best concert tour stages

The greatest rock concerts in music history

From Metallica's Damaged Justice to Ozzy Osbourne's Diary of a Madman tour, Guitar World presents the most incredible concerts and roadshows in rock and metal history

What makes a great rock concert? Sure, an awe-inspiring light show and razor-sharp band performance is a given, but a handful of tours and events have delivered that little something… extra.

That could be anything from the integration of live animals, onstage decapitations or the complete destruction of the stage mid-song. We're talking about major concert events that go far beyond your common-or-garden arena shows here.

So with that, we bring you the greatest rock shows on Earth – gigs that raised the standard of what could be expected of the live music experience, and seismic events that will never be repeated…

Roger Waters: The Wall Live (2010–2013)

Pink Floyd’s attempt to tour their epic album The Wall from 1980 through 1981 was nicknamed “The Nightmare Tour”. It was an unwieldy proposition at best, fraught with technical difficulties and seemingly ill-omened when a curtain caught fire at the debut performance in L.A. The show was too big to be toured effectively, with the result that only 31 performances were given in a total of just four cities.

But the business and technology of rock staging has come a long way since 1980, and Roger Waters’ The Wall Live has been one of the largest, longest-running and most successful musical tours of recent years or perhaps in all of rock history.

Launched on September 15, 2010, in Toronto, The Wall Live tour cost an estimated $60 million to stage and grossed more than $89.5 million on its first leg alone. It subsequently circumnavigated the globe numerous times before coming to a triumphant conclusion on September 21, 2013, in Paris.

Everything about the show was enormous, from its 12-piece band to the massive wall erected at the lip of the stage at every performance, symbolizing the alienation from his audience felt by the work’s main character, the disaffected rock star Pink. While this titular prop’s dimensions varied slightly from venue to venue, it generally measured 500-by-30 feet, although it grew as wide as 850 feet across at one show on the tour’s final leg.

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Of course, one big thing missing from The Wall Live were Waters’ fellow surviving members of Pink Floyd, the group that created the original album. But then tensions between Waters and his bandmates were running high even when The Wall was first conceived, recorded and toured in the late ’70s and early ’80s. Waters deemed it necessary to bring along auxiliary musicians for the 1980–’81 tour to supplement, if not supplant, the original band members.

The Wall was in many ways Waters’ first step toward becoming a solo artist. A detente of sorts was reached in 2005 when the original members of Pink Floyd reunited for the humanitarian Live Eight concert in London’s Hyde Park. Keyboardist Rick Wright passed away in 2008, but Waters invited guitarist David Gilmour and drummer Nick Mason to take part in a May 12, 2011, presentation of The Wall Live at London’s O2 Arena.

With the enormous success of The Wall Live, Waters may at last have laid to rest the artistic frustrations that gave rise to the work in the first place and plagued its early history. But then all history, so they say, is written by the winners.

– Alan di Perna

Alice Cooper: Billion Dollar Babies Tour (1973–1974)

In the late ’60s, Alice Cooper was accused of murdering a chicken during a concert. But while the shock-rock trailblazer has always staunchly denied the allegation (claiming he innocently tossed the bird into the audience, where the slaughter was then enacted by rabid fans), there has certainly been no shortage of blood and guts intentionally left on the stage at a Cooper show. And the jaunt organized in support of his Billion Dollar Babies album may have been the goriest of them all.

The album and tour came at a time when Cooper and his band, on the heels of the breakout success of the 1972 School’s Out album, suddenly found themselves with plenty of cash at their disposal to explore their deepest and most disturbing onstage desires. As such, the Billion Dollar Babies show, which at the time was deemed the most elaborate live undertaking in rock history, came off like a sociopath’s vision of a glossy Broadway production, the stage set littered with mannequin body parts and capped by a massive, laser-shooting Egyptian statue.

At the helm was Cooper, outfitted in a torn and bloodstained white leotard (and occasionally wearing a huge boa constrictor around his head and neck). The singer played both the assailant and the victim. At various points of the show, he impaled baby dolls on a sword, molested the disembodied legs and breasts of the female mannequins and beat up a Richard Nixon impersonator.

At other times, he was splayed across a medical table while a mad dentist attacked him with an oversized drill and, as the coup de grâce to the main set, decapitated in a guillotine, a stunt that would go on to become a Cooper trademark.

The Billion Dollar Babies tour proved a massive success, so much so that it continued on through the early part of 1974, by which time Cooper and his band were supporting their follow-up effort, Muscle of Love . The jaunt was reported as the highest grossing rock tour in U.S. history to date, and it proved to be the swansong of the original Alice Cooper band. Soon after, they broke up and Cooper launched his own solo career. To this day, he’s still having his head chopped off on stages around the world.

– Richard Bienstock

U2: Zoo TV (1992–1993)

Zoo TV came at a time when U2 were shedding the overly earnest, chest-beating image that had made them one of the biggest acts of the ’80s in favor of a cooler and more detached (read: “ironic”) stylistic stance.

The tour was itself in support of the group’s 1991 release, Achtung Baby , which showed influences of alt-rock and industrial and electronic music. But if one thing has become clear in hindsight, it’s that the 1992–’93 tour, for all its many bells and whistles, was also a quite sincere and overwhelmingly powerful artistic statement.

More than two decades later, it’s possible that no other show has approached its level of sheer sensory overload or achieved U2’s canny feat of carving out a genuine message – one of a world both brought closer together and sent into a tailspin by technology – from within a riotous medium.

Zoo TV’s many visual effects are almost too numerous to list. They included several dozen video screens and televisions of every shape and size (including colossal “Vidi-walls”) that broadcast the performance as well as pre-recorded clips, random words and phrases, and live television transmissions from around the world via satellite dish.

The set’s massive light show was capped by hand-painted, hollowed-out East German Trabant automobiles fitted with flood lights and suspended above the stage, which was itself connected by a 150-foot ramp to a second, smaller “B” stage. For the outdoor stadium legs of the tour, the stage design included huge spires that due to their height were required, per the Federal Aviation Administration, to be fitted with blinking warning lights for passing planes.

As for the band’s actual performance, in a bold move U2 opened the shows with anywhere from six to eight new songs played in a row, with the clanging, clattering Achtung Baby material expertly reflected in the visual turbulence onstage.

Bono, meanwhile, chewed up the frenetic scenery by inhabiting various personas and used the cutting-edge technology at hand to pull pranks like ordering thousands of pizzas mid-show and calling the White House to request a chat with President Bush. And while Bush never picked up the line, novelist and Satanic Verses author Salman Rushdie did answer the singer’s repeated calls. Rushdie joined U2 onstage at a performance in London, despite having a fatwa on his head. For a show literally built on special effects, it may have been the greatest one of all.

Kiss: The Destroyer Tour: The Spirit of ’76 (1976)

While Kiss made their name practically from day one on delivering an outsized stage show, they brought things to a whole new level when they hit the road in support of 1976’s Destroyer . Fans had already come to expect plenty of fire breathing, blood spitting and pickup-smoking guitar work from the band, but for Destroyer , Kiss’ first studio effort following the breakthrough success of Alive!, they also got high theater, with a stage set that mirrored the conceptual artwork of the album itself.

Measuring over 80 feet in length, the Destroyer set was framed by a post-apocalyptic cityscape similar to the one that graced the album cover. Amp stacks on either side of the stage were hidden behind huge cutouts depicting burned-out buildings in various states of decay.

A twisted and deformed tree was stationed next to bassist Gene Simmons, and massive lighting spires were designed to look like freeway towers (in reference to the album and tour’s opening song, Detroit Rock City ) and strung with Christmas-style lights that encircled the stage and stretched all the way to arena balconies.

Other touches included two six-foot cat statues with glowing eyes that flanked Peter Criss’ drum set (a nod to his alter ego, the Catman), a gothic castle from within which Gene Simmons would perform his blood-spitting bass solo, and a platform resembling a lunar surface, where Ace Frehley (the Spaceman) would take his guitar solo spot.

There was also a nod to the year’s bicentennial celebration – the tour was nicknamed The Spirit of ’76 – through the inclusion of red, white and blue lightning bolts that lit up in front of a cloud high above the ever-present Kiss logo hanging centerstage.

Though the Destroyer stage remains one of Kiss’ most awe-inspiring spectacles, Paul Stanley today admits that he felt “a bit at odds with it.” Says Stanley, “It was more theatrical than what we had done in the past, and I was more comfortable surrounded by walls of amplifiers.”

And, in fact, as the jaunt morphed into the Rock and Roll Over tour later that year, Kiss did in fact strip things down, retaining much of the Spirit of ’76 staging but losing some features, such as any that referenced the Destroyer cover art. There was also one other change – the band switched to wireless systems after Frehley, at a show in Florida on December 12, was electrocuted and knocked unconscious when he grabbed a railing that wasn’t properly grounded. The incident also had another aftereffect: It inspired Frehley to write his most well known song with Kiss – 1977’s Shock Me .

Taylor Hawkins tribute concerts (2022) 

In March 2022, Foo Fighters broke the news that Taylor Hawkins – the band’s long-serving drummer and all-round rock legend – had passed away at the age of 50. The loss was unexpected and devastating. There was only one way to celebrate Hawkins' profound legacy: to host a tribute concert for the ages, with guest appearances from just about every single rock hero under the sun.

The mammoth double-header event took place across two dates – one at London’s Wembley Stadium and the other at Los Angeles’ Kia Forum – with Dave Grohl calling upon a legion of guitar stars, vocal titans and other instrumentalists to help the Foo Fighters honor Hawkins’ memory through rock ‘n’ roll. 

The guestlist was staggering. Not only were individual stars called to the stage to perform some of the guitar world’s greatest hits, iconic bands and once-disbanded side projects also took the opportunity to remember their close friend by reuniting and revisiting their catalog of cult classic tracks.

Names involved in the Taylor Hawkins tribute concert include Wolfgang Van Halen, Josh Homme, Alex Lifeson, Geddy Lee, Chad Smith, John Paul Jones, Nancy Wilson, Joe Walsh, Dale Peters, Brian Johnson, Chris Chaney, Pink, Lars Ulrich, Brian May, Roger Taylor and Nile Rodgers. And that’s not even the half of it: Nandi Bushell, Roger Taylor, Rufus Taylor, Justin Hawkins, Chrissie Hynde, Stewart Copeland, Greg Kurstin, Liam Gallagher and countless others also took part, with each performing sets of one to four songs.

Since the runtime for each event was around the four hour mark, the list of highlights is almost never-ending. Wolfgang Van Halen showed up to cover Van Halen hits , the James Gang reunited for the first time in 16 years , Them Crooked Vultures performed their first show in over a decade , and Lifeson and Lee performed Rush classics .

On its own, it was one of the biggest live events in music history, but it never lost sight of its overall objective: to honor Hawkins’ memory, and to celebrate the legacy he left behind.

– Matt Owen

The Who: Tommy (May–June 1969)

The Who’s groundbreaking rock opera Tommy became a powerful performance vehicle for them when they premiered it during their U.S. tour in May–June 1969. The concerts propelled the Who to supergroup status and ushered in a new era of theatrical rock spectacles.

The tour kicked off with a three-night stand from May 9 through 11 at Detroit’s Grande Ballroom before it rolled into New York’s Fillmore East for a historic three-night run from May 16 through 18. The concept of long-form narrative was new to rock at the time, and the Who found an ideal storytelling partner in the Fillmore’s resident visual artists, the Joshua Light Show.

Rather than projecting the usual display of abstract psychedelic blobs onto the Fillmore’s large rear-stage screen, the Joshua Light troupe crafted a thematic series of visuals to accompany the Who’s thunderous performance of their new rock opera.

In addition, Bill Graham, the rock promoter behind the New York and San Francisco Fillmore venues, recognized the opportunity in Tommy to create a unique melding of music and visuals and reportedly put up $5,000 to upgrade the theater’s projection equipment and sound gear for the Who performances.

As the first notes of the Overture resounded in the venerable New York theater, white birds seemed to fly into the hall from a massive projection of Tommy ’s album cover art. The light show choreography continued throughout the performance with elements drawn from Tommy ’s libretto, providing a uniquely integrated audio-visual experience. Visuals would play an even greater role in rock performance with the introduction of theater-sized video projector screens on Led Zeppelin’s 1975 tour and the use of jumbotrons on recent extravaganzas such as the Who’s 2012–’13 Quadrophenia and More tour and Roger Waters’ The Wall Live tour of 2010–’13.

But Tommy’s first night at the Fillmore contained an unscripted dramatic surprise. When an adjacent building caught fire, plain-clothes police officer Daniel Mulhearn clambered onto the Fillmore stage in an ill-advised attempt to stop the show. Mistaking him for an intruder, Who lead singer Roger Daltrey grabbed the officer and held him while Pete Townshend delivered a balletic series of flying kicks to the region where it hurts a man the most. The show was eventually halted, however, and the building was calmly evacuated with no further harm to anyone.

At the end of the tour, Townshend and Daltrey returned to New York to face assault charges and apologize for the unfortunate incident. They also signed a deal for the Who to perform Tommy two months later at one of the rock era’s greatest musical events: Woodstock.

George Harrison and Friends: The Concert for Bangladesh (August 1, 1971)

Superstar charity concerts are commonplace today, but they were unheard of in the summer of 1971 when George Harrison announced a pair of performances at New York City's Madison Square Garden to raise funds for Bangladesh. The star studded event featured a host of Harrison's pals, including former Beatles drummer Ringo Starr, Eric Clapton, and Bob Dylan.

The idea for the concerts came from Ravi Shankar, the famed Bengali sitarist with whom Harrison had studied Indian music. The war fr the liberation of the Bangladesh state had created millions of refugees, whose dire circumstances were made more desperate by a cyclone and flooding. Shankar hoped to raise $25,000 for their plight through a benefit concert of his own, but Harrison saw the potential to raise much more and bring international attention to the crisis with an even featuring some of rock's most famous artists.

The urgency of the situation prompted him to pull the shows together quickly. Among those shortlisted were Harrison's former bandmates Paul McCartney and John Lennon. McCartney decline due to bitterness about the Beatle's recent breakup. Lennon initially accepted but withdrew over Harrison's demand that his wife and musical partner, Yoko Ono, would not perform.

Under the circumstance, the event could have been a complete disaster. Rehearsals were spotty, held just days beforehand. Harrison had never hosted a concert before and had rarely play in public since the Beatles quit touring in 1966. In addition, Clapton was suffering the effects of heroin withdrawal; he made it through the say only with the help of methadone, supplied by a cameraman.

Dylan's involvement was more uncertain. Though he'd shown up at rehearsals, the folk-rock icon was in a period of reclusiveness and nervous about performing. Harrison wasn't convinced Dylan would show up until he saw him coming onstage at the appointed hour. "It was only at that moment that I knew for sure he was going to do it," Harrison said afterward.

In the end, the performances – which included Harrison's While My Guitar Gently Weeps , My Sweet Lord and Here Comes the Sun – were solid, and the Concert for Bangladesh became a defining moment in rock. Harrison's landmark effort proved the template for charity concerts that followed, from 1985's Live Aid concerts to Roger Waters' The Wall: Live in Berlin Memorial Fund for Disaster Relief in 1990.

– Christopher Scapelliti

Ozzy Osbourne: Diary of a Madman Tour (1981–1982)

Had the Diary of a Madman tour featured nothing more than Ozzy Osbourne playing a set of solo and Black Sabbath tunes alongside guitar virtuoso Randy Rhoads, it still might have gone down as one of the greatest shows in heavy metal history. But Ozzy wasn’t content merely to perform; he wanted to entertain in the most ludicrous ways possible. More than 30 years later, the Diary tour stands as the most over-the-top and at times downright bizarre spectacle ever conceived by Osbourne – or most any rock artist.

The centerpiece of the staging was an enormous stone castle adorned with stained-glass windows, arches, balconies, crosses, flaming torches and other gothic touches. At the show’s beginning, Osbourne would emerge, in a haze of smoke and fire, from a red velvet throne perched high atop a drum riser, while iron gates to his left and right rose to “release” Rhoads and bassist Rudy Sarzo from within the castle’s confines. To enhance the medieval mood, the entire crew – as well as live keyboardist Don Airey – was outfitted in hooded monk’s robes.

Additionally – and quite randomly – on the tour’s early dates, Osbourne would end each performance by hopping into the palm of a 10-foot, fire-shooting, mechanized hand that would carry him over the audience as he catapulted raw meat into the crowd. (The prop was ditched after it malfunctioned and hurled the meat straight into the back of Osbourne’s head.)

But the most peculiar element of the show was Ronnie the Dwarf (so named as a swipe at Ronnie James Dio, the diminutive-statured singer who replaced Osbourne in Black Sabbath). Throughout the evening, Ronnie would emerge from a castle door to hand Ozzy a goblet of his preferred beverage. Osbourne would then show his appreciation for Ronnie’s assistance by having him strung up in a noose and left to twist and sway high above the stage during the set’s big ballad moment, Goodbye to Romance .

The Diary of a Madman tour also had its share of unscripted madness. Osbourne received rabies shots after he bit the head off a bat thrown onstage in Iowa (he thought it was a fake), and he was arrested for urinating on a monument near the Alamo, a stunt that earned him a decade-long ban in San Antonio.

Tragically, it was also during this tour that Rhoads was killed, on March 19, 1982, in a freak airplane accident. Osbourne finished out most of the remaining dates, briefly with Bernie Torme and then with future Night Ranger guitarist Brad Gillis, the latter of whom appears on the live document of the tour, Speak of the Devil.

Metallica: Damaged Justice (1988-1989)

By 1988 Metallica had established themselves as the biggest band in thrash metal. With their popularity at a high for the release of their fourth album, …And Justice for All , they embarked on their first ever arena-headlining tour – and pulled out all the stops.

The Damaged Justice tour kicked off on September 11, 1988, and ran for over a year, totaling more than 200 dates across North America and four other continents. The band was flanked by a massive stage production that brought the album of …And Justice for All to awesome 3D life. The setlist for the shows was fierce, beginning with Blackened and continuing with roughly two hours of music that showcased the new material, including the breakthrough Justice ballad One , which hadn’t even been released as a single at the time the tour began.

There were also some oddities sprinkled throughout the sets. On occasion the band jammed on pieces of Deep Purple’s Black Night and Led Zeppelin’s How Many More Times . Kirk Hammett would recreate Hendrix’s Little Wing outro lead during his solo spots, and at several shows the members switched instruments before performing their version of Diamond Head’s Am I Evil (with James Hetfield on drums, Hammett on bass, Jason Newsted on guitar and a shirtless Lars Ulrich prowling the stage and shouting the vocals in what he described as his “Bruce Dickinson impersonation”).

But the highlight of the gigs was undoubtedly the main-set closing performance of the epic …And Justice for All . Toward the end of the nine-minute-plus song, the entire stage, including the towering Lady Justice statue, would crumble, sending huge chunks of “rock” raining down as Metallica played on. (In a nice touch, a lighting rig would also spark and come unattached at one end to swing precariously over the band members’ heads.)

After a short break, Metallica would return to perform encores amid the rubble. The end result was an awe-inspiring and groundbreaking union of speed-metal intensity and arena-rock showmanship. The Damaged Justice tour signaled the moment that Metallica – and, by extension, thrash metal as a whole—– began playing, both literally and figuratively, on the big stage.

ZZ Top: Worldwide Texas Tour (1976–1978)

In 1976, the era of the live rock spectacle was well underway. The popularity of glarock had brought a new level of over-the-top theatricality to the rock concert experience. Onstage spaceship landings, guillotine executions, giant inflatable phalluses and other must-see gimmicks were the order of the day.

So where did that leave “that little ol’ band from Texas,” ZZ Top? Never one to be upstaged, ZZ Top guitarist and leader Billy F. Gibbons hatched the idea for a rolling extravaganza that would have made P.T. Barnum proud: the ZZ Top Worldwide Texas Tour.

“Taking Texas to the People” was the motto, and true to its word, the tour featured a massive 63-by-48–foot, 35-ton stage in the shape of the Lone Star State. Band members Gibbons, Dusty Hill and Frank Beard performed before a gigantic hand-painted backdrop and were joined onstage by a live longhorn steer, a buffalo, two vultures, two rattlesnakes and assorted cacti, yucca and agave plants – all flora and fauna of Texas.

Undertaken to promote ZZ Top’s 1975 album, Fandango! , the tour required 13 vehicles to haul it around and a crew of 50 people, including an animal handler and a veterinarian. It launched on May 29, 1976, in Winston Salem, North Carolina, and rolled to a halt on January 1, 1978, in Fort Worth, Texas. Plans to take the tour overseas were scotched by quarantine restrictions on buffaloes.

The Worldwide Texas Tour offered an early glimpse of Gibbons’ oversized visual imagination. A former art student, he found another outlet for his visual talents a few years after the tour with the dawn of MTV and the rise of music videos.

The Rolling Stones: Tour of the Americas ’75 (1975)

Always adept at moving with the times, the Rolling Stones embraced glam-era theatricality in grand style on Tour of the Americas ’75, which saw them performing in the U.S. and Canada. While it was their first tour to feature guitarist Ronnie Wood, who’d stepped in after Mick Taylor exited the previous year, the tour is remembered today less for its musicianship than for the over-the-top gimmicks that the Stones employed to draw public interest and titillate their audiences.

It began with the New York event to announce the tour. Rather than follow the time-honored routine of holding a press conference, the Stones rolled down Fifth Avenue on a flatbed truck that had been turned into a mobile stage, performing their hit Brown Sugar to passersby.

Journalists assembled inside the Fifth Avenue Hotel in expectation of a conventional media announcement scrambled out onto the pavement when they heard the music. The flatbed truck idea had been suggested by Stones drummer Charlie Watts, who’d read that New Orleans jazz musicians used a similar ploy.

Once the tour officially started, on June 3, in San Antonio, Texas, the show’s big attraction – upstaging even Mick Jagger himself – was a gigantic inflatable phallus that loomed large at a critical moment of the performance. Jagger would often climb atop the massive prop and ride it like a horse. The Stones’ image has always been associated with lascivious sexuality, and this crowd-pleasing gimmick was the ultimate expression of – and a wry comment on – the band’s public persona.

But things didn’t always go as planned. At some shows, the huge penis failed to inflate to full size, causing the band to endow it with the nickname “Tired Grandfather.” Sometimes art imitates life all too well.

Live Aid (1985)/Live 8 (2005)

The brainchild of Boomtown Rats frontman Bob Geldof and Midge Ure, Live Aid was, and remains, one of the most significant live events in rock music history.

Held simultaneously at London’s Wembley and Philadelphia’s John F. Kennedy stadiums, to a combined in-person audience of over 150,000 people, and a reported 1.9 billion people on television, it remains the mother of all benefit concerts.

Held on July 13, 1985, to raise funds for victims of the horrific famine that had devastated Ethiopia at the time, the concerts featured not only many of the biggest artists of that time, but reunions of some of the biggest bands in the history of rock.

The three surviving members of The Who reunited for the first time since their 1983 dissolution, while the classic, original lineup of Black Sabbath performed live together for the first time since 1978.

Overshadowing even those reunions was that of the three living members of Led Zeppelin, though their performance was infamously marred by a lack of rehearsal, out-of-tune instruments and Robert Plant’s hoarse vocals.

20 years later, Geldof and Ure would put on a similarly high-profile Live Aid sequel of sorts, Live 8, which is today most remembered for being headlined by – in the last-ever performance of their classic lineup – a reunited Pink Floyd.

– Jackson Maxwell

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Rich is the co-author of the best-selling Nöthin' But a Good Time: The Uncensored History of the '80s Hard Rock Explosion. He is also a recording and performing musician, and a former editor of Guitar World magazine and executive editor of Guitar Aficionado magazine. He has authored several additional books, among them Kurt Cobain: Montage of Heck, the companion to the documentary of the same name.

• Christopher Scapelliti
• Jackson Maxwell
• Matt Owen Senior Staff Writer, GuitarWorld.com
• Alan di Perna

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The 13 Best Concerts of 2023 (That Weren’t Taylor Swift or Beyoncé)

Let’s get this out of the way first: You will not find Taylor Swift or Beyoncé on this list. Yes, many members of the Pitchfork staff attended the Eras Tour and the Renaissance Tour and had incredible, even life-changing, experiences there. But we covered those world-conquering phenomena extensively enough already this year. So for our final staff list of 2023, we thought we’d turn our attention to some other favorite concerts. Here, you’ll find everything from Sweeping Promises in a tiny venue in Minneapolis to SZA at Madison Square Garden, Water From Your Eyes on a boat to Floating Points and Shabaka Hutchings at the Hollywood Bowl. Let the FOMO begin…

Check out all of Pitchfork’s 2023 wrap-up coverage here .

Charlotte Adigéry & Bolis Pupul

“Let’s just ignore the rain! It’s just water, fuck it!” With the sun setting in Chicago, the precipitation sparkled like icicles each time the lights strobed out through Union Park. But Charlotte Adigéry, Bolis Pupul, and the crowd watching them at this year’s Pitchfork Music Festival merely shrugged off getting rained on. We were all too tuned into every lyric, scream, and laugh to care. Equipped with two microphones, a couple of synthesizers, a bass, and some percussion, the Belgian duo performed a set composed of tracks from their breakout album Topical Dancer , including a particularly wild version of “It Hit Me” and a polished, funky “Ceci n’est pas un cliché.” I lost my shit on the final drop of “Mantra,” and all too poetically removed my makeshift poncho, taking the bridge’s words to heart: “What’s left is a clean slate so what’s next/Thank yourself, praise your body/celebrate and dance.” –Jaeden Pinder

Feist started her Multitudes show with a reassuring smile as she filmed the audience while walking among them; she ended it with her eyes closed, caught in a reverie, her silhouette repeated to dreamy infinity on a curtain behind her. In between, she reminded us why she remains one of the most arresting performers of the 2000s indie boom. It was part solo high-wire act, as she stood alone on a stage in the middle of the crowd, mixing her bittersweet acoustic songs with charming banter that made you feel like you were catching up with an old friend. It was part clattering rock show, as she led a full band and the audience through communal catharsis. It was part DIY multimedia experiment, adorned with abstract visuals that were created in-the-moment. There was some sleight-of-hand in the form of a mysterious journal filled with casually profound poetry. There were yelps for songs that soundtracked past lives. There were tears at this Mother’s Day show, too, when Feist talked about her young daughter and the ever-upward branches of family. The whole thing allowed onlookers to live in a limbo between raw emotion and premeditated performance for a couple of hours, a magical suspension of belief. –Ryan Dombal

Floating Points, Shabaka Hutchings, and Friends

A confluence of jazz heads, electronic heads, jam band heads, philharmonic heads, and crickets descended upon the Hollywood Bowl this September for a performance of Promises , the 2021 cosmic jazz concerto by Floating Points and the late Pharoah Sanders. Some called the event an hour-long prayer, or a communion with a higher power, and all I have to say is yeah that makes sense . On Instagram, Sam Shepherd (aka Floating Points) said that they probably wouldn’t do this show again, and that there would never be an official recording of it. Does that make this performance more special? I can’t lie and say that I wasn’t thinking about the one-night-only angle as I sat in my seat and watched Miguel Atwood-Ferguson conduct the final sounds Sanders put on record before he met his creator the following year. Shabaka Hutchings, in what he said was his final performance as a saxophonist, channeled the spirit of Pharoah without attempting to replicate the unreplicable. On stage alongside Shepherd pawing at various vintage keyboards, analog synths, and tape echo machines were Dan Snaith (aka Caribou), Kieran Hebden (aka Four Tet), Kara-Lis Coverdale, Hinako Omori, and more, offering a final eulogy to the saxophone colossus. I held my breath for long portions of the performance. I didn’t hear a single word the entire show—a nearly sold-out Bowl, around 15,000 people, let all the silence in Promises hang over the amphitheater in the September breeze. In that silence all you could hear were the crickets, and all you could feel was Pharoah. –Jeremy D. Larson

Lana Del Rey

In support of her self-mythologizing album Did You Know That There’s a Tunnel Under Ocean Blvd , Lana Del Rey went on a tour eschewing the coastal cities she’s often sung about for less ogled-over corners of America. That included Charlotte, where I took five types of transportation from New York City to stand under a full moon in a sea of fans with ribbons in their hair, gathered to see Elizabeth Grant perform. When she did, floating in a collared white gown on a stage set that felt part dusky jazz lounge and part Puccini opera, she rode on a series of swells: of her backup singers’ crashing outros, of her dancers’ circling movements, of the crowd wailing along to the Born to Die classics. A hush held for every crisp, stuttered “t” of “Bartender”—which Lana sang seated solo at a vanity mirror—as well as during that manifesto of wayward spirits, the opening “Ride” speech. The whole show felt choreographed to overwhelm even its star, and when Lana left the stage for the final time, she was carried off, swaddled in a white sheet. In the Uber after, I regretted not hanging around the venue parking lot, smoking and gazing at the highway. When the root of the urge dawned on me, it made me laugh: it was so Lana-coded. –Hattie Lindert

Rauw Alejandro

Rauw Alejandro’s 2022 LP Saturno was a high-concept tour de force built on galactic aesthetics, touches of Miami bass, and addictive ’90s freestyle samples. I had high expectations for the show, which I hoped would match the album’s retrofuturist visual world. At the Brooklyn stop in March, Alejandro didn’t disappoint, pulling out all the production flourishes. El Zorro has always been an athletic dancer, but this time the choreography was even more intricate (tellingly, the moves on this tour left him with temporary groin and shoulder injuries). As Alejandro and his crew of backup dancers popped and locked, an LED screen, which doubled as the stage, radiated color-changing neon lights beneath them. During “Lejos del Cielo,” a wire harness lifted him into the air; suspended and spotlit, he sang caramel falsettos. Mid-concert, Alejandro brought out the Jabbawockeez for a nostalgic dance number that warmed every cold millennial heart in the room. It was an impressive display of showmanship that confirmed the Puerto Rican pretty boy’s status as one of the most prescient creative minds in pop-reggaeton. –Isabelia Herrera

In late March, I joined an army of “shluts” to bask in the glow of our provocative princess: Shygirl. The UK singer transformed the historic Wiltern theater into a pounding West Hollywood nightclub with her twinkly pop confections. Stunning visuals bounced off the tilted mirror hanging above Shygirl, immersing her in a psychedelic world that paired perfectly with her glitchy sound. Early on in the show, she brought out Tinashe for the “Heaven” remix to mass queer euphoria–a brief glimpse of the tour that could’ve been . But the show didn’t lose steam after Tinashe’s swift departure. Two dancers joined onstage, flipping and spinning down free standing poles as Shygirl let out playful moans and gasps. It was a night of unabashed horniness, especially for my friend, who made several Grindr matches throughout the night. As for me, “anytime that coochie calls, I'll be on my way.” –Maria Eberhart

Sudan Archives

Violinist, singer, songwriter, and producer Brittney Parks came through town once before, in 2021, so her ridiculously high-energy set as Sudan Archives wasn’t a surprise. But this summer she arrived with the extra firepower of Natural Brown Prom Queen , her tour de force of house, R&B, hip-hop, and pop released in 2022. Alone on stage, in a mini-skirt and heels, Parks shimmied, belted, and sawed away virtuosically at her violin, winning over an early-evening audience awaiting guitar-heavy headliners the War on Drugs. For celebratory finale “Selfish Soul,” Parks was joined by what she called her first-ever backup dancers, students of a free ballet and dance program for Black and brown youth offered through a local nonprofit. Embedded in the movements of both Parks and the dancers was a feeling of spontaneity and promise that stood as a counterargument to so much of the top-down, blockbuster-dominated pop culture of 2023: If she can do it, so can they, so can you. –Marc Hogan

Sweeping Promises

After a stellar and bittersweet last-ever set from local punks Green/Blue, Sweeping Promises’ show at 7th St Entry, the tiny venue attached to the historic First Avenue club, began inconspicuously. Lira Mondal quietly sang the opening lines of “Eraser,” the first track of their latest album, Good Living Is Coming for You , before belting at full volume. Good Living is an album with built-in lo-fi muffle, but with no distance at all between audience and band, everything became infinitely more powerful: the bass grooves, Caulfield Schnug’s guitar solos, and more than anything, Mondal’s extremely powerful voice. The show happened days after the mass shooting at the Minneapolis DIY venue Nudieland , and the band, which came up through a similar network of DIY scenes and punk house shows, paid a solemn tribute between songs. It was a great performance for a community that needed to experience loud, excellent music together in a small room. –Evan Minsker

When SZA took the stage at Madison Square Garden, it was the rare opportunity to watch an artist ascend to arena goddess status in real time. SOS had been firmly ensconced at No. 1 on the Billboard 200 for several weeks, its songs equally inescapable in the grocery store and in your TikTok feed; in order to maintain that momentum, SZA needed to prove herself as a can’t-miss live performer at one of music’s most storied venues. She pulled out all the stops, musically and visually: There was a jaw-dropping stage set featuring a giant boat, an even bigger anchor, and an airborne life raft that flew the singer around the arena as she tossed flower petals down to the crowd. There was a staggering display of range, from the in-your-face raps of “Smoking on My Ex Pack” to the lovesick balladeering of “Nobody Gets Me” to the pure pop of “Kiss Me More.” There were even guest appearances by Phoebe Bridgers and Cardi B. The show both started and ended with SZA perched on a diving board, mirroring the SOS cover . At the beginning, it was an image of loneliness and introspection, a woman surrounded by nothing more than her thoughts and the waves below. By the end, it was an image of triumph, as she looked out upon her vast and powerful kingdom. –Amy Phillips

The Bowery Ballroom turned into a 2008 middle school dance when TisaKorean came to town for his Silly Tour. In the crowd you could spot baggy outfits that would have had mid-aughts Atlanta on smash and snap dances that haven’t been done in New York since the last Yankees World Series win. On stage, TisaKorean was the human Energizer Bunny, as he churned through joints from 2017 to this year’s Let Me Update My Status . Along with his hypeman Mighty Bay, both dressed like NBA Street Vol. 2 characters, they passed out props like Solo cups to make it feel like one big house party and t-shirts so people could spin them in the air for “HeLiCoPtEr sWaG Pt4.Mp3,” naturally. At one point, Tisa and Mighty Bay changed into hot dog and taco costumes, and the crowd reacted like they had been waiting all their lives for that moment. –Alphonse Pierre

Unwound reuniting felt like a dream , even when their physical presence onstage at Chicago’s Thalia Hall proved otherwise. Red and purple lights brought a backdrop of arching tree silhouettes to life while the post-hardcore band dove through its catalog like 21 years had never passed. Unwound structured the set much like their albums, with some sections focused on quiet reflections and others on abrasive, emotional breakdowns designed to lure you into a place of introspection and then snap you out of it. Reunion shows aren’t obligated to be good; plenty of bands have made that obvious by now. But the care with which singer-guitarist Justin Trosper and drummer Sara Lund approached the project following bassist Vern Rumsey’s death was the most affecting part of it all. Watching Karp’s Jared Warren up there in Rumsey’s place, tearing through those unmistakable basslines with a taut aggressiveness that honored, but never outshined, Rumsey’s originals, was deeply entrancing. In a year of countless memorable shows, Unwound was the one that’s impossible to forget, just like the best dreams are. –Nina Corcoran

Water From Your Eyes

The boat looked like a 1940s barbershop had been reincarnated as a middlebrow maritime entertainment vessel. Old-timey and white, with tacky curlicue adornments and two peppermint poles in the front, the four-story Liberty Belle carried concertgoers along a scenic route from Manhattan’s Pier 36 around the Statue of Liberty. (A gaggle of drunken girls admired Lady Liberty like she was a gay-famous diva, shrieking “you’re so cunt!!!”) This was the Water From Your Eyes Everyone’s Crushed record release boat show, a four-hour choose-your-own-adventure as bonkers and funny as the experimental rock duo themselves. On board, you could load up a paper plate of baked ziti and empanadas in a carpeted area that screamed “bar mitzvah,” have an awkward run-in with a Tinder date who ghosted you a year ago (I survived), and thrash around as cool-kid bands of New York City, including Frost Children, blasted through hits in a dank purple chamber. Rachel Brown looked effortlessly cool, as they always do, singing “Barley” in a leather jacket and sunglasses. At some point, my friend’s weed fell out of their joint right as they were about to smoke it, which was just perfect. –Cat Zhang

Leave it to Yaeji to find new possibilities in the humble rolling office chair. Backed by dancers Madison Wada and Iliana Penichet-Ramírez, she spun and wheeled her way through the With a Hammer tour, with a scene-stealing appearance by the big hammer itself. The clever choreography (by Monica Mirabile) brilliantly visualized the album’s playful, start-where-you-are creative ethos, and a rapturous reception from the crowd in Los Angeles went a long way toward warming up a corporate-feeling downtown venue. In Yaeji’s house, it’s all about recognizing everything we can do with the tools we’ve already got. –Anna Gaca

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The Best Concerts of the Year (So Far)

By Chris Willman

Chris Willman

Senior Music Writer and Chief Music Critic

• St. Vincent’s ‘All Born Screaming’ Tour Further Certifies Her as Rock’s Dark (but Oddly Cheerful) Queen: Concert Review 3 hours ago
• Taylor Swift’s ‘Poets’ Tops Album Chart for a 15th Week, as Chappell Roan Reaches a New High of No. 2 7 hours ago
• Shelby Lynne on Making a New Record When She Thought She Was Done, Working With an All-Star Female Creative Team, and How She Saved Her Own Life 1 day ago

Live music was back, in 2022, but in 2023 it’s really back -back. Taylor Swift is soon to have history’s first billion-dollar-grossing tour, and in an era when music can sometimes feel shunted off to the side in pop-culture conversations, the “Eras Tour” feels bigger than any movie or TV show. Deservedly so, even, as you know if you’ve seen it, all dollar estimates aside. But it’s also heartening to see a one-off concert event intrude on national headlines, whether it’s Brandi Carlile leading Joni Mitchell back into the spotlight as the focus of a public all-star session, or Willie Nelson celebrating his 90th birthday in a party that just a single night at the Hollywood Bowl couldn’t contain.

These are among the highlights in a mid-year list of the best concerts of the year, which stretches to include normal road-dog tours as well as arena and stadium spectacles and benefits. It may seem silly to qualify this list as “best” when there are a few million concerts this west coast-based critic didn’t get to for consideration… including any of Beyoncé’s shows to date, with her tour not hitting North America till mid-July. But without getting quite so definitive about it, here are a dozen shows or residencies that made the rocking world go round these past six months.

Brandi Carlile, 'The Joni Jam,' the Highwomen and More at the Gorge in Washington (June 9-11)

The “Joni Jam” that took place on the middle of the three nights at the Gorge could reasonably be called a worship service, with an on-stage choir led by host Brandi Carlile singing Joni Mitchell’s hymns back to her, as well as appreciating her own hard-fought resurrection as a performer after her aneurysm had threatened to sideline her forever. The epic group-sing that had Mitchell on stage as both a frontwoman and ensemble member for three hours was surely worth having traveled cross-country or internationally to witness, as so many flocking to this remote amphitheater in north-central Washington had done. But you know what? I would have traveled that distance just to see either of the two more Carlile-centric shows that sandwiched the Joni Jam, too. On night 1, there was what Carlile called a “friends and family” night where she serenaded her most faithful fans with neglected songs from early in her career, telling stories about being a scrapper on the way up and not taking an annual berth at her beloved Gorge for granted. Marcus Mumford and Allison Russell opened, with twin sets focused on their great respective albums about abuse, struggle and redemption. And then, night 3 had the legend Tanya Tucker opening for Carlile’s supergroup, the Highwomen, bringing some of the greatest country music of the 1970s and 2020s to the canyon. Along the way, we got a full Lilith Fair’s worth of contemporary greats making cameos, including Annie Lennox, Sarah McLachlan and Brandy Clark. For anyone who loves crafty singer-songwriters who are prone to drawing out explosive emotions in themselves and their audiences, or who just loves a good hootenanny, this was 72-hour nirvana. Now if only Joni can be coaxed back next summer to make it a twice-in-a-lifetime phenomenon. (Read Variety ‘s original reviews of the weekend here and here .)

Taylor Swift at State Farm Stadium in Glendale, Arizona (March 17-18)

Swift’s tour will go down in history for multiple reasons, not least of them the 10-figure gross it is projected to land by the time it ultimately wraps up overseas next summer (if, indeed, that even is the end). It will be music history’s first billion-dollar tour, likely to come in somewhere around $1.5 billion, and that’s not even accounting for resale prices that are seeing even $49 tickets resold for $1,000+ in every city. But what will it really be remembered for? Well, the shows’ nightly length, for one thing, running through 44 full or partial songs (usually) in about 195 minutes. Bruce Springsteen does that; pop superstars don’t. But most of all, it’ll lodge in fans’ memories forever because of its (yes) “Eras”-spanning breadth, with Swift establishing she’s already lived a full musical lifetime in the last 17 years. All the old Taylors come to the phone in this set, from teen Tay to the Swift who makes every performance number a mini-Broadway musical to the woodsy Taylor who is nothing but an indie-rocker in a parallel universe. Machines don’t come any more well-oiled than this show… aside from those two-tune “surprise songs” moments that make every fan wish they could follow along to every show, if they were the world’s wealthiest Deadheads. If this were a movie, it’d be “Mission: Impossible” and “Past Lives,” combined. Only, at 3 hours and 15 minutes or so, it’d feel like the only film of the year that’s not a minute too long. (Read Variety ‘s original review here .)

Elvis Costello in '100 Songs and More' at the Gramercy Theatre in New York (Feb. 9-22)

No major singer-songwriter in history has ever pulled off what Elvis Costello did at the Gramercy across 10 mind-boggling nights in February, when he performed 250 songs with virtually no repeats. (His signature cover of Nick Lowe’s “(What’s So Funny ‘Bout Peace, Love and Understanding” was the exception, getting a reprise as the finale each night, albeit in 10 different arrangements.) Yes, there’ve been other impressive career-spanning stunts before, from bands including Phish and Sparks, but nothing that had a singular figure of this stature not just rifling through a 45-year catalog but reinterpreting it, alone or with guests, rearranging tunes and grouping them together for thematic purposes. The results, in the six out of 10 shows we witnessed, were staggeringly great. The first night had Costello by himself, only playing songs he wrote before “My Aim is True” came out in ’77; another show had a hastily assembled Irish-Americana band accompanying him on songs having to do with immigration or travel; Valentine’s Day brought a set of (mostly) anti-love songs; a workshop troupe did a partial run-through of the Broadway musical has been working on — et cetera. Hovering over the whole thing in spirit was collaborator Burt Bacharach, who died the night before the run opened, occasioning a wealth of Bacharach-David covers as well as their own shared work. As it turned out, the official billing of the run — “100 Songs and More” — nearly amounted to an “underpromise and overdeliver” joke. Taken more or less in a fell swoop, the breadth of it all was, for lack of a more original alliteration, beyond belief. (Read Variety ‘s original review here .)

Boygenius at the Fox Theater Pomona (April 12)

Outside of any given Taylor Swift show, you’d be hard-pressed to find a show with more livestreams-per-capita coming from inside the gig than were happening during Boygenius’ tour preview show at the smallish Fox Pomona, just outside the L.A. County line. Fans of any or all of the three group members — Phoebe Bridgers, Lucy Dacus and Julien Baker — wondered just how the trio would come off in their first official, ticketed public appearance since 2018, before they were nearly so famous. Yes, the group’s combined vocals on the new “The Record” sounded deeply luscious, but had the harmonies… had some work done? As those of us inside the hall (and probably tens of thousands outside, thanks to IG Live) quickly were reassured, there was nothing the band did on vinyl that didn’t sound just as gorgeous or rock just as ferociously live. At this point, there was no solo material in the set — something that wasn’t added till they each added a number by the time they headlined the Re:SET tour in June. The show really didn’t need it. The “side project” material felt like a full meal, whether they were sounding as clean as a barbershop quartet warbling “Goodnight, Irene” in the opening a cappella “Without You Without Them” or literally crashing into one another, like participants in a rock ‘n’ roll slumber party, by the end. Live or on “Record,” Boygenius is one of the best reasons to be living through 2023. (Read Variety ‘s original review here .)

Willie Nelson and Friends at 'Long Story Short: Willie 90' at the Hollywood Bowl (April 29-30)

“Thanks for coming to my dad’s birthday party,” said Micah Nelson, a few songs into an all-star tribute to  Willie Nelson  at the  Hollywood Bowl , a show that did manage to be scheduled right on the icon-in-question’s 90th. “Welcome to the after-birth party,” Micah quipped at the outset of the second of two concerts. At the end of night 2, the guest of honor joked about how habit-forming the two shows were: “Same time tomorrow night,” Willie said. There were only a handful of numbers that were part of the setlists on both nights — or at least only a handful sung by the same artist — so it was a good thing that producers did in only selling tickets as twin sets. Part of the intent was surely to make sure there was enough quality material to pack a theatrical film version that played in theaters in June, but the heft of performers and performances over the six-plus hours of music in the Bowl felt warranted, given Willie’s catalog and Rolodex. One of the few tunes repeated both Saturday and Sunday was Lukas Nelson’s nearly soundalike version of “Angel Flying Too Close to the Ground,” but it is one of the dozen greatest songs ever written. Among non-relations, Dave Matthews had perhaps the most soulful solo rearrangement, with “Funny How Time Slips Away.” But the duets created some of the most beautiful or poignant moments, from Norah Jones’ and Allison Russell’s haunting “Seven Spanish Angels” to Rosanne Cash’s nurturing support of Kris Kristofferson in “Help Me Make It Through the Night.” That’s not to mention the ones involving the birthday boy himself: When Willie Nelson and Keith Richards sing that they’re gonna “Live Forever,” you believe them. (Read Variety ‘s original reviews of the shows here and here .)

SZA at the Forum in Inglewood (March 22)

SZA proved one of the delights of 2022 — due to her very late-breaking album, “SOS” — and 2023, with an arena tour that made good on all the pent-up waiting after five years of suspense. No one would accuse her two albums or this tour of being low-energy, but the contemplative image that fronted the “SOS” cover carried over to a similar bit of staging in her shows, with the singer in a gown so poufy it was clear she wasn’t going anywhere, even though she was perched at the end of a diving board… an apt metaphor for someone reporting in right from the edge of her most fraught and contrary emotions. The production design headed even deeper into symbolism when she sang the new album’s “Special” from a raft that floated around the Forum, lit from afar by the beacon of a lighthouse she never quite arrived at. “I used to be special, but you made me hate me,” SZA sang, hardly sounding like a reigning queen of her scene… but purging in the midst of aerial adoration may be the best revenge. Why kill your ex when you can slay 18,000 people?

Neil Young at the Ford in L.A. (June 30)

Young will play much bigger venues on his short west coast solo tour — even in L.A., where he is shortly scheduled to do a couple of nights at the Greek — but the benefit of seeing him at one of the first four concerts at the Hollywood hills’ 1200-seat Ford amphitheater is getting to feel like a fairie sprite lucky enough to just have happened upon Neil Young in the woods. (Woods that have palm trees, but close enough.) His candlelit setup — three pianos, a pump organ, acoustic and electric guitars, a painted stove, an operating model train set and a lit-up “LOVE” sign — felt like a living-room practice space that had been dragged out into the redwoods, or as close to a semi-natural setting as urban Hollywood is going to provide. “When I hold you in my arms, I forget what’s out there,” he sang in “Prime of Life,” and everyone in the place knew how he felt, even with some crowd noise drifting over from the Hollywood Bowl across the freeway. Young has always liked to portray himself as a man out of time, or out of the generational space-time continuum, way older than his years back when he was on Sugar Mountain and maybe younger than that now. He has rarely gotten so specific with his lyrics that you could say very many of his songs are flagrant anthems for a boomer generation. But the setlist for this tour sure includes a lot of songs that live up to the promise he made about doing “songs that apply to my life right now, and apply to everyone’s lives in this era that we’re in,” even though “some of them were written 10, 20, 30, 40 years ago, but never really played live.” Being Neil, he didn’t talk much about the time-fades-away themes between songs, or even specific people — just the lineage of the instruments on stage, and his loathing for AI. But his choice of deep cuts from his catalog said a lot, as he threaded them together, and hearing them in L.A.’s most magical venue made for an unforgettable experience. Everyone knew this was somewhere . (Read Variety ‘s original review here .)

Missy Elliott at Yaamava’ Theatre in Highland (May 19)

If you’re seeing this and wondering why Missy Elliott didn’t come to your city, you’re hardly alone. She didn’t come to any cities this year, so far, except Las Vegas, for the Lovers & Friends festival in early May, and a resort/casino in out of the way Highland, Calif. a few days later. Is a two-date outing any way for a legend to be celebrating her newfound status as a Rock and Roll Hall of Fame inductee? It might be if you’re Elliott, who works on her own very intermittent schedule. What we’d like to believe — on behalf of the vast majority of the world that was unlucky enough not to attend her 2500-capacity casino gig in California’s Inland Empire — is that this prefigures a long-awaited tour that could now piggyback off her HOF honors to ensure sellout shows. Because what she pulled off out in the sticks is something that should be filling arenas in major cities around the country. (Albeit maybe at a longer length than the brisk 55 minutes this gig lasted.) Elliott was in top form, as if she’s rehearsing and touring this band and these dancers constantly and this was just another night on a long, adrenaline-driven road trip. She presented herself as the full package: looking great, sounding great, energized by the crowd and buoyed by her own natural bon vivant-ancy, on top of the production values you’d expect from a show built to travel. Even though we’re no longer in a down period for female hip-hop artists, actual royalty is still very much needed in our midst. (Read Variety ‘s original review here .)

Jack White at the Belasco in L.A. (January 13)

No one in rock ‘n’ roll puts on more consistently thrilling shows nowadays than White, and his surprise gig at downtown’s Belasco, an addendum to a completed tour, was even more exhilarating than most. Maybe it doesn’t hurt, motivation-wise, to be doing a kind of “family and friends” concert that has everyone from Doja Cat to Conan O’Brien to members of Metallica looking on from the wings. It’s not like you’d ever get the impression White is holding back a little in Tulsa, but maybe it doesn’t hurt to have a side-stage contingent like that if you’re hoping to get a 55-minute encore. The cliché would be to say that, two and a half hours in, White had left it all on the stage, except that he never really betrays any hint of exhaustibility on stage… always leaving the sense that he’s still got more in him, even after 23 almost entirely intense numbers. Throughout the show, White had that Jimi Hendrix energy, but Hendrix as filtered through Memphis’ own brand of swagger — you’re never quite sure whether he’s setting his instrument on fire or swimming in great balls of it. (Read Variety ‘s original review here .)

Maren Morris, Hayley Williams and Others at 'Love Rising' at the Bridgestone Arena in Nashville (March 20)

At Nashville’s Bridgestone Arena, a cast of mostly locally based stars, including  Maren Morris , Paramore’s  Hayley Williams , Yola, Sheryl Crow, Allison Russell, Amanda Shires and Jason Isbell — plus one key out-of-towner, the Irishman Hozier — joined up with a host of Tennessee drag artists to protest state legislation aimed at cross-dressing performers, trans youth and same-sex marriage. The four-hour “ Love Rising ” benefit filled the hall with fans and LGBTQ+ community members and their allies and found a bigger international audience being livestreamed via the Veeps platform. No one received more of a hero’s welcome than Morris, who’d recently gone out on a limb by standing up for trans youth and their families in a headline-making online debate with fellow country star Jason Aldean’s wife, Brittany Aldean, while most mainstream stars held their tongues. She looked sharp in formal black-tie half-drag (a recurring theme among a lot of folks playing Nashville this year), performing “The Middle” while drag queen Alexia Noelle Paris accompanied her in an interpretive dance. But the most affecting moment might have been Joy Oladokun previewing a new number, “Somehow,” dedicated to anyone else growing up non-white and queer in middle America, as she did. (Read Variety ‘s original review here .)

The War and Treaty at the Troubadour in West Hollywood (March 26)

That “find yourself someone who looks at you like…” meme is played out. But it has to be revived here: Find yourself a partner who looks at you like Tanya Trotter looks at Michael Trotter Jr., or vice versa. The pure joy exuded by the husband and wife who make up the duo the War and Treaty is so infectious, they could double-handedly restore anyone’s faith in marriage. They so happen to also be restoring a lot of people’s faith in music as they show up on awards shows and make other quick-hit TV appearances. A more concentrated dose of that, as found in their L.A. headlining debut at the Troubadour this spring, achieves an “I’ll Take You There”-level of transporting roots-soul. Despite their lack of experience in topping a bill in SoCal, these Nashville favorites actually have four albums out; the latest, “Lover’s Game,” was issued by a mainstream country label, but don’t let a couple of authentically twangy moments dissuade you if that’s not your thing, because this is their most satisfying genre-crosser to date. “Shared wailing” is the only real genre, with this duo. And when together they sing, “Have You a Heart,” the only reasonable reply is: Now, I do.

'Nuggets' Tribute at the Alex Theatre in Glendale (May 19)

In 1972, the famous “Nuggets” compilation album waxed nostalgic for the garage-rock of the mid-1960s. Just over 50 years later, we’re nostalgic from a very long distance, for that nostalgia that was wistful from a very short one. It’s not just about the songs that were anthologized on the original double-LP, though; it’s about a whole punk-rock, back-to-rock-basics movement that the album played at least some part in kick-starting, which we still feel the effects of today. Fortunately, the man who compiled “Nuggets” a half-century-plus ago is still around today, and ready, willing and eager to rock: Lenny Kaye, host of a tribute show that went down in L.A. under the beneficial auspices of the Wild Honey charity. (A new five-LP limited edition of “Nuggets” was also released by Warner just prior to the show, for Record Store day; find a stray copy if you still can.) This three-and-a-half show had a bit of starpower driving it, with Susanna Hoffs singing on two numbers, one of them in collaboration with accordionist “Weird Al” Yankovic. Mostly it was cult artists in the service of cult music that changed the world, or at least changed rock ‘n’ roll, with great turns from Peter Case, Wayne Kramer, Peter Buck, the Fleshtones’ Peter Zaremba and dozens of others. All the better when a bunch of original “Nugget”-eers pushing 75 or 80 made their way back into the limelight to go “Pushin’ Too Hard.” There’s a lesson for us all here: Those who forget the past are destined to not rock nearly hard enough. (Read Variety ‘s original review here .)

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Def Leppard, Journey tour 2024: Ultimate guide to their Phoenix concert

Def Leppard and Journey are headed to Chase Field in downtown Phoenix on a co-headlining tour whose local date includes Steve Miller Band bringing the number of hits you can expect to hear to an even more staggering total.

At the tour launch in St. Louis, Def Leppard's performance went heavy on highlights of their biggest albums, "Pyromania" and "Hysteria," signing off with "Pour Some Sugar on Me."

Journey also played their biggest '80s hits and reached back to the '70s for such classics as "Lights" and "Lovin', Touchin', Squeezin.'"

This isn't the first time Def Leppard and Journey have toured. They played Phoenix together in 2019.

The Arizona Republic praised that concert , writing, "On one hand, the tour is a testament to the enduring appeal of the two bands' catalogs. On the other hand, they wouldn't still be bringing in those kind of numbers if they couldn't still be counted on to deliver the goods. And the goods were delivered in full as both bands made their way through hit-filled sets."

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Here's everything you need to know before you go to see Def Leppard, Journey and Steve Miller Band at Chase Field in Phoenix.

When is the Def Leppard / Journey in Phoenix?

Def Leppard and Journey bring their co-headlining tour to Chase Field in Phoenix on Friday, Aug. 23.

What time should I get to Chase Field for Journey and Def Leppard?

Doors open at 4:30 p.m. Fans are encouraged to show up as early as possible to avoid potential delays at the gates as you get closer to show time.

The concert starts at 6 p.m. with special guests Steve Miller Band.

Heavy vehicle and pedestrian traffic is expected when the concert ends at around 11 p.m. 

Don't miss out: Best August 2024 concerts in Phoenix, from Sammy Hagar to Def Leppard and Journey

Where is Chase Field?

Chase Field is at 401 E. Jefferson St. in downtown Phoenix. It is bounded by Seventh Street to the east, Fourth Street to the west, Jefferson Street to the north and the Southern Pacific Railroad tracks to the south.

Def Leppard / Journey tickets in Phoenix

As of Thursday, Aug. 8, tickets were available at  Ticketmaster.com  starting at $49.50.

Def Leppard setlist 2024

Here's the setlist from a recent Def Leppard concert:

• “Rock! Rock! (Till You Drop)”
• “Armageddon It”
• “Love Bites”
• “Just Like '73”
• “Billy's Got a Gun”
• “Too Late for Love”
• “Die Hard the Hunter”
• “Thrust Stage”
• “Two Steps Behind”
• “This Guitar”
• “Bringin' On the Heartbreak”
• “Switch 625”
• “Rock of Ages”
• “Photograph”
• “Pour Some Sugar on Me”

Journey setlist 2024

Here's the setlist from a recent Journey concert in Queens, New York:

• “Only the Young”
• “Be Good to Yourself”
• Guitar solo
• “Stone in Love”
• “Ask the Lonely”
• “Who's Crying Now”
• “Faithfully”
• “Lovin', Touchin', Squeezin'”
• “Open Arms”
• “Line of Fire”
• “Dead or Alive”
• “Wheel in the Sky”
• “Separate Ways (Worlds Apart)”
• “Don't Stop Believin'”
• “Any Way You Want It”

Can I bring water or food to Chase Field?

You may bring the following:

• Unflavored/noncarbonated water in sealed plastic bottles.
• Empty plastic water bottles.
• Sealed single-serving juice boxes.
• Formula and baby food.

You may not bring alcohol into the venue.

No metal, glass or Thermos-style containers are permitted.

Food is allowed, as long as it’s in an approved clear plastic bag.

Best places to eat at Chase Field

Dining options at Chase Field include A-Zona Street Tacos, Bat Flip Burgers, Big Dawgs, Black Rock Coffee Bar, Burger Burger, Cactus Corn, Chef Tilder's Gyros, Chick Fil-A, Copper State Steaks, D-Backs BBQ Alley, Doubleheaders, Estrella Jalisco Cantina, Four Peaks, Gadzooks Enchiladas & Soup, Gonzo's Grill, Grand Canyon Grill, Grandma's Made Concessions, Hop Valley Box, Hungry Hill Sangwich, Loaded Nacho Cart, Oasis, Red Hot Grill, ReyGloria's Tamales, Serpientes Cantina, Streets of New York, Taste of Chase, Taquería Los D-backs, the Cavery and Yanikeke Empanadas.

For dessert, there's Churro Dog, Cold Stone Creamery, Scoopwell’s Dough Bar, Sweet Treats, Wetzel’s Pretzels and Zoyo Neighborhood Yogurt.

There are beer stands, dessert carts and liquor bars throughout the ballpark. 

Premium bars are on the field for fans with floor seats.

There are assorted grab-and-go options throughout the stadium as well. 

Is Chase Field air-conditioned?

Yes, Chase Field is air-conditioned. 

What is Chase Field's bag policy?

Each fan may carry one clear plastic, vinyl or PVC bag no larger than 12 by 12 by 6 inches or a clear plastic freezer bag no larger than one gallon. Clear bags may not have obscured interior pockets.

Fans may also carry a clutch purse no larger than 6.5 inches by 4.5 inches, with or without a handle.

Bags and purses are subject to search..

Can I bring a seat cushion or blanket to Chase Field?

One-piece seat cushions no wider than 18 inches without pockets, zippers or concealable areas are permitted.

Blankets are permitted if carried loosely. Blankets are subject to inspection.

Where do I enter if I have floor seats?

Guests with floor seats should pick up their wristbands on Fourth Street or outside Gate K and then proceed to any gate for entry. Access to the floor is available throughout the main concourse on the first and third base sides.

There are bars on the floor so guests can head straight there for beverages.

What if I bought the VIP experience?

VIP ticketholders will receive instructions from VIP Nation.

What can I expect at security?

As you approach a gate, your ticket will be scanned and you will be instructed to place your cellphone and metal objects in a bin on the table or inside your handbag or backpack.

Small sets of keys or spare change do not need to go in the bin. Security will examine your bags and direct you through the metal detector.

Gates A, C, E, J and K and the Bridge Entrance will have lanes available for those who cannot go through a metal detector because of a mobility device. Guests using these lanes will be subject to a light pat-down or hand wand, as well as an inspection of the mobility device.

If a medical implant sets off the metal detector, the person will be subject to a follow-up screening that may include a hand wand or light pat-down search.

The risk of disrupting a pacemaker is negligible. However, if you are concerned, there is an option of a pat-down search.

No weapons are allowed at Chase Field

Weapons of any kind, including pocket knives, are prohibited.

Only active federal or Arizona state law enforcement officers may enter with a firearm. Credentials will be verified at the time of entry.

Chase Field will not hold personal items. Storage lockers are available.

What is prohibited at Chase field

The following items are prohibited:

• Animals (except for service animals).
• Aerosol cans.
• Drones and other remote-controlled devices.
• Drugs or other illegal substances (including medical marijuana).
• Fireworks or other incendiary devices.
• Camera tri-, dual- or single-leg pods by non-media personnel.
• Skateboards, roller blades, scooters, razors or shoes with wheels.
• Obscene, offensive, indecent or inappropriate attire.
• Blow horns or noisemakers.
• Fishing nets.
• Beach balls, balloons or other inflatables (without prior approval).
• Laser pens.
• Banners containing commercial, political or obscene material, or that block guest views.
• Bicycles (use the approved bike parking racks).
• Liquids or machines for blowing bubbles.

Other items may be prohibited at the discretion of Chase Field management. The Arizona Diamondbacks reserve the right to inspect any items brought into Chase Field.

Chase Field doesn't accept cash

Chase Field is a cashless stadium that accepts major credit and debit cards, Apply Pay and Google Pay.

Have a credit or debit card ready if you do not plan to order from your mobile phone or visit one of three Cash-2-Card locations, free of charge, at Sections 106, 128 and 322.

Chase Field does have free Wi-Fi

Chase Field offers visitors free Wi-Fi at Dbacks Wifi.

Chase Field lost and found

During an event, inquire about lost items at Guest Services stations at the Main Concourse sections 128 or 322. Following an event, all unclaimed items are logged and secured for 30 days. Contact Security at  dbacks.com/lost .

How to take Valley Metro light rail to the Chase Field

Valley Metro trains run every 15-20 minutes. The stations nearest Chase Field are Third Street/Washington and Third Street/Jefferson.

Buy your fare at any light rail station with cash, credit or debit card — or purchase a pass in advance to avoid lines at the vending machines.

It may be best to buy an all-day pass for riding to and from the concert. It's good for unlimited boarding the same day so there's no need to wait in line to purchase a pass when the concert is over.

Download the Valley Metro app or visit  valleymetro.org .

Is park and ride available?

Here's a list of Valley Metro park and ride lots:

Phoenix: Metro Parkway, 19th and Dunlap avenues, 19th and Montebello avenues, 19th Avenue and Camelback Road, Seventh Avenue and Camelback Road, Central Avenue and Camelback Road and 38th and Washington streets.

Tempe:  Dorsey Lane and Apache Boulevard, McClintock Drive and Apache Boulevard, Loop 101 and Apache Boulevard.

Mesa:  Sycamore and Main Street; Mesa Drive and Main Street; Gilbert Road and Main Street.

Chase Field parking

You can select a lot and pay for parking in advance at  parkwhiz.com . Two weeks out, 14 lots within a 1-mile radius of Chase Field had spaces available for $20-$60.

Directions to Chase Field

If you're coming from the Southeast Valley:

Take Interstate 10 west, then use the right three lanes to I-17 at the split. Exit to the right on Seventh Street, then turn left at the light on Lincoln Street. Or, continue north on Seventh Street to Jefferson Street, then turn right to access parking facilities east of Seventh Street.

A word to the wise: Left turns from Seventh Street westbound onto Washington Street are prohibited.

To avoid congestion, continue on I-17 to the Seventh Avenue exit, go right on Seventh Avenue and then right at Lincoln or Jefferson streets.

If you're coming from Scottsdale or east Mesa:

Take Loop 202 west to I-10 and exit via the Fifth Avenue HOV lane or Seventh Avenue. Turn left on Fillmore, Van Buren (accessible from Fifth Avenue only) or Jefferson streets.

If you're coming from the Northwest Valley:

Use I-17 to the Jefferson Street exit, then turn left and continue eastbound.

If you're coming from the Northeast Valley:

Take State Route 51 (Piestewa Freeway) to I-10 east, exit at Washington Street and turn right. Or take I-10 west to the Seventh Street exit and turn left.

To avoid congestion, continue on I-10 to Seventh Avenue or the Fifth Avenue HOV exit. Turn left on Fillmore, Van Buren (accessible from Fifth Avenue only) or Jefferson streets.

If you're coming from North Central Phoenix:

Use surface streets, including Seventh Avenue, First Avenue and Seventh Street.

Due to heavy traffic, Seventh Street is the least-preferred option.

If you're coming from the West Valley

Take I-10 to Seventh Avenue or the Fifth Avenue HOV exit and turn right. Turn left on Fillmore, Van Buren (accessible from Fifth Avenue only) or Jefferson streets for parking.

Chase Field is at 401 E. Jefferson St. in downtown Phoenix. It is bounded by Seventh Street to the east, Fourth Street to the west, Jefferson Street to the north, and the Southern Pacific Railroad tracks to the south.

Where are Uber and Lyft at Chase Field?

There are three recommended pickup/dropoff spots for ride shares: First and Washington streets; Third Street between Washington and Jefferson streets; and Twelfth and Jackson streets.

Culture | Music

Taylor Swift at Wembley Stadium review: a celebratory blaze through the pop icon's greatest hits

There are not many artists out there capable of playing Wembley Stadium – and with her lengthy run of Eras Tour dates this summer at the 90,000 capacity venue, Taylor Swift will become the first ever solo artist to sell it out eight times over.

On Friday night the record-breaking artist kicked off her historic residency with a celebratory blaze through her greatest hits. “What an absolute honour it is to say these words: London, welcome to the Eras Tour,” she declared.

Already the highest grossing concert tour in history, the Eras Tour pays tribute to Swift’s vast discography, spanning from 2008’s Fearless (her self-titled 2006 debut is the only record absent from the setlist) to this year’s underwhelming The Tortured Poet’s Department , making stops for all of the hits along the way.

Divided up into orderly sections, split neatly by album, it raced between the folksy lockdown records Folklore and Evermore – both produced by The National ’s Aaron Dessner – to the feel-good synth-pop of her breakthrough album 1989, Fearless’ fist-clenching romanticism, and the choppier, dubstep influenced standouts from Red.

The rigid structure gave the show the feeling of a journey through time, but being backloaded with her newest material meant that it lost momentum slightly towards the end.

Throughout the epic, three and a half hour show, Swift was a charismatic presence, effortlessly conjuring up intimacy despite the sheer enormity of her surroundings. Well-positioned cameras captured her every reaction; from an off-mic exclamation of “oh my God” to Swift carefully placing her bowler hat onto the head of a completely overwhelmed young fan. 

The singer put in a marathon shift, seamlessly transitioning from big hits like Shake It Off and I Knew You Were Trouble, to a 10-minute long All Too Well. 

At times, underwhelming production let things down; stock image candles, a slapstick act featuring a procession of mimes, and a t-shirt that whipped off like a tabard all felt less pop production, and more panto.

During Evermore’s opener Willow she resembled an extra from The Traitors, while Blank Space featured an nonsensical fleet of neon Lime bikes careering around the catwalk. During But Daddy I Love Him, a computerised landscape of flaming trees flickered in the background, while Look What You Made Me Do saw the singer theatrically spanking a cheerleader, who was helplessly trapped in a glass box. 

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Compared to the section dedicated to Folklore and Evermore – which came accompanied by a gorgeous, moss-covered cabin – or the distinct, black and white aesthetic of The Tortured Poets Department, these moments lacked any kind of cohesion. 

Despite the rich tapestry of symbols and references Swift has crafted throughout her career, many are absent from the staging – also at the London shows omitting capital-themed tracks London Boy and So Long, London feels like a missed opportunity.

Rather than unnecessary bells and whistles, Swift was at her best when she stripped things back to basics and let raw emotion take the wheel. Surprise set inclusions The Black Dog (for its first ever live performance) and Hits Different were greeted like number one singles rather than back catalogue deep cuts, while elsewhere Champagne Problems prompted an ovation lasting almost three minutes. 

And the roar of almost 90,000 fans – light-up wristbands aloft in the air and singing along at the top of their lungs to every note – is something potent and special that you don’t hear every day.

Taylor Swift plays Wembley Stadium 22 and 23 June, and 15-20 August

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Mindblowing stage designs from concerts around the world

It seems like a lifetime since there was the opportunity to get really excited about going to a concert. However, with life starting to take a turn back towards the normal, there could potentially be plenty of events for music fans to get excited about in the near future. And it’s likely that stage designs are going to come back with a bang as bands and artists look to make a big and memorable impact in these post-pandemic times. With that in mind these are some of the most mindblowing stage designs from concerts around the world that could well inspire the sets we see in the months to come.

Roger Waters – The Wall Live Stage Design

As stage designs go this one was pretty impressive. Tech-driven and using lots of video projection, the stage design provided a backdrop for Waters as he sang a Pink Floyd set without any other members of the band. This tour won Waters the record as the highest grossing solo musician and the epic set remains burned into the minds of many of those who went.

Pink – Fun House Tour Set building and design

Pink doesn’t do things by halves and that was certainly true of the Fun House tour, which was designed to look like a carnival. As well as the opulent aesthetics, the stage was also created to allow for plenty of acrobatics by the singer and her dancers.

David Bowie – Glass Spider Tour Set Building

This tour was exactly what you’d expect of a music master with a penchant for surprise – eclectic, unique and unexpected. The stage design was equally as memorable, bringing to life the name of the tour across the top of the stage. The enormous glass spider provided a frame for the performance with thick velvet rope ‘legs’ draped down on either side of the stage.

U2 – 360 Degree Tour Set Build

The stage for this tour was probably one of the most unusual and impressive of all time, giving concertgoers a different type of access to the band. U2 performed in the centre of the crowd on a huge rotating platform with big screens hung from an enormous four legged structure overhead.

Skrillex – The Mothership Tour Stage design and technology

As a DJ there is only a certain amount of movement that you can achieve on stage but this didn’t stop Skrillex from creating one of the most impressive stage designs for his Mothership Tour. He literally built a spaceship – the mothership – and embedded his DJ booth into it, making the whole experience really out of this world.

Lady Gaga – Born This Way Stage Design and Build

Lady Gaga rarely disappoints when it comes to creativity and theatrics and certainly didn’t in terms of this tour. Her stage design incorporated an enormous castle and allowed the singer to seamlessly feed her five acts to the audience in one single story that made the show as memorable for the aesthetics as the performance.

Kanye West – Saint Pablo Tour Stage Technology and Stage Building

Kanye West has proven himself to be an innovative musician time and time again and the same goes for his approach to stage design. When fans arrived for the Saint Pablo gig there appeared to be no stage – until it was revealed to be suspended above the crowd. West performed high above his fans and celebrity friends who enjoyed a mosh pit style experience below.

Stage design can make or break a tour and these are just some examples of those that will stay with the concertgoers who were lucky enough to see them live.

To learn more about Scott Fleary's Industrial set design , contact us.

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31 Must-See Tours & Music Festivals: How to Get Tickets to Missy Elliott, Megan Thee Stallion, Justin Timberlake & More

We've put together a list of 30 tours and music festivals to attend in 2024.

By Latifah Muhammad

Latifah Muhammad

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2024 is the year of mega-tours. After two years of rescheduled, postponed or canceled tours and concerts , music fans can rejoice in knowing that live shows are in full swing.

How to Score Tickets to Bad Bunny’s Most Wanted Tour

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For more tour guides, check out our roundups of 2023 Latin Tours in the U.S. , Las Vegas residencies and country musi c tours .

A List of Must-See Music Tours (Updating)

Alanis Morisette — The Triple Moon Tour launches on June 9 in Phoenix. The tour will feature Joan Jett and the Blakchearts. Get tickets here and here .

Avril Lavigne — Avril Lavigne: The Greatest Hits Tour kicks off on May 22. All Time Low, Simple Plan, Royal & the Serpent and Girlfriends will be featured on select dates. Get ticket here and here .

Billie Eilish — The Hit Me Hard and Soft Tour starts later this year. Get tickets here and here .

Billy Joel — In addition to joining Stevie Nicks for a co-headlining tour , Billy Joel has solo shows scheduled for this year. Get tickets here .

Blink-182 – Blink-182 will be heading back on tour in North America this summer. Buy tickets here .

Bruce Springsteen – After postponing 2023 dates, Bruce Springsteen resumed his tour in March. Buy tickets to see The Boss here and here .

Chris Stapleton – If you enjoyed his rousing rendition of the National Anthem at last year’s Super Bowl , you need to see the country star live . Get tickets to here .

Dave Matthews Band — The Dave Matthew Band’s tour starts today (May 22). Get tickets here and here .

The Eagles – The legendary band announced a UK residency as part of the band’s farewell tour. Get tickets to see The Eagles here .

Foo Fighters – The Foo Fighters’ Everything or Nothing Tour starts in July. Get tickets here and here .

Janet Jackson — Following the success of last year’s Together Again Tour, Janet Jackson is extending her stage run. Get tickets here .

Justin Timberlake — Justin Timberlake added additional dates to the Forget Tomorrow World Tour. Get tickets here and here .

Luke Combs – Luke Combs extended his Growin’ Up and Gettin’ Old Tour into this summer. Get tickets here and here .

Nicki Minaj — The Pink Friday 2 Tour starts launched in March. Get tickets here and here .

Megan Thee Stallion — The Hot Girl Summer Tour started on May 14. Get tickets here and here .

Missy Elliott — Busta Rhymes, Ciara and Timberland will join Missy Elliott for her first-ever, headlining tour in July. Get tickets to the Out of This World: The Missy Elliott Experience 2024 Tour here and here .

Metallica – The hotly anticipated M72 Tour from the rock legends returns to North America this summer. Get tickets here and here .

Olivia Rodrigo – The Guts tour is making its way around Europe. The tour returns to the U.S. in July. Get tickets here and here .

The Rolling Stones — The Hackney Diamonds Tour launched April 28 in Houston. Get tickets here .

Stevie Nicks – Stevie Nicks will be on the road starting in February. Get tickets to see the music icon live here .

Taylor Swift – The international leg of the Eras Tour started in Japan in February. The pop star will be back stateside later in the year. Get tickets here .

Usher — The Past, Present Future tour starts in August. Get tickets here and here .

2024 Music Festivals: Where to Get Tickets

Coachella, Stagecoach, SXSW, Lollapalooza, Dreamville Fest, Global Citizen Festival and Austin City Limits are just some of the many festivals on the calendar this year. See a list of upcoming festivals below.

Austin City Limits Music Festival — The 2024 Austin City Limits Music Festival will be held on Oct. 4-6 and Oct. 11-13).

Bonnaroo Festival — Post Malone, Red Hot Chili Peppers, Fred Again, Reneé Rap, Megan Thee Stallion, Malanie Martinez, Diplo, Jason Isbell, Dominic Fike and T-Pain are some of the performers on the bill for Bonnaroo 2024. The festival will be held from June 13-16. Get tickets here and here .

Bottle Rock Festival — The Bottle Rock Festival takes place from May 24-26 in Napa, Calif. The lineup features Stevie Nicks, Megan Thee Stallion, St. Vincent, Nelly, Pearl Jam, Bebe Rehxa, Ed Sheeran, Mana, Kid Laroi, Kali Uchis, Queens of the Stone Age and more. Get tickets here and here .

CMA Fest — CMA Fest returns to Nashville from June 6-9. The lineup includes Gretchen Wilson, Reyna Roberts, Ashley McBryde, Britney Spencer, Jelly Roll, BRELAND, Gavin Degraw, Chase Matthew, Carly Pierce, The War & Treaty, Lainey Willson and Keith Urban. Get tickets here and here .

Lollapalooza Festival — Tyler the Creator, Hozier, Stray Kids, The Killers, Metro Boomin, Blink-182, Melanie Martinez and Skrillex From Aug. 1-4. Get ticket here and here .

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The 10 greatest stage entrances in the history of rock'n'roll

This is how you start a show: we take a look at the greatest entrances ever

As you're no doubt aware, Iron Maiden staged an aerial dogfight before their headline set at Sonisphere in 2014, which might just be one of the grandest ways to make an entrance in rock history. But they're not the only ones who know how to kick off a gig in style, as we shall discover. 

A band not given over to a less-is-more way of thinking, Kiss ’s stage entrances have long been utterly spectacular. There are many bands who use fireworks, pyro, smoke, flashboxes, but it’s how Kiss pull it off that is so impressive. 

Their 2012 tour featured them arriving on a fiery, floating, UFO-type platform, while a previous high was the 1990 H.I.T.S. tour, in which a giant Sphinx called Leon fired lasers across the auditorium before opening its mouth and spitting Kiss onto the stage.

Limp Bizkit

In response to criticism over their inclusion at 1998’s Ozzfest , Limp Bizkit decided to make a point. So it was that, on the tour’s first date and for the rest of its run, they emerged onstage from a giant, filthy toilet while the PA blared the theme tune from Rocky. The point was reasonably clear: if you think we’re shit, then we’re going to come out fighting.

In a show that features exploding fireworks, a member paddling across the top of the crowd in a blow-up dinghy, simulated anal sex, a huge, spraying rubber dildo and a massive, ride-on, motorised, jizzing cock, it’s important to make the entrance count. 

Hence Rammstein ’s 2011 tour had quite the opening: a giant, industrial, metal scaffold running the entire length of the arena on which the band walked down over a cacophony of noise and hissing steam. Which beats “Hello, we’re Rammstein, this one’s off the new album” by some distance.

Rage Against The Machine

Not as gimmicky as much of the rest on this list, nor a stunt, Rage Against The Machine ’s entrance onstage at 1993’s Lollapalooza is still one of the most memorable of all time. Furious at the campaign group PMRC’s attempts to censor rock music, the band walked out entirely naked except for a piece of gaffer tape across their mouths and the letters PMRC scribbled on their bodies. 

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They remained stock still for 15 minutes, then walked off. Point made. They later played a free show to make it up to upset fans.

Alice Cooper

The king of stage entrances, Alice Cooper more or less invented the dramatic arrival. Back in 1975, his opener consisted of him singing Welcome To My Nightmare while the characters from that bad dream – a spider, a bat, a ghost, a ballerina, some weird shit – danced around in perfect choreography. Freaky, odd and unforgettable.

Motley Crue

Unafraid of a flashy entrance at the best of times, Mötley Crüe began their 1987 Girls, Girls, Girls tour with a pitch black stage. Then, as the drums began to beat, slowly things started to come to life. 

Speaker stacks were lofted into the air on hydraulics, before drummer Tommy Lee emerged from beneath the stage in a drum cage that was then lifted above the band at the back of the stage. It meant that, both physically and mentally the drummer was often the highest person on the tour.

The Darkness

In the moments before The Darkness walked out onto the stage at Alexandra Palace in 2006, giant TV screens crackled into life and showed images of the band apparently arriving by helicopter. Lights swept around the room, and the sound of bagpipes erupted from the PA. 

Drummer Ed Graham began the beat to Knockers as guitarist Dan Hawkins settled into its anticipatory riff. They just needed one thing to really tie things up: something that marked an impressive stage entrance while saying something meaningful about such a heartfelt song. 

Cue singer Justin Hawkins arriving on a pair of flying, inflatable breasts – complete with light-up nipples – that swung across the auditorium. Job done.

Whatever you think of the right-wing, gun-toting, hunting enthusiast and guitarist, there’s no denying Ted Nugent knows how to make an entrance. Over the years, he has ridden onstage on a buffalo, dressed as a native American, and marked his arrival by leaping off a 25-foot stack of Marshall amps. 

Perhaps his most impressive stage entrance was when he stripped off to a loin cloth and swung out on a rope like Tarzan. Not so good when it goes wrong, though.

Starting with an immaculately animated cartoon of an illicit liaison with two near naked girls in a train, which is blazed onto the stage’s big screens, the start of AC/DC’s 2008 Black Ice tour was already impressive. But when the train ‘crashes’ and bursts through onto the stage, amid a blizzard of pyro, the band proved they had still got it on the entrance front.

And finally, a stage entrance that has become iconic because it was so bad. Spinal Tap were always a band who – when not in Cleveland and therefore actually able to find the stage – were keen to make quite an entrance. 

So, when they unleashed Rock ‘n’ Roll Creation , they upped the ante by beginning the show in plastic pods. The only problem was, bassist Derek Smalls’s failed to open. While The Tap might have been a spoof, incidents like this were uncannily familiar to a host of ‘70s rock bands, notably Yes, who suffered the same fate.

Tom Bryant is The Guardian 's deputy digital editor. The author of The True Lives Of My Chemical Romance: The Definitive Biography , he has written for Kerrang!, Q, MOJO, The Guardian, the Daily Mail, The Mirror, the BBC, Huck magazine, the londonpaper and Debrett's - during the course of which he has been  attacked by the Red Hot Chili Peppers' bass player  and accused of starting a riot with The Prodigy. Though not when writing for Debrett's.

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‘man in the hills’: burning spear’s accomplished follow-up to ‘marcus garvey’, ‘who are you’: how the who stuck it to the punks, ‘higher ground’: stevie wonder cheats death and reaches a new plateau, ‘down to earth’: rainbow on a roll with new 1979 line-up, ‘reach out i’ll be there’: the four tops reach the world, duke ellington meets coleman hawkins: when two jazz giants united, the cardigans join tiktok, classic akon music videos remastered for youtube, disney’s ‘a whole new sound’ reveals tracklist, release date, katy perry to perform, accept video vanguard award at 2024 mtv vmas, don henley’s ‘building the perfect beast’ to receive 40th anniversary release, ‘let it go’ from hit disney film ‘frozen’ achieves diamond certification, frank sinatra’s holiday classics to be released as ‘ultimate christmas’ 2lp, got live if you want it: 15 of the best rolling stones live performances.

From breaking records to raising roofs, the best Rolling Stones live performances prove why they’re ‘The Greatest Rock’n’Roll Band In The World.’

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Bands rise and fall, live attractions come and go, but there is always The Rolling Stones . The group that earned the inarguable nickname of “The Greatest Rock’n’Roll Band In The World” have renewed the ownership of that title with each passing decade – and the best Rolling Stones live performances prove exactly why.

The deluxe edition of their Honk compilation , which itself spanned 45 years of classic Stones hits and album favorites, was another reminder of their performing pre-eminence. It featured ten live tracks taken from the band’s expansive touring schedule of recent years, including renditions of such classics as “Let’s Spend The Night Together,” “Under My Thumb,” and “She’s A Rainbow.” Also included were memorable guest appearances captured around the world with Florence Welch , Ed Sheeran, Brad Paisley, and Dave Grohl .

In tribute to the Stones’ mastery of the concert stage and as a depiction of how they have mesmerized audiences ever since their formation in 1962, we present 15 of the best Rolling Stones live performances, taking us from TV specials to arenas and from stadium spectaculars to the biggest live audience in history.

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What Rolling Stones live performances would make your list? Let us know in the comments section, below.

15: Joe Robbie Stadium, Miami, November 25, 1994: ‘Happy’

We begin by remembering the experience shared by a sell-out crowd of 55,935, and a TV audience in the millions, one night in Florida in 1994. Deep into the North American leg of the Voodoo Lounge tour, the Stones were supported on this tranche of dates by Spin Doctors; their powerhouse show was given even greater zip by the presence of guest stars Bo Diddley , Sheryl Crow, and Robert Cray. Here was Keith Richards on his staple from Exile On Main St , and countless concerts ever since, “Happy.”

14: Hampton Coliseum, Hampton, Virginia, December 18, 1981: ‘Shattered’

The Stones had played this Virginia venue in 1978 when their Some Girls album was new, and the set featured one of that album’s most raw rockers, “Shattered.” Three years later, the song was still an integral part of their set, even with their next album, Tattoo You , on release, as the band played a two-night stand at the Hampton Coliseum during their 50-date North American excursion of 1981.

13: Los Angeles Forum, July 12, 1975: ‘Star Star’

Complete with our language warning, here are the band with Ronnie Wood newly in the fold on their so-called Tour Of The Americas of 1975, which in the end “only” visited North America. The tour featured a typically high-octane “Star Star,” from the 1973 album Goats Head Soup .

12: Ireland, 1965: ‘I’m Alright’

For anyone keen to catch up on early Rolling Stones history, and to see evidence of their rise to rock royalty status, the documentary Charlie Is My Darling is a must. Amid the deafening screams and fan adulation that followed them through Ireland – and everywhere they went – here’s their version of a song by one of their great heroes, the aforementioned Bo Diddley.

The Rolling Stones - I'm Alright (Live - Ireland 1965) Watch this video on YouTube Click to load video

11: wembley stadium, summer 1990: ‘tumbling dice’.

The year-long Steel Wheels tour that signalled the arrival of the latter-day Rolling Stones touring machine was so vast that by the time it reached Europe, it had a new setlist and a new title. From the Urban Jungle leg, here’s another Exile classic from one of their homecoming shows at Wembley Stadium.

10: London Stadium, May 22, 2018: ‘Wild Horses’

Featured in the deluxe editions of the Honk retrospective, here’s the memorable and unique occasion on which Mick Jagger shared vocals on the timelessly elegant “Wild Horses” with Florence Welch of Florence + The Machine.

9: The Ed Sullivan Show , February 13, 1966: ‘Satisfaction’

The Stones appeared on the American television institution on six occasions between 1964 and 1969, including twice in 1966 alone. From a three-song performance in February 1966 that also included “As Tears Go By” and “19th Nervous Breakdown,” this version of “Satisfaction” sees Jagger at his magnetic best.

8: Texas, June 1972: ‘Jumpin’ Jack Flash’

Among the numerous ambitious concert films released by the band over their long history, there’s a special place in the hearts of fans for Ladies And Gentlemen…The Rolling Stones . Even more so following the 2010 restoration that lets us see them, complete with Mick Taylor, in their full 1972 pomp.

7: London, December 11, 1968: The Rolling Stones Rock And Roll Circus

Speaking of restored TV specials, here’s the trailer for the unforgettable 1968 extravaganza that brought together the Stones, John Lennon , Eric Clapton , Taj Mahal, Jethro Tull, The Who, and others. You’ve heard of Oxford Circus…

6: Marquee Club, London, March 26, 1971: ‘Dead Flowers’

As featured in the From The Vault series of live landmarks, the Sticky Fingers  track as introduced to a lucky group of London fans when the Stones returned to the scene of their very first gig, nine years earlier.

5: Checkerboard Lounge, Chicago, November 22, 1981: ‘Baby Please Don’t Go’

A show that the Stones still talk about. One historic night on the South Side of Chicago, Mick, Keith, Ronnie and stalwart road manager Ian Stewart joined the man who was not only their inspiration but who recorded the very song they were named after. Here they are sharing another 50s Muddy Waters gem.

Muddy Waters & The Rolling Stones - Baby Please Don't Go - Live At Checkerboard Lounge Watch this video on YouTube Click to load video

4: hyde park, london, july 2013: ‘miss you’.

Forty-four years after their historic appearance there following the death of Brian Jones , the Stones returned home for two Hyde Park shows during their 50 & Counting tour. Here they are sharing the Sweet Summer Sun with about 65,000 admirers.

3: Hyde Park, London, July 5, 1969: ‘I’m Free’

That takes us back to the incredible scenes of summer 1969, when Mick Taylor’s first gig as a Stone was before a crowd lumbering somewhere between a quarter and half a million. The 2015 DVD reissue takes us back to a singular moment in rock history, and one of the most memorable Rolling Stones live performances in their decades-long career.

2: Ford Field, Detroit, February 5, 2006: Super Bowl XL

Soon after their A Bigger Bang tour smashed records as the highest-grossing ever, the Stones rocked into the Motor City for an incredible Super Bowl half-time treat. It went down in history as not only one of the best Rolling Stones live showings of all time, but one of the best live performances period.

1: Copacabana Beach, Rio De Janeiro, February 18, 2006: ‘You Got Me Rocking’

When it comes to a live spectacle, no one thinks as big as the Stones. Less than two weeks after re-writing what live music can achieve, they did it again by playing the biggest concert ever seen. An estimated audience of 1.5 million got their ya-ya’s out.

Buy or stream the multi-format A Bigger Bang, Live On Copacabana Beach.

11 Comments

stephen conn

April 19, 2019 at 2:12 am

Actually “Ladies and Gentlemen…” was released in lieu of Robert Frank’s documentary of the 1972 tour, “C*cksucker Blues,” considered too saborous with drug-use and groupie sex to see the light of day. A remarkable performance of Satisfaction with opener Stevie Wonder, however.

May 25, 2019 at 8:30 pm

Memphis July 4, 1973-4 liberty stadium

ronald Beineke

May 25, 2019 at 8:50 pm

indianapolis motor speedway july 4th 2015

Morton Hughes

May 25, 2019 at 10:57 pm

November 27 and 28, 1969, at Madison Square Garden, New York City, where “Get Yer Ya Ya’s Out” was recorded. My favorite Live album of all time. Also, I seen them live June 14, 1975 at Municipal Stadium in Cleveland, Ohio. The best concert I have ever seen.

Bart Donnelly

May 26, 2019 at 4:34 am

I thought the version of Wild Horses from Knebworth in 1976 was one of their best takes on the song.

August 1, 2019 at 4:23 am

Should include: Gimmie Shelter, Sympathy for the Devil, You can’t always get what you want

April 19, 2020 at 5:06 pm

saw them in Sept ’89 in Syracuse, NY. their first tour in quite a while and man the energy was too much. had a floor seat and the Carrier Dome was shaking. unforgettable.

michael sampley

February 28, 2023 at 2:00 am

Who the heck came up with this list?No picks from the 69 tour? No picks from Europe or Australia in 73?What the Hell?

Robert Grant

March 11, 2023 at 4:11 am

Phila 81’ jfk stadium ️ no gimmicks, no blow up dolls etc just good Rock n Roll

Tino Ramirez

May 26, 2023 at 7:58 am

Tumbling Dice, second show in Brussels, 1973. Often bootlegged but never given an official release, this version has everyone cooking, especially Keith and Mick Taylor. Their interplay is incredible, sounding at times like three guitarists, and Keith’s riffs and fills frame and highlight Taylor’s lead.

Daniel Paul Bernstein

December 1, 2023 at 12:52 am

Come on! Not even close. There is general agreement that July 21, 1972, 1st show in Philly was #1, followed closely by Wembley Stadium, Sept. 1973. Also Brussels 1973

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The 27 Best Artists to See Live

Ever wonder who are the best artists to see live ? Live music has the power to transport us to another place, to bring us together with fellow fans in a shared experience, and to allow us to connect with our favorite artists in a way that simply isn't possible through recorded music. If you're someone who loves live music, you know the thrill of discovering a new artist that you can't wait to see perform in person.

RELATED: The Best Music Festivals to Attend in the US

In this article, we've rounded up some of the best artists to see live, each with their own unique style and stage presence that is sure to leave a lasting impression. From up-and-coming acts to established superstars, these are the artists you won't want to miss out on seeing perform live.

27. Foo Fighters

Must-See Performance: Live at Wembley Stadium (2008)

It should be no surprise to see the Foo Fighters on this list; the rock group has surely made their mark in music, and continue to do so. Back in 2008, they had one of their most memorable performances of all time at Wembley Stadium, in front of what looks to be an infinite amount of people.

26. Kid Cudi

Must-See Performance: Live in NYC (2010)

Kid Cudi rose to prominence in the early 2010's, thanks to his unique and emotion-invoking discography. Around that time in 2010, Cudi had a performance in NYC that would go down in the history books, where he performed some of his most renowned hits while they were still hot. Here's a look:

25. The Rolling Stones

Must-See Performance: Live at the Max (1991)

The Rolling Stones have a long and storied history, with a career spanning over 50 years. They are known for their high-energy live performances and have been credited with helping to popularize rock and roll music.

24. Bruce Springsteen

Must-See Performance: Super Bowl XLIII Halftime Show

Springsteen is known for his memorable live shows, which often last for several hours and feature a mix of solo acoustic and full-band electric songs. He has a diehard fan base and is considered by many to be one of the greatest rock performers of all time.

23. Radiohead

Must-See Performance: Live at Glastonbury (2003)

Radiohead is known for their innovative and experimental music, as well as their uncanny live performances. They are considered one of the greatest alternative rock bands of all time and have a reputation for consistently delivering powerful and engaging concerts.

22. Rage Against the Machine

Must-See Performance: Live at the Grand Olympic (2000)

Rage Against the Machine is a band known for their politically charged and socially conscious lyrics, as well as their emphatic live shows. They have a strong following and are considered one of the most influential bands in the rap metal genre. Anybody else find out about them through Guitar Hero?

21. Metallica

Must-See Performance: Live in Moscow (1991)

Metallica is one of the biggest and most successful heavy metal bands of all time. They are known for their incomparable live performances and have a reputation for delivering powerful and memorable concerts, some of which have been proven occasionally dangerous for those who dare to attend.

20. Kanye West

Must-See Performance: Donda 2 Experience (2022)

Kanye West is known for a lot of things, including his innovative live performances, which often feature elaborate stage designs and production elements. He is considered one of the most influential and successful hip hop artists of all time, and for good reason.

19. Red Hot Chili Peppers

Must-See Performance: Live at Slane Castle (2003)

The Red Hot Chili Peppers are known for their vastly unique live performances, as well as their catchy and memorable songs. They have a hardcore fan base and are considered one of the greatest rock bands of all time.

18. Green Day

Must-See Performance: Live at Reading Festival (2013)

Green Day is a punk rock band known for their catchy and energetic songs, as well as their high-energy live performances. They have a incredibly committed fan base and are considered one of the greatest punk rock bands of all time.

17. Lil Uzi Vert

Must-See Performance: Live at Gov Ball (2018)

Lil Uzi Vert is a rapper known for his energy and charisma on stage, as well as his catchy and innovative music. He has a massive enthusiastic fan base and is considered one of the most successful and influential rappers of his generation.

16. JELEEL!

Must-See Performance: Live at Rolling Loud Miami (2022)

From the backflips he does on stage to the high quality music he performs alongside his acrobatic abilities, the reasons for wanting to see JELEEL! live are endless - seriously. There's not many performers who have this impactful of a stage presence.

15. Beyoncé

Must-See Performance: Live at Billboard Awards (2011)

Beyoncé is a massive success story who's known for her potent stage presence at her live performances. She is considered one of the greatest performers of all time and has a fan base who would all take a bullet for her.

14. Tame Impala

Must-See Performance: Live at Glastonbury (2019)

Tame Impala is a psychedelic rock band known for their innovative and experimental music, as well as their renowned live performances. Kevin Parker has proven just how far he can take this project, musically, visually, and even on stage.

13. Skrillex

Must-See Performance: Skrillex Live at Ultra (2015)

Skrillex is an electronic dance music (EDM) artist known for his blood-pumping live performances. He is considered to be one of the most successful and influential EDM artists of all time, along with the countless talents he's helped to usher into the limelight, who often join him on stage in his performances.

Must-See Performance: Live at the Staples Center (2018)

Drake is arguably the biggest rapper in the world. It's no surprise his live performances have become some of the most highly-acclaimed in the world. Just about everybody in attendance knows the lyrics to all of his songs, and boy, does he have a lot.

11. Taylor Swift

Must-See Performance: Live at AMAs (2019)

Taylor Swift has a fanbase that would drop anything for her. Seriously. In her latest tour, there were countless videos of fans doing just about anything they could to secure coveted tickets to her memorable live experiences.

10. Destroy Lonely

After being signed to Playboi Carti, fans expected nothing less from Destroy Lonely than Carti when it comes to live sets, and it seems he's proven them right. He's demonstrated an electric stage presence, and has sold out shows with ease across the country.

9. Ken Carson

Must-See Performance: Live in Dallas, TX (2021)

Another Opium signee under Playboi Carti is Ken Carson. Just like Destroy Lonely, he's become one of the most popular artists in hip-hop as far as live performances go. Just like his Opium teammates, he's demonstrated an ability to sell out shows and entertain massive crowds.

8. Ski Mask the Slump God

Must-See Performance: Live at Rolling Loud (2018)

There's nobody quite like Ski Mask the Slump God. From his specialized sound delivered on his recordings, to his one-of-a-kind stage presence, his brand is easy to support through and through.

7. A$AP Rocky

Must-See Performance: Live in Paris (2019)

A$AP Rocky delivers quite the punch when it comes to entertaining his massive fanbase in a live setting. Not only does his catalog of music tend to electrify crowds, but the long list of talent he can spontaneously bring out has crowds wondering what's up his sleeve at every show.

6. Thottwat

Must-See Performance: Live at Rolling Loud LA (2019)

This duo is one of the tricks that Rocky has up his sleeve in the live performance space. They've performed at multiple Rolling Loud sets of Rocky's, and have come to be some of the most memorable moments in those sets, starting moshpits and raw pandemonium throughout any venue they perform at.

5. Tyler, the Creator

Must-See Performance: Live at Lollapalooza (2021)

Tyler the Creator is a rapper and producer known for his innovative and experimental music, as well as his unforgettable live performances. His fanbase and their crazed support of Tyler says everything you need to know about just how impactful his live sets are.

4. Travis Scott

Must-See Performance: Live at ACL Fest (2018)

Travis Scott has become famous for many reasons, one of them being his meticulous attention to detail for his live performances. Every single element is carefully considered, and the result is an experience that fans will never forget for the rest of their lives.

3. Kendrick Lamar

Must-See Performance: Live at Reading and Leeds (2018)

Kendrick Lamar has always had an impressive performance ability, and his latest tour for Mr. Morale and the Big Steppers has only further proved than notion. He's made it clear that this comes easy to him.

Must-See Performance: Live at Rolling Loud NY (2021)

J. Cole has proven his knack for performances, within his own sets and those that he's invited to, not to mention the incredible talents that he's assembled within his Dreamville label.

1. Playboi Carti

This man needs no introduction when it comes to live performances. I don't think anybody will ever forget when he performed before Miley Cyrus at Lollapalooza, and absolute chaos ensued. This is just a small speck of the appeal his performances bring, but wildly entertaining nonetheless.

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Amid Heightened Security, Taylor Swift Returns to the Stage in London

Fans at Wembley Stadium said they trusted British security officials to keep them safe and cheered loudly when the pop star came onstage.

By Alex Marshall

Reporting from Wembley Stadium in London

When Taylor Swift canceled three concerts in Vienna last week after officials there foiled a terrorist plot , Swifties soon expressed fears about the pop star’s next shows, in London.

Would Swift go ahead with the concerts at Wembley Stadium? Given that the pop star once said her “biggest fear” was a terrorist attack at one of her shows, some fans had doubts. Was it even safe to attend?

When Swift did not comment on the thwarted attack in Vienna or the upcoming London gigs, fan anxieties only grew.

Yet when the singer took the stage on Thursday evening, worry gave way to excitement at the chance to see Swift perform during the European leg of her globe-spanning Eras Tour . As Swift walked onstage singing “It’s been a long time coming” — a refrain from her track “Miss Americana & The Heartbreak Prince” — the sold-out crowd cheered deliriously.

She then launched into “Cruel Summer.”

In the end, despite the interest in the Austrian plot, Swift did not refer to it even obliquely at the London show. Instead, she played an almost identical gig to the others on her Eras Tour, a joyous three-hour-plus spectacle featuring hits, costume changes and, at one point, a fake moss-covered wood cabin. For most of the concert, the 90,000 fans sang along to every word, including when she was joined by Ed Sheeran for an acoustic medley.

In interviews before the show, more than a dozen fans, including many from the United States, all said they felt safe attending the event. Kyle Foster — wearing a Kansas City Chiefs jersey like Swift’s partner, Travis Kelce — said he had flown from North Carolina with his partner and two daughters for the show.

“We didn’t think twice about coming,” said Foster, 46, adding that he felt confident security would “be on high alert.”

Maya Arbad, 18, who had traveled from Dubai, said two friends had decided not to attend the concert because of the foiled attack. “Their families were just too anxious to send them here,” Arbad said.

That had made her question the trip, too, Arbad added, “but my dad said, ‘Let’s just do it. We’ve been waiting too long.’”

Wembley already had strict security measures , including a ban on bringing large bags into the stadium. After the cancellations in Vienna last week, the venue also forbade ticketless Swifties from gathering outside the arena, as they have done at other stops on the Eras Tour, to soak up the atmosphere and exchange friendship bracelets.

Austrian police said the main suspect in Vienna was a 19-year-old man who had pledged allegiance to the Islamic State after being radicalized online. Officers had found chemicals that could be used to make bombs, as well as machetes and knives, in the man’s home, a senior security official said last week.

The plan was reminiscent of other recent atrocities at European concert venues, including a 2015 attack at the Bataclan concert hall in Paris , where more than 90 people died, and a 2017 suicide bombing at an Ariana Grande concert , in Manchester, England, that killed 22 people. This year, gunmen attacked a Moscow rock show , killing more than 140 concertgoers.

In recent days, British police and politicians played down the threat of a similar event happening at Wembley. A spokesman for the London police said there was “nothing to indicate that the matters being investigated by the Austrian authorities will have an impact on upcoming events here.”

Several security experts said in interviews that large British theaters and arenas had greatly improved their security since the bombing at the Grande concert.

A government-commissioned inquiry revealed numerous security lapses that led to the attack at Manchester Arena. The bomber, Salman Abedi, who had scoped the venue beforehand, spent over an hour hiding in a security camera blind spot. A member of the public also told a steward about a suspicious man with a bag lurking in a foyer, but guards brushed it off.

Reg Walker, the director of I.S.G. Security, which works at many of Britain’s largest entertainment venues, said that British security teams used to focus on managing the lines of people entering concerts. Now, operations extend to surveillance inside the venue, as well as at train stations and parking lots, both before and after shows.

On Thursday, the visible security measures were similar to those at any other major pop concert. A handful of police officers watched over the pedestrian promenades around the stadium while dozens of security staff patrolled the gathering crowd.

Although bags were banned in the arena, they were allowed in the stadium’s merchandise store — after a thorough search. Fans could purchase Eras-themed T-shirts and sweatshirts and even a Swift water bottle, although signs at the cashiers warned, “Water bottles are unable to be taken into the stadium.”

Even with the extra security measures, terrorism seemed to be the last thing on the minds of the 90,000 Swifties in Wembley. They sang and danced along to their idol’s every word, some hugging nearby strangers as if they could not believe they finally had a chance to see her.

Alex Marshall is a Times reporter covering European culture. He is based in London. More about Alex Marshall

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10 Most Epic Rock Concerts of All Time

The best concerts are about more than just the music. They bring an extra level of senses-blasting awesomeness to whatever is happening onstage. The best concerts take the music and elevate it to a whole other experience -- an experience that resonates for years to come. Our chronological list of the 10 Most Epic Rock Concerts of All Time features festivals, club shows and arena gigs. All of them have become historic moments in rock 'n' roll history.

Bob Dylan was a natural for the annual Newport Folk Festival in Rhode Island. He performed well-received acoustic sets there in 1963 and '64. But when he returned in July 1965, he decided to mix things up a bit. After a traditional acoustic set on July 24, Dylan returned the following day and took the stage with five backing musicians, who proceeded to plug in their instruments and perform blistering electric versions of Dylan originals. The audience was not pleased, booing both Dylan and his band off the stage. He wouldn't play the festival for another 37 years.

The Beatles

It's not that the Beatles were a particularly great live act, or that they even enjoyed performing all that much (they complained they could never hear themselves over the screams of the audience). But their concert at New York's Shea Stadium on Aug. 15, 1965, marked their biggest show at the time and a turning point for the band, which would retire from live performances a year later. They would retreat to the studio not long after the concert -- which was filmed and broadcast across the world -- and create the game-changing masterpieces that would define the second part of their career and everything that followed.

Jimi Hendrix

The Jimi Hendrix Experience were generating some crazy buzz when they took the stage at the three-day Monterey Pop Festival in California during its final hours. Their debut album, 'Are You Experienced,' had just been released, and the concert helped usher in a new wave of rock music during the Summer of Love. Hendrix ended his set with a cover of the Troggs' 'Wild Thing' -- complete with the guitar acrobatics that got him noticed. But it was his final act -- which involved dry humping his instrument, setting it on fire and smashing it onstage -- that made him a star.

Jim Morrison  was no stranger to drunken ramblings onstage. He had a reputation for ingesting any kind of drug that was handed to him by fans. Plus, he was as unreliable as he was erratic. On March 1, 1969, during a Doors concert in Miami, the singer began screaming at the audience. Fueled on way too much booze, he also started confronting the police who were lined up in front of the stage. By all accounts, it was a messy, incomprehensible performance capped by what was allegedly Morrison's most notorious onstage action, whipping out his penis. Four days later, he was arrested. He died while the case was still being appealed.

Like a few other entries on our list of the 10 Most Epic Rock Concerts of All Time, Woodstock featured way too many great performances to single out just one. In fact, it's the entire four-day festival that makes it one of the most historic concerts ever staged. Santana were there. So were the Who , Jimi Hendrix and Crosby, Stills & Nash . And they all played some of their all-time best sets at the venerable hippie fest.

The Rolling Stones

Like a couple other shows on our list of the 10 Most Epic Rock Concerts of All Time, the Rolling Stones' infamous outing at the Altamont Speedway in California on Dec. 6, 1969, is best remembered for something other than the music. Not that there wasn't plenty of great tunes there -- the free show included performances by Santana, the Flying Burrito Brothers and Jefferson Airplane  in addition to the Stones' headlining set. But the music was dampened by the stabbing death of an audience member by a Hells Angel, the motorcycle gang that was hired as security for the concert. The hippie dream essentially ended here.

Bruce Springsteen

Bruce Springsteen was on his way to becoming a star when he played Hollywood's Roxy Theatre on July 7, 1978, as part of his 'Darkness on the Edge of Town' tour. His concerts were growing to legendary status by this time, as Springsteen and the E Street Band would check in with three-hour epic shows every single night. The Roxy gig is probably his best and most famous. He started with a cover of Buddy Holly's 'Rave On' and ended three-plus hours later with 'Twist and Shout.' In between were stories, songs and proof that rock 'n' roll could be a religious experience in the right hands.

US Festival

Apple's Steve Wozniak commissioned a new open-air venue in San Bernardino, Calif., for a three-day "music and culture" festival to be held over Labor Day Weekend 1982. The event was to bridge state-of-the-art technology (computers were still a long way from being in everyone's homes) and new music. Classic rockers like Santana, the Kinks , Tom Petty and the Heartbreakers and Fleetwood Mac joined new-school groups like the Police , Gang of Four and Talking Heads in the lineup. Eight months later Wozniak staged another three-day US Festival. Hundreds of thousands of fans attended both shows, but Wozniak spent so much money preparing for them, he ended up losing $20 million.

During their massive worldwide tour in support of 1990's 'Black Album,' Metallica played the Tushino Airfield in Moscow on Sept. 28, 1991, as part of Monsters of Rock '91. The date wrapped up that leg of the tour with a free concert -- supposedly the first free show to feature global rock stars in the country. More than a million people showed up (some estimates double that number), making it the highest-attended Metallica concert in the band's history.

The Freddie Mercury Tribute Concert

Queen frontman Freddie Mercury died of AIDS on Nov. 24, 1991. Five months later, a massive tribute concert was held at London's Wembley Stadium that doubled as a benefit for AIDS research. The members of Queen were joined onstage by generations of fans and friends, including Guns N' Roses , Metallica, Def Leppard and U2 . Some artists chose to cover Queen songs with the group's surviving members; some played sets of their own material. All rocked pretty hard for a good cause.

More From Ultimate Classic Rock

Malala Attends Taylor Swift’s Eras Tour as Her First Concert

The acclaimed activist shares that she and her best friend once performed “Love Story” together from the highest rock they could find

Malala Yousafzai attended Taylor Swift’s concert at Wembley Stadium in London on Saturday night. The activist shared in a post on Instagram that the show was her first “proper” concert and added a sentimental story about her own history as a Swiftie.

“One of my favorite memories from Swat Valley is a field trip I took in middle school with my best friend, Moniba (second photo, on the left),” Yousafzai wrote. “Giggling, we went to a waterfall hidden away in a lush green mountain. We were so excited because we were finally allowed to go to school again and could be outdoors with our friends, laughing and singing together.”

“Having lived through a time where music and art were banned, music felt like a gift. Moniba and I found the highest rock we could, climbed on top of it and announced to all of our classmates and teachers we were going to perform our new favourite song called LOVE STORY.”

View this post on Instagram A post shared by Malala Yousafzai (@malala)

“We sang with all of our heart, taking in the joy we felt every second. That’s where my Swiftie journey began. It feels magical that my first-ever proper concert would be to see @TaylorSwift, singing along to every song surrounded by friends,” she explained, sharing the history of her fandom.

“Three years ago, the Taliban regained power in Afghanistan. Once again, music no longer plays on the streets, and girls and women are barred from school, work and public life. In Swat, music made my friends and me feel confident and free. And one day I hope we will live in a world where every girl will be able to enjoy music and live out her wildest dreams,” Yousafzai concluded.

📹 | FULL and CLOSE UP video of Taylor performing ‘I Did Something Bad’ for the first time on The Eras Tour!!! 🔥🖤 (She did not announce Rep TV) pic.twitter.com/blARZt36le — The Eras Tour Singapore (@TSTheErasTourSG) August 18, 2024

Saturday’s concert was also notable because Swift performed “I Did Something Bad” from her “Reputation” album for the first time ever. “The whole tour I’ve done 100s of songs, but I’ve not done one of my favorite ones because I was waiting for the right crowd,” the singer told the packed stadium audience of 92,000. This was the first time the singer had performed the song since 2018.

Fans had hoped that the singer would announce the release of “Reputation (Taylor’s Version).” Only two albums, including her self-titled debut, remain to be re-recorded and released, with fans speculating since even before the release of her most recent album about when her new version of “Reputation” would drop. Having now played all of the album’s songs on her current tour, fans expect a new “Reputation” to be right around the corner.

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Concerts are an experience. They’re about connection. We get completely absorbed into the atmosphere, feeling the music in our bones, the rhythm in our soul and the light in our hearts. Sometimes just the sheer volume of light is enough to immerse you into the set. Other times, the stage design can be so sublime and mesmerizing, where for a few hours we are transcended into a whole other world.’

• RELATED: Architects

Get ready to be fascinated as we take a look at 9 absolutely incredible stage designs that will blow your mind.

The work of Es Devlin is unimaginable. Devlin is a creative mastermind who has designed insane mega tour stages including Lorde’s Coachella and Glastonbury performances. Lorde truly blessed the audience with this extreme set by transcending the average concert experience. This definitely skyrocketed all expectations following.

• Tame Impala

Tame Imapala ‘s 2019 tour was absolutely epic due to the production design by Rob Sinclair and WPA. It’s phenomenal, it’s kaleidoscopic, it’s everything you could ask for during a psychedelic Tame show at Coachella. Seriously, have you ever seen such beautiful colours at such a large scale??

The story behind the creation of Bon Iver ’s debut For Emma, Forever Ago is basically a folktale at this point. Although Bon Iver is no longer ‘the heartbroken man in solitude’, for the 10th anniversary of his debut album, the stage design reflects his early years. With what looks like strands of grass or trees, the set mimics the woods that the album was once created in.

Also crafted by Es Devlin, Muse’s Resistance Tour was a sublime spectacle. It’s becoming more and more clear that Devlin is a creative genius, right?

Long live Daft Punk. We will never forget the duo’s iconic 2006-07 Alive tour that brought fans an epic spectacle. The two sat upon a A 24-foot-tall aluminum pyramid that was drenched in screens and hypnotic LED lights.

• Roger Waters

The legend Roger Waters went full out for both The Wall Tour and Us + Them Tour. XL video are multi-winning AV experts that helped The Wall Live concert tour go from great to mind-blowing. Every arena used forty units of Panasonic twenty thousand lumens PT-DZ21KE  projectors to bring the show to life. Roger Waters commented on the designs, “This wide wall stadium show couldn’t have been done 40 years ago. We couldn’t have filled the space in a way that would have been emotionally, musically and theatrically satisfying. Technology has changed. Now we can.” There is also a film where you can now watch the show from home in its entirety.

Andi Watson is the longtime the genius behind Radiohead’s stage designs. The set consisted of a grid of suspended LED cables that projected colour, three-dimensional images such as a wobbling rectangular plane, or morphing swarms of vivacious light. Watson spoke about his work, “My job is to create an environment for the Radiohead songs to exist within the stage. With so many layers to what they do, many different instruments and lots going on, I have to build complex arrangements to represent the songs visually.”

Another exceptional design by Es Devlin was U2’s Innocence & Experience World Tour. Goosebumps must have been surfacing throughout the crowd all night.

• The Rolling Stones

The designer behind this 1989 Rolling Stones set is Mark Fisher. With the help of Mick Jagger, the two were able to capture the essence of the Steel Wheels Tour.

Lead photo courtesy of Visual Endeavors .

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Did Taylor Swift Hint at Reputation (Taylor’s Version) While Exiting London Eras Tour Stage? Here's Why Fans Think So

The pop star used a snake-like motion at her Aug. 17 show, sending fans into a frenzy over the impending re-release

Gareth Cattermole/TAS24/Getty

Is Taylor Swift slithering back into her Reputation era? Her fans seem to think so!

While exiting the stage at her Eras Tour concert in London on Saturday, Aug. 17, the pop superstar, 34, used a snake-like motion to wave goodbye as she descended into the Wembley Stadium floor, concert footage shared on X (formerly Twitter) showed.

Naturally, Swifties are reading into the motion, theorizing that it is yet another hint that the star — who is known for her use of “Easter eggs” — will formally announce Reputation (Taylor’s Version) sometime soon.

“REP TV IS CLOSE 🙈🙈,” one fan wrote in response to the serpentine gesture, while another said, “She's giving us hints 😭.”

Adding fuel to the Reputation fire — and more specifically, fan theories that Swift will announce the re-recorded LP before her final London show on Aug. 20 — is the timing of the move, plus the surprise songs the 14-time Grammy winner performed during the same show.

The London Eras Tour stop coincided with the 7-year anniversary of when Swift blacked out all of her social media accounts and websites . Three days later, she returned by posting clips of snakes : the first official teasers for the 2017 album.

At her Aug. 17 show, the pop star also surprised the crowd by performing an unexpected Reputation track : ”I Did Something Bad.”

In a fan-captured video of the show, Swift told the audience she was “going to do a song I've never done on the tour that's one of my favorite songs ever.”

Her justification? “Just because you're that awesome and you deserve something of this caliber,” she explained, adding that it is “such a dream to perform for a crowd like this, especially when there’s 92,000 of you.”

Never miss a story — sign up for PEOPLE's free daily newsletter to stay up-to-date on the best of what PEOPLE has to offer​​, from celebrity news to compelling human interest stories. 

Reputation (Taylor's Version) will be the sixth album Swift has released in her quest to reclaim her music catalog after Scooter Braun acquired her albums against her wishes in 2019.

The album follows the re-releases of 1989 in late 2023, Speak Now in July 2023, Red in November 2021 and Fearless in April 2021.

Swift officially teased her plans to revisit Reputation in her TIME 2023 Person of the Year interview last December, promising that its vault tracks will be “fire.”

“I think a lot of people see it and they’re just like, Sick snakes and strobe lights,” she said, and described the impending re-release as “a goth-punk moment of female rage at being gaslit by an entire social structure.”

Swift's new London tour stops take place on Aug. 19 and Aug. 20.

Related Articles

The Beatles’ 10 Greatest Concerts

By Colin Fleming

Colin Fleming

It’s standard rock-history practice not to rank the Beatles , as a live band, at the level of more obvious titans like the Who, Cream, the Jimi Hendrix Experience or Dylan once he paired with the Band. Their symbiotic relationship with the studio perhaps dulls what ought to be a clear point: When the Fab Four were invested in tearing it up live, you were gonna get torn up too, in a good way. They could cook, and to paraphrase John Lennon in the Anthology , there was no one to touch them on a concert stage.

On the 50th anniversary of their final public performance , let’s get beyond those tired, misleading, unchallenged opinions that the Beatles went through the motions as a live band, accepting that they couldn’t compete with each evening’s Wall of Sound that came in the form of thousands of screaming teenagers, and stake out their in-concert epicenter. Below is our survey of their best documented gigs. If you truly wish to hear the Beatles blowing the doors off all misperceptions, start with this 10-pack. 

10. Sam Houston Coliseum; Houston, Texas; August 19th, 1965 Frantic, frenetic, faster-paced than usual, the two Beatles gigs on this day represent the sweaty zenith of Beatlemania. The band had arrived in Houston at two in the morning, to be met by phalanxes of fans. It’s the toss of a dime over which show contains more kinetic energy, in part because the fans can’t get close enough to the stage, which causes the MC, Russ Knight, a local DJ known as “The Weird Beard,” to rave like a madman into his mic. One of his hoarse-voiced admonishments concludes with “This is the Houston Security Beatle division.” Lennon mocks him repeatedly, as if he were a headmaster back in the Quarrymen days. “Thank you very much, that was wonderful.” If you listen to the tape, it sounds like the Beatles are drenched in sweat, and loving it. The second show is maybe incrementally better, for a version of “Can’t Buy Me Love” that ups the urgency of the studio take, with a face-melter of a George Harrison guitar solo.

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9. Candlestick Park; San Francisco, California; August 29th, 1966 Time to clear away the old bromide that the Beatles were garbage on their last American tour. Well, they had their evenings where they were garbage. But as they knew that this was to be their last touring concert, the Beatles did what Beatles were wont to do, and struck the great galvanizing chord of posterity. As any baseball fan will tell you, the wind was hell at Candlestick Park, and so it was on this day, too, and the sound is blown around a bit on the tape of the gig made by Beatles press officer Tony Barrow. That the tape cuts off in the middle of a maniacally raunchy version of “Long Tall Sally” feels appropriate. History does not come with clearly marked starts and stops. “John wanted to give up more than the others,” Ringo Starr would say. “He’d had enough.” His vocals on the 1966 tour could be an exercise in careless shower singing, but he’s bang-on here, and even coaxes a few notes of “In My Life” out of his guitar as the band departs the stage. Their evening’s services pocketed them $90,000.

8. Concert Hall; Philadelphia, Pennsylvania; September 2nd, 1964 The Beatles were in a bad mood for this one, distressed at seeing only white faces in the crowd. Their musical angst was captured in a radio broadcast on WIBG, resulting in one of the best-sounding live Beatles tapes. Starr pulls an “I’d like the band to slow down a little but also not really” move on the close of “Boys” as he shouts “all right!” as part plea, part admission of delight. “If I Fell” was even more hilarious than usual. Throughout the 1964 U.S. tour, McCartney and Lennon would wrestle with their harmony, going off-kilter at some point such that they’d then start egging each other on to sound more absurd. They yell “easy now!” at someone near the front of the stage who’s screaming as the song starts. “I Want to Hold Your Hand” has real rhythmic buoyancy and swing; listening to it feels floating in the Dead Sea while listening to Count Basie tackle Merseybeat.

7. Festival Hall; Melbourne, Australia; June 17th, 1964 Ringo Starr was the hard-pressed man of the Beatles touring days. A lot of their sound was built up from what he did at his kit, and battling the screaming fans challenged him more than the others. This was the tour where Jimmy Nicol sat in on drums while Starr battled tonsillitis instead of teenyboppers. The two shows on this day marked his return, and the second one is of special interest. His bandmates are clearly jacked to have the drummer back. This is the only time in Beatles history that you can say they did a stomping version of “Till There Was You,” with Starr laying into his toms as Lennon grinds out chords on his rhythm guitar. McCartney does the welcoming back honors with “It’s very nice for all of us to have back with us now — Ringo!” As you’d expect, the crowd rejoins with a cacophony of fetter-free joy, but our Mr. Starr does not get to sing on this night — doctor’s orders.

6. Empire Theatre; Liverpool, England; December 7th, 1963 What fun this is. The Empire is where the Beatles would come to watch their early rock & roll heroes, and here it became the venue at which they’d say goodbye to their hometown, as the world at large swallowed them up. (Or they swallowed it up — something like that.) It’s rare that we get a surviving tape of a full concert by the pre-global dominance Beatles. The conquering of American is a couple months away, and this gig has a sweetness to it courtesy of its “you’re one of us” feel. Everyone here would have seen the Beatles at the Cavern. McCartney usually introduced “Till There Was You,” but Lennon handles that chore on this night, adding, “a lot of you will remember this from the Cavern.” And so they did. The bridge of “This Boy,” with its wailing, nakedly exposed Lennon vocal, presages a gig-closing back-to-back run of “Money” and “Twist and Shout.” This was a mega-rarity, and the last time the band would play both songs in one concert, but even when they did in the Hamburg days, they spaced them apart to save Lennon’s throat. Plus, it just feels like Christmas throughout, and that you’re hanging with good friends and family.

5. Washington Coliseum; Washington, D.C.; February 11th, 1964 First U.S. concert. Doesn’t get more historic than that, unless you deliver one of the great sets in rock & roll history, and ding-dong, went the doorbell, the Beatles are here with a package for you. It’s cute to see them start with George Harrison singing “Roll Over Beethoven,” because their thinking is clearly that, well, we’re new here, we’re English, they’d probably like a song by one of their own to start things off. What this means is that the next number, “From Me to You,” which is jointly sung by Lennon and McCartney, would feature the two practically biting pieces out of their microphones in their earnestness to show what they could do. The interplay between Starr and Harrison on the latter’s guitar solo during “I Saw Her Standing There” is as charged as the insane guitar duel that will close out “The End” on Abbey Road five years later. Starr never drummed with more ferocity. Happy ferocity, but ferocity nonetheless. Got a bead on you, America.

4. Circus-Krone-Bau; Munich, Germany; June 24th, 1966 Yes, this gig is sloppy. And if you want to play a game of count-the-flubs, you could go deep into the night with what remains of this Beatles set. But this is how they must have sounded when it got to be late at night on the Reeperbahn in those let’s-bust-our-ass days of 1961 and 1962. The Beatles certainly mailed it in a bunch on their final global trek. There’s some great fidelity on the extant recordings of their Tokyo recordings, starting a week after this German show, but with that fidelity you notice their sterility. The Beatles were a blood-and-thunder, pumping rhythm & blues band in their heart of hearts. And so it’s appropriate that they flip that switch one last time with their return to Germany, where they once cut their teeth into wolf-like points. This is the first full-band version of “Yesterday.” They sound like they’ve been up too long, but they still want to rock your balls off. Remember: Revolver is already in the can, and will be released in a month and a half after John Lennon sings “Rock and Roll Music” here. You listen to it, and you think that if he had to pick a place to lay his loyalties, it might be with Mr. Chuck Berry rather than “Tomorrow Never Knows.”

3. Palais de Sports; Paris, France; June 20th, 1965 The one and only time the Beatles performed an encore after they became famous was at this Parisian evening gig. The Beatles hadn’t gone over well in Paris the year before; this is the sound of a proper conquering, after a failed first attempt. It’s also one time that the crowd singing along is a boon on the chorus of “Can’t Buy Me Love.” The set list is a dazzling blend, mixing the always-autumnal-sounding Beatles for Sale material with some kickers from A Hard Day’s Night , and singles like “I Feel Fine” (which was never easy to pull off with its tricky guitar opening and Latin sway-beat) and newcomer “Ticket to Ride.” McCartney is gassed on the closing “Long Tall Sally,” almost speaking the words “Everything’s all right.” True at that.

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2. Apple Rooftop; London, England; January 30th, 1969 To the roof! Unable to finish their Get Back project, feeling themselves prisoners of the studio, the Beatles reverse-engineered the sequence in A Hard Day’s Night when they raced down the fire escape for liberation and instead headed upwards. The one-off of one-offs, there is obviously no paying crowd, just local office workers with their heads stretched out their windows in disbelief. They do “Get Back” three times. Lennon’s guitar is over-loud as he plays lead, and the cops show up. This is the only time we get to hear the Beatles, in a live context, at a point when each player was among the best in the world on his respective instrument. You might love circa-1965 George Harrison as a guitarist, but it wasn’t until 1968–69 that he hit the Jeff Beck/Eric Clapton/Mick Taylor level. Fittingly, “One After 909” features one of the best guitar solos you’ll ever hear by anyone. The spirit of truancy, of having a lark, of bonding with one’s mates, infuses every last note, every piss-taking joke between the songs. Before McCartney met Lennon on July 6th, 1957, he first saw him on the back of a flatbed, singing a song and changing the lyrics to tease his Aunt Mimi, and so now does the duo tease the police who have come to put a stop to their excessively loud fun, though you know they wish they could get in on it.

1. Karlaplansstudion; Stockholm, Sweden; October 24th, 1963 Rumors used to persist that in the 1970s John Lennon would scour Greenwich Village record shops in search of a recording of this set from Sweden. If you wanted to claim it better than Dylan at the Manchester Free Trade Hall or the Who at Leeds, your argument would at least deserve to be heard. It is primal. It possesses finesse. It is the loudest rock & roll anyone had ever recorded up until that point. The show was broadcast on Swedish National Radio, so the extant sound is impeccable, with lots of chunky, efficacious distortion from the guitar amps. This was the first concert they’d given outside of England after reaching stardom. They yelp over the start of “Money,” trying to force Lennon to get a further rung up in his vocal intensity. He gets there. They’re impeccably tight on the cover of Smoky Robinson and the Miracles’ “You Really Got a Hold on Me,” and the closing “Twist and Shout” gives its famous studio counterpart a push. This is a band discovering just how powerful they could be, even after knowing they were damn powerful. But it’s like they’re realizing they’re better than they knew they were, and it’s not like they lacked for confidence. That is one glorious hell of a sound. 

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The weeknd has rescheduled his australian tour for october 2024 — but he's only playing sydney and melbourne.

The singer's 'After Hours Til Dawn' was initially meant to head Down Under in 2023, but was postponed, then cancelled — and now it's back on again.

Australia, you will feel it coming after all: in what's been a chaotic time for fans keen to see Abel 'The Weeknd' Tesfaye Down Under, the musician is finally bringing his After Hours Til Dawn tour this way. Come October 2024, the Canadian singer-songwriter and The Idol star will hit the country for four gigs, playing two in Melbourne, then another two in Sydney.

The details for your diary: The Weeknd will take to the stage at Marvel Stadium in the Victorian capital across Saturday, October 5–Sunday, October 6, then do the same at Accor Stadium in the New South Wales capital on Tuesday, October 22–Wednesday, October 23.

Missing from the rescheduled tour dates is a Brisbane stop, which is no longer happening "due to schedule and logistical constraints", tour promoter Live Nation has advised.

Hyghly Allene

It was this time last year that The Weeknd announced that his latest massive stadium tour was on its way to both Australia and New Zealand in November and December 2023 — even adding extra shows before general tickets went on sale — only for it to be postponed just two weeks out "due to unforeseen circumstances" without new dates being set. Then, in April 2024, the tour was cancelled for the time being, with ticketholders receiving refunds.

"The Weeknd After Hours Til Dawn Tour for Australia and New Zealand is still in process of being rescheduled," said a statement on the Ticketek website earlier in the year, leaving hope then that the tour might be announced again in the future.

"Whilst we continue to work through the rescheduling process with the artist, tickets for the existing 2023 tour will be cancelled. All purchased tickets will receive a full refund," the message continued.

Revealing the new Aussie shows now, The Weekend said that he feels "a strong pull to perform in Australia before moving on to the next chapter" and that he wanted "to make sure you all know I hadn't forgotten about you".

"When I return now, it will be the right time, and I promise it will be such a special experience. I can't wait to see you all!" his announcement about the new dates continued.

Mike Dean, Chxrry22 and Anna Lunoe will join The Weeknd Down Under. And if you've spotted that there's no New Zealand gigs this time around as well, his stop in Aotearoa is no longer on the schedule, just like Brisbane.

An  arena spectacular, The Weeknd's global tour began in 2022, notching up soldout shows far and wide. In the UK, The Weekend saw 160,000 folks head to London Stadium across two nights, smashing the venue's attendance record. And in Milan, he became the first artist to sell out the Ippodromo La Maura for two nights.

Those feats are just the beginning. In Paris, the 'Starboy', 'I Feel It Coming', 'Can't Feel My Face', 'The Hills' and 'Blinding Lights' artist scored Stade de France's biggest sales this year — and in Nice, the 70,000 tickets sold across his two shows are the most in the city's history.

The reason for the whole tour, other than just because, is celebrate The Weeknd's 2020 record After Hours and its 2022 followup Dawn FM . Obviously, he has been playing tracks from 2013's Kiss Land , 2015's Beauty Behind the Madness and 2016's Starboy as well.

The Weeknd's 'After Hours Til Dawn' Tour 2024 Dates:

Saturday, October 5–Sunday, October 6 — Marvel Stadium, Melbourne Tuesday, October 22–Wednesday, October 23 — Accor Stadium, Sydney

The Weeknd is touring Australia in October 2024 — and if you had tickets to his cancelled 2023 dates, you can nab new tickets via the past purchaser presale from 12pm in Melbourne and 1pm in Sydney on Wednesday, August 21. Other presales start from Thursday, August 22, with general sales from Monday, August 26. H ead to the tour website for more information.

Top image: Rafael Deprost.

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Where to Sit for a Concert: Indoor Arenas

Updated Apr 24, 2020 / by Tyler Perkowitz Originally Published Jul 19, 2018

Whether you're a fan of rock, country, electronic, or folk there is always something special about seeing some of your favorite music performed live. In an arena setting, there are thousands of fans with a love and passion for the music being played. Unlike sports there aren't any lead changes, injuries, or intense moments, but instead there is an energy and enthusiasm that creates one of my favorite atmospheres.

So your favorite artist announced they're coming to a city near you, or maybe you're traveling to see them, where do you sit? Concerts can be very pricey, and making sure you get the experience you are looking for is important. 

Best for: Die-hard fans, being close to the artist(s), best memories

No matter who is performing, there will almost always be a floor section. The floor is normally where a hockey or basketball game would be played during a sporting event. During a concert, the area is converted into seating. Since this area is not a permanent structure of the venue, it is also the most customizeable area and changes depending on the performer.

For most standard concerts, the stage will be placed at one end of the floor with seats taking up the rest of the area. Floor sections are for the biggest fans of the artist and these fans want to be as close as possible. They are some of the most expensive seats for this reason as well. If you are on the shorter side, be careful when purchasing floor seats. There is not elevation on the floor, so as the rows go further back there will be more fans to compete with for sight lines.

For many pop, heavy rock, and country artists the floor will have general admission sections closest to the stage. These sections will not have any seats in them, but instead are intended for fans to stand as they dance, jump, and enjoy the concert. While this freedom can be great, it is not for everyone. If you get a general admission ticket on the floor, be prepared to get there early for the best views. Also, be prepared to be very close to other fans as these sections can be tightly packed.

Similarly, some concerts will not have any seats on the floor, but instead just open up the area as a general section. This setup allows fans with tickets to stand wherever they would like in the section, giving them control over the distance and angle to the stage. While this is a great advantage, fans with GA Floor tickets should be prepared to stand for the entire show.

Best Venues to Sit on the Floor

• Madison Square Garden - New York
• The Forum - Los Angeles
• TD Garden - Boston

B-Stages and Runways

To be closer to more fans, many artists will travel with a custom stage that is set up and taken down every night of the show. This can be in the form of a runway that takes them to the center of the floor, or an entirely separate stage that is placed somewhere else on the floor.

These separate stages are usually called "B-Stages" and "Runways". You will see them most often located on the opposite end of the floor. Performers use these stages to get closer to the fans at the opposite side of the arena and play a couple songs to create memorable experiences for them.

While most of the concert will still be on the main stage, sometimes just having a couple songs right in front of you is all you will need for those close-up memories while saving on the price of the ticket. If floor seats or lower level sections close to the stage are a little outside your budget, look for sections closer to the secondary stage.

Upper Levels

Best for: Lower budgets, taking in the atmospheres, seeing the full production

If you're looking at the seats closest to the stage and experience sticker shock, you're not alone. The lowest priced tickets are almost always in the upper levels at arena shows. This is due to their distance from the stage. Don't let this make you think that it's impossible to have a great experience in these seats. In fact, some of my favorite concert moments have been in these areas of the stadium. Larger artists playing arenas usually have large productions and have gotten good at bringing in every member of the audience no matter how far away. This includes lights, video boards, and sometimes even wristbands that light up to the music, making concert goers themselves part of the show.

Depending on the show, these seats are most likely to see a seated crowd, but it varies every show. If you are someone who likes to stand and dance during the show, be aware of this, as other fans may get upset with you for blocking their view. On the flip side, if you want to be able to sit the entire show, look in these sections as they are usually the last to stand.

Behind the Stage

For some shows, you will notice seats that are being sold on the side or behind the stage. Often times these will be associated with limited or obstructed views of the stage. The upside to these seats is that you can often get very close to the stage at a much lower price. However, there are several reasons for this. To start, the artists on stage will perform to where the majority of the crowd is sitting which is in the opposite direction of these seats. 

The biggest complaint for fans sitting in this location is that they felt removed from the show which is why it comes at a lower price point. There is also the possibility that the artist will have a setup with screens, instruments, or props on stage that make it more difficult to see for fans on the side or behind the stage. To adjust for this, there are typically video screens located for the fans, but it creates a much different atmosphere compared to the intention of the production.

If you are worried about being totally ignored in these seats, know that performers usually make their best effort to include everyone in the audience. For fans behind the stage they will usually come around during a song and give these fans some attention. If you are someone who just needs to see a song or two really close, these could be the perfect alternative without having to reach too far into the wallet. One of the most popular shows that always has behind the stage seating is Billy Joel's residency shows at Madison Square Garden.

Center Stage

If you see the stage in the middle of the floor section this is referred to as a center stage. Many times, popular artists will set up their stage in the center of the floor and sell tickets in every section of the arena to allow as many people to see the concert as possible. This leaves many people confused as they are unsure which way the artist will be performing and are worried about being behind the action. Typically for center stage shows the artists do their best to make their way around to perform on all sides of the stage. Sometimes the show can be creative and even feature a rotating stage so that all areas of the arena are treated equal.

This does create a bit of a difference for the permanent seats when compared to an end stage setup. With a center stage, the seated sections in the middle of the arena (same as mid court or center ice sections) will be the best and closest seats. With center stage shows there are no longer any seats considered behind the stage. Seats that would be behind the stage for an end stage show would carry equivalent views to the seats on the opposite ends.

Head on Views

If proximity isn't of top importance to you, some fans like to have a head-on view to the stage. A head-on view means that your seats will directly face the stage and you will not have to turn your head or body to see the performance. Since most arenas are set up for sporting events, most side sections will require you to adjust to see the stage.  If you want to avoid this you can use a filter on our website to find seats with the "Head-on" designation.

No matter where you sit, or who you see, it is most important to have fun and enjoy the music. Most artists only come around once every couple of years so it is important to make the best of the night.

Every concert is different and each artist has a unique way of reaching their audience.  While the locations described above will fit most arenas they won't always fit every show. Some artist will get on flying stages, others will use cell phones as an interactive part of the show. No matter where you sit there is only one aspect that is the most important.  HAVE FUN!

Other Where to Sit Blogs

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• Where to Sit for a Basketball Game
• Where to Sit for a Football Game
• Where to Sit for a Hockey Game
• Where to Sit for a Soccer Match

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Tour de France Femmes Stage 6: Cédrine Kerbaol Makes History with Superb Solo Victory

Last year’s best young rider is first french stage winner in race history, niewiadoma holds lead..

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Cédrine Kerbaol grabbed victory at the Tour de France Femmes avec Zwift Friday, fending off the bunch with a brilliant solo win in Morteau.

The 23-year-old, the best young rider in last year’s race, became the first French victor in the modern incarnation of the event.

The Ceratizit-WNT Pro Cycling Team competitor attacked with 14.5km left. She was briefly marked by Pauline Rooijakkers (Fenix-Deceuninck) before the latter was dropped.

Kerbaol hammered towards the finish, holding 34 seconds’ advantage with 1km to go despite the efforts of FDJ-Suez and Canyon-SRAM.

She continued well up the drag to the line, finishing 21 seconds ahead of Marianne Vos (Visma-Lease a Bike), Liane Lippert (Movistar Team), and the rest of the reduced peloton.

“It’s true that it’s been two or three days that it’s been eating away at me a bit,” she said about her aim for a stage win. “I was saying ‘I’d really like to cross the line like that’. In the mountains, I always was well placed, with my teammates always there, put in the best position possible.

“Then on the last climb, I said ‘be patient’ because I often have the tendency to attack a bit early and be counter-attacked. So I said to myself I’d let the bonus seconds go and then I’d focus on seeking the victory.

“There were a few attacks and on a false flat, and I went for it. I knew that in that distance left, I could make the difference over certain riders. I saw I got a gap and then I went into time-trial mode.”

Overnight leader Kasia Niewiadoma (Canyon-SRAM) finished safely in the main bunch. It was a quiet day in the general classification battle, and she will wear the maillot jaune on Saturday’s first big mountain stage.

Kerbaol had started the day fourth overall and jumps up to second, overtaking Kristen Faulkner (EF-Oatly-Cannondale) and Puck Pieterse (Fenix-Deceuninck). She is now 16 seconds off Niewiadoma.

Previous race leader Demi Vollering (SD Worx-Protime) was able to start after her race-altering crash on Friday. She bided her time, giving her body a chance to recover, but will likely go all out at the weekend to try to recapture the yellow jersey.

As for the green jersey, Vos was dropped on the last climb but bravely fought back to take second on the stage. She also took the intermediate sprint and moved into the lead in the points classification. She had been in the day’s early break and showed great strength of character to still be there in the end.

Justine Ghekiere (AG Insurance-Soudal Team) was also in the move and gobbled up mountains points to take over from Pieterse in that competition.

Big break goes hunting for stage glory

Stage 6 of the Tour de France Femmes ramped up the difficulty before the two big mountain stages.

Beginning in Remiremont and concluding 159.2km later in Morteau, the riders clocked up 2245 meters of elevation gain along the way.

There was a relatively flat first half to the stage, aside from a category three climb soon after the start. The final 76km then featured four categorized climbs, including the cat two La Roche du Prêtre. The final 15km or so was mostly downhill and flat, but there was a slight rise inside the final kilometer.

Following a number of early attacks, the day’s big move began 118km from the finish when Audrey Cordon-Ragot (Human Powered Health) and Iurani Blanco (Laboral Kutxa-Fundación Euskadi) broke clear.

A dozen riders joined them soon afterwards, including Fem van Empel (Visma-Lease a Bike), Ellen van Dijk (Lidl-Trek) and others.

They were in turn joined by a strong quartet, namely Marianne Vos (Visma-Lease a Bike), Niamh Fisher-Black (Team SD Worx-Protime), Soraya Paladin (Canyon-SRAM) and Grace Brown (FDJ-Suez). They bridged 87km from the finish and increased the break to 18 competitors.

Vos became race leader on the road but the peloton didn’t panic. Ghekiere had earlier taken the points on the day’s first climb, the Col du Mont de Fourche, and collected the top points on the Col de Ferrière.

Vos won the intermediate sprint at Sancey, 59km from the finish, and eight kilometers later Ghekiere moved into the lead of the Queen of the Mountains classification when she beat Fisher-Black to the summit of the Côte de Laviron.

Kerbaol puts in a daring bid for French success

With 50km to go the leaders had a lead of 2:01 over the main group. An acceleration behind saw this drop to 1:07 over the next 10km. The break then splintered on the category two La Roche du Prétre.

Fisher-Black went over the summit meters ahead of Ghekiere, who reinforced her lead in the mountains competition with second place. Brown was third.

Ghekiere slipped back briefly after the summit. Fisher-Black and Brown went under the 25km to go banner with a nine second lead over her. The peloton was at 1:11. However the duo were caught by attacker Pauline Rooijakkers (Fenix-Deceuninck) plus the peloton with 16km left on the Côte des Fins, the day’s final categorized climb. Pieterse led Niewiadoma and Vollering across the prime line.

Kerbaol (Ceratizit-WNT Pro Cycling Team) then made her big bid for stage glory with 14.5km left. She was briefly marked by Rooijakkers but was too strong, dropping her and hammering on towards the finish.

FDJ-Suez and Canyon-SRAM drove the bunch behind but Kerbaol was riding superbly and maintaining her lead. She had 34 seconds with 1km to go, thundering in well clear of Vos, Lippert plus the 21 other riders in the bunch.

Having taken fourth in the opening time trial, she was asked if she was in her best-ever form.

“The form of my life…I don’t know,” she said. “I hope I can still keep progressing and keep getting stronger. I’ve never won a race like this, it’s legendary. And I’ve never been so close to the best riders, so it’s pretty crazy.”

She will start Saturday’s stage just 16 seconds off the race lead. Is the yellow jersey an ambition?

“We’ll do everything towards that, you’ve got to always believe.”

More to follow soon

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AC/DC at Croke Park in Dublin: Stage times, setlist, tickets, travel and essential information

Aussie rockers AC/DC will play Croke Park in Dublin on Saturday, August 17 for what will be the band's first Irish gig in almost a decade and we have all the info you need ahead of the show

• 10:28, 16 AUG 2024
• Updated 16:16, 16 AUG 2024

Legendary Australian rock group AC/DC will play Dublin's Croke Park this weekend for what will be the final concert of the band's European tour.

The Power Up Tour is the band’s first in Europe for eight years and sees them playing with a line-up featuring singer Brian Johnson, guitarist Angus Young, rhythm guitarist Stevie Young, drummer Matt Laug and Jane’s Addiction bassist Chris Chaney replacing longtime bassist Cliff Williams.

AC/DC are one of the most influential rock bands in history, with over 200 million albums sold worldwide and the band’s Back In Black LP is the ‘third bestselling album by any artist’ with global sales of 50 million and counting.

READ MORE: Croke Park residents accused of 'breach of trust' by stadium bosses after leaking ACDC pre-sale ticket link

READ MORE: Electric Picnic 2024 stage times revealed for all main areas

AC/DC last performed in Dublin back in 2015 when they played a sold-out show at the Aviva Stadium, and this weekend's Croke Park gig promises to be an unforgettable experience for fans of the iconic rockers.

If you managed to snag a ticket we have all the info you need ahead of Saturday's show, including what time the band are expected on stage, the best way to get to Croke Park and how the weather is shaping up.

There are still a handful of seating tickets to AC/DC's Croke Park gig available to purchase via Ticketmaster , but you'll want to be quick as these are expected to sell out ahead of Saturday's gig.

Ticketmaster box offices will be located at the junction of the North Circular Road and Russell Street/Jones Road.

Ticketmaster is the official and only legitimate ticket seller for this event and the promoters advise only buying tickets from authorised sellers.

Concertgoers are being urged to download their tickets from their Ticketmaster account to their iPhone wallet/ Google Pay wallet in advance of show day. Do not wait until you arrive at the venue as network coverage may not be available.

Screenshots or printouts of digital tickets will not be accepted. There are no ticket collections as E tickets are in use for this concert.

Stage times and support act

Gates to Croke Park will open at 5pm on Sunday and ticketholders have been urged to allow themselves plenty of time to get to the venue so as to get in well before the start of the show.

Early queuing will not be permitted in the streets around Croke Park and ticketholders are being asked to respect the privacy of the residents and businesses in the local community.

Strict security checks will be in operation. Everyone will be subject to a search permissible under law, per Purchase Policy . It is a condition to entry, to protect everyone’s safety. Additional searches may take place once inside the venue.

AC/DC will be joined at Croke Park by The Pretty Reckless, the rock band fronted by former Gossip Girl actress Taylor Momsen, who will be the support act on the night.

The show is scheduled to get underway at 7pm, with AC/DC expected on stage at around 8.30pm.

An MCD spokesperson added that all times are subject to change, so fans have been advised to get to the venue 45 mins before the show starts.

Concertgoers should note that there is no re-admission to this event – if you leave the site for any reason, you will not be allowed to return.

Fans can look for to AC/DC playing all of their biggest hits at Saturday's show, with hit tracks such as Back in Black, Highway to Hell and You Shook Me All Night Long all set to get a runout.

Here's the setlist from the band's gig in Belgium last week for Irish fans to get a sense of what they can look forward to on Saturday.

• If You Want Blood (You've Got It)
• Back in Black
• Shot Down in Flames
• Thunderstruck
• Have a Drink on Me
• Hells Bells
• Shot in the Dark
• Stiff Upper Lip
• Shoot to Thrill
• Rock 'n' Roll Train
• Dirty Deeds Done Dirt Cheap
• High Voltage
• You Shook Me All Night Long
• Highway to Hell
• Whole Lotta Rosie
• Let There Be Rock (with long solo by Angus)
• For Those About to Rock (We Salute You)

How to get to Croke Park

Ticketholders are being urged to plan and book their return travel arrangements in advance, allowing at least an extra three hours travel time to and from the venue.

As traffic and parking delays are inevitable you are strongly encouraged to walk, use public transport and private coach services.

By Train : Alight at Connolly Station or Drumcondra. Full details at www.irishrail.ie.

By Luas: Croke Park is a 16 minute (1.3km) walk from Connolly Red Line Luas stop. The stadium is also just 15 minutes (1km) walk from both Parnell and Marlborough Green Line Luas stops.

By Bus : Dublin Bus routes nearest Croke Park include 1, 6, 7(a), 11, 13, 15, 16, 27(a/b), 33, 40(b/d/e), 41(b/c/d), 42, 43, 44, 53a, 122, 123, 130, H1, H2, H3 Full details at TFI.ie.

By Car : Concertgoers are being strongly advised to use public transport. There is no parking at venue so those travelling by car are advised to use city centre car parks.

On street parking is very limited due to Croke Park being situated in residential area. Patrons should be aware that illegally parked vehicles cause traffic disruption, and obstruction to movement of emergency vehicles.

There will be strict enforcement of all illegal parking in the area by Gardai and Dublin City Parking Services and such vehicles will be impounded or clamped and will be liable to a substantial fine.

Approach routes

BLUE ROUTE (Hogan Stand) : Enter via Jones Road and Russell Street.

RED ROUTE (Cusack Stand) : Enter via St James Avenue and Foster Terrace.

YELLOW ROUTE (Davin Stand) : Enter via St Margaret’s Terrace.

GREEN ROUTE (Front Pitch Standing) : Enter via Josephs Avenue.

RED ROUTE (Front & Main Pitch Standing) : Enter via St James Avenue and Foster Terrace.

Banned items

Prohibited articles and items are as follows:

• Aerosols / Air Horns
• Animals (Other than registered guide or hearing dogs)
• Any item which may reasonably be considered for use as a weapon
• Audio recorders
• Backpacks / large bags / Waist packs
• Banners with poles or poles of any kind
• Cameras with detachable lens or recording equipment
• Camping equipment
• Chinese or sky lanterns
• Cooler Boxes or Large containers
• Crash helmets or protective headwear, body armour or protective clothing
• Excessive amounts of batteries, wire, cables or electrical components
• Fireworks or flares
• Garden furniture, fold up chairs or shooting sticks
• Glow sticks
• Illegal substances/ illegal merchandise of any description
• Large umbrellas
• Large chains, spiked bracelets or wallet chains
• Large Flags, Placards or Posters inc. sticks
• Light sabers
• Lasers / Laser pens or torches
• LED Headbands, wristbands, Glow sticks or Light emitting objects of any kind (except mobile/cell phones)
• Liquids - No liquids are permitted other than sealed water less than 500ml is allowed (Caps will be removed)
• Nitrous oxide
• Portable laser equipment and pens
• Selfie sticks
• Smoke canisters
• Sound systems
• Unauthorized professional film or video equipment
• Unofficial tabards or reflective jackets

To ensure as smooth an access as possible and to avoid any unnecessary delays it is strongly suggested that you bring as little as possible with you to the event and minimise jackets and additional layers when possible. To avoid disappointment do not bring backpacks or larger handbags, you may be refused admission to the venue without a refund.

It is recommended if you are bringing personal bag, purses or clutch bag, you should only bring those of smaller sizes i.e. those measuring 4.5in/11.4cm x 6.5in/16.51cm (A4) or smaller will be allowed.

There will be no cloakroom or storage facilities at Croke Park.

According to Met Eireann's forecast, current indications suggest that there will be a fair amount of cloud about on Saturday but with some sunny intervals also. It will be dry much of the time but there'll be a few light showers, with highest temperatures of 17C to 20C in moderate westerly breezes.

It is expected to remain largely dry overnight with just a few isolated showers and lowest temperatures of 8C to 12C in light southwest winds.

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