bastille tour review

‘Bad Blood X’ Tour Review: Bastille Celebrates In Los Angeles

• Posted by by Brandon Flores
• August 26, 2023
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British pop-rock outfit Bastille has been spending the majority of 2023 celebrating the 10th anniversary of their first album, Bad Blood , via the Bad Blood X tour , which just saw its end at The Wiltern in Los Angeles, CA which doubled as the only North American stop of the celebration.

This wasn’t the first time I’d seen Bastille at The Wiltern, with the last being in 2018, so I knew ahead of time what to expect regarding parking, friendliness of staff, and the general surrounding LA area, with all aspects still exceeding expectations.

The band’s Bad Blood X celebration would feature a sold-out crowd, no openers, and an intimate experience between the band and their diehard audience. The line would build up hours ahead of opening time, with fans covered in Bastille merch taking the streets of Los Angeles chatting and growing the overall community aspect the band brings to each city they takeover.

At times, the wait was brutal as the sun began to set, but that’s par for the course regarding the Southern California summer season shows. And while the setting sun brought moments of “blah,” it also meant the time was almost here for us all to head inside for a fantastic Bastille performance.

As previously mentioned, Bastille had no opener for their Los Angeles showcase, which meant a few minutes after 8:30 PM, the band hit the stage for an engaging performance of their monster hit, “Pompeii,” with a phenomenal documentary opening that set the tone for the remainder of the night.

The crowd fired up; Bastille would jump into “Things We Lost in the Fire,” which continued building high energy within The Wiltern’s beautiful walls. Bastille, in between songs, would inject other behind-the-scenes moments from the making of their hit Bad Blood album, creating a beautiful celebration for the band members and the longtime members of the community.

The show’s overall tone was more like a fun get-together between friends, a small experience filled from wall to wall. It was a surreal experience hearing Bad Blood from start to finish in a live setting, as some of these songs aren’t always front and center within the band’s typical setlist.

With that said, Bastille would perform “These Streets,” “Icarus,” “Laura Palmer,” and an amazingly emotional yet fun performance of the album’s hidden track, “Weight of Living, Pt. 1,” just to name a few songs off the band’s exciting 21-song setlist.

During the band’s riveting performance of “Flaws,” Bastille frontman Dan would head into the crowd as he tends to do during their performances for a face-to-face with the theatre’s crowd, running up and down the aisles of The Wiltern handing out high-fives, hugs, and just a complete bubble of positivity and oneness.

The band’s connection from artist to fan was on point throughout the more than an hour-long performance as they would constantly engage with the audience between Dan talking about a watch gifted to him that featured British time rather than American time to telling the story about the creation of “Laura Palmer” and the meeting of David Lynch.

The constant storytime between the inner-docu segments of the show and the band onstage telling stories and showcasing their friendship with each other was pure bliss and a beautiful moment in time that I will never forget.

Once the British rockers were done performing Bad Blood from front to back, they entered what would be considered the “party” portion of the set, which featured “The Draw,” “Happier,” “Of the Night,” and an outstanding performance of the band’s TLC and The xx mashup, “No Angels.”

Each moment of Bastille’s Bad Blood X celebration at The Wiltern was beautiful, sincere, and filled with unforgettable memories centered around bonds that will last a lifetime, grounded by a fantastic catalog of music constantly replaying somewhere in the mindscape.

This was Bastille at their best, most vulnerable, and ultimately in the zone, further showcasing why they are a fantastic band and why we fans keep coming back, whether it’s 10 years or more.

Even though the band’s current Bad Blood X celebrations have ended, you can still catch them with Duran Duran on the Future Past tour .

Keep up with Bastille on social media: Instagram | TikTok | Threads | Facebook | X

Brandon Flores

Brandon Flores is editor-in-chief and a writer at Blast out your Stereo. He has been covering the music industry since 2011. He covers a wide variety of bands and artists from those just starting to those who already have a hold on the limelight. If you're looking for an unbiased opinion, then look no further.

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CONCERT REVIEW: Bastille Take ‘Give Me The Future’ Tour To Extactic Amsterdam

Tonight was a very special night for us, as it was our first show since March 2020. We could not have dreamed of a better show to start off the year with. What better than to kick things off with an incredible show from the highly acclaimed Bastille in a psyched Ziggo Dome? Nothing!

Besides Bastille , Dutch band RONDÉ , which are very well known in The Netherlands for their radio hit Hard To Say Goodbye and opening act The Native tagged along to give the crowd a proper warm-up. The Native are a familiar band for Bastille , as they were given the opportunity to open for them back in 2018 in a, for them, hometown shown at Plymouth’s Hoe Park, and are now back to entertain crowds all across Europe. The Native , while being relatively new, got the crowd going with their electric presence and loud guitars, appealing to the Bastille fans with a fondness for the heavier rock side of things.

RONDÉ were a different story, but impressive nonetheless. The band’s roots lay in Amsterdam, and tonight was their first time ever playing in the gigantic Ziggo Dome, making it a special night for fans and band alike. Very well known in The Netherlands for their radio hits throughout the years, which include Run and more recently Hard To Say Goodbye , the band clearly got a bigger reaction from the crowd when these songs were being played. Besides from the little technical hick-up, RONDÉ played an extraordinary set and proved in front of thousands of people they are a force to be reckoned with, but don’t take my word for it. Check out some shots from the show in the gallery below and keep scrolling for our coverage of Bastille !

After what always seems like the slowest half-hour ever, the lights went dark for the headliner under the deafening sound of screaming fans. Kicking off their extensive set with two songs off of the latest album and reason they came out on this tour: Stay Awake? and Distorted Light Beam . It became apparent that the fans did not waste any time when it came to learning the lyrics to the new songs and from where we were standing, it was hard to hear the band. What followed was a pleasant journey through the years and the many, many radio hits that Bastille have had throughout the year, with the biggest ones being Happier and Pompeii .

The show was themed around the new album and their mock-up company ‘Future Inc’. In between of songs, the gigantic screen behind the band displayed various chapters of the story, ranging from fictitious (for now) futuristic products and a future prospect which could be seen as dystopian if you’re a pessimist.

Bastille gave Amsterdam some things to think about, as well as an incredible night. If you’re thinking about going to any of the shows this tour: go attend, you won’t be disappointed.

Check out some photos from the show right below, courtesy of Eva van den Bosch.

“It’s Gonna Be Weird Tonight” – Live Review: Bastille @ The Level

To celebrate the long-awaited release of their fourth album ‘Give Me The Future’, Bastille paid a visit to Nottingham’s The Level to play an intimate gig for fans. Despite it being only Dan Smith and Charlie Barnes, the two gave a fun and interactive performance which I thoroughly enjoyed. Give me the future? I’d rather you take me back! Amy Child reviews.

The Level is a snug venue located deep in Nottingham Trent territory, which I infiltrated for the sake of Bastille. The indie band has long been one of my favourites and I leapt at the chance to see them live, having adored all three of their earlier albums: ‘Bad Blood’, ‘Wild World’ and ‘Doom Days’.

A personalised, interactive experience for the audience

The newest edition, ‘Give Me The Future’, breaks the mould not only by its non-alliterative title but by its sci-fi futuristic theme, which seems a continuation of ‘Doom Day’s’ spiral into the apocalypse. From the gig’s outset, Dan assured us that “it’s gonna be weird tonight” and he was certainly right. This was not a concert you could imagine being performed identically night after night, but a personalised, interactive experience for the audience. It was a little improvised- a little rough around the edges- and that was what gave it its authentic feel.

it was incredible seeing them perform such a short distance away from me

The show opened with Happier and I couldn’t be happier to be there. Dan was recovering from a throat infection and apologised that he couldn’t sing because of it, but to me (and to the rest of the audience, I’m sure) his raw, emotional voice sounded as brilliant as always.

Being close to the stage in such a small venue, I had a proper view of Dan at his keyboard and Charlie with his soundboard and guitar. It was incredible seeing them perform such a short distance away from me. But the performance was not just for the fans gathered. Bastille were also live-streaming the event to fans around the world.

In a number of ways, the show was personalised for the audience. Bastille took song suggestions to play a couple of their lesser-known tracks (including Power and Laura Palmer ). Between songs, they engaged in down-to-earth, friendly conversation with the audience which made us feel like one big family. There was a small Q&A section in which Dan confessed his love for Pret A Manger and Charlie admitted to having once gone to a classical concert by himself.

But best of all, when playing the titular song of their new album: Give Me The Future , Dan and Charlie improvised in the middle by singing the weird dreams of audience members. It was a bizarre idea but a lot of fun to watch. I definitely think they pulled it off.

At times I was a little perturbed by the heavy use of autotune to create a robotic effect on the vocals. However, this was done sparingly and contributed to the futuristic style they were aiming for. Charlie’s harmonising back-up vocals put a fresh spin on many of their best-known songs, such as Pompeii and Good Grief , which were performed a tad slower than in the recordings.

Though the slower pace did reduce the energy a little, this variation on songs I’ve heard countless times was one of the main joys of experiencing Bastille’s music live. The atmospheric smoke and colourful light beams enhanced the experience even further.

It was a brilliant detail which made the audience feel involved

Towards the end of the gig, I found myself slightly disappointed that they had not played my favourite song from the new album: Shut Off The Lights. However, when Dan announced that he was going to sing the most upbeat song on the album, I knew exactly what we were in for.

Bastille recorded a short audio clip of the audience singing the song’s chorus line: “Shut off the lights, we don’t need them to dance!” and replayed it over the chorus whilst they performed it. It was a brilliant detail which made the audience feel involved. I could tell that Bastille really appreciated the fans, and that the fans really appreciated them, which created a chill and positive atmosphere. I am delighted that I got to attend this gig and finally fulfil my dream of seeing Bastille perform live.

Featured image courtesy of Amy Child. Permission to use granted to Impact. No changes were made to this image.

In-article image courtesy of Amy Child. Permission to use granted to Impact. No changes were made to this image.

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Bastille at the O2 Arena

Plug In, Pompeii

Bastille, the UK techno, indie and rock band which rose to fame in 2013 with their hit song Pompeii , are back at the O2 for the first time in six years, promoting their new album Give Me the Future. This performance is a dancey homage to existential dread, which is as uplifting and fun as it is a reminder of the shared unnerving feeling many of us are currently experiencing – that our world is becoming a sci-fi film and we just want someone to say it’ll be alright.

The O2 is a massive arena, featuring sky-high seating surrounding an enormous mass of people, which is reminiscent of the opening sequence of Netflix’s zombie series We Are All Dead. The stage has multiple layers, sometimes covered in a lighting effect which looks like futuristic flying crosses.

S hort film clips of a make-believe Future Inc. Corporation – which features on the album – play on a rectangular screen in the background. The imagery has a “day after tomorrow” vibe, because whilst it is visually very sci-fi, it doesn’t even feel that far away. The video footage is impressive, artistic and well-timed, and the lighting complements it well.

Dan Smith, the lead singer of Bastille, has an infectious, energetic yet endearingly humble energy. His strong, distinctive voice is as powerful in person as it is on Spotify and it’s a joy to watch him move around the stage. The song Plug In… (which should become the official anthem of the 2020s) is a euphoric moment of shared fear between the audience and the band. There is a feeling of relief that someone on a (literal) massive platform is voicing these fears.

We’re living in a sci-fi fantasy

I’m sleeping with the robot next to me

Find planet B, that’s all we need

So we can have fun

Tell me we’ll be alright

Say that we’ll be fine

Lie to me, it’s alright, right?

The subject matter may be disorientating, but there is such a feeling of positive energy at tonight’s show. This is especially true during Pompeii . This song, whilst written almost 10 years ago, personally felt like the soundtrack to lockdown, about a natural disaster that changed our lives and the hope of a world where we can look around and feel like nothing changed at all. That’s what it feels like to be here at Bastille’s O2 performance, watching everyone dance and sing close together, as if the last two years had never happened, and we are where we’re meant to be again.

Sophia Moss Photos: Virginie Viche

For further information and future events visit Bastille’s website here .

Watch the video for the single Plug In… here:

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Bastille – The Met – Philadelphia (A PopEntertainment.com Concert Review)

Updated: Jun 20, 2022

Bastille – The Met – Philadelphia, PA – June 15, 2022

British pop-rock band, Bastille, took the stage of the iconic The Met Philly on June 17th for their second-to-last show of the Give Me The Future Tour . The powerhouse that is Bastille consists of lead singer Dan Smith, drummer Chris Wood, bassist and guitarist William Farquarson, and pianist Kyle Simmons. Since the release of their first album Bad Blood in 2013, the band has gone on to top the charts with “Happier” with Marshmello, peaking at #2 on the Top 100, and “Good Grief” peaking at #4 on the Top 100.

While fans are typically elated to see their favorite band live, Bastille fans were exceptionally excited for the show because this was their first time performing in Philly since COVID hit. We were lucky enough to not only attend the concert but also dance alongside Dan Smith in the crowd!

Everyone in the crowd knew the night was off to a great start when opener Josh Fudge and his band took the stage. With each indie/pop tune, the stage lights turned a different color, setting the vibe for the song. Not a single person in the room wasn’t on their feet for Josh’s set. Josh played hits such as “Feels Like,” and “Hello,” as well as unreleased upcoming tracks. As this was his last show accompanying Bastille on tour, Josh made sure to make his performance one to remember.

As soon as we knew it, Bastille walked onstage, the screen displaying futuristic visuals and words as well as a robotic voice. Dan then came on stage as “Stay Awake” began to play, and the audience went wild. As with Josh Fudge’s set, every single audience member was on their feet for the entirety of the show. As the night went on, the band played lots of hit songs from their new album Give Me The Future including “Back to The Future,” “No Bad Days,” and “Club 57.” Not only was the concert a celebration of their newest album, but also of their older tracks including fan favorites “Oblivion,” “Good Grief,” and of course, “Pompeii.”

The band expressed their gratitude to the attendees several times, one of which was when Dan shared, “We are so grateful to be back inside playing for people!” He also went on to tell fans, “Feel free to dance as badly as I do,” earning laughs from the crowd before going on to jump and dance to the next few songs.

The most memorable moment of the whole show was during “Happier,” when lead singer Dan jump off of the stage, into the audience. Dan spent the majority of the song walking around the entire pit, as well as the front of the seated area, dancing, high-fiving, and singing along with fans. Moments like this are ones that create core memories for fans that they’ll hold close forever.

Even though the Give Me The Future tour is sadly coming to an end, we can’t wait to see what Bastille does next!

Lynden Marra

Copyright ©2022 PopEntertainment.com. All rights reserved. Posted: June 19, 2022.

Photos by Kayla Marra © 2022.

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Review: Bastille @ The Brook, 13/02/22

Bastille are back with their series of intimate gigs to promote their fourth album, Give Me The Future , which, after releasing on 4 February 2022, is now at number 1. The gig had around 500 people attending and having been to several ‘intimate gigs’ before including one of Bastille’s, this genuinely felt friendly, intimate and chilled out. Another great initiative is that the whole tour supports independent record stores and music venues. In Southampton’s case, it was run through Vinilo Record Store and was an outstore event at The Brook. Supporting these local venues is especially important given the recent pandemic. Before I start the review, I think I should put a little disclaimer that Bastille are my favourite band, I have seen them live about 7 times, and so I may be a little biased but this was genuinely the best gig I’ve ever been to… and I’ve been to a few.

The gig was genuinely the most unique, engaging and beautiful concert I have ever been to. The tour is a stripped back, intimate and interactive set that changes slightly with each performance. The band members switch up each night, Southampton saw Dan Smith and Will Farquarson with special guest, Charlie Barnes. Smith’s stellar vocals, Farquarson’s guitar and Barnes’ stunning piano and fun use of looping and recording made the music sound chill, very different to the sound of the album and much like an MTV unplugged style set. I really enjoyed that. The iconic techno style of the new album is still fed into the show but overall, it was far more acoustic and stripped back than their albums and usual gigs.

The atmosphere of the concert was great too. The stand-up comedy like chatter of the band involved the audience and was really fun. It felt like being in a room with loads of friends. Both these more structured chats and the improvised Q+A sessions and the dream song, which had the band laughing so much they had to stop singing several times. This made the concert feel very intimate and personal compared to usual, giant gigs.

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Third-year History student, Classic Culture Editor 2021/22. Loves everything theatre and literature but especially horror books and musicals.

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Bastille makes their fans happier at YouTube Theater

Bastille is certainly one of the biggest groups to come up over the past decade. Bastille stopped at the YouTube Theater on Friday night (5/20) on their Give Me the Future Tour.  Bastille is Dan Smith (Lead vocals/ Keys), Kyle Simmons (Vocals/Keys), Will Farquarson (Guitar/Bass), and Chris “Woody” Wood (Drums) There are also two backing vocalists and  touring member since 2015 Charlie Barnes (Guitar/Keys/ Bass). Just 3 months ago on February 4th, Bastille released their newest album Give Me The Future . Smith had ideas for this album pre-Covid-19 Pandemic, but with the world constantly changing the whole concept for the album changed to go with the current times. They performed eight songs from the new album. In an article by Robin Murray on Clash Music Smith stated “Working on these songs in such an apocalyptic period, with everyone stuck at home, glued to screens, fed into the feeling that what is real and what is not has become pretty difficult to discern sometimes,” says Dan. “We’re in the age of deep fake, fake news and lying world leaders. But online, you can be anyone. What that does to our sense of self and to our relationships is huge and it’s fascinating.”

The show does revolve around the new album but is not in order. There were also a few video interludes on a screen above the stage shaped like a rearview mirror.  After a video Bastille took the stage opening with “Stay Awake?” The whole group was on a big riser minus. Woody played electronic drums on the first two songs before going to his drum set and Farquarson switched between bass and keys.

It was easy to see the inspiration from George Orwell’s 1984 which is in one of the songs and of course Aldous Huxley’s Brave New World which is an interlude on the album. Bastille performed 20 songs ending with their biggest song “Pompeii” before returning for a two-song encore of “Hope for the Future”and “Shut Off the Lights.” During Happier a song recorded with Marshmello, Smith came into the crowd to sing. It was easy to see most of the fans there were born in the 90’s and some early 2000’s so it was very nostalgic hearing “Of the Night,” which is a combination of Snap!’s “Rhythm is a Dancer” and Corona’s “The Rhythm of the Night,” which were both major dance hits. 

Words and photos by Alex Kluft

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‘rising down’: when the roots uplifted the masses, ‘california dreamin’’: mamas and the papas’ homesick shade of winter, remembering blossom dearie: a small voice with a mighty impact, ‘lo mato’: willie colón and héctor lavoe’s 70s salsa gem, surprise albums: 16 drops that shocked the music world, ‘stuck in the middle with you’: stealers wheel’s clowns and jokers, karol g and feid win big at latin american music awards, ringo starr offers up ‘gonna need someone’ music video, florence + the machine announce ‘symphony of lungs’ bbc proms performance, def leppard share 40th anniversary edition of ‘pyromania’, billy idol releases 40th anniversary edition of ‘rebel yell’, the warning share music video for ‘qué más quieres’, liana flores signs with verve records, unveils ‘i wish for the rain’, bastille announce 2023 tour to celebrate debut album ‘bad blood’s tenth anniversary.

Originally released in 2013, ‘Bad Blood’ featured breakout single ‘Pompeii’ and became the biggest selling digital album of the year.

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Bastille have announced a ten-year anniversary tour for their debut album Bad Blood . You can check out the tour dates below.

Originally released in 2013, Bad Blood featured breakout single “Pompeii” and went on to become the biggest selling digital album of the year. Following the success of Bad Blood , Bastille went on to win the British Breakthrough Act award at the 2014 BRIT Awards and were nominated for Best New Artist at the 2015 Grammys.

The ‘Bad Blood X’ tour will see the band play the album in full “plus other favorites.”

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Kicking off June 28 as part of Dublin’s Trinity Summer Series, the ten-date tour will see the band visit Margate, Manchester and Leeds before a gig at London’s Alexandra Palace Park. Tickets for the shows go on sale Friday November 4 at 10am GMT. Check out the full run of dates below.

Bastille released their fourth album Give Me The Future back in February, while an expanded edition was released in August.

The album came alongside a “surreal, otherworldly” digital experience that saw the band perform in front of both a real-world audience and a virtual crowd.

“We’ve always been fascinated by that tension between the desire to escape your life and the reality of having to confront things,” vocalist Dan Smith told NME . “Escapism can be this amazing, transportive tool that allows you to get out of your own head and be someone else but ultimately, is it realistic enough? In the long term, is it healthy?”

Smith also revealed that he wanted to soundtrack the sequel to Red Dead Redemption 2 .

“I want to make an epic score for Red Dead Redemption 3 ,” he told NME. “I think that’d be really fun – getting to knock about on a horse in the Wild West with some great music banging in the background.”

Bastille’s ‘Bad Blood X’ tour includes the following shows in 2023:

JUNE: 28 – Dublin, Trinity Summer Series 30 – Newmarket Racecourses

JULY: 01 – Margate, Dreamland 02 – Devon, Powderham Castle 07 – Manchester, Castlefield Bowl 09 – Bridlington, Spa 13 – Leeds, Millennium Square 14 – London, Alexandra Palace Park 19 – Warwick Castle 23 – Ludlow Castle.

Listen to the best of Bastille on Apple Music and Spotify .

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Friday 14 July 2023

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Bastille – review

L ong before Bastille could ever have dreamed of a No 1 album , frontman and mastermind Dan Smith was a student at University of Leeds. As he tells those who have come to see him at his alma mater, he got the news about Bad Blood 's success as his tour bus approached his old establishment on Sunday. "It was literally the weirdest thing that could ever happen," he tells the crowd, who don't seem stunned by the commercial appeal of a conventionally anthemic singer-pianist-songwriter with electronic/percussive knobs on , making music not unlike a mildly clubby Coldplay.

Bastille only played their first gig two years ago, and their success has come on the back of old-fashioned touring – including support slots with Emeli Sandé and Two Door Cinema Club – and the sort of under-the-radar marketing campaign that involves placing music on TV and in computer games, thus allowing record companies to claim that their bands have made it without "hype".

However, the fiendish strategists who plot such modern pop phenomena couldn't have invented Smith. A wild mutation of Coldplay's Chris Martin and Justin Bieber, his fabulous, gravity-defying hairstyle appears to have been created by placing his hands on a Van de Graaff generator and he prompts screaming every time he ventures near the front rows. "It's such a headfuck to play here," he sighs, the swear word jarring with his parent-friendly, well-spoken persona.

Still, Smith's triumphantly melancholic anthems have clearly struck a chord, and fists pump the air to familiar-sounding tales of the rollercoaster between oblivion and depression. Get Home finds him stumbling home from a club, pondering the meaning of it all: it paints him as quite the bar-room philosopher.

Before Bad Blood came out, Smith had recorded a series of cover versions issued as a mixtape – but in concert, a version of City High's What Would You Do and a ghastly medley of Snap!'s Rhythm Is a Dancer and Corona's The Rhythm of the Night functions more as padding. By contrast, the hit single Pompeii and Things We Lost in the Fire – a tale of losing everything, delivered with disturbing gusto – are big, catchy bangers, although the sameness grows wearying during an hour.

Still, it's hard to begrudge Smith his big moment. He dives into the audience and returns, grinning and still singing, by which time his madcap barnet looks a good two inches taller.

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Bastille announce major UK arena tour for 2022

"After everything that’s happened over the last couple of years, we’re buzzing to play for everyone"

Bastille have announced a string of tour dates across the UK, as well as two European dates, in support of their recently announced fourth album.

• READ MORE:  Bastille on pushing the boundaries: “We’ve always done whatever the fuck we want”

The band revealed details of new record ‘Give Me The Future’ last week (October 19), set to arrive on February 4, 2022 and described as “a tribute to humanity in a tech age” that “reflects on the strangeness of living through times that can feel like science fiction.”

Speaking about the forthcoming tour dates in a new statement, Bastille singer Dan Smith said: “We’re all massively excited to head out on tour with this new album that we love.

“After everything that’s happened over the last couple of years, we’re buzzing to play for everyone at these brilliant venues and can’t wait to have some fun back on the road again… here’s to gigging in 2022.”

A presale for tour tickets will begin at 9am on November 2, with the main sale launching at 9am on November 5. You can find details of how to purchase tickets here .

We’ve massively excited to announce the first leg of the GIVE ME THE FUTURE TOUR 2022. Pre-order ‘Give Me The Future’ from our official store to get access to pre-sale UK tickets before the general on sale on 5 Nov ∞ https://t.co/4c1eBSb3UE pic.twitter.com/SnZ6RqDr0P — BASTILLE (@bastille) October 27, 2021

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‘Give Me The Future’ April 2022 tour dates:

03 – Brussels, Forest National, Belgium 05 – Amsterdam, Ziggo Dome, Netherlands 07 – London, The O2 08 – Manchester, AO Arena 10 – Glasgow, O2 Academy 13 – Cardiff, Motorpoint Arena 14 – Birmingham, O2 Academy 15 – Birmingham, O2 Academy 17 – Plymouth Pavilions 18 – Brighton Centre

‘Give Me The Future’ has already been preceded by recent singles ‘Bad Days’, ‘Distorted Light Beam’ ,  ‘Thelma + Louise’  and  the album’s title track .

“Working on these songs in such an apocalyptic period, with everyone stuck at home, glued to screens, fed into the feeling that what is real and what is not has become pretty difficult to discern sometimes,” Smith said of the new record in a press release.

“We’re in the age of deep fake, fake news and lying world leaders. But online, you can be anyone. What that does to our sense of self and to our relationships is huge and it’s fascinating.”

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Plus guests Jack Garratt and The Native

• Date 7 Apr 2022
• Venue The O2 arena
• Availability On sale now

Event Details

Bastille's headline tour will see the band perform at The O2 on Thursday 7 April.

The shows will give fans the opportunity to hear the band’s hugely anticipated fourth album, Give Me The Future for the first time live.

‘Give Me The Future’ is set for release on February 4 2022 and explores both the opportunities of new technology and the dark side of lives lived online, it’s as playful and fun as it is thought-provoking, as dystopian as it is dancefloor-friendly, and as electronic as Bastille have ever been.

The album takes us into a sci-fi wonderland free from restrictions – each song a different danceable dreamscape, a place where you can travel back and forward in time to be anyone, do anything and embrace a new wave of technology which enables us to get lost inside our imagination

The BRIT Award winning four-piece have built their reputation as one of the world’s most captivating live bands. With over 11 million records sold, 6 U.K. Top 40 singles, and 1.5 billion video views, Bastille continue to be one of the world’s most streamed bands.

Important Information - How to download your tickets on The O2 app

For this show, if you’ve purchased your tickets from theo2.co.uk or AXS.com you’ll need to display your ticket on your phone via The O2 app. Ticket purchasers will receive an email with news and information on  AXS Mobile ID tickets  and how you can download your tickets to your phone. 

If you’ve bought your tickets for this show via AXS then you can re-sell your tickets with AXS Official Resale   which gives you a safe, simple, and fair way to buy and sell tickets.

For more information on re-selling tickets from AXS and other ticket agents  click here .  

Please note:  If you purchase  resale   tickets for this show through any website other than via theo2.co.uk or axs.com, your tickets may not be valid and access to the venue could be refused.

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Review: hip-hop star nicki minaj turns target center pink in overdue return to minnesota.

Good context for how overdue Nicki Minaj's concert Saturday night at Target Center was: The last time the hip-hop queen performed in the Twin Cities was 13 years ago as the opening act for Britney Spears.

While Spears has endured well-publicized ups and downs since that poorly attended Xcel Energy Center show in 2011, Minaj has mostly only had ups in her career.

She has been one of the top-selling artists in pop music of the past decade, racking up three No. 1 albums (the most ever by a female rapper) and 23 top-10 singles (same). Her success — and her feminine and LGBTQ icon status, too — rocketed further last year via her smash-hit "Barbie World" single with Ice Spice from the "Barbie" movie soundtrack.

Saturday's nearly sold-out crowd of about 16,000 fans came dressed for the occasion in a sea of pink outfits, including many men. It wasn't because of Barbie, though. Minaj has been pinkifying the world since her 2010 breakout album, "Pink Friday," a success she flashed back to in the title of her tour and latest album "Pink Friday 2."

Some of those fans — especially the ones who hired babysitters — may have been seeing seeing red by the time Minaj finally took the stage. She didn't go on until 10:10 p.m., more than two hours after the advertised start time with only a DJ filling the gap.

Her scheduled opener, "The Boy Is Mine" co-vocalist Monica, actually performed in a 15-minute break that abruptly came three-quarters of the way through Minaj's set. Along with a couple long video interludes, Monica's montage made the concert feel unusually disjointed. Her songs, including "Before You Walk Out of My Life," also felt mellow and a tad outdated amid Minaj's recent, fiery hits.

In between those preshow and mid-show lulls, though, Minaj was fully and fiercely present. The Trinidad-born rapper, 41, took the stage in a silvery space-queen outfit to the tune of "I'm the Best," and she seemed intent on living up to that title.

The second in an unprecedented run of three Target Center concerts in six months headlined by female hip-hop stars — after Doja Cat's and Ice Spice's December date , and before Megan Thee Stallion's May 14 booking — Minaj's performance boasted a big, bright visual production on par with Doja's show.

Neon lights were decked out all over the stage (yes, often tinted pink). Dancers and pyro were constantly blowing across the stage. Minaj's numerous outfits were quite a spectacle, too, from a bejeweled purple bodysuit with matching thigh-high boots near the start to an elegant, flowing red dress donned later for the mellower love songs "Save Me" and the new one "Fallin' 4 U."

Minaj wasn't as tied in with the choreography or as physically hyperactive as Doja was. Her most-cheered dance move may have been a stage-hump in "Pink Birthday," which rivaled the one Prince offered across the street at First Avenue for movie cameras in 1983. She genuinely seemed to be pouring most of her energy into her vocals instead, and her talent as a rapper and bawdy, tongue-tying lyricist never got lost in the grand visual scheme.

She came on fast and furious on the microphone right away during "Barbie Dangerous" and "Beep Beep." Kudos to the crowd for keeping up with her rapid delivery and making the latter tune a big singalong. A lot of today's hot young male rappers, including Travis Scott and Lil Uzi Vert, should take note on how Minaj spit forcefully into her mic all night and did not let her backing tracks do any heavy-lifting for her.

Other impressive runs came later when she ripped through "Red Ruby Da Sleaze" and "Chun-Li" back-to-back under a backdrop of Chinese imagery, and again near show's end in abbreviated versions of "Super Freaky Girl" and "Anaconda."

After all the glitz and glamor displayed throughout her show, Minaj made a simpler choice of ripped jeans, white cotton tank top and a (pink) doo-rag on her head when she returned after Monica's mini-set for a run of hits, including "Starships" and "Everybody." She came off more down-to-earth, but her finale look also seemed to emphasize there's a lot more to her stardom than the glitz and glamor.

Chris Riemenschneider has been covering the Twin Cities music scene since 2001, long enough for Prince to shout him out during "Play That Funky Music (White Boy)." The St. Paul native authored the book "First Avenue: Minnesota's Mainroom" and previously worked as a music critic at the Austin American-Statesman in Texas.

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Review: Duran Duran delights Tampa fans with epic Future Past Tour

• Gabrielle Calise Times staff

TAMPA — On a screen hovering over the stage, keyboardist Nick Rhodes furiously tapped buttons inside a spaceship whizzing above the Earth. His bandmates wandered a futuristic cityscape, helmets in hand. Each disappeared from the video in a flash.

Seconds later — in person — the silhouetted members of Duran Duran stepped out before a screaming crowd at Amalie Arena. Against the fog: shoulder pads and tousled hair. A music video come to life.

What more would you expect from one of the biggest bands of the 1980s MTV era?

Duran Duran’s packed Saturday night show proved that, even after four-plus decades, the New Romantic superstars from across the pond still can get a crowd grooving. Named after the band’s 2021 album, the Future Past Tour had a little bit of both elements in its name — but mostly past. The nearly two-hour performance was dominated by chart-topping hits from decades ago.

“Hungry Like the Wolf,” “Rio” and “Notorious” all turned into dance parties. Duran Duran also dedicated a heartfelt “Ordinary World” to the people of Ukraine.

For the most part, vocalist Simon Le Bon sounded just as sensational as his recordings, though he had a few hoarse moments in the earlier songs. Having navigated vocal range issues in the past , he knew how to get back to smooth singing by midshow. In the meantime, he distracted the audience by bouncing around in a pair of shiny silver pants.

Plus, there were the video screens behind him.

Cheesy animated white doves soared over band members during “Save a Prayer.” Floating eyeballs and black-and-white horror movie clips flickered in the background for “Friends of Mine.”

“Scary baby time,” Le Bon announced before “Lonely in Your Nightmare.” The screens hovering above were overtaken by a giant lip-syncing baby doll. It was, indeed, scary — until the song melted into a funky cover of “Super Freak.”

The two openers showcased various slices of Duran Duran’s identity. Pop rock band Bastille offered representation from fellow Brits. Nile Rodgers and Chic laid the foundation for an evening of booty-shaking.

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Rodgers has composed and produced for everyone from Beyonce to Diana Ross. Rocking a pink bell-bottom suit, he ran through some of his favorite collabs, including David Bowie hits “Let’s Dance” and “Modern Love” that got the whole arena moving. Since Rodgers also worked with Duran Duran over the years, one would hope he would pop back onstage with them. After all, he did in 2016. No such luck for Tampa this time.

Instead, synth god Rhodes layered a bouncy soundscape from behind a fortress of five keyboards. Backup singers in metallic red wrap dresses and go-go boots marched next to him, looking like a pair of Star Trek extras. Both Roger Taylor on drums and John Taylor on bass kept the arena thumping. And did we mention the numerous saxophone solos?

The pop stars, all in their 60s, still have that raunchy swagger. To kick off “Come Undone,” Le Bon noted the local humidity levels before asking, “Do you have a lot of sex in Florida?”

Later, camera clicks and strobe lights flashed into a mashup of “Girls on Film” and Calvin Harris’ “Acceptable in the 80s.”

“It was acceptable at the time!” Le Bon crooned, almost apologetically.

Duran Duran has been on a victory lap in the past few years, including a 2022 induction into the Rock & Roll Hall of Fame. Paramount+ announced it would air a new docu-concert from the band this month. Thank the pop gods for that.

Their live performance still feels like a music video you want to watch over and over again.

Duran Duran’s Tampa setlist

• “The Night Boat”
• “The Wild Boys”
• “Hungry Like the Wolf”
• “The James Bond Theme” / “A View to a Kill”
• “Notorious”
• “GIVE IT ALL UP”
• “Lonely in Your Nightmare“ / “Super Freak”
• “Is There Something I Should Know?”
• “ANNIVERSARY”
• “Friends of Mine”
• “Careless Memories”
• “Ordinary World”
• “Come Undone”
• “Planet Earth”
• “White Lines (Don’t Don’t Do It)” (Grandmaster Melle Mel cover)
• “The Reflex”
• “Girls on Film” / “Acceptable in the 80s”
• “Save a Prayer”

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Bad Bunny brought a live horse, an orchestra and Puerto Rican pride to Austin concert

There was a live horse.

Friday night at the Moody Center, reggaetón idol and fashion trendsetter Bad Bunny switched sides and costumes. Earlier he donned a suit and wig under an L.A. Dodgers cap, then he rocked a tan jacket with frills. In between, a soliloquy about taking the road less traveled via pre-recorded video.

In it, Bunny crossed the dessert on a horse with the self-serious swagger of a cologne ad.

“No one else dares to take this path,” he narrated on-screen in Spanish.

Then, for about 15 seconds, he walked into the arena on a brown horse, gave it a pat, and we never saw it again. For one of the world’s mightiest rock stars, it was the most over-the-top flourish in a night filled with them.

A full orchestra; 20 back-up dancers; a rotating cat walk; 10 to 15 minutes of just posing on said cat walk to breathe in the idol worship while giving back brooding stares; barroom singalongs of sweeping breakup ballads like “un x100to” performed while lounging on top of a grand piano; the audacity to not book an opener; the bravado to leave out song of the summer 2022, “Callaita,” which was in a beer commercial, from the set list. And like Leo Messi, the rock star born Benito Antonio Martínez Ocasio never bothered to address his adoring English-speaking public in anything other than his native Spanish.

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He’d ask where all the Latinas in Austin, Texas were at to get screams, sure, but also offer affirmations about identity and self-actualization.

“What we can’t control is what people will say about us,” he’d say, later shouting out how special it was to see Puerto Rican flags from fans. (I counted more than 10 large ones stretched out by patrons, including a giant flag draped over the mezzanine wall like a soccer match.) In his pep talk, Bad Bunny was alluding to being a tabloid regular—he split with Kendall Jenner in December—but also seemingly shouting out what it’s like to be a Latinx person in the U.S.

And the Spanish-first community was proudly about town. Selling $10 cowboy hats; enjoying hot dogs with a million toppings, fresh off a street griddle; even third- and fourth-generation Texans seemed excited to tap into the fashion and swagger of Mexican uncles at a child’s birthday party on Bad Bunny night.

You forget that Bad Bunny is an idea and lifestyle, too. Locally, dance clubs like Mala Vida are molded in his neon image. In South Austin, the same operating group’s Gabrielas restaurant has a permanent Bad Bunny throne that diners can snap photos on. He’s emboldened the community with a zest for gender-neutral brightness so undeniably appealing that Mark Zuckerberg is now wearing gold chains and letting his curls flex.

Between bangers at the Moody, he told us to seek out “people who love you and support you.” The dude projects a lot, defiantly adding banter like “people tell me things every day, but I’m sure of who I am.”

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Were his gradient lights hypnotic? Was the cowboy boot necklace we all got at the door, that synced to the lightshow Coldplay and Taylor Swift-style, a lovely souvenir? Were his vocals muffled and mixed to overpowering degrees so that at times you heard him echo twice as loud as the accompanying beat? Absolutely and of course.

Structurally, this Most Wanted Tour is a celebration of October’s “Nadie Sabe Lo Que Va Pasar Mañana” record, a more somber and rap-centric offering relative to 2022’s relentlessly romantic party masterpiece “Un Verano Sin Ti.” The former is almost a Rick Ross album, rich with thumping beats and strings—mood music for the bosses that makes you want to put a bib on and eat crab.

And so the show began with 10 uncompromising new songs, then revved into a string of party barge standards post-horse: “Yo Perreo Sola,” “La Santa,” “Me Porto Bonito.” Illuminate your reality and proudly let the dog out—he couldn’t be any clearer.

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Megadeth’s upcoming tour lineup is an odd yet interesting mix.

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DERBY, ENGLAND - AUGUST 13: Dave Mustaine of Megadeth performs at Bloodstock Open Air Festival 2023 ... [+] at Catton Hall on August 13, 2023 in Derby, England. (Photo by Katja Ogrin/Redferns)

It wasn’t long ago when Megadeth had one of the hottest metal tours on the block which was fittingly coined ‘The Metal Tour Of The Year.’ The 2021 and 2022 co-headlining tour consisted of Megadeth and modern heavyweights Lamb of God with opening acts Trivium, Hatebreed, and later In Flames. Nearly every band on the bill offered something unique yet sonically similar enough to make it an air tight package. Not to mention, the tour sold exceptionally well with averaging 7,000 tickets sold across 24 dates from its first leg. To say it was a smashing success for Megadeth would be an understatement, and with their recent Grammy nomination for their well received 2022 LP The Sick, The Dying… And The Dead , the band was experiencing quite a moment to say the least.

However, despite the recent wins for Megadeth guitarist Kiko Loureiro exiting the band was a pretty big blow to the fans, as he’s made significant contributions to Megadeth since joining in 2015. In fact, in the past Megadeth founder Dave Mustaine had been fairly open about his admiration for Loureiro and he’s gone as far as saying , “Megadeth has had guys like Jeff [Young] and Marty [Friedman], but Kiko is the best we’ve ever had.”

Now with the band’s new guitarist Teemu Mäntysaari, who was recommended by Loureiro prior to exiting the band, Megadeth aren’t quite in the same position they were in a couple years ago, though at no fault of Mäntysaari who is in fact filling the shoes of lead guitarist incredibly well, according to Mustaine.

With all that being said, the band’s recent headlining tour announcement comes as a surprise to many fans, particularly with the supporting lineup Megadeth has in place. Nu metal giants Mudvayne and metalcore pioneers All That Remains are slated to support Megadeth on their upcoming late summer North American, which is titled the Destroy All Enemies tour. Maybe the tour’s title is an attempt at the band poking fun at themselves because it doesn’t appear they’ll be making any new friends with a tour lineup that’s such a stark contrast from their recent North American tours.

After one look at the comments section on Megadeth’s instagram post for the tour announcement, it’s clear that the most upvoted comments are from fans being harshly critical or puzzled by Megadeth’s decision to have Mudvayne and All That Remains as support, and that’s putting it lightly. No disrespect to either Mudvayne or All The Remains as both bands have made significant contributions to early 2000s metal and are great on their own merits, but the three bands together just seems at odds with Megadeth status as a legacy band. If they’d added another opener that was more sonically like minded and a newer act like Havok, Enforced, or even Power Trip the bill would possibly seem a little less jarring to fans. Better yet, a co-headlining tour with Pantera, whom are currently headlining arenas across the states, would do wonders for both bands especially given the demand for the recent Pantera reunion.

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Regardless, both Mudvayne and All That Remains can draw on their own, but it’ll be interesting to see if Megadeth fans are the primary ticket buyers for this tour or if there’s a healthy mix from each of the acts’ core fanbases. Or better yet, maybe there’s a more shared appreciation for all acts than the comments suggest. It’s entirely possible, but tickets sales and the crowd response at the shows will no doubt be the deciding factors.

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