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CLARITY: PHOENIX SESSIONS 2-LP ANNOUNCED

The limited edition two-LP (Exotic Location Recordings) set was recorded live at the Icehouse art studio and warehouse in 2021 will now be available for the first time on vinyl. The two- LPs are pressed on translucent sun-kissed colored vinyl and the gatefold package includes never before seen photos by Steve Thrasher and personal notes from each band member.

This Phoenix Session of Clarity is our best attempt to play the album faithfully as who we are today. I would like to think we’ve learned a thing or two over since 1999. We’re grateful for the opportunity to document where the songs are now. And, thanks for coming along with us for the ride.

How we play songs evolves over time. One person adds an embellishment and then the next night someone else picks up on it and adds their thing with it. It becomes more or less cannon. The music from Clarity has had a couple decades of drifting around. Never getting into something we would describe as experimental. But definitely less representative of what we recorded back in 1998-ish. We were pretty sure we’d never have the resources to record “for real” again, so we threw everything we could think of into the recording of those songs.

Happy 25th Anniversary to Clarity!

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Jimmy Eat World

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It Just Takes Some Time: The Story Of Jimmy Eat World's Breakthrough 'Bleed American' At 20

On their fourth strike, 'Bleed American,' Arizona quartet Jimmy Eat World simplified their sound, swung for the fences, broke into the mainstream, and opened the doors for a new generation of alternative and pop-punk bands

Second chances are hard to come by in the music business, and the 1990s alt-rock gold rush was no different. For every Pearl Jam and Stone Temple Pilots success story, there were bands like Fig Dish and For Love Not Lisa, whose albums failed to launch.

And yet there was Jimmy Eat World , an emo-punk band scooped by Capitol Records right out of high school in '95 only to be dropped after two albums in. Fast-forward to 2002, and the band is performing their breakout hit, "The Middle," on "Late Night with Conan O'Brien." Then "The Tonight Show with Jay Leno." Then "Saturday Night Live." The song's uplifting lyrics—"Don't write yourself off yet ... It doesn't matter if it's good enough / For someone else"—sound almost like a masterclass in self-motivational life lessons.

"The Middle," from Jimmy Eat World's fourth album, Bleed American , which celebrates its 20-year anniversary this month, shot to the Top 5 on the Billboard Hot 100 all-genre chart and made the four then-twentysomethings from Mesa, Arizona, darlings of late-night TV and MTV. While it's easy to read into the lyrics two decades later, the song wasn't written as a kiss-off to their former label. But it was the ultimate about-face, the "phoenix-like rising from the ashes of being dropped," as Steve Martin of Nasty Little Man, who orchestrated the publicity campaign for Bleed American , puts it.

"Where they had gotten in their development, and the musical zeitgeist of the time, were just so aligned," Martin tells GRAMMY.com. "Even if they hadn't been [aligned], it was such an undeniable collection of songs."

For Bleed American , the band went for simplicity. While the album peppered elements from their previous releases—the barbed post-punk guitar riffs from the band's 1996 album, Static Prevails , giving the title track its teeth, the jangly atmospherics from Clarity (1999) chiming in the background of "Hear You Me" and "Cautioners"—the scaled-back approach marked a significant change to their sound. Still, the songs on Bleed American are also front-loaded with hooks that get straight to business: The band reaches both the bludgeoning chorus of "Bleed American" and the bouncy singalong of "The Middle" in 35 seconds flat.

"I think I started finally getting Bruce Springsteen and the Everly Brothers after we made Clarity ," lead vocalist and guitarist Jim Adkins says. "I started recognizing that simpler construction, simpler arrangements, [the] everything-you-need/nothing-you-don't type of songwriting is actually really, really challenging and worth pursuing."

Before they made Bleed American , though, they had to get out of their contract with Capitol. Adkins estimates the band sold maybe (his emphasis) 10,000 copies combined of Static Prevails and Clarity . The pairing was a mismatch, according to the band. The label treated Jimmy Eat World like a development project, while Adkins says Capitol was set up to "drop the hammer on the thing that's moving 15,000 to 30,000 [records] a week." So, when the label dropped them in 1999, it was a relief. It was also a chance to rebuild.

In reality, the band simply continued with business as usual. They were already operating as their own European distributor, buying copies of Clarity at wholesale prices from the college department at Capitol and shipping them to Germany; the move paid off when 400 people showed up to their first gig in the country, as Jimmy Eat World were touring to save up money to record Bleed American . Toward that end, they also released Singles , a compilation of their seven-inch singles and one-offs, on the now-defunct independent label Big Wheel Recreation in 2000.

With demos of new songs like "Sweetness" circulating online and in industry channels, the band settled in at Cherokee Studios in Los Angeles with producer Mark Trombino, whose confidence in the band was so high, he waived his fee until the group worked out a new label deal. And sure enough, representatives from major labels began showing up at their recording sessions to see what the buzz was all about.

"It was a very welcomed change," drummer Zach Lind says. "You go from feeling kind of like the red-headed stepchild to being in a position where you have a little bit of leverage, whereas before, we didn't really have any leverage."

Jimmy Eat World 2.0 signed with DreamWorks, an artists-first label created by music industry veteran David Geffen with filmmakers Steven Spielberg and Jeffrey Katzenberg, whose roster also included Elliott Smith , Morphine and Eels. Retooled with a new label, new management, and their new album's title track as the first single, the band hit the promotion circuit hard in the summer of 2001, playing dates on the Warped Tour as well as headlining club shows.

"When 'Bleed American' started happening, things changed quickly," bassist Rick Burch tells GRAMMY.com. "The venues got bigger. We weren't driving ourselves in the van anymore; we had a bus driver and a bus, so we could do far more gigs for a longer stretch, and we were playing in front of more people than we ever had before."

The terrorist attacks of September 11, 2001, changed all that. Although the song was doing well on alternative radio, "Bleed American" "just fell off the face of the Earth" after 9/11 happened, according to Lind.

As Americans regrouped in the aftermath of the world-changing event, so, too, did Jimmy Eat World. They rechristened the album as Jimmy Eat World and transitioned to pushing "The Middle," which was on deck as the second single.

Written in response to a fan email sent to the band's Aol. account in the '90s, "The Middle" addresses themes like alienation and low self-confidence. Its perspective outlines a position of rallying and understanding how someone's teenage years are only a small part, e.g. "the middle," of a person's journey. Radio embraced "The Middle," but what really put the song over the top was the video and its subsequent spins on MTV's "Total Request Live" countdown show.

Paul Fedor, who directed the music video for "The Middle," pitched the theme: A classic dream sequence where you show up to school, work—or in this case, a house party—naked. But in this instance, the roles are reversed. The protagonist shows up to a party fully clothed, while his peers dance and cavort in their underwear. Just as he succumbs to peer pressure, he meets someone just like him. It was a simple concept, but it could have easily gone wrong.

"I think we just decided, 'Let's lean into this and do it and make sure it's done right,' make sure it's not overly gratuitous or inappropriate in a way that feels creepy," drummer Lind says. "So, we tried to thread that needle. I think there was a little bit of apprehension, but once we decided to go down that road, and once we were done with it, we felt really good about it."

As their popularity rose, Jimmy Eat World's touring schedule broadened. They played the main stage at several European festivals to a "sea of humanity," according to Burch, and recorded a sold-out performance at the 9:30 Club in Washington, D.C., for the Believe in What You Want DVD. The touring bubble insulated them from seeing just how big things had gotten.

"We were just touring, and it all felt like kind of the same way it felt working with Capitol," frontman Adkins says, "[like] we were totally getting away with something. 'This isn't real. We're just taking the ride for the funny stories while we have the chance.' It didn't sink in that, 'Oh, wait, this is actually connecting with people. This is something that is really getting out there.' It wasn't until maybe a record later or two records later we realized actually how big it was."

In summer 2002, as the album's third single, the fan-favorite "Sweetness," peaked at No. 2 on Billboard 's Alternative Airplay chart, Jimmy Eat World signed on to open the Pop Disaster Tour co-headlined by Green Day and Blink-182 . The two-month jaunt grossed $20 million at amphitheaters and arenas, according to Billboard , and the bands wasted no time in hazing each other.

"We hired some male strippers to storm [Blink-182's] stage during their song 'All the Small Things,'" bassist Burch remembers, with a laugh. "The audience just loved it. They thought it was part of Blink's act, and the Blink guys loved it, too. We actually ended up helping them, giving them a cool element to their set that everyone was stoked with. It wasn't distracting to them at all."

Green Day, however, flexed their "vast resources" mercilessly. "When they came out on stage, the first thing they did was shoot super soakers," Burch recalls. "The next layer was boxes of dehydrated mashed potatoes. [When you] combine that with the water, it turns into glue." Then their crew deployed Ping-Pong balls and glitter bombs from the overhead lighting trusses.

"That starts raining down," Burch adds, "and when the glitter meets the mashed potato glue, it's a very strong bond. Even to this day, there's bits of glitter adhered to the guitar I was playing."

When the dust, and some of the glitter, settled on their nearly two-year campaign for Bleed American , the members of Jimmy Eat World had come home to platinum plaques and an album that continues to rank high on "best of" lists; readers of Rolling Stone voted the album one of the 10 Best Pop-Punk Albums of All Tim e . Bands tagged with the "emo" label in the years that followed, like Panic At the Disco , All Time Low and Fall Out Boy , owe a big debt to Jimmy Eat World for crashing the gate to mainstream acceptance.

"The way that Bleed American just opened doors for us was maybe one of the most satisfying experiences of my life," Lind reflects. "In the wake of all the frustration and banging our head against the wall at Capitol, it just felt like everything aligned perfectly, and I think we were lucky to be able to experience that in that way, because I don't think a lot of people get that moment in their life."

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Twenty One Pilots' Road To 'Clancy': How The New Album Wraps Up A Decade-Long Lore

Three years after 'Scaled and Icy,' Twenty One Pilots' seventh studio album is here. Dig into the rock duo's journey to 'Clancy,' and how it further showcases their knack for vivid world-building.

Long before Twenty One Pilots developed a cult following, the Columbus, Ohio natives were determined to not be put into a box. From their first EP, 2009's Johnny Boy , they've blended elements of emo, rap, alt-pop, electronica, incorporating hardcore and hip-hop into their shows. "No one knew where to put us," drummer Josh Dun told USA Today in 2014. "But we've approached live shows as a way to build something from nothing."

In the decade since, the band's sheer determination and eclectic onstage personality have made them one of the biggest rock groups of their generation. They're equally as spontaneous and intriguing in their music, building an entire world through dynamic soundscapes and visuals — and their new album, Clancy , ties all of it together.

As the band revealed in a press release upon announcing the album in March, Clancy "marks the final chapter in an ambitious multi-album narrative" that began with Blurryface in 2015. But it certainly doesn't feel like an ending; Clancy further expands on the theatrical style and eclectic sound they've showcased from the start, offering both a resolution and an evolution.

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While the makings of the signature Twenty One Pilots aesthetic began with its original formation as a trio — lead singer Tyler Joseph and his friends Nick Thomas and Chris Salih — it truly took shape when Dun replaced Thomas and Salih in 2011. Dun and Joseph had a common goal to re-formulate the way songs and shows were crafted; the drummer utilized samples and backing tapes at their gigs, helping the band dive deeper into their alternative style by fusing everything from reggae to pop together.

As a newly formed duo, Twenty One Pilots issued their album Regional at Best in 2011 — their last release before they signed to a major label (though, as they told Huffpost in 2013, they since consider the record a "glorified mixtape"). After significant social media buzz and selling out a show at Newport Music Hall in Columbus, the duo was courted by a dozen record labels, which set the stage for their big break.

"We went from no one in the industry caring to all of the sudden it was the hot thing for every label, independent and major, to be interested in some way," Joseph told Columbus Monthly in 2012 upon signing to Fueled by Ramen, which the singer said they were drawn to because they were able to retain "creative control" — a factor that would become increasingly more important with each release.

Their 2013 album Vessel — which featured a combination of new and re-recorded songs from Regional At Best —spawned the band's first charting single, "Holding On to You," a rap-meets-pop track that oscillates from sensitive indie ballad to energetic anthem. Not only had they begun making a mark commercially, but it seemed to be the album that Twenty One Pilots felt they were hitting their stride creatively, too: "I know some people might not like this, but I kind of view Vessel as our first record," Joseph told Kerrang! at the time.

Though the character "Clancy" first came about with 2018's Trench , Twenty One Pilots actually introduced the world that Clancy would eventually live in with 2015's Blurryface , which focused on a titular character who embodies depression and anxiety. "It's a guy who kind of represents all the things that I as an individual, but also everyone around me, are insecure about," Joseph said of his alter-ego in a 2015 interview with MTV .

To convey the "feeling of suffocation" caused by insecurities from what he creates, Joseph began wearing black paint on his neck and hands in music videos and on stage to represent the "Blurryface" character. As Joseph told the Recording Academy in 2015, the "common thread" of all of the songs on Blurryface was that Joseph's alter-ego would be defeated, and each song wrestled with the dichotomy between darkness and optimism.

While Vessel kickstarted the band's commercial success, Blurryface saw their popularity explode and resulted in the band's best-selling single, the eerie rap-rock anthem "Stressed Out." The commercial success of Blurryface helped their hot streak continue into 2016 with the release of "Heathens." While the song served as the first single from the Suicide Squad soundtrack, its haunting production fits right into the world the pair had begun building with Blurryface . Their acclaim continued to grow, with Twenty One Pilots earning their first GRAMMY in 2017 for "Stressed Out" in the Best Pop Duo/Group Performance Category — and, in line with their affinity for stunts, dropping their pants as they accepted their award.

Ahead of the release of their 2018 concept album Trench , the lore surrounding "Clancy" really began. Twenty One Pilots began leaving clues for fans on a website known as DMAORG , which featured black-and-white images and letters from "Clancy," who ultimately became the protagonist of the album. Twenty One Pilots fans (often referred to as the"Skeleton Clique") began clamoring to deduce puzzling clues and posting their theories about the narrative's endgame online.

With Trench , they found more characters and a deeper narrative. The overall album depicts "a world where nine dictatorial bishops keep the inhabitants (Tyler included) of a fictional place named Dema from escaping its controlling clutches, with the help of the Banditos — a rebel organization (featuring Josh)." On a larger scale, the album grapples with mental illness, suicide and an expansion on Joseph's insecurities from Blurryface .

But Trench isn't one cohesive story; rather, it's a series of songs with clues embedded within. For instance, in "Morph," the character Nico is introduced, who is also the subject of "Nico and The Niners." From there, fans gleaned that Nico was one of nine bishops controlling the citizens of Dema, and those nine bishops were represented by each of the songs on Blurryface . The bombastic "Pet Cheetah" references that the house has vultures on the roof which alludes to it — and Joseph's home — being Dema.

As with Blurryface , visuals became an integral part of the album cycle. This time, they used them to illustrate life in the dystopian Dema, which personifies depression through the trilogy of music videos for "Levitate," "Nico and The Niners" and "Jumpsuit." While Joseph's black-painted neck and hands signaled the Blurryface era, dark green clothing marked with yellow tape signaled the Trench era. During this time, the "Clancy" character remained shrouded in mystery — though through videos and letters shared by the band, fans theorized that it is an opposing force to "Blurryface."

By the time Twenty One Pilots' 2021 album, Scaled and Icy , came around, fans quickly noticed that it paid homage to "Clancy" as an anagram for "Clancy is dead," while also acknowledging the COVID-19 pandemic as a shortened phrase for "scaled back and isolated." While Twenty One Pilots could have leaned into the harrowing events of lockdown, they instead chose to focus on what has driven the band itself, the power of imagination — something that has been behind much of the band's work since Blurryface .

With the album came three singles — the propulsive "Shy Away," the heartwrenching banger "Choker" and the funk-pop-tinged "Saturday — which were recorded when the duo was working virtually during the pandemic. Unlike the past two projects which grappled with this doomed slant, Scaled and Icy pivoted toward a sunnier sound, signaling a shift in the narrative. But it didn't mean the dark world of Blurryface and Trench were completely in the past; upon Scaled and Icy 's release, Joseph revealed to Apple Music that there would be "one more record" and "an explanation and book end" before moving onto another story.

Three years following the release of Scaled and Icy , fans began receiving letters from the "Sacred Municipality of Dema" — a reference to the fictional city featured on Trench , signaling what appeared to be a new era diving deeper into the band's lore. Since the previous record featured an anagram about "Clancy" in its title, it seemed natural that the next album would be named after the character.

"'Clancy' is our protagonist in this story we've been telling, stretched out over the last several records. 'Clancy' is the type of character who, for a long time, didn't know if he was a leader or not, didn't want to take that responsibility," Joseph told BBC Radio earlier this year .

As the singer had hinted in the Scaled and Icy era, Clancy brings fans back to the darker narrative that began with Blurryface t. After Joseph's character escapes Dema a handful of times, joins a rebellion, then is captured again, he finally has the same abilities as the bishops and aims to free the people of Dema. The album attempts to answer a few conceptual questions along the way.

Clancy 's blistering first single, "Overcompensate" is inherently hopeful, and answers the long-lingering question fans have been wondering: Who is "Clancy"? According to the psych-funk number, it's been Joseph all along (" If you can't see, I am Clancy/ Prodigal son, done running, come up with Josh Dun .") As Joseph further explained to BBC Radio , "[With] 'Overcompensate', there's a bit of a confidence and swagger in it that the character needed to embody in order to take on the new role in the story we've been telling, and Clancy is gonna rise up as that person."

But much of the album focuses less on the literal lore, instead tackling the overarching themes of its counterparts: Joseph's struggles with mental health. Despite the darker, anxious nature of the album's lyrics, the majority of Clancy has a self-assured breeziness to it, jumping off of the upbeat Scaled and Icy sound.

On the ballad-like closer, "Paladin Strait" — named after a fictional body of water off the coast of Dema —Twenty One Pilots really digs into the narrative of "Clancy" the character in a literal way again. What's revealed is the final battle between "Clancy" and "Blurryface" with no apparent winner — alluding to the idea that there is not necessarily a triumph over depression. In the final line, the band offers a callback to a lyric from Blurryface : "So few, so proud, so emotional/ Hello, Clancy."

While the ending may remain ambiguous, it may not be a coincidence that Twenty One Pilots postponed Clancy 's release date by a week (from May 17 to May 24) in order to finish filming music videos for each of the tracks, all of which were unveiled upon the album's release. So, there's still hope that fans will find out definitively what happened to "Clancy" — or maybe it means his story isn't completely finished.

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Photo of Lenny Kravitz wearing dark black sunglasses and a black leather jacket.

Photo: Mark Seliger

Feel Lenny Kravitz's 'Blue Electric Light': How The GRAMMY-Winning Rocker Channeled His Teen Years For His New Album

'Blue Electric Light' is a laser beam through Lenny Kravtiz's musical ethos: a rocking, impassioned and defiantly Lenny production. The Global Impact Award honoree discusses his first album in six years, and the flowers he's received along the way.

Lenny Kravitz is a vessel — a divining rod of creative direction.

"I just do what I'm told. I'm just an antenna. So what I hear and what I receive, I do," he tells GRAMMY.com. It's with that extra-sensory, spiritual guidance that Kravitz created his latest album, Blue Electric Light . "I just saw and felt this blue light — electric blue, almost neon light —radiating down on me."

Out May 24, Blue Electric Light is Kravtiz's first LP in six years and fittingly flits through the rocker's cosmology: Arena-ready booty shakers like "TK421" (the music video for which features the nearly 60-year-old unabashedly shaking his own booty), Zeppelin and Pearl Jam -inspired rockers like "Paralyzed," and shared humanity-focused groovers like "Human." There's plenty of '80s R&B sensibility throughout, giving Blue Electric Light a perfectly timed, timeless feeling.

It's as if Kravitz took a tour through his own discography, landing right back where he started: In high school. In fact, two of the album's tracks — "Bundle of Joy" and "Heaven" — were written when the four-time GRAMMY winner was still a teenager. While Kravitz's latest may lean into the sounds of his young adulthood, the album's underlying themes remain consistently spiritual, intimate and emotional. "My main message is what it has always been, and that is love," Kravitz told GRAMMY.com in 2018 . And by staying true to himself and this message of love, Lenny Kravitz is thriving .

"I've never felt better mentally, spiritually, and physically. I've never felt more vibrant," he says today.

Kravtiz has also had a big year. He received a star on the Hollywood Walk of Fame and, during 2024 GRAMMY week, was honored with the Global Impact Award at Black Music Collective’s Recording Academy Honors. At the ceremony, Kravtiz was lauded for his work with his Let Love Rule foundation, and his iconic discography celebrated in a performance by Quavo , George Clinton , Earth, Wind & Fire bassist Verdine White, and Red Hot Chili Peppers drummer Chad Smith.

Reflecting on his achievements, Kravitz remains humble. "Success is wonderful, but I only want success by being me and doing what it is that I'm hearing, as opposed to following something or a formula."

Ahead of releasing Blue Electric Light into the world — just a few days shy of his 60th birthday on May 26— Lenny Kravitz spoke with GRAMMY.com about revisiting his past, following his gut, and stopping to smell the flowers.

You haven't released a record in about six years. Why did you feel now was the time to put new music out, and what was inspiring you?

Well, it was just by virtue of what was going on. So I released [2018's Raise Vibration and], I toured for two years. Then COVID hits two and a half years [later]. It wasn't like I went away or wasn't inspired. I had a whole other year planned. I was going to tour for three years on that last album.

But [when] COVID happened, the world shut down and I got stuck in the Bahamas for a couple of years and a half. And so during that time I was just being creative. I [wrote the whole album] during that time and a little bit afterwards; [I wrote] just maybe two songs afterwards.

When I finished, then I had to figure out when I wanted to put it out and how. I did the Baynard Rustin song ["Road to Freedom" from the Academy Award-nominated film Rustin ], and then I ended up pushing my album so I could fully promote the film and the legacy of Bayard Rustin.

Anyway, here we are. Everything happens in the time that it should, and I'm looking forward to putting this out and getting back on the road.

I read that this record was like an album that you didn't make in high school and it has this very young spirit. What took you to that place?

At the beginning of the pandemic, I released a book called Let Love Rule , and it ended up on th e New York Times bestseller list. It was about my life from birth to the first album [1989's Let Love Rule ], so around 24 years old. In this book, I spent a lot of time in my teenage years when I was developing. That came out at the beginning of the pandemic and I was doing a lot of press for it.

And I think because I was exploring that time so much when I was writing the book and then talking about that time so much when I was promoting the book, it just came out. And it was a time in my life that I never really celebrated. I never put music out at that time.

When I found my sound [on] Let Love Rule, all that material I was working on at that time got buried before. And so I just went to that place. I didn't plan on it, it just happened. In fact, two songs on the record ["Bundle of Joy" and "Heaven"] are from high school.

So it's a blend of where I am now and where I was then. And it's a really fun record and I had a really beautiful time making it. It's a celebration, and it's sensual and sexual and spiritual and social and it hits all the marks. I'm looking forward to getting out there.

You were obviously deep in your memories, and it sounds like you were probably listening to a lot of Prince in high school.

There's a lot of things. There's a blend of '80s technology and drum machines, and real instruments and synthesizers that I pulled out from then. During that time, yeah, I was listening to a lot of Bowie . I was listening to a lot of Prince , a lot of Rick James , a lot of just soul and R&B in general, and rock.

Are there any songs on the record that you are particularly proud of or that are really meaningful to you?

All of them. I hear it all as one piece. So it's just one flow of consciousness, but I'm really proud of the record.

One of my favorite tracks would be the opening track, "It's Just Another Fine Day in this Universe." I just think it's such a vibe and I love the way the chorus makes me feel. I think "Stuck in the Middle" is really pretty and sensual.

Speaking of vibes, when I'm listening to the record, it feels very hopeful. Is that generally how you've been feeling or how you go through the world these days?

I'm pretty optimistic. But now even more than ever, just on a personal level, I've never felt better mentally, spiritually, and physically. I've never felt more vibrant and I'm becoming more comfortable within myself in my skin and in my place.

I've learned that listening to that voice inside of me and sticking to what it is that was meant for me, my direction, has paid off and it feels good.

What do you attribute that growth and that deep comfort to, both personally and creatively?

Just [having] time to see the results. I'm blessed to live, to see the results of being faithful to what it is you've been given and told to do by the creative spirit, by God. People have always been trying to push me in different directions: "Do this, do that, follow this, go this way. This is what's happening right now." Follow the trends because they're looking at it as a business and they're trying to make money and have success.

Yes, success is wonderful, but I only want success by being me and doing what it is that I'm hearing, as opposed to following a formula that one thinks would work. Because once you follow that, you're already late, it's already happened. And I am not about being late.

I don't mind setting the tone or the trend and being early and not getting recognized for it at the time. Because I'm not doing it for the reason of receiving accolades or whatever. I'm doing it to be expressive and to truthfully represent myself.

I think that's a fantastic way to be. People come around eventually, right?

Yes. I've been reading reviews of my heroes back in the day, and I remember seeing Led Zeppelin reviews just ripping them to shreds. Led Zeppelin [are] praised [for] being classic and genius, but at one time they were s—, somebody said. So if you live long enough and you keep doing what you're doing, if you're doing the right thing and what you're supposed to be doing, you'll see that shift in people's opinions.

Not that that matters, but when you see it, it feels good because you know that you did it the way you were supposed to do it.

I hear a little bit of that defiance on this record too, that and the centering of your own truth — on "Human." Can you maybe tell me a little bit about that track and how it came to you?

Well, it just came like they all come. So I hear it and I think to myself, Okay, that's interesting . That has this real pop anthem, very uplifting feeling. [The song] speaks to us as spiritual beings having this human existence on this planet.

We are at our most powerful when we are authentic to ourselves. When you're authentic to who you are, you're shining and you represent what it is that you're meant to represent. And so the song just speaks on that, and really using this human existence to learn and to walk in your lane to reach your destiny.

In life since we've been born, we've been told what to do and how to do it: "Don't go this direction, go that way," and "No, don't do this, do that because this is the way it's done" or "This is what's safe." And we're all born with a gift; we're all born with a direction. And we don't all hit the marks because sometimes we don't accept what our gift is. Or we're too busy looking at others and what their gift is and we want what they have, and we leave behind what we were given. We go chase something that is not for us; it's that other person's calling.

So the more we shed all of that and really just walk in our lane, the better. And I am enjoying this journey of humanness and learning and growing, falling, getting up, climbing up the mountain, falling again, getting back up, continuing up. That's what it's about. It's not about how many times you fall... It's about how you get up and keep going. We're all here to live and learn and, hopefully, love.

I'm curious if the title of the record translates to this idea at all. Does Blue Electric Light manifest in any real way to you as a spiritual guide?

To me, it's a feeling. I just saw and felt this blue light — electric blue, almost neon light —radiating down on me, and that light is life . It's God, it's love, it's humanity, it's energy. And just metaphorically, that's what that represents to me.

Right on. To take it away a little bit from the existential and the spiritual, you just received the Global Impact Award at the 2024 GRAMMYs. You said you're not doing these things for accolades, but I'm curious how it felt to be recognized for this aspect of your work — something that isn't inherently musical that's a little more outside yourself.

Where I am in life right now is, if someone's going to hand you flowers, then stop, smell them and enjoy them. And that's what I'm doing.

I make my art because I make my art and for no other reason, but when handed these flowers, I'm appreciative. I'm grateful, and I will enjoy them because I spent my whole career not doing that. I was always moving so fast and [was] not only concerned with the art and moving forward, that I didn't enjoy those moments when you get awards or things. So I made a promise to myself years ago, moving forward when the flowers are delivered, that I will stop and smell them, take a moment, breathe, and then move forward.

And that's what I'm doing, because every day of life is beautiful. And when you can celebrate, why not celebrate?

Amen to that. It's that presence of mind and spirit that you have been talking about this whole time and seems to have flowed through your artwork as well. With regard to the work with your Let Love Rule foundation , are there any projects that you would love to tackle next?

There's so many. From some things I've been doing with friends, like building certain foundations in Africa with someone that's on the ground there, doing it firsthand with orphanages in schools, to the medical situation in the Bahamas, to continue providing medical and dental care for free to the people so they can have their basic health issues taken care of.

And then also working with kids in the arts and helping to give them a foundation to work from. These are things that I'm interested in.

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Slash's New Blues Ball: How His Collaborations Album 'Orgy Of The Damned' Came Together

On his new album, 'Orgy Of The Damned,' Slash recruits several friends — from Aerosmith's Steven Tyler to Demi Lovato — to jam on blues classics. The rock legend details how the project was "an accumulation of stuff I've learned over the years."

In the pantheon of rock guitar gods, Slash ranks high on the list of legends. Many fans have passionately discussed his work — but if you ask him how he views his evolution over the last four decades, he doesn't offer a detailed analysis.

"As a person, I live very much in the moment, not too far in the past and not very far in the future either," Slash asserts. "So it's hard for me to really look at everything I'm doing in the bigger scheme of things."

While his latest endeavor — his new studio album, Orgy Of The Damned — may seem different to many who know him as the shredding guitarist in Guns N' Roses , Slash's Snakepit, Velvet Revolver , and his four albums with Myles Kennedy and the Conspirators, it's a prime example of his living-in-the-moment ethos. And, perhaps most importantly to Slash, it goes back to what has always been at the heart of his playing: the blues.

Orgy Of The Damned strips back much of the heavier side of his playing for a 12-track homage to the songs and artists that have long inspired him. And he recruited several of his rock cohorts — the likes of AC/DC 's Brian Johnson , Aerosmith 's Steven Tyler , Gary Clark Jr. , Iggy Pop , Beth Hart , and Dorothy, among others — to jam on vintage blues tunes with him, from "Hoochie Coochie Man" to "Born Under A Bad Sign."

But don't be skeptical of his current venture — there's plenty of fire in these interpretations; they just have a different energy than his harder rocking material. The album also includes one new Slash original, the majestic instrumental "Metal Chestnut," a nice showcase for his tastefully melodic and expressive playing.

The initial seed for the project was planted with the guitarist's late '90s group Slash's Blues Ball, which jammed on genre classics. Those live, spontaneous collaborations appealed to him, so when he had a small open window to get something done recently, he jumped at the chance to finally make a full-on blues album.

Released May 17, Orgy Of The Damned serves as an authentic bridge from his musical roots to his many hard rock endeavors. It also sees a full-circle moment: two Blues Ball bandmates, bassist Johnny Griparic and keyboardist Teddy Andreadis, helped lay down the basic tracks. Further seizing on his blues exploration, Slash will be headlining his own touring blues festival called S.E.R.P.E.N.T. in July and August, with support acts including the Warren Haynes Band , Keb' Mo' , ZZ Ward, and Eric Gales .

Part of what has kept Slash's career so intriguing is the diversity he embraces. While many heavy rockers stay in their lane, Slash has always traveled down other roads. And though most of his Orgy Of The Damned guests are more in his world, he's collaborated with the likes of Michael Jackson , Carole King and Ray Charles — further proof that he's one of rock's genre-bending greats.

Below, Slash discusses some of the most memorable collabs from Orgy Of The Damned , as well as from his wide-spanning career.

I was just listening to "Living For The City," which is my favorite track on the album.

Wow, that's awesome. That was the track that I knew was going to be the most left of center for the average person, but that was my favorite song when [ Stevie Wonder 's 1973 album] Innervisions came out when I was, like, 9 years old. I loved that song. This record's origins go back to a blues band that I put together back in the '90s.

Slash's Blues Ball.

Right. We used to play "Superstition," that Stevie Wonder song. I did not want to record that [for Orgy Of The Damned ], but I still wanted to do a Stevie Wonder song. So it gave me the opportunity to do "Living For The City," which is probably the most complicated of all the songs to learn. I thought we did a pretty good job, and Tash [Neal] sang it great. I'm glad you dig it because you're probably the first person that's actually singled that song out.

With the Blues Ball, you performed Hoyt Axton's "The Pusher" and Robert Johnson 's "Crossroads," and they surface here. Isn't it amazing it took this long to record a collection like this?

[Blues Ball] was a fun thrown-together thing that we did when I [was in, I] guess you call it, a transitional period. I'd left Guns N' Roses [in 1996], and it was right before I put together a second incarnation of Snakepit.

I'd been doing a lot of jamming with a lot of blues guys. I'd known Teddy [Andreadis] for a while and been jamming with him at The Baked Potato for years prior to this. So during this period, I got together with Ted and Johnny [Griparic], and we started with this Blues Ball thing. We started touring around the country with it, and then even made it to Europe. It was just fun.

Then Snakepit happened, and then Velvet Revolver. These were more or less serious bands that I was involved in. Blues Ball was really just for the fun of it, so it didn't really take precedence. But all these years later, I was on tour with Guns N' Roses, and we had a three-week break or whatever it was. I thought, I want to make that f—ing record now .

It had been stewing in the back of my mind subconsciously. So I called Teddy and Johnny, and I said, Hey, let's go in the studio and just put together a set and go and record it. We got an old set list from 1998, picked some songs from an app, picked some other songs that I've always wanted to do that I haven't gotten a chance to do.

Then I had the idea of getting Tash Neal involved, because this guy is just an amazing singer/guitar player that I had worked with in a blues thing a couple years prior to that. So we had the nucleus of this band.

Then I thought, Let's bring in a bunch of guest singers to do this. I don't want to try to do a traditional blues record, because I think that's going to just sound corny. So I definitely wanted this to be more eclectic than that, and more of, like, Slash's take on these certain songs, as opposed to it being, like, "blues." It was very off-the-cuff and very loose.

It's refreshing to hear Brian Johnson singing in his lower register on "Killing Floor" like he did in the '70s with Geordie, before he got into AC/DC. Were you expecting him to sound like that?

You know, I didn't know what he was gonna sing it like. He was so enthusiastic about doing a Howlin' Wolf cover.

I think he was one of the first calls that I made, and it was really encouraging the way that he reacted to the idea of the song. So I went to a studio in Florida. We'd already recorded all the music, and he just fell into it in that register.

I think he was more or less trying to keep it in the same feel and in the same sort of tone as the original, which was great. I always say this — because it happened for like two seconds, he sang a bit in the upper register — but it definitely sounded like AC/DC doing a cover of Howlin' Wolf. We're not AC/DC, but he felt more comfortable doing it in the register that Howlin' Wolf did. I just thought it sounded really great.

You chose to have Demi Lovato sing "Papa Was A Rolling Stone." Why did you pick her?

We used to do "Papa Was A Rolling Stone" back in Snakepit, actually, and Johnny played bass. We had this guy named Rod Jackson, who was the singer, and he was incredible. He did a great f—ing interpretation of the Temptations singing it.

When it came to doing it for this record, I wanted to have something different, and the idea of having a young girl's voice telling the story of talking to her mom to find out about her infamous late father, just made sense to me. And Demi was the first person that I thought of. She's got such a great, soulful voice, but it's also got a certain kind of youth to it.

When I told her about it, she reacted like Brian did: "Wow, I would love to do that . " There's some deeper meaning about the song to her and her personal life or her experience. We went to the studio, and she just belted it out. It was a lot of fun to do it with her, with that kind of zeal.

You collaborate with Chris Stapleton on Fleetwood Mac 's "Oh Well" by Peter Green. I'm assuming the original version of that song inspired "Double Talkin' Jive" by GN'R?

It did not, but now that you mention it, because of the classical interlude thing at the end... Is that what you're talking about? I never thought about it.

I mean the overall vibe of the song.

"Oh Well" was a song that I didn't hear until I was about 12 years old. It was on KMET, a local radio station in LA. I didn't even know there was a Fleetwood Mac before Stevie Nicks and Lindsey Buckingham . I always loved that song, and I think it probably had a big influence on me without me even really realizing it. So no, it didn't have a direct influence on "Double Talkin' Jive," but I get it now that you bring it up.

Was there something new that you learned in making this album? Were your collaborators surprised by their own performances?

I think Gary Clark is just this really f—ing wonderful guitar player. When I got "Crossroads," the idea originally was "Crossroads Blues," which is the original Robert Johnson version. And I called Gary and said, "Would you want to play with me on this thing?"

He and I only just met, so I didn't know what his response was going to be. But apparently, he was a big Guns N' Roses fan — I get the idea, anyway. We changed it to the Cream version just because I needed to have something that was a little bit more upbeat. So when we got together and played, we solo-ed it off each other.

When I listen back to it, his playing is just so f—ing smooth, natural, and tasty. There was a lot of that going on throughout the making of the whole record — acclimating to the song and to the feel of it, just in the moment.

I think that's all an accumulation of stuff that I've learned over the years. The record probably would be way different if I did it 20 years ago, so I don't know what that evolution is. But it does exist. The growth thing — God help us if you don't have it.

You've collaborated with a lot of people over the years — Michael Jackson, Carole King, Lemmy , B.B. King, Fergie . Were there any particular moments that were daunting or really challenging? And was there any collaboration that produced something you didn't expect?

All those are a great example of the growth thing, because that's how you really grow as a musician. Learning how to adapt to playing with other people, and playing with people who are better than you — that really helps you blossom as a player.

Playing with Carole King [in 1993] was a really educational experience because she taught me a lot about something that I thought that I did naturally, but she helped me to fine tune it, which was soloing within the context of the song. [It was] really just a couple of words that she said to me during this take that stuck with me. I can't remember exactly what they were, but it was something having to do with making room for the vocal. It was really in passing, but it was important knowledge.

The session that really was the hardest one that I ever did was [when] I was working with Ray Charles before he passed away. I played on his "God Bless America [Again]" record [on 2002's Ray Charles Sings for America ], just doing my thing. It was no big deal. But he asked me to play some standards for the biopic on him [2004's Ray ], and he thought that I could just sit in with his band playing all these Ray Charles standards.

That was something that they gave me the chord charts for, and it was over my head. It was all these chord changes. I wasn't familiar with the music, and most of it was either a jazz or bebop kind of a thing, and it wasn't my natural feel.

I remember taking the chord charts home, those kinds you get in a f—ing songbook. They're all kinds of versions of chords that wouldn't be the version that you would play.

That was one of those really tough sessions that I really learned when I got in over my head with something. But a lot of the other ones I fall into more naturally because I have a feel for it.

That's how those marriages happen in the first place — you have this common interest of a song, so you just feel comfortable doing it because it's in your wheelhouse, even though it's a different kind of music than what everybody's familiar with you doing. You find that you can play and be yourself in a lot of different styles. Some are a little bit challenging, but it's fun.

Are there any people you'd like to collaborate with? Or any styles of music you'd like to explore?

When you say styles, I don't really have a wish list for that. Things just happen. I was just working with this composer, Bear McCreary . We did a song on this epic record that's basically a soundtrack for this whole graphic novel thing, and the compositions are very intense. He's very particular about feel, and about the way each one of these parts has to be played, and so on. That was a little bit challenging. We're going to go do it live at some point coming up.

There's people that I would love to play with, but it's really not like that. It's just whatever opportunities present themselves. It's not like there's a lot of forethought as to who you get to play with, or seeking people out. Except for when you're doing a record where you have people come in and sing on your record, and you have to call them up and beg and plead — "Will you come and do this?"

But I always say Stevie Wonder. I think everybody would like to play with Stevie Wonder at some point.

Incubus On Revisiting Morning View & Finding Rejuvenation By Looking To The Past

Photo: Timothy Norris/Getty Images

10 John Mayer Songs That Show His Versatility, From 'Room For Squares' To Dead & Co

As John Mayer launches his latest venture with Dead & Company — a residency at the Sphere in Las Vegas — revisit 10 songs that show every side of his musical genius.

At the 2003 GRAMMYs, a 25-year-old John Mayer stood on stage at Madison Square Garden, his first golden gramophone in hand. "I just want to say this is very, very fast, and I promise to catch up," he said with a touch of incredulity.

In the two decades that have followed his first GRAMMY triumph, it's safe to say that Mayer, now 46, has caught up. Not only has the freewheeling guitarist and singer/songwriter won six more GRAMMYs — he has also demonstrated his versatility across eight studio albums and countless cross-genre collaborations, including his acclaimed role in The Grateful Dead offshoot, Dead & Company. But the true testaments to his artistic range lie simply within the music.

Over the years, Mayer's dynamism has led him to work deftly and convincingly within a wide variety of genres, from jazz to pop to Americana. The result: an elastic and well-rounded repertoire that elevates 2003's "Bigger Than My Body" from hit single to self-fulfilling prophecy.

From March 2023 to March 2024, Mayer took his protean catalog on the road for his Solo Tour, which saw him play sold-out arenas around the world, mostly acoustic, completely alone. The international effort harkened back to Mayer's early career days, when standing alone on stage, guitar in hand, was the rule rather than the exception. Just after his second Solo leg last November, Mayer added radio programming and curation to his resume via the launch of his Sirius XM channel, Life with John Mayer . Fittingly, XM bills the channel (No. 14) as one notably "defined not by genre, but by the time of day, as well as the day of the week."

Mayer's next venture sees him linking back up with Dead & Company, for a 24-show residency at the Sphere in Las Vegas from May 16 to July 13. In honor of his latest move, GRAMMY.com explores the scope of Mayer's musical genius by revisiting 10 essential songs that demonstrate the breadth of his range, from the very beginning of his discography.

"Your Body Is A Wonderland," Room For Squares (2001)

The second single from Mayer's debut album, "Your Body Is A Wonderland" became an almost instant radio favorite like its predecessor, "No Such Thing," earning Mayer his second consecutive No. 1 on Billboard's Adult Alternative Airplay chart. The song's hooky pop structure provided an affable introduction to Mayer's lyrical skill by way of smart, suggestive simile and metaphor ("One mile to every inch of/ Your skin like porcelain/ One pair of candy lips and/ Your bubblegum tongue") ahead of Room For Squares ' release later that June. The breathy hit netted Mayer his first career GRAMMY Award, for Best Male Pop Vocal Performance, at the 45th Annual GRAMMY Awards in 2003.

In recent years, Mayer — who penned the song when he was 21 — has chronicled his tenuous relationship with "Your Body is a Wonderland" in his infamous mid-concert banter, playfully critiquing the song's lack of "nuance." Following a perspective shift, Mayer has come to embrace his self-proclaimed "time capsule"; it was a staple of his set lists for his Solo Tour.

"Who Did You Think I Was," TRY! - Live in Concert (2005)

The product of pure synergy and serendipity, the John Mayer Trio assembled after what was intended to be a one-time stint on the NBC telethon, "Tsunami Aid: A Concert of Hope," in 2005. The benefit appearance lit the creative fuse between Mayer, bassist Pino Palladino and drummer Steve Jordan — who, over the years, have also played alongside the singer on his headline tours.

The John Mayer Trio propelled its eponymous artist from pop territory to a bluesy brand of rock 'n' roll that then demonstrated his talent as a live guitarist to its greatest degree yet. The Trio's first and only release, TRY! - Live in Concert , was recorded at their September 22, 2005 concert at the House of Blues in Chicago.

Mayer acknowledges his abrupt sonic gear shift on TRY! opener, "Who Did You Think I Was." "Got a brand new blues that I can't explain," he quips, then later asks, "Am I the one who plays the quiet songs/ Or is he the one who turns the ladies on?"

"Gravity," Continuum (2006)

Though "Waiting On the World to Change" was the biggest commercial hit from 2006's Continuum , "Gravity" remains the pièce de résistance of Mayer's magnum opus. Its status as such is routinely reaffirmed by the crowds at Mayer's concerts, whose calls for a live performance of his quintessential soul ballad can compete even with Mayer's mid-show remarks.

The blues-tinged slow burn marries Mayer's inimitable vocal tone with his guitar muscle on a record that strides far beyond the pop and soft rock of his preceding studio albums. Though Continuum builds on the blues direction Mayer ignited with TRY!, it does so with greater depth and technique, translating to a concept album, sonically, that evinces both his breakaway from the genres that launched his career and his skill as a blues guitarist — and "Gravity" is a prime example.

"I'm very proud of the song," Mayer mused on his Sirius XM station. "It's one of those ones that's gonna go with me through the rest of my life, and I'm happy it's in the sidecar going along with me."

"Daughters," Where the Light Is: John Mayer Live in Los Angeles (2008)

"Daughters" wasn't Mayer's first choice of a single for his sophomore LP, 2003's Heavier Things , but at Columbia Records' behest — "We really want it to go, we think it can be a hit," Mayer recalled of their thoughts — the soft-rock-meets-acoustic effort joined the album rollout. Columbia's suspicions were correct; "Daughters" topped Billboard's Adult Pop Airplay in 2004 — his only No. 1 entry on the chart to date.

But "Daughters" didn't just enjoy heavy radio rotation — it also secured Mayer his first and only GRAMMY win in a General Field Category. The Heavier Things descendant took the title of Song Of The Year at the 47th Annual GRAMMY Awards in 2005, helping Mayer evade music's dreaded "sophomore slump."

While the studio version may be the GRAMMY-winning chart-topper, Mayer's live rendition of "Daughters" during his December 8, 2007 performance at Los Angeles' Nokia Theater for Where the Light Is: John Mayer Live in Los Angeles compellingly demonstrated the power of the song — and his acoustic chops.

"Edge of Desire," Battle Studies (2009)

Come 2009, what critics almost unanimously proclaimed to be Mayer's biggest musical success had become his Achilles heel; everyone wanted another Continuum . But as they were to learn, Mayer never repeats himself. Thus came Battle Studies .

Born from a dismantling and transformative breakup, his fourth studio album arguably only becomes fully accessible to listeners after this rite of passage. Mired in introspection and pop rock, Battle Studies broadly engages with elements of pop with a sophistication that distinguishes it from Mayer's earlier traverses in pop and pop-inflected terrain.

His artistry hits a new apex on "Edge of Desire," a visceral and tightly woven song that remains one of the strongest examples of his mastery of prosody — the agreement between music and lyrics that results in a resonant and memorable listening experience.

"Born and Raised," Born & Raised (2012)

On the title track of his fifth studio album, Mayer distills growing up (and growing older) into a plaintive reflection on the involuntary, inevitable, and, in the moment, imperceptible phenomenon. He grapples with this vertigo of the soul on a record that, 12 years later, remains among his most barefaced lyrically.

The tinny texture of a harmonica, heard first in the intro, permeates the song, serving as its single most overt indicator of the larger stylistic shift that Born & Raised embodies. The 12-song set embraces elements of Americana, country and folk amid simpler-than-usual chord progressions for Mayer, whose restraint elevates the affective power of the album's lyricism.

"Born and Raised - Reprise," with which Born & Raised draws to a close, is evidence of Mayer's well-demonstrated dexterity. In its sanguine, folk spirit, the album finale juxtaposes "Born and Raised" both musically and lyrically. "It's nice to say, 'Now I'm born and raised,'" Mayer sings as the last grains of sand in Born & Raised 's hourglass fall.

"Wildfire," Paradise Valley (2014)

Even before Paradise Valley hit shelves and digital streaming platforms, the cowboy hat that Mayer dons in the album artwork intimated that the hybrid of Americana, country, and folk he embraced on Born & Raised wasn't going anywhere — at least not for another album. The sunbaked project was a gutsy sidestep even further away from his successful commercial formula, and finds him expanding his stylistic fingerprint across 11 tracks that run the gamut of American roots music.

"Wildfire," the breezy toe-tapper with which Paradise Valley opens, grooves with Jerry Garcia influence. It is therefore unsurprising that many interpret "We can dance with dead/ You can rest your head on my shoulder/ If you want to get older with me," to be a lyrical nod to the Dead. Perhaps uncoincidentally, Mayer's invitation to become a member of Dead & Company came one year after the release of Paradise Valley .

"Shakedown Street," Live at Madison Square Garden (2017)

There is perhaps no better example of Mayer's dynamism than his integration in Dead & Company. The Grateful Dead offshoot, formed in 2015, intersperses Mayer among three surviving members of the band — Bob Weir, Mickey Hart , and Bill Kreutzmann — as well as two more newcomers, Oteil Burbridge and Jeff Chimenti. Mayer's off-the-cuff guitar solos and vocal support at Dead & Co's concerts are the keys that have unlocked a new plane of musicianship for Mayer, the solo artist.

This is evident on "Shakedown Street," a staple of The Grateful Dead's – and now, Dead & Company's – set lists. The languid, relaxed number gives Mayer the space to improvise guitar solos and use his vocals in a looser style than how he sings his own productions, all while feeding off the energy of his fellow band members. In addition to being one of The Dead's best-known songs, "Shakedown Street" is also the name of the makeshift bazaar where "Deadheads" socialize and sell wares ranging from grilled cheeses to drink coasters emblazoned with The Grateful Dead logo outside Dead & Company concerts.

Mayer's long, strange trip with (and within) the jam band has cross-pollinated his and The Grateful Dead's respective fandoms, attracting scores of Dead & Co listeners to his own headline shows, and vice versa. The takeaway: Mayer's involvement with Dead & Company offers a new, comparatively more rugged and improvisational lens through which to view his artistry.

"You're Gonna Live Forever in Me," The Search for Everything (2017)

"You're Gonna Live Forever in Me" evokes the sense of walking in, unexpected and undetected, to one of Mayer's writing sessions, watching him sing the freshly-penned piano ballad. This is owed to the song's abstract lyricism, the sentiment of which is deeply personal and universally accessible — a juxtaposition that's not often easy to achieve in songwriting. (Take, for example, "A great big bang and dinosaurs/ Fiery raining meteors/ It all ends unfortunately/ But you're gonna live forever in me.") But the studio version of "You're Gonna Live Forever in Me" also happens to be the original vocal take, adding to the feeling that Mayer is fully engrossed in a moment of poignant reflection mediated by music.

"I sat at the piano for hours teaching myself how the song might go. I sang it that night, and that was it…I couldn't sing the vocals again if I tried," Mayer recalled in a 2017 interview with Rolling Stone .

Mayer's lilted, Randy Newman-esque singing on the track finds him unintentionally but impactfully adopting a vocal technique distinctive from anything he's ever done before.

"Wild Blue," Sob Rock (2021)

Buoyed by a honeyed hook and slick production from No I.D. , "New Light" was the unequivocal commercial standout of Sob Rock , a soft-grooving pastiche of '80s influence. Though the catchy pop-informed number finds Mayer stylistically diversifying by working with "The Godfather of Chicago Hip-Hop" (whose credits include Kanye West, JAY-Z , and Common , to name just a few), a look beyond the Sob Rock frontrunner reveals evidence of more sonic experimentation on the album.

Cue "Wild Blue." In its hushed, double-tracked vocals, the song plays like a love letter to JJ Cale . Mayer's whispery vocal emulation of the rock musician yields another new, but still polished, strain of John Mayer sound.

With hints of the '70s embedded within its taut production, "Wild Blue" is a beatific semi-departure from its parent album's '80s DNA. Together, they evince Mayer's ability to work not only across genres but also across sounds from different decades in music — further proof that his artistic range is both broad and timeless.

A Beginner’s Guide To The Grateful Dead: 5 Ways To Get Into The Legendary Jam Band

1 It Just Takes Some Time: The Story Of Jimmy Eat World's Breakthrough 'Bleed American' At 20
2 Twenty One Pilots' Road To 'Clancy': How The New Album Wraps Up A Decade-Long Lore
3 Feel Lenny Kravitz's 'Blue Electric Light': How The GRAMMY-Winning Rocker Channeled His Teen Years For His New Album
4 Slash's New Blues Ball: How His Collaborations Album 'Orgy Of The Damned' Came Together
5 10 John Mayer Songs That Show His Versatility, From 'Room For Squares' To Dead & Co

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The Arizona rockers recall their exploits at the 1998 Texan festival in the latest in this exclusive series.

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Punk-pop stalwarts Jimmy Eat World are the latest artists to receive the animated video treatment in uDiscover Music’s on-going series, ‘Beyond The Bus’.

Filmed exclusively for uDiscover Music, ‘Beyond The Bus’ has already showcased tales of ribald rock’ n’ roll revelry from Eagles Of Death Metal’s Jesse Hughes , irrepressible Aussie rockers Airbourne and blues-rock legend George Thorogood . Indeed, it’s fair to say that only bands with an unquenchable thirst for the road and the more exotic fare available at rock’s top table are likely to be immortalized in this series.

In going ‘Beyond The Bus’, Arizona quartet Jimmy Eat World tell uDiscover Music all about their exploits at the then relatively embryonic South By Southwest Festival in Texas in 1998. You can watch the interview in full below, but firstly, if you scroll down, you can get a taster of what went down.

“Back in 1998, South By Southwest [SXSW] was not the huge kind of corporate vibe it is now,” drummer Zach Lind says. “It was a little bit more rustic, less busy, and with mainly bands playing at venues and then temporary tents and people playing outside of a restaurant or whatever. They basically offered us a choice – $100 in badges to see all the other shows or drink tickets.

“We opted for the money and five drink tickets”, he continues. “There was five guys in our party – the band and one roadie. If you think about it, though we weren’t all that popular, it felt a bit insulting to come all this way to play this venue for hardly any money and five drink tickets.”

However, the band were nothing if not resourceful and they decided the drink tickets could be advantageous after all.

“I used to make flyers, so I kind of used that knowledge to apply it to this situation where we felt we deserved more drink tickets”, Rick Burch furthers. “Using clip art and some scissors and some sellotape we could piece together a pretty good thing. Then, we did a final print and we had a whole sheet that’s all concise and had all the information on it.”

“Tom (Linton – guitar and vocals) was on board and he loved the idea”, Burch continues. “He said, ‘hey we’ve got everything we need out of the van – go to the copy shop and work your magic.’ So Tom and I head over to the nearest copy shop and they had the same color orange paper, which was the key. Started with five, duplicated those into 10, and then into 20. That filled up a sheet of paper. Once I got the master, hit 50.”

So, having made the best out of a bad deal, did Jimmy Eat World make the most of their excess drink tickets at SXSW? Watch the rest of ‘Beyond the Bus’ to find out.

Listen to the best of Jimmy Eat World on Apple Music and Spotify .

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Jimmy Eat World Announce 2022 North American Tour

By Allison Hussey

Jimmy Eat World have announced a North American tour that kicks off later this year. Charly Bliss will open all of the band’s non-festival dates, which extend through September. See the full itinerary below.

Jimmy Eat World issued their 10th and most recent album, Surviving , in 2019. They’ve since toured with Dashboard Confessional. Charly Bliss’ latest project is 2019’s Supermoon EP , which followed the group’s second album Young Enough .

Revisit Pitchfork’s Sunday Review of Jimmy Eat World’s 1999 album Clarity .

All products featured on Pitchfork are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.

Jimmy Eat World:

09-08 Cleveland, OH - Rock Hall Live # 09-09 Columbus, OH - Kemba Live! # 09-10 Pittsburgh, PA - Four Chord Music Festival 09-11 Detroit, MI - Saint Andrew’s Hall # 09-13 Minneapolis, MN - First Avenue # 09-14 Kansas City, MO - Uptown Theater # 09-16 St. Louis, MO - The Pageant # 09-18 Chicago, IL - Riot Fest 09-20 Richmond, VA - The National # 09-21 Wantagh, NY - Mulcahy’s Pub and Concert Hall # 09-22 Sayreville, NJ - Starland Ballroom # 09-24 Providence, RI - The Strand Theatre # 09-25 New Haven, CT - Toad’s Place # 09-26 Burlington, VT - Higher Ground # 09-28 Albany, NY - Empire Live # 09-29 Toronto, Ontario - History # 10-01 Ocean City, MD - Oceans Calling 10-22 Las Vegas, NV - When We Were Young 10-23 Las Vegas, NV - When We Were Young 10-29 Las Vegas, NV - When We Were Young

# with Charly Bliss

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Jimmy Eat World Announce Summer 2022 Headlining Tour Dates

Jimmy Eat World will hit the road in North America late this summer on the "Something Loud Tour." This week, the Arizona emo-rockers detailed the trek that includes multiple festival stops plus support from the New York power-pop act Charly Bliss on Jimmy Eat World's headlining dates.

The headlining shows, which begin Sept. 8 in Cleveland and wrap Sept. 29 in Toronto, are mixed in with Jimmy Eat World's performances at the upcoming Four Chord Music Festival (Pittsburgh), Riot Fest (Chicago), Oceans Calling Festival (Maryland) and When We Were Young Festival (Las Vegas).

See all of Jimmy Eat World's scheduled 2022 tour dates near the bottom of this post.

"Announcing the Something Loud Tour!!!" Jimmy Eat World said on Tuesday (May 31). "We'll be joined by Charly Bliss. Tickets on sale Friday, June 3 at 10am local time."

Jimmy Eat World, led by singer-guitarist Jim Adkins, released their tenth studio album, Surviving , in 2019. "Surviving explores some of the different kinds of weights my ego tells me I have to carry," Adkins said at the time. The band's early albums, such as 2001's Bleed American , 1999's Clarity and 1996's Static Prevails , helped define emo rock at the turn of the millennium. Jimmy Eat World also features drummer Zach Lind, guitarist-vocalist Tom Linton and bassist Rick Burch.

Find "Something Loud Tour" tickets at this link starting on Friday.

Jimmy Eat World Summer + Fall 2022 North American Tour Dates

Sept. 8 – Cleveland, Ohio @ Rock Hall Live * Sept. 9 – Columbus, Ohio @ KEMBA Live * Sept. 10 – Pittsburgh, Pa. @ Four Chord Fest Sept. 11 – Detroit, Mich. @ Saint Andrew's * Sept. 13 – Minneapolis, Minn. @ First Avenue * Sept. 14 – Kansas City, Mo. @ Uptown Theater * Sept. 16 – St. Louis, Mo. @ Pageant * Sept. 18 – Chicago, Ill. @ Riot Fest Sept. 20 – Richmond, Va. @ National Sept. 21 – Wantagh, N.Y. @ Mulcahy's * Sept. 23 – Sayreville, N.J. @ Starland Ballroom * Sept. 24 – Providence, R.I. @ The Strand Theatre * Sept. 25 – New Haven, Ct. @ Toad’s Place * Sept. 26 – Burlington, Vt. @ Higher Ground * Sept. 28 – Albany, NY @ Empire Live * Sept. 29 – Toronto, Ontario @ History * Oct. 1 – Ocean City, Md. @ Oceans Calling Oct. 22 – Las Vegas, Nev. @ When We Were Young Oct. 23 – Las Vegas, Nev. @ When We Were Young Oct. 29 – Las Vegas, Nev. @ When We Were Young

* With Charly Bliss

25 Amazing Pop-Punk + Emo Albums With No Weak Songs

Jimmy Eat World And Manchester Orchestra Announce Summer Tour

Last updated: 13 Mar 2023, 17:12:35
Published: 13 Mar 2023, 17:12:35
Written by: Erica Lauren
Photography by: Scott Dudelson
Tagged: Jimmy Eat World Manchester Orchestra

Jimmy Eat World and Manchester Orchestra have revealed dates for their co-headlining summer tour. The Amplified Echoes Tour is scheduled to kick off July 11 in Missoula, MT and run through August 26 in Philadelphia, PA. The 29-city trek will include support from Middle Kids. General on sale begins Thursday, March 16 at 10am local time at livenation.com .

The last setlist entered for Manchester Orchestra was from March 1, 2023 in New York (view it here .). Jimmy Eat world's last documented performance took place on March 13, 2023 in Brisbane. See the setlist here .

Jimmy Eat World and Manchester Orchestra 2023 Tour Dates

07/11 – Missoula, MT @ Big Sky Brewing Company Amphitheater +

07/14 – Spokane, WA @ The Podium +

07/15 – Seattle, WA @ WAMU Theater +

07/16 – Bend, OR @ Hayden Homes Amphitheater +

07/18 – San Francisco, CA @ The Masonic ^

07/19 – Los Angeles, CA @ The Greek Theatre +

07/21 – San Diego, CA @ Gallagher Square at Petco Park +

07/22 – Las Vegas, NV @ The Chelsea at the Cosmopolitan ^

07/23 – Salt Lake City, UT @ Complex Outdoors +

07/25 – Morrison, CO @ Red Rocks Amphitheater +

07/27 – St. Louis, MO @ Saint Louis Music Park ^

07/28 – Nashville, TN @ Ascend Amphitheater ^

07/29 – Asheville, NC @ Rabbit Rabbit ^

07/30 – Charlotte, NC @ Skyla Credit Union Amphitheatre ^

08/07 – Houston, TX @ 713 Music Hall +

08/08 – Austin, TX @ Moody Amphitheater ^

08/09 – Dallas, TX @ The Pavilion at Toyota Music Factory ^

08/11 – Oklahoma City, OK @ The Criterion +

08/13 – Minneapolis, MN @ The Armory ^

08/15 – Milwaukee, WI @ The Rave/Eagles Club +

08/16 – Chicago, IL @ The Salt Shed ^

08/18 – Indianapolis, IN @ TCU Amphitheater at White River State Park +

08/19 – Columbus, OH @ KEMBA Live! Outdoors ^

08/20 – Sterling Heights, MI @ Michigan Lottery Amphitheatre at Freedom Hill ^

08/21 – Toronto, ON @ RBC Echo Beach ^

08/23 – New York, NY @ SummerStage In Central Park ^

08/24 – Boston, MA @ MGM Music Hall at Fenway +

08/25 – Buffalo, NY @ Outer Harbor Buffalo +

08/26 – Philadelphia, PA @ Skyline Stage at the Mann ^

+ = Jimmy Eat World closing

^ = Manchester Orchestra closing

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9,244 people have seen Jimmy Eat World live.

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Jimmy Eat World Announce North American Tour With Special Guests

By Logan DeLoye

March 14, 2023

Jimmy Eat World have just announced a slew of Summer tour dates across America with co-headliners, Manchester Orchestra and special guests, Middle Kids . The Amplified Echoes Tour will begin on July 11th in Missoula, Montana, and end in Philadelphia, Pennsylvania on August 26th. The band took to Instagram to announce the dates, and to detail who would be joining them on the road.

"Stoked to announce The Amplified Echoes Tour with @manchesterorchestra and @middlekidsmusic! Tickets are on sale Thursday, March 16 at 10am local."

Other tour stops include Spokane, Washington, Seattle, Washington, Bend, Oregon, San Francisco, California, Los Angeles, California, San Diego, California, Los Vegas, Nevada, Salt Lake City, Utah, Denver, Colorado, St. Louis, Missouri, Nashville, Tennessee, Asheville, North Carolina, Charlotte, North Carolina, Houston, Texas, Austin, Texas, Dallas, Texas, Oklahoma City, Oklahoma, Minneapolis, Minnesota, Milwaukee, Wisconsin, Chicago, Illinois, Indianapolis, Indiana, Columbus, Ohio, Detroit, Michigan, Toronto, Ontario, New York, New York, Boston, Massachusetts, and last but not least Buffalo, New York, before wrapping up the Summer in Philadelphia.

View this post on Instagram A post shared by Jimmy Eat World (@jimmyeatworld)

Jimmy Eat World are currently in Brisbane opening for My Chemical Romance during the Australian leg of MCR's reunion tour. Tickets for The Amplified Echoes Tour will go on sale on March 16th at 10:00 a.m. local time!

Jim Adkins (of Jimmy Eat World) Announces U.S. Tour

The alternative rock artist, Jim Adkins (of Jimmy Eat World), has announced a solo acoustic U.S. tour. The tour will take place in June and July. You can check out the dates and details, after the break.

Digital Tour Bus

June 28 – The Frequency – Madison, WI June 29 – The House Café – Dekalb, IL June 30 – SPACE – Evanston, IL July 1 – Frankies – Toledo, OH July 3 – Iron Horse Music Hall – Northampton, MA July 6 – Metro Gallery – Baltimore, MD July 7 – The Southern – Charlottesville, VA July 8 – Motorco – Durham, NC July 9 – New Brookland Tavern July 11 – Saturn – Birmingham, AL July 12 – Juanita’s Cantina Ballroom July 13 – Outland Ballroom July 14 – Rose Music Hall July 15 – Codfish Hollow July 17 – The Black Sheep July 18 – Hodi’s Half Note July 20 – The Pub Station July 21 – Stage 112 July 22 – The Bartlett July 24 – The Shakedown July 25 – WOW Hall – Eugene, OR July 27 – Oakland Metro – Oakland, CA July 28 – Masonic Lodge at Hollywood – Los Angeles, CA

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Concert review: Despite illness, Fall Out Boy delivers at sold-out Columbus concert

Tickets to a Fall Out Boy concert should come with a warning: not for the faint of heart.

From the opening notes of "Love From the Other Side" to the last guitar riffs in the traditional concert-ender "Saturday," the quartet rocked the stage at the Schottenstein Center Friday night in a feast for the eyes and the ears.

Bassist and primary lyricist Pete Wentz shot flames out of his bass during the choruses of "The Phoenix," the band's second number, as fireworks and flames erupted from the stage. As the band played "Uma Thurman" at the close of its high-energy opening four songs, a man in a rabbit costume danced around while a large snail and cactus were also onstage.

Concerts, film, comedy, more: Make plans this weekend with these 10 cool things to do in Columbus

During "This Ain't a Scene, It's an Arms Race," a large dog head was featured onstage, even singing along to the chorus, followed later on in the show by a large owl that Wentz magically appeared in after disappearing from the top of the piano onstage. Wentz then made his way — again through the art of visual illusion (or maybe a well-suited body double) — to the middle of the arena for "So Much (for) Stardust" before walking back among the crowd to the stage.

Need a break? Play the USA TODAY Daily Crossword Puzzle.

The nearly two hours of vocal acrobatics from lead singer Patrick Stump were even more impressive Friday night as Stump told the sold-out crowd he felt "really, really sick" and was having trouble hitting the big notes. Any signs of illness wouldn't have been detectable had Stump not mentioned it, although his voice did show signs of strain during his set on the piano.

The piano set featured a partial cover of Queen's "Don't Stop Me Now," a well-received treat for fans.

Concert review: Olivia Rodrigo rocks her sold-out concert Friday night in Nationwide Arena

Signs of illness also likely led to the band's decision to play straight into its encore of "My Songs Know What You Did in the Dark," "Thnks fr th Mmrs," "Centuries" and "Saturday" instead of going off stage and coming back.

(Wentz had also noted during the show that some Mexican food he had eaten did not seem to be agreeing with his stomach.)

Fall Out Boy, who have been touring for more than 20 years, played a show that catered to all. Fans ranged in age from young children wearing headphones at their first concert to those who appeared old enough to be grandparents.

And although the concert featured songs that even a casual fan could sing along too, the band paid tribute to the fans who have been with them from the start. After lowering a portion of the stage apparatus to give the appearance of a more intimate venue, the band performed "Dead on Arrival," "Grand Theft Autumn/Where is Your Boy" and "Calm Before the Storm" from their 2003 debut album.

Playing the classics: Tim McGraw's Columbus concert a hit for country music star's fans

Fans who have followed the band for their entire journey appreciated the throwback to a time when the band, who weren't quite the mainstream radio mainstays they are 20 years later, played secret shows at small venues announced only a day or two in advance.

Fall Out Boy's success now and the path their career took is similar to the trail CARR, an up-and-comer in the alt-pop scene who opened the show with a short set, is taking. Wentz urged the crowd to buy CARR's merchandise, noting she was trying to do a "bus tour in a van."

Hot Mulligan, a Michigan band who, based off of the audience reaction already has a significant following, then performed a set.

'Not going to get it right every time': Wentz, Fall Out Boy aren't ready to give up pushing boundaries

Those two acts were followed by a nearly hourlong set from Jimmy Eat World, giving fans of the emo and alternative scenes from the early 2000s a step back in time. The band, who Fall Out Boy cites as helping them break onto the scene, closed their set with their most well-known hit "The Middle," getting nearly everyone in the arena, already full in anticipation of the headliners, on their feet.

The entire concert experience Friday night was a love song to those who may not fit into the cookie-cutter molds created by society.

As Fall Out Boy's performance was coming to a close, the band gathered at the front of the stage for a photo with the crowd in the background. The ritual is a part of all their shows, giving the crowd and the four members of the band a lasting memory — and one that was great.

[email protected]

Jimmy Eat World Announce Fall 2022 Headlining Dates

The run will kick off on September 8 in Cleveland at Rock Hall Live! and continue for three weeks.

Critically acclaimed alternative rock band Jimmy Eat World are gearing up for MORE headline North American tour dates this fall. Following the success of the "Surviving the Truth Tour" with Dashboard Confessional earlier this year, and preparing to head across the pond for dates in Europe and the U.K., the Arizona natives look forward to returning for the "Something Loud Tour."

The run will kick off on September 8 in Cleveland at Rock Hall Live! and continue for three weeks, with stops in St. Louis, Detroit and Chicago, wrapping up September 29 in Toronto at History. All headline dates will be supported by Charly Bliss.

With the current resurgence of emo/pop-punk and a demand for more bands with guitars at festivals, Jimmy Eat World's "Something Loud Tour" will include sets at Four Chord Music Festival in Pittsburgh, RiotFest in Chicago, Oceans Calling Festival in Ocean City, MD in September and When We Were Young Festival in Las Vegas in October. Check out the full schedule below and for information on tickets, please visit their website here .

JIMMY EAT WORLD 2022 TOUR DATES

with Charly Bliss * = Festival Date ^ = TBD September 8 - Cleveland, OH - Rock Hall Live September 9 - Columbus, OH - KEMBA Live! September 10 - Pittsburgh, PA - Four Chord Music Festival* September 11 - Detroit, MI - Saint Andrew's Hall September13 - Minneapolis, MN - First Avenue September 14 - Kansas City, MO - Uptown Theater September 16 - St. Louis, MO - The Pageant September 18 - Chicago, IL - RiotFest* September 20 - Richmond, VA - The National September 21 - Wantagh, NY - Mulcahy's Pub and Concert Hall September 23 - Sayreville, NJ - Starland Ballroom September 24 - Providence, RI - The Strand Theatre September 25 - New Haven, CT - Toad's Place September 26 - Burlington, VT - Higher Ground September 28 - Albany, NY - Empire Live September 29 - Toronto, ON - History October 1 - Ocean City, MD - Oceans Calling* October 22 - Las Vegas, NV - When We Were Young* October 23 - Las Vegas, NV - When We Were Young* October 29 - Las Vegas, NV - When We Were Young*

Jimmy Eat World are celebrating nearly three decades and 10 albums of existence, all but one with the current lineup of lead vocalist and lead guitarist Jim Adkins, rhythm guitarist and backing vocalist Tom Linton, bassist Rick Burch, and drummer Zach Lind. The Mesa, AZ, four-piece's commercial breakthrough came with the release of several singles from their album Bleed American, with "The Middle" hitting No. 1 on the Billboard Alternative Airplay chart and peaking at No. 5 on the U.S. Billboard Hot 100, where it spent 33 weeks total on that chart.

Futures, their follow-up to BA, featured "Pain," which also hit No. 1 on the Billboard Alternative Airplay chart, and it made Billboard's Hot 100 (No. 93), and is RIAA-certified Gold. In October 2019, the band released their tenth album, the critically acclaimed Surviving, which became one of three "chapters" of their 2021 globally streamed series that also includes Futures (Chapter V) and Clarity (Chapter III), performed in their entirety (now available on their YouTube page, here).

Jimmy Eat World have played numerous late-night shows throughout their storied career, including The Late Show With Stephen Colbert, Jimmy Kimmel Live!, and Saturday Night Live, and they have joined epic festival lineups, from Lollapalooza and BottleRock to Summerfest and Hangout Music Fest.

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Elektrostal , Moscow Oblast, Russia

Time in Elektrostal , Moscow Oblast, Russia now

Tokyo 02:06PM
Beijing 01:06PM
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Paris 07:06AM
London 06:06AM
New York 01:06AM
Los Angeles 10:06PM

Time zone info for Elektrostal

The time in Elektrostal is 8 hours ahead of the time in New York when New York is on standard time, and 7 hours ahead of the time in New York when New York is on daylight saving time.
Elektrostal does not change between summer time and winter time.
The IANA time zone identifier for Elektrostal is Europe/Moscow.

Time difference from Elektrostal

Sunrise, sunset, day length and solar time for elektrostal.

Sunrise: 03:48AM
Sunset: 08:59PM
Day length: 17h 11m
Solar noon: 12:24PM
The current local time in Elektrostal is 24 minutes ahead of apparent solar time.

Elektrostal on the map

Location: Moscow Oblast, Russia
Latitude: 55.79. Longitude: 38.46
Population: 144,000

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Jimmy Eat World Announces Additional North American Tour Dates
Jimmy Eat World Tour Dates, New Music, and More
Jimmy Eat World Tour Dates
NEWS: The rock band, Jimmy Eat World, have added eight new dates to
Jimmy Eat World tour 2022: How to buy tickets, schedule, dates
Jimmy Eat World to Play Toronto on Summer Tour

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COMMENTS

HOME
This Phoenix Session of Clarity is our best attempt to play the album faithfully as who we are today. I would like to think we've learned a thing or two over since 1999. We're grateful for the opportunity to document where the songs are now. And, thanks for coming along with us for the ride. How we play songs evolves over time.
Jimmy Eat World Concert & Tour History (Updated for 2024)
1,444 Concerts. Jimmy Eat World is an alternative rock band formed in Mesa, Arizona, United States, in 1993. The band is composed of lead guitarist/lead vocalist Jim Adkins, drummer Zach Lind, rhythm guitarist/vocalist Tom Linton, and bassist Rick Burch. Jimmy Eat World has released ten studio albums, the last nine featuring the current lineup.
Jimmy Eat World Tickets, 2024 Concert Tour Dates
Jimmy Eat World on Tour. Jimmy Eat World announced their Criminal Energy Tour in 2020. The 20-date summer run starts in Atlanta, GA on August 6, 2020 and culminates in a hometown gig in Phoenix, AZ, Labor Day Weekend, on September 5, 2020.
It Just Takes Some Time: The Story Of Jimmy Eat World's Breakthrough
Jimmy Eat World 2.0 signed with DreamWorks, ... We weren't driving ourselves in the van anymore; we had a bus driver and a bus, so we could do far more gigs for a longer stretch, and we were playing in front of more people than we ever had before." ... Jimmy Eat World signed on to open the Pop Disaster Tour co-headlined by Green Day and Blink ...
Watch Jimmy Eat World Go Beyond The Bus At SXSW In New Video
In going 'Beyond The Bus', Arizona quartet Jimmy Eat World tell uDiscover Music all about their exploits at the then relatively embryonic South By Southwest Festival in Texas in 1998 ...
Jimmy Eat World
The official Jimmy Eat World YouTube channel!
Jimmy Eat World Announces Futures 10th Anniversary Tour
The American rock band, Jimmy Eat World, has announced a fall North American headlining tour. This run of dates will be to celebrate the 10th anniversary of their album, Futures. You can check out the dates, after the break. 10/2 Ventura, CA - Ventura Theater 10/3 Sacramento, CA - Ace of Spades 10/4 Oakland, CA - Oakland Metro Opera
Jimmy Eat World Announce 2022 North American Tour
May 31, 2022. Jimmy Eat World, photo by Jim Giannatti. Jimmy Eat World have announced a North American tour that kicks off later this year. Charly Bliss will open all of the band's non-festival ...
Jimmy Eat World announce fall 2022 tour with Charly Bliss
09/09 - Columbus, OH @ KEMBA Live! Jimmy Eat World have announced their 2022 Something Loud tour. The tour kicks off Sept. 8. Charly Bliss will support the band during their trip across North ...
Jimmy Eat World Announce Summer 2022 Headlining Tour Dates
Jimmy Eat World, led by singer-guitarist Jim Adkins, released their tenth studio album, Surviving, in 2019. "Surviving explores some of the different kinds of weights my ego tells me I have to ...
Jimmy Eat World And Manchester Orchestra Announce Summer Tour
Jimmy Eat World and Manchester Orchestra have revealed dates for their co-headlining summer tour. The Amplified Echoes Tour is scheduled to kick off July 11 in Missoula, MT and run through August 26 in Philadelphia, PA. The 29-city trek will include support from Middle Kids. General on sale begins Thursday, March 16 at 10am local time at ...
Jimmy Eat World
Rick Burch and Zach Lind of Jimmy Eat World recall one of their early gigs performing at the SXSW music festival.Subscribe and don't forget to ring the bell ...
Jimmy Eat World Announce North American Tour With Special Guests
Jimmy Eat World have just announced a slew of Summer tour dates across America with co-headliners, Manchester Orchestra and special guests, Middle Kids.The Amplified Echoes Tour will begin on July 11th in Missoula, Montana, and end in Philadelphia, Pennsylvania on August 26th. The band took to Instagram to announce the dates, and to detail who would be joining them on the road.
Jimmy Eat World Announces U.S. + European Tour Dates
The alternative rock band, Jimmy Eat World, has announced a U.S. + European tour, called the "Integrity Blues the Tour", for May and June. The band is touring in support of their latest release, Integrity Blues Acoustic EP. The Struts, Hotelier, Turnover, and Alex Lahey will join select dates of the
Jimmy Eat World ★ First Avenue
Something Loud Tour with Charly Bliss. RSVP on Facebook. RSVP on Facebook. Doors Open 7PM. Show Starts 8PM. Ages 18+ Advance $42. Day of Show $45. Note: There is an 8 ticket limit. Performers. Jimmy Eat World Jimmy Eat World are celebrating nearly three decades and ten albums of existence, all but one with the current lineup of lead vocalist ...
Jim Adkins (of Jimmy Eat World) Announces U.S. Tour
The alternative rock artist, Jim Adkins (of Jimmy Eat World), has announced a solo acoustic U.S. tour. The tour will take place in June and July. You can check out the dates and details, after the break. June 28 - The Frequency - Madison, WI June 29 - The House Café - Dekalb, IL June 30 - SPACE - Evanston, IL
Fall Out Boy, Jimmy Eat World deliver at sold-out Columbus tour stop
Columbus Dispatch. Tickets to a Fall Out Boy concert should come with a warning: not for the faint of heart. From the opening notes of "Love From the Other Side" to the last guitar riffs in the ...
Jimmy Eat World Announce Fall 2022 Headlining Dates
JIMMY EAT WORLD 2022 TOUR DATES. with Charly Bliss. * = Festival Date. ^ = TBD. September 8 - Cleveland, OH - Rock Hall Live. September 9 - Columbus, OH - KEMBA Live! September 10 - Pittsburgh, PA ...
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List of Postal / ZIP Codes in Moscow oblast
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Geographic coordinates of Elektrostal, Moscow Oblast, Russia
WGS 84 coordinate reference system is the latest revision of the World Geodetic System, which is used in mapping and navigation, including GPS satellite navigation system (the Global Positioning System). Geographic coordinates (latitude and longitude) define a position on the Earth's surface. Coordinates are angular units.
Time in Elektrostal, Moscow Oblast, Russia now
Sunset: 08:55PM. Day length: 17h 3m. Solar noon: 12:23PM. The current local time in Elektrostal is 23 minutes ahead of apparent solar time.