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Two films on one DVD: Live at Rockpalast 1982 / Art Exhibit & Conversation 2002

Live at Rockpalast (1982)

By alan vega.

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Alan Vega New York, New York

The visual artist, musician, and poet Alan Vega co-founded the massively influential avant-garde band Suicide with Martin Rev in 1970, with whom he performed off and on throughout his life. Suicide’s debut album was included among Rolling Stone’s list of the 500 greatest albums of all time, and it was a formative work in the invention of synth-punk, post-punk, art rock, industrial, and more. ...   more

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Infinity Punk: A Career-Spanning Interview With Suicide’s Alan Vega

By Simon Reynolds

Best known as the confrontational frontman of Suicide , Alan Vega was also a talented visual artist. January 2002 saw the first exhibition of his light sculptures in almost 20 years, in New York’s SoHo district. At that time, I interviewed Vega about the exhibition for The Village Voice but, as I was also researching my post punk history Rip It Up and Start Again , I seized the opportunity to ask questions about the entire span of his career as a singer and musician. A condensed version of this conversation later featured in the book Totally Wired: Postpunk Interviews and Overviews .

Alan Vega: Nothing but rats and roaches! You know how it goes: The artists move in and make it so people notice it’s a nice area, the rents go up, and the artists have to move out again. We moved to SoHo in 1971, when it was all factories and cheap clothing stores. Very dangerous at night: You took your life in your hands walking outside, it was pretty deserted.

We used to play music at three or 4 o’clock in the morning, all-night-long jam sessions, and sit out on the stoop at this Project of Living Artists place on Greene Street, where we lived. All of a sudden people started walking by giving us weird looks, like we didn’t belong there, and then we knew it was time to move. I moved to Tribeca, further south in Manhattan, and the same crap happened again, so I moved further down to Fulton Street, where it was great until they started building up the Sea Port. Now I’m all the way down to the Wall Street area. I’m on the tip of Manhattan after being pushed out of every place I’ve lived in this city. But I’m not going back to Brooklyn. That’s where I grew up. I left Brooklyn when I was 17.

Around 1969-’79, artists were trying to see themselves as “art workers.” It was a socialist concept, more Trotskyist than Maoist. We wanted to get paid when they put pictures of our works in books and we started to make demands of museums; we actually barricaded the Museum of Modern Art. From there, I met a bunch of people, and we tried to form an organization. One of the people managed to get money from the New York State Council of the Arts. There was about six of us involved and we kept this space open 24 hours a day so that artists—could be a tap dancer or anybody—were able to work there. That was the Project of Living Artists. Often it was a lot of different people doing a lot of different things all at the same time, so there always had to be two or three of us present at all times. A lot of homeless people would come in, and deranged people too. We were janitors and peacekeepers at the same time.

The Project was located near New York University, at Broadway and Waverly, and that’s where Suicide started. Marty Rev came in one day. He’d just got tossed out of NYU—they asked him to play Beethoven, and he played it his way. Marty was one of the weirdest looking guys I ever saw. He just hung around, not saying a word to us, for weeks. He’d come in every night. At that time I was working with a couple of guys doing electronic music, with tapes and guitars and all kinds of stuff.

Eventually, I had to live at the Project illegally. I was saved by a friend who gave me a sleeping bag, because it was freezing in the winters, man. In the early ’70s, we were all starving. I used to eat a tuna sandwich from Blimpie every day. It cost a dollar. Marty would have a tomato and lettuce sandwich. We would get jobs here and there. I worked as an electrician, as a house painter; a friend of mine was a contractor, so I worked with him, cleaning walls. If I had done a job, maybe I’d be living on two sandwiches for a while. If I had hardly any money, I would much prefer to get drunk, because at least that way the gnawing pain of the hunger would go away and I could fall asleep. I was living on the vodka diet for a while.

But we managed to survive and make things happen. We were young and we were going to change things. This was the time of the Vietnam War and Nixon. I used to go on peace marches, went down to Washington a few times. Tear gas. Got my head whacked by the cops.

He was a hero. More than Castro, he was the real guy. He wanted to continue the revolution. And of course the American government hunted him down in Bolivia and killed him. As much as I hate the guy, Bin Laden’s whole way of thinking is kind of like Che Guevara; for the Muslim world, he’s their Che.

A revolutionary pin-up.

In “ Cheree ,” there’s the line, “Cheree, my comic book fantasy.” “Ghost Rider” was from a comic book—that was my favorite comic because it had all these religious, metaphysical things going on in it. Transformations. One of its issues was titled “Satan Suicide” and at that time me and Marty and a friend were trying to think of a name for the band. We were laughing our heads off at all these stupid names we came up with, it was three of the funniest days of my life. Then I saw this issue of Ghost Rider and I was like, “There’s the name: Satan Suicide.” But Marty was like, “Let’s just take Suicide.” We were talking about society’s suicide, especially American society. New York City was collapsing. The Vietnam War was going on. The name Suicide said it all to us. It was the worst choice we could have made, though. It held us back a lot and kept us off the radio. Thirty years later, it’s a little better—there’s all these bands with worse names!

We did a couple of gigs there. We didn’t have songs really, it was more of a free jazz thing. And then, maybe a year into it, Marty started going into this pattern, and it became our first real song. Suicide was like the big bang: chaos, the formation of the universe, then, after a while, the gases began to form little balls that became the galaxies. The first song that came out of all that chaotic stuff was “Cheree.” Then “Ghost Rider.”

Early on we used to jam for hours. I wish I had been able to keep all the tapes. I was playing trumpet alongside Marty’s drums. He is really a phenomenal drummer, the fastest in the world. I was blowing and then one day, my body said, “Al, give it up.” I had a stomach that was like a rock. Trumpet is a demanding instrument: You have to play every day, you get calloused lips, you gotta keep your breath happening. It was the best thing in the world for me in a way, because I never had any trouble singing. Playing a brass instrument is the best way to learn to bring up the air. You’re supposed to sing from down in the gut, but most people in rock sing from the throat and they get nodes. I never had any trouble with my throat, despite screaming for 20 years.

Tom Verlaine was art school. And the New York Dolls were very into the visual thing. With a lot of those New York bands, they either had an art or literary background. Richard Hell and Patti Smith had a literary thing. It was a mind thing as well as a musical thing. I’ve lived in both worlds. The art world is more of an intellectual world, but these bands were intellectual too. It was the beginning of a new thing. The artists of the future are going to have to be good with everything—it’s not going to be just video or just sculpture or just music. I’m lucky because I’ve had talent in both areas. I’m not Picasso or Beethoven, but I’ve done some pretty good work in my life. In the early ’70s, all these people were coming from separate worlds, and maybe it was the beginning of 21st Century art.

You also hung out and played some gigs with Suicide at the Mercer Arts Center, the iconoclastic downtown theater that famously collapsed in 1973. I was there the day it collapsed. The whole building fell down, and a whole era came down with it. The Mercer started out as a theater place, and round the front of the building was this hotel where all the famous junkies stayed. For some reason they started putting on music there. It became a place to party. The Dolls got in there, they had some heavy duty management at the time—the same guys who went on to manage Aerosmith, who copped all the Dolls ideas and went on to huge fame. Suddenly a whole scene started there at the Mercer.

And we eventually got in there after a year. We knew the Dolls. Marty Rev was very friendly with them, he knew a girl who was doing all the clothing for them. Marty and David Johansen became really tight. David is a brilliant guy—he has this façade, but he’s tremendously into music and really funny. He actually had the nerve and balls to come up onstage when Suicide was playing and support us back when everyone was hating us. The Dolls were really hot and famous, while Suicide was at the bottom of the barrel. There was a poll going around about which band you would least like your daughter to go out with—and Suicide were ranked number one in that category!

Kinda. Suicide played very early at CBGB’s, when they first opened up to this kind of music. But we got banned for several years, for a stupid reason I don’t even want to get into. Then Patti Smith played one night, and that was what really started it up. Suddenly all our painter friends started going to CBs. Before that, they never went to rock clubs. Patti gave it the benediction because she was meant to be an artist, a poet. But we were hanging out more at Max’s. It was a different crowd, a bridge-and-tunnel crowd—people from Brooklyn and New Jersey—and for some reason those people got on much better with Suicide.

Exactly. I just liked Max’s better anyway. It was on Park Avenue and 15th Street, and Warhol and Lou Reed and all those people had hung out there in the ’60s. Eventually I wormed my way in and finally got a gig there. A guy who owned an art gallery gave me a note to say it’s OK for Suicide to play there, like: “This guy is a certified artist.”

Martin Rev and Alan Vega of Suicide circa 1980. Photo by Ebet Roberts/Redferns.

Oh yeah, that was a cause for a riot immediately, before we even started doing the music! We were coming out of the ’60s when guitar/bass/drums was the sound. Marty and I knew right away we didn’t want that. We didn’t want drums, although we needed them. One day Marty walked in with this strange looking brown box that he bought in a furniture store; this furniture manufacturer was making little drum machines to be used at weddings and bar mitzvahs. Basic rumbas and sambas. And that’s where the Suicide suicide rhythm came from. These simple beats.

Plus, I was totally confrontational. In those days, people just wanted to go to a show to be removed from life, for entertainment, to forget their lives for a few hours. They came in off the street and I gave them the street right back.

Almost every time we played there was a riot. Then it only got worse when we opened for bands like the Clash and the Cars. It was riots on a larger scale! I got the worst injuries I received, one of them was a busted nose from the skinheads who followed Sham 69 around. [Sham 69 frontman] Jimmy Pursey wanted to go see Suicide, and they followed him—hundreds of skinheads managed to get over the iron barricades in front of the stage, punched me out. But I wouldn’t leave the stage.

Then there was the time in France, near the end of a set. Ironically, it was going really well. I said to Marty, “Let’s do more, man.” And next thing I know, my head started going black and I heard this hissing sound. I thought I was having a stroke or something and started to walk offstage and got my sight back, but I noticed my hand was wet. There was all this blood. I checked my head and there was this huge bump. This huge wrench that somebody clocked me with just missed my eye.

The things that I would see fly by me onstage! One time I was playing support to the Clash in Glasgow in 1978, and this ax flew past my head. Nobody ever believed that story for years, and then I did this solo gig in Leeds in 1987 and Jesus and Mary Chain came backstage afterwards and said they were there at the gig and they saw the ax flying by my head.

I grew up on Elvis. I didn’t want to go to school and I needed something to push me out the door, so the only way you could get me to school was by putting on “Hound Dog” or something. But Roy Orbison had the greatest voice in rock’n’roll. He had a profound effect on me, the way he looked with those shades. Elvis, Little Richard, Buddy Holly, Gene Vincent, Jerry Lee Lewis, Fats Domino, Chuck Berry—I was lucky to be a kid when that was happening.

But you still had Iggy . He pretty much changed my life. I saw him in 1969, when I had been fooling around a bit with electronic music, but I was still basically a visual artist. One night I got a phone call at 4 a.m. in the morning telling me to turn on the radio. It was “I Wanna Be Your Dog,” with this amazing wah-wah guitar. I didn’t know anything about the Stooges, but my friend said, “They’re supporting the MC5 at the Pavilion, let’s go.”

I didn’t know anything from Iggy Pop, all I was interested in was hearing that big guitar. All of sudden I see somebody onstage standing behind this big bass amp. I thought it was a girl, with these bangs, and I was like, “That’s a nice looking girl—strange looking but nice.” And then out walks this androgynous figure, no shirt on, muscled. He was walking out telling everybody to go fuck themselves and he had this look in his eye, and this amazing body. It kicked into “I Wanna Be Your Dog,” then “1969,” and suddenly Iggy’s flying into the audience. Then he’s back onstage and cutting himself up with drumsticks and bleeding. The bass player is humping the guitar player with his bass. The whole set lasted 20 minutes maybe. Usually at rock shows they put on some rock’n’roll between the bands’ sets, but right after the the Stooges finished, whoever was in the sound booth put on one of Bach’s Brandenburg Concertos. It was perfect, because what we had just seen was great art, and the person in the booth understood that. That show was the first time in my life the audience and the stage merged into one.

The next night, they played again, and I dragged this friend of mine who was a heavy theater guy to the show, and his mouth dropped. He’d done cutting-edge theater but this was heavier than anything he’d done. I realized that, as a [visual] artist, I could either carry on down this road and be dishonest, or I had to make some moves. Whatever I was doing as an artist was insignificant at this point. That’s what got me moving in the direction of the music thing more intensely—because it was a vehicle for doing something more environmental than painting.

Absolutely.

I had my father’s country-and-western and my mother’s opera, and then I had rock’n’roll, which I had to listen to under the covers, because they didn’t want me to be into it. Then I got into modern classical. I did the first scratch records of all-time, scratching Bartók records to make them more interesting. A friend had a two-track tape recorder, and I started using toy sounds and feedback from guitars, and you could make the tape recorder itself feedback. It was related to being into science, building telescopes and spectroscopes.

That’s what the Iggy thing did. I realized I had to become the front guy, get out onstage—destroy the stage, in fact. And Marty was such a brilliant musician I realized I couldn’t compete.

Suicide in Toronto circa 1978. Photo by Peter Noble/Redferns.

We announced that first gig at [SoHo gallery] OK Harris, in February 1971, as a Punk Music Mass on flyers all round the city. As far as I know that’s the first time, except for an article that the great writer Lester Bangs wrote on Iggy Pop in which he used the word. I’m sure I got the word from Lester’s piece, never imagining that punk would become a style of music. But I don’t think Suicide was ever a punk band. Then again someone said everybody hated Suicide, including the punks—ergo, Suicide was the ultimate punk band!

People have called us everything under the sun, but they could never categorize us. We’ve been called techno, electronic, punk, post-punk, glitter, industrial, psychobilly. I always say it’s Suicide music.

I guess I do. I don’t subscribe to any particular religion but, to me, there is some power out there. One day I did have this religious experience—I was staying in this brilliant art critic’s home for three months, and I found a 90-page pamphlet on infinity written by this college professor and started reading it. I wasn’t stoned or anything, but I suddenly saw those two parallel lines that start out at infinity and meet. I got a picture of the universe and understood what infinity was for one-tenth of a second. And then it was gone. I tried to hold on to it, but it dissolved. I put the book away and then, a day or two later, I wanted to read it again. I looked all over, but it had gone. It was like the book never existed.

People always say this to people who want to be artists: “Study this and use it to get a real job on the side, that way you can support your art.” And I say, “I did—to support my art career, I got into music to make money. Suicide is my regular job!” We didn’t make very much money for the first 10 years or so, but we’ve been making money off this supposedly non-commercial music [since]. We got a Tia Maria commercial in Europe off the weirdest song: a basement two-track tape recording from 1975 called “Amen,” an outtake from the second Suicide album sessions. Henry Rollins did “Ghost Rider” on the soundtrack of The Crow , which sold six million copies. And overall the first Suicide album must have sold a quarter of a million copies worldwide. It came out in 1977 and it quietly sells every year.

Maybe a bit more. But it was recorded live, with me singing along while Marty played. Except “Frankie Teardrop,” which I redid. But yeah, it was recorded in a single evening. Then we spent months mixing it.

It was beautiful, you’d go from one club to another. And when the clubs shut at 4 a.m., you had all the after hours joints like Berlin, which was across the street from Danceteria. It was a never-ending thing where I’d go out around 2 a.m. and stay out until 8 in the morning. You’d walk out from the clubs into the painful sunlight, stoned out of your mind, and there’d be all these people going to work—straight people looking at you pissed as hell because you were looking all fucked-up and going home to sleep, while they’re off to work. I never had to pay for a drink—there was an unwritten law that if you had performed in a club, you didn’t have to buy a drink there forever after. So I’d come in with my entourage. In the early ’80s I had an entourage! I’d had the solo hit in Europe with “ Jukebox Babe ” and then signed to Elektra. But it got to be too much, actually. I was never alone, ever. And the women—at first it was great but after a while you find you’re not doing any work. You have to deliver an album and suddenly you realize you’ve only got one song, because you’ve been partying all the time.

In 1978, we opened for the Clash in the UK and got all the heavy shit. After that we had our own tour of eight UK cities, and it went over very well, because we did have a fans but they couldn’t make themselves heard through the Clash fans shouting abuse at us. When we played Leeds, the dressing room was packed. I was scared for my life, I could hardly breathe! And a lot of the kids who came through in the ’80s were these kids who were crushing me! Soft Cell were at the Leeds show. Dave Ball, the keyboard player, has been at me for 15 years to make a record with him.

We are probably one of the most influential bands ever when you think about it. R.E.M. covered our songs. Moby’s a big fan apparently. And Björk. You got Spacemen 3, Spiritualized. The Pan Sonic guys in Finland. They idolize Suicide the way I might have idolized Elvis.

By Matthew Strauss

By Nina Corcoran

By Jazz Monroe

The Marías Dive Deep on ‘Submarine’: ‘We Played Through’ Romantic Breakup Between Members, and Deluxe Album Reveal (EXCLUSIVE)

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In “Blur,” track six on the Marías ‘ new album “Submarine,” vocalist María Zardoya proclaims herself as an avoidant. Zardoya’s breathy voice sings about refusing to elaborate on any questions about the “mess” she’s made of her life, mainly because she can’t bare to recall the painful memories.

It’s a brave acknowledgment to make considering Zardoya, now sitting in her ex-boyfriend Josh Conway’s home studio, is openly discussing her life-altering breakup, what also happens to be the material for the Marías’ 14-song sophomore record and the follow-up to their critically acclaimed Grammy-nominated debut, “Cinema” (2021).

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“The album’s material, from the songwriting to the details in the sound, is substantial,” Zardoya tells Variety . “I think with this level of honesty, obviously, came really awkward moments between us as a band. We had to learn to fight it and then embrace it, and ultimately, honesty is what’s best for the music and for the songs. We played through it and I’ll always look back it fondly because of that.”

The band spent four months apart between their last tour date and the the jam sessions that would eventually become “Submarine.” During that time, the future of the Marías was up in the air. Conway took a trip to Europe, in an “Eat, Pray, Love” kind of way, while Zardoya — who has written a majority of the Marías’ discography since the band started playing local shows in 2016 — expressed her grief on paper.

“There was no end goal,” Conway remembers. “We were just trying to see if we could still write and make music together. It wasn’t until we had finished all the songs on the album that we finally sat down and acknowledged that we could and we did create something we are all proud of.”

Once the band met up in person to play together again, “I remember I knew what I wanted to say,” Zardoya says, “but I hesitated to say it out loud because I was scared of how it would make Josh feel. There were a lot of those moments throughout this album that I was like ‘I know what I want to say, but I’m holding back.’ I was nervous to show the album to Ricky [Reed] and Brad [Haering], so I must’ve warned them a million times that the album wasn’t finished yet but they quickly were like ‘No, this is done. This is ready.'”

Breakup aside, “Submarine” sticks to its voyeuristic theme in its production and instrumental arrangements. Like most of the Marías’ records since their first two EPs, 2017’s “Superclean Vol. I” and 2018’s “Superclean Vol. II,” trumpets and strings accentuate the album’s more jazzy crescendos. The richest textures often come courtesy of undulating synths and Pearlman’s “secret guitar pedals” that can be delicate or rough, adding atmospheric reverb that mimics rippling water and similar sounds.

To create the album’s glistening art work (the band is even selling a vinyl “water cover” variant that has liquid inside the vinyl sleeve), the Marías spent hours uncomfortably submerged in a pool. “I was miserable,” Zardoya says. This was true not because Zardoya spent the most time underwater to capture the album’s cover art, but because her father (whose voice you hear at the end of “Ay No Puedo”) had suffered a stroke in the days before the shoot and she was emotionally shot.

“I got through the day and in the end, the visuals look beautiful,” she says, noting “that feeling is the foundation of the album: it was uncomfortable to make at times but we got through it and made something beautiful.”

“Hamptons”

There’s a bit of dancehall feel to this and a bit of a return to reggaeton. Before Maria, I didn’t know much about reggaeton, let alone producing it and I could make what we consider to be reggaeton, the things we hear on the radio but I feel like I would be stealing from people who really own that space like Tainy. So I find a way to make it ours, and I think this is the perfect example of doing that while still being the Marias. – Conway

“Echo”

The lyrics in “Echo” are painfully honest so it was one of the hardest ones to get through. Josh went to Europe shortly after “Echo” was written if that tells you anything. – Zardoya

“Echo” was also one of those songs that showed us pretty early on into the process that water would be a recurring theme. I’m pretty sure we had the bubbles you hear in the song already recorded before we even decided on “Submarine.” – Conway

“Real Life”

Josh is the best at bass lines. We were in Dominican Republic, and this song started as a full-band jam and lyrics came out, melody came out and Josh does what he does. When we write as a band its the easiest thing in the world, it’s very synergetic, I think. – Zardoya

It started with that one note, a C minor. I want to say María started singing and I was directing the band through note changes — “B-flat to G, back to beginning!” It came together the quickest. – Conway

“If Only”

We wrote this song as a tribute to Tom Waits and Kathleen Brennan’s song, “Green Grass.” [Waits] has been a family friend of Josh’s and so we were able to send him the song before it came out and we asked him if he would be a co-writer. He technically didn’t write any of it but it was completely inspired by him and we’re honored he said yes. – Conway

“Sienna”

This is written from the standpoint of a broken relationship and of what could have been: We could have had a child together and named her Sienna, and she would have looked like you… Sienna would have acted like you, she would have jumped in the pool just like you, and she would have sang to all her pets like I do… she would have done all these things like us. But because we broke up, Sienna will never exist.

And so at the very end where I sing, “See her face in the forest, then it disappears,” it’s like seeing the future you wanted just completely vanish out of nowhere and that’s how this part of the album ends. – Zardoya

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Alan Jackson expands Last Call: One More for the Road tour with 10 new shows: See the dates

Alan Jackson is going out with a bang. The country music icon has added a new set of shows to his ongoing Last Call: One More for the Road farewell tour.

The Country Music Hall of Famer , 65, announced Thursday his plans to continue his Last Call: One More for the Road tour, which played to standing-room-only crowds in sold-out arenas coast-to-coast in 2022.

Jackson’s 2024-2025 tour will play an initial list of 10 arenas across the U.S., with each show marking the last time he’ll ever perform in that city and surrounding areas.

“I’ve been touring for over 30 years — my daughters are all grown, we have one grandchild and one on the way," Jackson said in a statement. "I’m enjoying spending more time at home. But my fans always show up to have a good time, and I’m going to give them the best show I can for this Last Call."

The three-time CMA Entertainer of the Year will play his final tour as he continues to live with Charcot-Marie-Tooth, a chronic neuropathy condition that he first revealed in 2021 . The disorder has affected his ability to move and keep balance onstage.

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“Fans know when they come to my shows, they’re going to hear the songs that made me who I am — the ones they love,” Jackson said in his tour announcement.

‘Man, I love real country music’: Alan Jackson talks 21-track album ‘Where Have You Gone’

How to get tickets to Alan Jackson's Last Call: One More for the Road tour

Tickets for the Last Call: One More for the Road tour will go on sale to the general public at 10 a.m. June 7 via Ticketmaster .

A ticket presale is available to members of Jackson's fan club, according to the singer's official website . The presale, which has already begun, is scheduled to run through June 6 .

Hailing from rural Newnan, Georgia, Jackson has sold nearly 60 million albums worldwide, ranking as one of the 10 best-selling male vocalists of all-time.

A 2018 Songwriters Hall of Fame inductee , Jackson has released more than 60 singles, notching 50 Top 10 hits and 35 chart-toppers. He has earned more than 150 major music industry awards, including 19 Academy of Country Music Awards, 17 Country Music Association Awards (including the Willie Nelson Lifetime Achievement Award), a pair of Grammys and ASCAP’s Founders and Golden Note Awards.

Interested in going? Check out tickets at Vivid Seats , StubHub , SeatGeek , and Ticketmaster .

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ACM Honors: Alan Jackson, Carly Pearce, Keith Urban celebrate country music at the Ryman Auditorium

Alan Jackson Last Call: One More for the Road tour dates

• Aug. 2, 2024 – Boston, MA - TD Garden
• Aug. 24, 2024 – Grand Rapids, MI - Van Andel Arena
• Sept. 28, 2024 – Fayetteville, AR - Bud Walton Arena
• Oct. 26, 2024 – Kansas City, MO - T-Mobile Center
• Nov. 16, 2024 – Salt Lake City, UT - Delta Center
• Jan. 18, 2025 – Oklahoma City, OK - Paycom Center
• Feb. 15, 2025 – Fort Worth, TX - Dickies Arena
• March 7, 2025 – Orlando, FL - Kia Center
• April 26, 2025 – Tampa, FL - Amalie Arena
• May 17, 2025 – Milwaukee, WI - Fiserv Forum

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"There is a wonderful timelessness about this record that led me somewhere in my imagination."

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"With its outstanding performances, 'An Evening of New York Songs and Stories' also serves as an excellent Vega primer, an artist who still merits being on your radar no matter what your hometown may be."

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"With An Evening of New York Songs and Stories (recorded in 2018 during Vega’s two-week residency at New York’s legendary Carlyle Café), she plays homage to her beloved hometown – and provides a master class in articulate, striking songwriting."

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Alan Jackson Is Touring Again With Last Call: One More for the Road Tour

"I'm going to give [fans] the best show I can," he said in a statement.

By Jessica Nicholson

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Alan Jackson

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Jackson continues to live with Charcot-Marie-Tooth, a chronic neuropathy condition he first revealed in 2021. The condition impacts one’s balance and ability to stand or walk without difficulty.

Tickets for all cities will go on sale Friday, June 7. VIP experiences will be offered (including a pre-show party presented by AJ’s Good Time Bar). One dollar from every ticket sold for the tour will be donated to CMT Research Foundation, a 501 (c)(3) that funds research, with each dollar being matched by a group of CMTRF donors.

See the full list of tour dates for Jackson’s Last Call: One More For the Road Tour below:

• Aug. 2: Boston, MA (TD Garden)
• Aug. 24: Grand Rapids, MI (Van Andel Arena)
• Sept. 28: Fayetteville, AR (Bud Walton Arena)
• Oct. 26: Kansas City, MO (T-Mobile Center)
• Nov. 16: Salt Lake City, UT (Delta Center)
• Jan. 18: Oklahoma City, OK (Paycom Center)
• Feb. 15: Fort Worth, TX (Dickies Arena)
• March 7: Orland, FL (Kia Center)
• April 26: Tampa, FL (Amalie Arena)
• May 17: Milwaukee, WI (Fiserv Forum)

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Alan Jackson Announces 2024-2025 Last Call: One More for the Road Tour Dates: 'You Don't Want to Miss!'

"Some of the best times are had right at last call, and this is one last call that you don't want to miss!" the country superstar shared of what could be his final tour return

• Alan Jackson has revealed more dates for his Last Call: One More For the Road tour
• The new round of dates may mark the country superstar's final time appearing live in concert
• The singer told fans he plans to treat them to his 30+ year catalog full of hits

Alan Jackson is heading back on the road for what could be his final farewell live.

On Thursday, May 30, the country superstar, 65, announced the continuation of his Last Call: One More For the Road tour — which initially played to sold-out crowds coast-to-coast in 2022 — with new dates scheduled in U.S. arenas in the summer of 2024 through 2025. News of the singer’s “one last good time” on stage is said to be his final appearance in concert.

“Some of the best times are had right at last call, and this is one last call that you don’t want to miss!” Jackson shared in an announcement.

The Country Music Hall of Famer and dad of three assured fans that he’ll make his upcoming performances ones to remember by treating them to over 30 years of hits that have “been the soundtrack of their lives,” according to a press release.

“Fans know when they come to my shows, they’re going to hear the songs that made me who I am – the ones they love,” said Jackson, including “Chattahoochee” and “It’s Five O’Clock Somewhere.” 

The three-time CMA entertainer of the year winner is set to resume his tour in Boston on Aug. 2 before hitting cities like Salt Lake City, Oklahoma City, Milwaukee and more.

“I’ve been touring for over 30 years – my daughters are all grown, we have one grandchild and one on the way…and I’m enjoying spending more time at home,” Jackson shared in a press statement. “But my fans always show up to have a good time, and I’m going to give them the best show I can for this Last Call.”

Jackson’s tour announcement arrives nearly three years after he revealed that he’d been living with the degenerative nerve condition Charcot-Marie-Tooth disease for a decade, which he said affected his ability to walk and perform live.

“I've been reluctant to talk about this publicly and to my fans, but it's been a while, and it's starting to affect my performance on stage a little bit where I don't feel comfortable," the Drive country artist said of his diagnosis in a September 2021 TODAY interview. "I just wanted the fans and the public to know if they've come to see me in the last few years or if they come to see me in the future if I play anymore, what's going on."

Related: Alan Jackson Says He'll Likely Have 'More Music to Come' in the Future: 'I Would Hope So'

In February 2023, Jackson, who hasn’t released new music since 2021, teased that he saw a new release in his future being asked about another potential album. "Well, yes. I would hope so,” he said on the podcast In Joy Life with Mattie Jackson . “I mean, I may not have toured much, but like I said, the creative part jumps out every now and then.”

“I'm always scribbling down ideas and thinking about melodies,” the singer added, “and I feel like there'll be some more music to come, yes."

Tickets for Jackson’s Last Call: One More For the Road tour go on sale on Friday, June 7. See the complete list of dates below.

Aug. 2 — Boston, MA (TD Garden)

Aug. 24 — Grand Rapids, MI (Van Andel Arena)

Sept. 28 — Fayetteville, AR (Bud Walton Arena)

Oct. 26 — Kansas City, MO (T-Mobile Center)

Nov. 16 — Salt Lake City, UT (Delta Center)

Jan. 18 — Oklahoma City, OK (Paycom Center)

Feb. 15 — Fort Worth, TX (Dickies Arena)

March 7 — Orlando, FL (Kia Center)

April 26 — Tampa, FL (Amalie Arena)

May 17 — Milwaukee, WI (Fiserv Forum)

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Alan Jackson has one last good time in him.

The 65-year-old country icon just announced his ‘Last Call: One More for the Road Tour’ that will take him to arenas all over the U.S. from August 2024 up until May 2025.

And while he hasn’t announced a New York or New Jersey show, he will come close when he performs at Boston’s TD Garden on Friday, Aug. 2.

“This is one last call that you don’t want to miss,” Jackson shared on Instagram .

Fans may be surprised that Jackson is returning to the stage one more time; there was speculation that his 2022 tour was his last since he’d been diagnosed with Charcot-Marie-Tooth aka CMT, a chronic neuropathy condition that makes walking and holding things difficult, in 2021.

As of now, the upcoming run appears to be his swan song.

If you want to hear him bust out all the classics you know and love — “It’s Five O’Clock Somewhere,” “Chattahoochee,” “Little Bitty” and so many more — tickets are available 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.

Alan Jackson tour schedule 2024-25

A complete calendar including all tour dates, venues, and links to buy tickets can be found below.

Alan Jackson set list

Jackson’s last gig prior to this upcoming tour was in Anaheim, CA on Oct. 1, 2022.

According to Setlist.FM , here’s what he took to the stage that night.

01.) “Gone Country” 02.) “I Don’t Even Know Your Name” 03.) “Livin’ on Love” 04.) “Summertime Blues” (Eddie Cochran cover) 05.) “The Blues Man” (Hank Williams, Jr. cover) 06.) “Who’s Cheatin’ Who” (Charly McClain cover) 07.) “Here in the Real World” 08.) “Chasin’ That Neon Rainbow” 09.) “The Older I Get” 10.) “Little Bitty” 11.) “Country Boy” 12.) “Good Time” 13.) “Drive (For Daddy Gene)” 14.) “Where Were You (When the World Stopped Turning)” 15.) “Don’t Rock the Jukebox” 16.) “Remember When” 17.) “It’s Five O’Clock Somewhere” 18.) “Chattahoochee” 19.) “Where I Come From”

20.) “Mercury Boogie” (K.C. Douglas cover)

Country stars on tour in 2024

What other boot scoot legends are out and about this year?

While we’re barely scratching the surface, here are just five of our favorites you won’t want to miss live these next few months.

•  Willie Nelson

•  George Strait with Chris Stapleton

•  Brooks and Dunn

• Clint Black

•  Tim McGraw

Who else is on the road again? Take a look at our list of the 50 biggest country 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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The best album credited to Alan Vega is Alan Vega which is ranked number 25,528 in the overall greatest album chart with a total rank score of 36.

Alan Vega is ranked number 6,464 in the overall artist rankings with a total rank score of 112.

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XL Flag Elektrostal Moscow oblast | landscape flag | 2.16m² | 23sqft | 120x180cm | 4x6ft - 100% Made in Germany - long lasting outdoor flag

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Flag: Elektrostal Moscow oblast landscape flag | 2.16m² | 23sqft | 120x180cm | 4x6ft Elektrostal Moscow oblast Elektrostal obwód moskiewski , flaga ???????????? ?????????? ??????? Since we know how important your external presentation is, we print our Elektrostal Moscow oblast flag for your representative appearance using the most modern machines in Germany. To ensure your maximum flexibility, we have equipped the flags with quality metal eyelets, to let you simply attach these flags to any flagpole. To let you use the flags for a long time, we have strengthened the flag using double safety seams and a tear proof strap at the side of the pole. Due to the quality of this business flag, you show a particular degree of the closeness to Elektrostal Moscow oblast. Details about this flag This landscape Elektrostal Moscow oblast flag is a quality product Made in Germany made of 110g/m² gloss polyester. This Elektrostal Moscow oblast flag is wind- and weather-resistant and highly durable. The flag colors are intensive and UV-resistant. This flag is specially made for outer space. This Elektrostal Moscow oblast flag will be delivered with a double safety-seam as well as with 2 metal eyelets to hoist at the flag pole. The metal eyelets give you great flexibility for placing this flag on any flagstaff. The mast side is reinforced with a white hem. The quality flag material and the metal eyelets will take care of a long endurance of this Elektrostal Moscow oblast flag. If required, the flag can be washed at 60 degrees Celsius. Recommended height of flag pole Elektrostal Moscow oblast flags of 2.16m² | 23sqft | 120x180cm | 4x6ft look best with flagpoles of around 6m | 18ft height. Need a bigger size or an other configuration? We can provide bigger sizes, other configurations, exclusive indoor ...

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Savvino-storozhevsky monastery and museum.

Zvenigorod's most famous sight is the Savvino-Storozhevsky Monastery, which was founded in 1398 by the monk Savva from the Troitse-Sergieva Lavra, at the invitation and with the support of Prince Yury Dmitrievich of Zvenigorod. Savva was later canonised as St Sabbas (Savva) of Storozhev. The monastery late flourished under the reign of Tsar Alexis, who chose the monastery as his family church and often went on pilgrimage there and made lots of donations to it. Most of the monastery’s buildings date from this time. The monastery is heavily fortified with thick walls and six towers, the most impressive of which is the Krasny Tower which also serves as the eastern entrance. The monastery was closed in 1918 and only reopened in 1995. In 1998 Patriarch Alexius II took part in a service to return the relics of St Sabbas to the monastery. Today the monastery has the status of a stauropegic monastery, which is second in status to a lavra. In addition to being a working monastery, it also holds the Zvenigorod Historical, Architectural and Art Museum.

Belfry and Neighbouring Churches

Located near the main entrance is the monastery's belfry which is perhaps the calling card of the monastery due to its uniqueness. It was built in the 1650s and the St Sergius of Radonezh’s Church was opened on the middle tier in the mid-17th century, although it was originally dedicated to the Trinity. The belfry's 35-tonne Great Bladgovestny Bell fell in 1941 and was only restored and returned in 2003. Attached to the belfry is a large refectory and the Transfiguration Church, both of which were built on the orders of Tsar Alexis in the 1650s.  

To the left of the belfry is another, smaller, refectory which is attached to the Trinity Gate-Church, which was also constructed in the 1650s on the orders of Tsar Alexis who made it his own family church. The church is elaborately decorated with colourful trims and underneath the archway is a beautiful 19th century fresco.

Nativity of Virgin Mary Cathedral

The Nativity of Virgin Mary Cathedral is the oldest building in the monastery and among the oldest buildings in the Moscow Region. It was built between 1404 and 1405 during the lifetime of St Sabbas and using the funds of Prince Yury of Zvenigorod. The white-stone cathedral is a standard four-pillar design with a single golden dome. After the death of St Sabbas he was interred in the cathedral and a new altar dedicated to him was added.

Under the reign of Tsar Alexis the cathedral was decorated with frescoes by Stepan Ryazanets, some of which remain today. Tsar Alexis also presented the cathedral with a five-tier iconostasis, the top row of icons have been preserved.

Tsaritsa's Chambers

The Nativity of Virgin Mary Cathedral is located between the Tsaritsa's Chambers of the left and the Palace of Tsar Alexis on the right. The Tsaritsa's Chambers were built in the mid-17th century for the wife of Tsar Alexey - Tsaritsa Maria Ilinichna Miloskavskaya. The design of the building is influenced by the ancient Russian architectural style. Is prettier than the Tsar's chambers opposite, being red in colour with elaborately decorated window frames and entrance.

At present the Tsaritsa's Chambers houses the Zvenigorod Historical, Architectural and Art Museum. Among its displays is an accurate recreation of the interior of a noble lady's chambers including furniture, decorations and a decorated tiled oven, and an exhibition on the history of Zvenigorod and the monastery.

Palace of Tsar Alexis

The Palace of Tsar Alexis was built in the 1650s and is now one of the best surviving examples of non-religious architecture of that era. It was built especially for Tsar Alexis who often visited the monastery on religious pilgrimages. Its most striking feature is its pretty row of nine chimney spouts which resemble towers.

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