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COPE: Live at the Earl

Manchester Orchestra performed COPE in its entirety at The Earl in Atlanta, GA on March 30th, 2023. The live album and performance film, directed by Stephen Payne, released on April 26th, 2024.

MAY 12, 2024 • LOS ANGELES, CA • RAD VENUE NAME

Manchester orchestra tour dates.

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Manchester Orchestra tour dates 2024

Manchester Orchestra is currently touring across 1 country and has 18 upcoming concerts.

Their next tour date is at The Fillmore Detroit in Detroit, after that they'll be at Holliday Park in Indianapolis.

Currently touring across

Upcoming concerts (18) See nearest concert

The Fillmore Detroit

Holliday Park

Rock The Ruins

House of Blues Chicago

Showbox SoDo

McMenamins Crystal Ballroom

The Warfield

Riverside Municipal Auditorium

Hollywood Palladium

The Theater at Virgin Hotels Las Vegas

Marquee Theatre

South Side Ballroom

Revention Music Center

The Eastern

Past concerts

Andrew J. Brady Music Center

Citizens House of Blues Boston

Brooklyn Paramount

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Recent tour reviews

Fantastic show! So good live. Very happy with seeing them. My wife never heard their music, which was surprising, but she enjoyed it as well. Keep it up Manchester!

If they are coming your way, see them live. Its just one of those bands. After all these years and they sounded phenomenal.

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Absolutely brilliant gig last night at Shepherd's Bush empire! These guys are what live music is all about: it completely transcends the recorded material which is already phenomenal. If ever they play a show in your town, make a point of being there! Belting out the final refrain from colly strings last night with the rest of the crowd will live long in my memory!

Mind-blowing. Absolutely sensational performance, first time I've managed to see them and it massively exceeded my expectations. Every moment was fantastic. Atmosphere was great, energy was off the charts. Still buzzing now.

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Manchester Orchestra

​​​Manchester Orchestra tour dates: 16 concerts in USA

About manchester orchestra.

Manchester Orchestra is an American indie rock band from Atlanta, Georgia, formed in 2004. The group is composed of rhythm guitarist-singer-songwriter Andy Hull, lead guitarist Robert McDowell, bassist Andy Prince and drummer Tim Very. Former drummer Jeremiah Edmond parted ways with the band in January 2010 to focus on his family and on running the band's record label, Favorite Gentlemen. The band's original bassist, Jonathan Corley, parted ways with the band in 2013. Keyboardist/percussionist Chris Freeman announced his departure from the band in September 2016. Manchester Orchestra has released several extended plays and five studio albums: I'm Like a Virgin Losing a Child (2006), Mean Everything to Nothing (2009), Simple Math (2011), Cope (2014) (as well as its accompanying acoustic version, Hope) and A Black Mile to the Surface (2017). They are signed to independent record label Favorite Gentlemen Recordings, which is distributed through Sony Music Entertainment, and Loma Vista Recordings. The band has performed at major music festivals such as Lollapalooza, Bonnaroo, Coachella, Riot Fest, Shaky Knees Music Festival, Firefly Music Festival, Reading and Leeds Festivals and more.

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Manchester Orchestra

Manchester orchestra concert setlists & tour dates, cope 10th anniversary tour, upcoming shows.

• Date and Venue Doors Scheduled
• Sep 22 2024 Riot Fest Late Night 2024 Chicago, IL, USA  –  Find tickets Add time Tickets Add time Add times
• Nov 08 2024 The Showbox SoDo Seattle, WA, USA  –  Find tickets Doors 6:00 PM  –  Start time: 8:05 PM (Est.) Tickets 6:00 PM 8:05 PM Estimated
• Nov 11 2024 The Warfield San Francisco, CA, USA  –  Find tickets Doors 6:00 PM  –  Start time: 8:05 PM (Est.) Tickets 6:00 PM 8:05 PM Estimated
• Nov 13 2024 Hollywood Palladium Los Angeles, CA, USA  –  Find tickets Doors 6:00 PM  –  Start time: 8:05 PM (Est.) Tickets 6:00 PM 8:05 PM Estimated
• Nov 15 2024 Gallagher Square San Diego, CA, USA  –  Find tickets Doors 5:00 PM  –  Start time: 7:05 PM (Est.) Tickets 5:00 PM 7:05 PM Estimated
• Nov 16 2024 The Theater at Virgin Hotels Las Vegas, NV, USA  –  Find tickets Doors 6:00 PM  –  Start time: 8:05 PM (Est.) Tickets 6:00 PM 8:05 PM Estimated
• Nov 17 2024 Marquee Theatre Tempe, AZ, USA Doors 6:00 PM  –  Start time: 8:05 PM (Est.) 6:00 PM 8:05 PM Estimated
• Nov 19 2024 South Side Ballroom Dallas, TX, USA  –  Find tickets Doors 7:00 PM  –  Start time: 9:05 PM (Est.) Tickets 7:00 PM 9:05 PM Estimated
• Nov 20 2024 Bayou Music Center Houston, TX, USA  –  Find tickets Doors 6:00 PM  –  Start time: 8:05 PM (Est.) Tickets 6:00 PM 8:05 PM Estimated
• Nov 22 2024 The Stuffing 2024 Atlanta, GA, USA  –  Find tickets Doors 5:30 PM  –  Start time: 7:35 PM (Est.) Tickets 5:30 PM 7:35 PM Estimated

Manchester Orchestra at Riot Fest Chicago 2024

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Manchester Orchestra at Rock the Ruins 2024

Manchester orchestra at the fillmore detroit, detroit, mi, usa, manchester orchestra at the andrew j. brady music center, cincinnati, oh, usa.

• Girl Harbor
• The Mansion
• Every Stone
• All That I Really Wanted
• See It Again
• After the Scripture

Manchester Orchestra at Citizens House of Blues Boston, Boston, MA, USA

Manchester orchestra at brooklyn paramount, brooklyn, ny, usa, manchester orchestra at the fillmore philadelphia, philadelphia, pa, usa, manchester orchestra at buffalo riverworks, buffalo, ny, usa, manchester orchestra at starland ballroom, sayreville, nj, usa, manchester orchestra at the fillmore silver spring, silver spring, md, usa.

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Most played songs

• Shake It Out ( 475 )
• I Can Barely Breathe ( 431 )
• Pride ( 349 )
• I've Got Friends ( 339 )
• Cope ( 316 )

More Manchester Orchestra statistics

Bad Books Julien Baker The Campfire Camaraderie Kevin Devine Kevin Devine & The Goddamn Band The Exies Hindsight Andy Hull An Intimate Gathering of Wolves Allison Iraheta Paris Jackson Nathen Maxwell Mark McCabe Mile 57 North of the Border Press to MECO Right Away, Great Captain! Seth Cloe and the Silver Liners Small Strides Sorority Noise

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Artists covered

Bad Books Cage the Elephant Kevin Devine Frightened Rabbit Grandaddy Mildred J. Hill & Patty Hill Rupert Holmes Hootie & the Blowfish Andy Hull Jackson 5 / Prince DJ Jazzy Jeff & the Fresh Prince The Mountain Goats Willie Nelson Neutral Milk Hotel No Doubt Roy Orbison Pedro the Lion The Proclaimers Right Away, Great Captain! Paul Simon The Strokes Sunday School James Taylor TV on the Radio Weezer Wilco Neil Young

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Gigs seen live by

3,284 people have seen Manchester Orchestra live.

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Manchester's Orchestra since 1858

Thu 26 Sep 2024

The Bridgewater Hall

Kahchun Wong Conducts Mahler’s ‘Titan’

Sat 28 Sep 2024

Top of the Classics

Sun 29 Sep 2024

Family Concert: Marvellous Musical Myths and Legends

Choose a section to find out more about our orchestra.

The strings section includes the violin, viola, cello, double bass and harp.

The woodwind section includes flute, oboe, clarinet, bassoon and cor anglais.

The brass section includes trumpet, trombone, cornet and tuba.

The French horn is a brass instrument made of tubing wrapped into a coil with a flared bell and is part of the brass section.

The percussion section includes snare drum, bass drum, cymbals, triangle, tambourine and mallet percussion instruments.

Timpani or kettledrums are instruments in the percussion section.

A person who directs the performance with movements of the hands and arms.

Schools’ Concerts

Experience the amazing sound of a live orchestra at one of the Hallé’s concerts suitable for KS1, KS2, KS3, GCSE…

For Teachers

Information on Hallé Schools' Concerts and creative projects for all ages; from early years to secondary schools, including SEND.

Resources for Teachers

Online activities for schools from the Hallé Connect team.

For Young People

The Hallé offers a range of opportunities for children and young people to engage with music-making on a weekly basis.

For Our Communities

We work across the community in various settings and in collaboration with a number of local services.

Charles Hallé was a visionary. In 1858 he created an orchestra that Manchester immediately took to its heart, making world-class…

The Hallé Presents: Steve Reich Desert Music

Colin Currie and the Hallé begin this exciting mini-fest of Steve Reich’s music in February with Music for Pieces of Wood and Music for Ensemble and Orchestra. For Reich’s major choral and orchestral work The Desert Music, members of the RNCM Chamber Choir also take to the stage.

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‘Night Of Hunters’: Tori Amos’ Classical Crossover Album

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The tour kicks off October 5 in Dallas, Texas.

Published on

After sharing news of their first three full band shows in over a year—in some of their biggest rooms to date— Manchester Orchestra have announced that they’re bringing their critically acclaimed new album The Million Masks of God to life with a triumphant North American tour spanning across October/November 2021 and February/March 2022.

The 38-show run will take the band’s renowned live show throughout the U.S. and into Canada, and will mark the live debut of Masks , out now via Loma Vista Recordings, including the epic, AAA radio Top 3 and Alternative radio Top 20 hit “Bed Head.” Tickets will go on-sale to the public this Thursday, June 24.

“It is our absolute pleasure to announce our return to the stage across the United States. We have missed playing together in a communal setting more than we ever thought we could,” says singer/guitarist Andy Hull. “This is about to be a party. See you all soon.”

For tour information and ticket options, visit Manchester Orchestra’s official website.

Manchester Orchestra Tour Dates:

10/05/21 – Dallas, TX – Gas Monkey 10/06/21 – Houston, TX – White Oak Music Hall 10/08/21 – Orlando, FL – House of Blues 10/09/21 – Fort Lauderdale,FL – Revolution Live 10/10/21 – St. Petersburg, FL – Jannus Live 10/12/21 – Charlotte, NC – The Fillmore 10/13/21 – Richmond, VA – The National 10/15/21 – Philadelphia, PA – The Fillmore 10/16/21 – Baltimore, MD – Ram’s Head Live 10/18/21 – Boston, MA – House of Blues 10/19/21 – Portland, ME – State Theater 10/21/21 – New York, NY – The Hammerstein Ballroom 11/16/21 – Louisville, KY – Mercury Ballroom 11/17/21 – Nashville, TN – Ryman Auditorium 11/18/21 – Birmingham, AL – Alabama Theater 11/19/21 – Atlanta GA – Manchester Orchestra’s The Stuffing at Fox Theatre 02/16/22 – St. Louis, MO – The Pageant 02/17/22 – Kansas City, MO – Uptown Theater 02/18/22 – Denver, CO – Ogden Theater 02/19/22 – Salt Lake City, UT – The Complex 02/21/22 – Vancouver, BC – Rickshaw Theater 02/22/22 – Portland, OR – Roseland Theater 02/23/22 – Seattle, WA – Moore Theater 02/25/22 – Berkeley, CA – The UC Theater 02/26/22- Los Angeles, CA – Hollywood Palladium 02/27/22 – San Diego, CA – The Observatory North Park 03/01/22 – Las Vegas, NV – Brooklyn Bowl 03/02/22 – Phoenix, AZ – The Van Buren 03/04/22 – Austin, TX – Stubb’s 03/05/22 – Oklahoma City, OK – The Criterion 03/06/22 – Omaha, NE – The Admiral 03/08/22 – Minneapolis, MN – First Avenue 03/09/22 – Chicago, IL – The Riviera Theatre 03/11/22 – Columbus, OH – Express Live! 03/12/22 – Detroit, MI – The Fillmore 03/13/22 – Buffalo, NY – Buffalo Riverworks 03/15/22 – Toronto, ON – Phoenix Concert Theatre 03/16/22 – Montréal, QC – Corona Theatre

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Manchester Orchestra

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Manchester Orchestra with special guest Militarie Gun to perform live in concert at Rock the Ruins at Holliday Park in Indianapolis on Friday, September 20, 2024!

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Following their acclaimed 2021 album The Million Masks of God, Manchester Orchestra is back with The Valley of Vision, a brand new project that takes on the weighty themes of adulthood, faith and redemption through a wealth of fresh new sounds and textures. But if The Million Masks of God served as a cry for help - exploring a man’s encounter with the angel of death, inspired by frontman and songwriter Andy Hull’s reflections on grief as well as the battle with cancer faced by guitarist Robert McDowell’s father - The Valley of Vision offers a collective, cathartic expression of gratitude. Throughout the 27-minute album, you can almost feel the band take a giant exhale and then put its arms around you.

Continuing to push themselves into fascinating and immersive creative realms with each release has always been the mantra for Manchester Orchestra, and The Valley of Vision finds the band reinvigorated once again. Across the six-song salvo and VR film out March 10th, the band conjures a story that is further illuminated through a cinematic experience by writer-director Isaac Deitz, created with 3D-computed radiography technology.

Hull started writing and recording The Valley of Vision in the summer of 2021, sparking a spontaneous and new approach to releasing his band's music. “Making this was an exciting idea of what the future could be for us in terms of how we create.”

Hull was inspired to begin writing the record while rummaging around in his suitcase looking for his lyric notebook and instead found The Valley of Vision, a 1975 book of old Puritan prayers his mom had given to him the previous Christmas. “I realized it should be our title too, because to me, it meant you can’t see the forest for the trees, but you’re recognizing you’re in the valley, and you can eventually get out,” he says.

Sonically, those energies evoke places Manchester Orchestra has visited on prior albums without ever really setting up a permanent home. In fact, there’s not much guitar at all on The Valley of Vision, and Andy Prince’s bass operates in sub-synth frequencies rarely utilized before. In other instances, drum parts by Tim Very were excised from one song and repurposed in other places they weren’t originally intended to go. The whole feeling is one of peacefulness, even zen — perhaps because recording sessions at a converted manor in Muscle Shoals, Ala., were “almost a complete abandonment of all the instruments we’re used to using,” Hull says.

“None of these songs were written with the band being in the same room in a live setting,” he continues. “They were really like science experiments that started from the bottom and were added to gradually over time, to catch the vibe of each one.”

Opener “Capital Karma” and “Quietly” are both songs Hull composed via his idiosyncratic self-taught methods on piano, which involve him physically writing notes on the keys to remind himself what he’s actually playing. “The Way” is a beautifully atmospheric, piano-and-beats-powered ballad, which Hull credits Million Masks producers Ethan Gruska and Catherine Marks with helping him shape after struggling for years with how to present it.

Elsewhere, the uplifting “Lose You Again” is the first Manchester Orchestra song in a long time that could be played with acoustic guitars around a campfire, while “Letting Go” threads wisps of emotive, effects-drenched vocals through gorgeous shimmers of sound.

“We decided, let’s live in that feeling,” Hull says. “When we tried to add anything that took us out of it, it started to feel contrived and forced. We try to listen to our instincts when it comes to that. As far as just going for some of the sounds, we’re intrigued by doing things the wrong way or attempting things we haven’t done before and getting inspired by them.”

‍Rock the Ruins Concert Series

Rock the Ruins is a summer concert series hosted by The Vogue at Holliday Park, an enchanting 95-year-old park nestled in a gently wooded neighborhood just six miles north of downtown Indianapolis. Perfect for experiencing live music, catching up with neighbors and friends, and connecting with nature, a Rock the Ruins concert is the ideal spot to spend a summer evening. We encourage our all-ages guests to bring chairs/blankets for all Rock the Ruins shows as seating will not be provided for general admission guests. No outside coolers or alcoholic beverages will be permitted in the park as guests will be encouraged to take advantage of a variety of local and artisan vendors selling food and beverages (alcoholic and non-alcoholic). Guests must present a valid ID (and be 21+) to purchase alcoholic beverages while on-site for any Rock the Ruins event at Holliday Park.

MANCHESTER ORCHESTRA WITH SPECIAL GUEST MILITARIE GUN ‍ FRIDAY, SEPTEMBER 20, 2024 ROCK THE RUINS AT HOLLIDAY PARK INDIANAPOLIS, IN TICKETS AT ROCKTHERUINS.COM

PLEASE NOTE: ‍ ‍All tickets are non-transferable and non-refundable. This event is rain or shine. This event is General Admission and seating is not provided. For a full list of permitted and prohibited items, parking and transportation details, information on ADA seating, and answers to other frequently asked questions, visit the FAQ page .

ABOUT FORTY5 ‍ Music is in Forty5’s DNA. The organization exists to bring people together through music. Forty5’s platform includes talent buying, event production, ticketing, box office management, and promotion for events at venues across Indianapolis and the surrounding areas including The Vogue Theatre, Rock the Ruins at Holliday Park, I Made Rock ‘N’ Roll, and The Tobias Theater at Newfields, all powered by the technology platform Opendate. Learn more at https://forty5.com .

Limited edition

Concert poster, about rock the ruins.

Rock the Ruins is a summer concert series hosted by The Vogue at Holliday Park, an enchanting 95-year old park nestled in a gently wooded neighborhood just six miles north of downtown Indianapolis. Perfect for experiencing live music, catching up with neighbors and friends, and connecting with nature, a Rock the Ruins concert is the ideal spot to spend a summer evening. We encourage our all-ages guests to bring chairs/blankets for all Rock the Ruins shows as seating will not be provided for general admission guests. No outside coolers or alcoholic beverages will be permitted in the park as guests will be encouraged to take advantage of a variety of local and artisan vendors selling food and beverages (alcoholic and non-alcoholic). Guests must present a valid ID (and be 21+) to purchase alcoholic beverages while on-site for any Rock the Ruins event at Holliday Park.

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Jimmy Eat World / Manchester Orchestra

with special guest Middle Kids

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AEG Presents  is thrilled to announce JIMMY EAT WORLD / MANCHESTER ORCHESTRA live at Red Rocks Amphitheatre Tuesday, July 25th, 2023.

Download the Red Rocks app before your visit. From digital ticketing with touchless entry, mobile ordering with express beverage pickup, park and venue maps, visitor tips, original Red Rocks content and more, the official Red Rocks app has everything you need for an unforgettable concert experience.

ASL Interpreters available upon request by contacting 720-865-2494 or [email protected]

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Blossoms' 5 Nights in Manchester: Tour dates, setlist, support acts, tickets and more

Blossoms are busy boys at the moment. Not only are they preparing to release brand-new album Gary and batting off rumours they'll support Oasis at their 2025 reunion shows left, right and centre, but they're about to embark on a tour of the UK and Ireland, too.

The Stockport-formed five-piece - Tom Ogden, Charlie Salt, Josh Dewhurst, Joe Donovan and Myles Kellock - will play venues from Newcastle to Nottingham, Brighton to Belfast throughout October and November 2024; with a five-night residency in Manchester just added to their schedule.

Following the biggest headline gig of their career so far, playing to 30,000 fans at Manchester's Wythenshawe Park last month, the lads will now play an extra five venues across the city; wrapping up their tour at Manchester O2 Apollo on November 23.

Announcing the residency, Blossoms said: "We wanted to do something special with the Manchester shows for this run of gigs.

"We played each one of these venues on our way up, so it’s great after our Wythenshawe Park show to go and do these venues and remember where everything started for us. It’s a love letter of shows to the city! We can’t wait."

MORE: See where every Blossoms song and album has charted in the UK

Here's everything you need to know about blossoms' 2024 tour, blossoms' tour setlist 2024 in full:, don't you want me (the human league song), your girlfriend, i can't stand it, oh no (i think i'm in love), what can i say after i'm sorry, to do list (after the breakup), cut me and i'll bleed, honey sweet, ribbon around the bomb (with abba's dancing queen), if you think this is real life, my swimming brain, at most a kiss, my favourite room (with snippets of babybird's you’re gorgeous and oasis's half the world away), there's a reason why (i never returned your calls), charlemagne, the next episode (dr. dre song), blossoms' tour dates 2024:.

17 October - Newcastle - O2 City Hall - SOLD OUT 18 October - Leeds - O2 Academy - SOLD OUT 19 October - Glasgow - O2 Academy - SOLD OUT 21 October - Sheffield - Octagon - SOLD OUT 22 October - Hull - City Hall 23 October - Nottingham - Rock City - SOLD OUT 25 October - Liverpool University - The Mountford Hall - SOLD OUT 26 October - Halifax - Victoria Theatre - SOLD OUT  28 October - Stoke-On-Trent - Victoria Hall - SOLD OUT 29 October - Lincoln - Engine Shed 30 October - Bristol - O2 Academy 1 - SOLD OUT  01 November - Birmingham - O2 Academy 1 02 November - London - Eventim Apollo 04 November - Norwich - UEA - SOLD OUT 05 November - Brighton - Dome 07 November - Portsmouth - Guildhall 08 November - Bournemouth - O2 Academy 09 November - Cardiff University - Great Hall - SOLD OUT 13 November - Belfast - Limelight 1 15 November - Dublin - Academy - EXTRA DATE DUE TO DEMAND  16 November - Dublin - Academy - SOLD OUT 19 November - Manchester - Academy - NEW DATE 20 November - Manchester - O2 Ritz - NEW DATE 21 November - Manchester - Albert Hall - NEW DATE 22 November - Manchester - O2 Victoria Warehouse - NEW DATE 23 November - Manchester - O2 Apollo - NEW DATE

Who is supporting Blossoms on their 5 Nights in Manchester residency?

Blossoms will be supported by Neon Waltz (Manchester O2 Ritz), The K's (Manchester O2 Victoria Warehouse) and Lottery Winners (Manchester O2 Apollo). More support acts are yet to be announced.

MORE: Oasis's Official biggest albums ranked

When are tickets for blossoms' 5 nights in manchester on sale.

Tickets are on sale from 9:30AM BST on Friday September 20 2024.

When is Blossoms' Gary album released?

The band's fifth studio album is released Friday September 20 2024.

Where can I buy Blossoms tour merch?

Blossoms merchandise is available from the band's official online store and via official vendors at their upcoming shows.

Blossoms' brand-new album Gary is released September 20 via ODD SK RECORDINGS.

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Moulin Rouge The Musical is heading to Manchester for the first time EVER

A story about truth, beauty, freedom; but above all things, love. (Contains affiliate links)

For the first time ever, smash hit show Moulin Rouge The Musical is heading to Manchester on its debut world tour.

The multi-award-winning spectacle has announced an eight week run of shows at the Palace Theatre .

Moulin Rouge The Musical is set to bring ‘a world of splendour and romance, eye-popping excess, glitz, grandeur and glory’ to Manchester next autumn.

The musical, based on Baz Lurhmann’s revolutionary film starring Ewan McGregor and Nicole Kidman, features more than 70 hit songs from across 160 years of music.

Audiences will hear everything from Offenbach to Lady Gaga as the Palace Theatre stage is transformed into 19th century Paris.

The musical is set amidst the unparalleled extravagance and beauty of the iconic Moulin Rouge nightclub, where the space beneath the red windmill is filled with bohemians and aristocrats, boulevardiers and reprobates.

It follows the tale of lovesick American writer Christian and the subject of his affections, Satine, the star of the Moulin Rouge.

Their glittering love story is halted by the nightclub’s host and mastermind, Harold Zidler, and the Duke of Monroth, who wishes to buy the Moulin Rouge – and with it, Satine.

The all-singing, all-dancing cast also includes starving artist Toulouse-Lautrec and tango dancer Santiago, along with a full line-up of Can Can dancers, musicians, and more.

This is the first time ever that Moulin Rouge The Musical has performed in Manchester, landing at the Palace theatre on 20 August 2025.

The show has won a whopping 10 2021 Tony Awards (including Best Musical), an Olivier Award, and masses more.

Carmen Pavlovic for Global Creatures, producer of Moulin Rouge! The Musical, said: “It is thrilling that the Manchester Palace will host Moulin Rouge! The Musical next year as part of its world tour.

“Manchester is such a welcoming, lively and culturally vibrant city, world renowned for its rich artistic and musical heritage.

“A city also known for defending free speech and liberty of opinion, so we know that the bohemians and artisans of the Montmartre will be embraced with open arms. We can’t wait to welcome Manchester to the Moulin Rouge!”

Casting is still to be announced.

Moulin Rouge! The Musical will come to the Palace Theatre Manchester between Wednesday 20 August and Saturday 4 October 2025. For information and to be first in line for tickets, sign up at  moulinrougemusical.com

Read more: Annie Mac is hosting a club night in Manchester for people who want to go bed early

Featured image: Matt Murphy

You can watch The Holiday on a big screen with a live orchestra playing the soundtrack in Manchester this Christmas.

The Holiday is one of the best-loved Christmas films of all time.

In case you haven’t got around to watching it before, the 2006 romcom directed and produced by Nancy Meyers stars Cameron Diaz, Kate Winslet, Jude Law, and Jack Black, and tells the story of how two women, who have never met and live 6,000 miles apart, find themselves in the same exact place in life.

They meet online through a home exchange website, and impulsively switch homes for the holiday.

Shortly after arriving at their destinations, both women find the last thing either wants or expects – a new romance.

Since its release nearly two decades ago, watching The Holiday has become an annual tradition for millions worldwide every time the festive season rolls around – but how would you like to watch this classic in the most magical way possible? Streamed live onto a big screen in the theatre with a complete concert orchestra playing its soundtrack by the legendary Hans Zimmer? Well now you can this Christmas.

After a sell-out run in 2023, The Holiday In Concert will be going on a 16-date tour across the UK again this November and December, and will be taking place in the some of the country’s greatest concert halls – including The Bridgewater Hall here in Manchester.

The in-concert experience with a full orchestra and cinema-size screen is described as being an “incredibly unique” and “immersive” way to experience this cult-classic film .

JUST ANNOUNCED // Due to popular demand, The Holiday in Concert returns to the Hall on Monday 23 December for an extra date! Enjoy Hans Zimmer's score played live-to-film by a stunning full concert orchestra 🎼 Tickets on sale Friday 13 September 10am. ℹ https://t.co/TslToqd32A pic.twitter.com/5WpA6X5vQ2 — The Bridgewater Hall (@BridgewaterHall) September 10, 2024

Due to overwhelming demand for the Manchester show on Friday 6 December, a second date in our city has now been added to the tour’s run on Monday 23 December, and tickets for the new show are on sale at 10am tomorrow (Friday 13 September).

Liverpool, York, and Sheffield are some of the other northern English cities forming part of the tour, while the show will also be staged in London, Edinburgh, Birmingham, Swansea, and more.

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You can get tickets when they go on sale here .

Featured Image – Universal Pictures

Let’s start off by making two things clear: nailing a tried and true classic well is no mean feat and, two, fans are very precious when it comes to adaptation – Murder on the Orient Express at The Lowry, rather fittingly, barrelled through those obstacles not like a luxury liner but like a freight train.

Yes, the iconic Agatha Christie tale and quintessential ‘whodunnit’ may have ironically been done to death at this point (most recently resurrected on the big screen by director and Hollywood’s Hercule Poirot, Kenneth Branagh), but this new stage production felt much more refreshing than the blockbuster.

Put simply, merely going where many have gone before and expecting results or similar success isn’t a given. Written and adapted by Ken Ludwig and directed by Lucy Bailey, this latest Murder on the Orient Express now on at the legendary Lowry Theatre is a must-see as far as we’re concerned.

What the creators, along with the whole cast and crew, have done with this treasured text is elevate it not just to a play that will leave any theatre-goer walking away satisfied but also restore the true light and shade to the textbook murder mystery that has more high points than we can squeeze into 1000 words.

A small but stunning and dynamic set

First and foremost, we can’t begin anywhere else other than applauding what they’ve managed to achieve with the set alone.

It was one of our first big questions going into the performance. How are they going to pull this off and create that sense of motion around the actors on stage? Is it going to look any good? Turns out we had nothing to worry about whatsoever.

Combining nothing more than three movable train cars donned in full Edwardian decor, a few tables for breakaway scenes and clever use of an overhead screen to portray elements like snowdrift weather and even wheels chugging along the tracks, much like the plot, it always felt like things were on the move.

Twinned with excellent use of music and sound effects – both ambient and authentic in the case of Christine Kavanagh as the delightfully devilish Mrs Helen Hubbard, whose late-night sing-song felt like genuinely peaking into someone’s cabin after a few tipples – the whole surround just works so well.

They did a great job of creating these little vignettes within each train window, almost like sitting across from an apartment block and peaking into the living rooms of each flat, people-watching as their stories play out, only with the bonus of these strangers being mic’d up so you don’t have to fill in the blanks.

And none of these little snapshots felt throwaway whatsoever. You only have to hear the passion that Ludwig, Bailey and the star of the show, Michael Maloney, spoke of in the lead-up to opening night to hear how much everyone involved had thrown themselves into every inch of the show.

View this post on Instagram A post shared by Agatha Christie's Murder on The Orient Express (@orientexpressplay)

Poirot done to perfection

But let’s not beat around the bush here: even if you’ve seen it a dozen times before, you come for the murder mystery and you stay to see the moustachioed “magician” at work.

The entire supporting cast was wonderful, in truth – we particularly loved the aforementioned Kavanagh and her ‘just the right amount of chaos’; Bob Barrett’s energy as Monsieur Bouc and the permanently frantic Greta Ohlsson, done so well by Rebecca Charles – but Maloney is absolutely masterful as Poirot.

To be honest, besides a couple of accent slips here and there (podody’s nerfect), everyone up on that stage was a joy to watch embody these timeless characters and made for a well-balanced ensemble, but this might be our favourite portrayal of the talented detective since the almighty David Suchet himself.

Whether it be in the expertly delivering lengthy monologues, the many moments of self-deprecation, mourning his youth and always remaining the wittiest player on stage, or breaking up those moments of levity with rare but sudden flashes of frustration that actually catch you off-guard, he was flawless.

Similar to how he keeps every one of the suspects in his pocket from minute one, he had the audience in the palm of his hand for the entire duration and the timbre of that French—sorry, Belgian* dialect barely dips for even a second.

The drama is great but where it truly shines is in the laughs

Lastly, speaking of that levity, perhaps the thing we loved most about the whole approach to this version of Murder on the Orient Express is that it isn’t so much a tense tragedy as it is a dramatic comedy.

The chances are that almost everyone in that theatre knows the synopsis of this long-loved tale virtually inside and out, so it was always going to be hard to build really pulse-raising suspense and intrigue, but they manage it by lulling you into those lighter moments and letting the performances shine.

And then BANG: suddenly a big twist, a volta; the crescendo after a period of precisely paced and carefully crafted conversation. It hits you like a gunshot echoing throughout the carriages, a sudden stab to the gut stifled in a quiet train compartment yet still somehow felt from the comfort of your seat.

Everyone gets their handful of one-liners, those comic pauses that dwell just a half-second too long and then some, but it never feels forced or overdone. The full spectrum of emotions is packed into just under two hours and it’s nothing short of a triumph from start to finish.

Without spoiling too much, there is one sound – not even an actual line of dialogue per se – from Maloney when conversing with the Countess (Mila Carter) that we’re still chuckling about now.

We won’t be sold bold as to give this a star rating but let’s just say we wholly recommend visiting what is without a doubt the best thing on at Salford Quays right now.

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Featured Images — Press Images/ Manuel Harlan (supplied)/The Manc Group

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Jamie xx Returns To Present With 'In Waves': How Time Off Led To An Album Of Renewal

On his first album in nine years, Jamie xx shares his renewed joy. “It's been my favorite experience making an album ever," the producer/DJ says.

It’s been nine years since Jamie xx released his massively lauded debut solo album, In Colour . The 2015 release received a GRAMMY nomination for Best Dance/Electronic Album, hit No.1 on the U.S. Top Dance/Electronic Albums chart, and certified gold in the UK.

Beyond its measurable success, In Colour' s 11 tracks were essential in catalyzing the merger of underground dance and pop music.

Jamie (whose real last name is Smith) wasn’t just an artist after In Colour . He was a household name. As a solo artist, he took his obscure sounds to massive gigs all around the world. The momentum continued when in 2017 released I See You , his third album with his celebrated indie band, The xx.  

"I got good at touring and being an artist in my twenties, but I didn't have any room for anything else in my life. So, when I got a chance to stop in the lockdown I realized I didn't really have much else. I spent a long time trying to find what else makes me whole," Smith says.

In the midst of lockdown, Smith spent time cooking, reading, avoiding excessive screen time, and hanging out with friends. When he was ready to make music on his own again, he was completely reinvigorated. The result is In Waves , Jamie xx's first solo record in nine years.

Smith's joy for making music is palpable throughout In Waves . "Life" kicks off with dance vocalist Robyn repeating the hook "You’re giving me life." Then after coasting on a delightful 4/4 beat and energetic horn samples, she sings in her sweet yet searing tone: "No, I’ll never get enough/It’s just a matter of fact." Later, "Breather" asserts Smith’s expertise in producing dastardly unconventional club beats and simultaneously encourages listeners to appreciate the present. The album also features the Avalanches and bandmates from The xx.

"It's been my favorite experience making an album ever. Even though it's been really hard and it's taken a long time," he says. "I've even learned to enjoy all the difficult parts. I've never had a great time having to finish an album because you're really in the weeds. You can't tell what's good and what's not because you've heard it a million times, but this time I was just happy to keep going."

GRAMMY.com spoke to Jaime xx about setting intentions to stay present, his rigorous standards for releasing music, and how he continues to balance his love for the underground and his growing popularity.

Given that there was such a significant gap between your solo albums, with only four official singles in between, would you say that you have a high standard when it comes to your solo work?

I definitely do. Maybe that makes it more difficult for me, and I really envy artists who can just put loads of stuff out every year. It must feel nice to be that free with it. But that's not how I work, and I do think that less is more. All my favorite artists are that way inclined.

What does it take for a song to be worth sharing?

It's something that I can't quite put my finger on, but it's usually a feeling that I get within the first half a day of making a piece of music. I know I can make it into something I'm going to love, and that might connect with other people. But I wish I knew how to get there more often because it seems to just happen without my decision being any part of it.

The idea of being present was very important to this album process. I read that it's difficult for you to remember things between when you were 18 and 30 because you were so entrenched in music and touring. On the song "Breather" you literally invite listeners to slow down, take a breath, and enjoy the moment. What was it like to make an album in this present frame of mind?

It was really enjoyable. Even the hard bits I really enjoyed just because I was aware of what I was doing. 

I also got some great advice from some people that I work with about how to be a long-standing artist. Having gone through all those ups and downs, how to keep your head straight. Robyn really helped me out with that. She's very smart. When we were making "Life," we talked about how when it gets really hard that's the really good stuff, and you shouldn't shy away.

Now that you’ve adopted a new frame of mind, how do you intend to move with this new approach to your career?

I'm gonna try and take the time to make music in the way that is best for me, and hope that people like it. 

I'm really grateful that I'm in this position where I get to play huge shows and tiny clubs, and I can also walk around the street and nobody knows who I am. Perfect level, and I just hope that I can maintain this position as long as possible.

Your first album was essential in introducing underground dance music to a larger audience, which you’ve said you had mixed feelings about. Now underground dance music is incredibly popular . What was it like creating a new album within that ecosystem?

It was difficult, mentally. I think that's why I had to get to a good place in my life really to be able to make music again. It was sending me spinning and confusing me. Then I found myself thinking about what other people were doing, which was never how I made music. I wasn't reflecting on the good parts of what other people were doing either. So I just had to check myself and have faith in people who like good music.

You said earlier that you enjoy playing massive shows, which in spirit goes against the traditional ethos of underground music. Do you feel any conflicting emotions around that?

It's a bit of both, I guess. When I’m doing these big shows, now, I'm really trying to take elements of what I love about playing at intimate shows; what I love about just clubbing and the history of dance floors and inject it into the shows. Even if they're bigger and make it more focused on the crowd and the sound than people staring at me and looking up at the stage.

That's been really fun. We've had dancers in the crowd, and we're filming them, and it integrates the crowd more into facing each other rather than facing the stage. That's one of the things that makes it feel more intimate, more like a club.

The first thing that you need to make a good club night is good people. The majority of people who have come to my shows have been amazing. [They’re] really open to me playing some weird stuff in between my music. I feel able to go on a journey with them and play differently depending on the room and the place. It's great fun for me and it's inspiring.

How do you feel about being a central figure introducing new audiences to new types of music?

That's how I fell in love with a lot of the music that is my favorite music now: from the DJs that I loved when I first started going out. Learning what they were doing, learning about deep cuts, and them being generous enough to share some of the music with me. I hope that I can pass some of that on. 

In dance music, it's all about community and bringing people together. I think what I'm doing is really not that different from what DJs from the '70s were intending to do. At least that's what I'm going for.

You’ve revealed to the world that you are back in the studio with The xx. How have you brought your new mindset as a solo artist to your work with the band?

It's quite difficult. That was the purpose of us going out and doing this solo stuff. When we come back we'll have a bit more of a wider scope, but it will be difficult. The most difficult thing is just maintaining friendships that are 20-30 years old between us. Also, to work, and…live well, with our partners and our families. It's all hard to integrate. 

The last few times we've been in the studio we've really just spent time talking with each other for days on end and barely even picked up our instruments. That's been really great.

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Zedd's Road To 'Telos': How Creating For Himself & Disregarding Commercial Appeal Led To An Evolutionary New Album

'Telos' "isn't going to be that pop album that some people may have wanted me to make," Zedd tells GRAMMY.com of his highly anticipated album — his first in nine years.

At the time of our call, the release of Telos — Zedd 's first studio album in nearly a decade — is just seven days away. Snug in an earthy brown crewneck, the 34-year-old musician joins the Zoom from his new home in Encino, California, with a degree of poise that some might find surprising at this point in the rollout. 

Still, his relaxed body language, decisive, measured speech, and quiet confidence make it clear that any anxiety he once felt about the LP has been replaced by pure anticipation. 

"I am honestly just really excited. I think I've released music in the past that I was nervous about, but it's quite different with this album," he tells GRAMMY.com. "I feel very calm and just happy to be able to release this music that I've been working on for so long, some of which has been in the works as late as nine years ago." 

Out Aug. 30, Telos arrives about four years later than initially announced and about eight years after it was contractually due. Though Zedd confirmed that the long-awaited answer to his second studio album, True Colors (2015), would arrive in 2020, he indefinitely postponed the project at the height of the COVID-19 pandemic.  

"I decided to push back the album to when things are more back to normal," he wrote in a Reddit AMA (ask me anything) in November 2020. "I really wanted it to come out this year, but I put the album on standby because during quarantine, I just didn't feel the inspiration to make this the best album possible."

Timing is everything and Zedd, who counts a clock ticking sample among his stylistic hallmarks, knows this well. Zedd embraced the axiom while making Telos , an album that "isn't for the algorithms" in an era when creative works' cultural capital is largely decided by how well they pander to an algorithm. Telos is decidedly — and in some ways, daringly — non-commercial. "Lucky," alongside singer/songwriter Remi Wolf and "Automatic Yes" with John Mayer , are notably the only two tracks palatable for commercial radio airplay. The 10-track album largely plays like a love letter to classical music (there is an orchestra on the entire LP), with flashes of pop, dance/electronic, jazz, world music, and metal influence. A cross-generational list of collaborators — including 40-year-old musician and composer Jeremy Kittle, who recorded each string for the album one by one, and Gen Z singer-songwriter Bea Miller — further dynamize Telos .

Telos "isn't going to be that pop album that some people may have wanted me to make," Zedd acknowledges. Nor will it be the dance/electronic LP that purists from his name-making run in the early-2010’s might long for. Fans gained during the GRAMMY-winning producer's complextro, electro, and progressive house-heavy era (think "Shave It" ) have been some of his most outspoken critics in recent years, reproaching his stride into commercial pop.

This response is neither surprising nor foreign to Zedd. "I felt the same way about a lot of bands and artists that I grew up listening to when I heard their new music," he reflects. "In the moment, you might be like, I'm disappointed, 'cause I wanted X, Y, Z , and with a little bit of perspective, you realize what an artist has done, and maybe those become your favorite works when you give it time."

Zedd has already proved his ability to craft pop hits with staying power — with help from some of the genre’s most prominent voices. The 2017 single "Stay" with Alessia Cara (2017) and 2018's "The Middle" with Maren Morris and Grey were two of Zedd's biggest smashes in the dance-pop domain post- True Colors . Both singles achieved platinum certification, though "The Middle" has since struck platinum six times. Like "Clarity" — the 2012 breakthrough single that scored Zedd his sole golden gramophone (for Best Dance Recording) — "Stay" and "The Middle" imbued him with the confidence and greater depth of reference to make an album like Telos .

"If I made another album today that felt the same way Clarity felt back then, you wouldn't feel the same way about Clarity today," Zedd reasons, adding that Telos has some of the "internal motivations" and experimentation of Clarity . "It's just a more mature and experienced expression, so I think the people who loved Clarity will find plenty to love on Telos ."

The album's debut single, "Out Of Time" featuring Bea Miller, is likely to serve as one such point of connection. It retains the DNA of Zedd's established, melody-driven sonic identity while still feeling fresh and exploratory.

"It's a really good example of a new version of an old me," he attests. "The real core of what Zedd feels like isn't the sound. It's not the synths, and it's not the kicks you hear at the festival. It's actually really deeply rooted in chord progressions and melodies. Those are well alive, and more than ever, on Telos ."

At nine-and-a-half-years-old, "Out Of Time" is the oldest track on the album, penned just after Zedd delivered True Colors (OG fans will recognize the song's chord progression from the intro to his DJ sets). His motivation to repeatedly rework the track and fashion it into the album opener stems, in part, from the feeling that it was "too theatrical" to be a standalone single.

Telos provided "the perfect canvas to deliver all these meaningful songs to my life and to my career that couldn't just be one-offs," he says.

Zedd’s current musical ethos is born from his disenchantment with the direction of music in the age of algorithms and TikTok, and the resulting Telos is the product of his "decision to really be free musically."  

"There was one moment in making Telos that made me realize this is like my autobiography. This is everything I am as an artist, and everything I do musically is for me," Zedd says with conviction. "That was a really liberating moment because I am essentially guaranteeing that I'm not going to disappoint anyone because the only audience is me. I'm making this for myself." 

"It sounds so silly to even say [this album is just going to be for me] because you would think that everything you make as an artist is for you," he concedes. "But really, the truth is it's hard to block out the feeling that people might be disappointed, and the feeling that you could change a song, and you would make so many people happy." 

Telos ' exhaustive creation process was as much a matter of deconstruction as it was reconstruction. About halfway through the first version of "Z3," as the album is known colloquially among fans, Zedd scrapped 90 percent of what he'd written, salvaging only "Dream Brother." The hypnotic interpretation of Jeff Buckley 's 1994 song embodies the musicality that threads Telos — from the texture of the opening guitar chords and piano, to the swell of strings, and Zedd's signature clock ticking sample in its outro. Telos marks the first and only time the Buckley estate has given an artist the rights to the late creative's work. 

"Dream Brother," Zedd explains, was "the only song that felt lik e this is living very much in the world that I really deeply feel ," citing it as "a song that has inspired me since my early days as a musician." 

Between his successes on Billboard 's Hot Dance/Electronic Songs chart and the coveted Hot 100, it may be easy to forget that Zedd's musicality traces back to childhood. A classically trained musician, Zedd began playing the piano at the age of four and still writes his music on the piano first . Telos is a cerebral reminder that it's reductive to think of Zedd as anything less than a natural-born composer.

Elsewhere, "Sona," featuring the olllam, harkens back to Zedd's days as a member of German metalcore band DIORAMIC in its use of the 7/4 time signature. "Sona" is the first song in this time signature that Zedd has made since his days as a band member (he was the group's drummer from ages 12 to 20). 

Still, Telos ' unequivocal pièce de resistance is "1685" with GRAMMY-winning English rock band Muse . The six-minute and 11-second album finale takes inspiration from Johann Sebastian Bach's "The Well Tempered Clavier" — the first classical piece Zedd ever learned to play on piano as a child and as he calls it, "probably the most influential piece ever written in life for me."

Named for Bach's birth year, "1685" extends the full-circle nature of Telos. Both a tribute to his favorite composer and a reference to Zedd's earliest days as a musician (he performed a cover of Muse during his very first concert with DIORAMIC), these connections imbue Telos with authenticity and soul.  

Intricate and lovingly-crafted, Telos is Zedd at his most musically honest. "It's my entire life in one album," he says. "It's truly an evolution of who I am as a musician." 

His decision to eschew trends and commercial formulae to embrace "music for the sake of art" confers a sense of timelessness to Telos . For those versed in gaming terminology (like the multi-platinum producer, a notorious gamer) Telos is Zedd in his final form — a state unlocked only after the successful completion of considerable, skill-building challenges. 

Fittingly, the multifaceted nature of Telos and its creator is reflected in the album's title. The Greek word has multiple meanings, including accomplishment, completion of human art, and the end. He chose the name "telos" 30 or so minutes before he had to submit the LP — an  ironic timeline for a production that took years to conceive.  Yet like all of the creative choices that culminate in Telos , this, too, was part of a thoughtful strategy. Zedd wanted to be sure that the album's title would faithfully capture its concept, even after the LP’s many metamorphoses. 

"I really relate to all of the meanings," he says. "Accomplishment of a goal is one of them. I made this album that I was dreaming of making my whole life with the artists I love so much who have inspired me, so it's a genuine dream come true to make this album." 

With introspection written on his face, Zedd pauses, then continues: "One of the meanings of 'telos' is the end, and there was a good chunk of time where I thought this might be the last music I will ever release. It's kind of like I put all my emotions and feelings into this one album…is there any reason for me to take space away in this universe if this is all I have left to say? And for a moment towards the tail end, I was like 'yeah, Telos is the name for this album because I will never make another song in my life.'" But Telos is merely another beginning, briefly disguised as an end. Zedd delivered the album, had a second to breathe, moved from Beverly Hills to Encino, put a piano in his bedroom, and "inevitably started writing new music." Timing is everything.

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The L.A. festival is famous for bringing an array of electronic sounds, from dance-pop and experimental techno, to classic house and rare back-to-backs — and this year's lineup features some of the biggest and buzziest acts in dance music.

When it comes to American dance music culture, few events carry the cool cache of a HARD party. Founded on New Year's Eve of 2008 by DJ and former label A&R Gary Richards, the name HARD has become synonymous with taste-making, offering fans an enviable mix of influential headliners and cutting-edge up-and-comers.

HARD parties have been a breakout platform for luminaries like Justice , Skrillex , deadmau5 , and more, and the HARD Summer festival is one of the brand's most celebrated flagship events. In 2017, HARD was absorbed into the Insomniac festival family — the same company that brings fan-favorites EDC Las Vegas and Electric Forest to life — which ensures the stage production, on-site activities and other ancillary fun are sure to be supersized. How many festivals do you know that offer a Ferris wheel and a swimming pool?

Coming to Los Angeles' Hollywood Park near SoFi Stadium on Aug. 3 and 4, this year's lineup continues the tradition of blending authoritative artists, legacy DJs and unique back-to-back headliners with buzzy newcomers in a variety of genres and styles. 

Whether you wanna rave out with club king Jamie xx , bang your head to bass with Zeds Dead, get tropical with Major Lazer , see what it sounds like for UK grime star Skepta to DJ, or just sing along to mid-2000s belters courtesy of dance-pop crossover queen Nelly Furtado , there's something to please every palette. Of course, in true HARD tradition, we seriously recommend exploring the undercard, because the biggest name in electronic music tomorrow is probably playing one of the HARD side stages today.

While you wrap your head around the stacked lineup, check out a quick guide to 10 must-see acts below.

A legend on the decks who can play blissful disco or teeth-shattering techno with a smile, Boys Noize is a must-see on any lineup simply because he loves doing the job. He recently teamed with Skrillex on the anthem "Fine Day," and released an entire EP with alt-rap icon Rico Nasty. He's also the producer behind Lady Gaga 's beloved Ariana Grande collab, "Rain On Me," and Playboi Carti's "Unlock It," but he's likely to unleash a massive set of hard techno bangers for the L.A. crowd — though you never can tell which direction he'll take you in next, so come with an open mind.

As the top-billed headliner for Saturday night, Disclosure should need little to no introduction to any modern dance music fan — but that doesn't mean you should sleep on their set.

Howard and Guy Lawrence emerged on the scene as seemingly an instant success. The brothers' debut album, Settle , almost single-handedly changed the landscape of popular dance in 2012, moving the taste du jour away from the big-room EDM and bass-heavy trap sound toward a UK garage revival that still carries, and helped launch Sam Smith 's career in the process.

In the 12 years that followed, Disclosure has continued to push the envelope — and themselves — working with cross-genre heavyweights including Lorde , Khalid , Miguel , Kelis , Slowthai , and The Weeknd , as well as incorporating international sounds and styles into their club-driven house grooves. Earlier this year, Disclosure returned with the dance floor-ready single "She's Gone, Dance On," announcing themselves as arbiters of disco-laced funk and good-time DJs for 2024 crowds. Surely they'll be in top form come HARD Summer.

If you like your dark techno to come with a side of hip-shaking Latin rhythms, Miami-bred duo INVT is the experimental sound machine you can't possibly pass up. Luca Medici and Delbert Perez have been best friends since they were kids, and that closeness comes through in their tight experimental sets, blending booming bass with glitched-out techno synths, cumbia rhythms, dembow beats, and acidic edge.

INVT are — as the name may imply — extremely innovative, leaning into their own productions and edits to curate an approach that feels hypnotic, exciting and unique. If you're not afraid of beats that go really hard and get a little weird, this is a set that can set your wild mind ablaze.

What happens when you put two of the most unique and hard-hitting producers in electronic music together on one stage? Deadmau5 is one of the scene's leading icons, and Rezz (who released her debut album of deadmau5's Mau5trap label in 2017) shifted bass music culture with her gritty, techno-fueled, half-time sound. The two share a love of dark, stomping, left-field noise, and after years of teasing possible collaborations, those shared interests merged on the 2021 collaboration "Hypnocurrency." Two years later, they released the booming, dystopian 2023 single "Infraliminal" — not just a brilliant rework of deadmau5's 2012 track "Superliminal," but the official introduction to Rezzmau5.

Rezzmau5 haven't released anything since, and live performances from the duo have remained few and far between. But the monolithic duo just warmed up their trippy joint live show at Tomorrowland 2024, which was set in "the mythical realm of Silvyra," a world "filled with creatures, plant life, and people living in harmony." Whether or not their HARD set follows the same storyline, it's certain to shake the skulls of every dancer at Hollywood Park. Prepare your body for something deep, dark and maniacal.

There aren't many electronic acts that bring the same level of frontman energy that Elderbrook boasts on stage. A multi-talented performer, the UK artist sings and plays instruments, creating a rock-show experience unlike most sets at heavily electronic festivals like HARD. He leads the crowd in heartfelt sing-alongs to hits including "Numb," "Something About You," "Inner Light" and, of course, his megahit CamelPhat collab "Cola."

Bouncing between his microphone, synthesizers and keyboards, samplers and drum pads, his one-man band performance is sure to draw a serious crowd. If you're ready for a break from the hard-edged rave noise and want to ascend to heavenly heights, Elderbrook is the man for the job.

Fisher + Chris Lake (Under Construction)

Nothing is more fun than watching two best mates go absolutely nuts on the decks. And when two stellar DJs go back-to-back, everyone wins, because they spend the whole set trying to impress each other.  

Chris Lake is one of the most influential producers in tech house. Fisher is one of the most unhinged and energizing DJs one can ever witness. Together, the besties deliver an over-the-top party with an arsenal of mind-numbing drops, weirdo grooves and just-plain fun vibes that make you wanna hug your friends and dance 'til you sweat. The set is called Under Construction, but make no mistake: these two have completely mastered the blueprint.

If you like your sets to be playful cross-genre explorations of sounds from around the world — tied together by booty-shaking beats and booming bass lines — JYOTY is sure to check all your boxes. She knows how to lead a great party because she spent her childhood frequenting the unmatched clubs of Amsterdam. And with an ethos built around playing whatever the heck she wants, she's comfortable dropping a bit of hip-hop into some Brazilian bops, mixing it up with hard breakbeats, blistering rave synths and more.

Kerri Chandler

If you don't know your history, you're doomed to repeat it, but no one brings the house down quite like Kerri Chandler. A pioneer of the original deep and garage house movements, Chandler was a foundational DJ of the '80s scene, holding down a residency at the legendary Club Zanzibar in New Jersey and founding the MadHouse Records label. If you want to feel the soulful spirit that made electronic music what it is, Chandler's dreamy mix of feel-good melodies served over kickin' club beats are a direct line to house music's roots.

Mary Droppinz

You know how Mary Poppins had a magical bag that held everything from a hat rack to an ornate mirror, a house plant and a Tiffany lamp? Well, California DJ Mary Droppinz comes equipped with a magical USB that's positively bursting with mean beats and original edts.

This woman can blend everything from grimy bouncing bass to ethereal orchestral house, Spice Girls reworks, drum'n'bass bangers, reggae upbeats, '90s R&B remixes and chart-topping hits of the moment twisted into face-melting heaters. You can try to guess where she'll go next, but it's better to just let her take control and follow the vibe through all the devious twists and turns. The one thing you can count on? You'll leave her set dripping with sweat.

Disclosure aren't the only brilliant UK brothers on the HARD Summer lineup. Overmono's Tom and Ed Russell hail from Wales and make some of the most inspired club records of our time.

With backgrounds exploring hard techno, drum'n'bass and rave, the brothers combined their talents in 2015 and have since created an enviable blend of soulful atmospheres and frenetic breakbeats that feels nostalgic and sentimental, but still very heavy. Overmono's 2023 album Good Lies is a great play from start to finish, and a good way to get prepped for their critically acclaimed live set. If you need a big-name co-sign, Overmono was recently featured on Fred again.. 's "Stayinit" with Lil Yachty on the vocal. That's the caliber they're rockin' with — and the prestige they'll bring to HARD Summer.

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"Let Yourself Be Idiosyncratic": Moby Talks New Album 'Always Centered At Night' & 25 Years Of 'Play'

"We're not writing for a pop audience, we don't need to dumb it down," Moby says of creating his new record. In an interview, the multiple-GRAMMY nominee reflects on his latest album and how it contrasts with his legendary release from 1999.

Moby ’s past and present are converging in a serendipitous way. The multiple-GRAMMY nominee is celebrating the 25th anniversary of his seminal work, Play , the best-selling electronic dance music album of all time, and the release of his latest album, always centered at night .  

Where Play was a solitary creation experience for Moby, always centered at night is wholly collaborative. Recognizable names on the album are Lady Blackbird on the blues-drenched "dark days" and serpentwithfeet on the emotive "on air." But always centered at night ’s features are mainly lesser-known artists, such as the late Benjamin Zephaniah on the liquid jungle sounds of "where is your pride?" and Choklate on the slow grooves of "sweet moon."  

Moby’s music proves to have staying power: His early ‘90s dance hits "Go" and "Next is the E" still rip up dancefloors ; the songs on Play are met with instant emotional reactions from millennials who heard them growing up. Moby is even experiencing a resurgence of sorts with Gen Z. In 2023, Australian drum ‘n’ bass DJ/producer Luude and UK vocalist Issey Cross reimagined Moby’s classic "Porcelain" into "Oh My." Earlier this year, Moby released "You and Me" with Italian DJ/producer Anfisa Letyago .  

Music is just one of Moby’s many creative ventures. He wrote and directed Punk Rock Vegan Movie as well as writing and starring in his homemade documentary, Moby Doc . The two films are produced by his production company, Little Walnut , which also makes music videos, shorts and the podcast "Moby Pod ." Moby and co-host Lindsay Hicks have an eclectic array of guests, from actor Joe Manganiello to Ed Begley, Jr., Steve-O and Hunter Biden. The podcast interviews have led to "some of the most meaningful interpersonal experiences," Moby tells GRAMMY.com.  

A upcoming episode of "Moby Pod" dedicated to Play was taped live over two evenings at Los Angeles’ Masonic Lodge at Hollywood Forever Cemetery. The episode focuses on Moby recounting his singular experiences around the unexpected success of that album — particularly considering the abject failure of his previous album, Animal Rights . The narrative was broken up by acoustic performances of songs from Play , as well as material from Always Centered at Night (which arrives June 14) with special guest Lady Blackbird. Prior to the taping, Moby spoke to GRAMMY.com about both albums.  

'Always centered at night' started as a label imprint then became the title of your latest album. How did that happen?  

I realized pretty quickly that I just wanted to make music and not necessarily worry about being a label boss. Why make more busy work for myself ?

The first few songs were this pandemic process of going to SoundCloud, Spotify, YouTube and asking people for recommendations to find voices that I wasn’t familiar with, and then figuring out how to get in touch with them. The vast majority of the time, they would take the music I sent them and write something phenomenal.

That's the most interesting part of working with singers you've never met: You don't know what you're going to get. My only guidance was: Let yourself be creative, let yourself be idiosyncratic, let the lyrics be poetic. We're not writing for a pop audience, we don't need to dumb it down. Although, apparently Lady Blackbird is one of Taylor Swift 's favorite singers .   

Guiding the collaborators away from pop music is an unusual directive, although perhaps not for you?  

What is both sad and interesting is pop has come to dominate the musical landscape to such an extent that it seems a lot of musicians don't know they're allowed to do anything else. Some younger people have grown up with nothing but pop music. Danaé Wellington, who sings "Wild Flame," her first pass of lyrics were pop. I went back to her and said, "Please be yourself, be poetic." And she said, "Well, that’s interesting because I’m the poet laureate of Manchester." So getting her to disregard pop lyrics and write something much more personal and idiosyncratic was actually easy and really special .  

You certainly weren’t going in the pop direction when making 'Play,' but it ended up being an extremely popular album. Did you have a feeling it was going to blow up the way it did?

I have a funny story. I had a date in January 1999 in New York. We went out drinking and I had just gotten back the mastered version of   Play . We're back at my apartment, and before our date became "grown up," we listened to the record from start to finish.   She actually liked it.   And I thought,   Huh, that's interesting. I didn't think anyone was going to like this record .  

You didn’t feel anything different during the making of 'Play?'

I knew to the core of my being that   Play   was going to be a complete, abject failure. There was no doubt in my mind whatsoever. It was going to be my last record and it was going to fail. That was the time of people going into studios and spending half a million dollars. It was   Backstreet Boys   and   Limp Bizkit   and   NSYNC ; big major label records that were flawlessly produced.   Play   was made literally in my bedroom. 

I slept under the stairs like Harry Potter in my loft on Mott Street. I had one bedroom and that's where I made the record on the cheapest of cheap equipment held up literally on milk crates. Two of the songs were recorded to cassette, that's how cheap the record was. It was this weird record made by a has-been, a footnote from the early rave days. There was no world where I thought it was going to be even slightly successful. Daniel Miller from Mute said — and I remember this very clearly — "I think this record might sell over 50,000 copies." And I said, "That’s kind of you to say but let's admit that this is going to be a failure. Thank you for releasing my last record."   

Was your approach in making  'Play'  different from other albums?  

The record I had made before   Play ,   Animal Rights , was this weird, noisy metal punk industrial record that almost everybody hated. I remember this moment so vividly: I was playing Glastonbury in 1998 and it was one of those miserable Glastonbury years.   When it's good, it's paradise; it's really special.   But the first time I played, it was disgusting, truly. A foot and a half of mud everywhere, incessant rain and cold. I was telling my manager that I wanted to make another punk rock metal record. And he said the   most gentle   thing, "I know you enjoy making punk rock and metal. People really   enjoy   when you make electronic music." 

The way he said it, he wasn't saying, "You would help your career by making electronic music." He simply said, "People enjoy it." If I had been my manager, I would have said, "You're a f— ing   idiot. Everyone hated that record. What sort of mental illness and masochism is compelling you to do it again?" Like Freud said, the definition of mental illness is doing the same thing and expecting different results.   But his response was very emotional and gentle and sweet, and that got through to me.   I had this moment where I realized,   I can make music that potentially people will   enjoy   that will make them happy.   Why not pursue that?  

That was what made me not spend my time in ‘98 making an album inspired by Sepultura and   Pantera   and   instead make something more melodic and electronic.  

After years of swearing off touring, what’s making you hit stages this summer?  

I love playing live music. If you asked me to come over and play Neil Young songs in your backyard, I would say yes happily, in a second. But going on tour, the hotels and airports and everything, I really dislike it.   

My manager tricked me. He found strategically the only way to get me to go on tour was to give the money to animal rights charities. My philanthropic Achilles heel. The only thing that would get me to go on tour. It's a brief tour of Europe, pretty big venues, which is interesting for an old guy, but when the tour ends, I will have less money than when the tour begins.  

Your DJ sets are great fun. Would you consider doing DJ dates locally?  

Every now and then I’ll do something. But there’s two problems. As I've become very old and very sober, I go to sleep at 9 p.m. This young guy I was helping who was newly sober, he's a DJ. He was doing a DJ set in L.A. and he said, "You should come down. There's this cool underground scene." I said, "Great! What time are you playing?" And he said "I’m going on at 1 a.m." By that point I've been asleep for almost five hours.

I got invited to a dinner party recently that started at 8 p.m. and I was like, "What are you on? Cocaine in Ibiza? You're having dinner at 8 p.m .  What craziness is that? That’s when you're putting on your soft clothes and watching a '30 Rock' rerun before bed. That's not going out time." And the other thing is, unfortunately, like a lot of middle aged or elderly musicians, I have a little bit of tinnitus so I have to be very cautious around loud music.

Are you going to write a third memoir at any point?  

Only when I figure out something to write. It's definitely not going to be anecdotes about sobriety because my anecdotes are: woke up at 5 a.m., had a smoothie, read The New York Times , lamented the fact that people are voting for Trump, went for a hike, worked on music, played with Bagel the dog, worked on music some more went to sleep, good night. It would be so repetitive and boring. 

It has to be something about lived experience and wisdom. But I don't know if I've necessarily gotten to the point where I have good enough lived experience and wisdom to share with anyone. Maybe if I get to that point, I'll probably be wrong, but nonetheless, that would warrant maybe writing another book.

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Beatport's Sofia Ilyas On Creating A More Equitable & Connected Music Industry

"What I love about the music industry is there are so many gaps, and so many observations you can make and sort of insert yourself in and create something quite special itself," Sofia Ilyas of carving out a career as a music professional.

Given that Beatport Chief Community Officer Sofia Ilyas has dedicated the last 15 years or so of her life supporting burgeoning artists, subgenres and underrepresented groups, it's somewhat surprising that she grew up in a household without music.

As a teen, a Sony Walkman with a radio and mixtapes featuring the likes of Radiohead were a lifeline to a world Ilyas' family didn't want her to participate in. She was even kept home during school field trips to the National Gallery museum in London, where she's since hosted her Piano Day music and art event, and will soon be curating a room for their 200th anniversary celebration .

Ilyas has had to sacrifice a lot — namely, a relationship with her strict Muslim family — to carve out a career in music, and hers is a story of patience and resilience. After leaving her home in Cardiff, Wales for London to pursue higher education (against her family's wishes), she found solace and connection in live music. She'd hang out around the sound booth and introduce herself and ask questions about how things worked. Slowly but surely, she befriended people that worked at labels and venues, and even artists — Four Tet grew to know her by name after she kept coming back to his shows.

After years of being a part of the London scene as a dedicated fan, at age 30, Ilyas became co-manager of indie record label Erased Tapes, where she helped popularize neoclassical music and one of its purveyors, experimental German pianist Nils Frahm. Alongside Frahm, Ilyas launched Piano Day, where a diverse range of artists help them celebrate the past, present and future of the instrument alongside contemporary dancers and painters.

Now, as the first Chief Community Officer at major dance music platform Beatport, Ilyas is building community within and across disparate global electronic communities. She aims to bring more women and people of color into the mix.

"We're living in a time where people are feeling incredibly lonely and disconnected from community," Ilyas tells GRAMMY.com. "I [want to] facilitate people to come in to hear from each other, especially women, in a room that feels safe to hold discussion."

GRAMMY.com recently caught up with Ilyas for an insightful, engaging conversation on her work to support women and people of color in electronic music, making piano cool, her hopes for a more equitable music industry, and much more.

This interview has been edited for clarity.

You recently hosted your Piano Day annual events in Melbourne and London — tell me your vision for Piano Day.

When we launched Piano Day in London with Nils [Frahm], it gave me an excuse to try my own events. I had the artists performing in different corners of the room and a painter in the middle, watching and being inspired. I've always looked at different arts and wondered why they can't also be present in the music world and why we can't support each other across various industries. I've had a contemporary dancer at almost every event I've done in London. Piano Day was my way of having my own event that I could own and really show off my curation. Even with the first event, people were saying the space was beautiful and the curation was so good. I felt really validated.

[For Piano Day,] I always ask artists what they can do that's a little bit different, beyond performing their album or recent EP. I had one artist who had never played piano before, and he made a few mistakes and everyone was applauding him like it's okay . It's really important to me that Piano Day offers something that maybe the audience will never see again and they feel they've experienced something very special. An even bigger extension of that is the lineup that I curate for the National Gallery; coupling a piano player with a dancer who had never met before, and multiple artists only ever played piano maybe three times. I love that the artists have felt safe to trust me and that it's the type of event where they can take a risk.

I'm always looking for acts that are open to trying something a bit different and to be challenged by the fact that it's solo piano predominantly. And to also be inspired by the space, the National Gallery is such a prestigious, iconic venue. It's quite an unusual event because you've got people who've come to see the artists and regular visitors who have just come to see the paintings and they happen to stumble across what's happening. What's even more special for me is the audience is full of children. [I've been wondering] how we can do more music events that kids can come to, because I saw how inspired they were.

You'll be returning to the National Gallery in May to help curate their 200th anniversary event. How are you thinking about everything it stands for while bringing it into the future with music and women and people of color?

I've always had an attachment to the Gallery because there were school trips to it and my parents would never let me go. So for them to email me, "Hey, we've been to a couple of your events, would you like to bring Piano Day to the National Gallery?" I was just overwhelmed and hugely complimented.

I went to each room, sat down and thought about the feelings [it brought up]. I ended up landing on the blue room, it's got a lot of English paintings in it. I liked the idea of English artists against old English paintings, sort of breaking that mold of stiffness and classical looks to be like, this is now the future of London coming into the gallery. We placed the piano right in front of this really famous huge horse painting to really make that statement.

I am very mindful of having a diverse and interesting lineup. I always have one artist that starts the event that is a nod to the traditional kind of way of playing [piano]. It usually evolves to some artists playing the neoclassical sounds and then it moves into more the dance element and vocalist and then it ends on "this is the future" type of thing. I always like having that momentum.

Let's talk about your new record label RISE . What's your vision is with it and who are the artists you're currently working with?

I started Rise last year for artists that want help to get to the next level and get the attention of the label they want. I wanted to do a label that was within my bandwidth because I have a full-time job. If there're artists that I can help get from point A to B, then they go on to C, that's a great thing. I have Frank Hopkins on the label, who's an electronic artist, and Kareem Kumar , who's a Black artist who is known for playing in the streets of London. [Kumar] has built an incredibly huge audience on socials that has been a real inspiration to so many youngsters during COVID. They played together for the first time at the National Gallery, where Frank added some really nice ambient sounds and Kareem played the piano.

Too often, labels are quite a stiff experience, they want to assign that artist forever. If there are any artists that want help on press releases, overall branding and PR, that's exactly what RISE is there for. We can help them release some records, sort their online profile and offer guidance to basically uplift the artist so they can get the attention of booking agents, a label etc.

I see the future of labels where they are this sort of incubator-type of model, where they help an artist and the artists can grow into their own team or go off into another label. I envisage more labels existing like mine, where they're helping the artists onto that next level.

What do you think needs to shift for the music industry to be more supportive — financially and otherwise — of artists, particularly young people of color?

One thing that could be great is the labels that are doing well commercially — I'm sure they do this to a certain extent — choose two artists every year for an incubator program and make it more visible. Right now, most labels' A&R is a very closed thing. I think [it would help] if the labels made a very clear way of sending them demos. I know it is difficult because these days, even [people at] labels are so overworked and they don't have time to think about things like this. Maybe a music organization or a body out there could pick this idea up and take it to some of the major labels.

On the live side, [we need] more community spaces where an artist can come by and play regularly to fans and bring their friends and family around. Most venues are so hard to get on the bill, [so there's a need for] smaller 100-capacity-or-so spaces that open the doors more to local artists. We rely on the same names over and over again, whether it's festivals or local clubs, etc.

With your work as Beatport's Chief Community Officer, what are you actively doing to bring in and celebrate more women and people of color in dance music ?

I've always been aware of diversity and my color and who I am in the music industry. Especially when I was around all those white male composers who knew everything about production and I knew nothing, that was very daunting. Even things like drinking — I don't drink and the amount of times it feels uncomfortable to be in the music industry. Many people in South Asian communities, especially Pakistani, grew up in a non-drinking culture, and we should have awareness to make those people feel comfortable otherwise they're never going to join the music industry.

What's been incredible is that Robb [McDaniels, Beatport's CEO] and the team have been, "You own it, you do what you believe." In the first few months, I hired a DEI consultant named Vick Bain, who was an amazing mentor for me. I'm a real big believer in experts. I was able to really upskill myself very fast through having her around.

Putting aside diversity, we're living in a time where people are feeling incredibly lonely and disconnected from community. That's why I'm doing panel events with DJ sets with Beatport. I [want to] facilitate people to come in to hear from each other, especially women, in a room that feels safe to hold discussion.

First meeting of the year was at the National Gallery. Can’t wait to curate my piano event there this year 🥳 pic.twitter.com/RVNFNZWdTV — Sofia Ilyas (@sofiailyas) January 5, 2024

How have you taken it upon yourself to bring more women and artists of color with you along the way, and do you make space and advocate for people?

It's always something that's on the top of my mind because being a South Asian woman in music is already quite difficult at moments. You look around wondering Is there any support for me ? And with my journey of having walked away from my family, part of me is already exhausted from that experience and existing in the music industry in an environment that often feels very alien to me.

Just being a woman in a C-Suite position isn't not easy. I've never been in a role where the focus is to champion women and that's why I'm so grateful for Beatport.

Throughout my career, I've always given out a lot of free PR and guidance, and quite often that's been for women. I've always wanted to be available and I'm always happy to give my time. If anyone reads this, and they want to email me and ask me any questions, I'm always really happy to help.

What's some advice you have for young women of color that want to work in the music industry but don't know where to start?

What I love about the music industry is there are so many gaps, and so many observations you can make and sort of insert yourself in and create something quite special itself. Once you start getting to know your local community, [you can get] so much support from others. I made a lot of my friends by going to vinyl markets and going up to my favorite labels and saying hi. When I was trying to work in the music industry and sending a ton of emails, I got nothing in return. But as soon as I started being a bit more active in the live [music] side, I met so many people.

Don't think you need to do it alone. For so many years, I kept what I was experiencing to myself and I would always present this polished person on Instagram. Lately, I've started really opening up more about how I feel. When I turned 43 recently, I posted on Instagram about how I sometimes overwork to avoid [loneliness]. I was surprised by how many people, especially men, messaged me and said I feel that way too. I'm learning to be more vulnerable.

Don't be afraid to ask questions. You just have to get over ego and fear. I can't sugarcoat it; unfortunately, there are [some] people who are going to make you feel really stupid for asking. Lean on your friends and know you're on the right path. Know that we need more women and more diversity in the industry. Look at people that inspire you. When I used to look at Four Tet, I'd be like, Oh my God, an Indian man on stage, that's so cool . So, look for your inspiration points and be vulnerable with your friends, because it is going to be difficult sometimes. And you can definitely email me anytime. [ Chuckles .]

What does a more equitable music industry look like to you?

Well, that's a big question. I think [it would involve] everyone being more conscious. Whether it's a booking agent or a label looking to sign someone, if everyone is thinking around diversity and consciously looking and making their spaces more open to women. I always think about open doors. How can everyone open their doors more while considering the space people are entering into. It's one thing opening your door but it's another thing if that person enters a space and doesn't feel safe.

For me, a place where everyone's consciously thinking about this, and it isn't just on the organization or a few artists or someone like me in my role to try and figure it out. I think if everyone was conscious of it, things would just happen more seamlessly.

How LP Giobbi & Femme House Are Making Space For Women In Dance Music: "If You Really Want To Make A Change, It Can Be Done"

• 1 Jamie xx Returns To Present With 'In Waves': How Time Off Led To An Album Of Renewal
• 2 Zedd's Road To 'Telos': How Creating For Himself & Disregarding Commercial Appeal Led To An Evolutionary New Album
• 3 10 Cant-Miss Sets At HARD Summer 2024: Disclosure, Boys Noize, INVT & More
• 4 "Let Yourself Be Idiosyncratic": Moby Talks New Album 'Always Centered At Night' & 25 Years Of 'Play'
• 5 Beatport's Sofia Ilyas On Creating A More Equitable & Connected Music Industry

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