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The Secret of Us

The New Collection

How Gracie Abrams Turned ‘Owning Her Sh*t’ Into One of 2023’s Best Debuts

By Waiss Aramesh

Waiss Aramesh

When the pandemic shut down the world in March 2020, millions of people had to find ways to cope with an abundance of time indoors. Some baked bread. Others took up pottery. And on one very-early Friday morning, singer-songwriter Gracie Abrams got high, dove deep into Taylor Swift’s discography, and fired off a hit tweet: “i know places by taylor swift makes me feel like i’m being hunted down in the purge.”

“That was one of like a dozen tweets explaining my feelings about her music in that state,” Abrams says, laughing, as I bring it up. (Other tweets sent in the spree suggest Abrams thinks Swift’s best song is “Innocent,” and “Mine” makes her crave overalls.)

Abrams is Gen Z’s melancholy maven and one of pop’s buzziest young artists. Her debut, Good Riddance out February 24 , shows a serious command of autobiographical songwriting. She’s not the only pop star writing heartbreak confessionals in her bedroom, but she translates the guilt and doubt of young love turned sour in her music better than most of her peers. “I miss you, I’m sorry,” a breakout hit that has garnered more than 100 million streams on Spotify, is both a goodbye to a lover and an argument for the opposite: “You said, ‘Forever,’ in the end I fought it/Please be honest/Are we better for it?” 

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On a warm, overcast day in January, Abrams and I sit in a beige booth at a Hollywood diner she frequents, hours away from the release of a new single, “Where do we go now?” Abrams grew up in L.A.; to her it’s “an industry city,” one her family is very much a part of: Her father is the filmmaker J.J. Abrams and her mother, Katie McGrath, is a producer and co-CEO of J.J.’s production company. 

Abrams began writing songs when she was eight, just as she started taking journaling seriously. Writing was comforting to her. Performing in front of people was not. “I was not like a little kid that would listen to music on the radio and pretend to be onstage,” Abrams says. “I never wanted to be onstage.” 

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Good Riddance took shape after the National’s Aaron Dessner invited Abrams to his Long Pond Studio in New York’s Hudson Valley. When Abrams started crafting the album, she was fresh out of a breakup, and the feelings on Good Riddance are raw. Album opener “Best” was the hardest to write. The lyrics sugarcoat nothing, stinging deeper with each verse as Abrams admits she wasn’t at her best in a past romance. “We were too different/You were so sensitive/Gave me the best of that/I was so negligent,” she sings. The same song gave the album its title: “You were there all the time/You’re the worst of my crimes/You fell hard/I thought good riddance.”

For Abrams, writing the song felt like “twisting a knife” inside of her. When announcing the project, Abrams wrote about how Good Riddance forced her to be accountable. “I don’t think I was always the most transparent partner,” she says, adding that she struggled with confrontation. “I wanted really badly to get to a place in my life, as I am entering adulthood in a more real way, where I’m being more straightforward with myself and not falling into the trap of victimhood in a situation sometimes, but really owning my shit some more.”

Dessner encouraged her to move forward with the songs, following the example of another artist who recorded at Long Pond. “Aaron said, ‘You know, all the artists you’ve ever loved before, they’ve all been like, ‘Holy shit, can I release this?’ ” Abrams says. “Honestly, I sat and internally just thought about Taylor, and she’s had the most public career ever, and still has the guts to say what she means.…”

As for those whom the songs are about? “I can’t know how they might react but I really love them a lot so I hope that maybe they believe that,” Abrams says after a moment.

At Long Pond, Abrams stayed with Dessner, his wife, and their three children. Abrams often worked 12-hour days, taking breaks by spending time with the Dessner children. “His kids made me want to maybe be a mom one day, after never wanting that, to be honest,” Abrams says, smiling. (She particularly enjoyed nature walks with the middle child, Robin, who’s obsessed with lizards.)

Abrams finished her contributions to her debut album on September 7th, her twenty-third birthday, for which the Dessner children made her an original song and performed it on string instruments. “It’s the lead single,” Abrams jokes.  

Abrams hasn’t missed the online discourse regarding nepotism — a conversation that came to a head in New York magazine’s December 2022 “nepo baby” cover. (The issue classified Abrams as an “on the come-up” nepo baby.) Abrams says she doesn’t find the term insulting, and stressed that she understood the conversation: “Obviously we can’t control where we are born into, and there are a million visible and even more invisible advantages to having family members who are in any entertainment industry,” she says. “I know how hard I work, and I know how separate I’ve kept [my parents] from every conversation about anything careerwise, but of course you can understand what it looks like from the outside.”

Having a mutual friend in Dessner, Swift and Abrams met when the superstar asked Abrams about coming out to a party. “She texted me out of the blue like two Christmases ago. Like, ‘hey, it’s my birthday.’ I was like, ‘I know,’” Abrams says. “She’s one of the brightest lights ever, a writing genius, an artistic genius, angel from above.”

While going through her horror-film inspired thoughts on Swift’s “I Know Places,” Abrams and I agree that 1989’s closer “Clean” might be the album’s best song. Abrams speaks on Swift with an intense admiration, peppering our conversation with little fun facts. “You know Imogen Heap worked on that song?” Abrams asks me (I did not). “Both of them are obviously bucket list collaborators, so seeing them work together I was like, “Fuuucckkk.”

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These days, Abrams spends her time rehearsing — in a couple of months, she’ll begin her 30-date opening act set on Swift’s The Eras Tour while concurrently playing behind the album on her own Good Riddance tour. “Bedroom pop” just got a big upgrade.

“I feel really more grateful than I ever have for what songwriting has provided me just as a person outside of music,” Abrams says. “I grew up using it as a tool to process shit but like…to have done it and to finish something…I very much felt like I had kind of done the grieving and really let go of what I needed to.”

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Gracie Abrams: The Good Riddance Tour

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Gracie Abrams, Writer in the Dark

By P. Claire Dodson

Photography by Emily Malan

An eerily sketched, grayscale Gracie Abrams is half-submerged in a lake in a poster for her new album Good Riddance; flowers and plant ephemera are splashed through her hair, and her expression is inscrutable.

“That's how I feel,” Gracie tells  Teen Vogue over Zoom in the days before the album comes out in February, one of three interviews we’ll have to trace the months that took the 23-year-old singer-songwriter from a Los Angeles winter in her bedroom to a headlining U.S. tour to opening for Taylor Swift in stadiums around the country. “Constantly half-submerged.”

Her brother Henry  designed the poster for the album era — it’s an intimate record about regret, longing, and seeing yourself and other people for who they are, good and bad. With a poet’s eye, she traces ghost stories, haunted houses, echoes of past selves, and gives them a space to live inside.

Gracie is the daughter of Hollywood director J.J Abrams and producer Katie McGrath, which has led to a certain amount of pushback around her trajectory. She grew up in L.A. and attended the notable prep school The Archer School for Girls before heading to Barnard College for a year and then dropping out to move home and focus on music full time. She began putting her music on Soundcloud and building interest on Instagram, before signing with Interscope Records and releasing her first single “Mean It” in 2019. Then there’s the larger backdrop of her increased platform in the music industry over the past few years, born from bedroom pop into the kind of songwriter other songwriters love (see: Taylor Swift, Olivia Rodrigo, Rosalía, Billie Eilish, Lorde, Phoebe Bridgers). 

For all of this conversation, her music has a quiet groundedness about it. She returns often to the idea of home, singing about her parents and her brother and continuous fears that moving away or being on the road might lessen their bond. Relationships that fall apart in simple, everyday ways, and then come back together. Even as she’s taken bigger and bigger stages, the bedroom pop moniker follows her around, largely because she manages to make every space she inhabits feel close and bare. Forever a poet at her desk in the dark.

Gracie made  Good Riddance with The National’s Aaron Dessner at his Hudson Valley, New York, recording site Long Pond Studios (where Taylor Swift famously recorded  Folklore: The Long Pond Studio Sessions ).  Erlend Neumann , the architectural firm that designed the studio in 2015, once wrote that Long Pond was designed to “inspire” music creation, not simply “capture” it. Gracie gives a similar weight to the studio’s influence on the album; Long Pond is a character on  Good Riddance , an environment pivotal to the music Gracie and Aaron made together. “That space very much seeped into the album,” she says.

She’s conscious that she’s building a world here. Fans flock to the poems she’ll post snippets of on Instagram: Robert Bly, Marie Howe, Mary Oliver. Oliver is a favorite. “[She] very famously writes about nature, and the fragility of that, and the beauty there,” Gracie says, mentioning an anthology of poets called  Risking Everything . She’s drawn to their perspectives on relationships, on how they frame experiences of stillness and rapid movement. That tension exists on  Good Riddance , too, the idyllic calm of the Hudson Valley paired with Gracie’s intense travel schedule as she’s toured consistently for the past year. She wrote so much of the album sprawled on the studio floor, lying on her stomach, writing on the rug. 

“I would find myself rolling around there, writing lyrics, and often, surrendering to the feelings and feeling very held, physically, by the studio,” she says. Her voice is less whispery when she’s talking, delivers phrases with thoughtful pauses and visible commas. The lyrics she wrote were often things she never got to say to the people she hurt, or who hurt her. “It was this confessional space, and it served the vulnerability so much. Such a beautiful place to be in pain.”

Good Riddance begins with personal accountability and ends with a moment of satisfaction:  I feel like myself right now.  In February, Gracie seems still to exist in that place of self-possession, a year after she wrote the song. When she and Aaron made “Right Now” in the studio, they played around with a droning sound that undercurrents the track, overlaid with a repeated piano melody. “It felt like this very expansive place, to put down a lot of these details, that felt very relevant at the time, and still do,” she says. The resulting song is paced slowly, taking its time to build to the refrain, which feels less like a true pop chorus than a reassurance of some consistent feeling. “Especially as I'm about to go on tour again, because a lot of that was written about the homesickness, and the distance.”

The Good Riddance Tour, which she’ll set out on in a couple weeks, is  only her second headlining tour, following last year’s stint for  This Is What It Feels Like . She was anxious last time, but now, there’s pure excitement.

One reason for the mindset shift is the way the album was created — live instruments, constant collaboration “like a bouncy ball,” a sense that certain songs (like “This Is What the Drugs Are For”) were just meant to be played with Gracie as the frontwoman for a band. Overwhelmingly, a sense of fun.

Another reason, perhaps, is the growth of moving into that mid-20s period of your life, eschewing some of those old insecurities and learning more about everything you and don’t know about yourself and other people.

“I feel like the days when I felt the most amount of joy, even through challenging periods, are when I have held everything more lightly,” she says. “I'm enjoying the kind of openness with which I've been living my life recently, and a lot of that has been working through the desire to control things, or certain anxieties, that I felt dictated my ways of being in the past. A lot of what got me through those habits was going on tour, and realizing how you have to be okay with rolling with the punches. Otherwise, everything is going to feel deeply terrifying, and maybe an inconvenience, and there's so much you can't control.”

The Headlining Tour

It’s a few hours before Gracie Abrams’s show at Irving Plaza in New York City, and she’s gathered a group of mostly young people in front of the stage. They’re curious about what she reads, how she writes, what she thinks of the fact that she’ll soon be on tour with Taylor Swift. What advice do they have for young songwriters? She urges them to journal, to keep “an archive of feelings.” They sing a couple songs together, forerunning the night’s setlist. 

In the green room upstairs, reflects on the meet-and-greet. “They didn't get into much about their own personal lives today, but sometimes it ends up being a full debrief, which is a lot of fun for me,” she says, settling into a chair. “On the receiving end, I'm like, ‘Yes, tell me everything about your life.’"

She takes a clear joy in crafting the fan experience, down to the songs she chooses to play before she goes on stage. It’s become something of a Gracie show rite of passage to  scream along to Lizzy McAlpine’s TikTok hit “Ceilings,” for example; at one show,  Lizzy herself sits in the audience , and Gracie’s fans direct their voices up to her from the floor. The playlist is Gracie’s way of defining the space once more. “It's a two-hour playlist with songs in [the] world [of the album] that I think really bring everyone together even before anything has gone down. It's so much fun to be in the green room and hear screaming. It's hysterical.”

Her excitement for the tour proved to be correct — the vibes feel different for her, her bandmates, and the crew this time around. “I feel so much more comfortable and safe to take chances and improvise,” she says. The space feels “trustworthy”; there’s more of a closeness. “I think that translates on off days too.”

And there are off days. When we speak, she mentions her voice started getting tired the previous day. (Her tour go-tos include Throat Coat tea and bottle of honey.) That night, her voice begins to go out near the end of the set; by the time she performs at Brooklyn Steel the next day, she’s on vocal rest during soundcheck. She communicates with fans via voice-to-text on her phone through a mic — you can  hear their scattered laughter at the automated voice explaining the names of song titles.

But there are also days that bring everything together for Gracie, like when  she sings her unreleased song “Abby” to her cousin Abby in Boston. 

“I literally cried. I never cry [on stage],” Gracie says. “She's like my sister. She's one of my best friends. She drove from school with her friend and she was just literally directly above me. I didn't tell her I was playing it, but I could just see her hysterical. I was like, I'm going to lose it if I look at you. But it just felt so nice to be in the same room.” 

She thinks about the ways a concert space brings all these people together. Her friends, her family, her fans, the friends and family of the band and the crew. “We're all going through our own shit all the time. To be able to convene in this way… . I don't know that many circumstances that bring together a group of strangers like that. It's a sweet thing.”

We turn briefly to the Eras Tour, which she’ll join in a couple weeks to open for Taylor Swift. Gracie can barely speak on it for the anticipation, for how big and wondrous it feels already.

“I'm hoping Clean appears,” she says. A manifestation.

The Taylor Swift of It All

On April 1, 2023, Gracie Abrams takes the stage at AT&T Stadium in Arlington, Texas, and feels disbelief. A bizarre magic, the “madness” of a stadium tour, of seeing Taylor Swift perform in this era. “We were all there for the same reason,” she says. “There was this anticipatory excitement that was so palpable. It was crazy to be making sounds… out of my mouth… in front of a room that size… about anything.”

Gracie is back on the phone from Los Angeles, still processing her first Eras Tour dates as she simultaneously finishes up the last few U.S. spots on her headlining tour. The opening set goes by quickly — in 20 minutes, she performs a sampler of four songs meant to introduce herself over and over again to an audience who is still filtering in through the stadium entrance. 

She recalls looking to the audience closest to her, really looking them in the eyes, in order to stay present. “Otherwise I think I would only be able to think about how I’m playing on the same stage as my favorite artist in the world, and she’s granting me that opportunity, and how did life get from being 10 years old and crying to her music in my room to being on this stage and celebrating her career in this way?”

You can imagine how Gracie might have felt when Taylor dedicated one of her surprise songs that night to Gracie — “Clean” from  1989 , a song about finally emerging from a tumultuous relationship, wholly yourself once more.

“I don’t think I realized the scale at which that one means something to everyone,” Gracie says. “That’s the thing about Taylor’s music. When one of her songs lands in a specific place in your life, it feels like you’re the only person in the world who has that extreme of a connection to the song. I felt so grateful to hear it in that way, so stripped and raw. That song has been kind of a constant security blanket since it came out. I have so many little memories listening to that song at times when I needed it. To hear her so thoughtfully dedicate it, I was like, ‘I could die now and be totally thrilled.’”

Of course, she was inspired by Taylor as a performer. “I can’t begin to express how immediately moved I was and really energized at the idea of maybe one day being able to make spaces that scale feel as intimate as she can,” Gracie says. But she expresses a kind of human awe at the “superpower” of bringing tens of thousands of people into this joint out-of-body experience. It’s a feeling of euphoric fandom, of being alive at this moment together. Less about future imitation, more about basking in the glow of something as wild as this and relishing every minute of it.

The Writer in the Dark

“I feel like I’m learning a lot across the board right now,” Gracie says, reflecting on all of this touring. She’s now at the point of growth once more, not just the anticipation of growth or the reward of past movement.

She’s been thinking about her voice, and vocal rest, and caring for her health. “I feel like I’m trying to figure out healthy ways to do [this career], and do it with longevity in a sustainable way. I do have to spend time on vocal rest, which is so embarrassing, but it works,” she says. “It makes me feel like an asshole, but it’s literally been helpful. I was also made aware that Taylor also utilizes vocal rest. Maybe I’m on the right track, if the queen does it, I feel less dramatic for taking care of myself.”

It’s one of many steps she’s been taking over the past couple years to unlearn her bad habits, to figure out where she should put her focus, to let herself shift over time. She sees everything Taylor Swift-related on the internet, but she tries hard to avoid reactions to her own work, good or not so good. 

“It's just working on boundaries, and self-preservation and protection,” she says. “I think it's obviously an abnormal, pretty unnatural thing to be available to so many strangers, in the way that you are, when you choose to share your feelings through music, or any medium. Everyone's allowed to have their own opinions, which I totally respect, but I think it's also why I don't tend to go seek those out. I definitely feel like I have a thicker skin now than I used to, but I also am a perpetually sensitive person. I don't feel like it serves me, always, to know what a stranger feels about me, on any given day.”

Everything on social media is an open forum for sharing whatever opinions pop into someone’s mind; regardless of the scale you’re at as a person, public or otherwise, it’s draining. “I don't necessarily know that it's a healthy way to spend your time, reading that shit,” she says. Better to just read a poem, I suggest. “Literally. Better to read a poem, every time.”

And still, this counterbalance of letting go, and letting yourself be seen by the people you deem worthy, the people who you care about building relationships with. She’s thinking about the next album already, and how it might be shaped by the period in her life, as the last ones were shaped by her experiences.

Through the early years of the pandemic, she sometimes isolated herself in a way that wasn’t required. “I very, very, very much turned inward and didn't lean on people and didn't ask for help,” she says. “I have been really interested, in the past year and some change, in removing those walls, because there's so much light to let in, when you surrender.”

At home in Los Angeles after the headlining tour, a summer of Taylor Swift shows still lies ahead, as does the deluxe edition of Good Riddance (out June 16th). She posts an Instagram photo set in April: a coaster with the words “steady progress,” a puzzle set of  The Little Prince , a handmade sign that reads “welcome home Gracie,” a book of poems by David Whyte titled  Still Possible . Months ago, she  shared an excerpt of Whyte’s poem  “Sweet Darkness” on Instagram.

Sometimes it takes darkness and the sweet confinement of your aloneness to learn

anything or anyone that does not bring you alive

is too small for you.

Photo Credits

Photographer: Emily Malan

Photo Assistant: Keely Deleon

Photo Assistant: Elijah Akala

Retoucher: Melly Lee

Stylist: Kat Thomas

Stylist Assistant: Samantha Vita

Hair Stylist: Bobby Eliot

Makeup Artist: LoftJet

Production: Hyperion  

Art & Design Director: Emily Zirimis

Designer: Liz Coulbourn  

Senior Culture Editor: Claire Dodson  

Interim Features Director:   Alyssa Hardy

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Gracie abrams announces ‘the secret of us tour.’ get tickets today.

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The secret’s out.

Pop star Gracie Abrams just announced her 2024 ‘The Secret Of Us Tour’ in support of her upcoming second studio album that shares a name with the nationwide trek.

Midway through the run, the 24-year-old singer-songwriter is scheduled to make a stop at NYC’s Radio City Music Hall on Friday, Oct. 4.

Abrams’ headlining dates come before she reunites with Taylor Swift for the U.S. and Canada leg of her ‘Eras Tour’ from October through December. In the meantime, she can’t wait to be the main attraction on the road this fall.

“I wish I could properly express how excited I am for (‘The Secret Of Us’) shows,” Abrams shared via Instagram . “The whole time we were writing the album, all I could think about was being in the same room as you — playing these songs, collectively screaming and dancing and also maybe crying for fun.”

She’ll be joined by special guest Role Model at 17 of the 18 dates on the nationwide jaunt.

And if you want to join her too, tickets are available for all upcoming ‘The Secret Of Us Tour’ dates as soon as today.

Fans can purchase tickets for all upcoming shows on sites like Vivid Seats; the official on-sale is Friday, June 7.

Vivid Seats is a secondary market ticketing platform, and prices may be higher or lower than face value, depending on demand.

They have a 100% buyer guarantee that states your transaction will be safe and secure and will be delivered before the event.

Gracie Abrams tour schedule 2024

A complete calendar including all ‘The Secret Of Us Tour’ dates, venues, and links to buy tickets can be found below.

*Role Model is not performing with Abrams on Oct. 10.

Gracie Abrams ‘Eras Tour’ dates

Right after Abrams wraps her ‘The Secret Of Us Tour,’ she’ll team up with Taylor Swift on the final leg of the 2023-24 ‘Eras Tour.’

Want to see the two pop icons together?

Here are the 18 dates where Abrams will serve as Swift’s special guest this October through December:

Gracie Abrams set list

Abrams’ ‘Good Riddance Tour’ came to a close in Melbourne, AU on Jan. 22 this year.

While she’ll likely incorporate “The Secret Of Us,” into the upcoming trek, here’s what she took to the stage that evening, courtesy of to Set List FM .

“01.) “Where Do We Go Now?” 02.) “This Is What the Drugs Are For” 03.) “21” 04.) “Block Me Out” 05.) “I Should Hate You” 06.) “Friend” 07.) “I Know It Won’t Work” 08.) “Full Machine” 09.) “Amelie” 10.) “Everywhere, Everything” (Noah Kahan cover) (Without Noah) 11.) “Difficult” 12.) “Camden” 13.) “Fault Line” 14.) “Best” 15.) “Feels Like” 16.) “Maroon” (Taylor Swift cover) 17.) “Mess It Up” 18.) “405” 19.) “In Between” 20.) “Stay” 21.) “minor” 22.) “I Miss You, I’m Sorry” 23.) “Right Now”

Gracie Abrams new music

Abram’s second studio album “The Secret Of Us” hits shelves on June 21.

Thus far, J.J.’s daughter has released the track list (which teases a feature spot from Swift on the song “I Love You, I’m Sorry”) as well as the lead single “Risk.”

Clocking in at a little over three minutes, “Risk” quietly builds from a sensitive, folk song into an impassioned, sped-up anthem with a singalong chorus built in for good measure.

Want to give it a spin?

You can find “Risk” here .

Tucker Harrington Pillsbury aka Role Model will be at Abrams’ side for 17 of the 18 gigs this September and October.

For those that aren’t familiar with his sound, think sunny, formally inventive guitar pop similar to Dominic Fike, Still Woozy, and Khalid.

Sound like you need to do a deep dive?

Check out Role Model’s discography here .

Huge stars on tour in 2024

Many major acts are taking their hits on the road these next few months.

To keep you in the loop, here are just five of our favorites you won’t want to miss live.

•  Olivia Rodrigo

• Tate McRae

• Chappell Roan

•  Conan Gray

•  Niall Horan

Who else is out and about? Take a look at our list of the 50 biggest concert tours in 2024 to find out.

Why you should trust ‘Post Wanted’ by the New York Post

This article was written by Matt Levy , New York Post live events reporter. Levy stays up-to-date on all the latest tour announcements from your favorite musical artists and comedians, as well as Broadway openings, sporting events and more live shows – and finds great ticket prices online. Since he started his tenure at the Post in 2022, Levy has reviewed Bruce Springsteen and interviewed Melissa Villaseñor of SNL fame, to name a few. Please note that deals can expire, and all prices are subject to change.

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Green Day add some more Saviors songs into current tour setlist

From 34 songs on the first night to a whopping 37 yesterday in France, Green Day’s Saviors Tour now includes a few extra tracks from this year’s album of the same name!

A week on from kicking off The Saviors Tour, Green Day have already made some exciting setlist tweaks.

Following a couple of absolutely mega festival sets in Spain, the trio headed to the LDLC Arena in Lyon, France last night (June 5) to properly start their own headline portion of the tour.

And while they kept the bulk of their original 34-song setlist the same – including full run-throughs of Dookie and American Idiot – they also added several big-hitters from this year’s 14th album Saviors (which is handy, given the tour is named after that record, and fans had been calling for more of this fantastic new material).

After opening with The American Dream Is Killing Me and then going straight into all of Dookie , a six-song break between their 1994 and 2004 classic LPs saw Billie Joe Armstrong and co. yet again play Know Your Enemy, but then go into a Saviors segment of all the singles: Look Ma, No Brains!, One Eyed Bastard, Dilemma and Bobby Sox.

Then, everything that came after was once again the same – Brain Stew, into American Idiot in full, before a two-song encore of Minority and Good Riddance (Time Of Your Life). So that now makes this set a whopping 37 songs long!

Speaking to K! late last year about the tour and their setlist plans, bassist Mike Dirnt enthused, “I’m excited about the fact that people are excited about Dookie and American Idiot’s anniversaries. I mean, the fact that we’re launching a new record at the same time as those albums having their anniversaries is a strange anomaly, but also really awesome. And it gives us an opportunity to put together one hell of a show. We can deviate from it – we can do whatever we want to do – but, man, there’s a lot of friggin’ fun songs to play!”

Check out the incredible LDLC Arena setlist below:

1. The American Dream Is Killing Me

2. Burnout 3. Having A Blast 4. Chump 5. Longview 6. Welcome To Paradise 7. Pulling Teeth 8. Basket Case 9. She 10. Sassafras Roots 11. When I Come Around 12. Coming Clean 13. Emenius Sleepus 14. In The End 15. F.O.D. 16. All By Myself (orchestral version)

17. Know Your Enemy 18. Look Ma, No Brains! 19. One Eyed Bastard (tour debut) 20. Dilemma 21. Bobby Sox (tour debut) 22. Brain Stew

American Idiot

23. American Idiot 24. Jesus Of Suburbia 25. Holiday 26. Boulevard Of Broken Dreams 27. Are We The Waiting 28. St. Jimmy 29. Give Me Novacaine 30. She's A Rebel 31. Extraordinary Girl 32. Letterbomb 33. Wake Me Up When September Ends 34. Homecoming 35. Whatsername

36. Minority 37. Good Riddance (Time of Your Life)

Check out some fan-shot footage from Lyon below:

Get your tickets to see Green Day on The Saviors Tour throughout 2024.

Read this: Green Day: “We’re not going anywhere… and we’re just getting better!”

Check out more:

Now read these.

Billie Joe Armstrong, Bruce Springsteen and more have covered Jesse Malin songs for a new benefit album

All proceeds from the Silver Patron Saints tribute album – which features everyone from Billie Joe and Springsteen to Tom Morello and Rancid – will go to Jesse Malin’s Sweet Relief artist fund.

Green Day and Dickies team up for Dookie capsule collection

The 30-year anniversary celebrations of Dookie are rolling on, with Green Day announcing a limited-edition capsule collection with Dickies.

Green Day: Here’s the setlist from the first night of The Saviors Tour

Dookie in full… American Idiot with a massive heart grenade… a whopping 34-song setlist… yep, Green Day’s epic Saviors Tour is here!

Green Day officially launch their very own Punk Bunny Coffee

It’s the “first thing” drummer Tré Cool thinks about every morning, and now Green Day fans can also power up for the day via the band’s newly-launched Punk Bunny Coffee.

Everton manager Sean Dyche says everyone should see Green Day: “I don’t care what music you’re into, just buy a ticket”

See Everton’s Sean Dyche rave about all the gigs he’s been to – from The Hives to Foo Fighters – as well remembering the time Stuart Pearce “bullied” him into seeing Green Day.

Green Day’s Dookie has been inducted into the National Recording Registry

A couple of months on from the album’s 30th anniversary, the Library of Congress has just selected Green Day’s Dookie for the 2024 National Recording Registry…

Watch Green Day perform Basket Case with original demo lyrics

At last night’s iHeartRadio Music Awards, Green Day played a two-song medley of Bobby Sox and Basket Case – but with a twist…

LØLØ unveils wonderful acoustic cover of Boulevard Of Broken Dreams

Watch LØLØ cover Green Day’s Boulevard Of Broken Dreams – one of the band’s classic singles taken from her “favourite album of all time, no doubt”.

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Three Days Grace

• September 28, 2014 Setlist

Three Days Grace Setlist at Stadium Live, Moscow, Russia

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Tour: Belarusian-Russian Tour 2014 Tour statistics Add setlist

• Song played from tape Killing in the Name ( Rage Against the Machine  song) Play Video
• Song played from tape Bang Bang (My Baby Shot Me Down) ( Nancy Sinatra  song) Play Video
• Just Like You Play Video
• Chalk Outline Play Video
• Painkiller Play Video
• Break Play Video
• The High Road Play Video
• Let You Down Play Video
• Pain Play Video
• Home ( Extended outro ) Play Video
• Drum Solo Play Video
• Misery Loves My Company Play Video
• World So Cold Play Video
• The Good Life ( With The Beautiful People (Marilyn Manson song) Intro ) Play Video
• I Hate Everything About You Play Video
• Break Stuff ( Limp Bizkit  cover) Play Video
• Animal I Have Become Play Video
• Never Too Late Play Video
• Riot Play Video

Edits and Comments

4 activities (last edit by valeo1993 , 29 Sep 2014, 20:39 Etc/UTC )

Songs on Albums

• Animal I Have Become
• Never Too Late
• I Hate Everything About You
• Just Like You
• Let You Down
• The Good Life
• World So Cold
• Chalk Outline
• Misery Loves My Company
• The High Road
• Break Stuff by Limp Bizkit

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Stadium Live

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Three Days Grace Gig Timeline

• Sep 24 2014 Tele-Club Yekaterinburg, Russia Add time Add time
• Sep 27 2014 Milo Concert Hall Nizhniy Novgorod, Russia Add time Add time
• Sep 28 2014 Stadium Live This Setlist Moscow, Russia Add time Add time
• Sep 29 2014 Grad Event Hall Voronezh, Russia Add time Add time
• Oct 01 2014 Arena Hall Krasnodar, Russia Add time Add time

31 people were there

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[url=https://www.setlist.fm/setlist/three-days-grace/2014/stadium-live-moscow-russia-2bcf78f2.html][img]https://www.setlist.fm/widgets/setlist-image-v1?id=2bcf78f2[/img][/url] [url=https://www.setlist.fm/edit?setlist=2bcf78f2&amp;step=song]Edit this setlist[/url] | [url=https://www.setlist.fm/setlists/three-days-grace-33d6bcd9.html]More Three Days Grace setlists[/url]

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Marquee memories: quarters of change.

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THE TORTURED POETS DEPARTMENT: THE ANTHOLOGY

In the 18 months after Taylor Swift released Midnights, it often felt as though the universe had fully opened up to her. The Eras Tour was breaking records and blowing past the billion-dollar mark; its attendant concert film became the highest-grossing of all time. She generated interest and commerce and headlines everywhere she stepped foot, from tour stops to the tunnels of NFL stadiums. In 2023, she was named both TIME magazine’s Person of the Year and—just as iconic, tbh—Apple Music’s Artist of the Year. But do songs about that level of success speak to you? As the news broke that her highly private six-year relationship to Joe Alwyn had ended, Swifties started Swiftie-ing, quickly recirculating a clip on social media of Swift a few weeks earlier, onstage during an early Eras show, in tears as she sang “champagne problems”—a song she and Alwyn had written together. It was a reminder that, despite the superhero-like aura she now radiates, Swift, at her peak, still hurts like the rest of us. What sets her apart is her ability to sublimate that pain into pop. When she announced her 11th studio album in early 2024—while accepting another Grammy, as one does—we probably shouldn’t have been surprised. “I needed to make it,” she’d say of THE TORTURED POETS DEPARTMENT a few weeks later, to a crowd of—[rubs eyes]—96,000 in Melbourne, Australia. “I’ve never had an album where I’ve needed songwriting more than I needed it on TORTURED POETS.” Working again with trusted collaborators Jack Antonoff and Aaron Dessner, she returns to the soft, comfortable, bed-like sonics of Midnights. But the stakes feel noticeably higher here: This isn’t so much a breakup album as it is a deep-sea exploration of everything Swift has been feeling, a plunge through emotional debris. On “But Daddy I Love Him”—over strings and guitar that faintly recall her country roots—she lashes out at the crush of scrutiny and expectation she’s been subject to from the start. Naturally, catharsis comes after the chorus: “I’ll tell you something right now,” she sings. “I’d rather burn my whole life down than listen to one more second of all this bitching and moaning.” On “Florida!!!” she and Florence + the Machine team up for a pulpy escape fantasy wherein they Thelma and Louise their way down to the Sunshine State in hopes of starting over with new lives and identities: “Love left me like this,” they sing. “And I don’t want to exist.” At turns hilarious and heartbreaking, TTPD is a study in extremes, Swift leaning into heightened emotions with heightened, hyperbolic, ALL-CAPS language and imagery—how we think when we’re drunk on love or flattened by its sudden disappearance. Note the dark humor she weaves through the Post Malone-enriched opener “Fortnight” (“Your wife waters flowers/I wanna kill her”). Or the thrilling self-deprecation of “Down Bad,” a foray into science fiction wherein Swift likens the warmth of a relationship to being abducted by love-bombing extraterrestrials—only to be left “naked and alone, in a field in my same old town.” But this remains her most candid and unsparing work to date: As a listener, you frequently get the feeling that you’ve stumbled across emails she’d written but never sent, or into conversations you were never meant to hear. There’s a density and a specificity and a ferocity to her lyrical work here that makes 2012’s “All Too Well” feel sorta light by comparison. If you’re the kind of Swiftie who likes to live in the details, well, this one might be your Super Bowl. “You swore that you loved me, but where were the clues?” she asks on the devastating “So Long, London,” a high point. “I died on the altar waiting for the proof.” Alone at a piano on the haunting “loml,” she flips the script on someone who’d told her she was the love of their life, by telling them that they were the loss of hers: “I’ll still see it until I die.” The story, as you likely know, doesn’t end there. We get a glimpse of new beginnings in “The Alchemy” (“This happens once every few lifetimes/These chemicals hit me like white wine”) and something like triumph in the montage-ready synths of “I Can Do It With a Broken Heart,” when Swift, shattered on the floor, “as the crowd was chanting, ‘More!’,” still finds the strength to deliver: “’Cause I’m a real tough kid and I can handle my shit.” But we also get a sense of acceptance, of newfound perspective. On “Clara Bow”—named after a 1920s movie star who was able to survive the jump from silent film to sound—Swift reflects on the journey of a small-town girl made good, sung from the vantage of an industry obsessed with the next big thing. She zooms out and out and out until, in the album’s closing seconds, she’s singing about herself in the third person, in past tense, acknowledging that nothing is forever. “You look like Taylor Swift in this light, we’re loving it,” she sings. “You’ve got edge she never did/The future’s bright, dazzling.”

April 19, 2024 31 Songs, 2 hours, 2 minutes ℗ 2024 Taylor Swift

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