the killers tour ohio

The Killers

With the lemon twigs.

• Date Mar 21 , 2023
• Availability On Sale Now

PLAN to ARRIVE EARLY

Doors scheduled to open at 6:30PM

Show scheduled to start at 8PM

GA ticket holders must enter through the SW Rotunda to receive your wristband.

Join us for pre-show entertainment

EAST MARKET (entry level)… Moving to Boise

BLOCK O (club level) … The Browning Panke Duo

BOARDROOM (off the floor)

Look for specialty cocktail - “Mr. Brightside” w/Tito’s Vodka with Pink Lemonade

Pyro, lasers, strobes & haze will be in use

Parking $20 - credit / debit card or mobile payment

SHUTTLES WILL NOT RUN

CLICK HERE for Parking / Directions

RIDESHARE TIPS

Guests can be dropped-off before an event via personal vehicle, Uber, Lyft or other Rideshare services along Borror Drive (North Side of the building).  Guests that need special accomodations should speak with uniformed traffic control staff.  Post-event - go to the rideshare mobile app and select: Schottenstein Center.  You will be directed to the pick-up area just down Lane Avenue at St. John Arena.

Bags or Purses of any size are NOT permitted. Wallets/wristlets no larger than 5”x8”x1” are permitted. A dedicated screening lane is available for guests with medical, dietary or childcare needs – one bag permitted. We suggest leaving most items at home. Management reserves the right to determine prohibited items. Guests may return them to their vehicle or surrender to Security without return.

No professional cameras, detachable lenses. GoPros, selfie sticks and iPads prohibited. Point & shoot cameras are permitted.

The Schottenstein Center has gone cashless. Make parking, concession and merchandise purchases via debit / credit card or mobile payment.

Masks are optional.  We ask fans to be respectful of each other.

Need a break or assistance?  A Wellness Room is available outside Seating Section 104

Ticket Information

The Ticket Office (Northeast corner of the venue) is open 9AM-4PM weekdays with extended hours on event days.  Email us at  [email protected]  or call 1-800-GO-BUCKS (1-800-462-8257) M-F  9AM-4PM. 

Review: The Killers prove they can still slay fans with energetic modern rock

“If you came looking for rock 'n’ roll, you came to the right place.”

That’s what The Killers frontman Brandon Flowers announced to the nearly sold out Schottenstein Center Tuesday night.

The Killers have seemed to exist in a time-exempt capsule. They equally feel like a nostalgia grab for the 2000s, but they also feel like a Brit rock/New Wave band from the ‘80s.

They’re your present-day rock star’s favorite band. They have two of the biggest crowd-pleasers in “Mr. Brightside” and “Somebody Told Me” yet somehow feel criminally underrated.

Summer stop: Jackson Browne's summer tour to make Columbus stop in June

All of the above was evident by the fanbase that showed up at their concert Tuesday night at the Schottenstein Center. Fans ranged from kids going to their first concert to twentysomethings to veteran rock 'n’ rollers.

While they have never managed to dull the noise mainstream-wise of their debut album “Hot Fuss” — which turns 20 next year — their 2011 album, “Wonderful, Wonderful,” was their first No 1. album on the U.S. Billboard 200. Their latest album, “Pressure Machine,” was released in 2021.

While The Killers have undergone multiple iterations of its lineup, the band has finally reformed with three of its original members for their upcoming eighth album. Although they always have different touring lineups. The Killers, in recent years, have been largely a training ground for the basement rockers who were inspired by them back during their mainstream debut in 2003.

While their "Imploding the Mirage" tour is named after their 2020 album of the same name, the show was a full retrospective of everything from their beginning to now.

Flowers even honored the rock 'n’ roll legends that came before him like Elvis Presley, donning a black blazer, white tank top, black slacks & black leather shoes.

In one moment, you could see that he feels the music in his body. In other moments, you could hear it from his soul when he belted Freddie Mercury-like notes.

Flowers’ voice can go lower than the bass player yet reach soaring heights like belting into the Grand Canyon in songs like “Shot at the Night” and “Be Still,” the latter being the highlight of Flowers’ live vocal performance.

There were times in songs where it was clear that Flowers’ energy had been spent and he was tired. During their performance of “Somebody Told Me,” while a crowd pleaser, Flowers let the audience do most of the singing. It is understandable though; he sings many lyrics in close succession.

Flowers even remarked on his voice about halfway into the hour-and-a-half set. “When we came out here tonight, I was a little worried about my voice,” Flowers said. “It’s a frightening thing, I just wanna do good for you.”

However, the crowd’s energy fueled Flowers.

“When we got on stage,” he said. “It just came right back to me.”

The entire concert Flowers smiled at the crowd like being reunited with old friends.

He even remarked that they were now “big time” by playing the Schottenstein Center. It seems that even The Killers forget how much of an icon they are.

While Flowers is the face and voice of The Killers, the band’s original drummer Ronnie Vannucci Jr.’s talents must be commended. His drum solos during songs like “Spaceman” and “A Dustland Fairytale” are enamoring to witness and the crowd couldn’t get enough.

Electric guitarist Ted Sablay, who also served as one of the openers, absolutely killed (pun intended) his guitar solos in songs like “Caution.”

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There was plenty of call-and-response with the audience throughout the entire concert, but near the end of the show during “All These Things That I’ve Done,” the entire crowd sang one of the most iconic lines in modern rock 'n’ roll for several minutes before Flowers even sang it.

“I’ve got soul, but I’m not a soldier.”

What does it mean? No one knows, but Flowers definitely has soul in the way he projects his voice. Flowers even remarked that nobody projects his voice like he does. But he commends his band, particularly Vannucci, for giving him the drive to belt.

The show began and ended with explosions of confetti, pyrotechnics, laser light shows and rock 'n’ roll. The Killers didn’t leave it all on the stage, they left it all in the crowd. Flowers stepped over the barrier between the crowd and the stage many times. Vannucci even threw his drumsticks into the crowd at the end of the show.

It’s safe to say that The Killers will remain in their rock 'n’ roll status, but will they be a band we wished we paid closer attention to once they are no longer here?

Luckily for now, we get to look on the bright side and be thankful that we don’t have to.

The Killers coming to Cleveland’s Wolstein Center in 2022

• Published: Jul. 19, 2021, 9:57 a.m.

The Killers will perform at Wolstein Center in 2022. (Photo by Amy Harris/Invision/AP) Amy Harris/Invision/AP

• Annie Nickoloff, cleveland.com

CLEVELAND, Ohio -- With a new album on the way, The Killers will hit the road for a North American tour in 2022, and will stop by Cleveland’s Wolstein Center for a show on Oct. 7, 2022.

Fans of The Killers will have to plan early to attend the show next fall -- tickets will go on sale at 10 a.m. on Friday, July 23 on The Killers’ website .

The tour will support the band’s forthcoming album, “Pressure Machine,” set to arrive on Aug. 13. But it will also celebrate the band’s 2020 album “Imploding the Mirage,” which arrived in 2020 and never got its planned worldwide tour, due to the coronavirus pandemic.

“Everything came to this grinding halt,” The Killers front man Brandon Flowers said in a press release. “It was the first time in a long time for me that I was faced with silence. And out of that silence this record began to bloom, full of songs that would have otherwise been too quiet and drowned out by the noise of typical Killers records.”

The Killers are best-known for indie-rock go-to records like 2004′s “Hot Fuss,” 2006′s “Sam’s Town” and 2008′s “Day and Age.” But “Pressure Machine” will diverge from the big sound The Killers have found on those releases, instead finding contemplative inspiration from Flowers’ hometown of Nephi, Utah.

Find more information about “Pressure Machine,” along with The Killers’ upcoming tour, at thekillersmusic.com .

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• March 21, 2023 Setlist

The Killers Setlist at Value City Arena, Columbus, OH, USA

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Tour: Imploding the Mirage Tour statistics Add setlist

• My Own Soul's Warning Play Video
• Enterlude Play Video
• When You Were Young Play Video
• Jenny Was a Friend of Mine Play Video
• Smile Like You Mean It Play Video
• Shot at the Night Play Video
• Running Towards a Place Play Video
• Human ( Electro ) Play Video
• Spaceman Play Video
• Somebody Told Me Play Video
• Be Still Play Video
• The Way It Was ( with band introductions; extended ) Play Video
• boy Play Video
• A Dustland Fairytale Play Video
• Runaway Horses Play Video
• Runaways Play Video
• Read My Mind ( Extra 8 Bars ) Play Video
• Dying Breed Play Video
• Caution ( with "Rut" Segue intro ) Play Video
• All These Things That I've Done Play Video
• The Man Play Video
• Mr. Brightside ( 50/50 ) Play Video

Note: "The Getting By II" was on the printed setlist but wasn't performed.

Edits and Comments

17 activities (last edit by event_monkey , 2 Jun 2023, 19:59 Etc/UTC )

Songs on Albums

• All These Things That I've Done
• Jenny Was a Friend of Mine
• Mr. Brightside
• Smile Like You Mean It
• Somebody Told Me
• Dying Breed
• My Own Soul's Warning
• Running Towards a Place
• The Way It Was
• A Dustland Fairytale
• Read My Mind
• When You Were Young
• Shot at the Night
• Runaway Horses

Complete Album stats

More from The Killers

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Related News

The Killers Announce Hometown Residency to Celebrate "Hot Fuss"

The Killers Live Debut in England Amid Scrapped Album News

TBT! In 2004 The Killers Live Debuted "All These Things" in Vegas

Value city arena.

• Ted Sablay Start time: 7:25 PM 7:25 PM
• The Lemon Twigs Start time: 8:00 PM 8:00 PM
• The Killers This Setlist Start time: 9:05 PM 9:05 PM

The Killers Gig Timeline

• Mar 17 2023 Mohegan Sun Arena Uncasville, CT, USA Add time Add time
• Mar 19 2023 Petersen Events Center Pittsburgh, PA, USA Start time: 9:05 PM 9:05 PM
• Mar 21 2023 Value City Arena This Setlist Columbus, OH, USA Start time: 9:05 PM 9:05 PM
• Mar 22 2023 Chaifetz Arena St. Louis, MO, USA Start time: 9:00 PM 9:00 PM
• Mar 24 2023 Choctaw Grand Theater Durant, OK, USA Add time Add time

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HARVARD ATHLETIC COMPLEX | Boston, MA

Boston calling music festival.

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OVO Hydro | Glasgow, UNITED KINGDOM

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Lollapalooza.

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Outside lands.

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The killers: live in las vegas - celebrating 20 years of hot fuss.

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Sudden little thrills.

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Oceans calling.

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Evolution festival, latest setlist, the killers on april 26, 2024.

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The Killers are an American post-punk alternative rock band formed in Las Vegas, US, in 2001 by members Brandon Flowers and Dave Keuning, who found each other through a newspaper ad.

Since day one The Killers have had a sound, which cannot be confined or compared to those around them. Their rock music is intense yet has a pop-inspired theatricality, which borrows as much from bands like Oasis and The Smiths as it does from artists such as David Bowie.

The band’s first shows in Las Vegas found a loyal audience, but stuck out like a sore thumb from the metal and rap acts flooding the local scene. Keeping to this mentality, The Killers found their initial successes not within their home country of the United States but within the United Kingdom, where the song “Mr. Brightside” premiered on Zane Lowe’s BBC Radio 1 show and consequently found the band a huge following.

Albums “Hot Fuss”, “Sam's Town”, “Day & Age” and “Battle Born” have all reached number one in the UK charts shortly after their release. In the United States, The Killers’ debut album “Hot Fuss” went triple platinum with the single “Mr. Brightside” hitting number 10 in the US charts.

The band’s musical talent has been recognized with seven Grammy Award nominations, as well as multiple Brit Awards and NME Awards for their various albums and singles such as “Human” and “When We Were Young”. Fans of the band include megastars such as Jay-Z, who described the band’s MO as taking “what's old and mak[ing] it sound new again."

As their popularity continues to grow, The Killers have extended their worldwide tours to include countries such as Russia and China along with spots all over Europe and North America. Along with an ever-growing list of countries to tour, the venues the band plays to are also expanding at an incredible rate. In recent years The Killers have found themselves playing to insane audiences at Madison Square Gardens, US; Wembley Stadium, UK; and The Royal Albert Hall, UK.

Live reviews

If you've never seen The Killers live, you should probably kick yourself. As a long-time fan, but someone who hadn't seen them in concert until their latest studio effort, I still find myself kicking myself for never having gone to see them.

The energy when they're on stage is infectious. They feed off each other and also the crowd, and the crowd feeds off of them - always seeming to leave both sides hungry for more. I guess that's what a great live band does.

For the show at Borgata's new Festival Park venue, the first surprise was the return of the K as part of the keyboard stand. This iconic throwback to the Day and Age era kinda had me hoping this wouldn't be more or less the same Battle Born tour set list that they've been doing for nearly three years. At 20 songs long, it was a full set, with a few surprises, but was largely unchanged from the last time I saw them. Of course, this is a band that has four albums under their belts, and because they don't want to disappoint more casual fans (as in non-Victims), they don't want to leave out any of their hits.

Opening with Mr. Brightside, lights still on, the smile on Brandon Flowers' face was apparent that he has missed his onstage brothers. The smile didn't fade as they drove on into Spaceman, and after introducing the band as well as Ted "Named after the great Ted Williams" Sablay and Jake "The Snake" Blanton, they carried on to The Way It Was. Smile Like You Mean It led into Bling, followed by Human. A return to their first album was introduced by a chills-inducing heavy bass opening as Somebody Told Me reminded everyone why they became as big as they are.

A cover of CCR's Bad Moon Rising led into a surprise of their 2012 album Battle Born as they played the life out of The Rising Tide - a nice surprise. After Shot at the Night, For Reasons Unknown, and From Here On Out, things slowed down for Dustland Fairytale and another surprise, Be Still. Read My Mind and Runaways led into a bittersweet All These Things I've Done. Why bittersweet? When All These Things comes on, fans know it's the last of their main set.

The last surprise of the night came with the first of their encores as they rolled into Uncle Jonny. We know that The Killers (almost) always include their very first album opener: Jenny Was a Friend of Mine - They don't come all the way from Las Vegas and not play Jenny. When You Were Young was the show's closer.

With the news report over, here's the editorial portion of the review.

This band never disappoints - even in the rare instance that they're off their game, they're still on their game. For the show in Atlantic City at Borgata Festival Park they were undoubtedly on their game. Seeing them on stage together, it was as though it was where they wanted to be. The show in AC, before a crowd of 4500, was a warmup for the 70,000 strong crowd at Firefly. Of the 4500 people leaving Festival Park, I don't think one of them was disappointed. I even caught one of the guys working security singing along to a few of their older hits.

While I would have loved to have seen some of the lesser-played songs instead of the set they played, it's only because I've seen them do these songs so often, and had never seen them perform prior to 2012 (huge mistake on my part). The Killers want people to leave their shows with a sense of satisfaction, so, playing their most popular songs is a given. Still, I would just love to hear Sam's Town at least one more time, and quite honestly, I wish they'd drop the cover song they do (for the last 6 shows I've seen, they have always done Bad Moon Rising). With an arsenal of 4 full albums, they certainly have enough original material to play a full set without tossing in a cover version. (At least it's not Shadowplay!)

Nothing would ever be able to stop me from making the effort to see this band perform. The 22 hour round-trip to the Jersey Shore was well worth it; they never disappoint. Ever. If I could, I'd be at a Killers show every night for the rest of my life.

Yes, a Killers show is one of my personal Sam's Towns - if you don't know what that means, do yourself a favor, and while waiting for their next tour, check out their live DVD - Live From the Royal Albert Hall. You'll see why Victims, myself included, will travel all kinds of distances to see these guys perform.

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The Killers played the first night of Lollapalooza last year, and they made it a night I'll never forget. From the stage lighting to visual effects on the screens, The Killers put on a show that captivated the thousands of people that came out to watch them. The band erupted with "Mr. Brightside," which sent the audience into a state of excitement. Everyone started dancing/jumping/singing to the music. There was a lot of jostling around, and I kept getting pushed forward by people from behind trying to get closer to the stage. I remember while I was belting out the lyrics to "Human," someone grabbed my arm and started dancing with me. The audience was so friendly, and looking around, many people had huge smiles on their faces that shone against the colorful stage lights. The Killers have been around for quite some time, and anyone can see that they are clearly at ease playing in front of thousands of people. The lead singer, Brandon Flowers, sang even better live compared to the audio recordings. He didn't even take a water break or anything; he just kept going and going, and throughout the entire performance, his energy stayed sky high (his collared shirt was unbuttoned and drenched with sweat by the end if the night). He introduced the rest of the band and was very interactive with the crowd, reaching out to touch outstretched hands. The concert had a fun, friendly vibe to it, and I was surrounded by people who were all so happy to be there. That concert was the first time I experienced a night show outdoors, let alone in the heart of downtown Chicago. Looking up around me, the skyscrapers we're lit up and the stage lights bounced off of them. It was such a beautiful sight. Jamming out to awesome music under the city lights was the perfect way to end my first night at Lolla.

This was, so far, the best concert for The Killers that I've ever seen (& I've seen them 3 times already). The acoustics for the Staples Center wasn't the absolute best, but it didn't matter when the whole stadium was singing at the top of their lungs along with the band. First of all, since this was the Wonderful Wonderful Tour, I thought the band would play mostly songs from the new album, but to my surprise, they performed a great mix of songs from their entire discography. What surprised me the most was that The Killers played a ton more songs from their Hot Fuss album than they ever had before. They even dug deep to perform such notable songs like "Andy, You're A Star" & "Smile Like You Mean It". A beautifully sweet touch was when the band performed a new, sort of spur-of-the-moment, song about Los Angeles...a song they had written on the road just before their L.A. leg of the tour. One of the major highlights of the entire concert was when the band had invited a young teenage fan up onto the stage to play the drums on the song "For Reasons Unknown". Apparently this has become an ongoing tradition of the band, to invite fans up on the stage to perform with them. This was such a touching, yet totally bad-ass moment, & I hope The Killers keep on doing this at every concert tour from now on. By the end of the concert, my friends & I had lost our voices from singing & screaming so loudly, but it was one thousand percent worth it. The Killers proved with their electrifying & humorous stage presence, along with their amazing voices & talent, that they will forever hold the spot of being my all-time favorite band.

The killers in vancouver, how can i even but this into words that people will comprehend? For me, the killers are my favorite band and Brandon Flowers is a HUGE inspiration in my life. His style of writing impacts me in a huge way. Also, for me, the killers music helped me a lot with personal problems that had hit me pretty hard in my life. I listen to their music when i'm happy, sad, healthy or sick, and for me, seeing this concert was in a way, life saving. And being such a huge fan, i had high hopes for this show and they did not at all disapoint. I went to this show with one of my closest friends, who is also a huge killers fan. The show began with 'Wonderful Wonderful' (as you may have assumed) and soon after they jumped right into 'The Man'. The setlist was incredible. I honestly couldn't say that i was disappointed with any of the songs they chose to play. I wish they would have done 'Bones' or 'Under the Gun' but i had low hopes when it came to those two. The stage presents was incredible. I couldn't take my eyes off of Brandon. He is just one of those people who can really own a stage and engage a crowd. And coming from an aspiring guitarist, i would normally be watching the guitarist almost out of habit; but with the exception of guitar solos, I was watching Brandon. This is a show I would heavily recommend going to. For me, it was the greatest experience of my life. The only negative of the show is figuring out how you're going to top it.

-J.W. Radlinsky-Shworan

I hadn't listened to the Killers in several years and was invited by a friend to go see them in concert. I'd forgotten how good they were! Their show was full of energy and the evening was nothing short of spectacular. It seemed like every inch of the stage was covered with lights, and the show was filled with special effects some including fireworks. A Killers concert is like a massive stadium type of show, full of power and special effects.

The band played all their hit songs and even included some cover songs that really were done well. One of the really good covers they played was the Smiths “There is a Light that Never goes out”. The crowd was very energized and the show started out at full force when they opened with one of their better know songs “When You were Young”. The band finished with several encores including some of their first hits, I guess the show ended up lasting about 90-95 minutes.

The venue was large but it was pretty full. The crowd did get a little out of control at some points during the show, but the stadium was large enough that they had good security and you could just move away from people who were getting carried away. The band is getting older but they sounded great. It is good to see them back in rock and roll form.

The Killers delivered a high energy polished show. Brandon was in great voice, drummer was fantastic. A great rock show for sure.

The venue, however... just atrocious. Place Bell in Laval is a new arena for 10K attendance, but it has massive logistical & design failures. 1) crowds waited 25-60 minutes to enter the building ... outside in -35C! ... due to an inadequate entry plan. Thousands of concertgoers were invited to show up between 7-8 pm, to be greeted by 4 open doors and 6 security stations. 2) parking congestion nightmares & traffic woes before and after the show 3) electricity on stage went out 3 times during the show 4) other concert-goers reported no drinking fountains, toilet paper, limited mobility access...

SUMMARY: Go See the Killers, not at Place Bell in Laval.

The Killers, as always, were amazing beyond mere words. I've seen them in concert before, but somehow this particular concert at Outside Lands 2014 was especially memorable. From singing Credence Clearwater Revival & Otis Redding covers, to performing all their greatest hits (and then some). I was completely pumped up from beginning to end. As per their usual Las Vegas-ian flare, the light show almost stole the spotlight from Brandon Flowers & his famous lightning bolt keyboard, but no one can captivate & amp up an audience like Mr B Flowers. I think I might have been one of the loudest singers in my section of the crowd. Singing along to all the "Direct Hits" is always the best part of the concert!

It was my first time seeing The Killers after a number of years waiting to see them play live. I have never had an experience quite like this one. They are a truly special band to see play live, the energy of the crowd is infectious, and you are left wanting more. Brandon Flowers, man, I don't know how he does it. Plays show after show after show and still sounds incredible. The additions to the band were awesome and Ronnie is a beast (in the best way.) My favorite thing about their show was actually the stage design. It was so beautiful and colorful and set the tone perfectly for each song. You will have a BLAST at their show, whether you're a hardcore fan or not. Can't wait to see them again! :-)

I actually saw the show at Barclays on Tuesday the 8th. Let me start by saying I see a lot of concerts every year and was only familiar with the better known of The Killers songs. Having said that - they were EXCELLENT! Flowers is a magnificent front man with a set of pipes to carry stadiums. The band is flawless and so rock and roll. I will judge a band by how much they can hook me with a song I’ve never heard before . From the opening with Wonderful Wonderful and The Man thru The Calling start to the encore I was dazzled. I downloaded everything and I’m now a confirmed fan. I will see them again ASAP. One of the best live I have seen -ever. And I’m no spring chicken.

It was amazing!!! From the moment they went on stage to the very last second it was just so much positive energy coming from the band. The crowd was bad, but that isn’t The Killers’ fault! They did the absolute most and it paid off. Brandon hit those high notes despite his flu, Ronnie was legendary on the drums, Ted was amazing, the choir was amazing, et cetera et cetera. It’s a shame (especially for the people that DID know all their songs) that the crowd bothered them so much that they didn’t play Mr. Brightside, but again, the band isn’t to blame.

These Las Vegas legends know how to give a great performance!

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The Kills Announce 2024 Tour Dates, Share New Song “Wasterpiece”: Stream

The post The Kills Announce 2024 Tour Dates, Share New Song “Wasterpiece”: Stream appeared first on Consequence .

The Kills will take their upcoming album  God Games   on the road next year with a newly announced 2024 North American tour. Along with the news, the band has shared a new song from the record, “Wasterpiece.”

Beginning February 2nd at The Observatory in Santa Ana, California, The Kills’ 2024 tour starts on the West Coast with shows in Portland, Vancouver, and Seattle before hitting cities like Minneapolis, Chicago, Toronto, Montreal, Boston, Philly, Nashville, Houston, and Los Angeles. The tour wraps up March 16th at the Fox Theater in Oakland.

Pre-sale tickets go on sale Wednesday, October 25th at 10:00 a.m. local time via Ticketmaster (use code  VOCALS ), while the general sale begins Friday, October 27th. Once the shows sell out, fans can look for deals via StubHub .

Alison Mosshart and Jamie Hince bring a rare sense of cool to a buttoned up golf course in the music video for “Wasterpiece,”  God Games’ fourth single. With crackling percussion and scratchy synths, the track leans heavy into that “darkness is sexy,” rock ‘n’ roll thing: “That high on life shit/ That doing alright shit/ I’m on fire shit/ I don’t buy it,” the two croon.

The Kills’ new album arrives this Friday, October 27th. So far, the band has previewed the project with the joint singles “New York” and “LA Hex,” as well as with “103.”

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The Kills 2024 Tour Dates: 02/02 — Santa Ana, CA @ The Observatory 02/03 — Santa Cruz, CA @ The Catalyst 02/05 — Portland, OR @ Revolution Hall 02/06 — Vancouver, BC @ The Commodore Ballroom 02/07 — Seattle, WA @ Showbox SoDo 02/09 — Salt Lake City, UT @ The Union Event Center 02/10 — Denver, CO @ Summit 02/12 — Minneapolis, MN @ First Avenue 02/13 — Milwaukee, WI @ The Rave 02/14 — Chicago, IL @ The Riviera Theatre 02/16 — Detroit, MI @ St. Andrew’s Hall 02/17 — Cincinnati, OH @ Bogart’s 02/18 — Columbus, OH @ Newport Music Hall 02/20 — Toronto, ON @ Danforth Music Hall 02/21 — Montreal, QC @ MTELUS 02/23 — Boston, MA @ Royale 02/24 — Philadelphia, PA @ Union Transfer 02/26 — New York, NY @ Webster Hall 03/01 — Washington, DC @ 9:30 Club 03/02 — Asheville, NC @ The Orange Peel 03/04 — Atlanta, GA @ Variety Playhouse 03/05 — Nashville, TN @ Brooklyn Bowl 03/07 — Houston, TX @ House of Blues 03/08 — Austin, TX @ Stubb’s 03/09 — Dallas, TX @ House of Blues 03/11 — Albuquerque, NM @ Sunshine Theater 03/12 — Phoenix, AZ @ The Van Buren 03/14 — Los Angeles, CA @ The Wiltern 03/15 — Sacramento, CA @ Ace of Spades 03/16 — Oakland, CA @ Fox Theater

The Kills Announce 2024 Tour Dates, Share New Song “Wasterpiece”: Stream Carys Anderson

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The Killers Bring Out Bruce Springsteen at Triumphant Madison Square Garden Show: Concert Review

By Ethan Shanfeld

Ethan Shanfeld

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Very few modern bands have a “Mr. Brightside.” Even fewer are able to whip it out in the first five minutes of a show and continue to entertain an arena for another 90 minutes. And even fewer are those who can hold their own in a three-song duet with Bruce Springsteen as he beams with excitement announcing their name to the crowd: “ THE KILLERS !”

“Everybody knows God made Saturday nights for rock ‘n’ roll,” frontman Brandon Flowers declared toward the beginning of the band’s set, the second of two consecutive nights at Madison Square Garden. And the Killers delivered on that, taking New York City on a tour of its greatest songs from “Hot Fuss” to “Pressure Machine.”

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While it was clear large swaths of the audience were not familiar with the Las Vegas band’s vastly underrated 2020 outing “Imploding the Mirage,” the Killers made a case for why they should be, opening the show with the explosive “My Own Soul’s Warning” and devoting much-deserved space to “Fire in Bone,” “Dying Breed” and “Caution.”

Midway through the set, the band went acoustic for “Runaway Horses,” with Flowers declaring that over the pandemic, the Killers had become a country band. Before playing the “Pressure Machine” tune, Flowers earnestly told the 20,000 city folk in the audience to “go get a beer if you don’t want to hear it.”

It’s hard not to be charmed by Flowers’ unfettered optimism and enthusiasm. He sings every song with a smile, stretching out the final singalong chorus of “Runaways” and then cheekily tucking Bill Withers’ “Lean on Me” into “Read My Mind.” At one point in the show, he quoted the “indestructible” Hellen Keller.

On some level, you have to buy into the Killers because, nowadays at least, it’s hard to find music as unapologetically anthemic without even the slightest hint of irony. Even the band’s corniest, most nonsensical lyrics (“We’re burning down the highway skyline / On the back of a hurricane that started turning when you were young”; “If you could see through the banner of the sun / Into eternity’s eyes like a vision reaching down to you”), paired with desert-rippling guitar riffs, roll off Flowers’ tongue like rock ‘n’ roll manifestos.

“Me and my friends have all been sweating bullets up here all night, because the Boss is here,” Flowers announced as he walked back onstage, barely able to contain his own excitement.

Before easing into their Springsteen collaboration “Dustland,” a reinvention of the band’s 2008 track “A Dustland Fairytale,” Flowers said, “This part of the night is usually reserved for me to have people put their phones up. And I tell us to think about where your light comes from.”

Then, turning to Springsteen, Flowers gushed, “It is a very unusual circumstance for me tonight because I get a lot of my light from you.”

The Killers and The Boss closed out the show on a bright note with “Born to Run,” with Flowers insisting Springsteen deliver the euphoric final verse: “The highway’s jammed with broken heroes on a last-chance power drive!” Then, sharing the microphone, the two of them — plus the entirety of Madison Square Garden — belted out the final chorus.

How to top that? Wisely, they didn’t try.

The Boss is here. Bruce Springsteen helped the Killers close out their show at Madison Square Garden with "Born to Run." https://t.co/gqMLYAtL0y pic.twitter.com/CrlwcZY75P — Variety (@Variety) October 2, 2022

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The Killers arrive for four nights at Co-op Live as part of their Rebel Diamonds tour, The tour marks the band's first time in UK arenas since 2017.

The upcoming dates are the first time The Killers have played arena shows in the UK since 2017’s Wonderful Wonderful tour, and follow the band’s most recent stadium tour, which saw them play to 400,000 fans at sold out shows including two euphoric nights at London’s Emirates Stadium in June 2022, and last year’s standout headline shows at Reading & Leeds Festivals. 

Tickets now on sale - Best availability 19 June 2024.

Upgrade your night: co-op backstage club.

Level up your Co-op Live experience with the exclusive Co-op Backstage Club - a vibrant, energy-filled space matching Manchester's bustling Northern Quarter.

Arrive through a VIP entrance, enjoy a complimentary glass of wine, beer or soft drink. Enjoy premium refreshments, top-quality food, an exclusive merchandise shop, and dedicated toilets. Available when you buy your ticket.

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Getting Here:

Co-op Live is located on the Etihad Campus in East Manchester and you can take multiple different modes of transport to the arena. Check out our dedicated page for all your travel questions.

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18, 19, 21 & 22 JUNE 2024

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Maximum of 6 tickets per household for each event.

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Anyone aged 14 or under must be accompanied by an adult aged 18 or over. No under 16's allowed on the standing floor.

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We've teamed up with our friends at Attitude Is Everything to ensure our venue is as accessible as possible. Our state of the art venue includes design and spaces to help everyone make the most of their visit, from lowered service counters, step-free access to all floors, a designated respite room, support for assistance dogs, hearing loops and more.

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Billie Eilish 'Hit Me Hard and Soft' world tour: How to get presale tickets for Ohio stop

Billie Eilish is hitting the road this fall in support of her new album, "Hit Me Hard and Soft."

According to Variety , the "Hit Me Hard and Soft" world kicks off in North America in September before heading to Australia and Europe in 2025. The pop singer-songwriter's third studio album hits the streets on May 17.

How to get tickets for Billie Eilish 'Hit Me Hard and Soft' world tour

Tickets for the Live Nation-produced tour go on sale April 30 for American Express cardholders, according to Variety, and are available through Live Nation and Ticketmaster , among others.

North American tour dates

In and around Ohio, Eilish will perform in Detroit on Oct. 7, in Pittsburgh on Oct. 13 and in Cincinnati on Nov. 8 , her first return to Ohio since playing the House of Blues in Cleveland in 2018.

Here's her full concert schedule for North America, per Variety:

• Sept. 29 : Québec City, Québec, Centre Videotron
• Oct. 1 : Toronto, Ontario, Scotiabank Arena
• Oct. 2 : Toronto, Ontario, Scotiabank Arena
• Oct. 4 : Baltimore, Maryland, CFG Bank Arena
• Oct. 5 : Philadelphia, Pennsylvania, Wells Fargo Center
• Oct. 7 : Detroit, Michigan, Little Caesars Arena
• Oct. 9 : Newark, New Jersey, Prudential Center
• Oct. 11 : Boston, Massachusetts, TD Garden
• Oct. 13 : Pittsburgh, Pennsylvania, PPG Paints Arena
• Oct. 16 : New York City, Madison Square Garden
• Oct. 17 : New York City, Madison Square Garden
• Oct. 18 : New York City, Madison Square Garden
• Nov. 2 : Atlanta, Georgia, State Farm Arena
• Nov. 3 : Atlanta, Georgia, State Farm Arena
• Nov. 6 : Nashville, Tennessee, Bridgestone Arena
• Nov. 8 : Cincinnati, Ohio, Heritage Bank Center
• Nov. 10 : Saint Paul, Minnesota, Xcel Energy Center
• Nov. 11 : Saint Paul, Minnesota, Xcel Energy Center
• Nov. 13 : Chicago, Illinois, United Center
• Nov. 14 : Chicago, Illinois, United Center
• Nov. 16 : Kansas City, Missouri, T-Mobile Center
• Nov. 17 : Omaha, Nebraska, CHI Health Center Omaha
• Nov. 19 : Denver, Colorado, Ball Arena
• Nov. 20 : Denver, Colorado, Ball Arena
• Dec. 3 : Vancouver, British Columbia, Rogers Arena
• Dec. 5 : Seattle, Washington, Climate Pledge Arena
• Dec. 6 : Seattle, Washington, Climate Pledge Arena
• Dec. 8 : Portland, Oregon, Moda Center
• Dec. 10: San Jose, California, SAP Center at San Jose
• Dec. 11 : San Jose, California, SAP Center at San Jose
• Dec. 13 : Glendale, Arizona, Desert Diamond Arena
• Dec. 15 : Inglewood, California, Kia Forum
• Dec. 16 : Inglewood, California, Kia Forum
• Dec. 17 : Inglewood, California, Kia Forum

Eilish tour promotes environmental, climate justice programs

During the tour, Eilish is partnering with Reverb to support environmental and climate justice programs, according to Pitchfork .

"Eco-villages" at each show will educate her fans about sustainability efforts, according to the article. Also, she's bringing in Support+Feed to offer plant-based food options at the concerts, and encourage a plant-based diet.

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Governor Puppy Killer's Book Is 'Team Trump Approved'

Even as Governor Puppy Killer, Kristi Noem, is rightfully catching hell for her book in which she talked about killing a puppy because she hated it, but then doubling down on her despicable deed, she is also getting some support from the Trump campaign, aka the RNC.

The RNC recently sent out a fundraiser mass email promoting her book and saying for a donation, they'll send out a "free" copy of the puppy killing manual:

On Friday, Republicans offered up free copies of the book to anyone willing to donate $35 or more. The email was “Team Trump approved.”

Obviously, the book is not free. The RNC is charging $35 for the POS which isn't worth the paper it's printed on. However, it is very telling that the Trump legal defense fund is perfectly fine with a bit of barbarity and vulgarity as long as it pays the lawyers' fees.

Ironically, on the very same day that they sent out the fundraiser email, the RNC went running to the Secret Service and to the City of Milwaukee, crying that they needed a much larger safe space for their convention:

A letter from an attorney for the Republican National Committee states that if the designated protest area were at Pere Marquette Park on the west side of the Milwaukee River, convention attendees would have to walk right by the park on State Street or Kilbourn Avenue to reach the venues. "The effect of this selected Park location for the demonstrators, when coupled with the USSS’s creation of the pedestrian traffic flow necessitated by the location of the Security Perimeter and the associated selection of the two primary pedestrian access points, is that the USSS will be creating, in effect, a mandated confrontational area, where the pedestrians will be funneling into the direct (planned) vicinity of the demonstrators," attorney Todd R. Steggerda wrote.

In other words, the RNC is deeply concerned about attendees being exposed to protesters. The unspoken part is that if that would happen, attendees might get exposed to the truth and to the reality that there are a lot of people that don't like them.

It's sad that the Republicans never once considered that if they stopped taking away a woman's right to do what she wants with her body or murdering innocent puppies, much less bragging about those evil deeds, they might have a slightly easier go of things.

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Grammy-winning Billie Eilish announces Cincinnati stop on newest tour

CINCINNATI — Billie Eilish is coming to the Queen City.

The pop star is going on tour for her newest album "Hit Me Hard And Soft," which releases on May 17. The tour by the same name kicks off this fall, with a stop planned for Cincinnati in November.

Eilish will perform at Heritage Bank Center on November 8.

Tickets for the tour go on pre-sale April 30, with general on-sale starting May 3. The tour starts off in Canada, winding through North America before continuing in Australia beginning in February 2025.

Fans will be able to bring an empty reusable water bottle or make a donation to purchase a refillable bottle that can be used at free water refill stations at each venue along the tour, according to a press release.

In addition, Eilish's tour will feature donations to environmental nonprofit REVERB; venues booked for the tour also must offer plant-based food options at all of her shows, the press release says.

The tour begins on September 29 in Quebec, travels through Canada and into the US throughout October, before stopping in Cincinnati on November 8. The tour will last until July 2025, when Eilish plays her last show of the tour in Dublin on July 26 and 27.

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Multi-time Grammy Award winner Billie Eilish is coming to Cincinnati as part of her upcoming Hit Me Hard and Soft tour.

Eilish will be rocking Heritage Bank Center on Friday, Nov. 8, in the middle of her U.S. run. Her stop in Cincinnati will be her only stop in Ohio.

Eilish will be going to North America, Australia, Europe, the U.K. and Ireland in support of her upoming album, "Hit Me Hard and Soft," set to release on May 17.

Presale tickets will go on sale beginning Tuesday, April 30, with additional presales running throughout the week. Any remaining tickets will go on sale to the general public on Friday, May 3.

For more information, including ticket information and the tour's full route, click here .

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

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

By Brian Davids

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Are composers pretty competitive with one another? 

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

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

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

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

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

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

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

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

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

I enjoyed it.

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

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

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

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