boston band tour europe

• Moscow concerts Moscow concerts Moscow concerts See all Moscow concerts ( Change location ) Today · Next 7 days · Next 30 days
• Most popular artists worldwide
• Trending artists worldwide

• Tourbox for artists

Search for events or artists

• Sign up Log in

• Get the app
• Moscow concerts
• Change location
• Popular Artists
• Live streams
• Deutsch Português
• Popular artists

Boston  

• On tour: no
• Upcoming 2024 concerts: none

602,281 fans get concert alerts for this artist.

Join Songkick to track Boston and get concert alerts when they play near you.

Find your next concert

Join 602,281 fans getting concert alerts for this artist

Similar artists with upcoming concerts

Tours most with, past concerts.

Jiffy Lube Live

Empower Federal Credit Union Amphitheater at Lakeview

S&T Bank Music Park

View all past concerts

Boston (formed in 1971) is a notoriously popular classic and arena rock band in the ‘70s and ‘80s, that have produced some of the fastest-selling records in history, hailing from Boston, Massachusetts, U.S.

At the same time as studying towards a master’s degree as the Massachusetts Institute of Technology, guitarist and songwriter Tom Scholz met guitarist Barry Goudreau, and drummer Jim Masdea. After graduating Scholz built a recording studio in his home, recorded a number of demos with the help of Goudreau, Masdea, and vocalist Brad Delp, and by 1975 had recorded demoes for the songs “More Than a Feeling”, “Peace of Mind” and “Somethings About You”.

It wasn’t long before the band, still unnamed, started getting interest from promoters and labels, and after an audition with record company executives, signed with Epic Records. Masdea left the band around this time, however played drums on the re-recording of the track “Rock and Roll Band”. The band’s debut album, recorded mainly in Scholz’s home studio, was produced in Los Angeles by John Boylan, who suggested the group call themselves Boston.

The self-titled debut album “Boston” was released in 1976 and is one of the best-selling debut albums in U.S. history, with over 17 million records sold. The release showcased singer Brad Delp’s vocal delivery and mastermind Tom Scholz’s musical influences, and led to Boston opening for the likes of Black Sabbath, Blue Öyster Cult, and Foghart. The release shot to No. 1 on the Billboard 200 and spawned the charting hits “More Than a Feeling”, “Long Time” and “Peace of Mind”.

Under pressure from label executives, Scholz reluctantly signed off on Boston’s sophomore full-length “Don’t Look Back” in 1978. The album shot to No. 1 once again, however unhappy with the rushed results, Scholz promised never to rush a record again. “Don’t Look Back” spawned the singles “A Man I’ll Never Be” and “Feeling Satisfied” and was supported by another extensive arena tour.

After lengthy court battles with both Epic Records and former co-manager Paul Ahern that delayed progress on Boston’s third album, the song “Amanda” was leaked in 1984. The track later became the lead single from the album “Third Stage”, which, like its predecessors found the top of the U.S. pop charts in 1986. Subsequent singles included “We’re Ready” and “Can’tcha Say”, which the band promoted on tour in 1987 and 1988. Eights years later after members had pursued solo projects, Boston reemerged with the album “Walk On” in 1994. It became the first album of the band’s not to chart within the Top Five, however the single “I Need Your Love” became a staple on U.S. rock radio stations.

The single “Corporate America” was released on mp3.com in 2002, and became the site’s most downloaded song. The single became the band’s title track for their fifth studio album, which was a vehicle for Schulz to express his disdain for the current corporate climate. A national tour ensued throughout 2003 and 2004, and in 2006 Boston released remastered versions of their first two albums. Eleven years later in 2013 Boston released the full-length album “Live, Love & Hope”, which charted at No. 37 on the Billboard 200.

Live reviews

Greek.. 07/14/2016

Band was great. Music in the Greek, unfortunately loses some of its power due to noise level restrictions. Not the best place to see them, but thoroughly enjoyed. Dennis Deyoung and his band opened up and sounded great. The venue is more suited to them. Definitely not Tommy Shaw/JY talent, but adequate.

Boston started the show as they usually do with "Rock and Roll Band" and then went though a few classics. When Gary Pihl was asking the audience if they wanted to hear new stuff or the classics, you can guess what the response was? 1 hour of great fun, dancing, singing along "COOL THE ENGINES". Then... Tom screwed it up. He always does a solo, but this time, appx 45 minutes. Even I, as a musician, got bored. He knows better. Looking around and standing in the middle of the venue, I could hear people talking among each other rather than listening to the music. After 20 minutes, many people left. Too bad. Why leave when you have this tremendous talent on stage who you get to see work maybe a handful of times in your life? Well, It is Los Angeles. People do have other things to do??? Idiots. When it was a little slow, go get a beer. Great finish. Tom Sholtz was flawless as usual. The new female singer, Beth Cohen, while talented, was less than impressive. Overall a good night.

Report as inappropriate

Boston takes Cleveland by storm! The first 8 track I had was Boston's Boston and the second was Don't Look back. I would not be surprised if most people in the audience first heard Boston on 8 track, but I was presently surprised at how many younger fans were in the audience. Clearly products of their parents' music endeavors or at least their back seat endeavors.

No one, however, was disappointed on Tuesday night when Boston took Cleveland by storm, as the wicked storm off the lack also approached. The rains came and didn't subside, nor did the band. They rocked through 21+ songs with the audience on their feet most of the show.

I go to 70+ concerts a year, and would be hard pressed to find one that was as fun as this show. The audience was wild for Boston, and they over-delivered. Whether you came from an age with this music in the late 70's or discovered the band much later, this is a great show with really enthusiastic performances by everyone on stage. "Its been such a long time", but well worth the wait! Thank you Boston for a great show and certainly not letting the weather impact a second of your performance.

Fantastic show. Band sounded great and it was overall a really good set list. Always a joy to see Tom Scholz and he still sounds brilliant on guitar and keys. Everyone in his band delivered.

My only suggestion would have been to alternate more classics near the last quarter of the set. They were classics heavy in the beginning of the set, but near the end there were several songs in a row from the more recent albums, and for most of the audience these were essentially unknown tunes. Not saying they shouldn't play them, but just alternate one newer tune with a classic.

The other bands - Rick Derringer and Don Felder sounded fantastic as well. The principal band members (Tom Scholz, Felder, Derringer) are all in their mid to late 60s and they're holding up really well. The Felder set was essentially an Eagles set, with just one non Eagles tune (SRV's Pride & Joy). Felder's band is a few decades younger than him and they all nailed their parts. It was cool to see Brian Tichy on drums. We knew him from BIlly Idol's band, and he cowrote most of my favorite Billy Idol album, "Devil's Playground."

Boston was awesome live. It's definitely been a while since their hits have come out, but they still rock. Hits from their three major albums, 1) Boston, 2) Don’t Look Back, and 3) The Third Stage color their set with melodious, comforting, and nostalgic tunes. While I didn’t grow up with this music, I felt like I was back in the seventies, rocking out to the hits of the day. I would also say that I’m not a huge classic rock fan, but there was something about Boston and the band’s current make up that added an extra bit of flair to the old hits. And the current drummer, Jeff Neal, is phenomenal. Worth the price of admission just to see him thrash. While the jettison from Boston (1989) and subsequent death of Brad Delp (2007), the former lead singer and voice of Boston, caused a major shift in what the band represents, I would say their sound is still comparable to what we've come to know and love from them. So if you're looking for new stuff, I'd say you should pass on seeing a band like this. But if you like the oldies but goodies scene, this is a concert for you.

Massachusetts rock outfit Boston, named after their place of origin achieved huge success in the 70's and 80's in both the States and the UK. Having formed nearly 40 years ago, the veteran rockers still delight audience with shows made up heavily of material from their first three successful albums.

Starting with a blazing rendition of 'Rock & Roll Band',

'Smokin'', 'Feelin' Satisfied' and 'Last Day of School' in an almost back to back fashion, the crowd cheers loudly when they are finally allowed time to be heard. Lead singer Tom Scholz thanks the audience and explains it is their dedication that keeps the band touring globally and playing their classic music. A great introduction before fan favourite 'Life, Love & Hope'.

A combination of brilliant instrumentals and infectious stage persona makes Boston an even greater appreciated live act as they command a stage with ease. Big cheers come for hits such as 'Amanda' and 'Don't Look Back', yet the veteran rockers keeps the audience enthusiastic throughout the entirety of their career spanning show.

Boston is one of my all-time favorite bands so getting to see them in concert was a dream come through for me. They did not disappoint! Their performance was amazing: the lead singer is excellent, their sound was almost identical to the albums, and their instrumentals were incredible. I wasn't sure how I'd like the new band members, but they were excellent.

The show started out great! Joan Jett was amazing! Boston started out with a bang until they started playing a lot of slow songs in the middle. Their show was slightly under-tempo for me. The encore was good, though. That got everyone back on their feet and singing. Ive seen worse, but ive seen better.

The show was amazing. These guys make it look effortless even down some original members. I highly recommend their tour to small and big fans alike. The set list will be a walk down memory lane and demonstrate the continued staying power of their music for more tham 30 years.

Boston was as crisp as ever. Awesome concert, played a mixture of new and old. The lead singer, Tommy Decarlo is every bit as good as Brad Delp, and I am a real critic when it comes to changing lead singers. They sound as good as their studio CD's. Great job by all!

What a great concert.. What incredible musical talent... And the leads voice is exactly the same... Good rock and roll that takes you right back to the 70' and 80's.. Traveled to Atlanta for this concert... Totally worth it... And they are still all totally Hot!!

Photos (11)

Posters (22)

Find out more about Boston tour dates & tickets 2024-2025

Want to see Boston in concert? Find information on all of Boston’s upcoming concerts, tour dates and ticket information for 2024-2025.

Unfortunately there are no concert dates for Boston scheduled in 2024.

Songkick is the first to know of new tour announcements and concert information, so if your favorite artists are not currently on tour, join Songkick to track Boston and get concert alerts when they play near you, like 602281 other Boston fans.

Last concert:

Popularity ranking:

• Willie Nelson (607)
• Boston (608)
• Selena Gomez & T... (609)

Concerts played in 2024:

Touring history

Most played:

• Los Angeles (LA) (31)
• Boston / Cambridge (26)
• Philadelphia (25)
• Detroit (24)
• SF Bay Area (19)

Appears most with:

• Farrenheit (69)
• Sammy Hagar (68)
• Starcastle (28)
• Joan Jett & The Blackhearts (24)

Distance travelled:

Similar artists

• Most popular charts
• API information
• Brand guidelines
• Community guidelines
• Terms of use
• Privacy policy
• Cookies settings
• Cookies policy

Get your tour dates seen everywhere.

• But we really hope you love us.

Boston Verified

Similar artists on tour, boston merch.

Live Photos of Boston

concerts and tour dates

Fan reviews.

About Boston

Posted on January 10, 2024

Joseph Williams and Steve Lukather aka The Dogz of Oz are thrilled to share Toto’s line-up for confirmed appearances in 2024 and beyond. The duo welcome back to the band Greg Phillinganes on keyboards and vocals alongside Shannon Forrest on Drums. The band kicks off a North American tour that features thirty appearances with Journey in arenas alongside 14 headline shows beginning in Biloxi, MS on February 9. That run will wrap on April 29 in Bridgeport, CT. Across June and July, in to early August, the band will stage a headline tour of Europe. For fans in the UK, plans are being worked on now to stage a run of shows in early 2025. Additional appearances across The World will be announced in the coming months.

Pictured from left to right: Warren Ham, John Pierce, Steve Maggiora, Steve Lukather, Joseph Williams, Shannon Forrest, Greg Phillinganes

Featured Video

Subscribe Today

How Boston Flew So High And Fell So Far

How the biggest band of the 70s, created by reclusive genius Tom Scholz, were almost pulled apart by turmoil and tragedy

Released in August 1976, the debut Boston album sent shockwaves through the music industry. It was a true Cinderella story – a band appearing out of nowhere, turning the world upside down and injecting fresh hope into a scene that was fast dying on its feet.

To achieve this ‘overnight’ success, Boston leader Tom Scholz braved rejection, ridicule, near poverty and endless humiliation. He spent roughly six years ignoring his detractors, hidden in a basement tweaking songs, overdubbing and refining parts until the tapes literally began to disintegrate. Some laughed. Some were worried for his sanity. Most felt that he needed to get out a bit more rather than hang on to a crazy dream that was slowly slipping away. Then, one day, things changed.

This is the story of an unassuming garage musician from Toledo who launched Boston, the biggest new rock band of the 1970s. He was the creator of a hit machine, turning them into an American phenomenon, dominating FM radio by crafting one of the biggest-selling debut albums of all time. Sales to date are in excess of 17 million and still going strong. However, by 1980 Boston had crash-landed, with ex-bandmates embarking on a bitter war of words that still continues 30 years later.

Much has been written about Boston over the years. Scholz has spoken publicly about his tiffs and tribulations, the failure to deliver albums on time and the fact that he appears to be one of the most litigious musicians on the planet. It’s all grist for the mill, of course, but what we all should know is that he’s still toiling away in his home studio in Massachusetts, perfecting songs that he may have started 20 years ago, or even yesterday, but always mindful that they could be better, that the production needs more tweaking or that the arrangements are not truly perfect. It was the same way back in 1970 when, with unfailing determination and singularity of vision, he first set about his original quest for a record deal.

Born 1947 in Toledo, Ohio, Donald Thomas Scholz worked hard to get an education, one that would take him to the prestigious Massachusetts Institute Of Technology (MIT), a teaching and research facility educating America’s best and brightest in science and engineering.

He graduated with flying colours, gaining a bachelor’s and then a master’s degree before taking up a prime position with the Polaroid Corporation as a product design engineer. In many ways it was a dream job for anyone who loved tinkering with electronics, a place where you could have an idea and spend your time figuring out how to make it work. But that wasn’t all that he was interested in. As a young man he’d learnt to play the piano and developed a healthy interest in pop and rock music. Writing songs and playing in a handful of local Boston bands, his thoughts turned to a professional career in music… a dream that would dominate his life for the next six years.

It wasn’t long before Tom sensed a schism between playing live and recording songs. The traditional method of gaining recognition and, in turn, a record contract, was to perform live, playing seven nights a week anywhere and everywhere. Sporting names such as Middle Earth, Freehold and Mother’s Milk, his early bands featured musicians who would later play an important role in the launch of Boston – especially Mother’s Milk, with a line-up that consisted, at various points, of Scholz (playing keyboards), Brad Delp, Barry Goudreau and drummer Jim Masdea. True to tradition, Tom’s early bands initially played the Boston circuit. But, quickly sensing that it was all going nowhere fast, he focused on making a string of demos that would do justice to the sounds he was hearing in his head. Recording in a number of local studios, his efforts to impress initially fell on deaf ears. Spending an inordinate amount of his income on these sessions, it wasn’t long before he had the idea to convert basement space in his Watertown home into a studio.

Classic Rock Newsletter

Sign up below to get the latest from Classic Rock, plus exclusive special offers, direct to your inbox!

With his technical know-how and inventor’s panache, the 12-track studio (christened Foxglove) provided him with a perfect place to create, critique and pull apart songs. It was a never-ending quest for perfection all right, one that produced little success as labels continued to pass in droves.

Scholz himself explained: “I had been working for five years at that point and I took all the money and spent it on recording equipment that was good enough to make the demos which landed the Epic Records deal. I had been bumming around playing in local bands that didn’t have a future. I even started a couple of bands myself, but I knew that it was going nowhere unless I started doing it myself. I quit playing with bands at that point, set up in my basement and went to work. I played all of the instruments and by doing that I could finally get everything that I was imagining and hearing. I was never able to do that when I tried to work with other musicians. That was the turning point. It was the old adage: ‘If you want it done right then do it yourself.’ I knew that if it failed then I would have no one to blame but myself.”

Working side-by-side with Tom in the studio was vocalist Bradley Delp, who was in many ways a secret weapon. By day he was a factory worker, making heating coils for coffee machines, but at night he was an amateur vocalist who had been in a number of bands before teaming up with Tom. The other component at this stage was drummer Jim Masdea. Between the three of them, they honed and polished several tracks, including San Francisco Day (later to be renamed Hitch A Ride ), It Isn’t Easy (re-titled Something About You ), Foreplay (originally composed in 1969), Peace Of Mind , Rock ’N’ Roll Band , Don’t Be Afraid (eventually included on the 1978 Don’t Look Back album) and the final track to be demoed, Ninety Days (later called More Than A Feeling ), featuring hand claps from Scholz’s first wife, Cindy.

Scholz on Delp: “I knew Brad could do all the singing and that he would do an awesome job. He did even better than I imagined. He came in after I had all of the instrumental tracks – oddly enough I heard years later that Brad didn’t realise that he was just singing along to a bunch of overdubbed tracks. He thought there had been a band. He wasn’t there for the recording of the instruments – it was just me and the tape deck.”

Once again, the demos were summarily dismissed by virtually every label. But out of the blue, in 1975, Scholz was contacted by Charlie McKenzie, then working as a rep for ABC Records, who had accidentally heard the tape in a friend’s office at RCA Records, and Paul Ahern, a former Atlantic Records promotion executive. The duo (operating under the handle of Pure Management) convinced Scholz they could get him a deal and dutifully flushed out Epic Records, a CBS label, as a likely home, a place where they had some influence. Epic then listened to the demos with fresh ears and were keen to be involved – but they wanted to see the band play live before committing to a deal.

Epic staff producer Tom Werman recalls the moment the label heard the demos: “A&R chief Lennie Petze knocked on my office door, introduced me to manager Paul Ahern, and asked if I wouldn’t mind listening to something. We went into our boss Steve Popovich’s office next door and put the demo cassette on.

“After More Than A Feeling , which sounded quite like the final product, and halfway through the second song, I stopped the tape. I couldn’t believe that this music was actually available to us, and told Ahern that if Lennie and I could see the band reproduce this music live, we guarantee to sign them. I called Popovich immediately, and when he heard our enthusiasm, he agreed to this course of action.

“We were delighted at our good fortune, and were even more surprised when a smiling Ahern informed us that we were his last stop in New York, as every other label had passed on the band.”

For Scholz and Delp, showcasing for Epic was a major hurdle to jump as a band didn’t actually exist – in fact, they didn’t even have a name for the project – so they quickly rounded up some fellow musicians from the Boston scene who had been close to them over the years.

Renting a warehouse space (belonging to Aerosmith) the ‘band’ – consisting of Tom Scholz, Brad Delp, temporary drummer Dave Courier, bassist Francis Sheehan and second guitarist Barry Goudreau – showcased for Epic, passing with flying colours. They were duly signed, albeit a few months later, to a 10-album contract, deliverable in just six years (industry standard at the time), but with the project still unnamed and with only two signatories – Scholz and Delp.

The signing was great news following the six years of heartache that had preceded it, but it didn’t come without a price. First, Ahern and McKenzie insisted that they change drummer, so longtime associate Jim Masdea was cut loose, much to Scholz’s chagrin, although in mitigation Jim had been talking about leaving for some time (he was eventually brought back into the fold in the 80s) and Sib Hashian was hired to take his place.

Second, for some crazy reason (rumoured to be because of union regulations) Epic insisted that although the demos sounded great, the band could probably benefit from the assistance of a seasoned producer to help them complete the project. Scholz was understandably aggrieved at the suggestion but went ahead with the request in an effort to pacify the label, figuring that this was not the time to throw a spanner in the works.

Epic’s A&R team suggested John Boylan, an experienced studio hound but mostly in the country rock genre. Scholz went to meet him, laid his cards on the table and, much to his surprise, the duo struck up a cunning ruse. Boylan agreed that the demo tapes were pretty sensational (and you can hear those recordings on a bootleg album Honest, I Found It In The Trash Can ) and that re-cutting the tracks was, in-effect, pointless. It was agreed that Scholz was capable enough to finish the existing tracks alone in his home studio while Boylan would take the band out to LA and record a new track and apply vocal overdubs. It was a diversionary tactic that worked extremely well. In an even more altruistic move, he agreed to split the producer’s royalty with Scholz.

So, back at Foxglove, Scholz hunkered down to complete the demos. In fact, 90 per cent of the finished Boston album consists of the original, but enhanced, demos with only one track, Let Me Take You Home Tonight , recorded in LA featuring all five members of the newly inaugurated band. The LA sessions were validated and completed by a visit from Scholz before final mixing at Westlake Studios on Wilshire Boulevard.

Years later, Tom would reveal the true extent of the subterfuge…

“There were only two performers signed to make the debut album in the original Epic Records agreements, Brad and myself, because we wrote all the music for the album, recorded the six demo songs that landed the deal, produced them in my basement, and funded all of it from my Polaroid salary.

“The funny thing is, Epic thought it was being re-recorded by a real producer in a studio somewhere. The only difference is that Sib Hashian played the drum tracks on those versions. I did the same thing, I went back to work and I played all of the parts myself. When you hear More Than A Feeling , that is a couple of weeks of me relaying the guitar tracks down just the way I did on the demos. Brad did the same thing with the vocals. It was done entirely like the original but the record company didn’t know it.

“I think it is very hard for people to get their head around the idea that this band was actually some guys overdubbing in a basement. They like to think that a band plays together and hangs out and writes songs and gets a contract and goes into the studio and then they jam out in the studio and an album comes out of that. This was not like that at all. It was many, many years of long nights playing along with a tape deck.

“The only other person who helped make those demos was drummer Jim Masdea, who was the drummer for every demo I sent to record companies back in the 70s.”

With the record in the can, the band still lacked a name. It was producer Boylan and his engineer Warren Dewey who suggested Boston. Released in August 1976 (though the UK would have to wait until January 1977), Boston exploded out of the box, becoming the fastest-selling record of the decade, being further propelled by the single More Than A Feeling . Housed in an eye-catching sleeve, featuring giant guitar-shaped spaceships leaving behind a dying planet, the music captured the imagination of a public looking for a new, more cutting-edge sound.

The guitars sounded like nothing that had been heard before, dense and full of rich sustain. Delp’s vocals were a revelation, from heavenly whispers to piercing highs. The songs, honed to perfection by Scholz over the last seven years, were immaculately arranged and brilliantly executed. It was, in effect, a coup d’état of the most magnificent kind.

The more the record sold, the more Boston’s touring schedule increased. Starting with club gigs they rapidly graduated to better support slots, opening for Foghat, Black Sabbath, Robin Trower and Blue Öyster Cult. Once those couplings had been exhausted the band headlined sports halls, coliseums and then arenas. It was a dream come true – but, for Scholz, another black cloud was looming. Epic leaned on him for the next album but in his eyes it was too much too soon. Ever the perfectionist, he took umbrage at the demands but dutifully returned to his new, improved, 24-track home studio (now christened Hideaway) and set about crafting a follow-up, the somewhat listless Don’t Look Back album.

Scholz felt the pressure and delivered what, in effect, was half a record. Sure, the songs that eventually made the album were fully formed in the image of Boston but, weighing in at just 29 minutes long, it was clear that something wasn’t quite right.

“ Don’t Look Back was rushed,” Scholz revealed later, “even though it came out a year after the record company wanted it. I let it go early and that meant I wasn’t satisfied with some of it. Next time I’m not going to listen to anybody.”

• Buyer's Guide: Boston
• Scholz loses court case over Delp death claims
• Journey: a guide to their best (and worst) albums
• Why I love Boston's debut album, by Trivium's Paolo Gregoletto

Released in August 1978 , a full two years after their debut, the album was, nonetheless, rapturously received, occupying the No.1 spot on the US album charts and going on to sell in excess of seven million copies, helping to consolidate Boston’s appeal as one of – if not the – greatest rock bands of the 1970s. Tracks such as the title song, Feeling Satisfied , It’s Easy and Party all had the signature sound. Pristine production, humongous orchestral guitars and stupendous vocals projected the melodies toward the stars and beyond. Every part of the process appeared to be so effortless. Yet on closer inspection the arrangements represented an unimaginable amount of toil, Scholz’s painstaking approach giving the material a familiar, lived-in feel that belied the effort involved.

The Don’t Look Back tour lasted for nearly two years, starting in the USA and taking in, for the first time, Japan and Europe. In an audacious move, Boston even had a specially commissioned 40-foot long pipe organ constructed (named ‘Bernie’ by band and crew) at a reputed cost of $100,000. The final leg of the tour landed in the UK during late October 1979, and I saw the band play (with Trickster opening) at the now defunct Rainbow Theatre in Finsbury Park, north London. I’d love to report that it was a life-changing experience but the kindest description would be ‘underwhelming’. Unfortunately, the PA seemed inadequate and unable to cope with the dense barrage of guitars. Even the huge pipe organ sitting at the back of the stage set was for the most part inaudible. That tour was the first and last time Boston would play the UK. In fact, they were the last shows the original band would play together.

Revealed Tom at the time: “When I got off the road, I wasn’t sure that I wanted to ever go on tour again. Brad told me that he didn’t ever want to go on tour. I was going to hang it up and just record. I took a little time off after Don’t Look Back . I was drained. I was more than drained, I was demoralised. I wasn’t sure I wanted to be in the music business. I didn’t like what I had seen. Brad and I had made a lot of money for a lot of people and I didn’t like what they were doing. I began to feel guilty about enabling people to do things that I didn’t approve of. I considered leaving music altogether and going back to being an engineer.”

To complicate matters further, at this point Scholz entered into the first of several major lawsuits, firing manager Paul Ahern (Charlie McKenzie had already departed the scene), which resulted in years of legal wrangling. To his horror, Scholz had discovered the original contract provided Ahern with a cut of the songwriting royalties. Ahern counter-sued for breach of contract but lost his case in 1994.

Because of the management dispute, and feeling fatigued and somewhat abused by CBS, Scholz placed Boston on ice in 1980, calling a band meeting where he announced there would be no more activity in the near future and that the various members should feel free to explore other opportunities. Guitarist Barry Goudreau was the first to take up the challenge, securing a deal with Epic and recording a solo album featuring members of Boston, together with vocalist Fran Cosmo (Francis Cosmo Migliaccio), a man who would go on to join Boston as lead vocalist. Goudreau’s self-titled album was a masterful composite of the Boston sound (four songs were even co-written with Brad Delp), receiving critical applause and strong out-of-the-box sales. Sadly, all was to come crashing down. Scholz became incensed by an advert CBS ran in Billboard , with the tag line: ‘Twelve million people know the sound of this guitar. We’d like to introduce you to its owner.’ Tom complained to Epic who, naturally, ran scared of the implications for the delivery of future Boston records.

In the meantime Scholz turned his attention to inventions, setting up a company labelled SR&D (Scholz Research & Development) to design and manufacture devices for musical instruments. These include renowned guitar accessories the Powersoak, the Doubler and, his most successful contraption, the Rockman (used by artists including ZZ Top, Journey and Def Leppard); devices that, even for rank amateurs, mimicked the dense Boston guitar sound.

It appeared Scholz could do no wrong, except that his apparent frustration with CBS was taking on an even darker twist. The label ratcheted up the pressure to deliver a third Boston album by unwisely squeezing his royalty stream from the two previous albums. The idea was that by denying him cash flow he would be forced to complete a new record. For Scholz, this was like holding a red rag to a bull. He steadfastly refused to bow to pressure, so CBS took matters to another level and sued Scholz for breach of contract (sums reported vary from $20 million to $60 million), stating that he was ‘creatively uncooperative’. At this point Scholz said he would never work with Epic again and set in motion a series of events that would lead to the third Boston album being released by the MCA label. This was in part achieved by counter-suing CBS for unpaid royalties. CBS also filed suit with MCA, issuing a cease-and-desist notice, demanding a huge advance from MCA and a royalty of 25 cents per record sold.

In April 1985 a NYC judge moved that the CBS suit was without merit, allowing Scholz leave to negotiate with another record company. Amazingly, the CBS lawsuit actually dragged on for another five years where, in a bitter showdown, Scholz and CBS/Sony president Walter Yentnikoff came face-to-face in court. The jury found in favour of Scholz, allowing him to receive his back royalties together with millions in punitive damages.

Tom was also fighting battles on other fronts, notably with members of the band who were looking to secure more of a say in Boston’s recordings. It was clear that the band was never going to function as a harmonious unit anymore, Goudreau being the first to seize the opportunity to reach a settlement, officially leaving in late 1981 and going on to form Orion The Hunter with vocalist Fran Cosmo.

Tom’s point of view: “Concerned about egos, back in 1976 I naively suggested to Brad that we pay Barry Goudreau a share of the record royalties equal to ours, not just for the two cuts he played on, but for every song on the album. After performing with Boston a scant three years, Barry left to pursue a career separate from mine, but he kept his share of royalties for all the songs he was not involved in recording, and has continued to collect for the past 30 years.”

Boston’s Third Stage album was eventually completed and released in September 1986, a full eight years after Don’t Look Back . Not unexpectedly Scholz wrote and played on most of the tracks, bringing his friend and drummer Jim Masdea back into the fold, together with new guitarist Gary Pihl from Sammy Hagar’s band. Tom had produced a track for Hagar’s 1980 album Danger Zone , before CBS vetoed any more involvement, going on to hire Sammy’s former road manager Jeff Dorenfeld as Boston’s new manager.

Third Stage went platinum four times over, producing the heart-rending ballad and No.1 hit single Amanda (written as far back as 1980). A concept of sorts, the album told the story of the three stages of life, from infancy through teenage years and into adulthood. A slight departure from the bluster of the previous two albums, Third Stage presented a mature and melodic sound, although tracks such as We’re Ready , I Think I Like It and, especially, Cool The Engines were certainly cut from the same cloth. However, the main question being bandied about by most long-terms fans was whether Scholz had softened his approach, as there was a definite sense of departure from the original model. Playing the album in its entirety, however, the subsequent tour found the band selling out concert arenas to ever-increasing audiences.

Looking forward to the 90s, recovering from his legal battles and setting up a charitable foundation (DTS, through which Scholz – a vegetarian – raised and donated millions of his own dollars to humanitarian and animal causes), Tom went back into his home studio to work on songs for the next Boston album. But there was a traumatic and potentially catastrophic development when Brad Delp tendered his resignation. This move was further complicated by the fact that Delp had thrown his hat into the ring with RTZ, Barry Goudreau’s new band.

In a bizarre, yet somehow logical solution, Scholz hired former Orion The Hunter frontman Fran Cosmo as Delp’s replacement. Cosmo had received plaudits from Boston fans for his work on the Orion The Hunter album as well as the Barry Goudreau solo record, so his assimilation into the Boston line-up would make for a smoother and potentially less hostile transition than the appointment of a newcomer. Delp’s achievements had cast a long and impressive shadow over the years but at least this move gave the impression that matters were being kept in the Boston ‘family’.

The resulting album, titled Walk On and issued on the MCA/Giant label in June 1994, was a powerful collection of tracks leaning closer to the vibe of Boston’s first two albums. One thing was for sure: Scholz had set the guitars to stun by including a number of seriously damaging hard rock tracks, including I Need Your Love , Surrender To Me and the amped-up title track. Also of note is the Deep Purple pastiche Get Organ-ized , which has its roots in the instrumental composition Foreplay from Boston’s debut album, but served up with heavy-duty riffage and a scorching Hammond solo in the vein of Jon Lord. Subsequently, with RTZ stalling at the box office, Delp opted to rejoin Boston just in time for the band’s Walk On tour, co-sharing lead vocals with Fran Cosmo. It was an unusual approach, but greeted with open arms by the band’s legion of supporters, helping to paper over the relative lack of commercial success of the album which, despite a concerted promotional campaign, only managed to achieve single-platinum status.

Apart from a greatest hits collection titled, rather succinctly, Boston: Greatest Hits , featuring three newly recorded tracks, it would take Tom Scholz another eight years to prepare the band’s next album. Nothing unusual with that, of course, but in the music business time is never on your side. Music styles had come and gone. Grunge, for example, had pretty much wiped traditional hard rock and classic rock from the surface of the planet, leaving Boston and their ilk in a very vulnerable position indeed.

It was with this thought in mind that the title track of the band’s next album, Corporate America , was given a stealth release under the pseudonym of Downer’s Revenge. It was an attempt to present new music to the public and the critics without the Boston name unduly influencing its reception. There was also a possibility of turning on younger music fans who may not have given the track a fair hearing if it was labelled Boston.

Corporate America was released in 2002 on the short-lived independent label, Artimis, run by former Nirvana manager Danny Goldberg. Perhaps this new home may have elevated the band’s ‘street-cred’ appeal, an attempt, if you will, to align with hipsters. Sadly, it was a move that made little sense as the album was virtually ignored by the public, only to be then quickly forgotten by the label. Scholz was so incensed that he returned to familiar surroundings, the law courts, suing for breach of contract, citing failure to properly promote the album. For many, the record itself was a distant cousin of Boston’s glory days. The songs are melodic but not memorable enough and Delp’s signature vocals seem underutilised. For some, the train had long departed the station.

Boston continued to tour, keeping the brand alive and enlisting numerous musicians, including, at one point, the unlikely presence of ex-Stryper member Michael Sweet to sing and play guitar.

On March 9, 2007, however, Boston faced their darkest day with the tragic suicide of Brad Delp at his New Hampshire home. He was found by his fiancée Pamela Sullivan, having succumbed to carbon monoxide poisoning. Several suicide notes had been left around the house. It was a terribly sad ending for an exceptionally gifted man who had given so much joy to the world. Delp had, seemingly, appeared from nowhere, brandishing one of the greatest rock voices ever heard, establishing him as the signature vocal of a band that changed the face of music. Like every suicide, this act of desperation provoked more questions than answers. But ultimately it was the sadness of a man so wracked with pain that it robbed him of his life.

Millions of fans the world over were shocked, as was every individual who had worked with Delp or played in the band. Putting aside the whys and wherefores of the circumstances, the entire Boston music community was stunned by its consequences. Sadly, and inevitably, accusations and counter-accusations were bandied about. Those directly involved, and even those far removed from Delp’s life, began pointing fingers – a great deal of those in the direction of Scholz. The inference was that he had somehow contributed to Delp’s depressed state of mind by way of his authoritarian control of the band, hiring and firing at will and corralling the musical direction as he saw fit, leaving Delp feeling marginalised. It was also suggested that Brad had been tormented by his piggy-in-the-middle role between original band members and Scholz.

Naturally, Scholz refuted these accusations, pointing out that Delp came and went from the band as he pleased and that the two had enjoyed huge success as a team rather than individuals in opposition. Chief among Scholz’s detractors was Delp’s former wife Micki and several former bandmates, who intimated that Scholz undermined Delp with his actions. Matters were further complicated after Micki, presumably in the throes of extreme grief at the time, aired her thoughts to respected newspaper the Boston Herald , which ran a report. It was a move that triggered Scholz to set in motion yet more lawsuits, this time aimed at Micki and the Herald , citing defamation and significant emotional distress.

Matters came to an even more shocking head when court papers revealed that Delp had been found to have used a hidden camera to film Pamela Sullivan’s sister Meg in her bedroom during February 2007, this revelation occurring just days before his suicide. Scholz, understandably, points to this event and trauma as reason enough for Delp’s subsequent actions.

In 2007, Boston organised a special concert under the banner of ‘Come Together: A Tribute To Brad Delp’, featuring numerous local musicians and the then-current version of Boston. All former band members attended and played – but tellingly, it was only drummer Sib Hashian who refused to take the stage with Scholz. One of the vocalists tapped to sing Delp’s parts was Tommy DeCarlo, a young, previously unknown, singer from North Carolina, who was unearthed via his MySpace page, singing Boston songs with uncanny accuracy to Brad Delp.

Scholz has subsequently continued to muster the band for live shows in North America, including a huge tour over the past summer. Members come and go, Scholz again utilising two lead vocalists, namely David Victor and Tommy DeCarlo, together with former Jo Jo Gunne drummer Curly Smith and another recent member of Stryper, bassist Tracy Ferrie. Rumours abound that Tom has been crafting a new Boston album although, true to tradition, details of a release date, what label will release it or exactly who will be involved are as sketchy as ever.

One thing is for sure, it looks unlikely that Tom Scholz will ever deliver a record that he’s not completely happy with. To this day the man remains a perfectionist with a single-minded vision. He makes other supreme guardians of their band’s cause – Metallica’s Lars Ulrich springs to mind – look like apathetic layabouts. Tom is as much of a mad scientist as he is a musician. To him, Boston is more than a feeling. It’s a one-man mission to achieve greatness, at whatever cost.

For more on Boston and ten of their greatest songs, then click on the link below.

The 10 Greatest Boston Songs Ever

Derek’s lifelong love of metal goes back to the ’70s when he became a UK underground legend for sharing tapes of the most obscure American bands. After many years championing acts as a writer for  Kerrang! , Derek moved to New York and worked in A&R at Atco Records, signing a number of great acts including the multi-platinum Pantera and Dream Theater. He moved back to the UK and in 2006 started Rock Candy Records, which specialises in reissues of rock and metal albums from the 1970s and 1980s.

Watch Disturbed frontman David Draiman sing Metallica’s Enter Sandman at Nita Strauss’s wedding

“When I go to see a good concert from a metal band, it’s exhilarating. Like nothing you’ve ever heard before”: when Sir Christopher Lee met Tony Iommi

Want to see Solstice at the 100 Club?

Most Popular

 2024 

Saturday 13th April - SWITZERLAND, Lucerne - Retro Festival

Saturday 11th May -  SWEDEN, Huskvarna - Folkerts Park Open Ai r

Saturday 8th June - DENMARK, Aarhus - Tivoli Friheden

Thursday 13th June - SPAIN, Zamora - Z! Live Rock Fest

Wednesday  26th June - NORWAY, Oslo - Tons of Rock 

Thursday 27th June - SWEDEN, Hasselholm - Torsjö Live Festival

Saturday 29th June - SWITZERLAND, Bellinzona - Castle On Air 

Thursday 4th July - SPAIN, Torre del Mar - F estival Weekend Beachfront

Saturday 6TH July - SPAIN, Barcelona - Barcelona Rock Fest 

Tuesday 9th July - SWEDEN, Borgholm - Borgholm Slottsruin

Wednesday 10th July - SWEDEN, Motala - Lokverkstaden

Friday 26th July  - POLAND, Warsaw - PGE Narodowy Stadium

Saturday 27th July - GERMANY, Strandbad Enderndorf - Lieder Am See Festival Open A ir

Sunday 28th July - GERMANY, Leipzig - Parkbuhne Open Air

Saturday 3RD August - NORWAY, B ergen - Bergen Calling 2024

Saturday 10TH August - BELGIUM, Kortrijk - Alcatraz Metal Festival

PREVIOUS TOUR DATES

Wednesday 31st January - JAPAN, Osaka - Namba Hatch 

Thursday 1st February - JAPAN, Tokyo - Tokyo Dome City Hall

Friday 2nd February - JAPAN, Tokyo - Tokyo Dome City Hall 

Sunday 4th February - TAIWAN, Taipei - Zepp

Monday 5th June - SWEDEN, Gothenburg -  Jubileumsfestivalen

Thursday 8th June - SWEDEN, Solvesborg - Sweden Rock

Sunday 11th June - NORWAY, Trondheim - Trondheim Rocks

Friday 16th June -  NORWAY, Kristiansand - Sommarbris

Saturday 17th June - SWEDEN, Pitea - Pitea Havsbad  

Saturday 24th June - SPAIN, Cartagena - Rock Imperium II

Tuesday 27th June - SWITZERLAND, Thun - Def Leppard & Motley Crue

Saturday 1st July - BULGARIA, Chirpan - Midalidare Rock

Thursday 6 July - ITALY,  Ferrara - Ferrara Summer Festival

Friday 7th July - SWITZERLAND, Wildhaus - Wildhaus Open Air

Thursday 13th July - NORWAY, Bronnoysund - Festivalen

Saturday 15th July - CZECH REPUBLIC, Vizovice - Masters of Rock

Friday 4th August - FAROE ISLANDS, Klatsik - Summer Festival 

The Time Capsule 40th Anniversary 'Evening With' Tour:

Thursday 21st September - SPAIN - MERIDA - Stone & Music Festival 

Saturday 30th September - SWITZERLAND – Lausanne, Metropole

Sunday 1st October - SWITZERLAND – Zurich, Volkshaus

Monday 2nd October - ITALY – Milan, Teatro Degli Arcimboldi

Wednesday 4th October - GERMANY – Stuttgart, Theaterhaus

Thursday 5th October - GERMANY – Munich, Circus Krone

Friday 6th October - GERMANY – Berlin, Admiralspalast

Sunday 8th October - NORWAY – Oslo, Opera Hous e

Monday 9th October - SWEDEN – Stockholm, Cirkus

Saturday 14th October - FRANCE – Paris, Salle Pleyel

Sunday 15th October - NETHERLANDS - Utrecht, TivoliVredenburg

Tuesday 17th October - UK – Cardiff, St. David’s Hall

Wednesday 18th October - UK – Glasgow, Royal Concert Hall

Thursday 19th October - UK – Gateshead, The Sage 

Saturday 21st October - UK – Wolverhampton, The Halls

Sunday 22nd October - UK – Salford, The Lowry

Tuesday 24th October - UK – Leicester, De Montfort Hall

Wednesday 25th October - UK – London, The Palladium

Thursday 26th October - UK – London, The Palladium

Monday 30th October - SWEDEN - Stockholm, Cirkus 

Tuesday 31st October - SWEDEN - Stockholm, Cirkus 

Tuesday 10th May - IRELAND, Dublin – 3 Arena

Thursday 12th May - UK, Glasgow – OVO Hydro

Saturday 14th May - UK, Newcastle – Utilita Arena

Monday 16th May - UK, London – O2

Wednesday 18th May - UK, Manchester – AO Arena

Friday 20th May - UK, Nottingham – Motorpoint Arena

Sunday 22nd May - UK, Birmingham – Utilita Area

Wednesday 25th May - UK, Cardiff – Cardiff Arena

Friday 27th May - GERMANY, Oberhausen – KP Arena

Sunday 29th May - DENMARK, Copenhagen – KB Halle

Tuesday 31st May - SWEDEN, Gothenburg – Partille Arena

Thursday 2nd June - NORWAY, Hamar – Tjuvholmen Arena

Saturday 4th June - SWEDEN, Stockholm – Hovet

Monday 6th June - FINLAND, Helsinki – Icehall

Wednesday 8th June - ESTONIA, Talinn – Saku Arena

Friday 10th June - LITHUANIA, Kaunas – Kaunas Arena

Saturday 11th June - NETHERLANDS, Emmen – Hello Festival

Sunday 12th June - POLAND, Krakow – Tauron Arena Krakow

Tuesday 14th June - CZECH REPUBLIC, Prague – Universum

 Saturday 18 June - BELGIUM, Dessel - Graspop Metal Meeting

Sunday 19th June - GERMANY, Munich - Zenith

Tuesday 21st June - SWITZERLAND, Zurich - Samsung Hall

Thursday June 23rd - NORWAY, Oslo - Tons Of Rock Festival  – Ekebergsletta

Saturday June 25th - SPAIN, Caragena - Imperium Festival, Parque El Batel

​Tuesday 28th June - ITALY, Milan - Alcatraz - CANCELLED

Friday 15th july - sweden, svedala – sommarrock svedala, friday 29th july - sweden, rejmyre – skogsrojet festival.

​ Sunday July 31st - UK, Ebbw Vale - Steelhouse Festival

Saturday 3 September - SWEDEN, Gavle - Furuviksparken

Thursday 22 September - SWEDEN, Grona Lund

Thursday December 1st - CHILE, Santiago - Movistar Arena

Saturday December 3rd - BRAZIL, Fortaleza Centro De Eventos

Monday December 5th - ARGENTINA, Buenos Aires - Gran Rex Theater

Saturday 31 July - FINLAND, Kokkola -  Kokkolan Viinijuhlat (Kokkola Wine Festival) Saturday 7 August - FINLAND, Lieto - Smugglers Rock at Taatila Sport Park Friday December 3rd - FINLAND, Vaasa - Polar Sound Winter Festival at Vaasan Sähkö Arena

Cookie policy

Boston – More Than Just A Band

Boston – The beginning

Boston becomes who they are today because another band decides to call it quits.The band’s name is “Mother’s Milk”. Even though they didn’t last, the members continue to spend time together in a homemade recording studio in a basement creating demo tapes honing their skills and reinventing themselves. The outcome, the band named Boston.

March of The Rejected Demos

Comprised of Brad Delp on vocals, Barry Goudreau on guitar, Jim Masdea on drums, and Tom Scholz on guitar and keyboards. The band sends demo tapes to record companies, but receives consistent rejections. Scholz subsequently works with Masdea and Delp to produce six new demos. 

These include “More Than a Feeling”, “Peace of Mind”, “Rock and Roll Band”, “Something About You “and two more. They finished four of the six by the end of 1974, and they finished “More Than a Feeling” and “Something About You” in 1975.

The Epic Record Deal

The tapes created in the basement, eventually lands the band a deal with Epic Records. In 1976, they release their self titled album which sells more than 17 million in sales. Radio Stations and record buyers embrace Boston’s rock sound. Like other bands of the era who achieved major commercial success in a short time, there was internal dissension and a tenuous relationship with a record label anxious to capitalize on the huge success of the band’s first album.  

The band embarks on a headlining tour in the winter and spring of 1976–1977 to support the album. This helped establish Boston as one of rock’s top acts within a short time, being nominated for a Grammy award as a “Best New Artist”.  Boston was the first band in history to make their New York City debut at Madison Square Garden. They are more than a band, they are a rock and roll explosion that set the bar when it comes to performing. 

The album spawned three singles, “More Than a Feeling”, “Long Time”, and “Peace of Mind”, all of which made the national charts. Additionally, the album peaked at No. 3 on the Billboard 200 and remained on the charts for 132 weeks.

It would be two years before the band’s second album,  Don’t Look Back  was released, selling four million copies the first month, but ultimately selling only half as many as the first album. The band has released six albums, including a  Greatest Hits  compilation.

Changes on The Horizon

Scholz and Delp are the only original members of Boston who are still with the band until March 2007.  Delp passes at the age of 55. Furthermore, Brad Delp, along with Tom Scholz, are the only ones signed to Epic Records as “Boston”. 

The band resumes touring in 2008 with new vocalists Michael Sweet and Tommy DeCarlo. A Boston fan who was recruited after posting some of his covers of Boston songs on MySpace. The band tours in 2015.

Still today, despite the lawsuits, health issues and line-up changes, you can see various incarnations of the band touring and performing. We are only skimming the surface of this great classic rock band. Maybe, Boston will be nominated as an inductee into the 2020 Rock and Roll Hall of fame…We shall see.  

For more information on the band, check out their website: http://bandboston.com/  

Be sure to check out the other blog posts we have on https://jbonamassa.com/category/blog/  

CREDITS: https://www.liveabout.com / bandboston.com/ www.facebook.com/bandboston/ http://www.rockman.fr/ & Billboard Magazine

FOR CUSTOMER SERVICE:

[email protected]

FOR BOOKINGS: [email protected]

FOR MEDIA INQUIRIES [email protected]

FOR TICKETS: See Tour Dates & Tickets

Read Our Privacy Policy here

A New Website Will Arrive Soon!

Last photo sets.

View Gallery

Tommy’s Photos

BOSTON 2017 LIVE

Tom Scholz • Lead and Rhythm Guitar, Keyboards, Backing Vocals Tracy Ferrie • Bass Guitar, Backing Vocals Jeff Neal • Drums, Percussion, Backing Vocals Tommy DeCarlo • Vocals, Keyboards, Percussion Beth Cohen • Keyboards, Vocals, Rhythm Guitar Gary Pihl • Rhythm and Lead Guitar, Keyboards, Backing Vocals Curly Smith • Drums, Backing Vocals (not pictured)

Find anything you save across the site in your account

Karate Reunite for Their First Tour Since 2005

By Evan Minsker

Karate , the Boston post-hardcore band, are coming back for their first tour since 2005. The band will head across the United States for a series of tour dates this July. Find the group’s tour itinerary below.

The last Karate studio album was 2004’s Pockets . It was followed by a live album—2007’s 595 . In recent years, Numero Group reissued the band’s self-titled 1995 album and its follow-up, 1997’s In Place of Real Insight .

All products featured on Pitchfork are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.

07-07 Cambridge, MA - The Sinclair 07-08 Philadelphia, PA - World Cafe Live 07-09 Brooklyn, NY - Music Hall of Williamsburg 07-10 Washington, D.C. - Black Cat 07-19 Seattle, WA - Madame Lou’s 07-20 Portland, OR - Doug Fir 07-22 San Francisco, CA -  Great American Music Hall 07-23 Los Angeles, CA - Echoplex

By signing up you agree to our User Agreement (including the class action waiver and arbitration provisions ), our Privacy Policy & Cookie Statement and to receive marketing and account-related emails from Pitchfork. You can unsubscribe at any time. This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply.

By Nina Corcoran

By Pitchfork

By Matthew Strauss

The Boston Symphony Orchestra embarks on 30th European tour

Anne-sophie mutter and jean-yves thibaudet will join select dates.

The Boston Symphony Orchestra says bon voyage this week as they depart from Symphony Hall for their 30th international tour, with performances overseas from Aug. 25-Sept. 8.

The first stop is in London, with two shows at Royal Albert Hall. The BSO will make return appearances in Lucerne, Salzburg, Cologne, Berlin, Hamburg, and Paris, with first-time performances two additional cities, Ljubljana, Slovenia, and Dortmund, Germany. The nine-city, 12-concert tour will be the sixth international jaunt for BSO musical director Andris Nelsons; it also marks the return of the orchestra’s European tradition after several years’ hiatus and a cancellation in 2022 in response to the COVID-19 pandemic .

Advertisement

Program highlights will include Julia Adolphe’s“Makeshift Castle,” co-commissioned by the BSO and German orchestra Gewandhausorchester Leipzig, which had its world premier e at Tanglewood in 2022. German violinist Anne-Sophie Mutter will reprise John Williams’s Violin Concerto No. 2, a commissioned work that she and the composer debuted with the BSO in 2021, and French piano soloist Jean-Yves Thibaudet will also join the orchestra for select performances and cities.

Ravel’s “La Valse,” Strauss’ “Death and Transfiguration,” Stravinsky’s “Petrushka,” and Prokofiev’s Symphony No. 5 are also on the program.

Elena Giardina can be reached at [email protected] .

• VIP & Store Store VIP

• Upcoming Events
• Past Events

i Live Chat

Your question has been submitted. Due to time constraints, not all questions can be answered. Thank you!

Auto-update your general location (city) as you travel?

• Gender Male Female Other

By signing up, I agree to Privacy Policy and Terms of Use .

This website uses cookies to provide you with a better browsing experience. To learn more, read our  Privacy Policy  and  Terms of Use .

MIDFLORIDA Credit Union Amphitheatre

Show time: 7:30pm.

iThink Financial Amphitheatre

West palm beach, fl, daily's place, jacksonville, fl, the cynthia woods mitchell pavilion, the woodlands, tx, dos equis pavilion, ameris bank amphitheatre, alpharetta, ga, coastal credit union park at walnut creek, raleigh, nc, veterans united home loans amphitheater at virginia beach, virginia beach, va, alpine valley music theatre, east troy, wi, opening performance by katie pruitt.   show time: 7:00pm, opening performance by michael marcagi. show time: 7:00pm, blossom music center, cuyahoga falls, oh, pine knob music theatre, clarkston, mi, ruoff music center, noblesville, in, broadview stage at spac, saratoga springs, ny, northwell health at jones beach theater, wantagh, ny, pnc bank arts center, holmdel, nj, xfinity center, mansfield, ma, jiffy lube live, bristow, va, bank of new hampshire pavilion, gilford, nh, freedom mortgage pavilion, fiddler's green amphitheatre, greenwood village, co, hayden homes amphitheater, show time: 7:00pm, gorge amphitheatre, opening performances: trombone shorty & orleans ave say she she show time: 5:00pm, opening performances: cory wong blind pilot show time: 5:00pm, opening performances: neko case maggie rose show time: 5:00pm, bourbon & beyond festival, louisville, ky, highland festival grounds kentucky exposition center, pilgrimage festival, franklin, tn, 10th anniversary pilgrimage music and cultural festival, oceans calling festival, ocean city, md, ocean city inlet beach.

• Sustainability
• DMB Legal Policies

This website uses cookies to improve your experience. We'll assume you're ok with this. Find out more in our  Privacy Policy.

Europe is a Swedish rock band formed in Upplands Väsby, Sweden in 1979, by frontman Joey Tempest, guitarist John Norum, bassist Peter Olsson, and more...

Follow Europe on Ents24 to receive updates on any new tour dates the moment they are announced...

• Be the first to know about new tour dates
• Alerts are free and always will be
• We hate spam and will never share your email address with anyone else
• More than a million fans already rely on Ents24 to follow their favourite artists and venues

Fans who like Europe also like

Watch Bruce Springsteen Kick Off European Tour With First ‘So Young And In Love’ Performance Since 2013

By Andy Greene

Andy Greene

Prior to hitting the road this year, Bruce Springsteen promised that he’d mix up the setlist far more than he did last year when a vocal contingent of fans complained there wasn’t enough variation from night to night. “Some of my basic themes of mortality and life and those things, I’m going to keep set,” he said on SiriusXM’s E Street Radio. “I think I’m gonna move around the other parts of the set a lot more, so there’ll be a much wider song selection going on. So we’re looking at it like, it’s a little bit of the old tour, but we’re looking at it like a new tour.”

At the kickoff date of his 2024 European tour at Principality Stadium in Cardiff, Wales, Springsteen stuck to that promise by beginning the show with “So Young And In Love,” a wonderfully obscure tune he hadn’t played live since 2013.

Steve Albini, Noise Rock Pioneer and 'In Utero' Engineer, Dead at 61

The results are in: kendrick lamar won the great rap war, hear the journey tune steve perry rerecorded with steve lukather's son, why grown-ass women love the idea of 'the idea of you'.

The other notable moments in Cardiff were the first performances of “The River” and “Born in the U.S.A.” this year. The latter song rarely surfaces on this side of the Atlantic these days. It was played once in the States in 2023 and 22 times in Europe. On the 2016/17 River tour, it was played at four American gigs and 22 overseas ones. (The song has a long history of being misread in America .)

Springsteen and the E Street Band continue their European tour Thursday night in Belfast, Ireland. Another U.S. leg begins on August 15 in Pittsburgh, Pennsylvania. The 2024 tour wraps up on November 22 in Vancouver, British Columbia.

Superchunk Remember How Steve Albini Made Them Sound 'Bigger Than We Were in Real Life'

• RIP Steve Albini
• By Jon Blistein

Steve Albini and Big Black Played an Explosive Farewell Concert in 1987

• By Kory Grow

Live Nation Launches $25 All-In Tickets Deal for Over 900 Acts like Janet Jackson, 21 Savage, Peso Pluma

• CONCERT TICKETS DEAL
• By Sage Anderson

Nearly All Astroworld Wrongful Death Cases Settled

• By Ethan Millman

Lady Gaga Unveils Fiery Trailer for 'Chromatica' Ball Concert Film

• Sold Out Show
• By Larisha Paul

Most Popular

'mrs. doubtfire' kids reunite 31 years after the robin williams classic and say 'we still feel like siblings': 'it’s always a joy to see' each other , jerry seinfeld's 'unfrosted' divides critics: "one of decade's worst movies", serena williams' ethereal white swimsuit photoshoot shows the way she’s exercising after baby no. 2, no a’s in attendance: oakland trails a whopping 553 u.s. teams, you might also like, apple’s new ipad pro ad sparks outrage as hugh grant and more slam tech giant: ‘the destruction of the human experience’, pride month celebrates its 25th anniversary: the 2024 collections from brands that give back to support lgbtqia+ community, the best yoga mats for any practice, according to instructors, martin scorsese, quentin tarantino, and david o. russell celebrate robert de niro for inaugural tribeca de niro con, murdoch mum on ‘spulu’ venture’s name, reaffirms fall launch.

Rolling Stone is a part of Penske Media Corporation. © 2024 Rolling Stone, LLC. All rights reserved.

Verify it's you

Please log in.