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Cameron Mackintosh’s acclaimed fully-staged new production of Boublil and Schönberg’s Les Misérables is playing in London, Belgium, Holland, Japan, a US national tour, and a World Tour of the Arena Spectacular.

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Theater Review: LES MISÉRABLES (National Tour)

by Tony Frankel on August 14, 2023

in Theater-Los Angeles , Theater-Regional , Tours

DON’T MIZ IT

Unlike most of the characters in the blockbuster sung-through musical  Les Misérables , the show itself will never die. Consistently presented either on Broadway, national tours, and globally since the English-language version opened on the West End in 1985, audiences can’t get enough of Victor Hugo’s story about ex-con and do-gooder Jean Valjean and his righteous long-arm-of-the-law pursuer, Javert. With a speedy 3-hour running time, the rousing anthems, heartbreaking ballads, delicious characters right out of Dickens, and compelling storytelling—from Valjean’s paroling to the Paris Uprising of 1832—prove that modern audiences and millennials do indeed have an attention span if the material is great.

After that awful movie adaptation, another Les Miz found itself on Broadway in 2014. The National Tour which relaunched October 7 and opened last week at the Pantages Hollywood (which then heads for Segerstrom in Costa Mesa) is a sleek new revival based on that production, the national tour of which was cut short by COVID in 2020. With dozens of roles, many of them major, and 30+ ensemble members, all of whom must sing spectacularly while negotiating hundreds of costume and wig changes, Les Miz is not an easy venture to undertake (costumes by Andreane Neofitou , additional costume designs by Christine Rowland and Paul Wills ). This production directed by James Powell and Laurence Connor captures the revolutionary spirit in spades.

Designed by Matt Kinley (inspired by the paintings of Hugo), and projections realized by Finn Ross , Jonathon Lyle , and Fifty Nine Productions , the turntable and multi-media spectacle of Broadway have been expunged, but — especially with Kinley’s massive barricade and the amazing lighting by Paule Constable — it is no less effective.

Tara Rubin Casting has assembled the most important thing: singers. Some acted better than others, but the vocals blew me away, especially with Mick Potter ‘s sound design, which makes the acoustically troubled theater feel intimate. I heard most every lyric.

The astounding Nick Cartell anchors the show as Valjean: His vocal abilities positively stunned with a powerful and resonant tenor, and his rendition of “Bring Him Home” was one of the most stirring on record — a lengthy and roaring ovation followed this poignant ballad (one of the few places in the show the audience gets a break to applaud).

Other characters were portrayed as well as those on Broadway. Randy Jeter was the apotheosis of sanctity and strength as the Bishop who bestows silver candlesticks on Valjean as a way to keep him from a life of thievery. An impassioned and persuasive Devin Archer brought life to Enjolras, the leader of the revolutionaries with no backstory whatsoever (indeed, I don’t believe the character’s name is even mentioned in the show). Chicago actors Matt Crowle ( Gentlemen’s Guide.. .) and Cristina Rose Hall ( Wonderful Town ) wisely don’t go over the top as Monsieur and Madame Thénardier, lowlifes who make Fagin from Oliver  a candidate for Sainthood.

Christine Heesun Hwang veered from that yodeling, pop-opera sound as Thénardier’s daughter Éponine, offering a lovely, straightforward teenager who is torn between unrequited love and a life of larceny. A real find was Henry Kirk as the Artful Dodger-like boy, Gavroche; it’s always thrilling to see a child actor powerful in voice who can do without cloying behavior. And as Valjean’s adopted daughter Cosette, who falls for the student revolutionary Marius, Addie Morales presented a clarity of tone that was astonishing. Haley Dortch as the good-girl-turned-prostitute Fantine (“I Dreamed a Dream”) scrunched three-hours of drama into her twenty-minute role, but wisely replaced that grand tortured-soul performance for damaged purity.

Preston Truman Boyd has a booming voice and tall stature as Javert, but while compelling, he lacked character complexity. The only undistinguished performance came from Gregory Lee Rodriguez as Marius, the student revolutionary who falls for Cosette — he sounds fine and looks swell, but without dramatic intent, his songs didn’t always ratchet up to an emotional impact. His love songs, however, soar. And when he meets cute with Cosette, it’s a very winning moment. (Listen, spectators will have their own favorites in regards to characters and/or the actors portraying them; that’s yet another reason why people return and return again.)

Updating John Cameron ‘s original orchestrations, Stephen Matcalfe , Christopher Jahnke , and Stephen Brooker did wonders with a scaled-down 14-member orchestra (music supervision is by Stephen Brooker and James Moore . Credit for the vocals and band goes to Musical Director Brian Eads . With that damn terrific score brought to magnificence by Eads, it’s clear why Les Miz is, as the ad says, “Still the World’s Most Popular Musical.”

But the stars of the show really are creators Claude-Michel Schönberg (music), Herbert Kretzmer (English language libretto based on original French lyrics by Alain Boublil and Jean-Marc Natel ), and James Fenton (additional material). And, of course, the adaptation by  Trevor Nunn  and  John Caird . These gentlemen may have truncated and in some ways bastardized Hugo’s novel, but there must have been Divine Intervention because they found the beating heart of the universal human journey: the search for love in a world of injustice.

photos by Matthew Murphy & Evan Zimmerman for MurphyMade

LES MISÉRABLES National Tour for dates and cities, visit Les 

reviewed at the Hollywood Pantages Theatre end on September 10, 2023 for tickets, call 800.982.2787 Broadway In Hollywood and Ticketmaster

Segerstrom Center for the Arts in Costa Mesa September 19-October 1, 2023 for tickets, call 714.556.2787 or visit SCFTA

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Dates and venues for Les Misérables arena world tour announced

The show will play across the world, with a select number of UK dates

Initial dates and venues have been revealed for the world tour of Les Misérables the Arena Spectacular.

The production will have an extraordinary new design specifically created for arenas (and large theatres) with audiences of between 3,000 to 5,000. A UK company of over 110 actors, musicians and crew will feature, with guest stars appearing at various stops. It is expanded from the concert staging of the show seen in the West End, where it played across 2019. 

The long-running musical is based on the novel by Victor Hugo and features music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer and original French text by Alain Boublil and Jean-Marc Natel, additional material by James Fenton and adaptation by Trevor Nunn and John Caird. It tells the tale of a former convict who tries to find salvation in revolutionary France.

The tour will open at the S S E Arena Belfast on 1 9 September 2024 , where it will play until 2 8 September 2024 . F oll o wing B elfa s t, the pr oduction will play li mited dates at Glasgow ’ s S S E Hyd ro Arena from 3 to 6   October , Sheffield ’ s Util ita Are na from 10 to 13 October and Aberdeen ’ s P & J Live Arena from 1 7 to 20 O ctober .

It will then c ommence its European leg in Luxembou rg fr om 2 5 to 27 Octo b er, f ol lowed by Geneva, Trieste, Milan , Copenhagen, Oslo and Zurich . Its final UK dates will be in Manchester at the AO Arena on 2 6 to 29 December and at the Util ita Are na, Ne wcastle from 2 to  5 January 2025 before moving o n to S w eden, Au stralia, Taiwan, Japa n and S outh Korea .

T ickets go on general sale Thursday 12 October 2023 for the UK dates and some European dates . Priority booking will be available from tomorrow. The concert will run through out the upcomi ng 40 th anniversary celebrations for the musical in 2025 . A fter that, it will play both N orth and S o uth A merica .

Cameron Mackin tosh s aid t oday: “I’m thrilled to announce the initial venues where this spectacular production of Les Misérables will run. This much-anticipated world tour will be a unique opportunity for ma ny celebrated performers to play their favourite roles for short periods in diffe rent parts of the world, so fans will get the chance to see their favourite stars (and mine!) in their favourite musical.

“Over the show ’s nearly 40 years existence, it has also proved to be the launch pad for an extraordinary list of stars around the world , in many different languages and countries. Both the show and the score of Les Mis continues to win poll after poll around the world a s the public ’ s favourite musical of all t ime, containing so many of the most memorable and beloved songs ever written for t he musical theatre. The euphoria of the cast reunion performances of Miz are legendary and always prove a sell-out, so I look forward to this unique event being the ultimate demonstration of “Do You Hear The People Sing” ever! ”

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Le Châtelet

Théâtre du Châtelet 1 place du Châtelet 75001 Paris

Les Misérables

22 nov. – 31 dec. 2024

New production in French

Friday 22 november 2024 19h30

• Grande Salle

Saturday 23 november 2024 15h00

Saturday 23 november 2024 20h00

Sunday 24 november 2024 15h00

Tuesday 26 november 2024 19h30

Wednesday 27 november 2024 19h30

Thursday 28 november 2024 19h30

Friday 29 november 2024 19h30

Saturday 30 november 2024 15h00

Saturday 30 november 2024 20h00

Sunday 01 december 2024 15h00

Tuesday 03 december 2024 19h30

Wednesday 04 december 2024 19h30

Thursday 05 december 2024 19h30

Friday 06 december 2024 19h30

Saturday 07 december 2024 15h00

Saturday 07 december 2024 20h00

Sunday 08 december 2024 15h00

Sunday 08 december 2024 20h00

Tuesday 10 december 2024 19h30

Wednesday 11 december 2024 19h30

Thursday 12 december 2024 19h30

Friday 13 december 2024 19h30

Saturday 14 december 2024 15h00

Saturday 14 december 2024 20h00

Sunday 15 december 2024 15h00

Sunday 15 december 2024 20h00

Tuesday 17 december 2024 19h30

Wednesday 18 december 2024 19h30

Thursday 19 december 2024 19h30

Friday 20 december 2024 19h30

Saturday 21 december 2024 15h00

Saturday 21 december 2024 20h00

Sunday 22 december 2024 15h00

Sunday 22 december 2024 20h00

Wednesday 25 december 2024 15h00

Thursday 26 december 2024 15h00

Thursday 26 december 2024 20h00

Friday 27 december 2024 19h30

Saturday 28 december 2024 15h00

Saturday 28 december 2024 20h00

Sunday 29 december 2024 15h00

Sunday 29 december 2024 20h00

Tuesday 31 december 2024 15h00

Tuesday 31 december 2024 20h00

A record-breaking musical, Les Misérables owes its success to the universality of its story, which has reached over 130 million spectators worldwide.

This new production, in French, 45 years after the adventure began in 1978, allows us to rediscover many songs that have become timeless: J’avais rêvé (I Dreamed a Dream), À la volonté du peuple (Do You Hear the People Sing? ), Mon histoire (On My Own), Le Grand jour (One Day More)… The libretto has been reworked for the occasion by Alain Boublil. In keeping with the text, the staging emphasizes the symbolic dimension of the characters (Jean Valjean, Cosette, Javert, Les Thénardier, Gavroche…), while preserving the fluidity of the transition from one setting to another, characteristic of the work. Victor Hugo’s humanist fresco finds its breadth in music, and resonates with everyone: “S o long as ignorance and poverty exist on earth, books of the nature of Les Misérables cannot fail to be of use “.

Production : Théâtre du Châtelet and SPJL Production – Stéphane Letellier-Rampon, in agreement with Cameron Mackintosh. In agreement with Music Theatre International Europe Ltd, Drama Paris and Cameron Mackintosh Ltd.

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AprilUpcoming Concert

Miserable faith  , world tour • london, uk.

Miserable Faith, founded in 1999, is one of the most prestigious rock bands in China today. The band members are Gao Hu (vocalist), Zhang Jing (bassist), Da Wei (drummer), and Song Jie (guitarist). Since its formation, the band has released ten albums and EPs, and has performed at nearly a thousand various concerts and music festivals, attracting a large fan base across different age groups and social backgrounds.

After the 2023「The World Will Be Better²」 Miserable Faith North America tour, Miserable Faith「The World Will Be Better²」UK/EUROPE Tour will kick off again in April 2024. This time, the band will come to the London, Madrid, Berlin, Paris and Amsterdam to explore the dazzling stars through the medium of music.

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Chinese rock band miserable faith brings the energy in first ever stop in san francisco.

For the first time ever, Chinese rock band Miserable Faith (痛仰) is performing across North America for their The World Will Be Better tour, with a recent stop at the Regency Ballroom in San Francisco. On November 17th, with rainy gray clouds gathering in the skies outside, hundreds of fans crowded into the concert hall. Starting later than anticipated to allow time for attendees who were delayed by the rainy conditions to arrive, the crowd was getting antsy and exploded in applause when the band finally came on stage. The group consisted of the main members — lead singer Gao Hu, guitarist Song Jie, bassist Zhang Jing, and drummer Chi Gongwei — as well as two backup vocalists and a trombonist. Bathed in a cool blue light, the band started off with a purely instrumental piece, setting the stage (literally) for their show that evening with a strong aura that pulled the audience in immediately.

One notable aspect of Miserable Faith is their vast variety of genres in their discography, which is not a big surprise considering the evolution of their sound since their origin in 1999. Some tracks are distinctly post-rock, some have the upbeat quality of indie-rock, and others border on metal. One of their most popular songs and the title of their 2008 album is “不要停止我的音乐” (“The Music Won’t Be Stopped”). The song features Hu’s brooding vocals over an acoustic guitar and drums, accompanied by an electric guitar and a whistling vocal background during the chorus. In spite of a period of time when many of their shows were canceled, the song is written to demonstrate their relentless pursuit of performing music, and it’s a testament to the longevity of Miserable Faith through the years. During one of their songs, the accompanying visuals on the screen behind them displayed, one by one, all the venues they’ve performed at, each one in the form of a license plate decorated to reflect the uniqueness of each place. From Asia to Europe to now the United States, the sequence flipped through each graphic, ending with the venue they were performing in at that very moment, the San Francisco Regency Ballroom.

As with many rock bands, some of Miserable Faith’s lyrics remark on the state of the world and its people. One of the most prominent examples of counter-culturalism in their songs is “不,” which translates to “no” in Mandarin. The lyrics are about not believing or conforming to everything society forces upon them, and Hu punctuates the ending of each line with the word “不.” In the live concert, the intensity of this particular performance thundered throughout the hall. The band’s energy carried into the audience and the fervor only accelerated throughout the course of the night. One tireless fan waved a banner emblazoned with the Miserable Faith mascot nonstop. During “願愛無憂” (“May Love Be Without Worries”), one of the final songs, a conga line formed and snaked its way between the crowds, shaking the floors. 

Although the band performed and spoke only in Mandarin, without any translators, this posed no issues for the majority Chinese audience. Besides, as the saying goes, music transcends the language barrier. As someone with elementary comprehension of Mandarin at best, I still enjoyed the musical performance that Miserable Faith had to offer despite only catching glimpses of understanding in the lyrics. With the impressive turnout and reception of their performances that Miserable Faith has received on this tour, it’s highly likely that their first tour in the U.S. won’t be their last.

Click on the photo below to view our photos from the concert:

• Miserable Faith

Jenny is a writer and photographer for Asia Blooming and a user experience researcher by day. From photographing concerts to interviewing directors to reviewing books, she enjoys storytelling in all forms and hopes to highlight more emerging AAPI talent in arts and media.

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Best things to see and do in Moscow

Moscow is the capital of Russia and is one of the most popular tourist destinations in Asia. It’s rich and complex history is a constant reminder of its strategic position between Europe and Asia and makes it one of the cities you should visit once in your life. In terms of the many iconic landmarks, the delicious cuisine, and the characteristic, colorful architecture it has, Moscow is full of surprises for first-timers and seasoned travelers. Apart from the main attractions, it has like the Kremlin or Red Square, Moscow has many hidden gems for you to discover on your free walking tour with your local guide. 

On any of the free guided tours we offer in Moscow , you will be able to find a selection of many tours which are available in different languages and at different times of day, like the morning, afternoon, and evening. Since Moscow is such a large metropolis, getting your bearings by doing a guruwalk with a local guide who will show you all Moscow’s hidden gems is a great idea. This way you get to learn as much as possible about the local culture and way of life. A trip to Moscow wouldn't be complete without visiting iconic places like St Basil’s Cathedral, Lenin’s Mausoleum, the Pushkin State Museum of Fine Arts, or the State Historical Museum, before getting some fresh air at Gorky Park, the medieval church of Kolomenskoye, or shopping at Izmailovsky Market. Don’t miss visiting the Cathedral of Christ the Saviour, the Bolshoi Theater, or checking out the Tsaritsyno Museum-Reserve. 

Many travelers have left their r eviews and opinions about the local guides , gurus, and the routes they walked. If you have any questions about the routes or what is included in the tour, check out their opinions. 

Free walking tour near Moscow

Others cities to visit after moscow, where are you traveling to.

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Camdencountynj, commissioners present expanded summer concert series.

• April 11, 2024

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“We always look forward to our summer concerts because it provides our residents with some fun, free entertainment right in their communities,” said Commissioner Jeff Nash, liaison to the Camden County Parks Department. “And this year, we are extra excited to kick things off because of the wonderful extended lineup we have planned and the delicious beer we have partnered with Double Nickel to create. This is going to be a great summer and we cannot wait to start the season off right.”

Last year, the Commissioners collaborated with Double Nickel Brewing to pay homage to the 100-year anniversary of Cooper River Park with the Cooper River 100 beer. This year, the partnership continues with another seasonal offering from the Pennsauken Township brewer specifically focused on the summer concert series. Camden County Rocks will be another easy drinking summer beer that will be made to compliment the summer concert season. The brewery will be on site with samples of their seasonal beers that will be available throughout the summer concert series.

“We are looking forward to start our second annual season working with the Commissioners on another seasonal, easy drinking beer that captures the essence and spirit of the Camden County Park System and their expanding concert series,” said Brian Needham, head of sales and co-founder of Double Nickel Brewing. “Double Nickel strives to be a partner and a participating member of our community here in Pennsauken and countywide and based on that we wanted to cater to our strength of brewing beer and preview the forthcoming Camden County Rocks seasonal sipper. Cans should be available later in May and on sale during concerts throughout the parks system.”

Some of the biggest acts coming to Camden County this summer include: Everclear, one of the biggest alternative rock bands from the 1990s; the iconic rock band Gin Blossoms; and five-time Grammy Award winning bassist and singer Esperanza Spalding.

Camden City Mayor Victor Carstarphen discussed his excitement about the extended lineup of concerts.

“Camden County does such an outstanding job of providing free entertainment every summer though the annual concert series,” said Camden City Mayor Victor Carstarphen. “It a great opportunity to for the entire family to enjoy a quality performance at a fantastic concert venue right within their community.  It has become a summer tradition for me and so many others.  I encourage residents to enjoy the full schedule of great music planned for 2024.”

The current 2024 concert schedule is as follows:

Sunset Jazz Series at Wiggins Park located at the Camden City waterfront. Start time – 8 p.m.

June 3 – Esperanza Spalding

• GRAMMY Award-winning artist interweaving various combinations of instrumental and vocal music, poetry, dance, and storytelling.
• Special Night Celebrating 40th Anniversary of Camden Community Partnership

June 10 – Black Violin

• Classical music duo blending hip hop, rock, R&B, and bluegrass into their modern classical sound.
• Wear Orange Night honoring survivors and building community to end gun violence

June 17 – Marshall Charloff & the Purple xPeRIeNCE

• Celebrated as the top Prince tribute act, the Purple xPeRIeNCE pays faithful homage.
• Juneteenth: Freedom Day. Educate. Advocate. Celebrate.

June 24 – Tower of Power

• TOP and their legendary, powerful horn section have been bringing their own unique style to the R&B and funk music scene since 1968.

July 1 – Lao Tizer Band ft. Elliot Yamin, Eric Marienthal, Karen Briggs and Chiele Minucci

• This captivating all-star ensemble thrills audiences with their blend of jazz, funk, rock, and world rhythms.

July 15 – A Celebration of Toots & the Maytals with Leba Hibbert

• Daughter of legendary reggae icon Toots Hibbert keeps his rich musical legacy alive with this special celebration.

July 29 – Matt Cappy & Friends

• South Jersey’s own accomplished instrumentalist, composer, and arranger brings along friends to accompany his soulful trumpet melodies.

August 19 – Brubeck Brothers Quartet

• Life-long collaborating brothers Dan and Chis Brubeck bring nearly a half century of experience to their soulful jazz performances.

August 26 – Jeffrey Osborne

• Multi-platinum singer-songwriter best known for his soulful voice and hits like “On the Wings of Love” and “Stay with Me Tonight.”

September 6 – Symphony in C and That Which Connects

• First collaboration between Symphony In C and That Which Connects and will feature classical music paired with original choreography.

September 16 – Edgardo Cintron & the Mambo Magic Band

• Percussionist Edgardo Cintron is a second-generation Puerto Rican and a second-generation musician. Known as much for his affable personality and generous spirit as for his tasty musicianship.
•   Hispanic Heritage Month Recognizing Prominent Hispanic Citizens

Freedom Festival Wiggins Park July 3 rd

• Gin Blossoms:  Chart-topping alternative rock band known for their hit single  Hey Jealousy  from their quadruple-platinum debut major-label album New Miserable Experience.
• Tara Hendricks:  Turning heads in the Philly music scene with her powerhouse voice, contagious energy, and charismatic songs.

Sundown Music Series at Haddon Lake Park. Start time – 7:30 p.m.

June 5 – Say She She/Carly Moffa

• This fierce Brooklyn trio offers a blend of genres they describe as

“discodelic soul” with dreamy harmonies.

June 12 – Graduation Speech/Night Windows

• South Jersey-based indie rock band that pairs heartfelt lyrics with melodic guitar-driven compositions.

June 26 – Los Lonely Boys/Jay Psaros

• GRAMMY Award-winning multi-platinum trio of brothers known for their “Texican Rock n’ Roll” sound and hit debut single “Heaven.”

July 10 – The David Matthews Tribute Band/Emily Drinker

• Selling out shows around the world, the Dave Matthews Tribute band recreate the classic DMB sound so many know and love.

July 24 – Julia Pratt/ Brittany Ann Tranbaugh

• Philly-based singer-songwriter soars with her pop, jazz, R&B, and folk with subtle electronic touches.

August 7 – Eve 6/Tonks

• Southern California alt-rock trio know for chart-topping hits like “Inside Out” and “Here’s to the Night.”

August 14 – Steven Page/Tom Hampton

• The former Barenaked Ladies front man and successful solo artist brings his band to perform hits and more.

August 21 – Raul Mid­ón/Lia Menaker

• Grammy-nominated New Mexican guitarist known for his fiery brand of Latin jazz pop

September 11 – Jamie McLean Band/Rebecca Zimmerman

• A honkin’ collection of Southern-style blues rock, Americana, and soul. (starts at 7 p.m.)

Twilight Concert Series at Cooper River Park. Start time – 8 p.m.

June 13 – The Spin Doctors

• 90s alternative rock

June 27 – Cassadee Pope

• Multi-talented musician and leader of seminal pop punk band Hey Monday, Season 3 winner of The Voice, and a platinum-selling GRAMMY-nominated country singer/songwriter.

July 11 – NJ Opera Theater

• Presenting  “Some Enchanted Evening” – Opera & Broadways Most Cherished Masterpieces.

July 18 – Let’s Sing Taylor: A Live Band Experience Celebrating Taylor Swift

• Calling all Swifties to sing your hearts out and sport your Taylor inspired attire for the ultimate tribute to the music of Taylor Swift.

August 8 – Everclear

• One of the ’90s leading alternative rock bands celebrates over three decades of platinum-selling hits .     
• Recovery Rocks!

August 15 – Carl Cox

• This hometown hero is an accomplished saxophonist and recording artist, playing with Smokey Robinson, Incognito, and more.

August 22 – The Bronx Wanderers

• A high octane 50s, 60s, and 70s experience.

September 5 – The American Bombshells

• A modern-day twist on the Andrews Sisters serving as Ambassadors of the USA. (7 p.m. start)
• Salute to veterans

October 10 – Lights Out

• A tribute to Frankie Vallie & more (7 p.m. start)
• Italian Heritage Night

Winslow Township at Peter Volpa Memorial Park. Start time – 7 p.m.

June 22 – Fostina Dixon & Winds of Change

• Jazz Saxophone & multi-instrumentalist

July 17 – The Hobbs Sisters

• Country’s hottest duo

August 24 – The Legendary BLUENOTES featuring Sugar Bear

• Part of Winslow Township Day (starts at 8 p.m.)

Lindenwold Park. Start time – 7 p.m.

June 28 – Pure Petty

• Tom Petty tribute band

August 2 – Shadows of the 60’s

• Tribute to Motown super groups

Waterford Lions Park

June 15 – Cool Confusion

• Covering all the hits from the 60’s to TODAY!

Chesilhurst, LeAnna Harris Park

June 8 – Everyday People

• Sly & The Family Stone tribute band

To learn more, Click Here.

Steven Tyler, Aerosmith announce rescheduled farewell concert tour: New dates and ticket info

Aerosmith will be back in the saddle again this fall.

The veteran rockers, who postponed their Peace Out farewell tour after only a few shows in September, will return for a 40-date run starting Sept. 20 in Pittsburgh. The tour wraps Feb. 26, 2025 in Buffalo, NY.

The bulk of the dates are rescheduled, but the band added three cities: Pittsburgh, Orlando and Philadelphia, where their goodbye run kicked off last September.

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All previously purchased tickets will be honored for the new dates, while tickets for the new shows will go on sale at 10 a.m. local time April 12 via ticketmaster.com . For those who previously purchased tickets and cannot attend the rescheduled concerts, refunds will be available at point of purchase. A series of VIP packages are also available at aerosmith.com/VIP.

As with the original dates, The Black Crowes will open for Aerosmith.

More: Aerosmith Peace Out: See the setlist for the iconic band's farewell tour

Why did Aerosmith postpone their farewell tour?

After playing only a handful of concerts in September, the “Walk This Way” heroes had to hit pause after singer Steven Tyler damaged his vocal cords. He also fractured his larynx and was given doctor’s orders not to sing for 30 days.

But Aerosmith opted to give Tyler ample time to recuperate and scuttle all of their shows until 2024.

The wiry frontman known for his searing rock yowls, said at the time that the injury occurred at a Sept. 10 show in New York and that the vocal cord damage “led to subsequent bleeding.”

What songs can fans expect to hear at Aerosmith’s farewell shows?

USA TODAY was there for opening night of the Peace Out tour Sept. 3 in Philadelphia. As the tour is also a celebration of the band’s 50 years in the music industry, the setlist reflected their vast catalog.

The band – Tyler, guitarist Joe Perry, bassist Tom Hamilton and guitarist Brad Whitford, along with drummer John Douglas filling in for Joey Kramer – sounded in peak form for their deserved victory lap.

Songs ranged from singalong rock smashes “Livin’ on the Edge,” “Sweet Emotion” and “Rag Doll” to the rarely played album track “Adam’s Apple” and a dip into Aerosmith’s blues roots with “Hangman Jury.”

More: The Black Keys ditch insecurities and enlist Beck, Noel Gallagher, hip-hop on new album

AEROSMITH PEACE OUT 2024 TOUR DATES: 

Sept. 20 – Pittsburgh – PPG Paints Arena (NEW SHOW)*

Sept. 23 – Philadelphia  – Wells Fargo Center (NEW SHOW)

Sept. 26 – Louisville, KY – KFC Yum! Center    

Sept. 29 – Cleveland  – Rocket Mortgage FieldHouse 

Oct. 2 – Charlotte, NC – Spectrum Center

Oct. 5 – Knoxville, TN – Thompson-Boling Arena 

Oct. 8 – Washington – Capital One Arena

Oct. 11 – Atlanta – State Farm Arena

Oct. 14 – St Louis – Enterprise Center

Oct. 17 – Cincinnati  – Heritage Bank Arena

Oct. 20 – Nashville, TN  – Bridgestone Arena

Oct. 31 – Phoenix  – Footprint Center

Nov. 3 – San Antonio - Frost Bank Center

Nov. 6 – Austin, TX – Moody Center

Nov. 9 – Dallas– American Airlines Center

Nov. 12 – Tulsa, OK – BOK Center

Nov. 15 – Omaha, NE – CHI Health Center

Nov. 18 – Denver– Ball Arena    

Nov. 21 – Portland, OR – Moda Center 

Nov. 24 – Seattle – Climate Pledge Arena

Nov. 27 – Salt Lake City– Vivint Arena

Nov. 30 – San Francisco– Chase Center

Dec. 4 – San Jose, CA – SAP Center               

Dec. 7 – Los Angeles– The Kia Forum

Dec. 28 – Newark, NJ - Prudential Center 

Dec. 31 – Boston – TD Garden

Jan. 4 – Detroit - Little Caesars Arena       

Jan. 7 – Toronto – Scotiabank Arena 

Jan. 10 – Montreal – Bell Centre

Jan. 13 – Columbus, OH – Schottenstein Center  

Jan. 16 – Indianapolis – Gainbridge Fieldhouse 

Jan. 19 – Chicago – United Center

Jan. 22 – St Paul, MN – Xcel Energy Center

Jan. 25 – Kansas City, MO – T-Mobile Center

Feb. 11 – Orlando, FL – Kia Center (NEW SHOW)

Feb. 14 – Tampa, FL – Amalie Arena

Feb. 17 – Sunrise, FL – Amerant Bank Arena

Feb. 20 – Raleigh, NC – PNC Arena 

Feb. 23 – New York – Madison Square Garden

Feb. 26 – Buffalo, NY – KeyBank Center  

* Teddy Swims Joining as Special Guest, The Black Crowes not appearing

This article originally appeared on USA TODAY: Steven Tyler, Aerosmith announce rescheduled farewell concert tour: New dates and ticket info

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A Pathbreaking Singer Arrives at the Met, With Pearls and Tattoos

Dav­óne Tines, who stars in the oratorio “El Niño,” is challenging traditions in classical music and using art to confront social problems.

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By Javier C. Hernández

The bass-baritone Dav­óne Tines, wearing Dr. Martens boots, a sleeveless black shirt and six vintage pearl rings, stood on a rehearsal stage at the Metropolitan Opera in Manhattan the other day and began to sing.

“My soul’s above the sea and whistling a dream,” he sang, a passage from the Nativity oratorio “El Niño” by John Adams, in which Tines makes his Met debut this month. “Tell the shepherds the wind is saddling its horse.”

Tines, 37, known for his raw intensity and thundering voice, has quickly become one of classical music’s brightest stars. He has won acclaim for performances of Bach, Handel and Stravinsky, and he has helped champion new music, originating roles in operas like Adams’s “ Girls of the Golden West ” and Terence Blanchard’s “ Fire Shut Up in My Bones .”

Tines has also used his art to confront social problems, including racism and police brutality. In 2018, he was a creator of and starred in “ The Black Clown ,” a searing rumination on Black history and identity inspired by a Langston Hughes poem. In 2020, he released a music video after the police killing of Breonna Taylor, calling for empathy and action.

During a rehearsal break at the Met, he described his art as cathartic, saying his aim was to “pick apart the complicated, contentious existence that is knit into the American landscape.”

“It’s a blessing to be a performing artist because you get an explicit place to put your feelings,” he said. “It’s the blessing of having a channel.”

Those feelings are expressed in a voice that is “not only low, but profound,” said the theater director Peter Sellars, who helped start Tines’s career in 2014 when he cast him in the chamber opera “Only the Sound Remains,” with music by Kaija Saariaho. “He really goes to very extreme and intense places,” Sellars said. “The performance is not just nice, it’s not just acceptable, it’s not just neat and well done. It has the quality that we’re present for an occasion.”

Through his wide-ranging work, Tines has helped to upend traditions in classical music. He has torn up the typical recital format, presenting deeply personal, carefully curated programs instead. He has embraced a wide variety of genres, moving freely from Bach cantatas to Black spirituals to minimalist music and gospel.

And Tines, at nearly 6 feet 3 inches with a muscular build, has challenged notions of what a classical star should look like. He wore a sleeveless all-white robe dress and Prada boots for the role of Jesus in Bach’s “St. Matthew Passion” with the New York Philharmonic last year. (“Jesus wears Prada,” he wrote on Instagram .) At the Grammys, he wore a sweater-dress inspired by his grandmother and decorated his shoes with earrings, as she often did before going to church.

As a gay Black man from Northern Virginia, Tines said he has often felt like an outsider. At a Lincoln Center cafe, he looked across the street to the Juilliard School, his alma mater. He began to recount his struggles there, describing how he felt misunderstood by teachers and colleagues because he could not relate to the standard vocal repertoire.

“I had to find my own path,” he said. “I had to find myself in other ways.”

Tines grew up in Fauquier County, Va., about an hour and a half outside of Washington, where his family has lived for generations. As a child, he was acutely aware of the racial and economic divisions in his hometown; he once said he “grew up in a Ralph Lauren ad on slave burial ground.” He was raised primarily by his grandparents. (His grandmother still calls at least twice a day.)

He grew up singing at a Baptist church in Orlean, Va. His grandfather, who served in the military and rose to become a chief warrant officer at the Pentagon, had served as music director at several churches in the area. But Tines’s real passion was for the violin, which he played in youth ensembles, rising to the rank of concertmaster. His grandparents encouraged him to give singing a try, and in high school he won leading roles in productions of “Ragtime” and “Les Misérables.”

He went to college at Harvard, where he studied sociology. It was not until his senior year, when he took part in a production of Stravinsky’s opera “The Rake’s Progress,” that he began to think more seriously about opera.

At Juilliard, where he enrolled for graduate studies, he said he felt dehumanized because people were seen “for what they can do, as opposed to who they are.” He also felt a disconnect with the core repertoire — works like Schubert’s “Winterreise,” which depicts a man dealing with the rejection of a woman he loves.

“I had to contend with the assumption,” he said, “that this was the repertoire that I cared to engage with.”

But he found ways to connect. When he was struggling with a Brahms song about missing a loved one, he thought about his mother, who died when he was 22.

“I found that if I envisioned a person that I loved and then lost, I could sing the song with integrity,” he said. “This very long phrase in the Brahms was an incredible vehicle for holding all the wailing and crying I still had to do.”

In the early phase of his career, Tines said he felt like a hermit crab looking for bigger shells as he moved from show to show. He developed a specialty in new music, working with composers he had met in school.

When Matthew Aucoin, a Harvard classmate, was working on “Crossing,” an opera about Walt Whitman’s time as a nurse during the Civil War that premiered in 2015, he wrote the role of an escaped slave fighting for the Union for Tines.

Aucoin said he was drawn to Tines’s perceptiveness and his tender falsetto register. “He’s a Renaissance man,” he said, “blessed with not only a voice but also a fabulously keen eye, ear and mind.”

Sellars, who had heard Tines sing at Juilliard, hired him for “Only the Sound Remains,” which premiered in Amsterdam in 2016. Tines landed leading roles in other contemporary operas, playing Ned Peters, a runaway slave, in “Girls of the Golden West,” and Charles in “Fire Shut Up in My Bones,” based on a memoir by The New York Times columnist Charles M. Blow.

But it was “The Black Clown,” which came to New York in 2019, that cemented his reputation as a visionary performer. Working with the composer Michael Schachter and the director Zack Winokur, he adapted Hughes’s poem into a teeming work of music, dance and theater, winning raves for his performance.

Tines, who had admired Hughes since fifth grade, said the poem “struck me like a lightning bolt.”

“The fact that someone was able to speak something that was so personally riveting,” he said, “but also so universal, was a revelation.”

When the Black Lives Matter protests spread in 2020, Tines was at first hesitant to use art to speak out. But he felt that the public was not fully comprehending the significance of the death of Breonna Taylor. In “Vigil,” he looks into the camera, his eyes filled with tears.

“Where there is darkness,” he sings, “we’ll bring light.”

Tines’s Black identity has continued to feature prominently in his work. In 2022, he and the violinist Jennifer Koh created “ Everything Rises ,” a multimedia show about their experiences as people of color in a predominantly white field that incorporated conversations with their relatives.

Adams said that Tines had an ability to “embody that particular kind of nobility and eloquence that you find in the great Black orators.”

“He really has a style to his singing that is unique,” Adams said, “in an operatic world where people sound more and more like each other.”

Tines has won praise for helping redefine the concert experience. In “ Recital No. 1: MASS ,” which came to Carnegie Hall in 2022, he played with the traditional Latin mass structure. He blended Bach with spirituals and other contemporary works, including pieces by Caroline Shaw, Tyshawn Sorey and Julius Eastman, as soul-searching questions were projected behind him.

Tines is now at work on a project, with his band, Dav­óne & the Truth, about Paul Robeson, the pioneering singer, actor and activist with whom he is often compared. (Robeson, known for his rendition of “Ol’ Man River” and other songs, died in 1976 .) He is tracing Robeson’s life and music, including a suicide attempt in a Moscow hotel room in 1961.

Tines, who recently had Robeson’s name tattooed on his left arm, said he was drawn to the vulnerability of that moment in Robeson’s life.

“I could connect to him more in a way to see that he wasn’t just a billboard of its Black exceptionalism,” he said, “but actually just a human .”

In recent days, Tines has been focused on “El Niño,” a work that he has performed several times over the past decade. In the oratorio, which is fully staged at the Met, he sings a variety of roles, including Joseph and Herod; at one point, he is the voice of God.

The soprano Julia Bullock, a classmate from Juilliard who is also singing in “El Niño,” said she was pleased to see her friend find a place in classical music.

“He’s really arriving at something,” she said. “It’s good fun and play and experimentation. It doesn’t feel like he’s worn down or overwhelmed. It’s cool. It’s really cool.”

The other night, after a day of rehearsals at the Met, Tines was at the Blue Building in Manhattan to perform in “Art is Gay,” a night of song and dance hosted by Art Bath, a performance salon. He sang a contemporary version of the hymn “I’ll Fly Away” and an arrangement of a Bach cantata.

Before the show, as the performers were putting on makeup and costumes, Tines approached the countertenor Anthony Roth Costanzo, who asked how he was faring with “El Niño.”

“Are you alive?” Costanzo said, embracing him.

“It was a long day,” Tines said. “I was at the Met from 9 to 5.” Costanzo snapped his fingers, and the two started singing Dolly Parton’s “9 to 5.”

Sitting on a couch at the Blue Building, Tines showed off his pearls, which he has collected while performing in Hong Kong, Germany, St. Louis and elsewhere.

As his Met debut approached, he said he was striving to be a “clear glass” — to make himself “as simple as possible, so that the largess and complexity of what you’re hoping to touch has the space to exist.”

“More so than ever,” he said, “I hope to leave people and myself with an experience that’s quite far beyond people or myself.”

Javier C. Hernández is a culture reporter, covering the world of classical music and dance in New York City and beyond. He joined The Times in 2008 and previously worked as a correspondent in Beijing and New York. More about Javier C. Hernández

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The Cult announce 40th anniversary UK tour for winter 2024

The dates conclude with a stop at London’s Royal Albert Hall

The Cult have announced details of a UK tour, which will celebrate their 40th year as a band. Find upcoming dates and ticket details below.

Announced today (April 16), the shows are set for later this year and will see the iconic ‘80s rock group perform in 10 cities across the country. The dates come in celebration of a huge milestone for Ian Astbury and co., as this year marks four decades since the band formed as we recognise them today – swapping their name from the original title ‘Death Cult’ into ‘The Cult’.

“Following up from the great energy of Death Cult 8323 shows, I’m looking forward to bringing that sense of celebration of the band’s music, and the communion with our fans, to Cult 8424,” guitarist Billy Duffy said of the new announcement. “CFFC. Let the ceremony commence!”

The shows all take place this winter, and kick off on October 21 with an opening night at the De Montfort Hall in Leicester. This is followed the next night with a gig at Swansea Arena (22), followed by stops in Edinburgh (24), Manchester (25), Bristol (27), York (29) and Newcastle (30).

The final run of the new tour dates will take place in the first week of November; including a slot at Guildhall in Portsmouth on the 1st, and a show at Civic Hall in Wolverhampton the following night. The dates wrap up with a closing show at the prestigious Royal Albert Hall in London on November 4.

Tickets go on sale this Friday (April 19) at 10am BST. Visit here to get tickets and find a full list of tour dates below.

The Cult 2024 tour dates are:

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OCTOBER 21 – Leicester, De Montfort Hall 22– Swansea, Swansea Arena    24 – Edinburgh, Usher Hall  25 – Manchester, O2 Apollo  27 – Bristol, Beacon     29 – York, Barbican 30 – Newcastle, O2 City Hall      

NOVEMBER: 1 – Portsmouth, Guildhall 2 – Wolverhampton, Civic Hall 4 – London, Royal Albert Hall

The dates for 2024 come following a tour the band embarked on last year, celebrating 40 years since their first formation under the name ‘Death Cult’ .

Taking place around the UK, Ireland and the US, the tour was called ‘Death Cult 8323’ and saw Duffy and Astbury return to play iconic venues they previously performed in at the start of their career.

The live shows focused on Death Cult and their eponymous EPs, and also boasted a setlist that spanned “the three phases of the band, from Southern Death Cult, to Death Cult, and The Cult’s first two albums: ‘Dreamtime’ (1984) and ‘Love’ (1985).”

More recently, Billy Duffy joined Johnny Marr on stage in Frome last summer to play tracks by The Smiths and Depeche Mode .

The on-stage appearance was the latest of the multiple times the two musicians have joined forces, as they both have a long history of playing music together – stemming back to their adolescent years.

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The Battle Over Classic Rock Band the Guess Who Just Went Nuclear

By Ethan Millman

Ethan Millman

For the past six months, Burton Cummings, founding singer and songwriter of classic rock group the Guess Who , has been in a bitter legal dispute to wrest control of his old band’s legacy. Now he’s adopting an aggressive and relatively unheard of approach to make that happen: giving up on certain royalties so the band can’t play his songs.

As Rolling Stone previously reported , Cummings and original Guess Who guitarist Randy Bachman sued the current iteration of the Guess Who (as well as the band’s original drummer and bass player Garry Peterson and Jim Kale) last October, alleging that the group that currently holds the Guess Who trademark is “a cover band” using the original group’s recording in ads “in an effort to boost the Cover Band’s ticket sales for live performances and to give the false impression that Plaintiffs are performing.”

“I’m willing to do anything to stop the fake band; they’re taking [Bachman and my] life story and pretending it’s theirs,” Cummings tells Rolling Stone. “They’re not the people who made these records, and they shouldn’t act like they did. This doesn’t stop this cover band from playing their shows, it just stops them from playing the songs I wrote. If the songs are performed by the fake Guess Who, they will be sued for every occurrence.”

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“Not a lot of artists are both the writer and the publisher on their songs, and Burton Cummings fortunately is, so this is a very rare case where the artist can take this action,” Yu says. “And I think this situation shows the direct nexus between their false advertising and who they say they are.”

The move is focused on agreements set through groups called performing rights organizations (PROs). The termination targets all the venues the band would play. Almost every concert venue in the country has blanket agreements with various PROs such as BMI and ASCAP, who collect royalties on behalf of songwriters for the public performances of their works. If a venue has licensing agreements in place, the venues’ artists are free to cover any song from the PROs’ repertory. 

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By Thursday morning, the Florida Theatre in Jacksonville, the Saenger Theatre in Mobile, Alabama, and the Peabody Auditorium in Daytona Beach, Florida — who would’ve hosted the Guess Who’s next three shows — announced cancellations as well. Tickets for shows beyond those dates remain on sale as of this article’s publication.

An attorney for the Guess Who didn’t respond to Rolling Stone’s request for comment regarding the shows. In December, the band took to social media calling Cummings’ and Bachman’s suit “meritless.” In a memorandum, the band argued that “there is no dispute that Defendants lawfully own ‘The Guess Who’ trademark,” and that Consumers who see an ad for a concert by the Guess Who would not reasonably assume that Bachman and Cummings are performing merely because they were in the band many years ago.”

Assuming the group does play the classic-era songs at their upcoming shows, both the band and the venue they played at could be on the hook for legal recourse, Cummings and his team tell Rolling Stone . 

But like most nuclear options, Cummings’ strategy doesn’t come without the risk of some mutually assured destruction. While terminating the rights complicates the current Guess Who’s performances, it may also significantly hit Cummings’ own earnings. Aside from working with concert venues, PROs also collect royalties from when songs are played on the radio, on TV shows, or even when they’re played in the background at restaurants or shopping malls. With the license terminated, Cummings will likely lose out on seeing those royalty payments. And that’s not just on the versions he recorded, but on covers such as Lenny Kravitz’s Grammy-winning “American Woman” cover.

The termination is the latest development in a decadeslong dispute that bubbled over with last year’s lawsuit . The fight began when the band’s original bassist, Jim Kale, obtained the trademark to the Guess Who name in 1986, as the band hadn’t secured the trademark before then . From then on, Kale had organized several tours using the Guess Who name featuring a heavily rotating lineup. 

By the late 1980s, the Guess Who’s original drummer, Garry Peterson, joined the band as well. Kale retired in 2016, leaving Peterson as the only original member left. But he doesn’t play every show, Bachman and Cummings alleged, meaning some shows feature no original members of their band. 

Since Cummings filed the suit, he says that the band had removed his access to the Guess Who’s Spotify for Artists page. (When the suit filed last fall, the band’s Spotify page showed a picture of the current Guess Who lineup, but as of publication, it’s now a picture of the old band.)

Cummings also tells Rolling Stone that within the past month, the band’s lawyers said they’d “sue me if I ever even say I was ever in the Guess Who.” “You know how ridiculous this is? What next, can I not say I was born and raised in Winnipeg? That I’m Canadian?”

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“How much is my life’s work worth? You can’t put it in dollars and cents,” he says. “It’s wrong what they’ve done and for years, nobody did anything about it. But we’re doing something now, and this may set some precedents because there are other acts out there that aren’t real either.

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Friday 19 July 2024

Gin Blossoms

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You'll only find fair, trustworthy tickets on Songkick.

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7077 Elmore Ave. 52807 Davenport, IA, US 563-328-8000 www.rhythmcitycasino.com/

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Gin Blossoms’ breakout record New Miserable Experience was where their rise to fame began. This album kept the band on the chart for almost 3 years with singles “Hey Jealousy,” “Allison Road,” Until I Fall Away,” “Mrs. Rita,” and “Found Out About You.” The crossover hits on New Miserable Experience to date have sold over 5 million records!

Those hits were followed up by “Til I Hear It From You” which rocketed to #1 and moved the Empire Records smash soundtrack to platinum status. The track also became Canada's longest-running #1 hit of 1995, its #1 tenure lasting six weeks. Their next gem “Follow You Down” spent ten weeks in the top 10, and "As Long As It Matters" earned the band a Grammy nomination for "Best Performance by a Duo or Group” making their Congratulations I’m Sorry record another multi radio format favorite and multi-platinum success.

Major Lodge Victory took the band to a top 10 Triple A smash in the album’s lead single, “Learning The Hard Way.” The album’s second single, “Long Time Gone,” quickly became another favorite among both fans and the critics and Major Lodge Victory made Billboards Top 10 Independent Albums. The single “Miss Disarray” is now one of the most requested songs in the band’s live set and the album reached #1 on Amazon’s sales chart.

Tickets are $35, $45, $55, $60 and $65 plus applicable online/phone ticketing fee. This fee is waived when tickets are purchased at The Market Gift Shop inside Rhythm City Casino Resort®. All ages are welcome. Doors will open one hour prior to showtime.

Please note, when purchasing tickets to our events, we do not recommend using a third party resale site. Tickets may be purchased directly from our website or in person at The Market.

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Hailing from Arizona, US, Gin Blossoms are a power pop/rock band who brought forth a lighter, pop-oriented sound, acting as an antidote to the gloom of the grunge era that dominated alternative rock in the 90s.

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It has been 15 years since I have been to a Gin Blossoms show (now I feel old). I was excited to hear that they would be playing in my area again, at the same venue. This made me very excited as it's a small intimate …

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Noah wyle signs with verve, breaking news.

UTA Signs Comedy Band Wolves Of Glendale

By Matt Grobar

Matt Grobar

Senior Film Reporter

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EXCLUSIVE : UTA has signed popular comedy band Wolves of Glendale for representation in all areas.

Founded in 2022, and boasting a sizable following on social media, the band consists of Ethan Edenburg on guitar, Eric Jackowitz on drums and Tom McGovern on keys. They got their start when McGovern moved west, after a long stint playing piano bars in New York, and linked up with Edenburg and Jackowitz, who were searching for the missing piece in their trio. The first day they sat down together, they knew they had something special, as they wrote their hit song, “Vapin’ in Vegas.”

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Previously, The Wolves have also opened for David Cross and pop band Jukebox the Ghost. After playing Netflix Is a Joke Fest in 2022, they’re set to return this year, performing to a sold-out audience at The Hollywood Improv on May 8th at 9:45 PM. This summer, they’ll also be performing at top festivals Lollapalooza and Bonnaroo.

Recently wrapping their first sold-out national tour, The Wolves’ debut, self-titled album was produced by John Spiker of Tenacious D, as well as Doja Cat collaborator Rian Lewis. Future tour dates to be announced at the end of next month.

The Wolves of Glendale will continue to be managed by Levity Talent.

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