or atmosphere.
• This event has not provided DPAC with any specific advisory.

Standing at Concerts

Standing and Dancing at Concerts: DPAC is proud to welcome all types of concerts to our stage. Sometimes during the course of a concert performance, audience members will show their enthusiasm by standing and dancing, especially when encouraged by the performers to do so. Unless directed by the show, we do not ever enforce a must sit policy at concerts. For most concerts, this would not be acceptable to the performers on stage who often love it when the crowd is moved enough by the performance to stand. This is especially true for rock shows and for seats closest to the stage.

Please know that DPAC does not have a “no standing” policy and in most situations will allow guests to stand even if they block the view of the stage for other guests. If your view is ever blocked by a standing or dancing guest, please contact an usher and we’ll attempt to find alternative seating.

• Most tickets buyers purchase right from our website using the  Buy Ticket s  button on this page.
• In addition to purchasing online, DPAC offers several other ways to purchase the seats you want to the best Broadway, concerts, comedy, family shows and special events in North Carolina.
• Our computerized ticket system enables you equal access to great DPAC seats whether you buy online, by phone, or in person at DPAC.
• For more details, visit our  Purchase Seats  page for complete information on purchasing great seats for all events at DPAC.
• All tickets for DPAC events are fully digital and only accessible via your mobile device.  A mobile ticket is the safest, most convenient, and flexible way to receive and manage your tickets while increasing protection against fraud. To learn more about mobile entry, please visit our  Mobile Entry FAQ .

Video Screens

Currently, this event has not approved using our video screens.  Please feel free to check back closer to the event for updates. If approved, we will post notice here.

For many concert, comedy, and special events at DPAC, we offer added views of the stage with two big screens (size: 16’ x 9’) hung to the sides of the stage or above the stage. These big screens can add to the visual experience of our concert, comedy, and special events and give guests seated farther from the stage what we like to call “a tenth row view”. Approval to use these screens always rests with the visiting show and about half of all concert and comedy events do use these screens.

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Scott Bradlee's Postmodern Jukebox - The '10' Tour

Booking at The London Palladium

Famed “Pop music in a Time Machine” concert act Postmodern Jukebox is embarking on a world tour to celebrate the dual milestone of their 10th anniversary of touring and their 1,000th show in 2024.

Concertgoers can expect a dazzling, inspiring trip through the PMJ Universe — where modern-day earworms and iconic pop hits alike are reimagined in classic genres like 1920s jazz, Swing, Doo-wop and Motown, and brought to life by a cast of some of the world’s best singers, dancers, and instrumentalists. Think “The Great Gatsby” meets “Sinatra at the Sands” meets “Back! …To The Future”.

When pianist Scott Bradlee started the time-twisting musical collective from a basement apartment in Queens, NY, an online, “viral” success story was born —one that quickly led to sold out shows across North America and Europe in the Summer of 2014.

The touring act received rave reviews from industry publications and world-renowned artists alike. In the years that followed, “PMJ” built a reputation as the “ Saturday Night Live of Singers” by introducing audiences to dozens of exceptional musical artists —many of whom had been previously overlooked by the modern record industry — and turning them into bonafide stars.

EVENT INFORMATION

VENUE:   The London Palladium , Argyll Street, London, W1F 7TF

TICKETS:  Prices displayed include an online per ticket booking fee. All prices include a £1.70 restoration levy.

BOOK WITH CONFIDENCE:  Best Seats and Best Availability, ONLY when you book direct.

ACCESS:  Find out how to book access seats  here . Learn more about accessibility at  The London Palladium   here .

RUNNING TIME:  TBC. Please be aware that other patrons around you may stand during the concert.

AGE GUIDANCE:  Children under the age of 16 must be accompanied by and sat next to a parent or guardian who is at least 18 years old. Children under 4 years of age (including babes in arms) will not be admitted into the auditorium.

SHOW GENRE:  Music  

For any other questions, please visit our  FAQs page . Enjoy your visit to our theatre.

Our range of experiences are perfect for special occasions like birthdays, family celebrations, or a treat for yourself. Simply take a look through our extra-special offers, pick the experience that’s perfect for you, and we’ll take care of the rest.

The prices below do not include the price of the seat ticket. 

V.I.Palladium

£65 per person

• Skip the queue on arrival and use our VIP Entrance
• Greeted and hosted by a Red Coat Butler
• A reserved table in our VIP space, available 1 hour before the show
• Pre-show drinks, including champagne and our specially-curated cocktail menu
• Savoury bar snacks

AVAILABLE TO BOOK WITH SHOW TICKETS

Pre-show drinks include 3 cocktails or a half-bottle of Champagne per person, or alternatives up to the same value. Alcohol can only be served to and consumed by persons aged 18 years and over. Please ask a member of staff for details about any food allergens.

The Private Suite

£135 per person

• Skip the queue on arrival via our VIP Entrance
• Access to a private VIP suite, available 1 hour before the show
• A premium selection of pre-show drinks, including champagne and our specially-curated cocktail menu
• Dedicated washroom facilities and complimentary cloakroom

Pre-show drinks include up to a bottle of champagne or the equivalent value in cocktails, or alternatives, per person. Alcohol can only be served to and consumed by persons aged 18 years and over. Please ask a member of staff for details about any food allergens. Accessibility Information: Please note, we regrettably cannot provide step-free access to our private suites. Please contact the Hospitality team for further details.

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The London Palladium Access Tickets

ACCESS BOOKINGS

Are you an access customer? Find out how to sign up to our access scheme to get your tickets for Concerts and Events at The London Palladium.

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Mon 15 April 2024 - Mon 1 July 2024

Cambridge Theatre

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Scott Bradlee's Postmodern Jukebox - The '10' Tour 2024 (Nashville) | Ryman Auditorium

Prepare to be transported back in time with Scott Bradlee's Postmodern Jukebox - The '10' Tour at Ryman Auditorium on July 30, 2024. This sensational concert will take place at 116 Rep. John Lewis Way North, Nashville, TN, 37219, promising an evening of musical enchantment. Scott Bradlee's Postmodern Jukebox is renowned for their unique vintage twist on modern pop hits, guaranteeing a night of toe-tapping rhythms and soulful melodies. From reimagined classics to current chart-toppers, this show will showcase a eclectic mix of musical genres, sure to captivate audiences of all ages. Tickets for Scott Bradlee's Postmodern Jukebox - The '10' Tour will be available for purchase starting from March 15, 2024, at 3:00 PM until July 31, 2024, at 1:00 AM. Don't miss this opportunity to experience the magic of Scott Bradlee's Postmodern Jukebox live on stage.

Provided by Jackleen_Yarboro | Published Apr 11, 2024

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