hollywood vampires tour setlist

Hollywood Vampires

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Hollywood Vampires Kick Off 2018 Tour – Set List, Videos

Supergroup the Hollywood Vampires – featuring Alice Cooper , Joe Perry and Johnny Depp – kicked off their latest tour at the Turning Stone casino in Verona, NY on May 17. You can see the set list and watch video clips from the show below.

In addition to the usual mix of covers and original tracks taken from their self-titled 2015 debut album, three new tracks are reported to have appeared in the set, entitled “I Want My Now,” “The Boogieman Surprise” and “Bushwackers.”

In February Cooper reported that the band’s second LP would consist entirely of original material. “Everybody is writing right now," He said . "We probably won't get into the album until the summer, and then it'll go quickly because we've all got a lot of songs. Johnny did five movies last year so he could free himself up for this, and the band's really anxious to get together.”

He continued: “I still like the idea that the Vampires is the world's most expensive bar band. If somebody wants to jump on stage and play with us, if they know the songs and they fit, then come on up. If a Jimmy Page could come up and play with us, or a Jeff Beck or any of those guys and do a couple songs with us, they would fit right into Vampire world, 'cause they lived through that era.”

Hollywood Vampires Set List (Via Setlist.com )

1. “I Want My Now” 2. “Raise the Dead” 3. “I Got a Line on You” 4. “My Dead Drunk Friends” 5. “Five to One” / “Break On Through (to the Other Side)” 6. “The Jack” 7. “Ace of Spades” 8. “Baba O'Riley” 9. “As Bad As I Am” 10. “The Boogieman Surprise” 11. “I’m Eighteen” 12. “Combination” 13. “People Who Died” 14. “Sweet Emotion” 15. “Bushwackers” 16. ”Heroes" 17. "Train Kept A-Rollin’” 18. "School's Out”

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Hollywood Vampires announce 2023 arena tour

The Hollywood Vampires – Alice Cooper, Johnny Depp, Joe Perry and Tommy Henriksen – are hitting the UK next year…

Hollywood Vampires have announced a 2023 UK arena tour with Seether and The Tubes.

The supergroup – compromised of Alice Cooper , Johnny Depp, Joe Perry and Tommy Henriksen – will “rise again” next summer for six shows in Scarborough, Swansea, Manchester, London, Birmingham and Glasgow.

“Well, it’s already been three years since the Vampires have toured because of COVID,” says Alice Cooper. “Also, Johnny has his movies, Joe’s in Aerosmith and I’m in Alice Cooper, so we have to look at that whole thing and see when we can all get a month or two off where we can go out and tour. And, we are going to be doing that, next summer coming up, 2023. I can't wait to get back with the guys, I really love being in that band. My band is great and wonderful, but playing with the Vampires is an entirely different situation. I don’t necessarily do any theatrics at all, I’m just the lead singer, in a band, and the band just happens to be one of the best bands around! It’ll be great to see Johnny and Joe and Buck and Chris and all the guys. We’ll be rocking these places, especially the UK, I can’t wait to get to the UK! Lock your doors, put garlic all around, because the Vampires are coming!”

Joe Perry adds: “Next summer it will be finally time for the Hollywood Vampires to rise again! We can’t wait to play the songs from our latest album, Rise, for all our fans across the pond. The excitement builds as we countdown the days! See you all then…remember, leave the garlic at home!”

Catch Hollywood Vampires at the following dates:

5 Scarborough Open Air Theatre 7 Swansea Arena 8 Manchester AO Arena 9 London The O2 11 Birmingham Utilita Arena 12 Glasgow OVO Hydro

Tickets go on sale this Friday, October 28, at 10am.

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Johnny Depp and rock band Hollywood Vampires announce 2023 tour of Europe

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While his Hollywood plans may be up in the air after his defamation case against his ex-wife Amber Heard, Johnny Depp knows exactly what he’s doing next summer. He’s going on a tour of Europe with his rock band, the Hollywood Vampires.

The “Pirates of the Caribbean” actor will rejoin bandmates and rock personalities Joe Perry, Alice Cooper and Tommy Henriksen for their upcoming summer 2023 gigs in Germany and Luxembourg.

“The Hollywood Vampires are BACK!!” the band’s official Instagram posted on Wednesday.

According to the social media post, the four-person band will play six shows throughout the month of June next summer. The first show will be in Oberhausen, Germany, at the Rudolf Weber-Arena on June 20, 2023. The post also teases that fans should “keep an eye out for more to come...”

View this post on Instagram A post shared by Hollywood Vampires (@hollywoodvampires)

The Hollywood Vampires will hit the road nearly three years after canceling their European summer tour twice due to COVID-19. The Europe shows were initially slated for 2020 but rescheduled to 2021 due to COVID-related safety concerns. Then in 2021, the band revealed via social media posts that it would reschedule its 2021 tour due to COVID-19 traveling restrictions.

The news of the group’s upcoming tour dates comes just weeks after Depp won approximately $10.4 million in the contentious defamation trial against ex-wife Heard. The trial, which came to a close earlier this month after six weeks, also saw jurors award Heard $2 million in damages.

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Even before jurors reached a verdict in early June, Depp continued performing alongside English guitarist Jeff Beck. According to Variety , the actor made a surprise appearance at Beck’s May 30 show at the Royal Albert Hall in London. The two collaborated on the upcoming single “This Is a Song for Miss Hedy Lamarr.” In 2020, Beck and Depp also released a cover of John Lennon’s “Isolation.”

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Rock And Roll Garage

The hollywood vampires 2023 tour dates.

Classic Rock

The supergroup Hollywood Vampires formed by Joe Perry (Aerosmith), Alice Cooper and Johnny Depp will be back on the road in 2023 and announced many new tour dates for 2023. They have scheduled shows in Romania, Turkey, Bulgaria, Germany, Luxembourg, Switzerland, France, Germany, Austria, United Kingdom, Hungary and Slovakia.

The band will be accompanied by Tommy Henriksen (Guitar – Alice Cooper), Glen Sobel (Drums – Alice Cooper), Chris Wyse (Bass) and Buck Johnson (Backing vocals, keyboardist).

• 8 – Romexpo – Bucharest, Romania
• 10 – Life Park – Istanbul, Turkey
• 12 – Arena-Armeec Sofia – Sofia, Bulgaria
• 20 – Rudolf Weber- Arena – Oberhausen, Germany
• 21 – Rockhal – Luxembourg, Luxembourg
• 23 –  Summerside Festival – Grenchen, Switzerland
• 24 – Olympiahalle – Munich, Germany
• 25 – Zenith La Villette – Paris, France
• 27 Stadtpark – Hamburg, Germany
• 28 – Citadel Music Festival – Zitadelle Spandau, Berlin
• 30 – Summer in the City – Zitadelle Mainz
• 1 – Castle Clam – Sperken, Austria
• 5 – Open Air Theatre – Scarborough, UK
• 7 – Swansea Arena – Swansea, UK
• 8 – AO Arena – Manchester, UK
• 9 – The O2 – London, UK
• 11 – Utilita Arena – Birmingham, UK
• 12 – OVO Arena – Glasgow, UK
• 15 – Hanns-Martin Schleyer-Halle – Stuttgart, Germany
• 18 – Papp Laszlo Sports Arena – Budapest, Hungary
• 20 – Olympic Fields – Zvolenska Slatina, Slovakia

The band was formed back in 2012 by Alice Cooper, Johnny Depp and Joe Perry. The name was inspired by the celebrity drinking club formed by Cooper in the 70s at the Rainbow Bar & Grill in Los Angeles, that also had names like John Lennon, Harry Nilson, Ringo Starr, Keith Moon and Mickey Dolenz.

Other touring members that had been with the band over the years were Duff McKagan (Guns N’ Roses), “Robert DeLeo (Stone Temple Pilots) and Matt Sorum (Guns N’ Roses, The Cult, Velvet Revolver). They released two studio albums, the self-titled debut in 2015 and their second “Rise” in 2019. Besides celebrating classic Rock and Roll bands covering them on the setlist, the band also plays some original tracks released on the two albums.

I'm a Brazilian journalist who always loved Classic Rock and Heavy Metal music. That passion inspired me to create Rock and Roll Garage over 6 years ago. Music has always been a part of my life, helping me through tough times and being a support to celebrate the good ones. When I became a journalist, I knew I wanted to write about my passions. After graduating in journalism from the Pontifical Catholic University of Minas Gerais, I pursued a postgraduate degree in digital communication at the same institution. The studies and experience in the field helped me improve the website and always bring the best of classic rock to the world! MTB: 0021377/MG

HOLLYWOOD, CA - FEBRUARY 26: Singer/actor Justin Timberlake (C) performs onstage during the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California. (Photo by Kevin Winter/Getty Images)

Justin Timberlake Launches ‘Forget Tomorrow World Tour’ – Setlist & Concert Dates

After his appearance on The Tonight Show Starring Jimmy Fallon in January, where he unveiled the first leg of The Forget Tomorrow World Tour , Justin Timberlake announced additional dates for his highly anticipated tour.

This marks Timberlake’s first tour in five years . The initial North American leg is set to commence on April 29 in Vancouver, Canada, and span various cities in the U.S., Europe and the U.K. before it concludes in July at Rupp Arena in Lexington, Kentucky.

The second leg of The Forget Tomorrow World Tour will kick off this fall and will feature eight new shows across the United States and Canada.

Alongside these performances, Timberlake has released the heartfelt single “Selfish” from his upcoming sixth studio album, Everything I Thought It Was , which is scheduled for release on May 15. He also gave fans a taste of his new gospel-infused track “Sanctified,” which features Tobe Nwigwe.

>GET JUSTIN TIMBERLAKE CONCERT TICKETS NOW !

Here is the full list of Justin Timberlake’s 2024 North American Forget Tomorrow World Tour dates:

April 29 – Vancouver, BC @ Rogers Arena

May 2 – Seattle, WA @ Climate Pledge Arena

May 3 – Seattle, WA @ Climate Pledge Arena

May 6 – San Jose, CA @ SAP Center at San Jose

May 7 – San Jose, CA @ SAP Center at San Jose

May 10 – Las Vegas, NV @ T-Mobile Arena*

May 11 – Las Vegas, NV @ T-Mobile Arena*

May 14 – San Diego, CA @ Pechanga Arena San Diego

May 17 – Inglewood, CA @ Kia Forum

May 18 – Inglewood, CA @ Kia Forum

May 21 – Phoenix, AZ @ Footprint Center

May 29 – San Antonio, TX @ Frost Bank Center

May 31 – Austin, TX @ Moody Center

June 1 – Austin, TX @ Moody Center

June 4 – Fort Worth, TX @ Dickies Arena

June 6 – Tulsa, OK @ BOK Center

June 10 – Atlanta, GA @ State Farm Arena

June 12 – Raleigh, NC @ PNC Arena

June 14 – Tampa, FL @ Amalie Arena

June 15 – Miami, FL @ Kaseya Center

June 21 – Chicago, IL @ United Center

June 22 – Chicago, IL @ United Center

June 25 – New York, NY @ Madison Square Garden

June 26 – New York, NY @ Madison Square Garden

June 29 – Boston, MA @ TD Garden

June 30 – Boston, MA @ TD Garden

July 3 – Baltimore, MD @ CFG Bank Arena

July 4 – Hershey, PA @ Hersheypark Stadium

July 7 – Cleveland, OH @ Rocket Mortgage FieldHouse

July 9 – Lexington, KY @ Rupp Arena

Oct. 7 – Brooklyn, NY @ Barclays Center

Oct. 8 – Newark, NJ @ Prudential Center

Oct. 13 – Washington, DC @ Capital One Arena

Oct. 17 – Toronto, ON @ Scotiabank Arena

Oct. 21 – Buffalo, NY @ KeyBank Center

Oct. 23 – Columbus, OH @ Nationwide Arena

Oct. 27 – Chicago, IL @ United Center

Nov. 16 – Atlanta, GA @ State Farm Arena

Justin Timberlake’s The Forget Tomorrow World Tour Setlist

• Love Stoned
• Like I Love You
• Technicolor
• Infinity Sex
• FutureSex/LoveSound
• Imagination
• Cry Me a River
• Let the Groove Get In
• My Favorite Drug
• Summer Love
• F**kin’ Up the Disco
• Suit & Tie
• Say Something
• Pusher Love Girl
• Until the End of Time
• What Goes Around… Comes Around
• CAN’T STOP THE FEELING!
• Rock Your Body
• Floating Stage

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SEVENTEEN Is ‘Filled With Joy’ at ‘FOLLOW’ AGAIN Tour in Seoul: Exclusive Photos

The K-pop group previewed new songs and shared heartfelt sentiments with fans at Seoul World Cup Stadium on April 29.

By Jeff Benjamin

Jeff Benjamin

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Hours before SEVENTEEN dropped their new greatest hits album, 17 Is Right Here , on April 29, the K-pop sensations seized the moment by holding two electrifying concerts at the Seoul World Cup Stadium to preview the record and celebrate nearly a decade of hits together.

Against the backdrop of the stadium, SEVENTEEN leader S.Coups noted the sentimental moment, telling the crowd, “Standing here, I feel like I’ve been running towards this very moment up until now,” a testament to the journey they’ve undertaken alongside their devoted fanbase known as CARATs. Seungkwan added, “Our goal today is to present all CARATs here with the best day they ever had.”

With a five-piece live band noticeably elevating the SEVENTEEN musical experience to new heights from opening tracks “Super” and “Don Quixote,” the SVT crew delved into a slightly adjusted setlist for the closing shows of their ‘FOLLOW’ AGAIN tour that previously hit Incheon, South Korea, and will soon head to Osaka and Kanagawa in Japan. Offering fans a glimpse into their upcoming album, the live premiere of four new songs — including their maximalstic, break-beat single “MAESTRO” — made the tour finale all the more montemous. Mingyu reflected that they “were both nervous and excited to showcase the first performance of ‘MAESTRO’ here,” with Hoshi noting, “We wanted to show our ‘best’ selves for the CARATs. We really put our best efforts into this performance.”

As the concert drew to a close and each of the 13 members shared parting words with the crowd, Woozi encapsulated a collective sentiment, saying: “The ‘Best [Of]’ album will be released the day after tomorrow. It’s an album dear to me, embodying SEVENTEEN’s beliefs. Today’s show was also like that in some sense. Performing today, I was strongly reminded  of all the memories tied to  each and every  song. Today may have been an ordinary day for some, but for everyone here and us, it was a day of 10 years, making it so much more valuable. This moment is so special to us, so we always try to capture and remember everyone with our eyes as much as possible.”

Read on for more from SEVENTEEN’s Seoul shows, and see exclusive photos of S.Coups, Woozi, Hoshi, Seungkwan, Mingyu, Jeonghan, The8, Joshua, DK, Wonwoo, Jun, Vernon and Dino below:

“MAESTRO”

SEVENTEEN’s latest single, “MAESTRO,” was revealed at the ‘FOLLOW’ AGAIN to Seoul concert, where thousands in attendance saw all aspects of its intense breakbeat production and orchestra-inspired performance. 

The8 commented how the track “has one of the fastest beats-rhythms with a house dance break. I hope it feels fresh and new.”

“Cheers to Youth”

Alongside the premiere of “MAESTRO,” each of SEVENTEEN’s three teams premiered the new tracks they recorded for 17 Is Right Here . The Vocal Unit (consisting of Woozi, Jeonghan, Joshua, DK and Seungkwan) shared their harmonious and euphoric vocals with “Cheers to Youth.”

“‘Cheers to youth’ is a song that I really like and we wanted to perform,” Woozi shared. “I pictured how the CARATs would react and it was exactly right.” Later in the concert, Hoshi explained the inspiration for the song.

“During the tour, I mistakenly said something and it was brought up when we all got together to talk afterward,” the leader of the Dance Unit shared. “[The members said] it was wrong to make such a comment, and I said, ‘Sorry, it’s my first time living today [this day.]’ Woozi heard this and took inspiration for this specific song.”

“Spell”

The Performance Unit of SEVENTEEN (Hoshi, Jun, The8 and Dino) shared their new Afrobeat-inspired song “Spell” alongside a slinky performance that allowed the foursome to showcase their incredible physicality. 

“The time really flew today,” Dino later remarked. “I had so much fun — I feel that what’s really important during a concert is what sort of feelings and emotions we feel and share. Today was filled with joy and excitement, and it’s all thanks to you. We thank you sincerely.”

“LALALI”

The final new song revealed at ‘FOLLOW’ AGAIN to Seoul was the Hip-Hop Unit’s “LALALI.” Decked out in Adidas gear, S.Coups, Wonwoo, Mingyu and Vernon shook Seoul World Cup Stadium with the bombastic rap track that’s quickly becoming a SEVENTEEN fan favorite with its anthemic shout-outs and cheeky lyrics.

Closing Message

“We began the show by promising you the best day, and I hope we kept that promise,” Seungkwan told the crowd at the closing of ‘FOLLOW’ AGAIN to Seoul.

“It’s still hard to believe that I’m standing here with this joyous view in front of me … I’m grateful to be part of this nine-year-old band with all the members. Another thing I wanted to mention was this: I believe it’s up to us SEVENTEEN as an artist to make it easier for supportive, caring fans to show their love and support for us without any discomfort or inconvenience. We’ll continue to do our best. Thank you and we love you so much.” 

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‘spider-man: across the spider-verse’ composer daniel pemberton announces u.s. concert tour, talks his groundbreaking score.

Musicians will perform the score live as the animated feature plays for audiences across 50-plus dates: "I always thought it'd be impossible to do live."

By Brian Davids

Brian Davids

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Following last week’s announcement of the now fast-selling U.K. tour, Spider-Man: Across the Spider-Verse composer Daniel Pemberton is revealing that the film’s live-in-concert experience is now web-swinging across the Atlantic and into the States. 

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The Emmy-winning and Oscar-nominated composer channeled the rave and club scenes of ‘90s London to create the musical identity of the Oscar-winning Spider-Verse saga. And while this experimental approach could be done with relative ease in the recording studio, Pemberton was initially uncertain if the multidimensional scores of Into the Spider-Verse and now Across the Spider-Verse could be re-created for a continuous live-to-picture performance.

“ I always thought it’d be impossible to do live, because they jump between so many different ideas and genres. But a long time ago, I did a couple of cues at a one-off film music festival, and I was really surprised at how effective it worked,” Pemberton tells The Hollywood Reporter . “So that got my brain thinking about trying to do the whole film live, and we did a couple of tests that went down phenomenally.”

Pemberton is quick to credit the Phil Lord- and Chris Miller-produced films for providing him with the leeway that inherently comes with the franchise’s revolutionary approach to animation.  

Below, during a recent conversation with THR in support of Across the Spider-Verse ’s U.S. tour announcement, Pemberton also explains how the first cue he ever wrote for Across wound up serving as the film’s thematic bookends involving Gwen Stacy.

So how did you arrive at this point where Into the Spider-Verse and Across the Spider-Verse both have live concerts and tours?

The Spider-Verse films probably have the most complicated scores I’ve ever done, and I always thought it’d be impossible to do live, because they jump between so many different ideas and genres. But a long time ago, I did a couple of cues at a one-off film music festival, and I was really surprised at how effective it worked. So that got my brain thinking about trying to do the whole film live, and we did a couple of tests that went down phenomenally. 

So Into the Spider-Verse has now been on a tour, and it’s crazy that it’s become quite a huge thing with a touring band and a whole bunch of musicians driving around America in a truck. But we’ve only done Across the Spider-Verse live once, and that was at the Academy Museum in L.A. That was the first and only time it’s been done so far, but it’s so much work to get the show watertight. Once you’ve done that, then you can start working out how to turn it into a touring show.

On certain dates, will you be there to pick up a guitar and play various other instruments?

There are moments in the score with opera singing and whistling. Will the live shows actually have designated opera singers and whistlers? 

The whistling we normally do live, but the opera singer is probably going to be on track. There are a lot of things in this score that are so complex to balance. So we’re trying to give a live experience, but it’s not like a symphonic orchestra where every single element is all being performed live. We have loads of live stuff backed with electronics and turntables, and that’s the only way we could really make it work. It’s really about how much of an exciting show it is. And if you see the show on two different nights, you are going to get a slightly different experience, but also a very unique live experience. 

What percentage of Into the Spider-Verse ’s score did you expand on in Across the Spider-Verse ?

For me, great film music is when you have strong themes and strong identities that are completely recognizable to that film. Great film music is when you can hear something away from the film and it takes you back into that universe. And that can be as simple as a certain noise or a huge melody. And with Spider-Verse , we have created quite a unique melody and sound, so it’s really fun to keep expanding on that. Everything is connected in these two movies. Every sound and motif connects together. 

One of the things that’s been interesting is watching the reactions of younger filmgoers who are starting to learn about cinema and film music and how surprised they are at thematic continuity and motifs that can connect characters. It is one of those very iconic and also straightforward parts of film music. But there hasn’t been a consistent approach, especially with the superhero movies over the last couple of decades. Often you have different composers scoring different episodes in different franchises, and if you look at The Lord of the Rings or Star Wars movies, there is a very strong thematic and melodic approach between those. You’ve got one vision, one composer, and with Spider-Verse , that’s what we’re trying to do. So, for a lot of younger people, that’s often quite new to them, which is obviously quite weird to me.

Yeah, it’s really difficult. In the good old days of film music, the composer would get a cut, write their piece of music, and then they’d record it and stick it on the film. And then there’s a round of applause for everyone. In the modern world and the modern way of film composing, everything changes all the time. So you might write something to picture, but then that picture might get slightly tweaked: something gets put in or extended or taken out at the last minute. So the music is always in flux, and while you can make that work for a film, you can’t do that when you have musicians playing it live. You have to make it in a way that is enjoyable and exciting for the musicians to play. If the musicians are only thinking about the technicality of very complicated tempo changes, which you might have when you’re editing a film to move between things, it is going to be a terrible live performance. So, like Ludwig, I had to go back to the beginning and rebuild the score, scene by scene. Some scenes will be slightly different on a very minuscule level. I’m talking tiny, tiny stuff, but you still have to build the whole thing from the ground up again, and that is very time consuming. It’s a bit like pulling a car apart and rebuilding it. You get to learn all the bits in the score again. But I saw Ludwig’s performance. It was brilliant, but I would not want to be a musician during that performance. It never stops. It’s exhausting. It’s a beautiful score, but Oppenheimer feels like the musician equivalent of running two marathons back to back.

I like to think it was the other way around because he saw mine first. ( Laughs .) So he came to my show, and we worked with some of the same people, actually. It was the same production team, so Mike Kasper from Black Ink worked on that with Ludwig. But we like to keep an eye on what each other is doing. We’re good friends, and I’ve got massive respect for his work. It also makes me a bit jealous, so that’s a good sign. 

Are composers pretty competitive with one another? 

Oh, for sure. The best film music in the world is stuff that makes 50 percent of me incredibly jealous and annoyed, because it’s better than anything I’ve done and it’s everything I aspire to do. And the other 50 percent is like, “This is everything film music should be.” So you’re incredibly excited because it’s everything you care about, and when you hear it done well, it’s very exciting. So it’s the 50-50 rule of excitement and jealousy. If you get that, then it’s a great score.

Ludwig also had tempo changes to account for, so they had to introduce a new click track just one bar before the tempo change happened on the page. Did you run into similar tempo challenges?

On Oppenheimer , there’s loads and loads of crazy tempo changes, and I remember Ludwig telling me about that when we were having a beer in London. And what’s interesting about that is you’ll get smudge and imperfection. Sometimes, this can be really interesting because players are not all going to play together, and we have something similar to that with Spot, the baddie in Across the Spider-Verse . I recorded multiple de-tuned cello parts that weren’t all in tune, and if you keep tracking stuff that’s de-tuned, it’s like drawing a line many times. If you draw a straight line once, and then you badly draw a line 60 times, you will start to get a feeling of where the central line is, making it very unstable and interesting. So we have something similar with the cellos. They’re detuned, but they all align around one melody. That’s more of a melodic idea than a tempo idea, but putting multiple tempo changes in is something I try to avoid. It’s a nightmare when it comes to editing, so if you don’t have to do it, don’t do it. 

Yeah, it’s different, and I like working that way. It allows you to experiment and not be dictated to by the picture. So I will go through a very long process, which I call research and development, where I’ll try out loads of ideas and come up with sounds, themes, motifs. So I do write that way, but to do a film like Spider-Verse , the music is so reactive to the picture. You can’t just slap a track on and then go to the pub. You have to work at it so much to make it in sync with the visuals and in sync with the story, because the movie moves at an incredible pace and you have to hit so many different emotions and beats within seconds of each other. So I need to write themes that you recognize within two seconds because we are going to move somewhere else afterwards, and that’s a very complicated task. If you’re doing an indie film where you might have one tone or one mood, it’s easier to do that, but this has the movement of a big blockbuster. So you need music that’s incredibly nimble, and over the years, the only thing that’s been able to deal with that kind of nimbleness has been the symphony orchestra. So I was always like, “How do I create a sound and a palette and an approach that has the speed and nimbleness of a full orchestra but isn’t a full orchestra? Something new, something different.” And with Spider-Verse , we created all these techniques through scratching, turntables, weird electronic sound design, live orchestra drums, and we built a language that allowed me to write a score that could be that reactive to picture. But you try to do it in a way that hopefully feels elegant and simplistic enough that you don’t notice the movement.

The cue that bookends Across is probably my favorite, as Gwen’s ( Hailee Steinfeld ) heavy drum parts are right in my wheelhouse.

So I reworked it for that, and then much later, for the ending of the film, we didn’t know what to do and we tried different approaches. And then a great [supervising] music editor on Spider-Verse called Katie Greathouse, who’s a very important part of the team, just said, “Oh, why don’t we try that track over this?” So she just pulled it out and put it on, and we were like, “Fuck, this really works. Wow.” So I was like, “OK, the idea works, but I need to go away and rework it.” So I ran to this other office, because I was working in the same offices as all of them, and then I just wrote like crazy. And suddenly, we had the ending. So that was one of the most exciting moments for me; I felt we had something that was really special. By the way, that bit is great live. It’s such a fun ending to end a concert on.

Every live set list has a song or a cue that every musician anticipates, usually because it’s the most challenging piece. Is there one in particular that will allow your musicians to breathe easier once they nail it live? 

So it’s a very unique and unusual way to experience cinema. I don’t know of anything else that’s like this communal experience with an audience. I know Americans like to make a lot more noise, but people are generally quite restrained in cinema. And I like that. I am not a big fan of lots of noise in the cinema, but when you see a film live with an orchestra and a band and a scratch DJ, make as much noise as you want. It’s a whole different way of seeing a film. So that’s why I’m excited for people to experience this on tour. You can’t have this cool and unique experience anywhere else.

If you were handed these exact movies in live-action or you went into them with the foreknowledge that they were live-action, how different would both scores be in your estimation?

I enjoyed it.

Cathy [Yan], the director, had a very strong and unusually different vision for how that film should feel and look, and I got very excited by that. So I felt that it was a way to be a bit more creative, and that score is probably close to what Spider-Verse sounds like. It’s more trashy guitar-based, but if you look at King Arthur: Legend of the Sword that I did with Guy Ritchie, that’s got a similar sort of aesthetic where I got to do something a bit more creative. So it always depends on the film and the filmmakers and the approach, really, but I like things where you can push at the edges a bit more.

From Aaron Sorkin and Danny Boyle to Spider-Verse , is there an underlying principle to working on opposite ends of the spectrum? Do these projects have more in common than people might realize?

*** Spider-Man: Across the Spider-Verse Live in Concert tour information is available at SpiderVerseInConcert.com

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Yes Kicks off 2024 ‘Classic Tales of Yes’ Tour: Set List

Yes kicked off their 2024 tour with a sprawling performance in Lisbon, Portugal on April 30.

Dubbed the Classic Tales of Yes Tour – the same name that was given to the band’s 2023 trek – the tour sees the prog rock legends dipping into material from throughout their vaunted career.

In a press release issued prior to the tour’s launch, longtime keyboardist Geoff Downes said the trek would feature “one of our most interesting sets to date, scanning through much of Yes’ history and with some previously unheard pieces together with music from out latest album, Mirror to the Sky . As always, we’re committed to pushing new boundaries and are very excited to be performing another chapter in the rich legacy of the band.”

That commitment was on full display at the Lisbon show, as Yes delivered a wide assortment of tunes. They began with “Machine Messiah,” the opening track from their 1980 LP Drama . Next came “It Will Be a Good Day (The River)” from 1999’s The Ladder , followed by the 1977 classic “Going for the One.”

Other highlights from the set included a sprawling live rendition of the the four songs which made up 1973’s Tales from Topographic Oceans . The evening ended with the band’s beloved classic, “Starship Trooper.”

The full set list from Yes’ tour opener can be found below.

When is Yes Touring in America?

The Classic Tales of Yes tour will wind its way across Europe and the U.K. before ending in June. After that, Yes will head stateside for an American tour with Deep Purple .

The trek begins on Aug. 14 in Hollywood, Florida, and concludes on Sept. 8 in Scranton, Pennsylvania.

Yes, 4/30/24, Sagres Campo Pequeno, Lisbon, Portugal Set List

1. “Machine Messiah”

2. “It Will Be a Good Day (The River)”

3. “Going for the One”

4. “I’ve Seen All Good People”

5. “America” (Simon & Garfunkel cover)

6. “Time and a Word”

7. “Don’t Kill the Whale”

8. “Turn of the Century”

9. “South Side of the Sky”

10. “Cut From the Stars”

11. “The Revealing Science of God (Dance of the Dawn)” / “The Remembering (High the Memory)” / “The Ancient (Giants Under the Sun)” / “Ritual (Nous sommes du soleil)”

12. “Roundabout”

13. “Starship Trooper”

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Kylie Minogue’s Vegas Residency Never Stumbles, Even as She Recovers From an Ankle Injury: Concert Review

By Todd Gilchrist

Todd Gilchrist

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After a five-month stint in art deco concert venue/nightclub Voltaire at Las Vegas casino The Venetian, Kylie Minogue has just two more performances left before the conclusion of her concert series “More Than a Residency.” Given the grueling schedule she’s maintained since the beginning of the promotional cycle for “Tension,” her sixteenth album, it feels understandable, even appropriate, for Minogue to take her foot off the gas — especially while she’s nursing three torn ligaments and an ankle injury she must ice immediately after every show.

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Across a set that ran just shy of an hour, they exploited the venue’s expressive, stylized lighting both to acclimate the crowd to the genre-spanning blend of dance music that would be included in Minogue’s performance, and to emphasize every one of their gobsmackingly strong muscles. Songs by Jane Birkin (“Baby Alone In Bablyone”), Cerrone (“Supernature”), Frankie Goes to Hollywood (“Relax”) and Gessafelstein (“Opr”) provided a soundtrack as performers contorted, swung and posed, all while stripping down to various levels of not-quite nudity that were at once thrilling and titillating. During some numbers dressed like Catherine Deneuve in “The Hunger” or a Patrick Nagel painting come to life and others wearing only loincloths or see-through bodysuits, the ensemble expertly warmed up the crowd ahead of Minogue’s performance.

As kaleidoscopic light surrounded her, Minogue beamed while the crowd cheered her arrival. It marked the first of many moments of seemingly sincere gratitude, underscoring her reputation as one of the most approachable pop divas. Then again, that intimacy may also have been the byproduct of Voltaire’s comparatively modest size. But the closeness (both physical and atmospheric) made the diminutive singer seem like an artist performing for friends and the towering international singer who’s sold 80 million records worldwide.

Minogue shuffled through “Vegas High,” reiterating that it was written expressly for her residency as she completed the final tracks for “Tension,” then performed singalong versions of “In Your Eyes” (from “Fever”) and “Get Outta My Way” (from “Aphrodite”) ahead of her first costume change. Returning to the stage dressed in skintight PVC, she performed a pair of her sexiest tracks, “Tension” and the “Body Language” lead single, “Slow.” On the latter, she paired its seductive lyrics with a live performance of the instrumental to Donna Summer’s “Love to Love You Baby” — a welcome callback to one of the many disco singers whose work has inspired and influenced her own. She then paid tribute to her Las Vegas forebears with a cover of Elvis’ “Can’t Help Falling In Love,” whose chorus the audience joined her in singing.

After another costume change, Minogue bounced through “Spinning Around” before reaching all of the way back to 1987 for a rendition of “The Loco-Motion,” the song that first put her on the map. Sandwiching the track between songs from 2000 and 2010, the singer not only reminded ticketholders how long she’s been around, but how long she’s been delivering earworm dancefloor fillers. While members of Belle du Nuit performed more acrobatic movements around her, Minogue easily kept pace with the choreography, a feat made more impressive by the fact that she is recovering from her aforementioned ankle injury — which was virtually undetectable, even while maneuvering around during the show on platform heels.

Though “All the Lovers,” featuring a cascading rainbow light show, ended the third act of the set on an appropriately triumphant note, Minogue returned for three more songs, the biggest of her career: the Grammy-winning “Tension” track “ Padam Padam ” and her instantly-recognizable “Can’t Get You Out of My Head,” plus the Grammy-nominated “Love at First Sight,” both from 2001’s “Fever.” Wearing all white like in the iconography of her “Fever” era, Minogue performed her final few tracks with extra gusto; even on her eighteenth performance of this particular set, she exuded a clear joy on stage, an appreciation to those in attendance not just for joining her in the room but for helping make those songs so popular for so long.

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