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belovedindierock · 1 year

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Rolling Stone #1155, April 26th 2012

Radiohead Reconnect

How the most experimental band in music learned to rock again

by David Fricke

Thom Yorke walks into the catering room backstage at the American Airlines Arena in Miami wearing a dark T-shirt, tight red jeans and a crooked smile. "I'm feeling quietly excited – and quietly nervous," Radiohead's frontman says as he pours himself a cup of coffee. Yorke flew in from Britain late yesterday – his eyelids are still heavy with jet lag – and he is due onstage shortly for Radiohead's final rehearsal before the launch of their most extensive tour since 2008: 58 shows over 10 months in North America, Europe, Asia and Australia. They open here tomorrow night.

"Everything – the production, the new lights, the set list – is still a work in progress," Yorke says. "But it's finally getting started." Soon he can be heard warming up his voice behind a closed door, practicing scales in a high, precise warble, holding notes in long, clean aaaahs.

Radiohead are not only beginning a tour; they are unveiling a rebirth. The band is ending one of the most challenging and confounding eras in its career: nearly three years of public silence and private chaos during which Radiohead struggled with reinvention and their future. They made some of their most beautiful music on their least popular album, last year's The King of Limbs, but didn't promote it and stayed off the road, uncertain how or if they could be a performing band again.

"We're still flailing around," Yorke admits, sitting in one of the band's dressing rooms. He recalls the early practice sessions for this tour. "I was freaking out, going, 'Oh, no, it's not enough time. I want to do all these new things.'"

But onstage, a little while later, he and the rest of Radiohead – bassist Colin Greenwood; guitarists Ed O'Brien and Colin's younger brother Jonny; drummer Phil Selway and new second drummer Clive Deamer, who has played with the group for the past year – sound exuberant and confident as they push through "Bloom," from The King of Limbs. What sounded on that record like a glassy enigma of loops and ghostly incantation is now rushing water, arranged by the new six-man lineup as a fury of rhythms and murky-treble guitars. "Morning Mr. Magpie" is also harder and faster than the version on Limbs, while "Meeting in the Aisle" – an instrumental from the sessions for 1997's OK Computer – is played with fresh pepper, like Turkish surf music with a trip-hop step.

Radiohead have worked up more than 75 songs for the 2012 shows, including material written during rehearsals this winter at their studio in Oxford. The band will run through a pair of newborns tonight, "Identikit" and "Cut a Hole." Yorke, 43, describes the former as "joyful, slow but with a wonky hip-hop beat." He beams. "That one wormed its way to the head of the class." Colin, who is 42, is excited about another new one, "Full Stop," particularly the part "where Thorn's voice jacks up into this amazing falsetto. The song just takes off."

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In an interview before practice, Yorke credits the addition of Deamer, who came from the British band Portishead, with Radiohead's live renewal. "Having another musician to go back over old stuff was as important as coming up with new songs," says Yorke. He's slumped on a couch, but his voice crackles with restless energy. "Along the way," he says, "you discard songs, because you can only do them in a certain way. To breathe new life into them is a good feeling. You don't have to ask, 'Oh, how does it go again?' It's 'How can we do this properly now?'"

The best example at this rehearsal is the title song from 2000's Kid A. Recorded at the height of Yorke's loathing of guitar-band convention, "Kid A" was barely a song at all – a cloud of whoosh with Yorke singing through a vocoder like a child robot. Tonight, it sounds huge and metallic, a bolt of argumentative double drumming with a striking, classical temper in the piano chords, played by Jonny.

"It was an anti-song," says O'Brien the next day, in an ocean-view lounge at Radiohead's hotel. "Now it's something warmer, particularly the end. Suddenly, it has this sunrise." For a long time, in a lot of the band's music, he admits, "nothing was allowed to be genuinely beautiful. Jonny was always so brilliant about throwing that slashing guitar through things.

"This is very much where we are – and Clive has brought this," says O'Brien, who turns 44 this month. "Didn't they say when the Beatles got Billy Preston everybody was on best behavior?" He laughs. "Having someone break up the energy – that's good. It got people out of old habits.

"You hear it all the time," says O'Brien. "These bands say, 'We're in the best phase of our lives,' and they don't make very good music. I'm reluctant to say that. It's not our best phase. It's another one – and it's a good one. It doesn't feel like a new band. It feels like a band that knows itself."

Yorke isn't so sure – yet. "It's weird not to have any definitive versions recorded," he says of the new songs, "because that's where you make the final decisions. To be rehearsing new stuff, not have it recorded, with a sixth member in the band . . ." He rolls his eyes in mock terror. "It's all very fluid. I'm not really sure what it is."

Jonny, 40, sitting on the sofa next to Yorke, remembers the singer arriving for the first day of practice in Oxford: "He came in and said, 'I had a dream that we had an extra month for rehearsing.' I thought, 'Wouldn't that be great?'"

"We haven't played in front of people yet, so we don't know if it's any good," says Yorke. "We might not even find out tomorrow." He flashes that crooked smile. "Maybe it will take a while."

Radiohead have been a recording band for two decades. This year marks the 20th anniversary of their debut EP, Drill, and the initial release of their seething Top 40 hit "Creep." Since then, Radiohead have enjoyed the weirdest forward motion of any major rock band. Their hit albums, including two American Number Ones, Kid A and 2007's In Rainbows, are slippery and jarring: blends and collisions of violent guitar dynamics, cryptic dance-floor electronics and barbed, elliptical balladry. Radiohead's last "conventional" album, according to their longtime co-producer Nigel Godrich, was their art-rock classic OK Computer. "Essentially, that was a guitar record dabbling in other dimensions," Godrich says. Radiohead have begun every subsequent album the same way. "We start," O'Brien says, "with what we don't want to do next."

There has been substantial outside work in recent years. Selway's first solo effort, Familial, came out in 2010. Yorke is almost done with the first studio album by his band Atoms for Peace. Jonny, a prolific writer for soundtracks and orchestras, just issued an album with Polish composer Krzystof Penderecki. An independent act since the end of their EMI contract in 2003, Radiohead also explore alternative ways of releasing music. In Rainbows was first available as a pay-what-you-choose download. A gorgeous 2009 track, "These Are My Twisted Words," was free.

The King of Limbs arrived as a complete shock: a download with a week's notice and no publicity by the band. A CD followed a month later. But the surprise attack, combined with the music's vexing restraint, backfired. "There were clearly people who were interested in the band's music, but they didn't know Radiohead had released a record," says Bryce Edge, one of the group's managers. To date, The King of Limbs has sold 307,000 copies in the U.S. – Radiohead's first album to fail to go gold here.

But that tally, Edge points out, "doesn't include all of the digital stuff we sold" – an estimated 300,000 to 400,000 copies purchased via Radiohead's website. "The majority of the sales were band-to-fan," says co-manager Chris Hufford. "Financially, it was probably the most successful record they've ever made, or pretty close. In a traditional deal, the record company takes the majority of the money."

Radiohead played only three concerts in 2011, after recruiting Deamer to help re-create the overdubbed tangle of drum loops on The King of Limbs: a surprise set at Britain's Glastonbury Festival and two hot-ticket gigs at New York's Roseland Ballroom. So now the band is going overboard: Its long U.S. itinerary includes festival dates, two at Coachella and one at Bonnaroo. O'Brien says the group has already "talked about the way the gigs might evolve, maybe doing them in three sections – three movements, if you like." Colin is excited about the prospect of studio time along the way. "Maybe we'll do some hit-and-runs," he says, "go in over a weekend somewhere and play."

The band is touring mostly in three-week legs with substantial breaks, in part for family matters. All the group members still reside in the Oxford area except for O'Brien, who lives in London, and all are married except for Yorke, who has been with his partner, Rachel Owen, since they were students at the University of Exeter. The five are busy fathers. Colin, Jonny and Selway have three children each; Yorke and O'Brien have two apiece. "My kids are changing schools in September," Selway, 44, notes. "I wanted to be around for that."

But there is a strong sense in the interviews conducted for this story over the past year – in Oxford, London, New York and finally Miami – of a band anxious to engage the world again after spending too much time too close to home. The first night at Roseland last September was, O'Brien claims, "a great lesson. The sound-check was a fucking nightmare. The monitors were rubbish – we couldn't hear ourselves. We felt underprepared. But you know what? It was all good. Our managers were like, 'Top-five gig!'"

"It was a fucking trip – the best adrenaline buzz I've had in absolutely years," Yorke crows. "It didn't feel like we were treading the old ground, walking over our graves. We were still wandering around in the darkness, stumbling. That was nice."

"It made us feel like a rock band again," Colin says, more thoughtfully, backstage in Miami. "It's fine to be in a band in a nine-to-five way: Get up with the kids, take them to school, do some work, come home. But I see my friends in Oxford who have jobs they work hard at that they don't enjoy, and it frustrates me. We have a job that is a passion. Roseland made us remember how great it could and should be."

Radiohead speak about The King of Limbs like it is unfinished business, an album with a future and an audience still waiting for it. The group is not touring this year "specifically to push that record," Selway says. But, he adds, "people hopefully will connect with it through that."

"It was amazing to just put the record out like that," Yorke says. "But then it didn't feel like it really existed." He mentions a chat he had about the album, a few months after its release, with Phil Costello, a friend of the band and a former executive at their old label, Capitol. "He was like, 'It's gone, just gone.' Really? Fuck.

"But that was the consequence of what we chose to do," Yorke concedes. "You can either get upset about it, or say, 'Well, that's not good enough.'"

It is a warm afternoon in New York, the day before the first Roseland concert, and Yorke – between sips of tea in a downtown hotel lobby – is recalling his Friday nights in college, working as a DJ while he was going for his bachelor's degree in art at Exeter. Radiohead were a part-time operation, writing songs and making demos under their original name, On a Friday, during the members' school breaks.

"I wasn't particularly good," Yorke says of his spinning, "because people were buying me drinks to get me to play what they wanted to hear. At the end of the night, I couldn't see the records." Yorke remembers mixing electro-dance tracks by a Belgian duo, Cubic 22, and the English trio 808 State with early Seattle grunge. He was especially keen on the way Manchester bands such as Happy Mondays and the Stone Roses were fusing Sixties psychedelia and British rave culture. "Which then stopped," Yorke complains. "Suddenly, guitars were the authentic way to go. We were a part of that."

Since OK Computer, Yorke has persistently fought to increase the distance between his band and customary rock instrumentation and record-making. "I talked about it endlessly while we were doing In Rainbows," he says. "It was a constant frustration that we were actually going the opposite way."

The King of Limbs is Yorke's student-DJ dream come true: rock fundamentals wholly transformed by electronics. The drum, bass and guitar parts are all samples, individually played by the members of Radiohead, then manipulated, looped and layered into tracks shaped by Yorke's reverie-like melodies and haiku-style lyrics. "Lotus Flower," "Codex" and "Give Up the Ghost" hover and throb more like suggestions than songs, exotic murmurs in no hurry to become declarative statements. "I can see why it's alienated people," Yorke says now of the album. "I didn't realize it was its own planet."

"We didn't want to pick up guitars and write chord sequences," Jonny says, sitting in a London cafe near Abbey Road Studios, where Radiohead made part of their second album, 1995's The Bends. "We didn't want to sit in front of a computer either. We wanted a third thing, which involved playing and programming." It was a long hunt: Radiohead worked on The King of Limbs in bursts from May 2009 to January 2011.

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Tall and shy, constantly sweeping a long curtain of black hair from his face, Jonny is the only member of Radiohead without a college degree; he left his studies in psychology and music at Oxford Polytechnic College when the group got its record deal in 1991. But he is arguably Radiohead's most gifted musician: a classically trained violist who also plays violin, cello and keyboards. Jonny also created the software program used to sample the instruments on The King of Limbs. "I was never happier," he says, "than when I was in my bedroom as a kid, working on rubbishy computer games.

"The brick walls we tended to hit," he adds, going back to the album, "were when we knew something was great, like 'Bloom,' but not finished. We knew the song was nearly something. Then Colin had that bass line, and Thom started singing. Those things suddenly made it a hundred times better. The other stuff was just waiting for the right thing."

"They are unlike any other band in the studio," says Godrich, who has worked on every album since OK Computer. "They could not record 'Bohemian Rhapsody,' because they don't have the attention span. If it's not happening straightaway, Thom gets confused. That's not his way."

Godrich cites one classic Radiohead song that was never finished in the studio, "True Love Waits," a popular concert ballad: "We tried to record it countless times, but it never worked. The irony is you have that shitty live version [on the 2001 mini-album, I Might Be Wrong]. To Thom's credit, he needs to feel a song has validation, that it has a reason to exist as a recording. We could do 'True Love Waits' and make it sound like John Mayer. Nobody wants to do that."

Radiohead did not support Limbs with an extensive tour last year for two reasons. One: "We thought it might not be playable," Jonny says. The other "was partly my fault," Yorke acknowledges. The album "released such a load of weird possibilities." He wanted to go right back into the studio, then decided against "carrying on in the same vein. We couldn't do that, we couldn't play live: 'Aw, shit, now what?'"

Deamer, 51, a veteran jazz and dance-music drummer who has also worked with Robert Plant, was the answer. "I've loved his drumming for ages," Selway says. "He seemed like the natural person to go to." In early 2011, the two started dissecting the new songs and deciding which of the many drum parts they could feasibly perform live. A year later, Selway is on the phone from Oxford after Radiohead's final day of tour rehearsals there: "Everything is wide open," the drummer declares in an ecstatic version of his soft, gentlemanly voice. "Seeing that dynamic between the six of us bearing fruit – we have started something. A lot of bands at this stage don't get that opportunity. Or they miss it when it's there."

But, Yorke says, "There is no way in hell we could have come up with what we're doing now, live, if we hadn't been sitting in front of turntables and samplers, piecing the record together in this method. There is no way it would have turned into this dynamic thing."

Asked which songs on The King of Limbs have changed most in performance, Yorke mentions "Lotus Flower." "With the two drummers it suddenly got nasty," he says. "I quite like it." And he agrees that "Give Up the Ghost" – a spare, repetitive ballad on the record – became something else at Roseland: a booming, circular prayer as Jonny sampled and manipulated Yorke's live vocal.

"You're sampling what the mic is taking from the room too," the singer explains. "It's getting the room back, again and again and again. What it's going to sound like in an arena. . ." Yorke's eyes go wide with delight. "I'd forgotten about that. It could be something."

On a cool midsummer evening in Oxford, Colin is strolling briskly to a pub in the old center of the city, noting historic sites along the way. He gestures at a narrow door leading into Modern Art Oxford, a prominent gallery. When they weren't playing together or in school, the young members of Radiohead hung out in the basement lounge, "talking forever, each of us over a single cup of coffee for five hours," Colin says.

Around the corner, he points to a store – part of Cult, a clothing chain – and notes with a bemused smile that Yorke worked in another local branch as a salesman. It is an improbable image: Yorke, a compact man of impatient energy and lethal irony, closing a deal on designer jeans.

Passing a phone booth, Colin remembers Radiohead's first, stumbling attempts to make records, before they got their EMI deal. "There was no e-mail or cellphones," the bassist says. "We'd find a call box, put money in it and call a studio." Once, when they asked how much a session cost, "the guy said, 'Nine hundred pounds.' We said, 'Thank you!' and hung up." Radiohead ultimately cut most of their first album, 1993's Pablo Honey, at a studio co-run by a producer who had worked with the Sixties-blues version of Fleetwood Mac.

Then there is the Bear Inn, a truly ancient pub (established 1242) with perilously low ceilings. Colin, an Oxford native, and Yorke – born in a small East Midlands town, Wellingborough, and raised for a time in Scotland – first met in their preteens. They were both taking classical-guitar lessons at Abingdon School, outside Oxford. At the Bear, the two managed to buy drinks even though they were underage and talked about their role models for the band they planned to form: New Order, Talking Heads and Yorke's favorite, R.E.M.

Over a pint of ale at a picnic table outside the Bear, Colin fondly recalls "that excitement of noise" at Radiohead's first local gigs, "when you play in a pub, borrowing some older guy's Fender bass cabinet and you've had four cans of lager to get your courage up. We did that for the first show we ever did. It was a 20-minute walk that way." He points down the street running behind the Bear, toward the Jericho Tavern. Radiohead made their concert debut there in 1986 under the name On a Friday, after their usual rehearsal day, when the members were all at Abingdon School. Selway, the oldest member, was 19; Jonny was not yet 15.

Later, standing outside a restaurant in a residential neighborhood, Colin notes another Radiohead shrine: the house near the corner of Magdalen Road and Ridgefield Road that Colin, Selway and O'Brien rented in the summer of 1991. The band stored its equipment there, and all five members lived there, in varying combinations, for about a year. "Good times," Colin says with a sigh, "although Jonny never did any of the washing up."

Selway characterizes that period as "good training for tour buses. There were piles of pizza boxes in the corner. It would get so unbearable that someone would have to do the cleaning. I was coming and going for most of the year. I seem to remember Colin moving into my room after I'd decorated it quite nicely."

Yorke arrived after he graduated from Exeter. "We would come back from gigs," he says, "and listen to the answering machine. There would be messages from 10 A&R men."

The Ridgefield Road house was the end of Radiohead's adolescence – the point at which they became a full-time band obsessed with their work and progression. Jonny describes one Christmas when he was still in high school and the others were home from college: "We rehearsed in some hall in town every day, including Christmas Eve. It was insane. There was no concept. We were working on songs for some nebulous future reason we had not clearly thought through.

"That's the kind of intense time we spend together," he says. "That's how it's always been. Our gang principally revolved around playing musical instruments, songs to talk about."

"I think that was when we wrote 'Creep,'" Yorke says when asked about that Christmas. "There are these periods when you get energized. You can't force yourself to hang out. But when we're working, when it's happening and it's all good, all that shit just occurs."

Yorke's aversion to the road surfaced early. So did his distaste for the play-the-game decorum expected of a major-label band. Manager Edge recounts "a famous gig" in Las Vegas "when we'd done some ridiculous routing because of the seeming lack of knowledge American promotion guys have of geography. We were doing a radio show, supporting Tears for Fears, and everyone was grumpy." During the show, "in a fit of pique," Yorke smashed half of the stage lights. Edge maintains that "the idea of him doing anything like that now is long gone."

But Yorke looks back on his not-much-younger self – particularly the tormented anti-star preserved in Meeting People Is Easy, the 1999 documentary of the OK Computer tour – without excuses. "I was bored," he states flatly, backstage in Miami, of his aggro-zombie aura in that film. "I loved that record. But the idea of being stuck with those songs for a year and a half, in the same form, no change, no nothing – I struggled with it. We'd finish a song, and I'd stand there, frozen.

"I understand now why we did all of those shows," Yorke confesses. "If we hadn't, we wouldn't be where we are. But I lost my nerve. We've been through different stages – that was a bad one."

"What's different about us," Jonny chimes in, "was that right from the beginning, our obsession was songs. As a byproduct, we tour now."

"It wasn't a bunch of mates" on Ridgefield Road, O'Brien observes, "more like a bunch of co-conspirators. We had this common goal. That's what it was all about, dreaming it up. All this stuff we have now – there was never any doubt it was going to happen. And it did, because the material world caught up.

"But I would say this – they are my brothers. Some of the others don't realize that. But we'll be at one another's funerals. We've been through this. We're family."

That is "a strength we don't really acknowledge to ourselves," Colin says. "We're far too English."

There is a physical side to it that I find interesting – the breath," Yorke says. He is trying to explain where he goes in his head and what he feels when he sings. "It's a meditative state, like standing in the tube station when the train is coming through. Things go past you – trains, people.

"It took me a few years to learn how to do it," he says of performing, during a breakfast interview in London last July. "Seeing people like Michael Stipe and Jeff Buckley – I realized it's a good place to go. It's OK to shut your eyes."

Later that day, Radiohead convene with Edge and Hufford to discuss touring in 2012. Afterward, O'Brien describes the meeting as "fraught." Yorke already sounds uneasy over his egg-white omelet: "The level of machinery freaks me out sometimes. You walk backstage, and there's people and stuff everywhere.

"We never wanted to be big," he says. "I don't want to be loved in that way. You can say it is selfish. You can also say this is someone who gets a kick out of what they do: trying to fuck with your head." Yorke enunciates the last phrase with relish.

"Because that's what it's all about," he continues, "casting the net wide, creating chaos and trusting something will come of it – not panicking, just going with the blind faith and all of these moving parts. This idea – where will the band be in five years? Fuck that. I'm just looking for little diamonds in the dust."

"Thom has the most acute bullshit detector in the band," O'Brien says, with awe, in Miami. "It's that balance – an intensely critical life, with an ability to feel, to have great intuition. We're not necessarily making the smartest business decisions. But we are following our intuition. It's about the art."

"This is a work in progress – that's the bit I like," Yorke confirms, just before that last practice. Then he says something else. "I was thinking, when I was on holiday recently – I've been doing this more than half my life." He pauses. "That's bonkers!" Yorke proclaims with an astonished laugh. "And it's cool. It's a job – and a good job.

"We actually need to get on a stage now and see where we're at," he declares, ready to play. "It's a large stage, and there will be a lot of people." There's more laughter. "But I've been told that's OK."

#radiohead #fitter hapier #rolling stone #2012 #1155 #how the most experimental band in music learned to rock again #david fricke #rolling stone magazine #magazine #april 26 2012 #april 26

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leadingedgeled · 5 months

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Driving Success: Florida LED Truck Advertising Lights Up Miami's Marketing Scene

In the vibrant and diverse landscape of Florida's marketing arena, one advertising trend is gaining momentum and turning heads – Florida LED Truck Advertising. At the forefront of this innovative approach is the bustling city of Miami, where the fusion of LED technology and mobile billboards is reshaping how brands connect with their target audiences. In this blog post, we will explore the dynamic world of Florida LED Truck Advertising, focusing on how these mobile marvels are illuminating the Magic City's marketing scene.

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fmhiphop · 1 year

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Drake announces 'It’s All a Blur Tour' with 21 Savage

Drake has announced a 29-stop tour with 21 Savage to accompany their smash hit album Her Loss. Find out where you can grab tickets! Its All a Blur View this post on Instagram A post shared by champagnepapi (@champagnepapi) The 'It’s All a Blur Tour' begins this summer on June 16 in the New Orleans Smoothie King Center. In addition to New Orleans, Drake and 21 will be visiting Detroit, Inglewood, Washington DC, San Francisco, Atlanta, and more. This is a big return to the stage for Drake, who hasn’t toured since the 2018 'Aubrey & the Three Migos Tour'. That venture was extremely lucrative for both The Migos and Drake, grossing a total of 111.21 million and spanning 54 shows. Since then, the 'One Dance' artist has put out 5 albums and performed several high-profile live shows. Namely, his recent set at the Apollo Theater and the 2021 'Free Larry Hoover' concert with Kanye West. Now that Drake has proven to himself, the industry and his fans the momentum hasn’t slowed a bit. And he’s ready to return as a headliner. The upcoming 'It’s All a Blur Tour' follows the duo's highly praised collab Her Loss. The project was received well both critically and on the charts. Her Loss debuted at #1 on the Billboard 200 and sold over 400,000 units, including 12,000 pure album sales. Drake is no stranger to capitalizing off collaborations, with 2015's What a Time to be Alive with Future being one of his most well-received projects. 21 is also familiar with music partnerships, releasing Without Warning with Offset and Metro Boomin back in 2017. However, her loss dominates all those titles with sheer numbers alone. And the 'It’s All a Blur Tour' is just the icing on the cake. Where Are They Going? Tickets officially go on sale March 15th via Cash App Card and Sprite presales. Tickets are open to the general public on drakerelated.com starting March 17th 12pm EST. You can take a look at all the tour dates below! - Fri Jun 16 – New Orleans, LA – Smoothie King Center - Mon Jun 19 – Nashville, TN – Bridgestone Arena - Wed Jun 21 – Houston, TX – Toyota Center - Sat Jun 24 – Dallas, TX – American Airlines Center - Wed Jun 28 – Miami, FL – Miami-Dade Arena - Sat Jul 01 – Atlanta, GA – State Farm Arena - Sun Jul 02 – Atlanta, GA – State Farm Arena - Wed Jul 05 – Chicago, IL – United Center - Thu Jul 06 – Chicago, IL – United Center - Sat Jul 08 – Detroit, MI – Little Caesars Arena - Tue Jul 11 – Boston, MA – TD Garden - Wed Jul 12 – Boston, MA – TD Garden - Fri Jul 14 – Montreal, QC – Bell Centre - Mon Jul 17 – Brooklyn, NY – Barclays Center - Tue Jul 18 – Brooklyn, NY – Barclays Center - Tue Jul 25 – New York, NY – Madison Square Garden - Wed Jul 26 – New York, NY – Madison Square Garden - Fri Jul 28 – Washington, DC – Capital One Arena - Mon Jul 31 – Philadelphia, PA – Wells Fargo Center - Sat Aug 12 – Inglewood, CA – Kia Forum - Sun Aug 13 – Inglewood, CA – Kia Forum - Fri Aug 18 – San Francisco, CA – Chase Center - Mon Aug 21 – Los Angeles, CA – Crypto.com Arena - Tue Aug 22 – Los Angeles, CA – Crypto.com Arena - Fri Aug 25 – Seattle, WA – Climate Pledge Arena - Mon Aug 28 – Vancouver, BC – Rogers Arena - Fri Sep 01 – Las Vegas, NV – T-Mobile Arena - Tue Sep 05 – Glendale, AZ – Desert Diamond Arena RELATED STORIES: Drake Regrets Name Dropping Ex-Girlfriends In Music Drake Might Be Retiring Soon Read the full article

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whatsonmedia · 2 years

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Biggest Gigs and Concerts of this Month!

Our favorite musicians, including Red Hot Chili Peppers, Smashing Pumpkins, and the Weekend, is ready, willing, and able to rock our collective socks off. Some artists are making up for canceled shows from the previous two years, established stars are hitting the road once more, and new acts are making their debuts. Here is a list of all the concerts and music festivals that are going to be held WhatsOn editorial make it for you should be aware of in 2022. Lil Nas X Tour: Montero Tour Dates: 18 - 19 October – In YouTube Theater, Inglewood, CA at 8:00 PM 21 October - Arizona Financial Theatre, Phoenix, AZ at 8:00 PM 23 October - Bill Graham Civic Auditorium, 99 Grove Street, San Francisco, CA 94102, at 8:00 PM For tickets and more check out> https://www.ticketmaster.com/ Gorillaz Tour: North American 2022 Tour Dates: 19 October - AMERIS BANK AMPHITHEATRE, ALPHARETTA, GA, US 21 October - AMWAY CENTER, ORLANDO, FL, US 23 October – FTX ARENA, MIAMI, FL, US For tickets and more check out> https://www.songkick.com/ Lizzo Tour: The Special Tour Opening act: Latto Dates: OCT 18 - Gainbridge Fieldhouse, INDIANAPOLIS, IN OCT 20 - Spectrum Center, CHARLOTTE, NC OCT 22 - State Farm Arena, ATLANTA, GA OCT 23 - Bridgestone Arena, NASHVILLE, TN OCT 25 - Moody Center, AUSTIN, TX OCT 26 - Toyota Center, HOUSTON, TX OCT 28 - American Airlines Center, DALLAS, TX OCT 31 - Ball Arena, DENVER, CO For tickets and more check out> https://www.lizzomusic.com/ Smashing Pumpkins Tour: Spirits on Fire Arena Tour Special guest: Jane's Addiction Opening acts: Poppy, Meg Myers Dates: OCT 18 - Capital One Arena, 601 F Street NW, Washington, DC 20004 OCT 19 - Madison Square Garden, 4 Pennsylvania, New York, NY 10001 OCT 21 - Wells Fargo Center, 3601 S Broad St, Philadelphia, PA 19148 OCT 22 - PPG Paints Arena, 1001 Fifth Avenue, Pittsburgh, PA 15219 OCT 24 - Scotiabank Arena, 40 Bay Street, Toronto, Canada OCT 26 - Bell Centre, 1909 Avenue des Canadians-de-Montréal, Montreal, Canada OCT 27 - Quebec City, Canada, Centre Vidéotron OCT 29 - Cleveland, OH, Rocket Mortgage FieldHouse OCT 30 – Milwaukee, WI, Fiserv Forum For tickets and more check out> https://smashingpumpkins.com/ Jessie Reyez Tour: The Yessie Tour Dates: Oct 18 - Austin, tx, use, Emos Austin OCT 19 - Dallas, tx, USA, House Of Blues Dallas OCT 20 – San Antonio, tx, USA, Aztec Theatre OCT 23 - phoenix, AZ USA, The Van Buren For tickets and more check out> https://jessiereyezofficial.com/tour Read the full article

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tixbag · 2 years

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THE MACHINE GUN KELLY TOUR ANNOUNCES MAINSTREAM SELLOUT TOUR 2022

Machine Gun Kelly is taking his Mainstream Sellout Tour across North America and Europe this year, with an incredible roster of special guests including Avril Lavigne on select dates. The genre-bending performer has amassed over 15 billion streams online plus 10 million album sales in just two short years! His first ever arena tour will be stopping at all major cities for one very memorable hometown stadium performance: Cleveland’s FirstEnergy Stadium – home to the NFL Browns until 2014 when they were moved into their new facility south downtown which opened up right next door (and soon thereafter became known simply as “the q”).

Music lovers should not miss the chance to see this Machine Gun Kelly Tour 2022! The North American leg of 15-stop European Tour starts in June at Moody Center and travels across major cities such as Austin, Houston, Jacksonville, Miami etc., while ending up with one final performance near Cleveland. And if you’re looking for some great places nearby these venues that are worth visiting then you can Buy Machine Gun Kelly concert ticket at TixBag

How to get Machine Gun Kelly Tour 2022 Ticket?

Looking to get your hands on a Machine Gun Kelly tour ticket for the 2022 tour? You’re in luck!

Tickets for the Machine Gun Kelly tour are available now, and you can get your hands on them by following these simple steps.

First, head over to the TixBag website and search for “Machine Gun Kelly”. Once you’ve found the appropriate listing, select the concert date and click “Tickets”. From there, you’ll be redirected to a page where you can select your seats.

An important thing to note is that tickets for the Machine Gun Kelly tour tend to sell out quickly, so don’t wait too long before purchasing yours! We hope you enjoy the show! Before you select your ticket make sure you choosing the near place to your location and then you can choose ticket. Here the complete Machine Gun Kelly Tour 2022 schedule with date & venue.

The Machine Gun Kelly 2022 Tour Dates & Venue

June 08 – Austin, Texas @ Moody Center June 10 – Houston, Texas @ Toyota Center June 11 – Dallas, Texas @ American Airlines Center June 14 – Jacksonville, Fla. @ VyStar Veterans Memorial Arena June 15 – Miami, Fla. @ FTX Arena June 17 – Atlanta, Ga. @ State Farm Arena

Read More: https://www.tixbag.com/blog/2022/04/07/the-machine-gun-kelly-tour-announces-mainstream-sellout-tour-2022/

#machinegunkelly #machinegunkellytour #mainstreamsellouttour #mainstreamsellouttour2022 concerttickets #machinegunkellytickets

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natromanxoff · 2 years

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Only very few changes compared to the European concerts in 2005, in fact the setlist has become very predictable, a bit shorter and above all a bit boring! I think nobody missed A Kind Of Magic or I Want To Break Free. But dropping the excellent I Want It All was a sin! Also we can only guess why Brian stopped playing '39 on this tour. Some people think it was due to his injured back, some say it was because of the poor audience participation.

The Eminem intro wasn't played at the first two gigs but then returned back. Two "new" songs were performed - Take Love (written recently by Paul for the Q+PR project) and Dragon Attack which sounded great.

Brian had bad luck - once he slipped and fell down during Tie Your Mother Down and once he fell into the pit where the piano was coming up with Paul for Bad Company.

Queen + Paul Rodgers live at the American Airlines Arena in Miami, FL, USA - March 3, 2006

Photos supplied by: Doniphan

Fan Stories

“So, I was there, with my Dad, some days before the show, asking for my ticket in one of the American Airlines Arena box offices, taking photos of the builiding and imagining how would be the show. Then, the day of truth, we were having a good time in Miami Beach, then we managed (because it was Friday noon) to go home for lunch and a change of clothes, we returned to the AA arena at 6, my dad left me in one gate, because he couldn't get a ticket for himself (all the tickets were sold within a fortnight or so), and suddenly I was alone with tons of Queen fans, a huge number of people for me, (maybe is that I'd never seen more that 200 people gathered together to see anything related to Queen before)and I sat in one step of a staircase, after that a lady came and we began to talk about Queen, she told that she saw them three times, onxe in Beacon Theatre (didn't remeber the date), the other in Miami 78, and the other in Washington 82. We entered to the arena and bought some souvenirs; then each of us went to their seats. I still can remeber, that the first song that came through th P.A. was Hell's Bells from AC/DC, it was so loud that the people there tought it was the beggining of the concert, evryone stood up and began to cheer up and clapping. It was just a song to light up everyone there. After 3 or 4 more songs, the concert started. It amazed me the way how they play, just a little mistake in FBG (I was confused because I believe that this time they were about to play White Man). The way how the images in the big screens appeared, to show us all the Queen/Paul carreer over the years, was so shocking and unforgettable; the same for the Freddie singing that night. When I heard Dragon Attack, I thought that they were going to play a different setlist, but I think it was OK, as the U.S. didn't see them for a while. Evryone sang Love of My Life, FBG, Bohemian Rhapsody, the "ready Freddie" part in CLTCL, We Will Rock You, the claps in GAGA, WATC, it was all as I expected. I wanted to take pictures of them, near the catwalk, in the finale, but a big fat lady of security didn't allow me. I also wanted to take pictures of Trip Khalaf, but 3 security guys told me to go outside, in the end I took a lot of pictures but without any posing. It was a pity, and somehow moths later I looked some pics in the internet from some Peruvians, including a famous humorous actor of ours, taking pictures with Danny, Jamie and Spike. Overall, I would be one of the best experiences in my life, if not the best, although it would hard to choose from many family trips, and some other solo/friends trips.” - Marcio De La Cruz G�mez

(x)

#queen #queen band #roger taylor #brian may #paul rodgers #queen concerts #queen + paul rodgers concerts

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thisiskristin · 5 years

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First things first . . . HOLY SHIT the Jonas Brothers still know how to put on an incredible show. The whole thing was high energy from the moment they took the stage!!

I just want to give a little backstory to my attending this show. 10 years ago, I took my niece to her first concert here in South Florida. She was 5 and she was decked out in a Jonas Brothers t-shirt, Jonas Brothers press-on nails and Jonas Brothers sandals. You guessed correctly, her first concert ever (at 5 because I’m the coolest aunt ever) was the Jonas Brothers. When the guys announced that they were getting back together, I knew I was going to have to sell a kidney to get tickets for the niece to see them again, almost exactly 10 years later! & that’s what I did (minus the selling of my kidney on the black market lol).

I also want to state that the marketing team for the Jonas Brothers deserve a raise! Their cryptic posts leading up to the show had fans going nuts trying to figure out the set list and what surprises would be coming next. The intrigue for all things Jonas has been heavy for months now and that is extremely good for the brand.

The show started at about 7:45 with Jordan McGraw, who played a pretty short set. Bebe Rexha came out next and played her hits, which got the crowd pumped up even more for the guys.

While the crew was setting up the stage, the crowd started SCREAMING and everyone was turned towards the back of the arena. The Jonas fam all walked in and grabbed seats in the VIP Section, but you would’ve thought the guys had walked out! It was really nice to see a packed arena mostly comprised of young girls all cheering for the guy’s wives, daughters, family and friends rather than hating on them for changing their relationship status haha. Kevin’s daughters must’ve thought it was the coolest thing ever!

Photo Courtesy of Jonas Brothers on Twitter

Anyway, the guys came on at about 9:30pm and it was absolutely insane. They had the perfect mix of old hits sprinkled with new songs off of their Happiness Begins album. There was a mini stage set up in the back of the arena, in the VIP section, so every seat in the arena was a good one. Whether you were in the back sections or the front, you got a chance to see the guys just a little bit closer than you would with just a regular end-stage setup. The music was loud, the vocals were on-point and the whole production was very well thought out and put together. You can tell that a lot of preparation went into this tour and everything was executed perfectly. My only wish is that is was being filmed! Who knows, with all the surprises they’ve had for everyone lately, maybe it was.

At one point towards the end of the show, the guys brought out Sebastian Yatra, Natti Natasha and surprised everyone by bringing out Daddy Yankee for a special performance of “Runaway”. Between special guests, confetti canons, pyro, fireworks and those silly inflatable dancing creatures, the show was just a party from start to finish. Even the outside of the arena was decorated with balloons and made it feel like a party despite the heat and humidity haha. The show/party ended at about 11:20pm.

I also want to point out that I’ve been to A LOT of concerts, and this one might be at the top as far as high-energy is concerned. I mean that sincerely. The crowd was jumping and screaming and singing the words back to the guys the entire time and all I kept thinking about was their documentary, where Kevin asked if anyone would care that they were getting the band back together. After seeing the first show of the Happiness Begins Tour last night here in Miami, I hope that answered the question for him and erased any doubts they might’ve had. It’s obvious that the fans are here to stay!

I HIGHLY recommend checking this show out if you get the chance. The tickets are a big pricey, but they’re honestly worth it. A huge congratulations goes out to the guys on the success of their first show back and well wishes for the rest of the tour!

Check out the set list for our show below:

We are the Jonas Brothers (video intro) Rollercoaster S.O.S. Cool Only Human Strangers That’s Just the Way We Roll Fly With Me Used to Be Hesitate Can’t Have You Jealous Cake by the Ocean Comeback When You Look Me in the Eyes I Believe Mandy / Paranoid / Got Me Going Crazy / Play My Music (medley) Hold On / World War III / Tonight (medley) Runaway (with Sebastian Yatra, Daddy Yankee and Natti Natasha) Lovebug Year 3000

ENCORE

Burnin’ Up Sucker

Tour Review | JONAS BROTHERS: HAPPINESS BEGINS TOUR 2019 | American Airlines Arena in Miami, FL - 8/7/19 | @jonasbrothers #HappinessBeginsTour #Miami @nickjonas @joejonas @kevinjonas #review | Click here for more info: First things first . . . HOLY SHIT the Jonas Brothers still know how to put on an incredible show.

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zarry-interested · 2 years

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Bienvenidos a Miami

I loved this so much when I saw it on YouTube, but I wanted it in written form...so Thank you Zarry’s Coolers...

https://www.youtube.com/watch?v=UC6FvUn_Dj4

This took place in 2013

June 9, 2013, the band is in Mexico City performing.

On June 11, 2013, they arrived In Miami after their Mexico City performance. The band is in Sunrise, Florida (Fort Lauderdale) scheduled to perform. 37 minutes away from Miami. Because of the short travel times, the boys spent most of their time in Miami. They spent quite a bit of time on a yacht between June 11 to June 15. They were also back and forth to a Miami studio which is where they filmed a music video for their song “Best Song Ever”. According to the boys, the shoot took a couple of days to film.

June 12, 2013, fans and paparazzi captured 1D outside of the studio when they briefly stepped out to acknowledge their fans.

June 13, 2013, the boys headed back into the studio

The boys also have a concert to perform in Sunrise, Florida that night at the BB&T Center. This is the concert that the interactions between Harry and Zayn shift. Here is the video of “One Thing” from that evening’s performance. https://www.youtube.com/watch?v=U_wGbb8Tmzo

My personal favorite from that night is the Twitter questions....they keep rotating around each other like they just want to be in each other’s space. It doesn’t even look intentional like they are just enjoying being near each other’s energy. https://www.youtube.com/watch?v=uWo-V6lrIS4

They also did a meet and greet:

June 14, 2013: They performed that night at the American Airlines Arena. Again the Twitter questions are my favorite, and Z&H seem to be circling each other. My favorite answer was from Zayn (1:43 mark)...” I don’t know why, but I really want some Chicken...” and looks at H. Seems to me that he’s calling H a chicken....lol https://www.youtube.com/watch?v=oOzU07TnON8 Interesting thing to note from this video...Zayn’s shirt has a cross on it.

Also had another meet and greet with fans

June 15, 2013: The boys were back on the yacht. These are pictures of them getting back to the dock. All the boys were there, but I’m only going to show Z & H.

Harry wearing the cheese head hat. Don’t know when this photo was taken, other than it was taken on the 15th.

Zayn and Harry slept in a hotel that night and their rooms were next to each other...how do I know this...THANK YOU, Twitter!! Zayn and Harry were the only two who were seen again the night of the 15th.

9:47 pm Harry Tweeted this:

23 minutes later another post came in of Harry and Zayn walking into the hotel

Then at 1:02 Am the morning of the 16th the tweets start coming in

June 16, 2013, Louisville, Kentucky. To me, this is where you can definitely tell a shift in their interactions on stage. They become much more open with one another about their dancing, singing to one another, touching, etc.

Twitter Questions (Always my favorite) https://www.youtube.com/watch?v=w_tt_hibFr4

June 18, 2013, Columbus: “Loved you First” is the song that which their playful interactions took center stage. Harry poked Z’s butt. Of course, Zarry’s Cooler has all the good videos, the one I could find doesn’t show near the interactions. The Columbus show is also where Harry puts on the candy underwear from the crowd at the beckoning of Zayn. There are a lot of interactions between Zayn and Harry which are sexual in nature. No one knows what they are whispering to each other to give the complete context in which these interactions are occurring. However, they do show a change in the way they are choosing to interact.

June 23, 2013, Washington DC. Even Niall is noticing the change, and I laugh at this video every single time. (Starts at 0:59) https://www.youtube.com/watch?v=d4p9SQEVbz8 Harry skips over to Zayn grabbing himself singing “Shout it Out, Shout it Out”, the camera pans over to Niall and Louis. Niall is wide-eyed as he approaches Louis, whispers something in his ear while pointing, and Louis responds with an I don’t know and shrug. Harry sees this interaction and heads back over to the side of the stage with Zayn.

July 21,2013: “Best Song Ever” is music video is being released the following day and we got this tweet from Harry

July 22, 2013: “Best Song Ever music video released, which was filmed in Miami in June 2013.

Zayn said about the experience when Liam said he thought Zayn drew the short straw, “I don’t think I’ve drawn the short straw”

August 20 2013 (after the engagement of Perrie and Zayn shortly before): at the US premiere of “This is Us” the interviewer states to Zayn, “Hey Zayn can we talk to you for a moment about you being a lady, you looked really fit. I probably would and talk to me about that process...did you enjoy dressing up? Did you enjoy getting in touch with your feminine side?” to which Zayn responds, while Harry eyeballs the interviewer, “It was actually fun to dress up as a woman. I am sure every guy has fantasized about being a woman for just a day at least, just to see what it is like. It was quite interesting in having breasts, wearing a skirt and high heels. It was difficult to walk in the high heels” While answering, Harry looks at Zayn and quietly says “when was that?” then proceeds to nod along with his answer. The interviewer then asks “How did you cope with the high heels?” Harry says “he wouldn’t take the heels off”

September 2013 Access Hollywood interviewed the boys and said, “Who thinks Zayn is a pretty woman” Harry raises his hand, Zayn side eyes him. Liam states that he walked in it was full on frontal nude with his boobs out. Zayn laughs and says that "We discussed that we weren’t going to tell anyone about that” then looks directly at Harry. The interaction between the two, and Harry being all silent just looking at the ground then back at Zayn. He was then asked if he enjoyed the process of being a woman by the interviewer. His response, “Yeah, it was quite interesting...”goes on to say “the hair kept getting stuck in my lip gloss”. Harry then says, “He went home and like...drank beer and watched football and was wrestling and stuff...”

So the Miami trip turned into H&Z becoming closer as people....then the engagement happened....so....there’s that

#zarry #zarry stylik #zayn malik #harry styles

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lordeemailarchive · 6 years

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tour and a treat

(28/02/2018)

hey guys,

hope you’ve been good. i’ve been reading a lot of joan didion and thinking about making my own quilt - oh, and rehearsing the upcoming north american leg of the melodrama world tour, NBD. i really love this show - it’s so different for me. we’ve never played arenas before, and this is by far my biggest show in each city we’re visiting, which is awesome. pretty cool to think about us being in tiny clubs and theatres for pure heroine, and now i have a little razor scooter to get me around the venue lol! i hope you love the show too. it’s gonna be super fun to have run the jewels and tove and mitski running around with us too- make sure you check out their sets.

wanted to give you a fun taste of tour with this awesome remix el-p of run the jewels has done for SUPERCUT. i love it. so much. my little nerd heart is full.

just wanted u to have it as a treat via the mailing club first. do what you want with it. play it loud in gridlocked traffic and piss off all the old people.

all my love, and see you out there soon–

E x x x x

NORTH AMERICA DANCE w/ Run The Jewels, Tove Styrke (3/1-3/23), & Mitski (3/24-4/15)

Mar 1 - Milwaukee, WI @ BMO Harris Bradley Center - (Tickets) Mar 2 - St. Louis, MO @ Chaifetz Arena - (Tickets) Mar 3 - Kansas City, MO @ Sprint Center - (Tickets) Mar 5 - Denver, CO @ Pepsi Center - (Tickets) Mar 8 - Vancouver, BC @ Rogers Arena - (Tickets) Mar-9 - Seatlle, WA @ KeyArena at the Seattle Center - (Tickets) Mar 10 - Portland, OR @ Moda Center at the Rose Garden - (Tickets) Mar 12 - Sacramento, CA @ Golden1 Center - (Tickets) Mar 13 - Oakland, CA @ The Oracle Arena - (Tickets) Mar 14 - Los Angeles, CA @ Staples Center - (Tickets) Mar 16 - Glendale, AZ @ Gila River Arena - (Tickets) Mar 18 - Dallas, TX @ American Airlines Center - (Tickets) Mar 19 - Houston, TX @ Toyota Center - (Tickets) Mar 21 - Tulsa, OK @ BOK Center - (Tickets) Mar 23 - St. Paul, MN @ Xcel Energy Center - (Tickets) Mar 24 - Lincoln, NE @ Pinnacle Arena - (Tickets) Mar 25 - Des Moines, IA @ Wells Fargo Arena - (Tickets) Mar 27 - Rosemont, IL @ Allstate Arena - (Tickets) Mar 28 - Detroit, MI @ Little Caesars Arena - (Tickets) Mar 29 - Toronto, ON @ Air Canada Centre - (Tickets) Mar 31 - Columbus, OH @ Schottenstein Center - (Tickets) Apr 2 - Philadelphia, PA @ Wells Fargo Center - (Tickets) Apr 3 - Boston, MA @ TD Garden - (Tickets) Apr 4 - Brooklyn, NY @ Barclays Center - (Tickets) Apr 6 - Newark, NJ @ Prudential Center - (Tickets) Apr 7 - Uncasville, CT @ Mohegan Sun Arena - (Tickets) Apr 8 - Washington, D.C. @ The Anthem - SOLD OUT Apr 11 - Tampa, FL @ Amalie Arena - (Tickets) Apr 12 - Miami, FL @ American Airlines Arena - (Tickets) Apr 14 - Duluth, GA @ Infinite Energy Center - (Tickets) Apr 15 - Nashville, TN @ Bridgestone Arena - (Tickets)

(source: forwarded email by u/AitchyB, https://www.reddit.com/r/lorde/comments/80zv34/got_lordes_email_today_she_sent_along_this/ , and u/hearditinpastlife on reddit)

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ocw-archive · 2 years

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2004 MTV Video Music Awards - Show

Aug 29 2004 - American Airlines Arena - Miami United States

#2004 #public appearances

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itmnewsok · 4 years

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Jonas Brothers: La felicidad continua

Por Bárbara Ventura

Nick, Joe y Kevin lanzaron el segundo documental sobre su más reciente gira norteamericana en Amazon Prime

Los tres hermanos de Nueva Jersey estrenaron “Happiness Continues”, un nuevo documental en la plataforma digital, Amazon Prime en el que comparten su experiencia en el “Happiness Begins Tour”, su primera gira tras un año de su regreso a la industria musical.

El documental comienza con imágenes del primer show de “Happiness Begins Tour” en el American Airlines Arena en Miami. Nick, Joe y Kevin lucen trajes naranja, azul y violeta para subir al escenario y comenzar su nueva era como banda. Miles de fanáticos gritan y esperan por ellos mientras el trío Jonas se prepara el show. No solo los fans estuvieron en el estadio aquella noche sino también algunos de los miembros de la familia Jonas como las esposas de los cantantes, Sophie Turner, Priyanka Chopra y Danielle Deleasa junto a sus hijas, y Frankie Jonas, el menor de los cuatro hermanos.

“La separación tenía que suceder para que pudiéramos conocernos a nosotros mismos como individuos”, confiesa Kevin Jonas. La banda anunció su separación en 2013 y durante seis años tanto Nick como Joe iniciaron sus carreras solistas para experimentar nuevos géneros musicales y construir sus propias identidades como artistas de manera individual mientras Kevin se mantenía alejado de la exposición junto a sus hijas y esposa. Sin embargo, para la sorpresa de los fanáticos, el año pasado los hermanos decidieron que ya era hora de reunir a los Jonas Brothers y anunciaron su regreso en las redes sociales. “Cuando volvimos como banda debimos reabrir viejas heridas para tratar de sanarlas apropiadamente”, asegura Nick Jonas en el documental, “Happiness Continues” a lo que, Joe Jonas agrega: “Realmente hemos sanado y reconstruimos una relación rota. Ahora somos mejores de lo que alguna vez fuimos”.

La canción de apertura es “Rollercoaster”. Se puede ver a Nick, Joe y Kevin bajar al escenario desde lo alto mientras destellos de luces se encienden detrás de ellos. Así es como comienza el primer show de la gira. El American Airlines Arena de Miami luce como si los Jonas Brothers nunca se hubieran tomado un descanso de seis años o como si los hermanos no estuvieran cantando nuevas canciones tras diez años sin lanzar un nuevo disco. La relación entre Nick, Joe y Kevin con sus fanáticos esta intacta. La energía, la pasión y efusividad del público en cada letra cantada se asemeja a la de aquellos días de su última gira mundial en 2013. El reloj se había detenido en el tiempo. Salvo por el hecho que, los fans y los Jonas Brothers habían crecido. “Ahora tenemos un mejor entendimiento de nuestra versión más madura y lo que significa trabajar juntos”, afirma Nick Jonas.

Después que los hermanos cantaran “Cool” y “Only Human”, las nuevas canciones de su más reciente disco, “Happiness Begins” uno de los clásicos hits como “S.O.S” comienza a sonar. Las pantallas se tiñen de rojo mientras los tres cantantes lo cantan y sus fanáticos, corean a la par como solían hacerlo en 2007, año en que sus carreras como artistas despegaron junto al lanzamiento de la canción.

En el documental, el trío Jonas también se dedica a hablar sobre aquellas personas que aún se mantienen incondicionales a ellos sin importar los años: Sus fans. “Los fanáticos no deberían ser infravalorados en todo esto”, analiza Nick Jonas. El cantante de 27 años asegura que, de no haber sido por sus seguidores no estarían de vuelta y que hoy, la relación entre ellos y los fanáticos, maduró. “Fueron lo suficientemente ruidosos en internet y otros espacios para que nosotros supiéramos que aún deseaban esto”, argumenta. El menor de los Jonas explica que, al final del día esperan significar algo para sus fans más allá de los conciertos agotados o las canciones en la radio. “De alguna manera, somos sus chicos. Eso nos pertenece y lo amamos. Esperamos hacerlos sentir orgullosos”, expresa.

“Algunos creen que un concierto es muy ruidoso o que solo son personas gritando pero se puede sentir la energía de la audiencia a través de las piernas”, asegura Kevin Jonas a lo que Joe agrega: “Es el tipo de apoyo que te enciende de una manera muy indescriptible”.

“Happiness Continues” no solo se trata del presente de los Jonas Brothers sino también de su pasado. Es por eso que, los hermanos de Nueva Jersey además de hablar de su éxito y felicidad también se sinceran sobre los errores y motivos que los llevó terminar con la banda en 2013. “Dejamos de comprendernos el uno al otro. No sabíamos quiénes éramos como personas. Ya no éramos amigos”, explica Kevin Jonas. En el documental, el mayor de los hermanos revela que confrontó a Nick y Joe sobre porque lo excluyeron de algunos shows que realizaron, entre ellos el Pepsi Jingle Bash en 2013. “Fue algo difícil de hacer cuando lo oculté debajo de la superficie durante un billón de años”, manifesta Kevin.

Joe Jonas asegura que, en aquél entonces no se trataban de manera justa entre ellos y que, existieron momentos en el que Nick era el que se encargaba de liderar el show. “Cuando eso pasa, no suele importarme una mierda”, admite el cantante. De hecho, Joe reconoce que, en el pasado solían priorizar el trabajo y no su relación como hermanos, y que fue así como comenzaron los cortocircuitos entre ellos. “A veces sentía que era el último en enterarme de las cosas”, revela.

Por su parte, Nick Jonas analiza los roles que tiene cada uno en la banda. “Tiene que existir una cierta estructura y ese soy yo”, manifesta. El menor de los hermanos explica que quien conecta los puntos entre los tres es Kevin mientras que Joe se encarga de brindarle la sensación de libertad y emoción a los Jonas Brothers . “Sin todas esas piezas, no funciona de la misma manera”, asegura Nick.

En “Happiness Continues”, Kevin manifiesta que aún le resulta algo poético que Nick haya sido quien decidió terminar con la banda y que también haya sido quien la volvió a reunir. “Fue él (Nick) quien dijó: ‘Los extraño en el escenario, quiero hacer esto con ustedes otra vez’”, recordó. “Pensé que había terminado con los Jonas Brothers pero...diablos, no”, agrega su hermano, Joe Jonas.

“Lovebug” es el segundo clásico que suena en “Happiness Begins Tour”. Esta vez, se puede observar a Kevin y Nick usando outfits blancos mientras Joe usa remera y pantalón negro mientras cantan la exitosa balada que el menor de los hermanos escribió a sus catorce años. “Lovebug me hace sentir melancólico”, confiesa Nick Jonas.

“Era un momento alocado en nuestras vidas y aunque sucedían muchas cosas buenas, no creo que entonces yo tuviera la madurez emocional para enfrentar algunos desafíos”, analiza el menor del trío Jonas. Nick también recuerda que mientras componía “LoveBug”, está tuvo como objetivo que los fanáticos pudieran reconocer su intro en un concierto y saber inmediatamente de que canción se trataba.

Otras dos de las canciones que forman parte del setlist en el tour son “Used to be” y “Hesitate”. Esta última, es una balada escrita por Joe Jonas para su esposa, Sophie Turner. “Son como mis votos antes de haberlos escrito, es mi promesa para ella. Cuando la canto y cierro mis ojos puedo verla caminando por la iglesia otra vez”, expresa el cantante. Para cantarla, Nick, Joe y Kevin atraviesan un extenso pasillo que conecta a un segundo escenario más pequeño e íntimo que se eleva a medida que la canción avanza. Otras de las canciones que también se cantan allí son “Hello Beautiful”, “Can’t Have You” y “Gotta Find You”.

“BB Good” es uno de los grandes momentos del documental y de “Happiness Begins Tour” porque después de presentarse ante más de 16 mil personas en el pabellón multideportivo United Center, Nick, Joe y Kevin decidieron realizar un show íntimo para tan solo 200 en Cobra Lounge, bar en el que tocaron cuando sus carreras como artistas apenas comenzaban a tomar vuelo en 2006. A diferencia de su concierto en el United Center, esta vez tocaron junto a los músicos originales con quienes solían presentarse en sus inicios para cantar canciones que no interpretaban hace más de siete años. Otros de los clásicos que sonaron aquella noche en el Cobra Lounge fueron “Just Friends” y “Shelf”.

En “Happiness Continues”, Kevin Jonas se sincera como nunca antes sobre la ruptura de los Jonas Brothers. “Los años que estuvimos separados, la fractura me golpeó más de lo que yo esperaba”, manifiesta el mayor de los hermanos. “Crecer fue una locura porque abandoné la secundaria a una edad temprana para formar una banda con mis hermanos y no fui a la universidad”, expresa como si estuviera pensando en voz alta. “Ahora estoy en una banda, hago lo mío y nuestra trayectoria continua creciendo porque los Jonas Brothers volvió a convertirse en lo que solía ser”, analiza. Kevin formó parte de la banda por 12 años junto a Nick y Joe. “Era todo lo que conocía y luego terminó en una sola conversació, y ya no supe quien era”, reflexiona. El cantante asegura que si bien estaba feliz por sus hermanos y sus carreras solistas mientras los Jonas Brothers estaban separados, no siempre fue fácil de verlo. “Siento que tengo algo que probar porque estuve ausente por cinco años, las personas no me han visto tocar la guitarra o cantar”, admite Kevin.

Otra de las canciones del nuevo disco, “Happiness Begins” que suenan en el documental es “Comeback” seguido de “When You Look Me In The Eyes”, otro de los hits de los Jonas Brothers que fue lanzado como el tercer y último single de su segundo disco en 2007. Nick, Joe y Kevin también cantan “I believe” en el concierto para luego darle paso a “Year 3000” y “Burning Up”, otro dos de los clásicos en la carrera de los tres hermanos de Nueva Jersey. Para cerrar el documental, “Happiness Continues”, los Jonas Brothers cantan “Sucker”, single de su último álbum que supo marcar su regreso como banda a la industria musical.

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