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​Talco tour dates: 13 concerts in 5 countries

About talco.

Talco is an Italian ska punk band and alternative band from Marghera, Venice. Musically the group combines the horns and rhythms of ska-punk with Italian folk music. Their lyrics reflect the band's support for left-wing politics and often include anti-fascist, anti-capitalist, and anti-imperialist themes. Musical influences include The Clash, Ska-P, Modena City Ramblers and especially Mano Negra, often describing their sound as "patchanka" after Mano Negra's first album. In 2009 the group wrote the song "St. Pauli" about the cult German football club of the same name. The team has since used the song as an anthem and Talco has played a number of concerts at Millerntor-Stadion in Hamburg, Germany.

• Tutti Assolti (2004)
• Combat Circus (2006)
• Mazel Tov (2008)
• La Cretina Commedia (2010)
• Gran Galà (2012)
• Silent Town (2015)
• And The Winner Isn’t (2018)
• Locktown (2021)

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Ten years since the recording of Talco´s debut-album in a small studio in hometown Maghera, an industrial suburbia of Venice (the group remembers this moment as their real "birth", although active during the years before with constantly changing personel), ten years with 500 passionate concerts, five records, with highlights, failures, emotions and a development and growth from a small ska punk combo in your local youth centre to an international act with unique and unmistakeable style.

The jubilee manifestation for this event is pocket-small and portable and lets everybody participate at the party - it´s a live album, recorded in Pamplona, during two totally packed and sold out club shows.

In addition comes a bonus DVD with a DOCUMENTARY about the whole Talco history, with rare films, background infos, comments and inside views all bandmembers.

JUST A LIVE ALBUM?

The old prejudice "live records are just a tiresome duty and nothing more but a stopgap or a Best-Of with worse sound...." has been disproved by Talco impressively: The group lives and dies for their shows and tours, gathers coryphees for technical support and organisation and delivers every night a rousing, ecstatically, fantastic live set. Pushing punk riffs meet hymnal horn-section sentences, infectious sing-a-longs, songs with the ultimate order to dance, but also sensitive tones, poetry and a clear political position.

And exactly this live experience has been taped for the album: the sound walls, the horns and choirs, the commitment of the singing audience, the atmosphere... 22 songs, all highlights and essence of Talco life works.

"10 Years" is also the history of 6 nice regular guys from a dreary industrial town in northern Italy who always did their thing unswervingly and even succeeded with it, with sold out shows in Germany, Spain, Russia, France, even Japan (and meanwhile also in their native country Italy).

And so the bonus DVD / band-documentary shows six young, absolute positive underdogs and kids from next door to be detained by nothing, without any arrogance or rock star habitus, giving everything with heart and brain and a vague plan and their unreserved devotion for the common project - with joy of playing, spreading their unique mix of punk rock, Eastern European sounding folk, Ska and Polka across the whole world.

+ CD and DVD with beautiful artwork and digipack + Double LP w. nice gatefold

1.Intro 2.L 'Odore Della Morte 3.Punta Raisi 4.Tarantella Dell’ Ultimo Bandito 5.La Parabola Dei Battagghi 6.Fischia Il Vento 7.La Carovana 8.San Maritan 9.Correndo Solo 10.St.Pauli 11.Testamento Di Un Buffone 12.La Mia Citta 13.Teleternita 14.La Sedia Vuota 15.L ’Era Del Contrario 16.Bella Ciao 17.A La Patchanka 18.Ancora 19.Danza Dell’ Autunno Rosa 20.La Roda De La Fortuna 21.Tortuga  22.La Torre

Catalogue No: Destiny-158

Formats: CD + DVD / DoLP / DL

Shows + Festivals 2024

• 27.06.2024 NL-Jera On Air
• 06.07.2024 DE-Save The Core
• 02.08.2024 BE-BrakRock
• 03.08.2024 DE-Fährmannsfest
• 07.08.2024 DE-Open Flair Festival
• 08.08.2024 DE-Taubertal
• 08.08.2024 DE-Hütte Rockt

20th Anniversary Tour

• 10.01.2025 DE-Munich New Show
• 31.01.2025 DE-Cologne New Show
• 01.02.2025 DE-Wiesbaden New Show
• 07.02.2025 DE-Berlin New Show
• 08.02.2025 DE-Berlin New Show
• 14.02.2025 DE-Hamburg New Show
• 15.02.2025 DE-Hamburg New Show
• 21.03.2025 CZ-Prague New Show
• 22.03.2025 AT-Vienna New Show

Other Records

Talco — Tour 2000 - 2024, Tickets, Konzerte, Interviews

Nächster termin:.

Punkrock/Hardcore, Rock, Ska, World Music

469 Shows in 203 Städten / 15 Ländern

17.07.2000 - 11.04.2024

Letzte Show

20.01.2024 - DE-Kiel, Die Pumpe e.V.

Nächste Show

nicht bekannt

Muttis Booking

Tourdaten 2000 - 2024

Tonträger bei finestvinyl

TALCO - 10 YEARS-LIVE IN IRUNA | 2 LP

TALCO - INSERT COIN (EP) | LP

TALCO - INSERT COIN (EP) | CD

TALCO - LA CRETINA COMMEDIA | CD

TALCO - MAZEL TOV | CD

TALCO - VIDEOGAME | CD

TALCO - VIDEOGAME | LP

TALCO - VIDEOGAME - LTD COL. SPINNER VINYL | LP

TALCO - Quo vadis, Italia?!

TALCO - Mit Combat-Punk-Chanka gegen den Berlusconismus

TALCO - Bella Italia?

TALCO - Ein Miteinander des Verschiedenen

TALCO - Lockdown-Maskerade

TALCO - Schwere Geburt

Tutti assolti cd.

Na endlich mal was mit etwas Feuer im Hintern aus Italien von TALCO bzw. von den verrückten Metzgern aus Göttingen. Sehr rockiger Ska-Core kommt hier, der seinesgleichen zwar auch nicht lange suchen muss, der aber auch nicht allzu schnell langweilt. Referenzen gibt es bei STROH oder den diversen südamerikanischen Bands wie etwa SEKTA CORE oder so ohne Ende. Denkt auch einfach irgendeine Band, die schnellen (Punk)rock spielt und dazu Trompeten und Saxophon beistreut. TALCO verbinden das - wie es ja auch bei vielen Bands des Genres ist - mit extrem linken Aussagen in ihren Texten, politischem Engagement über die Musik hinaus, und zum besseren Verständnis dessen sind auch die englischen Textübersetzungen im Booklet abgedruckt. Kein Must-Have, aber bestimmt live eine tolle Band. (35:17) (5)

Da auf Black Butcher erschienen, rechnete ich eigentlich mit einer Ska(Punk)-Band. TALCO hat aber mit Offbeat nicht viel zu tun. Fette Gitarren, ein wuchtiges Schlagzeug, ein straighter Bass, aber scharfes Gebläse peitschen das italienische Wortgefecht des Sängers voran. Die ganz eigene Note verschaffen sich TALCO durch Verwendung italienisch-folkloristischer Musik, die vom traditionellen Intro meistens in ein heftiges, wenn auch sehr melodisches Punk-Gewitter umschlägt. Gekonnt verwenden TALCO Akustikgitarren, Ziehharmonika, Trompeten, Tuba und Violine, bis die fett produzierten Drums und die Gitarrenwände aus einer bekömmlichen mediterranen Küche ein teuflisch scharfes Gericht machen. Unterm Strich schneller, energischer und aggressiver Punkrock, der durch die folkloristische Seite höchst melodisch und vielseitig ist. Eine sehr positive Veröffentlichung, die sich aus dem Folkloristischen angenehm vom parallelen Latin-Punk abhebt - eine Band, die ich mal live sehen will. (8)

2008 erschien diese Album bereits auf Mad Butcher, jetzt gibt es eine Neuauflage auf Destiny und ich zitiere Simon Brunners damalige Rezension: „Da auf Black Butcher erschienen, rechnete ich eigentlich mit einer Ska-(Punk-)Band. TALCO hat aber mit Offbeat nicht viel zu tun. Fette Gitarren, ein wuchtiges Schlagzeug, ein straighter Bass, aber scharfes Gebläse peitschen das italienische Wortgefecht des Sängers voran. Die ganz eigene Note verschaffen sich TALCO durch Verwendung italienisch-folkloristischer Musik, die vom traditionellen Intro meistens in ein heftiges, wenn auch sehr melodisches Punk-Gewitter umschlägt. Gekonnt verwenden TALCO Akustikgitarren, Ziehharmonika, Trompeten, Tuba und Violine, bis die fett produzierten Drums und die Gitarrenwände aus einer bekömmlichen mediterranen Küche ein teuflisch scharfes Gericht machen. Unterm Strich schneller, energischer und aggressiver Punkrock, der durch die folkloristische Seite höchst melodisch und vielseitig ist. Eine sehr positive Veröffentlichung, die sich aus dem Folkloristischen angenehm vom parallelen Latin-Punk abhebt – eine Band, die ich mal live sehen will.“

La Cretina Commedia

Da ist es also, das Konzeptalbum der Italiener von TALCO, das sich dem Leben und Sterben des linken Aktivisten und Mafia-Gegners Giuseppe „Peppino“ Impastato widmet. Angesichts der Aussagen im Interview in der letzten Ox-Ausgabe wünsche ich mir, dass TALCO mit diesem Album vor allem in Italien für Aufsehen sorgen werden, denn was hilft es, wenn wir in Deutschland zwar die Wahrheit kennen, aber die Menschen in Italien nicht erreicht werden? Musikalisch wird an das Erfolgsalbum „Mazel Tov“ angeknüpft, alle Stücke sind beim Gesang und den Bläsersätzen voll von eingängigen folkloristischen Melodiebögen. Diese werden temporeich mit einem unglaublich treibendem Schlagzeug und fetten Gitarren begleitet. Was sind das für fette Ohrwürmer geworden! Erneut haben TALCO ihr eigenes Niveau übertroffen gesteckt. Ich hoffe, die Band kommt im Oktober auch mal in die Nähe des Rhein-Main-Bermudadreiecks, um mit ihr gemeinsam gegen welche Mafia auch immer anzutanzen.

Willkommen zur neuesten Runde „Bella Ciao“ auf 180: 15 fetzige Lektionen Punkchanka auf tanzbarstem Niveau. Als die Norditaliener 2003 mit „Tutti assolti“ debütierten, wurden sie abfällig belächelt und in die Kirmes-Ecke geschoben. Nun, vier Alben, hunderte Gigs und einige Achtungserfolge später, dürfte auch der letzte Pessimist von der positiven Aura der Band angestachelt sein. Und mal ehrlich, wer bei Hymnen, und es sind wirklich welche, wie „Danza dell’autunno rosa“, „La macchina del fango“ und „Teleternita“ nicht wenigstens mit seinem Popo wackelt, muss sich ernsthaft Gedanken über seine körperliche und seelische Verfassung machen. Still sitzen? Hau ab! Springen, skanken, toben – mitmachen ist angesagt. Stock raus und ab aufs Parkett. Oder in die erste Demoreihe, denn mit dieser Band kehrt das Lächeln auch in Kreise zurück, die sich gerne in Selbstmitleid ertränken. Geschickt verpackt die Band Politisches und Persönliches in ausgefeilte Arrangements, die zweifelsohne tanzbar sind. Der Sound ist dabei so kompakt und vielfältig wie nie, fährt einem sofort in die Knochen. Viele Chöre, mitreißende Bläser, effektives Schlagzeugspiel mit coolen Dancebeats. Alles rund, alles eingängig, Kurzweil par excellence. Scheiß auf morgen, heute wird getanzt! Schickes Digipak inklusive aller Texte und englischer Übersetzung. Farbige LP-Erstpressung. Galareif!

Teleternità

Schick sieht sie aus, die Picture-EP der italienischen Party-Revoluzzer! Die A-Seite im Style des aktuellen Langspielers „Gran Galà“ und die B-Seite mit einem sieben Zoll großen Live-Shot eines gefeierten Gigs auf und für St. Pauli. Logisch, dass es da eben jenen Song zu hören gibt! Das schnittige „Teleternità“ ließ mich schon in Ausgabe #105 nicht still sitzen und ob als Frisbee, Wanddeko oder doch zum Hören, die 500 Exemplare werden wohl genauso schnell weg sein wie es TALCO verstehen, Massen mitzureißen.

10 Years – Live In Iruna

Combat Ska, immer nur Combat Ska! Kometenhaft ist der Werdegang dieser zappeligen Norditaliener, und das obwohl diese seit dem 2004er „Tutto Assolti“ an ihrem Sound wenig bis überhaupt nichts geändert haben. Wahrscheinlich wussten die damals schon, dass ihr schnittiger Mix aus Italo-Folk, Polka-Punk, Highspeed-Ska in Verbindung mit kämpferischen Texten und aufputschenden Refrains einfach unschlagbar gut und erst recht partytauglich ist. Vielleicht blieb zwischen den unzähligen Gigs, die sie nicht nur kreuz und quer durch Europa führten, auch gar keine Zeit, etwas zu hinterfragen. Ees läuft einfach für die perfekt eingespielte Kapelle – und außerdem: Never change a winning sound! Wer sich von der TALCO-Patschanka nicht mitreißen lässt und wie wild auf und ab springt, dem kann zwar ich nicht helfen, aber garantiert dieser (!) brandheiße Live-Mitschnitt vor grandioser Kulisse im spanischen Iruna (baskisch für Pamplona). Scheuklappen gegenüber Crossover-Soundclashs absetzen, Hüften lockern und dann 72 Minuten (21 Songs) lang durchschütteln lassen. Klasse Live-Retrospektive in guter Soundqualität, die entweder als Doppel-Gatefold-LP oder Digipak plus coole Doku-DVD (86 Min.) erscheint. Valium-Ska-Punk-Highlight!

Silent Town

Es gibt ja nicht viele Bands aus Italien, die man kennen sollte. LITFIBA vielleicht, aber von denen hat man auch schon lange nichts mehr gehört. TALCO bilden da eine echte Ausnahme. Die Ska-Band aus Marghera, einem Vorort von Venedig, steht seit 15 Jahren für hochpolitischen Highspeed-Sound, der Berlusconi und Konsorten gehörig Druck von unten macht. Auch das neue Album „Silent Town“ beschäftigt sich mit korrupten Politikern und dem Zerfall der italienischen Musikszene, erzählt von fehlenden politischen Idealen und der Gier nach Macht und Ruhm. Zwölf Songs, die stramm nach vorne gehen, ohne Pausen und Balladen. Eine wilde Mischung aus Partisanen-Musik, Punkrock und Ska. Konsequent auf Italienisch gesungen. „Silent Town“ ist ein Konzeptalbum über eine fiktive Stadt, die unter Populismus, Diskriminierung und Rassismus leidet. Das Sextett vergisst neben der Botschaft aber nie die Party. Konzerte der Italiener sind schweißtreibend und enden oft mit Schrammen und blauen Flecken. Pogo italiano! Parallel zum Album „Silent Town“ arbeitet Sänger Dema übrigens auch an einem gleichnamigen Roman, der die Geschichte der fiktiven Stadt konsequent weitererzählt. Für die stillen Momente am Rande der Tanzfläche.

And The Winner Isn’t

Diese Band ist der beste Beweis: Ska-Punk muss nicht irrelevant, eindimensional, schlicht und austauschbar sein. Ganz im Gegenteil. Diese Band steht mit jeder Note und jeder Zeile – sofern man denn der italienischen Sprache mächtig ist oder zumindest einen guten Online-Übersetzer hat – für Gehalt und Wichtigkeit, für musikalische Qualität und eindringliche Botschaften. Ein ganzes, von so manchem Menschen nicht wirklich geschätztes Genre muss TALCO dankbar sein für das, was sie bislang seit sechs Alben betrieben haben und nun mit „And The Winner Isn’t“ fortsetzen. Wobei die Bezeichnung „Ska-Punk“ streng genommen ohnehin viel zu eng gefasst ist, um die Musik dieses Sextetts aus der Region um Venedig irgendwie greifen zu können. TALCO mischen den Trompeten schließlich allerlei – und „allerlei“ bedeutet massenhaft – Folklore aus ihrer Heimat und von anderswo sowie Geradeaus-Punkrock und zig Spielereien auf Akkordeon, Banjo und Saxofon bei. So lange und so konsequent, bis man meint, Freiheitskämpfer aus allen Freiheitskämpfen der Welthistorie am Lagerfeuer sitzen zu sehen und sie dabei ihre Hymnen und Schlachtrufe schmettern zu hören. TALCO sind eine Blaupause für, nun ja, linke Musik. Für Musik, die per se alles umschließen und umfassen will und die sich hartnäckig wehrt, stumpf und stupide, monoton und einseitig zu sein. Stumpf und stupide, einseitig und monoton sind doch die anderen, denen es nur ums Saufen und Raufen und darum geht, Soundtracks für entsprechende Parolen zu liefern. Parolen, die man vorzugsweise in rechten Kreisen hört. Oder in Kreisen, in denen man immer vorgibt, bloß nichts von Politik wissen zu wollen und in denen am Ende dann doch auch die verkehren, die Patriotismus und das Gefühl des „Wir Unterlegenen hier gegen die Herrschenden und die nicht hierher Gehörenden da“ rauskeifen. Hört man „And The Winner Isn’t“, dann ist man mitten drin im Sektor namens „Gute Seite“. Dann hinterfragt man all das, was im heutigen Leben eine viel zu große Rolle spielt: rasend schnelle Technologie, a-soziale Netzwerke, die von Populisten geschürte Angst vor allem Fremden, das unser Leben natürlich nicht bereichern, sondern uns unserer eigenen Kultur berauben will. Und man kommt nach Momenten, in denen man es mit gereckter Faust genießt, auf der Welle dieser famosen Musik zu reiten, zu dem Schluss: Es ist noch nicht zu spät. Das Leben ist schön. Es gibt so viel Tolles und neues Fremdes zu entdecken. Vielfalt ist die Zukunft des Menschen und dieses Planeten. Sie muss um alles in und auf der Welt erhalten werden. Und Bands wie TALCO geben den Weg vor, wie das gelingen kann: mit unbändigem Einsatz, einer beinahe kindlichen Spielfreude. Und tosenden Songs, die einem – ob man nun Italienisch versteht oder nicht – direkt ins Herz gehen. Mehr muss Musik nicht leisten.

Insert Coin

Auf die Plätze, fertig, los. Die alte Energie ist zurück. Nach einem Corona-bedingten Ausflug in akustische Musik und Maskenball, präsentieren sich TALCO auf ihrer neuen EP in alter Stärke. Fünf Uptempo-Punk-Kracher mit Gebläse und viel Gesang. Druckvoll, mitreißend und immer politisch korrekt. Als ob MANO NEGRA mit NOFX gemeinsame Sache machen würden. Punk meets Folk meets Ska. Man kennt die sechs Venezianer von unzähligen Festivals und Clubbühnen als nimmermüde Stimmungskanonen, obwohl die Texte oft ernste Inhalte transportieren. „Insert Coin“ ist eine Konzept-EP über die Reise eines Künstlers und seinen Kampf um seine Kreativität und gleichzeitig ein Vorbote für das kommende Album „Videogame“, das noch dieses Jahr erscheinen soll. Das sollte eigentlich schon 2020 rauskommen, aber dann kam Corona. Die vier Songs von „Insert Coin“ haben Sänger Dema und die Band im eigens dafür eingerichteten Silent Town Studio aufgenommen, produziert und gemischt. Komplett DIY. Der Sommer kann kommen.

Das neue, achte Album von TALCO müsste eigentlich „Odyssee“ heißen und nicht „Videogame“, denn es sollte eigentlich schon vor ziemlich genau zwei Jahren herauskommen. Aber dann machte dieses verflixte Virus den Plänen der Italiener einen Strich durch die Rechnung und die Songs wurden erst einmal auf Eis gelegt. Die Band war für mehrere Wochen in ihrer Heimatstadt Venedig eingesperrt. Deshalb starteten TALCO ihr MASKERADE-Projekt und veröffentlichten unter dem Titel „Locktown“ 14 akustische Songs, die nur dafür entstanden sind. Eingespielt mit Banjo, Ziehharmonika, Streichern oder Piano. 14 Monate später schob die Band die EP „Insert Coin“ im klassischen TALCO-Gewand nach. Quasi als Teaser für das Album. Fünf Songs, die inhaltlich eine klare Verbindung zu „Videogame“ haben. Und jetzt gibt es also die 13 Songs, die so lange in der Warteschleife hingen. Der Nachfolger des siebten Studioalbums „And The Winner Isn’t“ (2018), mit dem sie eine akustische Zeitenwende eingeläutet hatten. Vorher regierte bei TALCO vor allem der so genannte Punkchanka, eine Mischung aus schnellem Punkrock, italienischer Folkore und Bands wie MANO NEGRA oder GOGOL BORDELLO. Mit „And The Winner Isn’t“ zollten sie ihrer Vorliebe für Fat Wreck-Bands Tribut und auch auf „Videogame“ ist der Einfluss kalifornischer Punkbands deutlich zu hören. Rasend schnelles Tempo, Gitarren im Vordergrund, pointierte Bläser. Punkrock mit Gebläse im Stil von LESS THAN JAKE oder THE MIGHTY MIGHTY BOSSTONES. Aufgenommen von Marc Boria (BUSTER SHUFFLE, TALCO) im Labedoble Estudi nahe Barcelona, abgemischt von Jason Livermore (GOOD RIDDANCE, NOFX) im legendären Blasting Room in Fort Collins, Colorado. „Videogame“ ist ein Album über Angst in ihren verschiedenen Formen, denn beim Songwriting hatte Frontmann Dema mit einer massiven Angststörung zu kämpfen, die ihn fast dazu gebracht hätte alles hinzuwerfen. In den Songs geht es um die Ungewissheit, wenn man als Kriegsflüchtling seine Heimat verlassen muss, so wie um die Panik, die Rechtspopulisten in der Bevölkerung verbreiten, um Fremdenhass zu schüren. Thema sind aber auch Verlustängste, als Dema zum Beispiel seinen geliebten Hund Zaza zum Einschläfern begleiten musste. Die Metapher des Videospiels ist also nur eine Art trojanisches Pferd, um dem Hörer die eigentlich wichtigen Themen unterzujubeln. Nach mehr als zwanzig Jahren Bandgeschichte haben sich TALCO zum europäischen Punk-Big-Player gemausert. Die Band war als einziger europäischer Act im diesjährigen Line-Up der „Punk In Drublic“-Tour von Fat Mike vertreten und spielte mit Bands wie NOFX oder PENNYWISE. Die Grenzen ihrer italienischen Heimatstadt Venedig haben Dema, Jesus, Ketto, Nick, Tuxa und Rizia längst hinter sich gelassen.

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Talco Concert Setlists & Tour Dates

Upcoming shows.

• Date and Venue Doors Scheduled
• Jun 21 2024 Festival Vintoro 2024 Toro, Spain Add time Add time Add times
• Jun 28 2024 Jera On Air 2024 Ysselsteyn, Netherlands Add time Add time Add times
• Jun 29 2024 Cabo de Plata 2024 Barbate, Spain Add time Add time Add times

Talco at Open Air Gelände hinterm E-Werk, Saarbrücken, Germany

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Talco at Spielbudenplatz, Hamburg, Germany

Talco at ketelhuisplein, eindhoven, netherlands.

• Tarantella dell'ultimo bandito
• Danza dell'autunno rosa

Talco at Carroponte, Sesto San Giovanni, Italy

Talco at recinto ferial, ciempozuelos, spain, talco at viña rock 2024, talco at a candeloria 2024, talco at ajz talschock, chemnitz, germany.

• Psicolabirinto
• L'odore della morte
• La parabola dei battagghi
• Paradise Crew
• La mano de Dios
• La carovana

Talco at Punk Im Pott 2023

Talco at waschhaus, potsdam, germany.

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Most played songs

• Danza dell'autunno rosa ( 50 )
• St. Pauli ( 50 )
• La torre ( 48 )
• La carovana ( 46 )
• Tarantella dell'ultimo bandito ( 45 )

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Artists covered

[traditional] Banda Bassotti Boikot Iron Maiden Mano Negra Rodrigo

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270 people have seen Talco live.

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The Black Keys Split With Management Team After Arena Tour Cancellation

By Emily Zemler

Emily Zemler

The Black Keys have parted ways with their management team, Irving Azoff and Steve Moir of Full Stop Management, following the last-minute cancellation of their North American arena tour last month. A representative for Azoff confirmed the split to  Billboard , saying it was an “amicable parting.”

The rock band initially signed with Azoff and Moir in 2021 after leaving their longtime manager John Peets at Q Prime South. The news of the split was initially reported by The New York Times in an article about recent high-profile tour cancellations that also focused on Jennifer Lopez .

In late May, the Black Keys abruptly canceled  the upcoming North American leg of their International Players Tour , with dates for the jaunt abruptly erased without explanation from the band’s social media pages and official website. The trek was set to begin Sept. 17 in Tulsa, Oklahoma, and run through Nov. 12 in Detroit.

The Black Keys’  official website  scrubbed all of the band’s upcoming tour dates except for a single one-off show, a July 6 gig at Chicago’s NASCAR Street Race. Band members Dan Auerbach and Patrick Carney later confirmed they were “alive and well,” and that the North American tour was scrapped in order to make it more like those smaller European gigs.

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The Keys added, “Thank you for your understanding and apologies for the surprise change… We’re pretty sure everyone is going to be excited when you see what we have in mind though, and look forward to seeing everyone soon.”

Phish Fan Banned From Sphere for Taking Bong Rip: ‘No Regrets’

Kim porter’s dad breaks silence after sean combs attack video: 'despicable', george clooney phones white house after biden rebukes wife’s work on israel warrants, see eminem debut 'houdini' and perform with jelly roll at detroit's michigan central concert.

Lopez pulled the plug on her This Is Me…Live Tour only a month before it was set to kick off in Orlando, citing the decision to spend time with her family. “I am completely heartsick and devastated about letting you down,” Lopez said in a statement. “Please know that I wouldn’t do this if I didn’t feel that it was absolutely necessary. I promise I will make it up to you and we will all be together again. I love you all so much. Until next time…”

Howard University Rescinds Sean Combs' Honorary Doctorate: 'No Longer Worthy'

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The Young Thug Trial Just Went Off the Rails: Witness Arrested for Refusing to Testify

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Keanu Reeves' Band Dogstar Announces Summer Vacation Tour 2024 — See the Dates!

The band expressed feeling "stoked" for the North American tour in an Instagram post announcing the dates

Xavi Torrent/Redferns

• Dogstar, which features bassist Keanu Reeves, guitarist/vocalist Bret Domrose and drummer Rob Mailhouse, is heading out on the Summer Vacation Tour 2024
• The band reunited last year following a two-decade hiatus
• Their new album, Somewhere Between the Power Lines and Palm Trees , is out now

Dogstar is getting ready to hit the road.

The rock band, which features bassist Keanu Reeves , guitarist/vocalist Bret Domrose and drummer Rob Mailhouse, announced dates for their upcoming Summer Vacation Tour 2024 on June 5.

"We are stoked to announce a new North American headline tour this August & September," read a post on the trio's social media page.

Martyn Goodacre/Getty 

Kicking off Aug. 8 at the Indiana State Fair in Indianapolis, the tour will make stops throughout the United States and Canada before wrapping Sept. 21 at Harrah’s Ak-Chin Hotel & Casino in Maricopa, Arizona.

"We are having the best time out here on the road interacting with fans at these shows, we wanted to keep it going," said the band in a statement about the tour. "For this next U.S. run starting in August, we will be planning to try out some new songs as well — hope to see you out there!” 

Tickets first become available through a presale on June 5 at noon local time, before the general onsale begins June 7 at 10 a.m. local time.

Following a 20-year hiatus, Dogstar returned to the stage for the first time last May at BottleRock Festival in Napa Valley, California. The band's new album, Somewhere Between the Power Lines and Palm Trees , is out now.

"When we reunited to try to write some songs, we never knew what an amazing journey we were beginning," said the band in a statement.

"The way this record came together was nothing short of magical for us," continued the trio. "The fun, the passion and the friendship shines through on these recordings and hopefully the variety of emotions will connect and resonate with everyone the way they do for us."

Dogstar was formed in the mid-'90s. The band's first EP  Quattro Formaggi  was released in 1996 and followed by two albums, 1996's  Our Little Visionary  and 2000's  Happy Ending , as well as a one-off cover of Mr. Big's "Shine" in 2004.

During Dogstar's initial run, the band appeared in films including 1999's  Me and Will  and 2005's  Ellie Parker . They also opened for David Bowie and Bon Jovi on tour and performed headlining shows with then-upcoming opening acts Rancid and Weezer.

See the full list of Dogstar's Summer Vacation Tour 2024 dates below.

Thu, Aug. 8 - Indianapolis, IN – Indiana State Fair

Fri, Aug. 9 – Charles Town, WV – Hollywood Casino at Charles Town Races

Sun, Aug. 11 – Lexington, KY – Lexington Opera House

Tue, Aug. 13 – Raleigh, NC – The Ritz

Wed, Aug. 14 – Richmond, VA – The National

Fri, Aug. 16 – Mashantucket, CT – Foxwoods Resort Casino

Sat, Aug. 17 – Bethlehem, PA – Wind Creek Event Center

Sun, Aug. 18 – Waterloo, NY – del Lago Resort & Casino

Tue, Aug. 20 – Grand Rapids, MI – GLC Live at 20 Monroe

Thu, Aug. 22 – Windsor, ON – Caesar’s Windsor

Fri, Aug. 23 – Hammond, IN – Horseshoe Hammond Casino

Sat, Aug. 24 – Columbia, MO – Rose Music Hall

Tue, Aug. 27 – La Vista, NE – The Astro

Wed, Aug. 28 – Kansas City, MO – Uptown Theater

Fri, Aug. 30 – Quapaw, OK – Downstream Casino Resort

Sat, Aug. 31 – Norman, OK – Riverwind Casino

Tue, Sept. 3 – Salt Lake City, UT – The Union Event Center

Fri, Sept. 6 – Reno, NV – Silver Legacy Resort Casino

Sat, Sept. 7 – Jacksonville, OR – Britt Music and Arts Festival (Britt Festival Pavilion)

Sun, Sept. 8 – Forest Grove, OR – McMenamins Grand Lodge

Tue, Sept. 10 – Airway Heights, WA – Spokane Live

Fri, Sept. 13 – Redding, CA – Redding Civic Auditorium

Sat, Sept. 14 – Wheatland, CA – Hard Rock Hotel & Casino Sacramento

Sun, Sept. 15 – Santa Cruz, CA – The Catalyst

Tue, Sept. 17 – Ventura, CA – The Majestic Ventura Theater

Thu, Sept. 19 – Valley Center, CA – Harrah’s Resort SoCal

Fri, Sept. 20 – Las Vegas, NV – The Chelsea – The Cosmopolitan of Las Vegas

Sat, Sept. 21 – Maricopa, AZ – Harrah’s Ak-Chin Hotel & Casino

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Black Keys Split With Management After Canceled Tour Debacle

By Jem Aswad

Executive Editor, Music

• Tom Verlaine’s Brilliant Final Three Records Finally Come to Streaming Services: Album Reviews 14 hours ago
• Black Keys Split With Management After Canceled Tour Debacle 14 hours ago
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The Black Keys and managers Irving Azoff and Steve Moir have parted ways after the sudden and thoroughly publicized cancellation of the band’s North American arena tour previously scheduled for the fall.

A rep for Azoff confirmed the split to Variety late Thursday, calling it an “amicable parting”; a rep for the group did not immediately respond to requests for comment. The news was first reported by the New York Times.

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However, they are hardly the only act dealing with the harsh realities of touring in 2024. While live-entertainment companies have reported record revenues in the two years since pandemic restrictions fully lifted and top tours continue to do extremely well, that rush has clearly cooled off for artists below the very top tiers. 2023 may come to be regarded as a watershed year, with Taylor Swift, Beyonce, Drake, Paul McCartney, Bruce Springsteen and others thundering across North America. But ticket prices have also reached a new peak, and combined with the bad press the industry has received amid the Justice Department’s recently filed but long-expected antitrust lawsuit against Ticketmaster owner Live Nation, many fans have apparently decided to be more selective with their spending.

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Blues-rock guitarist Robert Cray heading to Lincoln Theatre in August

The Robert Cray Band, featuring the five-time Grammy-winning guitarist for whom the group is named, is slated to bring the blues to the Lincoln Theatre stage Aug. 23.

Tickets, which go on sale at 10 a.m. Friday, cost $37-$67 and can be purchased at the CBUSArts Ticket Center at the Ohio Theatre, 39 E. State St., by phone at 614-469-0939 and online at capa.com .

Robert Cray on his career highs: From Keith Richards' hotel room to 'That's What I Heard'

Cray experienced moderate success in the early '80s, but it was his fifth album, 1986's "Strong Persuader," that brought him rave reviews and name recognition. The album received a Grammy and yielded the crossover hit, "Smoking Gun."

During his 50-year career, Cray has shared the stage and/or studio with artists such as John Lee Hooker, B.B. King, Chuck Berry, Muddy Waters, Albert Collins, Stevie Ray Vaughan, the Rolling Stones, Eric Clapton, Tina Turner and Buddy Guy.

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One more for the road: Foreigner launches farewell tour in advance of Rock Hall induction

C LEVELAND, Ohio - Kelly Hansen has been the lead singer of the legendary classic-rock band Foreigner for more than two decades. But he’ll be watching from the audience on Oct. 19 at Rocket Mortgage FieldHouse when the band is finally inducted into the Rock & Roll Hall of Fame.

Foreigners “classic-era” 1970s players — vocalist Lou Gramm, guitarist Mick Jones, drummer Dennis Elliott, keyboardist Al Greenwood, keyboardist Ian McDonald, bassist Ed Gagliardi and bassist Rick Wills — will be getting the official Rock Hall flowers. But Hansen says he’ll be there to fly the Foreigner flag and cheer them on, particularly Jones, with whom he has toured and recorded for almost 25 years.

“I’m happy for the guys, the original guys that they’re finally getting their just desserts,” says Hansen. “I think it’s really like the cherry on the cake of a really great career and something that they wanted for a long time and I’m glad they got there. I’ll be there to stand by and be any kind of support that I can be. And you know, to witness and enjoy the whole ceremony for sure,” he said.

In the meantime, Hansen has more immediate concerns, namely Foreigner’s farewell tour, which stops by Blossom Music Center on Wednesday, June 12, on a bill with Styx and John Waite.

The tour is a chance for Jones, Hansen to look back 50 years and to dive into a catalog that includes some of the most memorable hits of the classic rock era. They will be joined in the journey by a current lineup that includes bassist Jeff Pilon, keyboardist Michel Bluestein, guitarist Bruce Watson, drummer Chris Frazier and guitarist Luis Maldonado.

If you were an FM rock radio fan from the late ’70s into the mid-80s or were an early adopter of MTV, then you had no choice but to know of Foreigner.

The band seemingly popped up out of nowhere to quickly take over mainstream rock radio, rising to fame with a string of catchy Top 10 hits beginning with their 1976 debut single, “Feels Like The First Time,” and its equally popular followup, the dramatic “Cold As Ice.” Both of those singles went gold, making their mothership album, “Foreigner,” a bestseller.

A little more than a year later, the streak continued with the album, “Double Vision,” yielding more Top 5 hits, including the title track and “Hot Blooded.” The band’s winning streak would continue into the ’80s and through their next four albums, pushed along by hits such as “Head Games,” “Urgent,” “Jukebox Hero,” “Dirty White Boy,” and the ballads “Waiting For A Girl Like You.” The band’s biggest hit of all — “I Want To Know What Love Is” topped the singles charts in worldwide.

Original singer Gramm left the band in 1990 but briefly returned for reunion concerts before being replaced by Johnny Edwards for the 1991 album, “Unusual Heat.” A long break soon followed. When Jones reformed Foreigner in 2005, L.A. bred singer Hansen settled in and solidified the vocal spot.

Hansen says the “farewell tour,” currently set to wrap up with a two-week stand in Las Vegas in November, will be the end of Foreigner as regulars on the summer concert circuit. But he says it won’t be the end of the band, or even as a performing group

In short, hardcore fans need not fret.

“We’re not disappearing off the face of the earth,” he says. “We’re just not going to tour nine months a year like madness. I’m sure we’ll be here and there but not like we’ve been before.”

One longstanding tradition on Foreigner tours is having local choirs either open for and often perform “I Want To Know What Love Is,” with the band to help raise awareness of the importance of keeping music education in schools.

The band has hosted Solon’s Note-Oriety Show Choir, The North Ridgeville High Spectrum of Sound, The Nordonia High School Synergy choral group and others through the years. At the Blossom show, the New Philadelphia High School choir will be backing the band. Foreigner will donate $500 to the choir for their program.

“We’ve been doing it for many, many years. And we feel it’s important to raise awareness about the lack of funding for school music programs and music and the arts are the first things to suffer when there are budget cuts, which there have been quite quite many of them in the last 15-20 years,” Hansen said.

“And it’s important for young people who experience the music and the arts to take them places around the world and back and forth and have time to let them grow as human beings and learn about things that are bigger than their own bubble at home,” he said, noting his own experience with music education in his younger days.

“I’m a product of new school music programs. I was in choir when I was in school and and who knows what the ultimate effect of that was on me. But guess what, I’m singing in a band so it must have had some,” he said.

Although Foreigner won’t be “going away,” Hansen, who has been talking about the final tour in interviews for nearly two years ,said he he’s living in the now, and not too worried about the next.

“I’ve been having my periods of feeling it out there and sometimes that strikes you,” he says. “But, I’m in the middle of doing something. I’m kind of focused on what I’m doing. And, and I’ve thought about this for a few years, so it’s not like it’s a surprise. So I’ve had plenty of time to ease into it. So I’m ready,” he said.

“It takes it takes a lot of focus to for a heavy duty schedule, like we’re going to be doing starting in a couple of weeks. So I’ve got I’ve got a lot to focus on so I don’t have a lot of time for sitting down and putting my head in my hands and crying about this being the last nine month tour,” he said with a chuckle.

He also says he has "a lot of work in front of me.

“I’m focusing on making moves with my family and stuff. I’m not really focusing on what might be happening next, musically, after the tour. Nothing is on my schedule,” Hansen said.

Hansen said besides the lost pandemic years it’s been a while since he’s had an open schedule and at age 62 with a wife and two stepsons, he’s ready for something else, at least for a while.

“I have a lot of other things to do, things that I like to do. Spending time with my wife and my family and I like to cook (he’s friends with Cleveland celebrity chef Michael Symon) and my motorcycle and I work on cars and I do stuff around the house and, you know, live a life that I haven’t been able to live for the last 20 years,” Hansen said.

Foreigner, Styx and John Waite perform at 6:45 p.m. Wednesday, June 12, at Blossom Music Center, 1145 W. Steels Corners Rd., Cuyahoga Falls. Tickets, $32.55 plus fees for lawn and starting at $54.35 plus fees for pavilion, are available at livenation.com.

©2024 Advance Local Media LLC. Visit cleveland.com. Distributed by Tribune Content Agency, LLC.

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Keanu Reeves' band Dogstar announces summer 2024 tour for their first album in 20 years

Keanu Reeves and his band Dogstar are going back on the road.

Following the group's first performance in 20 years last summer, Dogstar announced Tuesday that its members are embarking on the Summer Vacation Tour 2024 across North America.

"We can’t wait to see everyone! Thank you all for all the love and support," drummer Rob Mailhouse commented under the band's Instagram post. "We can feel it every time we take the stage. ❤️"

Dogstar, currently on tour in Europe, will be visiting 29 cities starting with the Indiana State Fair on Aug. 8. Their last show is Dana Point, California's Ohana Fest on Sept. 27.

The pre-sale begins Wednesday at noon local time; tickets can be found at dogstarofficial.com .

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Last October, Dogstar — which comprises Reeves, Mailhouse and guitarist/vocalist Bret Domrose — came out with its first album in two decades, a 12-track record titled "Somewhere Between the Power Lines and Palm Trees." It was released by their own label, Dillon Street Records and featured their single "Everything Turns Around."

The "John Wick" star, the alt-rock band's bassist, formed the band with Mailhouse and the group's original guitarist and lead singer Gregg Miller in 1991.

Before ending their 20-year hiatus with a performance at BottleRock Napa Valley music festival in northern California last May, Reeves told  Billboard  that being with Dogstar was "something I’ve always missed."

"I missed playing together, I missed writing together, I missed doing shows together," he said. "We came to a spot where we weren’t playing anymore, and I missed it … Once we started to play, and it felt good, and really positive and creative, that’s when it was like, 'OK, let’s make this happen.'"

"I think all three of us just said, ‘Well, if we’re going to do this, let’s make a record,'" Reeves said. Domrose added, "We just knew that there was ‘X’ amount of time, and we needed to make the most of it. We just locked on as wanting to make this record, and it happened pretty quickly."

At the Napa Valley festival, the band played tracks from the previous albums, 1996’s "Our Little Visionary" and 2000’s "Happy Ending," as well as several songs from their yet-unreleased "Somewhere Between the Power Lines and Palm Trees."

Three months later, Dogstar went on to tour two dozen cities in North America and Japan in its Somewhere Between the Power Lines and Palm Trees Tour.

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Sarah McLachlan Is Resurfacing

The Canadian songwriter became a superstar through a series of defiant decisions. After slowing down to be a single mother, she has returned to the stage and studio.

Sarah McLachlan is on tour celebrating “Fumbling Towards Ecstasy,” the 1993 album that turned her into an avatar for the sensitive, mysterious singer-songwriters of ’90s radio. Credit... Alana Paterson for The New York Times

Supported by

By Grayson Haver Currin

Reporting from Vancouver, British Columbia

• Published May 30, 2024 Updated May 31, 2024

Sarah McLachlan was just 30 hours from beginning her first full-band tour in a decade, and she could not sing.

She was in the final heave of preparation for eight weeks of shows stretching through late November that commemorate “Fumbling Towards Ecstasy,” the sophisticated 1993 album that turned her into an avatar for the sensitive, mysterious singer-songwriters of ’90s radio. But three days into a string of seven-hour rehearsals, her voice collapsed, the high notes so long her hallmark dissolving into a pitchy wheeze.

So onstage in a decommissioned Vancouver hockey arena, a day before a sold-out benefit for her three nonprofit music schools, McLachlan only mouthed along to her songs, shaking her head but smiling whenever she reached for a note and missed.

“It only goes away when I project, push out,” she said backstage in a near-whisper following the first of the day’s mostly mute run-throughs. She slipped a badge that read “Vocal Rest” around her neck and winked. “Luckily, that’s only a third of what I do.”

For the last two decades, McLachlan, 56, has contentedly receded from the spotlight and the music industry she helped reimagine with the women-led festival Lilith Fair . Since 2008, she has been a single mother to India and Taja, two daughters from her former marriage. With rippling muscles that suggest a lean triathlete, she is now a devoted surfer, hiker and skier who talks about pushing her body until it breaks. Though she writes every morning, waking up with a double espresso at the piano in her home outside Vancouver, she has focused on motherhood and the Sarah McLachlan School of Music , offering free instruction to thousands of Canadian children since 2002.

A few years ago, she finished a set of songs about a pernicious breakup but reckoned the world didn’t need them; she hasn’t released an album of original material since 2014. “What do I want to talk about?” she said months earlier during a video interview from her home, swaying in a hammock chair. “I’m just another wealthy, middle-aged white woman.”

McLachlan, though, now may be on the verge of a renaissance. She is amassing a $20 million endowment for her schools, and exhaustive interviews for a Lilith Fair documentary just wrapped. In a year, her youngest, Taja, will head to college. For the second time, McLachlan’s life is opening toward music.

While revisiting her catalog to build this two-hour concert, which begins with a clutch of personal favorites before pivoting into a muscular interpretation of “Fumbling Towards Ecstasy,” she flew to Los Angeles for multiple sessions with the producer Tony Berg, who has worked with Phoebe Bridgers and Aimee Mann. She has cut at least a dozen songs there, including a gently psychedelic cover of Judee Sill’ s “The Kiss.” She has more to write. “I’m so energized by music, now that I’m living and breathing it every moment,” she said. “It’s a very different feeling.”

During the day’s second rehearsal, however, she tempered her enthusiasm with tacit worry about her voice. She told her tour manager that Taja would soon be backstage, probably with a prednisone prescription. “Mom, I’m already here,” the 16-year-old screamed, 20 rows back in an otherwise empty arena. “I have your medicine! Do you want it?”

McLachlan couldn’t hear her. She nodded to her band and started a song called “Fallen,” humming to herself.

DURING SUMMER BREAK between sixth and seventh grades, McLachlan’s friends in Nova Scotia labeled her a lesbian. She had indeed kissed another girl, practicing for a boy. She instantly became a pariah, a middle-class kid from a conservative family surrounded by wealthy bullies.

“I became poison. Then they started calling me ‘Medusa,’ because I had long, curly hair,” she said. “There was physical abuse, too. I thought, ‘I am on my own.’”

There was little quarter at home. McLachlan was the youngest of three adopted children that she said her father never wanted. Since he tormented her older brothers, her mother — unhappy with marriage, depressed by circumstance — responded to her daughter with equal disdain, ensuring everyone was miserable. “I didn’t have a relationship with my father, because my mother wouldn’t allow it. If I showed him any attention, she wouldn’t speak to me for a week,” McLachlan said, lips pursed.

Music, however, became her refuge. She graduated from ukulele at 4 to classical guitar at 7 after the family moved to the provincial capital. She struggled in school, skipping class to hide in the empty gymnasium and play piano there. Though she despised the hard stares and high expectations of recitals, she begged to join a band. Her parents relented to a few hours of Sunday practice. The group’s first show, for several hundred dancing kids in a student union, was transformational.

“I was being seen, and I was being accepted,” she said. “It was the first time I felt that way.”

That night’s headlining act included Mark Jowett, who was then running a small label, Nettwerk, in Vancouver. Stunned by McLachlan’s voice and verve, Jowett urged her to move west and start writing songs. Her parents insisted she finish high school and college. Soon after meeting the label’s co-founder Terry McBride, she defied them, anyway. They barely spoke for two years. “She was green but really disarming,” said McBride, McLachlan’s manager until 2011, in an interview. “Her ambition was to get out.”

McLachlan soon cut a ponderous debut informed by the folk of her youth — Cat Stevens, Simon and Garfunkel, Joan Baez. Jowett and McBride wanted a producer to push her. When they asked Pierre Marchand, who had worked with the Canadian folk royalty of Kate and Anna McGarrigle, what he’d do with McLachlan’s music, he seemed flippant, saying he’d find out in the studio. “My manager was like, ‘I don’t like this guy.’ But I’m like, ‘I love this guy,’” she recalled. “It was all about exploration.”

The pair decamped to the New Orleans studio of the iconoclastic producer Daniel Lanois, where their professional relationship turned physical. (“We wrote a lot of songs naked,” Marchand admitted, laughing.) That intimate bond proved critical when an ascot-sporting representative from McLachlan’s American label, Arista, stopped by to listen. When he didn’t hear a marketable single, they didn’t capitulate. They told him to leave.

“It was a defining moment for me in deciding how I wanted to control my future,” McLachlan said. “I thought, if this is what being famous and successful means, to compromise this thing that feels so important, I don’t want it.”

They gambled correctly. The success of “Solace,” McLachlan’s second album, drifted from Canada into the United States, where it was released in 1992, buying her and Marchand good will. They spent a year and a half in a studio in the Quebec countryside, McLachlan often walking home by moonlight while Marchand built late-night loops and atmospheres. The result, “Fumbling Towards Ecstasy,” remains an uncanny singer-songwriter record, her frank observations on betrayal, friendship and lust warped by his outré sensibilities. “I like it when it’s complex, when there’s not one feeling,” Marchand said. “It’s like a person.”

Marchand and McLachlan added the layered grandeur of U2 and the supple strength of Depeche Mode to these testimonials of yearning and loss. Critics lauded it as smart and sensual. Sales were stronger still: It went quintuple-platinum in Canada and sold more than three million copies stateside.

“I was in a punk band listening to a lot of hardcore — and, strangely, Sarah McLachlan,” said Leslie Feist , the Canadian songwriter who will open the U.S. leg of McLachlan’s tour. “I could hear her power, but it was being expressed more fluidly. It wasn’t about aggression. It was about conviction.”

As McLachlan’s profile grew, letters from stalkers mounted at Nettwerk’s offices, especially from an Ottawa programmer named Uwe Vandrei. They met once, and he slipped her a scarf. But after she read one of his pleas, she asked not to see more. Still, in the album’s opener, “Possession,” where bass pulses and guitars radiate above droning gothic organs, she worked to mirror his mind, to articulate his misplaced passions. When it became a hit, he sued, alleging McLachlan had lifted his words. Vandrei died before trial.

“I felt a strange sense of relief,” McLachlan said haltingly. “But then I thought, ‘Oh my God, this is somebody’s son. Should I have tried to reach out? Tried to talk some sense into him?’”

The success of “Fumbling” — and the draining circus that followed, including conspiracy theories about label involvement in Vandrei’s death — helped spur McLachlan’s most historic defiance. She demanded to not headline every show, to be partnered with acts who could share celebrity’s weight. Promoters balked at the idea that women could carry such a docket, rankling McLachlan. She named a genre-jumping touring festival for Lilith, a woman repeatedly lambasted in sacred texts. Lilith Fair not only dominated the summer concert scene of the late ’90s but showed onlookers and executives that women were not music’s second-class citizens.

“I busked outside of Lilith and applied when I was 16,” said the singer-songwriter Allison Russell , who made her onstage debut by performing McLachlan’s “Mary” alongside high school friends in Montreal. “She changed the landscape for women. She resisted what everyone told her she had to do.”

When McLachlan was the kid being bullied at school or alienated at home, music made her feel valuable. After her hit-laden 1997 album “Surfacing” (“Building a Mystery,” “Adia”) and Lilith Fair, it had also made her wealthy and famous, affording her a family and an activist legacy. She no longer needed the spotlight’s validation, getting it instead from her daughters and dogs, her music school and morning music practice. Her career steadily slowed, with more years passing between albums and her experimental ardor fading. She didn’t mind.

“I’m a middle-aged woman. You kind of became invisible,” she said, leaning in with a wide grin. She whispered: “And I really like that.”

THE ENCORE BREAK on McLachlan’s new tour is brief, maybe 40 seconds. At her benefit show in Vancouver, soon after the band faded from the title finale of “Fumbling,” McLachlan slipped through a black curtain and rushed to her polished Yamaha grand. She’s making a new record, she told the crowd, and she wanted to try a song alone: “Gravity,” her balletic ode to perseverance, to letting others lift you. If McLachlan discarded an album of breakup songs, this is a hymn for what comes after.

It is also a fitting prelude for “Angel,” the poignant 1997 ballad that became a maudlin punchline after scoring a commercial for the Society for the Prevention of Cruelty to Animals.

“I see it at the end of the day, and it’s like, ‘Hi, I’m Sarah McLachlan, and I’m about to ruin your day,’” she said of filming the commercial as a favor. “But that’s just not me.”

Before “Adia,” McLachlan told the audience she never explained that song, because it immortalized her taboo transgression — ruining a relationship by dating her best friend’s ex. “We needed to part ways for a while,” she said. “And I swear it was the hardest breakup I’ve ever been through.”

But they fixed the friendship, which has since endured divorces, children and new love. For years, that friend, Crystal Heald, urged McLachlan to take “Fumbling” on tour. “Thank goodness she forgave me,” McLachlan continued.

McLachlan is candid about her prospects. Relevance, she admitted, is a young person’s game that she has long resisted. She’ll be at least 57 by the time she releases new music, and she knows most people only like the old stuff. Still, when she told her forgiveness tale, the arena erupted with a wave of recognition for bygone mistakes and second chances, for comebacks. Her audience has aged with her; stepping back into the spotlight, she is ready to have that conversation.

“I didn’t talk for the first 10 years of my shows. When the music was happening, I knew what I was doing. Take the music and my voice, and I’m 12 again,” she said two months before stepping onstage. “But in the last 10 years, I say whatever comes to mind. I feel more freedom daily to be who I am.”

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