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Festivalpark Stenehei | Dessel, BELGIUM

Graspop metal meeting 2024.

Bramham Park | Leeds, UNITED KINGDOM

Leeds festival.

Richfield Avenue | Reading, UNITED KINGDOM

Reading festival, latest setlist, pendulum on june 8, 2024.

Nürburgring, Nürburg, Germany

Note: Self vs Self was on the setlist, but not played

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Pendulum Australia & New Zealand 2023

MG Live and Frontier Touring are thrilled to announce one of the biggest electronic bands of all time, Pendulum , will return to Australia and New Zealand for five huge arena headline shows this October!

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Vampire Weekend did not make a ‘doom and gloom record’

The indie-rock band, which plays Monday night at SDSU, is making a but it’s a journey out of negativity into “something a little deeper.”

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From the first seconds of Vampire Weekend’s new album, “Only God Was Above Us,” it’s clear that something has changed. “Ice Cream Piano” starts with hiss, buzz, feedback and a hovering, distorted guitar note — the opposite of the clean pop tones that have been the band’s hallmark. It’s the beginning of an album full of startling changes and wild sonic upheavals, all packed into 10 songs.

The new album, like all of Vampire Weekend’s work, is meticulous, self-conscious and awash in musical and verbal allusions — sometimes direct, sometimes cryptic. But it’s also a broad pendulum swing from its 2019 release, “Father of the Bride,” a leisurely, jam-band-influenced sprawl that ran nearly 58 minutes.

“Only God Was Above Us,” the group’s fifth album, released April 5, is eight songs and 10 minutes shorter. The band is now touring in support of “Only God Was Above Us,” with a concert on Monday at Cal Coast Credit Union Amphitheatre in San Diego.

“With every album we have to push in two directions at once,” Ezra Koenig, Vampire Weekend’s singer and primary songwriter, said in a recent interview. “Sometimes that means we have to be poppier and weirder. Maybe with this record, it’s about both pushing into true maturity, in terms of worldview and attitude, but also pushing back further into playfulness. There’s a youthful amateurishness along with some of our most ambitious swings ever.”

Koenig, 39, described the new album’s sequence of songs as “a journey from questioning to acceptance, maybe to surrender. From a kind of negative worldview to something a little deeper.” Ultimately, he said, the LP is optimistic. “It’s not a doom and gloom record. And even if there’s songs where the narrator is trying to figure something out or feels confused, that’s not all. That’s part of the story — it’s not the thesis of the album that the world is dark and horrible.”

The album also exults in musical zingers, non sequiturs and startling off-grid eruptions. The songs often morph through multiple changes of tempo and texture, riffling unpredictably through indie-rock austerity, orchestral lushness, pop perkiness and hallucinatory electronic studio concoctions, like the cascade of wavery, overlapping piano lines in “Connect.” Where “Father of the Bride” had a folky openness, “Only God Was Above Us” is crammed with ideas that gleefully collide.

Ever analytical, Koenig mused that Vampire Weekend’s albums each reflected patron saints. He named Paul Simon for the band’s self-titled 2007 debut, Joe Strummer and Sublime for “Contra” from 2010, Leonard Cohen for “Modern Vampires of the City,” and the Grateful Dead’s Jerry Garcia and Robert Hunter, along with Phish, for “Father of the Bride.” The new album, he said, may reflect a short-lived tour he didn’t get to see: the 1997 pairing of Rage Against the Machine and Wu-Tang Clan, which reached the cover of Rolling Stone.

“Distortion, heaviness, hardness,” Koenig said. “We were drawn toward those qualities on this record in a more direct way than ever before.”

For this interview, Koenig spoke via video from his home in Los Angeles. Behind him — from the collection of his wife, actress Rashida Jones — was a wall of photographs by artist Taryn Simon from the project “Contraband”: bootleg DVD boxed sets that were confiscated by U.S. Customs, arrayed in Minimalistic formations. Like Vampire Weekend’s songs, they neatly frame disruptive material.

Vampire Weekend has always had two distinct aspects — its fastidious album work and its frisky live shows — and may soon have three. (More on that later.) The central one is the music the band constructs in the studio, which is minutely tweaked and painstakingly considered. Vampire Weekend’s songs uphold a long-established tradition of concise pop songwriting. But even as it delineates clear verses and choruses, the band pushes every other parameter.

“With some types of art, you probably have to put a lot of thought into how to create layers of meaning,” Koenig said. “Songs are, by their nature, relatively short. They have repetitive hooks. Then if you want to go maximalist and fill it with production details and arrangements, you can. And if you want the lyrics to push out into some weird place, you can.”

Yet the basics of pop songwriting keep the band’s experimentation grounded. “You can zig and zag from verse one to verse two to verse three, but you keep coming back to the same chorus,” he added. “But now it’s recontextualized by the second verse. I think all that stuff is built into the format. It’s this great populist art form where you can get really out there but the structure holds it together.”

Beginning with the 2013 album “Modern Vampires of the City,” Vampire Weekend’s studio output has increasingly been a collaboration between Koenig and producer and multi-instrumentalist Ariel Rechtshaid, who has worked on hits with Madonna, Usher, Haim and others.

“I’ve been part of making things that sound expensive and beautiful,” Rechtshaid said in a video interview from his Los Angeles studio. “But on this record, when the songs were at a certain stage, we were just, like, ‘This sounds exciting to us.’ It wasn’t a gimmick. It wasn’t like, ‘Here’s the decision to make something that feels noisy or dirty or distorted.’ It’s that the songs were emoting properly.”

The band and Rechtshaid have been working on — and reworking — most of the new album’s songs since 2020. Two tracks, “Gen-X Cops” and “The Surfer,” originated much earlier. The untamed slide-guitar line of “Gen-X Cops” came from Brooklyn sessions in 2012, while “The Surfer” includes much-altered elements of a song Koenig had begun writing with Rostam Batmanglij, who left Vampire Weekend in 2016.

“Sometimes you get lucky and the music, the production, the lyrics and the performance all come together and it fits on the record you’re working on,” Koenig said. “And sometimes, you know there’s something special about it, but you have to put it aside and just let time do its thing.”

Although Vampire Weekend’s members have settled in Los Angeles, its new album is suffused with thoughts of 20th-century New York City. Those were the decades before Vampire Weekend got started at Columbia University in 2006. “Weird, half-baked memories and pictures and thoughts and family history,” Koenig said. “That’s the version of New York that’s floating through this record.”

Vampire Weekend hit the road for its spring-summer tour on April 8. Real-time performing used to be a fraught prospect for such a perfectionist group but not anymore.

“I would hear other musicians talk about, ‘Oh man, you know, touring is tough, but then once you get onstage, all your worries go away and you’re just connecting with the audience,’” Koenig recalled. “And I’d think, ‘What are these people talking about? That’s when the worries start.’”

For its 2019 tour, Vampire Weekend expanded its stage lineup to seven musicians and vocalists, opening up more possibilities in the songs and relieving some of the virtuosic pressures.

“Now, when we get together to rehearse, there’s a youthful, playful vibe,” Koenig said. “We’re always coming up with ideas that make us laugh.”

Along with recording and touring, Vampire Weekend may soon unveil a third facet. Chris Baio, the band’s bassist, and Chris Tomson, its drummer, did separate video interviews from the studio space they share in Los Angeles — a converted medical office where Vampire Weekend started meeting in summer 2020 for weekly, COVID-distanced jam sessions, playing in separate rooms and recording hundreds of hours of music.

Those sessions may lead to the emergence of a new trio that happens to have the same members as Vampire Weekend, performing unreleased material.

“We kind of have an imaginary back story for that band,” Koenig added. “It was a band that came out around 1989, 1990, and they were a little bit too punky for the jam scene and a little bit too jammy for the punk scene. And there’s a little bit of the Minutemen in there. The truth is, this is very premature because that band is still hashing out its sound. I don’t want to say too much.”

Could the unnamed trio open shows on Vampire Weekend’s tour? “That has been discussed,” Koenig said dryly.

“We’re just trying to create a sound that we’ve never quite heard before,” he had noted earlier. “That’s what keeps us going.”

Vampire Weekend with LA LOM

When: 7 p.m. Monday, June 10

Where: Cal Coast Credit Union Amphitheatre, San Diego State University, San Diego

Tickets: $88 to $136

Online: as.sdsu.edu/calcoast/event/474

Pareles writes for The New York Times.

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La Jolla Music Society’s 56th season will feature Emanuel Ax, Wynton Marsalis, Twyla Tharp, Terence Blanchard and other greats

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Caifanes love to perform. That’s why the band’s drummer hopes to die onstage

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Ringo Starr, with new San Diego and L.A. concerts set, talks candidly: ‘I’m giving away all the secrets here!’ he says

The music legend discusses his upcoming country album, a possible new project with Oscar-winning director Peter Jackson, the next chapter for ‘The Beatles LOVE by Cirque du Soleil,’ and the Fab Four’s infamous run-in with Imelda Marcos. He also has a message for the ‘boat people’ at Humphreys.

June 3, 2024

Charli XCX Launches an Exhilarating New Chapter of Pop With the Innovative ‘Brat’: Album Review

By Jem Aswad

Executive Editor, Music

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Charli XCX has been one of pop music’s leading innovators for more than a decade, and like so many innovators, she’s long since moved on by the time most of the world reaches the place she just was.

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But with “Brat,” she’s launched a bold new chapter, and again it’s a sound that combines what she’s done before with new elements — it has the effervescent hooks of her best work and the shimmer of hyperpop, and lots more. She said in the weeks leading up to its release that “Brat” is a club album — a deceptive description, because although there are a lot of fun and club-friendly tracks, but there’s a lot more besides.

The changes in moods can be head-spinning. On the third track, she’s singing about a woman who makes her feel insecure: “This one girl taps my insecurities
/ Don’t know if it’s real or if i’m spiraling … Don’t wanna see her backstage at my boyfriend’s show/ Fingers crossed behind my back/ I hope they break up quick/ Coz i couldn’t even be her if I tried” (Charli’s boyfriend is 1975 drummer George Daniel, who is of course bandmates with Matty Healy, sooo…?). But then two songs later she’s boasting boldly like a rapper on the dancefloor-wrecking “Von Dutch” (“It’s OK to just admit that you’re jealous of me, you’re obsessing just confess/ It’s obvious I’m your number 1”) and then two songs after that, she’s back to insecurity on “Rewind” (“Sometimes I just wanna rewind/  I’d go back in time/ To when I wasn’t insecure,
to when I didn’t overanalyze my face shape”).

Along with all that comes a lyrical maturity she hadn’t shown before, as a couple of the songs have character studies, like the one in “Mean Girls”: “Yeah it’s 2 a.m. and she’s out there
in a sheer white dress wearing last night’s makeup/ All coquettish in the pictures with the flash on, worships Lana Del Rey in her airpods.”

But “Brat” would be a masterful album even if all the lyrics were simply about clubbing — it’s melodically and musically sophisticated, with remarkably detailed production. As always, she’s a serial collaborator, and A-list coproducers here include Cirkut, George Daniel, El Guincho, Gesaffelstein, Hudson Mohawke, Finn Keane and others, and A.G. Cook is back in the copilot seat, bringing his shimmering arpeggios and countermelodies to a majority of the songs. Charli’s albums are always headphone-headfucks but, to single out just one WTF moment, on “B2B” there’s a segment where her voice is looping “back-back-back” over a blurping bass, trap beat and woozy, careening synthesizers. “Mean Girls” has a jazz-piano solo — over a wildly autotuned vocal track, of course — and there are even subtle flashes of her previous songs (“Vroom Vroom” on the new album’s jarring “Club Classics,” “Fembot” on “Rewind”).

But for all the musical and lyrical advancement, Charli’s greatest leap forward here may be as a vocalist: She’s never been afraid to shape-shift her voice into wild and bizarre new forms, but hers is an unusual style that’s equally informed by pop, hip-hop and experimentation — it’s a fusion of singing and rapping that can have a hip-hop-like pileup of syllables riding a complicated but natural melody, capped with a wordless “Ah- AH -ahhh.” On the ballad “I Might Say Something Stupid,” a subtle autotune gives her heartfelt vocal an automaton aspect that oddly adds to the insecurity of the vocal (reflecting that, the song just drops off after she sings, “Not sure I belong here”).

And it closes with a polar opposite, a reprise of the bouncy opening track, “360,” retitled “365,” with lyrics about doing drugs in a club: “Shall we do a little key?/ Shall we have a little line?/ Meet me in the bathroom if you’re bumping that/ French manicure, wipe away the residue.”

Innovation and self-examination aren’t supposed to be easy so it shouldn’t be surprising if the results are a little messy emotionally — but it’s rare for them to be this fully realized in every other way. “Brat” vaults Charli back to the front of the line as a pop innovator, not that she’d ever slipped.

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Why can’t Notre Dame sign more 5-stars? What does Boise mean for scheduling? Irish mailbag

SOUTH BEND, Ind. — Notre Dame is in full-on recruiting mode with Irish Invasion complete and a round of official visits incoming. The Irish still have the nation’s top-ranked class on two major recruiting networks. Notre Dame keeps showing up in most preseason top 10s , too. It’s all set up for Marcus Freeman to take the Irish into the College Football Playoff, potentially hosting a game at Notre Dame in December.

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Basically, Notre Dame enters the summer months in prime position on all fronts.

You’ve got questions about all that, from Irish chances to sign five-star talent to future schedules to Notre Dame’s position in this new NIL/revenue sharing era. Let’s get started.

Despite Marcus Freeman’s strong efforts, Notre Dame is not piling up any more five-star kids than they used to (but they do seem to be improving at the top-100 or top-200 level, along with blue-chip ratio). What specifically is different about the five-star recruits that makes them different than four-star recruits? Namely, what is different that leads to them not signing with Notre Dame? — David C.

There are plenty of reasons behind Notre Dame’s struggle to land five-star prospects, but the biggest issue may simply be scarcity.

During the past four recruiting cycles, the 247Sports Composite included 145 five-star prospects. Notre Dame signed one ( Jaylen Sneed ) and was seriously involved with a dozen more: Keon Keeley , Peyton Bowen , Justin Scott , Dante Moore , Nicholas Singleton , Sonny Styles , etc. That’s it. The Irish weren’t seriously involved with any of the 28 five-star prospects in the 247Sports Composite this past cycle.

If anything, people overstate how many five-star prospects are out there. Yes, people realize there are roughly 30 per class. But a big chunk of them are annually ticketed to Alabama, Georgia or Ohio State. Those three schools signed 55 (37.9 percent) of the five-star prospects in the past four cycles. Typically, prospects looking at the Tide, Bulldogs or Buckeyes aren’t looking for the same things the Irish push in recruiting. Then there’s the NIL-focused schools like Ole Miss , Colorado , Texas A&M, Oregon, Miami and Tennessee. That group signed 25 five-star prospects in the previous four cycles (17.2 percent of the total). Again, those schools recruit from a different starting point than Notre Dame. When the Irish get involved in a recruiting against those programs, Notre Dame knows the fight doesn’t have much to do with academics or player development.

Marcus Freeman knows what Year 3 means at Notre Dame

Combined, those two groups of programs — the NFL factories plus the NIL schools — are removing more than half the five-star prospects from the field before Notre Dame can really get involved. That doesn’t even get to admissions or location, with the majority of five-star prospects choosing to either stay in-state or in-region. Again, that creates a problem for Notre Dame when Indiana produced one five-star prospect in the previous four cycles: receiver Mylan Graham , who signed with Ohio State and Notre Dame could not recruit.

During that same four-year window, Illinois produced three five-star prospects: Scott (Miami), Marquise Lightfoot (Miami) and Luther Burden III (Missouri). Only Scott was a serious recruit for the Irish before he committed to Ohio State and then flipped to Miami at the end. Michigan produced three five-star prospects: Moore ( UCLA ), Will Johnson (Michigan) and Damon Payne (Alabama). Moore was trending to Notre Dame until he wasn’t, then transferred to Oregon after his freshman year.

For the most part, five-star prospects are making football decisions when it comes to commitments. Notre Dame hasn’t produced first-round picks like some of the other schools in play. It hasn’t won games like those schools either. And while “Choose Hard” attracts plenty of talent, it also repels some, too. If you’re viewed as a future first-round pick (i.e. a three-and-out talent), the idea of coming to Notre Dame and grinding through three years in the classroom might not be the most appealing. For those prospects interested enough to take that on, Notre Dame has to land them. Or at least keep trying.

There will be more Michael Mayer , Kyle Hamilton , Michael Floyd and Jimmy Clausen types of prospects. There just are fewer out there than it may seem.

Any background of how the Boise State game came to be? It’s a very unique and interesting matchup against one of the top-level Group of 5 teams that is in stark contrast to much of the “meh” of this year’s home schedule. The Boise State fan base has a history of traveling well to these sorts of big games and the Boise media was championing the pending announcement as the “biggest scheduling announcement in program history.” Does this game get scheduled without a 12-team playoff? Is this the start of a change in ND’s scheduling philosophy to provide more fun games (with more risks for losses) for the fans? Or was this just an easy path to fill a hole in the ’25 schedule? – Matt P.

I haven’t had a chance to sit down with Pete Bevacqua to ask him how he sees future schedules, what works for Notre Dame in the 12-team College Football Playoff era and what doesn’t. But he is a former television executive who understands how much Notre Dame needs NBC, and vice versa, and the idea of adding quality to the Irish schedule is easy to grasp. Notre Dame needs to deliver ratings to NBC, which Central Michigan and Northern Illinois do not. Boise State may not be your older brother’s Broncos, but its brand is big enough to interest both television and ticket buyers. Boise State may be one of the easiest one-off tickets to sell for Notre Dame’s athletic department.

I don’t think Bevacqua would presume to know how scheduling will impact selection in the 12-team (or potential 14-team) CFP world because nobody has lived it quite yet. Because more teams are being evaluated, does the middle of the schedule count more? Does the bottom? During the four-team era the focus was on the top, meaning games like Ohio State, Clemson , Michigan , etc., carried the conversation. Opening up the field to 12 teams will require splitting a different kind of hair, which maybe Boise State helps for Notre Dame.

I wouldn’t point to Boise State as a trend for future schedules, but I’d welcome it. It’s a more interesting matchup than most of Notre Dame’s ACC games.

Schedule update 📆 We will host Boise State on October 4, 2025 🔗 https://t.co/emVcjySRyK #GoIrish ☘️ pic.twitter.com/TJ3DkWuZey — Notre Dame Football (@NDFootball) June 4, 2024

What should we make of Marcus Freeman’s recent bullish comments on Charles Jagusah ? Standard coach speak to present an optimistic outlook, a real deal that the coaching staff is highly confident Jagusah will be a quality player from what they’ve seen or the always popular “a little of both”? — James R.

It’s always both, but I’m similarly bullish on Jagusah heading into his sophomore year. He’s more than a year removed from the leg/knee injury that put him behind for basically his entire freshman season. A former Notre Dame coach told me that when Jagusah enrolled, he didn’t look close to the player the Irish thought they were getting in recruiting. But he did by the end of last season. I keep going back to when I saw Jagusah at the El Paso airport the morning after the Sun Bowl. There were probably a dozen players by the gate area. Most were sleeping after a night of partying. Jagusah was already watching film of the game and critiquing his performance out loud. That’s got to be worth something.

As for Freeman’s commentary, how he said it stuck with me as much as what he said. He dismissed the idea Jagusah would be a question at all. When somebody suggested Jagusah could move to right tackle and Aamil Wagner could play left, Freeman almost looked offended by the suggestion. There are questions about this team, but left tackle appears to be one more on the outside of the Gug than within the building.

None of this is to say Jagusah will pick up where Joe Alt left off. Just that the coaching staff believes (with good reason) left tackle isn’t in any better or worse shape than the guard positions or center. Notre Dame’s offensive line will still need time to develop in-season this fall. There may be games where it looks disjointed and developmental. But Jagusah should be more part of the solution to that than a problem.

Notre Dame administrators have previously said that if universities are required to treat college athletes as employees, Notre Dame will follow a different path a la University of Chicago in the early 20th century. After the NCAA-House settlement , that line in the sand appears closer to becoming reality than ever. Are any of your administration sources worried about spending all of this money on a new facility when that building may ultimately house a team that isn’t even competing in the top tier of college football? — Jack L.

Freeman believes Notre Dame will pay its players as well as any program in the country. Bevacqua said Notre Dame desperately needs to win a national championship in football. A $100 million-plus facility is going up. Two coordinators got unprecedented four-year contracts pushing $18 million total. The Irish got a top graduate transfer quarterback from the portal in back-to-back years and it’s understood that a quarterback costs in the ballpark of $1 million.

I know what former Notre Dame president Rev. John Jenkins wrote in The New York Times nine years ago . And all that was fine. But Notre Dame isn’t operating in any way, shape or form like a school thinking about taking its ball and going home if more and more money goes to athletes.

Notre Dame may not like how the game has changed when it comes to competing in big-time college football. But it’s going to play it. And pay it.

Sampson: For Notre Dame football, Shields Hall investment can be a game-changer

It’s January 2025. Notre Dame made the CFP and won two games. Several schools have also fired their head coach. Aside from Ohio State, what other schools would you guess could court reasonable interest from Freeman? How far would Bevacqua and Fr. Bob Dowd go to give Freeman support in terms of money, transfers and admissions and staffing to keep him at Notre Dame? — Stephen O.

Notre Dame is already supporting Freeman plenty in terms of staffing and facilities. See above. If he wins two games in the College Football Playoff (or even one), I would expect Notre Dame to draw up a contract extension that puts Freeman among the highest-paid head coaches in the sport. And that would have been earned after  a season like the one you’re describing. Admissions is harder to read. Like every Notre Dame football coach since the dawn of time, Freeman wants more prospects admitted than Notre Dame’s admissions department deems admissible. Maybe that pendulum swings a bit more toward football. It’s already in a football-friendly place.

With everything coming online with Notre Dame football in the next two years, it’s hard to believe Freeman would look around outside of Ohio State. Or put it another way, Brian Kelly might still be Notre Dame’s head coach if Shields Hall and Notre Dame’s NIL stance were today’s version back in 2021.

Any chance Tyler Buchner returns to QB room instead of receiver? Personally don’t feel or think it’s far-fetched since he was battling out Sam Hartman for starter last spring, although the writing was on the wall Hartman was QB1. Also feel like this is a good question to ask someone with insider knowledge to answer to the public. — Alec B.

I’ve asked.

Zero chance.

Freeman didn’t want to reintroduce him to that group, which has evolved incredibly since Buchner was Notre Dame’s starting quarterback. If Buchner insisted on playing quarterback full-time again, I’m not sure this comeback story would have had another football chapter.

Tyler Buchner returning to Notre Dame football team as walk-on WR

(Top photo of Marcus Freeman: Michael Reaves / Getty Images)

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Pete Sampson is a staff writer for The Athletic on the Notre Dame football beat, a program he’s covered for the past 21 seasons. The former editor and co-founder of Irish Illustrated, Pete has covered six different regimes in South Bend, reporting on the Fighting Irish from the end of the Bob Davie years through the start of the Marcus Freeman era.

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