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Elevation Tour

Elevation: leg one [north america].

• 2001-03-24: National Car Rental Center, Fort Lauderdale, Florida
• 2001-03-26: National Car Rental Center, Fort Lauderdale, FL, USA
• 2001-03-29: Charlotte Coliseum, Charlotte, NC, USA
• 2001-03-30: Philips Arena, Atlanta, GA, USA
• 2001-04-02: Compaq Center, Houston, TX, USA
• 2001-04-03: Reunion Arena, Dallas, TX, USA
• 2001-04-06: Pepsi Center, Denver, CO, USA
• 2001-04-09: Pengrowth Saddledome, Calgary, Alberta, Canada
• 2001-04-10: Pengrowth Saddledome, Calgary, Alberta, Canada
• 2001-04-12: Tacoma Dome, Tacoma, WA, USA
• 2001-04-13: General Motors Place, Vancouver, BC, Canada
• 2001-04-15: Rose Garden, Portland, OR, USA
• 2001-04-17: San Diego Sports Arena, San Diego, CA, USA
• 2001-04-19: San Jose Arena, San Jose, California
• 2001-04-20: San Jose Arena, San Jose, CA, USA
• 2001-04-23: Arrowhead Pond, Anaheim, CA, USA
• 2001-04-24: Arrowhead Pond, Anaheim, California
• 2001-04-26: Arrowhead Pond, Anaheim, CA, USA
• 2001-04-28: America West Arena, Phoenix, AZ, USA
• 2001-05-01: Target Center, Minneapolis, MN, USA
• 2001-05-03: Gund Arena, Cleveland, OH, USA
• 2001-05-04: Rupp Arena, Lexington, KY, USA
• 2001-05-06: Mellon Arena, Pittsburgh, PA, USA
• 2001-05-07: Nationwide Arena, Columbus, OH, USA
• 2001-05-09: Bradley Center, Milwaukee, WI, USA
• 2001-05-10: Conseco Fieldhouse, Indianapolis, IN, USA
• 2001-05-12: United Center, Chicago, IL, USA
• 2001-05-13: United Center, Chicago, IL, USA
• 2001-05-15: United Center, Chicago, IL, USA
• 2001-05-16: United Center, Chicago, IL, USA
• 2001-05-24: Air Canada Center, Toronto, ON, Canada
• 2001-05-25: Air Canada Center, Toronto, ON, Canada
• 2001-05-27: Molson Centre, Montreal, Quebec, Canada
• 2001-05-28: Molson Centre, Montreal, Quebec, Canada
• 2001-05-30: Palace of Auburn Hills, Auburn Hills, MI, USA
• 2001-05-31: HSBC Arena, Buffalo, NY, USA
• 2001-06-02: Pepsi Arena, Albany, NY, USA
• 2001-06-03: Hartford Civic Center, Hartford, CT, USA
• 2001-06-05: Fleet Center, Boston, MA, USA
• 2001-06-06: Fleet Center, Boston, MA, USA
• 2001-06-08: Fleet Center, Boston, MA, USA
• 2001-06-09: Fleet Center, Boston, MA, USA
• 2001-06-11: First Union Center, Philadelphia, PA
• 2001-06-12: First Union Center, Philadelphia, PA, USA
• 2001-06-14: MCI Center, Washington, DC, USA
• 2001-06-15: MCI Center, Washington, DC, USA
• 2001-06-17: Madison Square Garden, New York, NY, USA
• 2001-06-19: Madison Square Garden, New York, NY, USA
• 2001-06-21: Continental Airlines Arena, East Rutherford, NJ, USA
• 2001-06-22: Continental Airlines Arena, East Rutherford, NJ, USA

Elevation: Leg Two [Europe]

• 2001-07-06: Forum, Copenhagen, Denmark
• 2001-07-07: Forum, Copenhagen, Denmark
• 2001-07-09: Globe Arena, Stockholm, Sweden
• 2001-07-10: Globe Arena, Stockholm, Sweden
• 2001-07-12: Kölnarena, Cologne, Germany
• 2001-07-13: Kölnarena, Cologne, Germany
• 2001-07-15: Olympiahalle, Munich, Germany
• 2001-07-17: Bercy Arena, Paris, France
• 2001-07-18: Bercy Arena, Paris, France
• 2001-07-21: Stadio Delle Alpi, Turin, Italy
• 2001-07-23: Hallenstadion, Zurich, Switzerland
• 2001-07-24: Hallenstadion, Zurich, Switzerland
• 2001-07-26: Wiener Stadthalle, Vienna, Austria
• 2001-07-27: Wiener Stadthalle, Vienna, Austria
• 2001-07-29: Waldbühne, Berlin, Germany
• 2001-07-31: Gelredome, Arnhem, Netherlands
• 2001-08-01: Gelredome, Arnhem, Netherlands
• 2001-08-03: Gelredome, Arnhem, Netherlands
• 2001-08-05: Sportpaleis, Antwerp, Belgium
• 2001-08-06: Sportpaleis, Antwerp, Belgium
• 2001-08-08: Palau Sant Jordi, Barcelona, Spain
• 2001-08-11: MEN Arena, Manchester, England
• 2001-08-12: MEN Arena, Manchester, England
• 2001-08-14: National Exhibition Centre Arena, Birmingham, England
• 2001-08-15: National Exhibition Centre Arena, Birmingham, England
• 2001-08-18: Earls Court Exhibition Centre, London, England
• 2001-08-19: Earls Court Exhibition Centre, London, England
• 2001-08-21: Earls Court Exhibition Centre, London, England
• 2001-08-22: Earls Court Exhibition Centre, London, England
• 2001-08-25: Slane Castle, Slane, Ireland
• 2001-08-27: SECC, Glasgow, Scotland
• 2001-08-28: SECC, Glasgow, Scotland
• 2001-09-01: Slane Castle, Slane, Ireland

Elevation: Leg Three [North America]

• 2001-10-10: Joyce Center, University of Notre Dame, South Bend, IN, USA
• 2001-10-12: Molson Centre, Montreal, Quebec, Canada
• 2001-10-13: Copps Coliseum, Hamilton, ON, Canada
• 2001-10-15: United Center, Chicago, IL, USA
• 2001-10-16: United Center, Chicago, IL, USA
• 2001-10-19: Baltimore Arena, Baltimore, MD, USA
• 2001-10-24: Madison Square Garden, New York, NY, USA
• 2001-10-25: Madison Square Garden, New York, NY, USA
• 2001-10-27: Madison Square Garden, New York, NY, USA
• 2001-10-28: Continental Airlines Arena, East Rutherford, NJ, USA
• 2001-10-30: Dunkin Donuts Center, Providence, RI, USA
• 2001-10-31: Dunkin Donuts Center, Providence, RI, USA
• 2001-11-02: First Union Center, Philadelphia, PA, USA
• 2001-11-05: Frank Erwin Center, Austin, TX
• 2001-11-07: Pepsi Center, Denver, CO, USA
• 2001-11-09: Delta Center, Salt Lake City, UT, USA
• 2001-11-12: Staples Center, Los Angeles, CA, USA
• 2001-11-13: Staples Center, Los Angeles, CA, USA
• 2001-11-15: Arena in Oakland, Oakland, CA, USA
• 2001-11-16: Arena in Oakland, Oakland, CA, USA
• 2001-11-18: Thomas & Mack Center , Las Vegas, NV, USA
• 2001-11-19: Staples Center, Los Angeles, CA, USA
• 2001-11-20: Arco Arena, Sacramento, CA, USA
• 2001-11-23: America West Arena, Phoenix, AZ, USA
• 2001-11-25: Reunion Arena, Dallas, TX, USA
• 2001-11-27: Kemper Arena, Kansas City, MO, USA
• 2001-11-28: Savvis Center, St. Louis, MO, USA
• 2001-11-30: Philips Arena, Atlanta, GA, USA
• 2001-12-01: Ice Palace, Tampa, FL, USA
• 2001-12-02: American Airlines Arena, Miami, FL, USA

Related News: Elevation Tour

• "Edge Chat Transcript" (2001-06-15)
• "U2 On Career High With Elevation Tour" (2001-06-23)
• "The Edge’s T-Shirts on Elevation" (2001-07-01)
• "“Fans Want the Shirt On Straight Away”" (2001-08-17)
• "U2 to Return to North America for Tour’s Second Leg" (2001-09-15)
• "Elevation Tour Songs: Lifting You Higher" (2001-12-25)
• "The Virtual Road: Slane Castle" (2021-03-18)

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U2 Concerts with Opening Act: No Doubt

No Doubt has opened at 13 U2 concerts.

No Doubt Website

Gwen Stefani, Tony Kanal, Tom Dumont, Adrian Young

Anaheim, CA rock-ska band No Doubt saw immense success in 1995 with their album "Tragic Kingdom," which was released in 1995. The diamond-certified album also spawned the single "Don't Speak," which spent 16 weeks at the top of the Billboard Hot 100. Their addictive pop-rock sound can be heard on their follow-up albums, "Return To Saturn" and "Rock Steady." The band took a break in 2004 while lead singer Gwen Stefani released two solo records during the hiatus. No Doubt reunited to release "Push and Shove" in September 2012. The band is currently working on new music.

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The Annotated Gilmore Girls

Footnotes to the TV series

No Doubt and U2

DEAN: What do you have to be sorry for? RORY: That . . . that I didn’t tell you about the rehearsal. And that No Doubt is touring with U2. I know you’re extremely disappointed in Bono.

No Doubt is an American rock band formed in 1986, consisting of vocalist Gwen Stefani, guitarist Tom Dumont, bassist Tony Kanal, and drummer Adrian Young. Their 1992 eponymous debut album made little impact, but their 1995 follow-up, The Beacon Street Collection , sold more than 100 000 copies after they changed to a ska-punk sound. Their 1995 album, Tragic Kingdom , was certified diamond, with singles Don’t Speak , and Just a Girl becoming hits – the first spending 16 weeks at #1 in the US. Their most recent album at this point was Return of Saturn in 2000, although Rock Steady was just about to be released, in early December 2001.

No Doubt were one of the openers for U2 on the third leg of their Elevation Tour – the same one PJ Harvey had opened for earlier. No Doubt were one of the support acts at Madison Square Garden in late October 2001, then the only support act from November 5 th to 25 th , in California, Texas, Utah, Nevada, and Arizona.

As Tristan invited Rory to the Elevation Tour when they were performing in Hartford, it feels somewhat tactless for her to bring it up while trying to placate Dean. But it may also be reminding Dean that he shares her musical tastes more than Tristan, as both Dean and Rory appear to be U2 fans. He wasn’t before going out with Rory, so perhaps she has influenced him in this regard.

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U2gigs.com - U2:UV Achtung Baby Live at the Sphere 2023/2024

U2 Elevation Tour

Elevation tour 3rd leg: north america, 2001-11-15 : oakland arena - oakland, california, usa, u2, no doubt.

U2 acted like a band with something to prove. From Bono's judo kick as drummer Larry Mullen crashed into the opening of "Elevation" to the rousing finale of "Walk On," the four-man rock band stayed close to basics Thursday in the first of two sold-out shows at the Compaq Center in San Jose (formerly the San Jose Arena). After the technological overkill of the 1997 PopMart tour, which surpassed even the extravagant staging and multimedia manipulation of the band's previous football-stadium juggernaut, "Zoo TV," there was some question whether U2 could stand in front of an audience and just play. The answer is yes. From the opening chord, it was a towering performance by a monumental band -- emotional, painfully earnest and authentically inspirational. -- Joel Selvin

Tour Archive: 2002

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U2’s Experience + Innocence Tour: 10 Stunning Live Rarities

By Andy Greene

Andy Greene

U2 wrapped up their Experience + Innocence tour on Tuesday with a makeup show in Berlin, Germany. Like every other night of the tour, they didn’t play a single song from The Joshua Tree and instead focused on material from Songs of Experience and lesser-known cuts from the Nineties along with a tiny smattering of Eighties hits. “This is for the fans of our more recent work, the more committed fans who really listen to everything and go to everything,” The Edge told Rolling Stone shortly after the tour began. “We feel OK about that.”

Now that it’s done, here’s a look back at 10 great moments from the tour where they delighted the faithful by playing an unexpected song.

“Acrobat.” U2 set the tone for the entire tour at the opening show in Tulsa, Oklahoma, when they broke out the Achtung Baby deep cut “Acrobat,” a song they’d never done live before despite years of pleading by the fans. They went on to play it every single night of the tour, always preceded by a speech by Bono ‘s devilish alter-ego Mr. Macphisto. “It is a difficult song to play,” Adam Clayton told Rolling Stone . “It’s an even more difficult song to move to. I think it’s a 6/8 time. There’s a couple of different options for how you count it. I think that sort of, intuitively, we’ve switched between those time signatures a bit, but because we’re not schooled musicians we manage to get away with that. It is unusual, but it really, really works and there’s some great guitar playing by Edge.”

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“Staring at the Sun” Pop may have not generated great reviews when it came out in 1997 and the tour may have played to a few empty seats at stadiums in America, but the album has gained an enormous cult following in recent years even though the band rarely plays the songs in concert. That changed on the American leg of the Experience + Innocence tour when they played a stripped-down “Staring at the Sun” along with images of white supremacists marching in Charlottesville, Virginia. “‘Staring at the Sun’ was always a bit of a personal favorite,” Clayton told Rolling Stone . “It fits into this somewhat dark cloud that is sitting over the world at the moment. Again, in that context it’s less of a hopeful pop song and more of a commentary on where we are.”

“Who’s Gonna Ride Your Wild Horses” On the opening night of the tour, U2 broke out “Who’s Gonna Ride Your Wild Horses” for the first time in 12 years and then promptly put it away (discounting the special Apollo Theater gig ) until the tour landed in Europe four months later. It’s a shame that so few Americans got to hear it since, like every single song from Achtung Baby , it works incredibly well in a live context. The problem seemed to be that they tried it as an encore song in Tulsa, when they discovered later that it makes a bigger impact much better earlier in the show.

“Stay (Faraway, So Close!)” The most dramatic change to the Experience + Innocence set list came on September 30th at a show in Copenhagen when they suddenly dropped the long Songs of Innocenc e segment, freeing them up to play a wide cross-section of older material in that slot. That night, they stunned fans by breaking out the Zooropa favorite “Stay (Faraway, So Close!).” Bono and the Edge had played the song acoustically as recently as 2011, but the full band hadn’t touched it since Zoo TV ended in 1993.

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“Zoo Station” By the final shows of the Experience + Innocence tour, it wasn’t uncommon to see U2 play six songs a night from Achtung Baby . That’s half the album. “Zoo Station” was such a pivotal part of the Zoo TV tour that for years it felt like they’d never do it again, but it returned to the mix in 2005 and then came back again this year when the tour came to Germany, the birthplace of Achtung Baby . It worked so well they gave it a permanent spot in the set.

“Dirty Day” When they ruled out many of their Eighties hits and everything from The Joshua Tree , U2 had to reach deep to find new songs to sprinkle into the show. They found one with “Dirty Day,” a random Zooropa song they did 10 times at the end of Zoo TV and then never touched again. They played it during two Dublin shows and then again at the grand finale in Berlin. Hopefully we’ll see it again at a big Zooropa 30th-anniversary tour in 2023.

“The Unforgettable Fire” The title track to 1984’s The Unforgettable Fire made a lone appearance on the tour. It was the first show after they dropped the Songs of Innocence material and they were trying to figure out what could plug the hole. As you can see here, “The Unforgettable Fire” worked pretty well, but they quickly decided to devote the entire segment to songs from Achtung Baby and Zooropa .

“The Electric Co.” Adam Clayton promised Rolling Stone that their SiriusXM show at New York’s Apollo Theater would be a “proper old-school theater show.” That meant breaking out Boy -era tunes like “The Electric Co.” To prep for that, they played the song at Long Island’s Nassau Coliseum days before the Apollo gig and then never did it again. Their instincts seemed to tell them to cut back on the Eighties stuff whenever possible.

“The Fly” “The Fly” was the least successful single off Achtung Baby , probably because it was the first one and people weren’t quite ready for a change that dramatic. They were still thinking they’d get a song like “With or Without You.” But it’s become a mainstay of their live show, making a very welcome return on the European leg of Experience + Innocence . We were joking earlier about a Zooropa 30 tour, but an Achtung Baby 30 tour in 2021 sorta feels like something that might actually happen and then we can finally hear “Love Is Blindness,” “So Cruel” and “Tryin’ to Throw Your Arms Around the World” again. They’re the three holdouts they haven’t done since Zoo TV .

“Spanish Eyes” The closest that U2 came to breaking their “No Joshua Tree in 2018″ pledge came on September 21st when they broke out the Joshua Tree B side “Spanish Eyes” at a show in Madrid. It was just the fifth time they’d done it since the Joshua Tree tour in 1987. Four of them came in Spain and one came in Mexico City just last year. Bono seemed a little unsure about doing it this time. “The Edge says he thinks we can pull it off,” Bono said. “We haven’t played it in a very, very long time. [Note: It had actually just been 11 months.] We rehearsed it in the dressing room. The Edge says we can do this. I think. Maybe. OK.”

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Depeche Mode, U2 & No Doubt

The week in new music & dig me out podcast.

New Releases

Depeche mode - memento mori.

🎧 Apple Music

Depeche Mode has released their highly anticipated 15th studio album, "Memento Mori," to widespread acclaim. The album, produced by James Ford and featuring additional production by Marta Salogni, was inspired by the early stages of the COVID pandemic and explores a wide range of emotions and textures. Critics have praised the album for its "characteristic musical beauty and lyrical depth," with The Guardian lauding its "perfect blend of ominous mood and electronic textures." The band has embarked on their "Memento Mori World Tour," which includes a North American run, a European stadium tour, and a recently added fall leg in North America. With over 2 million tickets already sold, the tour is set to be one of Depeche Mode's largest to date and one of the biggest worldwide tours of 2023.

Saxon - More Inspirations

🎧 Apple Music  • Spotify

More Inspirations is a follow-up covers album by the legendary British heavy metal band Saxon, released after their 2021 album Inspirations. Delving deeper into the band's influences, More Inspirations features renditions of songs by iconic artists such as Alice Cooper, ZZ Top, KISS, and Uriah Heep. Demonstrating their appreciation and respect for these influential acts, Saxon offers their unique interpretations of these classic tracks, infusing their signature heavy metal sound into the mix. More Inspirations pays tribute to the musicians who have inspired Saxon throughout their decades-long career and provides fans with a fresh perspective on some of the most celebrated songs in rock history.

The Bouncing Souls - Ten Stories High

🗳 Bandcamp | 🎧 Apple Music  • Spotif y

The Bouncing Souls, an Asbury Park-based punk rock band, have released their new album "Ten Stories High" on March 24. Instead of focusing on their own experiences, the band turned to their fans for inspiration, creating songs based on the stories shared by their true believers. Born out of lockdown-era necessity, the album was created remotely, with the band members living in three different states. The Bouncing Souls joined the Patreon crowd-funding platform, offering a custom song to supporters at one membership tier. The album, produced by Will Yip, showcases the band's knack for turning incredibly personal stories into universally relatable sing-along anthems. "Ten Stories High" features a collection of one-off songs compiled into album form, capturing the essence of the Bouncing Souls' signature sound and message.

Acid King - Beyond Vision

🗳 Bandcamp | 🎧 Apple Music  • Spotify

Acid King, a stoner-metal band active since 1993, makes a powerful comeback with their latest album, "Beyond Vision" (Blues Funeral). Initially planned as an experimental collaborative album between lead guitarist and frontwoman Lori S. and guitarist Jason Landrian of Black Cobra, the project evolved into a full-band effort featuring bassist Bryce Shelton and drummer Jason Willer. "Beyond Vision" maintains Acid King's signature raw heaviness while incorporating synths and keyboards, creating a lush psychedelic soundscape. The album marks the band's first release since 2015 and showcases their deep cosmic patience and mesmerizing sound. With a few one-off dates in California and Texas and appearances on the European festival circuit, fans eagerly anticipate Acid King's return to the live stage.

The Van Pelt - Artisans & Merchants

The Van Pelt, a cult indie band from New York City, released their fourth studio album 'Artisans & Merchants' after a 25-year hiatus. The album is a collaborative effort between Spartan Records in North America, La Castanya in Europe/World, and Gringo in the UK. Recorded and mixed by Jeff Zeigler at Uniform Recording in Philadelphia, PA in Summer/Fall of 2021, the album features guest appearances by Nate Kinsella and Ted Leo. The band, known for their distinctive minimalist sound, has also announced a series of shows in the UK, EU, and Brooklyn in March and April.

U2 - Songs Of Surrender

"Songs of Surrender is a collection of 40 iconic U2 songs, re-recorded and reimagined for 2023. The Edge curates and produces the album, which includes beloved tracks such as "With Or Without You," One," Beautiful Day," Sunday Bloody Sunday," and "Pride (In The Name Of Love)".

The Edge describes the process of reimagining the songs as a journey through time, exploring how the band's early music would sound with a 21st-century interpretation. Intimacy replaces post-punk urgency with new tempos, keys, chords, and lyrics, giving a fresh perspective on these classic tracks. The 40 newly recorded songs are divided into four separate 'albums,' each represented by a band member."

Kamelot - The Awakening

The Awakening is the thirteenth studio album by the American power metal band Kamelot. It is the band's first studio album in five years, following 2018's The Shadow Theory, making this the longest gap between two studio albums by Kamelot. It is the first studio album to feature Alex Landenburg on drums following the departure of Johan Nunez.

The Black Crowes - The Black Crowes: Shake Your Money Maker Live

Celebrating their 2021-22 reunion tour, The Black Crowes release "The Black Crowes: Shake Your Money Maker Live". The album commemorates the band's reunion and features the best performances from their "Shake Your Money Maker" tour, including each track from the original album, and all their hits performed live. The record, available digitally, on CD, and vinyl via Silver Arrow, also includes two bonus tracks of The Black Crowes covering "It's Only Rock 'n' Roll (But I Like It)" by The Rolling Stones and "Rock & Roll" by The Velvet Underground. With a lineup featuring Chris and Rich Robinson, Sven Pipien, Brian Griffin, Joel Robinow, and Isaiah Mitchell, fans can expect more performances and festival dates in North and South America throughout 2023.

The Lords Of Altamont - To Hell With Tomorrow The Lords Are Now (Live in Utrecht)

🗳 Bandcamp | Spotify

The Lords Of Altamont have released their first live album, "To Hell With Tomorrow The Lords Are Now!", a raw and energetic recording captured not on stage but in the studio. Reminiscent of Live at the BBC or a Peel Session, the album features a carefully chosen selection of songs that showcase the band's journey over the past 23 years. With a no-nonsense approach, the album offers a true representation of a Lords live recording, focusing solely on the power of their rock 'n' roll performance. The Lords Of Altamont, founded by Jake "The Preacher" Cavaliere in late 1999, have seen numerous lineup changes over the years, including the late Michael Davis of The MC5. The band has evolved its sound while staying true to its roots, drawing influences from the high-energy rhythms of Detroit's beer-soaked venues and the scruffy clubs along L.A.'s Sunset Strip, as well as mid-'60s London R&B and '70s New York City punk.

Bill Janovitz - Leon Russell: The Master of Space and Time's Journey Through Rock & Roll History (Book)

📦 Hardcover "Leon Russell: The Master of Space and Time's Journey Through Rock & Roll History" is a comprehensive biography of the legendary musician, composer, and performer Leon Russell (1942-2016), authored by Bill Janovitz. The book delves into Russell's incredible career, which spanned over five decades and saw him collaborate with numerous renowned artists from various genres, including George Harrison, the Rolling Stones, Eric Clapton, Elton John, and Willie Nelson. Janovitz's meticulously researched account takes readers through Russell's life, from his early days as an in-demand session pianist and his influential solo albums with the Shelter People band to his work as a player and arranger on countless iconic songs and albums. The book also explores Russell's personal life, including his physical handicap, mental struggles, and complex romantic relationships. After reading this definitive biography, readers will gain a deeper appreciation for the extent of Russell's talents and contributions to the world of music.

Delerium - Signs

Delerium, Front Line Assembly members Bill Leeb and Rhys Fulber's prolific side project returns with their new album Signs. Formed in 1986, Delerium has explored various aspects of electronic music, evolving and traversing genres in pursuit of the exquisite. With Signs, Leeb and Fulber continue their journey through hypnotic rhythms and enveloping ambience, enlisting the vocal talents of Mimi Page, Phildel, KANGA, and Inna Walters. Each singer brings their unique voice to the album, adding layers of aching beauty and romanticism. Focused initially on voiceless industrial soundscapes with militant drumming, Delerium gained widespread recognition after shifting towards ethnic electronica and New Age influences, similar to Enigma. Their chart-topping single "Silence," featuring Sarah McLachlan, garnered significant attention after being remixed by various trance acts. Since then, Delerium has mainly operated as an electro-pop band, collaborating with numerous renowned vocalists.

Flogging Molly - ‘Til the Anarchy’s Restored EP

Flogging Molly, the Celtic punk band known for their energetic performances, has announced the release of their new EP, 'Til The Anarchy's Restored, on March 10. The EP comes on the heels of their seventh album, Anthem, produced by Steve Albini. 'Til The Anarchy's Restored features the new single of the same name and two live versions of classic tracks "Drunken Lullabies" and "What's Left of the Flag." These live recordings, also produced by Albini, were captured in a single take during the Anthem sessions. The band is touring the U.S. and will embark on a European tour in late spring, appearing at several festivals. Flogging Molly has received high praise for their latest album, with critics describing it as a "ripper" and a testament to its decades-long career.

1 Minute Reviews

New 90s Podcast

No Doubt - Tragic Kingdom

On our first Diamond episode, we revisit 1995's Tragic Kingdom by No Doubt and dive into the album tracks of this ten million selling album

Diamond-certified records , which have sold ten million or more albums in the United States, are a rare achievement that few bands and artists can claim. But as important as it is to talk about obscure and underappreciated 90s rock albums, we thought it was time to go in the opposite direction for a new series diving into the full albums of 90s rock Diamonds. With that, we start our Diamond series with the 1995 album Tragic Kingdom by No Doubt . Was there any escaping "Don't Speak" in 1996? No, there wasn't. Every media outlet covered the chart-topping single for its chart performance and the drama surrounding the band. Along with the huge singles "Spiderwebs" and "Just a Girl," Tragic Kingdom was in the cultural zeitgeist for years after its release, but how many people listened to the whole album? We didn't, and we're here to correct that oversight.

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Fans Want A No Doubt Tour. Why Gwen Stefani Keeps Choosing The Voice And How Much She Reportedly Makes

She should be feeling Hella Good about it.

Gwen Stefani gave ‘90s music fans quite the thrill this spring when she reunited with her band No Doubt for the first time in nine years to play Coachella. However, anyone hoping that they might get to see “Don’t Speak” or “Just a Girl” live as part of some kind of reunion tour was likely disappointed when it was announced that Stefani would instead return for her eighth season as a coach on The Voice . According to reports, the ska singer chose the singing competition over the band, and her NBC paycheck might have played a big part in that decision. 

Why Did Gwen Stefani Return To The Voice Instead Of Touring With No Doubt? 

As it turns out, Coachella wasn’t supposed to be a one-and-done gig, according to a source for The Sun . The esteemed music festival was intended to be the first hit of nostalgia to kick off what would have been the band’s first tour in 12 years. The insider said: 

No Doubt’s triumphant Coachella performances was discussed as a relaunching pad for the band. They worked so hard for months to deliver the perfect show and return the magic to the audience. The desire initially was Gwen and the band to use that platform to keep playing beyond Coachella on a tour, but the plan fell apart. But there was talk of tensions between members and managers around going back out and trying to work around everyone’s schedules.

Despite No Doubt fans clamoring for more from the “Hella Good” rockers, Gwen Stefani reportedly had a big offer from NBC to return to The Voice , and amid the scheduling struggles, she went back to the Big Red Chair. 

How Much Does Gwen Stefani Make On The Voice? 

If you’re thinking that NBC must have offered Gwen Stefani quite a bit of cash if it was enough to keep her from hitting the road with No Doubt again, you’d be absolutely correct. A source revealed to The Sun that Stefani will allegedly earn $13 million for her appearance on The Voice Season 26, where she’ll coach alongside Season 25 champ Reba McEntire and newcomers Snoop Dogg and Michael Bublé.

So how does The Voice coach salary compare to a touring rock star’s? Apparently $13 million is the equivalent of what the singer would have earned for two months on the road with No Doubt, and from an outsider’s perspective, it definitely seems like the singing competition would be the easier paycheck.

Now, that’s not a very rock ‘n’ roll reason to turn down a reunion tour, but we also have to remember that Gwen Stefani still gets to hit the stage quite often with her husband Blake Shelton . The two have even been known to duet on some of No Doubt’s biggest hits , so she’s still finding ways to scratch that live performance itch.

All hope isn’t necessarily lost, though. Gwen Stefani’s NBC comeback is just for one season, as The Voice has already announced that OG coach Adam Levine is returning with John Legend , Kelsea Ballerini and Michael Bublé to serve as mentors for the season set to premiere in spring 2025. Perhaps Stefani and No Doubt will do something then? 

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Heidi Venable is a Content Producer for CinemaBlend, a mom of two and a hard-core '90s kid. She started freelancing for CinemaBlend in 2020 and officially came on board in 2021. Her job entails writing news stories and TV reactions from some of her favorite prime-time shows like Grey's Anatomy and The Bachelor. She graduated from Louisiana Tech University with a degree in Journalism and worked in the newspaper industry for almost two decades in multiple roles including Sports Editor, Page Designer and Online Editor. Unprovoked, will quote Friends in any situation. Thrives on New Orleans Saints football, The West Wing and taco trucks.

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The Inside Story of How t.A.T.u. Captured the World’s Attention: ‘Rockin’ the Kremlin’ Book Excerpt

"All the Things She Said" hit No. 20 on the Billboard Hot 100 -- here's how it came about.

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INI's 'LOUD' Shoots to No. 1 on Japan Hot 100, Da-iCE's 'I wonder' Makes It to Top 10

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The kiss heard ‘round the world.

I knew the Moscow-based duo t.A.T.u. was going to be my international breakthrough from the first moment I saw their controversial video.

I gathered the team in my office, plugged t.A.T.u.’s VHS tape into my TV hanging on the wall, and we watched it together. Everyone’s mouth dropped watching the infamous scene when Julia and Lena kiss. “No! You cannot sign them. Are you crazy, David?” Asya, my very wise marketing director stood up and shouted. “We are going to catch so much hell for this, from everybody!” I argued, “Don’t you love how they’re rebelling against authority? That’s all that kiss is. They’re teenage symbols of a new Russia, leaving the past behind.” That’s when my excellent radio promoter Sasha Rodmanich spoke up. “The song is a hit.” At a record label, that’s all that matters. So with Sasha’s promise the song would be a hit at radio, I was able to rally the team, including Asya, who would have to carry most of the burden. We were going to pursue signing t.A.T.u. But she was right to be cautious, since I was taking Universal into uncharted territory.

Homosexuality was a crime in the old Soviet Union and under Russian law, promotion of LGBTQ issues was considered propaganda, punishable with time in prison. Gay Russians have always been treated as outcasts and subversives by the authorities. So when Julia and Lena openly embraced gay rights and kissed in their first music video, I knew I had to make a quick decision that could change my music career forever: should I sign the most exciting new music act in Russia (and maybe the world) to Universal, even if it meant risking my visa status as an American working in the country or even possible jail time because I angered the two most powerful institutions in the country – the government and the Russian Orthodox Church?

Both frowned on all things LGBTQ. Or should I shy away from the controversy and miss the best opportunity I would ever have to promote a Russian act around the world, perhaps achieving my wildest dream, being the first record executive to promote a Russian band in America? There was no way I was going to pass on this. I kept my fingers crossed that I wouldn’t end up in a Russian prison.

I didn’t know what to expect from Ivan because negotiations in Russian show business were never predictable. After the fall of the Soviet Union, Russia was chaotic, corrupt, and dangerous, like Chicago was in the 1930s when Al Capone was declared the FBI’s public enemy No. 1. Russia was the wild, wild east, and their music industry had no rules or standards.

Common Western business practices like royalty payments and songwriter copyrights were foreign concepts. Payola was rampant. The government didn’t support the music industry or musicians’ rights.

Ivan was a tough negotiator, and he knew how badly I wanted to sign the band. My rival Sony Music had caught wind of my efforts and started courting him while I was trying to close the deal. I knew I had to play to his ego, so when he arrived at our Universal office to discuss a record contract I made sure Asya gave him a tour of our marketing and sales department where large cut-out posters of Elton John, U2, and Bon Jovi’s new album releases were hanging on the wall along with dozens of other posters of Universal’s vast roster of superstars, demonstrating that we were an international label, not a small Russian one. That was my best leverage for negotiations. “Why should I give you the rights to t.A.T.u.?” Ivan asked, staring at me with his wild eyes. “I don’t need a record label; the pirates will steal the music from you anyway.” He was right about that. Piracy would limit our sales. I told Ivan, “If you sign with me I guarantee that t.A.T.u’s album would will be promoted by Universal not just in Russia but also internationally.” That persuaded him. Universal was one of the most prestigious American brands in the world and the largest record company, and he wanted t.A.T.u. to be associated with the best Western artists.

Ivan demanded $100,000 for the rights to t.A.T.u., which would have made it the biggest record deal in Russian show business history. He was adamant that he couldn’t accept anything less. I didn’t believe him until I discovered that he had already sold the rights to the first single to a record label controlled by Russian gangsters and they had already manufactured it.

I got angry with Ivan, and he told me that he had made a mistake, that he was new to show business and didn’t know anything about song rights. The gangsters had initially paid him $5,000, but now that he was in talks with Universal, they wanted significantly more to give the rights back. I didn’t have much choice because this wasn’t just any song. This was the hit single with the notorious music video that would launch t.A.T.u. internationally and top music charts worldwide. If I didn’t get the single rights back from the gangsters at that exorbitant price, there would be no t.A.T.u.

I had to keep my bosses at Universal’s headquarters in the dark about some of the unsavory aspects of the deal. Luckily, they thought I had done a good job selling American rap and hip-hop music in Russia, with Eminem being my biggest success.

With Universal Russia behind the duo, t.A.T.u.’s debut album, 200 Po Vstrechnoy, got wider distribution and became a phenomenal success in every Russian city and former Soviet republic, including Armenia, Georgia, Kazakhstan, Belarus, and Ukraine. Julia and Lena topped the charts everywhere in the region, and t.A.T.u.’s first song and video hit No. 1 simultaneously on pop radio and MTV in 2000.

Their music first appealed to gay and lesbian youth, then spread to a much larger audience of disaffected teens. They took off like a wildfire throughout the former U.S.S.R. Stadiums were sold out and crowds of fans were worked up into a frenzy with Julia and Lena’s provocative performances. It was Russia’s version of Beatlemania. My Eastern European colleagues took notice of that because they all had sizable teenage Russian-speaking populations in their countries and sensed a hit for their markets. On that score, t.A.T.u.’s album delivered, topping the charts in Hungary, the Czech Republic, Slovakia, and Poland.

We were getting ready to release 2 00 Po Vstrechnoy in Germany, but I knew that t.A.T.u. would never go beyond Russian-speaking audiences in Eastern Europe unless they recorded in English for Western markets.

We needed a partner to help make a t.A.T.u. album in English. We needed to rewrite and re-record the songs, and we needed a bigger, more powerful partner ally inside of our parent company Universal Music Group to shepherd us through the process. I wanted Universal’s full weight behind the release.

Wherever we went – Los Angeles, Nashville, New York, London, anywhere Universal had an office – the answer was always no. When people from the label saw footage of them kissing on stage, it made them uncomfortable, and when Lena and Julia invited boys onstage to do the same, my colleagues were too nervous to support us.

Another issue for the executives was my goal of breaking t.A.T.u. into the American market. They would have to compete with American pop stars like Britney Spears and Christina Aguilera, boy bands like the Backstreet Boys and *NSYNC and big pop acts from the U.K. My colleagues arrogantly dismissed the potential for a band not from America or the U.K. to have a hit in their markets.

My road tour was a bust, so I went back to Moscow and mailed packages with the Russian album and videos out to all the remaining labels in the Universal Music Group that we hadn’t visited. We kept getting turned down. It felt like we would never find a partner – until suddenly I received a phone call from Interscope Records in Los Angeles, a subsidiary label of Universal and the hottest record company in America.

I was surprised that Interscope was interested. Their roster included No Doubt, Marilyn Manson, the Black Eyed Peas, Snoop Dogg, Dr. Dre, 50 Cent, Eminem, Mary J. Blige, Nelly, and Blink-182 – some of the most popular acts in the world. They really didn’t need us. Still, I had done well selling their artists in Russia, so there was already a symbiotic relationship in place.

He loved the t.A.T.u. CD and was very enthusiastic about working with Julia and Lena. He had been a ground-breaking pioneer in the U.K. music industry, producing the openly gay act Frankie Goes To Hollywood. I suspected that t.A.T.u. breaking through boundaries in Russia and Eastern Europe hit a nerve with him. He just had one question: “Can they sing in English?”

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Moby: “The best people to party with? Pantera and Bono!”

The electronic pioneer also spoke to NME about the legacy of 'Play', donating money from the upcoming tour to charity, his time dating Lana Del Rey, and settling feuds with Aphex Twin, Billy Corgan and Eminem

Moby has spoken to NME about his new album ‘Always Centered At Night’, working with the late poet Benjamin Zephaniah , and celebrating the 25th anniversary of his record-breaking album ‘Play’.

• READ MORE: Does Rock ‘N’ Roll Kill Braincells?! – Moby

‘Always Centered At Night’ is a crepuscular collaborative project featuring vocals from talent he found through scouring Soundcloud – including LA jazz-singer Lady Blackbird, New York’s Serpentwithfeet , Sudanese Netherlands-based artist Gaidaa and Burundian royal refugee turned soulster J.P. Bimeni.

But as well as forging forward with his 22nd studio album, Moby is also looking in the rear-view mirror with his first live dates in a decade to commemorate 1999’s  ‘Play ’, which remains the biggest-selling electronic album of all time.

NME caught up with the pioneer to talk about new music, his own legacy, and settling with with Eminem and Smashing Pumpkins.

NME: Hello Moby! How did you choose who to collaborate with on ‘Always Centered At Night’?

“When I was nine, I dreamed of being David Bowie . But when I was 13 and started playing in bands, I realised I had a C+ voice at best. When I started working on electronic music, I knew I had to identify great vocalists – and over the 30-somewhat years I’ve been doing this, I’ve worked with everyone from Kris Kristofferson to  Britney Spears and Chuck D .

“During the pandemic, I found everyone for this record almost exclusively through recommendations from friends and trolling through Soundcloud to find amazing voices.”

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How did you come to work with the late poet Benjamin Zephaniah on the drum ‘n’ bass track ‘Where Is Your Pride’?

“99.999 per cent of the time I’ve been drawn to working with artists – whether it’s A$AP Rocky , Mark Lanegan , or Chris Cornell – by their voice. Benjamin is the only time I’ve wanted to work with someone based on their activism. He had a ninja-warrior approach to vegan activism where he was completely unapologetic, but not aggressive or offensive.

“I reached out to him years ago and we started working on music during the pandemic.  Tragically when we were getting ready to schedule the video, he said he was in the hospital and ill. Naively, I thought he’d get better, but unfortunately he passed away .”

You’re touring for the first time in a decade to celebrate the 25th anniversary of ‘Play’ , with 100 per cent of the profits donated to European animal rights organisations…

“ For years, my manager has been trying to get me to tour, throwing out ideas of having a payday or the glamour of being onstage, and I’d say I’m happy just playing acoustic Neil Young songs for fundraisers in my backyard. He realised the only thing I couldn’t say to no to was giving all the money away to animal rights organisations. The irony is the only way to get me on tour is to make sure I don’t make a penny from it!”

How do you look back on the mammoth success of  ‘Play’?

“I still don’t 100 per cent believe it happened. Growing up, the music I listened to was not popular. In Connecticut in 1982, there weren’t many people listening to Joy Division and Minor Threat .  So I assumed I would make music that no one would ever listen to. Then in the ‘90s, I found myself having more of an audience which was surprising to me because the first record I ever released was called ‘Mobility’ [in 1990] which sold just shy of 1,000 copies – but I  thought that was a huge success because in high school, my punk rock band Vatican Commandos had released a 7-inch single that sold 300 copies.”

“By the late ‘90s, I was a maligned has-been and had been dropped by my US label. So when ‘Play’ was released and sold a few thousand copies, I thought: ‘OK, that’s it. I’m done. Now it’s time to figure out what I want to do with the rest of my life’ which I assumed was go back and get a Master’s and PhD in philosophy and become a school teacher, and make music in my bedroom which no one would ever listen to.”

“So the success of ‘Play’ was unexpected. I’d made it in my bedroom with cheap equipment at a time when most successful records were made in huge studios with million dollar budgets. There was nothing that augured the success it had.”

How do you look back on its legacy?

“With a degree of wincing shame, I found myself obsessing over and loving the fame aspect of it. Growing up going to Fugazi , I thought you were selling out if you charge more than $5 for a show and suddenly, I’m standing onstage in front of 10,000 people and going to fancy parties and doing tons of drugs. I’m glad it chewed me up and spat me out but didn’t kill me, and that I didn’t end up as one of those musicians who’ve been hugely famous for so long that they don’t have a sense of self outside of fame. I feel like I should Venmo you for the therapy session!”

Who were the best band to party with around that time?

“During that time, I got drunk and did drugs with everyone! So the best were Pantera and [ U2 frontman] Bono . I had a couple of great nights out in Texas with Pantera. I tried to play a cover of a Pantera song with them in the audience – I butchered it! Bono was a wonderful guy to drink with. He’s generous, kind, and fun. In 2002, I was trying to buy a fancy apartment and Bono wrote my co-op board application letter. Not kidding!”

Looking back, in age where syncs are an essential part of an artist’s income stream, it seems bizarre how controversial ‘Play’ was for being the first album to licence every one of its tracks for use on adverts, and a reputation for selling-out dogged you for years. When you dated a pre-fame Lana Del Rey, she even referred to you as “The Man” (as in “stick it to the man”), suggesting you’re the person they’d “guillotine in the revolution”. Did that feel odd?

“It did. My sense of self had been informed by my childhood. In my mind, I was still a weird, insecure, inadequate nobody even as I was selling lots of records and playing arenas. The liquor and the drugs and the external validation; all it did for me was to get me to a place where I felt more adequate.

“I’ve stayed friends with Lana Del Rey . I haven’t talked to her since before the pandemic, but she’s remarkable – one of the smartest, most self-aware people I’ve ever met. She’s an incredibly special person.”

You recently opened up about joking to MTV in 1997 that Smashing Pumpkins’ Billy Corgan was a “deadbeat ” who “owed” you a remix. Ever talked about collaborating with him since?

“That was one of the many times I thought I was being funny – which speaks to a massive shortcoming in my comedy! Clearly that happened with Eminem as well [thinking] ‘I’m being funny!’ and then he hated me . With Billy, we were supposed to trade remixes and I jokingly called him a deadbeat because he never did a remix for me and he got mad. But later, I went on tour with New Order in 2000 and he was their guitar player, so we became friends.”

“There are many individual music nerds that go on to have success that they never expected, and I feel a kinship with all of them. Whether it’s Billy or Beck , none of us expected this. We felt we were going to be nerds listening to records in our bedroom and then suddenly you’re on the cover of Rolling Stone , thinking: ‘OK, what do I do now?’.

|Even someone like Eminem, we’re all nerds listening to records in our bedroom because no one wanted to be our friends when we were 13.”

Do you think you’ll ever have a chance to hang out with Eminem? Or Aphex Twin – who you also had a highly-publicised feud with?

“I hope so. Aphex Twin – I don’t know. I haven’t talked to him since ’93. It’s a challenge when you really like someone’s music but you know that they hate you! It’s hard to go back and listen to early Aphex Twin while thinking ‘Wow this is great music’, but feeling a little sad that he hates me. Whether he’s given me a thought in the last 30 years…probably not. But with Eminem, yeah. He’s such a fascinating person. We both grew up poor, and obsessed with Black music, we both had single moms – there’s a lot in common. Whether we’ll ever meet up and discuss our shared upbringings and become best friends, I doubt it, but I still nonetheless find him fascinating.”

‘Always Centered at Night’ is out now via Always Centered At Night’ and Mute Records. Moby’s ‘Play’ anniversary tour dates are below, with tickets available. here .

Moby’s 2024 UK and European tour dates are:

SEPTEMBER 18 – O2 Apollo, Manchester 19 – The O2, London, England  21 – Sportpaleis, Antwerp, Belgium 22 – Velodrome, Berlin, Germany 23 – Mitsubishi Electric Hall, Düsseldorf, Germany 24 – Le Zenith, Paris, France

• Related Topics
• Lana Del Rey
• The Smashing Pumpkins

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Kendrick Lamar's Family and Dave Free Make Cameos in "Not Like Us" Video

The cameos come after Drake alleged Kendrick's wife had an affair with Free.

View this video on YouTube

The highly-anticipated video for Kendrick Lamar 's "Not Like Us" has arrived.

While the song itself brought an (alleged) end to his feud with Drake , Kendrick used the visuals to tie up a few loose ends regarding claims made by Drake about his personal life.

The video is directed by Kendrick and Dave Free, who also makes a few appearances, dispelling any suspicion of a rift between the two over Drake alleging the pgLang co-founder could be the father of one of the rapper’s two children.

Kendrick Lamar “Not Like Us” Official Music Video Directed by Dave Free & Kendrick Lamar Video: https://t.co/74gGu0boPf pic.twitter.com/4BfkJU5Hw6 — Andrés Tardio (@AndresWrites) July 4, 2024

Ahead of the video’s release, a photo of Kendrick with his fiancée Whitney Alford and their two children started making the rounds. The image led people to believe that the understandably private Whitney would also make a cameo.

Whitney can be seen dancing with Kendrick and their kids.

KENDRICK LAMAR NOT LIKE US (MUSIC VIDEO) OUT NOW pic.twitter.com/vMhKbcbc1T — Complex Music (@ComplexMusic) July 4, 2024

Whitney was also spotted in attendance with their children for Lamar’s The Pop Out: Ken and Friends concert in Los Angeles last month.

Her public appearances come after Drake accused Kendrick of being physically abusive towards Alford on "Family Matters," only to double down on the claim on "The Heart Part 6" while also asserting "everything in my shit is facts" towards the end of the track.

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