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From a full-throttle run through Almaty to a lone Brooklyn date on the horizon, GlassJaw's current campaign reads less like a tour and more like a band methodically reminding the world what it's been missing.
She opened a July Bowery Ballroom set with 'Death Wish' and closed it with 'Daughter from Hell'. The Look at My Life Tour is the logical next step.
She played 'You Raise Me Up' at a Christmas show in Philly, then closed with Copacabana. The Revolution Tour won't be tidier.
The set closes with 'Wizards in Winter' and the lasers die, and you realise TSO haven't softened a single edge in thirty years of doing this.
When one of America's 'Big Five' orchestras stays home for an entire season, the programme itself becomes the argument.
Three nights at Madison Square Garden, a setlist that reaches back twenty years, and a tour name that doubles as a dare — the Jonas Brothers aren't coasting on nostalgia, they're testing it.
Nirvana covers, Kendrick references, Herbie Hancock deep cuts — Glasper's recent setlists read like a dare. The fall run picks up where that chaos left off.
The ink on Gustavo Dudamel's inaugural gala is barely dry, and already the New York Philharmonic's autumn programme reads like a statement of intent.
It's August, and Straight No Chaser are already plotting their annual November takeover — this time with a setlist that proves summer gave them plenty to work with.
He named his debut sound 'trap soul' and a decade later, he's touring under the banner 'Neo Trapsoul' — that prefix does a lot of work.
He opened every European show this summer with 'Billy Budd' — a song about wrongful condemnation. That choice doesn't feel accidental.
When a smooth jazz trumpeter opens with 'Someday My Prince Will Come' — a Miles Davis staple — it's either audacious or deluded. With Chris Botti, it's neither: it's a statement.
Sixty dates, one city — Vince Giordano's summer residency asks what it means to be the custodian of a century-old sound in a town that invented it.
When a man opens a show at Newmarket Racecourse with Also sprach Zarathustra and closes it with Bring Him Home, he's not playing it safe — he's making a statement.
At the Filene Center two days ago, she opened with 'Don't You Want a Woman' and closed with 'More Love' — and that arc tells you everything about where Melissa Etheridge is right now.
Twenty years on from the album that defined them, Blue October are staging a reckoning with their own history — and the setlists from their recent European run suggest they know exactly what they're doing.
The man who wrote the songs about writing songs is doing farewell tours like a greatest hits album — multiple versions, each claiming to be definitive.
From New Mexico casinos to East Coast amphitheatres, the Las Vegas quintet's 53-date trek reveals a band comfortable in its own skin.
Six years after Neil Peart's death seemingly closed the book on Rush, Alex Lifeson and Geddy Lee are back with Anika Nilles behind the kit—and their recent setlists reveal a band confronting its own mythology.
Three years after Disney, Olivia Rodrigo's setlist choices reveal an artist deliberately shedding her past.
When Journey opens with The Who's 'Baba O'Riley' instead of their own anthems, something's shifting in the arena rock playbook.
At KOKO last December, Cole opened with 'The Climb Back' — and suddenly the room understood this wasn't just another victory lap.
Eighteen years after winning America's Best Dance Crew, the masked collective still owns their Vegas theater—and 401 upcoming dates prove they're not going anywhere.
Twenty-eight years after their formation, Ireland's pop titans are proving that some formulas never get old — even when they probably should.