Jerry Seinfeld is scheduled to resume his residency at the historic Beacon Theatre, with six new performances added for a total of 12 shows at the Upper West Side venue. The legendary comedian will play two shows per night across six dates in January, February, and March of 2024.
Jerry Seinfeld will continue his record-breaking residency with shows on January 12 and 13, February 2 and 3, and March 8 and 9. Two performances will take place each night at 7PM and 9:30PM.
Jerry Seinfeld currently holds the record for the most comedy performances at the Beacon, currently at 105. He celebrated his 100th performance in April 2023, having begun his residency in 2016. As a co-creator of one of the most successful shows in television history, Seinfeld, and a renowned comedian, actor, and writer, Jerry Seinfeld is one of New York’s biggest names.
Photo Credit: Rich Fury
The Beacon Theatre is a historic landmark on Manhattan’s Upper West Side. Many great performers have made appearances at the Beacon, including The Rolling Stones, Ray LaMontagne, Coldplay, Tom Petty & The Heartbreakers, and Steely Dan.
Tickets for Jerry Seinfeld’s new upcoming shows at the Beacon Theatre will go on sale on Friday, November 10 at 10AM. Tickets are available via ticketmaster.com or at box offices at Madison Square Garden, Radio City Music Hall and Beacon Theatre on November 11.
Jazz at Lincoln Center have announcedthe fall programming at Dizzy’s Club featuring a range of artists from diverse backgrounds celebrating mentors and musical heroes; debut performances, Latin-influenced sets, and more.
Dizzy’s Club at Lincoln Center celebrates the community for jazz through performance, entertainment, education and advocacy, encouraging personal freedom and individual expression. Welcoming the fall program for October and November, packed with artists including vocalist Ashley Pezzotti whose repertoire allows her to take stylistic risks that elevate her artistry and spotlight her warm, resonant tone.
The month of November highlights the Louis Hayes Quintet featuring Abraham Burton, Steve Nelson, David Hazeltine, and Dezron Douglas and pianist and composer Bill O’Connell. The Quintet delivers a high energy performance intercutting clave, bebop, lyrical ballads, and surprising critically acclaimed arrangements with a heavy ensemble of master practitioners and legends including Randy Brecker, Craig Handy, Santi Debriano, and Billy Hart.
The Fall programming also features first-time appearances at Dizzy’s including sets by drummer and composer Lenny White and singer-songwriter Antonia Bennettwho will perform songs from her recent album in addition to tunes she performed with her father Tony Bennett. Late Night Sessions also return with a packed weekly lineup of established and emerging talent.
Artiste : Jacques Schwartz Bart
Groupe :
Festival : Caraib in Jazz Festival 2010
Date : 23/01/2010
Lieu : Paris – l’Olympia
OCTOBER 2023
Oct 23 – Juilliard Jazz Ensembles: Mary Lou Williams: The Secular and the Sacred
Ambrose Getz, a Brooklyn-based pop artist, has released her newest album, Great House of Embers, which showcases her musical talent, as well as her impactful storytelling capabilities surrounding women’s experiences in today’s society.
Ambrose Getz deconstructs and reconstructs various genres, including American folk music, Bossa Nova, classic rock, 40s jazz, and more. Getz recorded with a talented group of international musicians consisting of Almog Sharvit (also the producer), Ben Silashi, Tal Yahalom, and Micha Gilad. Emerging from the indie art-pop scene in Brooklyn, Getz has built a network of artists who inspire each other to reconsider American identity. They’re all top-notch musicians she knew could complement her range.
Her current band that contributed to House of Embers consists of Almog Sharvit (bass, production), Ben Silashi (drums), Tal Yahalom (electric guitar), Micha Gilad (keys), Noah Rott (additional keys), David Leon (saxophone & flute on “Black Hole”), Hila Tako (background vox on “Grace”), Lisa Hoppe (string arrangements), Bergamot Quartet (“Arms Around Her,” “Carrie”), Ledah Finck (violin), Sarah Thomas (violin), Amy Tan (viola), Irene Han (cello).
Throughout the record’s nine tracks, Getz showcases her fluency in many styles, all run through an art pop filter a la St. Vincent or Bjork. Synths, strings, and electric guitars blend with jazz-inspired percussion as Getz’s voice delivers the lyrics. Ambrose released the single and accompanying video for the jazz-influenced beauty of a song, “Starlight.”
“Starlight is about staying up past midnight, waiting for your crush to call. I wrote it on one of those long nights, losing myself in romanticism, knowing it was foolish to hope and laughing at myself for hoping anyway.”
Ambrose Getz
Wanting the song to transport the listener (the same way the jazz standards of the 40’s and 50’s do), after recording the song with her band, Ambrose added a special guest feature: a string arrangement composed by Berlin-based bassist Lisa Hoppe and performed by Brooklyn-based string quartet Bergamot Quartet.
For the video, Ambrose and the band continued their theme of featuring women-led projects and performers with the addition of the directing team Las Lauras (Laura Sofía Pérez & Laura Isabel Tropi). Visually, they riffed on the theme of waiting through picking flowers and playing musical instruments. The video was shot by Lucas Hrabal, edited by Almog Sharvit, and colored by Alexey Zavolokin.
The appeal of dynamic innovators like Getz and her collaborators lies in their ability to create work that defies passing trends.
Ambrose Getz
Sometimes Getz’s adventurous spirit means adding synths and strings to a song inspired by jazz standards (“Starlight”), and sometimes it means crunchy guitars and twinkling synths (“Fantasies”). “Mary Awakens” takes a psychedelic detour through clips of Getz’s aunt speaking, girl-group harmonies, and a walking bassline. Getz has a strong, adaptable voice reminiscent of Suzanne Vega’s, and she uses every bit of it.
“When I wrote the song ‘Great House of Embers,’ I was thinking about JFK’s 1961 speech where he called America a “city upon a hill” and how Americans believed we had to be an example for other nations. My generation now sees the destruction our country has caused. Visualize a giant house on a big hill that has been on fire for a hundred years and is reduced to embers. That’s what my generation inherited.”
Ambrose Getz
Singing loud, breaking forms, and telling complex stories converge in the album’s themes. The title track was inspired by Citizenfour, a documentary by Laura Poitras about NSA surveillance brought to light by Edward Snowden.
An avid reader, one of Getz’s favorite writers is Nobel laureate Alice Munro, whose work serves as inspiration for the song “Grace.” Getz’s said, “Her writing always has a subtle flip that can turn you on your head. She was the first author I read who consistently centered women’s stories, with depth and darkness and subtlety.” This influence is evident in Getz’s own lyrics, which deliberately delve into the experiences of women across generations, crafting narratives that are so apt and thought-provoking that they are sure to spark conversations between mothers and daughters. Through her shrewd songs about women’s lives, Getz shines a light on the cultural legacies we inherit both politically and personally. Her lyrics offer a keen insight into the complexities of these legacies, inviting us to explore and challenge the narratives that shape our understanding of women’s experiences.
Getz never sacrifices the music for the message, as you can hear on debut single “Black Hole.” Written to be “dark and danceable,” the lyrics personify capitalism as an insatiable femme fatale, echoed in the music video directed by Margot Bennett and filmed by Eurica Yu. The video’s imagery—shot with dark backgrounds—pulls the viewer into a world where the allure of capitalism is as irresistible as it is dangerous. A single spotlight follows Getz, clad in androgynous black and white and sporting alarm-call red lipstick. Those images intercut with scenes of Getz wearing skintight black clothing and dancing, her red hair catching the light.
Rather than posit herself as a victim of zeitgeist or a savior for our times, Getz offers candor and imagery alongside her range of musical styles. “Ultimately I see myself as an artist who writes songs that center women’s stories,” she says. Just as she asks what Americans inherited socio-politically, she looks to the women in her family to investigate what she has inherited personally. “Many of the songs on this album are short stories about my female relatives. ‘Mary Awakens’ is for my aunt, Mary Frances Ambrose, and ‘Carrie’ is for my maternal grandmother.”
With Great House of Embers, Ambrose Getz adds another valuable record for the future to inherit. It’s a snapshot of a dark time illuminated by the hope of innovation.
The strings in her music are captivating, especially in the song “Arms Around Her,” which adds a classy feel and really creates a beautiful blend between the background music and the vocals.
Every song is a little different and she truly showcases her abilities both in songwriting, but also in adapting to different genres. “Carrie” sounds more pop-influenced with a little country, while “Black Hole” is jazzy, and “Great House of Embers” might even have a little bit of rock influence.
Many artists claim to be “breaking” genres, but this album is actually doing it.
Metropolis, a brand new restaurant by Marcus Samuelsson opened inside the Perelman Performing Arts Center (PAC NYC) in Lower Manhattan. A vibrant mix of contemporary American cuisine, the restaurant takes inspiration from the culture and traditions of New York City’s five boroughs.
Flushing Style Oysters – Photo Credit: Andy Thomas Lee
Restauranteur Marcus Samuelsson teamed up with Executive Chef Ed Tinoco, Chef de Cuisine Marcelo Malta Andrade and Pastry Chef Onika Ayana Brown to craft a menu featuring locally inspired dishes and cuisines. Entrées include the Aged Long Island Duck rubbed with a 4-year mole, foie gras and peaches, Arctic Char with uni beurre blanc, agrodolce cucumbers, and citrus, and the Whole Grilled Dover Sole to Share with pomme souffléand braised leeks.
New York is a city of constant change and evolution where generations of immigrants have made their mark building its future. At Metropolis, we’re tapping into that cultural flow and sharing how a restaurant contributes to that dialogue. Through food and drink, we want to capture what makes New York the most delicious place to be.
Marcus Samuelsson
Metropolis Beverage Director Alexis Belton joined the team, creating a cocktail menu focusing on both classic and modern style martinis. The restaurant offers tableside cart service, with house cocktails including the Catskills Old Fashioned, made with Overproof whiskey, New York malt and red bean caramel, and the “Appletini,” made with green apple, sauternes, and baking spices.
Metropolis Interior – Photo Credit: Adrian Gaut
Designed by PAC NYC’s Lobby and Restaurant Interior Architect, David Rockwell and Rockwell Group, Metropolis features an upscale chic design, with wood ribbons lining the ceiling and lighting the dining area. The restaurant boasts a 135-seat main dining room, 16-seat private dining room, and 70-seat seasonal terrace, in addition to the 30-seat lounge area fronting the lobby stage.
To make a reservation at Metropolis, visit metropolisbymarcus.com. Stay up to date at by following @metropolisbymarcus.
The ARChive of Contemporary Music based in NYC is currently in its 39th year of operation, housing the largest popular music collection in the world. The institution has announced it urgently seeks a new permanent home, facing an uncertain future.
Some of the 18,000 recordingsin the Keith Richards Blues Collection.
Founded by current director B. George and the late David Wheeler in 1985, the ARC contains more than three million sound recordings, which is 90+ million songs. Each recording is preserved in all known formats, with 700,000 records being electronically cataloged, and 400,000 digitized. ARC also houses more than three million pieces of material including photographs, videos, DVDs, books, magazines, press kits, sheet music, ephemera, and memorabilia. The collection is extremely rare and valuable, and without proper funding, these collections could disappear forever.
Through a generous donation of facilities by André Balazs, the collection has been safe and in storage for nearly three years. Collecting and cataloging have continued, but strict zoning laws prevent ARC’s expansion and public access. The ARC has received an anonymous donation of one million dollars to help the institution move out of its current Hudson Valley space, but more is very urgently needed.
The initial donations provide the first step in constructing a new facility that will allow students, educators, historians, musicians, authors, journalists as well as fans, and the general public access to it. The donations will also help the expansion of educational programming, community gatherings, listening events, and more, making ARC’s ultimate goal of the creation of The Center for Popular Music in New York happen.
Andy Rourke of the Smiths at ARC looking at Smiths LPs he’s never seen.
Collections that are currently at risk include Keith Richards’ Blues Collection, one of the most extensive collections of blues and R&B recordings in the world, funded by Richards for more than 16 years, as well as their Zero Freitas Brazilian Music Collection which has made ARC home to the largest collection of Brazilian music outside of Brazil. Others include The Jeep Holland Collection, which contains more than 125,000 classic rock and pop recordings and over 2500 signed albums from the likes of the Rolling Stones, Jimi Hendrix, Bob Marley, and Sex Pistols, and the Jonathan Demme Haitian Music Collection contains ARC board member Jonathan Demme’s personal collection of Haitian albums.
The ARChive is also home to massive collections of mint or sealed recordings from the estates of Richard W. Zirinsky Jr., Mark Steven Jacobson, Malcom Forbes, and many others. ARC maintains leading collections of Broadway, African, Punk, Jazz, C&W, Folk, Hip-Hop, and Experimental recordings. Artists and music critics like John Rockwell, Jerry Bock, David Byrne, and Jon Pareles have trusted ARC to preserve their recordings, books, and papers.
For more information about The ARChive of Contemporary Music, visit here.
The New York Philharmonic is approaching the 100th anniversary of the annual Young People’s Concerts, a series of programming on Saturday afternoons geared towards children and families. The series aims to inspire music appreciation through interactive displays and performances of timeless classics and world premieres.
Kwamé Ryan, director of ‘Celebration’ – Photo Credit: Zycopolis Productions
This season, the Philharmonic will present four YPCs highlighting the program’s history, modern themes, and future developments. All of the events are directed and designed by Doug Fitch, and take place in the Wu Tsai Theater at David Geffen Hall at 2PM.
The first event, titled Time Capsule, will take place on November 18. Conducted and hosted by Thomas Wilkins, the show takes inspiration from previous Young People’s Concerts, featuring works by Rossini, Elgar, Jessie Montgomery, and Leonard Bernstein. The show will see the world premiere of Bunmi Afariogun (age 11), alongside Fiona Khuong-Huu (age 16) in her NY Philharmonic debut.
Fantasy and Imagination will take place on January 20, conducted by Jerry Hou and hosted by NY Phil Teaching Artist Justin Jay Hines. The show will celebrate imagination and the power of music, featuring Musorgsky’s Pictures at an Exhibition, and new works by Very Young Composers participants.
Photo Credit: Mark Allen
Next, Composing Inclusion will debut on April 20. Conducted and hosted by Daniel Bartholomew-Poyser, in his NY Phil debut, the show will present a collaboration between the NY Phil, American Composers Forum, and The Juilliard School’s Preparatory Division. With selections from William Dawson’s Negro Folk Symphony, the NY Phil will be joined by students from Juilliard’s Preparatory Division and Pre-College Orchestra.
Finally, Celebration will be conducted and hosted by Kwamé Ryan in his NY Phil debut on May 4. Accompanied by Sheku Kanneh-Mason as a soloist, the show closes out the YPC centennial by exploring humor in music throughout history.
Alongside the Young People’s Concerts, the NY Phil presents YPC Overtures, where children can try out instruments, listen to music by Very Young Composers participants, and participate in interactive workshops. YPC Overtures begin at 1PM on the day of the concert.
More information and tickets for New York Philharmonic Young People’s Concerts, visit nyphil.org/calendar.
On October 31, The Paper Kites and touring guest The Roadhouse Band performed together at New York City’s Racket. On their North American Tour, The Paper Kites are celebrating their new record At The Roadhouse, an artistic project birthed between the four walls of a dive bar in Australia that fans all across the world are holding close to their hearts today.
With the epitome of an autumnal sound combined with the holiday atmosphere, The Paper Kites pulled in the proper crowd: costume-enthusiast folk fanatics.
Photograph by Shauna Hilferty
A crowd with creative costume ideas slowly filled the warehouse venue in the Meatpacking District. Spiderman, Peach and Mario, and plenty of Bob Dylan‘s mingled while awaiting the opening set. At 8:00 PM, The Cactus Blossoms casually strummed into their first song. With only an acoustic and an electric guitar paired with soothing vocals, the duo provided a warm opening performance. They expressed their gratitude to be on their first ever tour, and even more so they praised The Paper Kites for the opportunity and their musical influence.
Photograph by Shauna Hilferty
Shortly after the Cactus Blossoms made their way off the stage, the stage crew decorated the space with an arsenal of instruments. True to The Paper Kites’ rich production value, each instrument that can be intentionally heard on their newest album was prepped and ready to be used on stage. Multiple forms of percussion, a collection of strings, an organ, electric keys, and the iconic vintage-looking microphone sat waiting to be given life.
Once their signature drapes were hung across the back of the stage, the lights dimmed and each band member made their way onto stage. Eight people on stage seemed like it would be tight, but the congealed bands stitched together comfortably, and so did their sound.
Photograph by Shauna Hilferty
The traditional lead of an acoustic guitar through their melody was threaded with the most intentional additions of twangy strings of banjos and mandolins, the romantic hum of the organ, the tune of the harmonica, and the heartbeat of various drums. If there’s one thing The Paper Kites are, it is consistent – consistently impressive. With a memorable setlist it can become difficult to entertain returning fans, but The Paper Kites routinely delivers a unique listening experience that bends the confines of genre labels through experimentation and passion.
On stage stood eight music connoisseurs. Lead vocalist; Sam Bentley, on the guitar and the banjo; Dave Powys, on the pedal steel and guitar; Matt Dixon, on drums; Josh Bentley, on the bass; Sam Rasmussen, on the organ and percussion; Hannah Cameron, on strings and cowbell; Chris Panousakis, and the multi-instrumentalist and vocalist; Hadley Kennary.
Photograph by Shauna Hilferty
From their last performance in New York City at Williamsburg Music Hall, their audience has grown – not just in size, but in comfortability. Throughout the show, fans openly conversed with each other and the band members in a respectful manner. Cooing that the song being performed was the song that was playing when they met the love of their life, or politely begging for their favorite oldies to be played. The Paper Kites’s lead vocalist, Sam Bentley, joked and reminisced with the audience all evening. It was truly refreshing, especially for a typically quiet audience.
Photograph by Shauna Hilferty
Midway through their performance, The Paper Kites quintuplet and The Roadhouse Band gathered around their signature microphone to sing a stripped version of the Kite’s hit “Bloom” from their oldest record “Woodland.” This is a treasured moment during a Paper Kites performance. Their sound becomes almost tangible in the room, with raw harmonies and only root instrumentals. A wash of peace laid over the audience, for their attention was devoted to the intimate production happening on stage.
Photograph by Shauna Hilferty
An applause full of raised hands in praise and hollers from the chest lasted for over a minute. Smiles overtook The Paper Kites’ faces as they made room once more for The Roadhouse Band. Each of the string players made the swap for more bassy instruments as Sam Bentley edged, “Now this is the part of the set where we play some louder songs.” As soon as the first chord of Dave Powys’ electric guitar ripped, the strobe lights were released into motion across the faces in the crowd.
Photograph by Shauna Hilferty
One of their new songs, “Black & Thunder,” was a crowd favorite. The soulful riffs and plunge of the bass emitted a similar sound to that of Fleetwood Mac’s “Rhiannon.” On stage the band members tapped their feet to the beat and visibly felt the command of their instruments, as they swayed and jolted their shoulders.
Photograph by Shauna Hilferty
After a few songs, they returned home to their usual earthy gentle tone to close out the show. They sang songs from their record “On The Train Ride Home” that references New York City, which spoke to the audience on personal levels. Tears streamed down the faces of some while smiles stretched across the faces of others. Underneath the lights, a world was formed – a small culmination of vast lives all affected by the same poetry.
The Paper Kites finished out their Halloween performance with an encore, singing some oldies that were wished for to send off the audience with a memorable evening. Once the lights came on, The Paper Kites and The Roadhouse Band said their thanks and bid their farewells to their New York City crowd.
Consider The Source, a NYC-based progressive jazz-rock trio, dropped their newest track alongside a music video for “Kashyyyk.” The video explores the band’s Eastern influences, with psychedelic graphics to accompany the new song.
Consider The Source made a name for themselves in the NYC scene with their unique, genre-bending sound. During the pandemic, the group found themselves stranded apart from each other, forcing them to learn new techniques to record and collaborate. Their newest album, a re-issued version of their Are You Watching Closely, comes nearing the 15-year anniversary of its original release.
The group’s newest single, “Kashyyyk” is a reference to a Star Wars fictional planet, where Chewbacca calls home. The psych-rock track demanded over 30 hours of work by producer Jacob Nadeau and editor Francesca Belcastro.
Consider The Source will embark on a US tour this fall, with four dates in Woodstock, Saratoga Springs, Rochester, and New York City. The group will support numerous acts, including SkyDaddy, Bella’s Bartok, The Mushroom Cloud, and more. More information and tickets are available here.
Consider the Source Tour Dates
11.02 The Colony – Woodstock, NY + 11.03 Bayside Bowl – Portland, ME % 11.09 Putnam Place – Saratoga Springs, NY ^ 11.10 Nectar’s – Burlington, VT !! 11.11 The Stone Church – Newmarket, NH & 11.17 Flour City Station – Rochester, NY * 11.18 Thunderbird Music Hall – Pittsburgh, PA ! 12.07 The Fox Theatre – Boulder, CO = 12.08 830 North – Fort Collins, CO == 12.09 Globe Hall – Denver, CO 12.29 Sultan Room – New York, NY # 12.30 Electric Haze – Worcester, MA $ 12.31 Arch Street Tavern – Hartford, CT $
Electronic-Pop duo ‘FIIZ’ return to ignite dance enthusiasts with their new energetic single “ALL MY WORLDS”, released on November 2nd.
FIIZ was born from the deep bond between best friends Fiona (Fi) and Isabelle (Iz) during shared quarantine, and a desire to fearlessly represent the LGBTQ+ community, defying norms in pop culture. United by their friendship, they create queer empowerment through music, challenging heteronormative standards with unapologetic expression.
The Brooklyn based duo FIIZ entrance their listeners by exploring themes of imagination, the multiverse and questioning the boundaries between reality and the power of the mind. They draw concepts from the endless possibilities that lie beyond our perception which intertwine with their unique musical expression fusing electronic-pop, hyper pop and EDM into a groundbreaking sound that can be heard in the latest single.
“ALL MY WORLDS”, forefronts the duos consistent pursuit of enlightenment, fluidity of time and the liberation of both the mind and body. FIIZ invites audiences to embark through the multiverse—an idea that has long captivated their creative spirit, the track becomes an anthem, chanting a powerful mantra, “All my worlds are real, all my dreams are true.”
With its pulsating beats, ethereal synths, and thought-provoking lyrical concepts, “ALL MY WORLDS” is poised to capture audiences worldwide. Hailing from the diverse and kinetic music scene of Brooklyn, FIIZ has once again encapsulated its progress in creating electrifying pop anthems that resonate deep within the mind space of its audience.
Global rock superstars Green Day have announced they are going on a massive 2024 global stadium tour. The Saviors Tour will make a stop at Citi Field in NYC on Monday, August 5, 2024, with The Smashing Pumpkins, Rancid, and The Linda Lindas as special guests.
Formed in 1986 in Berkeley, CA, Green Day is one of the world’s best-selling bands of all time, with more than 75 million records sold worldwide and ten billion cumulative audio/visual streams. Consisting of Billie Joe Armstrong, Mike Dirnt, and Tré Cool, the five-time Grammy Award-winning Rock and Roll Hall of Fame inductees released their breakout album Dookie in 1994, which sold over ten million and achieved 10x Platinum Diamond status. It is widely credited with popularizing and reviving mainstream interest in punk rock, catapulting a career-long run of #1 hit singles.
In 2004, Green Day released the rock opera album American Idiot, selling more than eight million copies in the U.S. alone and taking home the Grammy Award for Best Rock Album. In 2010, a stage adaptation of American Idiot debuted on Broadway to critical and commercial acclaim. Released in 2020, Green Day’s thirteenth studio album Father Of All…debuted at #1 on Billboard’s Album Sales Chart and #1 in both the U.K. and Australia. In July 2021, Green Day embarked on The Hella Mega Tour with Fall Out Boy and Weezer.
Green Day, photo by Emmie America.
Recently, the band announced the release of their highly anticipated 14th studio album, Saviors, coming January 19, 2024, along with a new single, “The American Dream Is Killing Me.” “We’ve never been more excited to unleash new music than with Saviors, a record that’s meant to be rocked live, together. So let’s thrash. We’ve got some amazing friends who are coming along for the ride!” Green Day said.
The tour will be larger-than-life, celebrating 30 years of Dookie and 20 of American Idiot. Each a cultural phenomenon in its own right, these albums have remained at the forefront of punk culture since their release. With blazing guitars and electrifying vocals, Green Day is ready to bring their mind-blowing collection of hits to stadiums across the country, along with additions from Saviors.
Green Day began dropping hints about the album at a surprise show at Las Vegas’ Fremont Country Club, surrounded by a crowd of 800 fans. Also making an appearance at the When We Were Young festival, the band debuted two killer new tracks: the first single “The American Dream Is Killing Me” and the brand new “Look Ma, No Brains!,” out now.
Tickets go on sale starting with a Citi presale on Nov. 7. Fans can sign up for Green Day’s mailing list by that day to get first access to presale tickets. The general on-sale begins Nov. 10 at 10 a.m.
THE SAVIORS NORTH AMERICAN TOUR DATES:
With support from The Smashing Pumpkins, Rancid, and The Linda Lindas
Mon Jul 29 – Washington, DC – Nationals Park
Thu Aug 01 – Toronto, ON – Rogers Centre
Sat Aug 03 – Montreal, QC – Osheaga Music and Arts Festival*
Mon Aug 05 – New York, NY – Citi Field
Wed Aug 07 – Boston, MA – Fenway Park
Fri Aug 09 – Philadelphia, PA – Citizens Bank Park
Sat Aug 10 – Hershey, PA – Hersheypark Stadium
Tue Aug 13 – Chicago, IL – Wrigley Field
Thu Aug 15 – St. Louis, MO – Hollywood Casino Amphitheatre !
Sat Aug 17 – Minneapolis, MN – Target Field
Tue Aug 20 – Kansas City, KS – Azura Amphitheatre !
Thu Aug 22 – Cincinnati, OH – Great American Ballpark
Sat Aug 24 – Milwaukee, WI – American Family Field
