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Bon Iver Announce Summer 2023 Tour

By Charisma Madarang

Charisma Madarang

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Bon Iver will return to the stage this summer . The indie heavyweights will kick things off in Brisbane, Australia and Europe before making their way to the U.S. with stops in Madison, Seattle, and more cities before the grand finale at Martha’s Vineyard in Massachusetts for Beach Road Weekend.

Bon Iver returned to the stage for the first time in two years at Los Angeles’ YouTube Theater in 2021, following up the performance with a 2022 U.S. tour that spring.

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March 2 — Brisbane, Australia @ Riverstage March 4 — Melbourne, Australia @ Sidney Myer Music Bowl March 5 — Melbourne, Australia @ Sidney Myer Music Bowl March 10 — Adelaide, Australia @ WOMADelaide June 2 — Berlin, Germany @ Tempelhof Sounds  June 4 — Paris, France @ We Love Green June 8 — Copenhagen, Denmark @ Syd for Solen June 10 — Rättvik, Sweden @ Dalhalla June 14 — Vienna, Austra @ Open Air Arena Wien June 15 — Zürich, Switzerland @ The Hall  June 17 — Lido di Camaiore, Italy @ La Prima Estate Festival  June 19 — Bonn, Germany @ Kunst!rasen August 2 — Duluth, MN @ Bayfront Festival Park August 4 — St. Charles, IA – Hinterland Music Festival August 5 — Madison, WI – Breese Stevens Field Kettlehouse Amphitheater August 8 — Bonner, MT @ Kettlehouse Amphitheater August 9 —  Ogden, UT – Ogden Amphitheater August 11 — Boise, ID @ Outlaw Field at the Idaho Botanic Garden August 12 — Seattle, WA @ Day in Day Out August 12 — Bend, OR @ Hayden Homes Amphitheater August 13 — Seattle, WA – Day in Day Out August 25-27 — Martha’s Vineyard, MA @ Beach Road Weekend

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Bon Iver  

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Bon Iver is a highly acclaimed, Grammy Award winning American indie-folk rock band, formed around the creative prowess of Wisconsinite Justin Vernon in 2007.

Justin Vernon’s journey as Bon Iver grew out of the embers of his previous band DeYarmond Edison. After DeYarmond Edison’s disbandment, the breakdown of a relationship, a stint with mononucleosis hepatitis, and a marathon intake of the ’90’s TV series “Northern Exposure”, the groundwork for Vernon’s new project was laid. The musician then moved into his father’s cabin in Dunn County, Wisconsin, U.S., and with very modest recording and musical equipment, began crafting a collection of introspective and emotionally-intense songs.

Bon Iver, the name derived from a misspelling of the French for “cold winter”, initially intended the songs to form a demo, however after hearing feedback from his manager and friends, decided to self-release the recordings. “For Emma, Forever Ago” was released in 2007 initially limited to 500 CDs, however popularity for the album grew exponentially when the record, and its story, hit the blogosphere. With exposure granted by the likes of CMJ Music Marathon and a glowing Pitchfork review, Bon Iver signed with Jagjaguwar in October 2007, who reissued “For Emma, Forever Ago” in January 2008. The release subsequently became one of the most popular albums of 2008, both among music fans and music critics, and led to Vernon becoming a prized-cow in the industry.

After embarking on an extensive U.S. and Canadian tour alongside members Sean Carey and Matt McCaughan among others, Bon Iver released the EP “Blood Bank” in 2009. A year later Vernon was enlisted by Kanye West to provide vocals to the tracks “Woods”, “Monster”, and “Dark Fantasy”, from Kanye’s “My Beautiful Dark Twisted Fantasy”.

Bon Iver’s full-length follow-up proved to be far more ambitious than the debut with luscious and textured orchestration, thanks to the involvement of bass saxophone player Solin Stetson and pedal-steel guitarist Greg Leisz. The self-titled sophomore album was released in June 2011 on Jagjaguwar and recorded at Vernon’s own April Base Studios in Fall Creek, Wisconsin. “Bon Iver” utilises a vast selection of musical accompaniments and earned Vernon two Grammys, for Best New Artist and Best Alternative Music Album in 2012.

Live reviews

Thursday 22nd February. Apollo Hammersmith, London. Bon Iver. It’s not without a little trepidation that we head out to the Odeon tonight. Since the low fi beauty of ‘For Emma, Forever Ago’ Justin Vernon has experimented with sounds, auto tune, loops, etc. but not to the extent of last album ’22, A million’ which I think is fair to say has divided opinion. This is the second of an eight night sold out residency. On the first he played the whole of the latest album in order and the second set a sprinkling of tracks from his other three releases.

Tonight though he switches it around and plays the whole of his second full release, the eponymous ‘Bon Iver’. It’s not played straight by any means with many tracks reworked to a degree but the OTT auto tune only made an appearance on set one closer ‘Beth/Rest’

It was an exhilarating set. Vernon backed by five piece horn section, drummer, percussionist and a couple of multi instrumentalists produced a crisp sharp clear sound usually missing in a larger venue. The stage was dressed in flowing feathers from the overhead rig and fake candles to provide an eerie haunted house type feel. Enhanced by dramatic staccato light show it was one of the most striking audio visual sets I have seen reminiscent of Sufjan Steven last tour with his cathedral like backdrop.

After a 22 minute interval, do you see what he did there, it’s onto the second set which aside from ‘Blood Bank’ it’s the majority of the new album. Personally I thought the set lost its way a bit here. I think ’22, A million’, has some good songs trying to get but they are often obscured by the electronic trickery and whilst live both audibly and visually it certainly brought these tracks more to life it still felt a little disjointed.

After another brief interlude Vernon comes back on stage to deliver a masterful, no frills, no tricks version of the Leon Russell ‘A Song for You’ (a good spot by Mr Berry on the night) and then finally ending the night with his hit ‘Skinny Love’.

So a game very much of two halves with the band going two nil up, really nailing it for the first forty minutes especially the horn section adding that special sauce to the dish accentuating and enhancing Vernon’s voice. A patchy second half with the odd own goal but finishing with an injury time winner of an encore.

Till the next time keep on rockin’ y’all

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Seeing Bon Iver live is a real treat. I remember my first Bon Iver show in San Francisco, at The Independent. His album had just come out on Jagjaguwar, although the initial, un-mastered album had already made its way around the internet and garnered high praise. Back then, Bon Iver was only a three piece: Justin Vernon, Sean Carey, and Mike Noyce, and they were considered "co-headliners" with Phosphorescent.

These three guys created a sound that I never knew existed. To put it in a word, it was magical. When they played "Blindsided," it blew me away. They brought together acoustic sounds with electronic sounds, along with a crazy, distorted, acoustic guitar solo. Sean Carey, only on drums at the time, played the whole night without a hi-hat. They explored ambient textures and free-form improvisation on "Flume." They got the entire crowd involved in cathartic fashion with "The Wolves." And they quickly ran out of material. With only nine songs at the time, they played a short set that I won't ever forget. Justin ended the set by himself, playing "Re: Stacks." When he began, the room became hushed to the point where you could hear a pin drop in the 400 capacity venue. It was spellbinding. And "spellbinding" is a word I haven't really seen fit to use in any other context since. You can see the performance for yourself on YouTube. My buddy was the videographer who was lucky enough to be capturing a few songs that night for a music blog he was doing at the time. In the video, you can see it go dark for most of the song, of which the audio was captured from the soundboard feed. And his only explanation for not doing his job of filming on that song was simply that it was too heavy, too special to simply be an observer, and not a participant.

I've since seen the band at Outside Lands, The Fox, and Coachella. And although Bon Iver have since grown to include new bandmates, and their live sound has grown in dynamic range, their music always invites you to be a participant, not an observer. You're in it. And you're not going anywhere but somewhere beautiful.

Bon Iver, the indie folk band fronted by Justin Vernon are considered to one of the most critically acclaimed artists of the last decade. The sweeping, cinematic sounds that they create on albums 'For Emma, Forever Ago' and 'Bon Iver' has won them a huge following globally as well as two Grammy awards.

Despite playing in a large arena, Justin Vernon and his accompanying musicians were able to make the entire experience feel intimate and low key. With guitar proudly in hand, the shivering opening tones of 'Perth' fill the arena and captivate the crowd instantly. A beautifully designed stage illuminates the musicians and creates a wonderful ambient setting in which they perform and the audience are entranced from song to song. The only respite to the ethereal atmosphere is the rapturous cheers and applause that the group receive at the end of each track. Playing the self titled second album in full, the band maintains the wondrous, spine chilling atmosphere for the entirety of the show.

Vernon thanks his huge crowd and admits his confusion at the sheer reputation the band has amassed in its short career. The cheers the opening riffs of 'Skinny Love' and 'Beth/Rest' receive are credit enough to the adoration the crowd has for Bon Iver.

Bon Iver, an indie folk band fronted by the legendary Justin Vernon, are one of the biggest and most successful indie bands of all time. They have an enormous cult following and their fans are some of the most dedicated in the world. Many of their songs have been covered in the past few years, leading to the band gaining even more fame as people seek out the originals. Bon Iver deserves every praise they get. The band is spectacular on stage, harmonising beautiful melodies with such ease that they just seem to flow seamlessly, and Justin Vernon’s voice… there is nothing else like it. He has such a distinctly unique and beautiful voice that is even more magical to listen to live than it is on their albums. The band performed a number of classics, such as ‘Skinny Love’ and ‘I Can’t Make You Love Me’, with Vernon also performing on the piano as he sang. He can reach notes that many female singers are unable to achieve, and the whole crowd was in awe of his voice throughout the night. The atmosphere all night was just incredible.

Hammersmith Apollo, 22nd February, 2018.

Bon Iver played a show that is genuinely one of the best things I have ever seen. Not just gigs, literally one of THE best things.

Every note was perfect. Even more perfect than they are on the album versions, if it were possible.

I am 31 years old and have no shame in saying I cried about 5 times. Even at a song like Creeks, in which Justin's voice is so modulated it barely sounds human. Because that exactly what the recurrent theme is throughout all his songs; Humanity. Emotion. It takes a very special kind of musician to make people feel that way. The rest of the audience were just as spellbound.

Justin Vernon is a bona fide genius - there are only a handful of current artists that can create such beautiful art as him. Go and see Bon Iver if you ever get the chance to, it will be something to remember forever. I promise you that.

I had the distinct FORTUNE to be able to get a ticket to

the December 4th performance at the Kings theater in Brooklyn.  And the only word I can use is astounding.  Completely collaborative, it was a perfect marriage of outstanding modern dance and music.  The dancers were amazing, the ways they made their bodies float, pierce the air, evoke the lyric meaning, whoa. 

The finale was "Naeem" and it blew my breath away...STANDING OVATION, NO SHIT.   

What I will say is that I believe that the people up in the mezzanine near me were expecting "A greatest hits/fan favorite" kind of setlist.  Me, the only thing that could

have topped Naeem, would have been to have heard Holocene.

The show yesterday at Allstate Arena, Rosemont IL was good. The stage with its incredible light show was amazing and the sound was perfect even at the very back seats. On the other hand this was not my Bon Iver. I missed all my favorite songs! I grew up with the album "For Emma, Forever Ago". Maybe this is (once more) a sign that I'm getting old. I totally understand Artist getting bored while playing the old songs over and over, but clicks and views tells you that some people want to hear some of those songs. In my point of view, it needs a good mix of new and old songs and definitely less effect on a such beautiful voice.

To sum up: This was more a show than a concert to me.

This was a magical show. I was surprised at the length of the set...pretty sure Justin Vernon played everything off the current album and most of the highlights of his old stuff. The version of "Woods" that he played in the encore was breathtaking. Also, highlights of the show were "Holocene" and a very interesting version of "Calgary" that sounded nothing like the original recorded version. Venue was great from a sound standpoint, but it was unfortunate all the people who wanted to stand in the aisles were marshaled off by an overzealous security staff. I'm pretty sure he played "re: stacks" in the encore, but it's hard to recall. Overall, a 5 star show....

Literally the best thing I have ever seen. The whole band sounded so tight, the light show was insane and they really played to the audience. Two full sets of material plus an encore was probably more than any of us expected. They played so many songs that I wanted to hear, even some really old material which was so unexpected.

The whole audience was buzzing with energy and love for a band that are so good, but really don't tour enough. I'd waited 10 years for a chance to see them and now that I have, I'd have waited another 10 if I knew it was going to be that perfect. It was a privilege to be in that room and witness something so beautiful.

A powerful electronic-heavy set featuring the frequent auto tuned vocals of frontman Justin Vernon. Moments of magic with contrasts of crashing drums and thumping brass with falsetto vocals and brief seconds of silence. Highlights included older masterpieces such as Blood Bank, Wash, Creature Fear and Perth and, at times, a return to the more dulcet tones of their first two albums would have been welcomed. Although not as engaging and memorable as the previous tour, the heavier sounds and incredible stage and lighting contributed to a worthy performance.

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Bon Iver Add European Tour Dates

By Sam Sodomsky

Bon Iver have announced a series of European dates in September. The shows are taking place after their European tour behind 22, A Million was canceled “for personal reasons” earlier this year. The new run finds the band performing in Paris, Edinburgh, Utrecht, and more. Check out their full itinerary below. Bon Iver’s Justin Vernon recently wrapped up his annual Eaux Claires festival , where he performed with Jeff Tweedy and debuted new music with Big Red Machine , his project with the National’s Aaron Dessner.

Read Pitchfork’s feature, “ Signal to Noise: One Wild Week With Bon Iver’s Justin Vernon in Berlin .”

07-22 Minneapolis, MN - Rock the Garden 08-12 Copenhagen, Denmark - Haven Festival 09-09 Santa Fe, NM - Noise For NOW Festival 09-15 Cork, Ireland - Sounds from a Safe Harbour 09-19 Utrecht, Holland - TivoliVredenburg 09-21-23 Paris, France - Salle Pleyel 09-25 Blackpool, England - Blackpool Opera House 09-27-28 Edinburgh, Scotland - Playhouse 10-14-15 Los Angeles, CA - Festival of Distruption

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Bon Iver Unveils 2022 Tour Dates

Hitting up north america, europe and the u.k..

Bon Iver has announced a new slate of 2022 tour dates.

The band is set to kick off their 23-date U.S. tour on March 30, 2022 at the Mesa Amphiteatre in Mesa, Arizona follows by performances in areas like Austin, Miami, New York and Nashville before closing out the run in Asheville, North Carolina. Bon Iver will then fly to the U.K. and Europe in mid-October for shows in London, Dublin, Amsterdam, Barcelona and Madrid until early November.

Bon Iver – 2022 Tour Dates 3/30 – Mesa, AZ – Mesa Amphitheatre* 4/1 – Austin, TX – Moody Amphitheater at Waterloo Greenway* 4/2 – Austin, TX – Moody Amphitheater at Waterloo Greenway* 4/3 – Irving, TX – The Pavilion at Toyota Music Factory* 4/5 – Houston, TX – White Oak Music Hall* 4/8 – New Orleans, LA – Bold Sphere Music at Champions Square* 4/9 – Atlanta, GA – Cadence Bank Amphitheatre at Chastain Park* 4/12 – Wilmington, NC – Live Oak Bank Pavilion at Riverfront Park* 4/14 – St. Augustine, FL – The Saint Augustine Amphitheatre* 4/15 – Miami, FL – FPL Solar Amphitheater at Bayfront Park* 6/3 – Queens, NY – Forest Hills Stadium** 6/4 – Pittsburgh, PA – Stage AE** 6/7 – Lewiston, NY – Artpark Amphitheater** 6/8 – Essex Junction, VT – Champlain Valley Exposition** 6/10 – Portland, ME – Thompson’s Point** 6/11 – East Providence, RI – Bold Point Park** 6/12 – Richmond, VA – Virginia Credit Union LIVE!** 6/15 – Kansas City, MO – Starlight Theatre** 6/17 – Maryland Heights, MO – Saint Louis Music Park** 6/18 – Lincoln, NE – Pinewood Bowl Amphitheater** 6/21 – Newport, KY – PromoWest Pavilion at OVATION** 6/24 – Nashville, TN – Ascend Amphitheater** 6/25 – Asheville, NC – Rabbit Rabbit** 10/16 – Dublin, IE – 3Arena^ 10/19 – Leeds, GB – First Direct Arena^ 10/20 – Glasgow, GB – The SSE Hydro^ 10/24 – Manchester, GB – AO Arena^ 10/25 – London, GB – SSE Arena Wembley^ 10/26 – London, GB – SSE Arena Wembley 10/31 – Berlin, DE – Mercedes-Benz Arena^ 11/2 – Amsterdam, NL – Ziggo Dome^ 11/3 – Antwerp, BE – Sportpaleis^ 11/5 – Milan, IT – Mediolanum Forum^ 11/7 – Barcelona, ES – Palau Sant Jordi^ 11/9 – Madrid, ES – WiZink Center^ 11/11 – Lisbon, PT – Altice Arena^ *w/ Dijon **w/ Bonny Light Horseman ^w/ Carm

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Bon Iver Announce European Tour Dates

Bon Iver released 'i,i' on Aug. 30 and are currently on tour in the U.S. until Oct. 19

Indie-folk project  Bon Iver ,   fronted by singer/songwriter Justin Vernon, has announced a European tour in support of their latest album,  i,i. 

The tour will launch in 2020 on April 15 in Lisbon, Portugal and will head to Spain, Germany, Belgium, Netherlands and the U.K., before its last stop in Dublin, Ireland on May 3. Aaron Dessner 's 37d03d Machine will join the band on tour. 

Bon Iver released the 13-track  i,i  on Aug. 30 and are currently on tour in the U.S. until Oct.19. Tickets for the Euro tour go on sale Sept. 13 at 9:00 AM BST.

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Photo: Molly Malaton

On 'Tigers Blood,' Waxahatchee Walks The Slow And Steady Path To Indie Rock Stardom

Bandleader Katie Crutchfield discusses new LP 'Tigers Blood,' collaborating with Wednesday guitarist MJ Lenderman, and why you’ll be hearing more twang in indie rock.

It’s a special feeling, knowing you’re still getting better, 20 years into doing whatever it is you’re good at. “I identify my career as a bit of a slow burn,” says Katie Crutchfield, chatting from her home in Kansas City, Missouri. 

Tigers Blood , Waxahatchee’s sixth LP, arrives March 22 on Anti- Records. It sounds earthy and time-tested, hugging the border of alt-country and indie-folk. Pedal steel and banjos are just as welcome as electric guitar. Lucinda Williams , Townes van Zandt, and Gillian Welch are its musical north stars. Lyrics evoke late-night banter with old, trusted friends, the small handful of people in this world you could say anything to. 

Crutchfield has been writing songs for 20 years and, even as a teen, was perhaps the most respected voice in her Alabama punk scene. By the early 2010s, the same could be said of her place in DIY-minded rock, nationwide. Released March 27, 2020, Waxahatchee’s Saint Cloud , will be remembered as her breakthrough, though it certainly did not feel that way initially. For Crutchfield, the album still brings to mind bushels of COVID masks and days upon days spent indoors.

"There were phases of grief," Crutchfield says. "I was grieving the [canceled] tour, the normal experience of putting out a record. My therapist suggested I have a funeral for it." She says all this with a chuckle — one that comes easier after the success Saint Cloud eventually earned: a No. 1 on Billboard’s Heatseekers albums chart, significant radio play for the first time in her career, a spot at Newport Folk Festival once pandemic restrictions eased. “In hindsight, I know that record provided solace for a lot of people.”

Like Saint Cloud , Tigers Blood was produced by Brad Cook , an alt-rock standby whose production and co-writing work with Bon Iver earned him nominations for Album Of The Year and Record Of The Year at the 2020 GRAMMYs. "[Brad and I] developed this language and life philosophy as collaborators that I am not finished with," Crutchfield says.

Tigers Blood separates itself with one new, notable collaborator: singer/songwriter MJ Lenderman. Through his storytelling solo albums and cathartic guitarwork in the North Carolina band Wednesday, Lenderman, 25, is already a Gen Z indie rock icon. His contributions to Tigers Blood are subtle, but affecting: hazy backing vocals on the title track and "Right Back to It," artistry on his six-string that left Crutchfield in awe: "There are so many moments on [ Tigers Blood ] where I’m like, That’s the hookiest guitar part or solo . I never would have put it there without him. "

Speaking with GRAMMY.com, Crutchfield looked back on how she arrived at Tigers Blood and the many stops along the way: showcasing her high school band for the guy who signed Nirvana, learning to re-embrace her Southern-ness, staying the course when you know, deep down, it’s the right thing to do. 

For artists today, I feel there’s this pressure to be constantly reinventing yourself. Is this something you’ve noticed?

Contemporarily – maybe this is a thing in pop – there’s a real pressure to reinvent yourself on every record as you move through your career. I’ve certainly done that. And I’ve certainly felt that. Brad [Cook] and I had a conversation about this very thing: What is the next thing going to be? Should we pivot to a new style?

It really brought us to my heroes. None of them ever reinvented themselves. A lot of them worked with the same people. Tom Petty , for example, played with a lot of the same musicians for his entire career. 

The confident choice is to retain some self-awareness about why people liked the last record, and to hang onto that. Then, to depend solely on the songs. Do whatever we can to elevate the songs. 

How did Tigers Blood come together, compared to the last LP?

It came together quickly and a lot of it was on tour. I had a lot of writer’s block working on Saint Cloud . The narrative of that record was that I had just gotten sober. I was experiencing a lot of anxiety. A friend told me, “When you get sober, you’re not gonna recognize yourself.” That was really true. I was like a raw nerve. I kind of had to take a long time off from touring, to catch my breath and figure out what my life was going to look like. Throughout that 18-month period of time off, I slowly wrote [ Saint Cloud ]. 

I started writing the melodies for Tigers Blood right after we made Saint Cloud , and continued to for several years, as I worked on other projects like the [2022] Plains record [in collaboration with singer-songwriter Jess Williamson]. In the peak pandemic months I was stowing away melodies, like, I’ll come back to this . I finished all the Tigers Blood songs in about a six-month period, a lot of which was on the road. When I say I finished a song, it means I wrote all the lyrics.  

* Releasing an album like Saint Cloud , I imagine you might be worried it would just be labeled as “the sober record.” Looking back at how well it was received, it feels like much more than that. *

I hope this doesn’t land wrong on music writers, but in a way it’s sort of easier for me when there’s a narrative. I think it’s sort of easier for everyone. Tigers Blood doesn’t have a clean-cut, neat little narrative. There’s a lot of things going on. 

I was writing about a lot of different things on Saint Cloud , too, but [sobriety] was the headline, and it made life easier to have a headline. I always knew there was more going on than just sobriety. I don’t write lyrics in a way that’s very on-the-nose. Someone could maybe listen to that album and have no idea it’s about sobriety. There’s a couple love songs on that record: “The Eye” and “Can’t Do Much.” And “Lilacs” is about being in a bad mood. It’s not really about being sober. 

If you don’t mind me asking, what made you want to get sober?

Everybody’s story is different. Mine isn’t particularly salacious. Over a decade, I had noticed that, for me, drinking had a weight to it that it didn’t have for everyone I knew…

I got sober when I was 29. I was getting a little bit older and my physical health was starting to catch up to me, and certainly my mental health [as well]. Some alarm bells were going off: I actually think the biggest issue in my life is drinking and if I cut that out, I’m curious if everything will balance out . And it really did. 

In June, it’ll be six years since I quit. I definitely feel like a way different person now, but I don’t even remember how I felt six years ago. I can’t really remember myself as a drinker. A lot has changed in my life. I live in a different city. I have a lot of different people around me. 

You’ve lived all over and it’s so intertwined with your music. Could you give me the whole story?  

I grew up in Birmingham. When I was 19 or 20, I moved to Tuscaloosa, Alabama – my sister Allison was going to college there and our band P.S. Eliot existed there for a short time. Then she moved to Chattanooga, Tennessee and I moved back to Birmingham for a few years. Then we both moved to New York when we were 22. I’d made the first Waxahatchee record right before that and she had just started her band, Swearin’. 

I tell you her story, too, because they’re so intertwined. We lived in New York for about 18 months. At the time, [Allison], her boyfriend, and my boyfriend were all in Swearin’. They [decided to] move to Philadelphia and I was kind of sad — I really wanted to stay in New York — but that was my family, so I was like, “I guess I’ll go with you guys, because I’d be alone here.” So I was in Philly for a few years, then I made my [2015] record Ivy Tripp while I was on Long Island for about a year. Then I moved back to Philly for three years, moved back to Birmingham briefly, and then to Kansas City, where I’ve been ever since. 

You started playing in bands with your sister Allison when you were teenagers, 20 years ago. How has that shaped your relationship with her?  

When she was in my band, it was tricky. Because we’re siblings, it’s crazy how boundaryless that relationship can be in a working setting. It was a little chaotic at times. But ultimately, really great. I’ve always kind of made my songs for myself, and Allison. That’s always been my prime audience: if we really like it, I usually trust the rest of the world might like it, too. 

Now she’s such an important part of the people around me, guiding me. We’re in the best place we’ve ever been, even though she’s not in the room when I’m making the records.

From the outside, the trajectory of your career – to bigger stages, bigger record labels, etc. — seems like it’s gone at a nice, measured pace. Does it feel that way to you?  

Yeah. I’m really grateful for the pace my career has gone at. I’ve seen things blow up overnight for some of my peers. As exciting as I’m sure that can be, I think it would be pretty disorienting. There have been moments in my life where if that had happened, I think I would have been completely swallowed up by it. I’m happy at this point in my life. For the most part, every door that opens up in my career, I’m ready to walk though it.

Are there any doors you’ve chosen not to go through over the years?  

When I was in high school, my band performed at this showcase for Gary Gersh, who [famously signed Nirvana], this big time music biz guy. It was us and this other band in Birmingham, who were the two most popular younger indie rock bands in town. I don’t know if they got his attention, but we didn’t. 

I look back on that, and that’s probably for the best. If I had gotten this hotshot L.A. manager when I was 16, my life could look really different. I could have maybe signed on for things that wouldn’t be reflective of the values I’ve developed. My songwriting voice had not really developed yet. It’s probably good I took the slow route. 

If you’d been offered that management deal, what do you think you would have said?  

We were pretty punk rock already. I can see us saying, “We don’t really want to do this.” Allison and I had pretty developed tastes for 16-year olds. 

Collaborating with MJ Lenderman on this album – how did that come up?

I heard his music at South By Southwest. [My partner] Kevin [Morby] was playing South By, he was busy, and I was killing time. My sister Allison does A&R at Anti- [Records] now and my producer Brad Cook, they both texted me at the same time: “We’re gonna go see this guy, MJ Lenderman from North Carolina. Come meet us, you’re gonna love this.” I heard his voice outside the venue [and thought] “This is exactly what I like.” There were 12 people onstage, they had a pedal steel player. Everything I love. 

Then, Brad and I were trying to figure out what we could do [for my next album] that would be different from Saint Cloud . So I threw it out to Brad: “Maybe we could get [MJ] in the mix.”… Brad invited him to the first session. The three of us had a blast. [MJ] played drums for a lot of it, and obviously guitar. When we tracked “Right Back to It,” that was a big turning point. Brad and I were like, “This is a great anchor for what this record should be.” And when [MJ] sang backup on it, it was all over. We had to have him be a big part of the record. 

What grabs you about MJ Lenderman’s playing?  

[MJ] is really into a lot of music I love, but wasn’t engaging with much at the time. Specifically Southern alternative rock from the ‘80s and ‘90s: Drive-By Truckers , Sparklehorse. Jason Molina is a big influence on him. And it really invigorated my love of R.E.M. It knocked out the cobwebs for me. 

I knew he was a great guitar player, but I didn’t totally understand just how special and creative a guitar player he was until we were in a room together.

And MJ’s band, Wednesday – their 2023 album Rat Saw God already feels like a classic. What do you think of that album?  

I spent a lot of time with it. It was one of my favorite records of last year. 

I try not to go too hard with this to [Wednesday], but my sister Allison and I connect with what they’re doing because it reminds us so much of ourselves 10 years ago. Wednesday and MJ, they’re these intertwining creative forces. They’re young, they’re Southern. I think both Wednesday and MJ are making some pretty classic records that teenagers are gonna find for years to come. 

Do you think there’s something unique about indie rock musicians who grew up in the South, around country music?  

I grew up in the South and I’ve been on a journey with it. When I was younger, I lived in the Northeast and that was a big part of my identity — I really rejected country music. I did not think it was cool. Once I was able to come back around on that, not even wholeheartedly embracing being Southern, but accepting it as a part of my story, [the South] lent itself as a great backdrop for my songs. 

Jeff Tweedy & Cheryl Pawelski Sit Down For "Up Close & Personal" Chat: 'Yankee Hotel Foxtrot,' Writing One Song & More

Photo: Jeff Kravitz/FilmMagic

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

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

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

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

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

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

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

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

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

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

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

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

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

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Photo: Courtesy of Alé Araya

ReImagined: Alé Araya Puts An Atmospheric Spin On Bon Iver's "Holocene"

Chilean artist Alé Araya uses her laptop, synthesizer and a well-worn piano to create an enchanting new version of Bon Iver's GRAMMY-nominated hit "Holocene."

Bon Iver 's breakout moment came in 2011 with the release of "Holocene," the second single off the indie rock act's sophomore album Bon Iver, Bon Iver .

"And at once, I knew I was not magnificent/ Strayed above the highway aisle/ Jagged vacance, thick with ice/ But I could see for miles, miles, miles," frontman and founder Justin Vernon sang in floating falsetto on the song's chorus, over the strum of acoustic guitar and gentle percussion.

In this episode of ReImagined , Chilean artist Alé Araya turns the delicate track into a wistful piano ballad. She shows off her many musical talents as well, pivoting between her laptop, synthesizer and a well-worn upright piano as her crystalline vocals tie everything together.

Bon Iver earned dual GRAMMY nominations for both Record Of The Year and Song Of The Year for "Holocene" the following year. While both of those awards went to Adele 's "Rolling in the Deep," Vernon and co. ultimately took home two other trophies — for Best New Artist and Best Alternative Music Album.

Araya is having a breakout year of her own in 2023, recently releasing her debut EP, in pieces , which featured collaborations with greek ("Endless Sky"), aisu ("Citrine") and Joseph Chilliams ("Midnight Gospel"). She also joined forces with honey and Vrdnyn on the collaborative 2023 single "Prada Princess."

Press play on the video above to watch Araya interpretation of Bon Iver's fan-favorite single, and check back to GRAMMY.com for more new episodes of ReImagined.

The National's Aaron Dessner Discusses New Album 'First Two Pages Of Frankenstein': "The Beginning Of A New Chapter"

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7 Sets From Pitchfork Music Festival 2023: Killer Mike, The Smile, JPEGMAFIA & More

Even lightning couldn't stop Chicago's beloved Pitchfork Music Festival — at least not for long. Revisit seven of the most memorable moments from Pitchfork 2023, from Jockstrap's ethereal performance to Leikeli47's audience turn-up.

Pitchfork Music Festival is a Chicago mainstay, taking place in Union Park since 2006. The annual event — which boasts more than 40 bands over the course of three days — hosts around 60,000 attendees as well as legends including the Isley Brothers , LCD Soundsystem , Erykah Badu , and The National . Over the past decade-plus, the festival expanded to Paris, Berlin and London.

From July 21-23, the 13 acre park provided a modest backdrop that rotated an array of talent from various genres. The Smile, Perfume Genius and Alvvays performed on day one of the festival. However, the second day of Pitchfork was marred by lightning, which forced attendees to temporarily evacuate the park. 

Upon their return that evening, folk facet Big Thief delivered a tender set of epic proportions. On Sunday, Kelela enchanted onlookers with ethereal vocals and Bon Iver provided emotional renditions of some of his most notable hits. 

Here are seven of the most unforgettable moments from Pitchfork 2023.

Killer Mike Takes Everyone To Church

In June, Killer Mike released his first solo album in 11 years , Michael . Though he has been making music alongside El-P as one-half of Run The Jewels for the last decade, Killer MIke's refreshing return to form on his latest project was both galvanizing and long overdue. 

Not only did he take us to church on Michael, but he boldly brought his sermon to Pitchfork. Killer Mike — who donned all white attire to match his accompanying choir — gave an excited crowd a poignant performance. From the dynamism of "Down By Law" to the resilience of "Run," the emcee gave his all to some of his most devoted fans. Hearing his voice crack during "Motherless" reminded the audience that even the strongest griot needs love and community.

Leikeli47 Gets The Crowd To Strike A Pose

Leikeli47's discography is full of audacious anthems that place women — and their bodily autonomy — front and center. In recent years, the Brooklyn emcee’s songs have taken on new meaning and life, which was very apparent on Pitchfork’s Blue stage. 

Leikeli47 not only brought a fierce attitude while giving the crowd renditions of "Look," "Miss Me" and "Wash & Set," but she invited fans onstage to strike a pose alongside her. Whether they were voguing, twerking or jumping, those lucky audience members did exactly what Leikeli47 wanted them to: enjoy the moment without thinking too much about it. 

The Smile Basks In Psychedelia

Thom Yorke could live in Radiohead reverie forever and still remain one of music’s most vital auteurs. However, by forming the Smile, he doubled down on pushing the boundaries of his ingenuity alongside fellow Radiohead member Johnny Greenwood and drummer Tom Skinner. The group's debut album, A Light For Attracting Attention , was released in 2022 and predictably met with acclaim.

During their Pitchfork set, saxophonist Robert Stillman livened up "Pana-Vision," "Colours Fly" and "People on Balconies." Yorke ended a night saturated with psychedelic sounds with "Feeling Pulled Apart by Horses," reminding the audience of his creative depth.

JPEGMAFIA Riles Up The Audience

The energy JPEGMAFIA brings to the stage is downright manic, and his time at this year’s Pitchfork Music Festival was no different. The electrifying musician balanced his offerings of solo hits ("Jesus Forgive Me, I Am a Thot," "1539 N. Calvert")  with songs from his collaborative album with Danny Brown, Scaring The Hoes ("Steppa Pig," "Garbage Pail Kids"). 

Even when Peggy poked fun at the event by calling it "Conde Nast Fest," he still expressed gratitude to everyone in attendance. He also did a mean cover of Carly Rae Jepsen ’s "Call Me Maybe" sans autotune after an audio malfunction, proving himself to be a true artist.

Jockstrap Effortlessly Enchant The Audience 

All of the hype surrounding Jockstrap, which praises the electro-pop pair’s ability to concoct dissonant yet riveting melodies,, to proven to be warranted. The UK pair's eclectic debut album, 2022's I Love You Jennifer B , featured an 18-piece orchestra and voyages into experimental territory which can be tricky to pull off in a live capacity. However, Jockstrap were more than up for the challenge. 

Vocalist Georgia Ellery strutted her best dance moves as she donned gold lamé, oscillating between singing and captivating the crowd with her violin skills. Songs like "Debra" and "Glasgow" were as enchanting as they were impressive.

JLIN Turns The Stage Into Her Creative Zone

Jlin has managed to take her immense love of music-making and transform it to an experience that is thrilling both visually and sonically. At Pitchfork Fest, the Pulitzer Prize-nominated musician transformed the Blue Stage into her own personal studio. 

View this post on Instagram A post shared by Backspin Promotions (@backspinpromo)

The Indiana producer recently announced that a mini-album featuring electronic versions of her songs, Perspective , will be released in September. She treated Pitchfork's audience to a preview of the project by including the hushed yet accentuating rhythms of  "Fourth Perspective" in her set, but Jlin executed it with such intensity that it reminded everyone just how much of a master she is at her craft.

Soul Glo Gets The People Going

This Philly facet formed in 2014 and quickly elevated hardcore punk into an even more complex genre. Named after a fictitious commercial in the classic film Coming To America , Soul Glo brashly combine rap, metal and screamo for an exhilarating sound. 

At Pitchfork, they made sure that mosh pits were galore as the electrifying trio completely dominated the stage. Songs like "GODBLESSYALLREALGOOD" showed off not just the excitement the trio manage to drum up in listeners, but the emotional turmoil they embed in their catalog. Whether it’s growing up or growing apart, the discography of Soul Glo encapsulates an assortment of experiences.

Behind The Scenes Of The Eras Tour: Taylor Swift's Opening Acts Unveil The Magic Of The Sensational Concert

• 1 Bon Iver Announce European Tour Dates
• 2 On 'Tigers Blood,' Waxahatchee Walks The Slow And Steady Path To Indie Rock Stardom
• 3 GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016
• 4 ReImagined: Alé Araya Puts An Atmospheric Spin On Bon Iver's "Holocene"
• 5 7 Sets From Pitchfork Music Festival 2023: Killer Mike, The Smile, JPEGMAFIA & More

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5 November 2022 7:45 pm 5 November 2022 12:00 am

Bon Iver – European Tour 2022

The American indie folk band Bon Iver will perform on Saturday, November 5, 2022, starting with 7.45 pm, at the Mediolanum Forum, in Assago, near Milan .

> Buy Your Ticket Now

Bon Iver was formed in 2006 by singer-songwriter Justin Vernon. The current line-up of the band consists of Justin Vernon (vocals, guitar), Sean Carey (drums, keyboards, vocals), Matthew McCaughan (drums, bass, vocals), Andrew Fitzpatrick (guitar, keyboards, vocals), and Mike Lewis (vocals, baritone guitar, guitar, violin).

Bon Iver’s debut album, For Emma, Forever Ago , was released independently in July, 2007. The album was recorded in a cabin in western Wisconsin, where Vernon spent three months isolated.

In 2011, the band released their eponymous album, Bon Iver , which debuted at number two on the US Billboard 200 chart, number four on the UK Albums Chart and peaked inside the top 10 in Canada, Denmark, Ireland and the Netherlands. In 2012, the band won the Grammy Award for Best Alternative Music Album.

After a two-year hiatus, the band released their third album 22, A Million in 2016, to critical acclaim. The album represented a large stylistic shift for the band. Several publications, including Pitchfork, Rolling Stone and The Guardian, listed 22, A Million as one of the best albums of 2016.

Their latest album, I, I , was released in 2019. The album features contributions from James Blake, Aaron Dessner, Bruce Hornsby, Moses Sumney, and Channy Leaneagh, among others. The album was nominated at the 2020 Grammy Awards for Album of the Year.

The Mediolanum Forum is an indoor sports arena located about 8 kilometers from the center of Milan, in Assago. The venue has a seating capacity of 12,700 and is used primarily for sporting events and concerts.

The Mediolanum Forum is located about 450 meters away from the Assago Milanofiori Forum Metro station, which can be reached with the Metro Line M2.

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Bon Iver reschedule UK/European tour and add second Wembley date

The arena shows will now take place next autumn

Bon Iver have rescheduled their UK and European tour for a second time – see the new dates below.

The shows, originally set for April 2020 , were first rescheduled back in March, with the new shows set for January 2021.

• READ MORE: Bon Iver usher in their latest era with the anxiety lifting new song ‘PDLIF’

The gigs have now been rescheduled once again, and will take place in October and November 2021. A second show at London’s Wembley Arena has also been announced, taking place on November 2, with the first sold out date rescheduled for the previous day.

The shows will follow a series of festival performances next summer for the band, including a headline slot at Norway’s Øya Festival .

“It is with great care and empathy to all involved that we announce the rescheduling of these tour dates in Europe and the UK to the summer and fall of 2021, respectively,” the band wrote, announcing the new dates. “All previously purchased tickets will be valid for these rescheduled dates.”

It is with great care and empathy to all involved that we announce the rescheduling of these tour dates in Europe and… Posted by Bon Iver on  Tuesday, August 25, 2020

Support on all the rescheduled autumn 2021 dates will come from The National ‘s Aaron Dessner under his Big 37d03d Machine moniker. Dessner and Bon Iver’s Justin Vernon recently teamed up with Taylor Swift on ‘Exile’ from her new album ‘Folklore’ , with Dessner co-writing and producing the majority of the record.

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See Bon Iver’s rescheduled UK and European tour dates below.

OCTOBER 2021 24th – Leeds, First Direct Arena 25th – Glasgow, SSE Hydro 27th – Manchester, Arena 29th – Dublin, 3Arena

NOVEMBER 2021 1st – London, Wembley Arena (sold out) 2nd – London, Wembley Arena (new date) 4th – Antwerp, Sportpaleis 7th – Cologne, Lanxess Arena 9th – Amsterdam, Ziggo Dome 10th – Berlin, Mercedes-Benz Arena 12th – Milan, Mediolanum Forum 14th – Barcelona, Palau Sant Jordi 16th – Madrid, WiZink Center 18th – Lisbon, Altice Arena

Bon Iver released their fourth album ‘i,i’, last year, which NME called “something different” but “always as compelling as the Bon Iver of yesteryear” in a five-star review.

Since then, Vernon and co have shared new tracks ‘PDLIF’ and recent Bruce Springsteen  and  Jenny Lewis collaboration ‘AUATC’.

Vernon also appeared on ‘Dionne’ , a song from The Japanese House’s new EP ‘Chewing Cotton Wool’.

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Bon Iver Unveils 2023 North American Tour Dates

Including festival appearances at Hinterland and Beach Road Weekend

Bon Iver is possibly coming to a city near you: Justin Vernon and co. have today announced a short run of North American tour dates for August 2023.

After making festival appearances in Australia this week and Europe in June, Bon Iver will kick off their North American festivities on August 2nd in Duluth, Minnesota at Bayfront Festival Park. The tour will then make stops in cities including Madison, Missoula, Boise, and Seattle — including a set at Iowa’s Hinterland Music Festival — before coming over to the East Coast to headline Beach Road Weekend in Martha’s Vineyard.

Pre-sale for tickets to Bon Iver’s headlining 2023 tour dates begins March 1st at 10:00 a.m. ET (use the code SALEM ) with remaining tickets available to the general public beginning Friday, March 3rd at 10:00 a.m. local time via Ticketmaster .

Alternatively, tickets can be purchased via Stubhub — where orders are 100% guaranteed through Stubhub’s FanProtect program.

Vernon teamed up with The National last August for their collaborative song “Weird Goodbyes.”

Bon Iver 2023 Tour Dates: 03/02 – Brisbane, AU @ Riverstage 03/04 – Melbourne, AU @ Sidney Myer Music Bowl 03/05 – Melbourne, AU @ Sidney Myer Music Bowl 03/10 – Adelaide, AU @ WOMADelaide 06/02 – Berlin, DE @ Templehof Sounds 06/04 – Paris, FR @ We Love Green Festival 06/08 – Copnehagen, DK @ Syd for Solen 06/10 – Rättvik, SE @ Dalhalla 06/14 – Vienna, AT @ Open Air Arena Wien 06/15 – Zurich, CH @ THe Hall 06/17 – Lido di Camaiore, IT @ La Prima Estate Festival 06/19 – Bonn, DE @ Kunst!rasen 08/02 – Duluth, MN @ Bayfront Festival Park 08/04 – St. Charles, IA @ Hinterland Music Festival 08/05 – Madison, WI @ Breese Stevens Field 08/08 – Missoula, MT @ KettleHouse Amphitheater 08/09 – Ogden, UT @ Ogden Twilight 08/11 – Boise, ID @ Outlaw Field at the Idaho Botanical Garden 08/12 – Bend, OR @ Hayden Homes Amphitheatre 08/12-13 – Seattle, WA @ Day In Day Out Festival 08/25-27 – Martha’s Vineyard, MA @ Beach Road Weekend

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