Pitchfork Music Festival officially unveiled the 2024 lineup, with Alanis Morissette, Black Pumas, and Jamie xx set to headline on July 19 through July 21 at Chicago’s Union Park. Other key acts that will be performing this year include Carly Rae Jepsen, Muna, Jessie Ware, 100 Gecs, Grandmaster Flash, Jeff Rosenstock, Brittany Howard, Yaeji, Mannequin Pussy, Jai Paul, and many more.
Along with the lineup reveal, Pitchfork Music Festival also shared key info about the ticket prices and more. For those heading to Chicago this summer to see their favorite acts, here’s everything to know about purchasing passes.
How To Buy Tickets For Pitchfork Music Festival 2024
Tickets for Pitchfork Music Festival are currently on sale now and can be purchased through the official website.
As a base price, the 3-day General Admission ticket for Pitchfork Music Festival starts at $219. It will eventually increase to $249 as a final price, as all ticket types will experience increases depending on when fans purchase them. The single-day GA ticket starts at $109.
For a 3-day Pitchfork PLUS ticket, which includes lounge access and private restrooms, it starts at $399 for a 3-day and $199 for a single day. Finally, VIP tickets start at $699 for a 3-day and $379 for a single-day pass.
Additional information about Pitchfork Music Festival can be found here.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
In January, Megan Thee Stallion announced the Hot Girl Summer Tour, saying at the time, “Oh, we’re having the tour this year. The Hot Girl Summer Tour is going to be 2024, summertime. I feel like I’ve never been able to be outside doing my own thing during the summer, since like 2019. So this is going to be the first time that I drop an album on time for the summer. I do want to give the hotties the Megan Thee Stallion experience.”
Now, we know a little more about it thanks to Megan’s latest social media post, of a fake magazine cover that features a revealing swimsuit photo of herself. The poster indicates the tour starts in mid-May this year, and is more explicit in the fact that it’ll visit the following cities:
Minneapolis, MN
Chicago, IL
Detroit, MI
New York, NY
Philadelphia, PA
Baltimore, MD
Memphis, TN
Atlanta, GG
Raleigh, NC
Hollywood, FL
Tampa, FL
New Orleans, LA
Dallas, TX
Austin, TX
Houston, TX
Denver, CO
Phoenix, AZ
Los Angeles, CA
Las Vegas, NV
Glasgow, UK
Manchester, UK
Paris, FR
Amsterdam, NL
Cologne, DE
Dublin, IE
Birmingham, UK
London, UK
Alongside the poster, Meg wrote, “HOTTIESSS GET READY TO COME HAVE SOME FUN WITH ME AT THEE HOT GIRL SUMMER TOUR [sun emojis] Get your outfits ready nowww! We getting started this MAY [fire emoji] I told you what cities today to get yall prepared! Check back in on thee 20th for official dates [winking emojis] im so exciteddddd.”
HOTTIESSS GET READY TO COME HAVE SOME FUN WITH ME AT THEE HOT GIRL SUMMER TOUR ☀️☀️☀️ Get your outfits ready nowww! We getting started this MAY 🔥 I told you what cities today to get yall prepared! Check back in on thee 20th for official dates 😜😜😜 im so exciteddddd pic.twitter.com/zuKNl4weCa
After dazzling the Oscars with his live performance of “I’m Just Ken,” Ryan Gosling jetted to SXSW where he brought the house down again. This time, with his new movie The Fall Guy.
The David Leitch film reimagines the classic ’80s TV show with Gosling taking over the role of Colt Seavers from Lee Majors. Emily Blunt is along for the ride as Colt’s love interest, and based on the reviews coming out of the festival, the two leads have chemistry for days. On top of that, The Fall Guy is slam-bang tribute to the stunt performers who put it all on the line to make movies look badass.
“The Fall Guy” is funny, it’s sexy, and it features the boy’s-toy version of “Barbie” scene-stealer Ryan Gosling — which is to say, after playing a Ken doll, now he embodies the ultimate action figure. This is the charisma-radiating side of Gosling audiences love (as opposed to expressionless “Only God Forgives” Gosling), and though his character doesn’t have much depth, you could hardly wish for better casting.
The Fall Guy, based on the 80s TV series, is an utterly charming, unpretentious rebuttal to the encroachment of digital effects in life and film (all due respect to VFX artists). It’s a celebration of blockbuster movies and their illusions of grandeur made by dozens and dozens of people working in concert, mostly below the line, and specifically the underappreciated work of stunt doubles. It’s also just a consistently good time, two hours of zingers with impeccable timing, two bona fide movie stars with palpable chemistry, several enjoyably meta send-ups of the business and, of course, plenty of crazy stunts.
It is incredibly refreshing to see a masculine action movie with fully developed female characters—workaholic Gail is as fun to watch as motor-mouthed sweetheart Jody. Blunt knocks it out of the enemies-to-lovers park, creating a rom-com leading lady as relatable as any of Meg Ryan’s famous roles—she’s nervous, she’s ambitious, she’s nervous about being ambitious. And of course Gosling meets her at the table on the rom-com parts of the film. That’s a given. Fans of any of Gosling’s romantic roles will swoon just as hard over The Fall Guy, which offers up a sizzling hot second-chance love story.
Leitch’s expertise and appreciation for stuntmen adds an endearing layer to the enjoyment of The Fall Guy, which premiered at SXSW. The director indulges in major and minor stunts, staging plenty of scenes with cars rolling over to escape exploding bombs and characters escaping chokeholds from people determined to kill them. In each of these moments, Leitch strikes a balance of showmanship and mechanics. He teaches audiences to appreciate the number of people it takes to pull off a car crash or a human torch stunt. The action sequences in The Fall Guy vary, but each one offers a level of gripping precision.
This is popcorn filmmaking at its most cheerful and enthusiastic, driven by cheeky needle drops (the KISS disco hit “I Was Made for Loving You” serves as an unofficial theme song), rousing action, and movie stars. It might not give Hollywood power players any more respect for the contributions of stunt performers and coordinators, but it does put a romantic spin on their work that will continue the public’s love affair with the profession. It also ensures that we’ll continue to see a lot of Ryan Gosling in the coming months, which is never a bad thing.
Is there any game show that allows contestants to royally embarrass themselves on national TV quite like “Wheel of Fortune”? There’s always someone going viral for taking a big swing and missing on a phrase that seemed pretty apparent to the casual viewer.
And when you take a big loss on a “Wheel of Fortune” word puzzle, there are a lot of folks shaking their heads at home. More than 8 million people watch the game show every night.
The latest victim of the wheel is Gishma Tabari from Encino, California, whose fantasy-inspired whiff of a common phrase earned her a lot of groans and some support from those who thought her imagination was inspiring.
The 3-word puzzle read: “TH _ _ RITI _ S _ GR _ E,” and Tabari offered the answer, “The British Ogre.” The guess surprised host Pat Sajak, who responded, “Uh, no.” Tabari must have missed that there was a space between the R and the E in the puzzle, so ogre would have had to be spelled with 2 Rs.
She also probably wasn’t aware that England isn’t a place known for its ogres.
The answer inspired a lot of activity on X, where people couldn’t believe someone could come up with such a fanciful answer to a puzzle with such a straightforward solution.
This girl guessed “The British Ogre” on wheel of fortune and the second hand embarrassment was overwhelming. She wouldn’t even look at the camera for a sec🤣😭 I feel bad but man that shit was funny
OK, the puzzle was clearly THE CRITICS AGREE but to be honest I prefer THE BRITISH OGRE because the puzzles could use some more wacky originality sometimes.#WheelOfFortune
The incorrect guess is an opportunity for the world to learn that ogres aren’t a significant part of English folklore. Sure, there are characters in English myths and legends that have ogre-like qualities, such as Grendel from “Beowulf,” the monstrous creature that terrorizes the mead hall of King Hrothgar. There’s also the Boggart, a mischievous spirit much like a hobgoblin and trolls, which appear in some English tales although they originate in Scandinavia.
If you’re looking for ogres in Europe, France is the best place to go.
The word ogre is of French descent and comes from the name of the Etruscan god of the underworld, Orcus. Orcus is a large, ugly, bearded giant who enjoys consuming human flesh. Ogres are primarily known for eating children, which they believe will give them eternal life.
As for “Wheel of Fortune,” the show will undergo significant changes over the next few years. The show’s host, Pat Sajak, 76, has announced that he is stepping down from the show at the end of the 2024 season after hosting it for 41 years. In September 2024, radio host and “American Idol” emcee Ryan Seacrest will take over the hosting spot.
Seacrest says that changes to the show will be minimal once he takes over.
“With this game show, it’s such a success and has been for generations,” Seacrest said in a new interview with People. “You don’t mess with it, just don’t mess with it. Just get out of the way, say ‘good evening,’ and let’s play.”
In the video for Eminem’s “Doomsday 2,” Bennett even goes so far as to revisit the office building set from the first “Doomsday” video with Cordae and Juice WRLD. This time, though, the lyrical destruction has the office hallway in an even worse state than before, with ceiling panels falling out, exposed wires sparking, and bodies littering the walkway.
In addition to Eminem’s percussive performance, the video also features cameos from many of All Is Yellow‘s other stars, including Babytron, Big Sean, Cordae, Denzel Curry, JID, and Teezo Touchdown — all of whom you could argue take massive influence from Eminem as an artist. Even Swae Lee shows up.
A lot of jokes have been made about Eminem falling off in recent years, but if the “Doomsday 2” is anything to judge by, it looks like his respect among the younger generation is just as high as it’s ever been.
You can watch the “Doomsday 2” video above and check out All Is Yellow, out now via Def Jam, here.
Olivia Rodrigo is a proponent of safe sex and related care, and she’s really putting that on display on her Guts World Tour: On tour, Rodrigo is giving away free boxes containing condoms, Plan B (aka “the morning-after pill”), and information about abortion care, as Consequence notes.
This comes shortly after Rodrigo announced her Fund 4 Good initiative, which supports reproductive rights. She explained in a post from February that the initiative is “a global initiative committed to building an equitable and just future for all women, girls and people seeking reproductive health freedom.”
She also explained in a video, “Before I pop onstage, I wanted to come on here and talk about something I’m really excited about. The Fund 4 Good works to support all women, girls, and people seeking reproductive health freedom. The fund will directly support community-based nonprofits that champion things like girls’ education, support reproductive rights, and prevent gender-based violence. Thank you so much for supporting this cause that I care so deeply about.”
In his review of a February Rodrigo concert, Uproxx’s Philip Cosores noted, “She’s establishing herself as an artist that one generation will grow up with, and another can appreciate with a sense of nostalgia and camaraderie. […] The audience could easily understand that at just 21 years old, Rodrigo has both come a long way and still has a long way to go. But she’s now officially an arena rock star, and she’ll have to figure out what milestone to conquer next.”
A day before Sophie Ellis-Bextor is set to dazzle a sold-out crowd under a disco ball in Oslo, she calls from the tour bus in Europe, which left from Germany the night prior. To the average person, this country-hopping schedule would be incredibly draining, but Ellis-Bextor is her usual bubbly self. It is just another Thursday for her, as she has been used to juggling it all for over a decade.
Over the past few months, Ellis-Bextor has found herself in a whirlwind once again, as her 2001 song, “Murder On The Dancefloor,” is seeing a massive revival — due to both its use in a wild scene from the film Saltburn and TikTok users playing the addictive dance tune on repeat. It led to her performing on The Tonight Show Starring Jimmy Fallon and the BAFTAs, announcing her first North American tour, with most of the dates currently sold out, and earning her first gold record in the United States.
This also doesn’t account for the Spinning Plates podcast she leads, which has featured guests like Jessie Ware, Róisín Murphy, and even her mother, Janet Ellis. She runs a weekly Kitchen Disco show for BBC Radio 2. She is an ambassador for Save The Children UK. Additionally, Ellis-Bextor released an autobiography titled Spinning Plates: Music, Men, Motherhood And Me, a cookbook with her husband, performed at Glastonbury, all while being a mother of five, and has no plans to slow down.
Ellis-Bextor’s dexterity when it comes to juggling all aspects of her career and her constant pursuit to shine a light on women across all walks of life serve as a prime definition of what Women’s History Month means — making her a marvelous person to speak to about it all.
Read Uproxx’s conversation with Sophie Ellis-Bextor below.
Hi Sophie!
Greetings from Norway!
I know you’re currently on tour across Europe, which has looked like so much fun. Has it been different playing shows since the “Murder On The Dancefloor” resurgence?
Thank you, it’s been really great. Crowds have been awesome. I love doing my touring, it’s very satisfying. So far, the gigs we’ve been playing sold out before what happened with “Murder,” so it’s maybe a little bit early to tell.
What has it been like to see that song blow up again into such a major hit so long after its initial release? You’ve done a lot recently.
Yeah, definitely wild. But it’s so much fun and just really exciting. I love it when fun things happen, unexpected things happen. I’ve been lucky enough to have it a couple of times in my career when something unexpected has just taken flight. It’s always pretty glorious and you just got to enjoy it. Those moments are special.
What would you consider some of those other unexpected moments?
Definitely my first kind of solo single as a featured artist. I did a dance collaboration with a guy called Spiller. He’s an Italian DJ. We had a song called “Groovejet.” I had no idea how big that song was gonna be. It was crazy. It just picked me up and whisked me around. I guess also I should probably credit the first time I got signed when I was 18. That was a big whirlwind too. And actually, I think more recently what happened with the Kitchen Discos, which is some Instagram Live shows we were doing from our house during the pandemic. It was crazy.
Moving back to “Murder On The Dancefloor,” how were you first approached for the song to appear in Saltburn? Was there a conversation about it?
Whenever you’re approached about giving permission, you get a little synopsis about how the song is going to be used. All I knew initially was that it was a film written and directed by Emerald Fennell, who I already thought was brilliant. It was going to be all of the song and someone dancing to it naked. But to be honest, I didn’t quite get the significance. I also didn’t really know if it was going to happen, because sometimes we get asked for permission and maybe they edit it out.
I’ve seen another interview where you mentioned you watched the premiere of the movie with your family. What were their thoughts about the movie after? Or how have they reacted to the return of “Murder On The Dancefloor”?
Yeah, it was my mum and one of my kids. We actually all loved it. Everybody’s been really supportive. It’s the same as always, really, my lovely family. We’re all looking out for each other. My brother’s actually with me here on tour because he plays drums in my band. My mum and my sister are flying out for the tour next week.
I think it’s always the same in lots of families. Whoever’s got intense work going on or fun things, we all kind of share in it together. Also, making sure everybody’s okay. My mum’s always trying to make sure I’m getting enough sleep.
I also saw the other day that you and Natasha Bedingfield did a video where you were singing to each other’s songs, which are both seeing a resurgence through movies. Have you known each other for a while or how did that hang out happen?
We’ve known each other for quite a while. Natasha had a solo career that was booming around the time I think I was doing my second album. Our paths used to cross a lot of the time and we’ve got lots of mutual friends. We were talking together last summer. She was coming into the UK and I was helping her find some childcare.
I’m curious because you started your career really as the internet was taking off. How has your relationship with social media changed over the years?
I think it’s all for the better. When I first started, if you wanted to get a message out, there was a committee of people you had to go through. I love the fact that now, you can be spontaneous. You can interact. You can share more of yourself. I think in some ways, it’s all happened at the right time for me. I think when I was younger, I might not have been quite so sure what I felt like sharing. Now, I can enjoy it. It makes me feel like you’ve got more ability to communicate.
I do kind of want to go back in time a bit. On your current tour, you cover ABBA and Madonna. In your book, you mentioned loving Pulp’s “Disco 2000” as a teenager. Is there one particular moment growing up that made you discover you wanted to make music? Or specifically, catchy pop songs?
Yeah, I always adored pop music. When I was little, I used to sing along to everything and I still remember the lyrics to pop records I had when I was five. But I think it was, in a way, a bit of a late awakening. It wasn’t actually until I was asked about singing in the band that all the dots joined up and I realized how significant music and singing [were] for me. That was when I was 16. Before that, I always loved music.
After being in Theaudience, you launched a solo career, which has been incredibly successful. I’m wondering at the time though if it was a bit of a shift going from being in a band or if you sort of knew things were just going to work?
Oh no, I didn’t think things were going to work out. When my band was dropped before “Groovejet,” I thought I’d had the best of my career already. I thought it was game over really. That was a defining moment because that’s what’s helped me always appreciate how lucky I’ve been and all the things that have happened. So much of it is serendipity, you know? Right place at the right time and people I’ve been lucky enough to work with.
You dropped a semi-recent album with Hana which was inspired by a trip you took to Japan with your mom and oldest son. What was it about that vacation that made you want to use it as a launch point creatively?
It was a few things. It was the third album I wrote with a guy called Ed Harcourt. We’d always planned to do three albums together. The first one was inspired by Eastern Europe because I used to go there a lot on tour. The second one was inspired by Latin America. Then for the third one, we were looking for a landscape. I think Tokyo became significant because it [was] just before the world went into lockdown. It was such an extraordinary place and it was also tied into lots of things that were happening.
My stepdad was supposed to go on that trip. He was too ill to travel, so I went in his place. And then he died in June. So, I had all these things going on in my world: grief, Kitchen Discos, pandemic, family time. The album became [this] wonky dreamlike escape from everything but also exploring some of that stuff. Even though I was feeling very satisfied by all the pops that the Kitchen Discos were giving me, I needed something a bit more introspective from my songwriting. Now, I feel ready to do more dance-pop.
According to your Wikipedia, you’re also working on a new album. Are you able to share any more info about that, if it’s true?
Yeah, it’s true! Even before Hana came out, I knew I wasn’t going to be working with Ed for another project because we just made that plan. I was already thinking I [wanted] to make a dance disco album. In a way, what’s happened with “Murder” is very serendipitous because I didn’t know that was going to happen. It all feels like the wind is in the right direction.
You’re also playing your first North American tour this year and a ton of the dates have sold out, which is major. Is there a city you’re most looking forward to? Or even, you know, a dream venue or place you’d want to format one day?
I’ve never been to San Francisco. People have always told me they think I’ll love it. That’s somewhere I’m very excited about coming to visit. The whole thing is pretty dreamy. For a while, I’ve had a little cluster of American fans. They’d say ‘Come to America!’ and I was always like, ‘Oh, I don’t know, it feels risky.’ Putting this on sale and seeing people buy tickets is incredible. I feel super excited and quite moved by it. I think to be at my stage in my career and having new adventures is just such a privilege.
With part of this interview, I did want to tie it to Women’s History Month. I know spotlighting other hardworking women is a major part of your life and what you do. What made you want to start the Spinning Plates podcast initially?
I noticed anytime I was chatting with a woman, from any walk of life, the conversation when we both realized we were mothers would always go towards the same thing. I found navigating my work with motherhood sometimes quite tricky. Sometimes, there’s a lot of guilt and trying to straddle all things so that you feel like you’re getting what you need. I was curious to hear from other women. Also, I just love talking to people about their careers, what they get up to, hearing their wisdom and their stories. It’s been a really lovely thing to do and that’s why I’ve kept it going.
One of your interviews was with Jessie Ware, and I was struck that you two were talking about how you both still try to find ways to be creative while juggling the work aspect. Because it doesn’t fit into like a 9 to 5. How do you feel like your approach to making music and songwriting changed after having children?
I suppose in some ways, it’s quite hard to remember because my eldest is going to be twenty next month. I think a lot of it has been about giving myself permission to prioritize the work. When I was younger, you could be a bit more scruffy with your timing. When you’re going to work, [it] means time away from home. I’m like, ‘Right, let’s make this count.’ It gave me a lot of clarity and it sharpened my senses a little bit. Also, I realized how much I need it as well. I do think I’m a better mum because I’m able to do the work that I do.
You two were also talking about what it’s like being away on tour. And you mentioned the guilt and the emotions that come with it. Your children are now obviously a range of different ages. Has it become sort of easier being away in that tour bubble as they’ve grown older?
It’s easier because [of] how you do the travel. My eldest came with me on the tour bus for the first four nights. I’ve got my eleven-year-old arriving tomorrow. I’ve got better at divvying up and involving them when I think they’ll be having fun. It’s still tricky. My youngest is only five. I won’t be seeing him while I’m in Europe and that’s tough. But then you make up for it. He’ll come with me for another trip and then we’ll have a little holiday. Hopefully, when they’re older, expecting me and their dad to go off and have our adventures but always come home will give them the confidence to have adventures too.
Speaking of family, in your book you mentioned that your grandfather worked as a special effects artist and helped build the Daleks on Doctor Who. Can I ask more about that?
Oh, my grandpa was brilliant. He was quite a quirky man. When my mum was growing up, they moved all around Germany. Then once they were based in London, he started working in special effects, mainly for the BBC. So, even now, sometimes if I’m at the BBC, I might get someone saying, ‘Oh yes, I remember your grandfather, Mike Ellis.’ He was always making things. Homemade fireworks, don’t know if it’s recommended, but he would. Baby gates with space for the cat flap. He was a bit of an inventor. He was a man that didn’t say very much. He wasn’t very demonstrably affectionate. But after he died, I realized that there were mementos of how much he loved the family everywhere.
Do you feel like that encouraged you to explore your creative side a little more?
Yeah, I think him and also the fact that my mum had gone to drama school and then worked in TV. She was a TV presenter and my dad still is a TV director and producer. That’s the life I grew up around. I was always going to TV sets. It would be different projects, different travel. That must, must, must have made a difference. Even though music always felt like my thing, seeing them do jobs that weren’t conventional and were creative made me feel like it was possible.
Sometimes, we hear of people who are in the arts and they’ve come from backgrounds that have nothing to do with the arts. I think, ‘Wow, the bravery and the extraordinary life.’ I was so lucky. I was already someone that, you know, born in London, parents in TV. It’s not so unlikely for someone like me to get started but I know I’ve had it a lot easier than most.
I do want to switch gears a little bit and talk about some of the other work you’ve done. You’ve done quite a bit with Care International. Last year, you teamed up with Helen for the International Women’s Day podcast. And I believe a few years ago, you performed at their March For Women. How did you first get involved with the organization?
There’s a brilliant composer called David Arnold and he was putting together the music for a big Women’s Day Care International event they were having in Trafalgar Square. Through that, I met a woman called Helen Pankhurst. She’s the great-granddaughter of the woman who started the Suffragettes, which gave women the [right to] vote in the UK. For me, it’s a bit of a no-brainer that if you’re lucky enough to have a profile and there are things you care about, then you use [it] as a platform.
Supporting rights for women, supporting children, and the arts, I’ve always got behind. Sometimes, it can feel quite enormous. The progress is still out there to be made, but there are so many incredible women, organizations, people, and men, too, making the world a better place every day.
That episode you and Helen did together, I got about halfway through it. I found it particularly moving, like how there was the story of a woman who left Ukraine for Poland with her young son. What was it like for you to record and hear their stories?
I’m on the road and you’re sharing this glorious life, but you’re aware you’re sharing the planet with people who are having devastating change. It’s sometimes the juxtaposition of what can be going on simultaneously on the planet is mindblowing, isn’t it? Having those conversations and opening your mind up to what life means for different people, I think that’s what it means to be a human being.
To close, what advice would you give to either new moms or your younger self?
I don’t even know if new mums need my advice… The people I’ve found that feel the happiest are the ones who carve out their own shape. Advice for little me? Oh, golly. The bit of advice I’ve always followed is about trusting your instincts. [Although] I’ve been singing “Murder On The Dancefloor” since it came out, being reunited with how it began, [the] early stages of promoting it, the video, and the artwork, it’s still stuff I like. I think if you like what you’re doing, chances are if you’re greeted by it again in twenty years, you’re going to feel alright.
Pitchfork Music Festival will be returning from July 19 to 21 at Chicago’s Union Park, with a killer lineup to match. Alanis Morissette, Black Pumas, and Jamie xx will be this year’s headliners throughout the weekend.
They will also be joined on the lineup by Carly Rae Jepsen, Muna, Jessie Ware, 100 Gecs, Grandmaster Flash, Jeff Rosenstock, Brittany Howard, Yaeji, Mannequin Pussy, Jai Paul, and many more.
For those hoping to attend this summer, here’s what to expect in terms of ticket prices.
How Much Are Tickets For The 2024 Pitchfork Music Festival?
This year, Pitchfork Music Festival’s tickets will range in tiered prices, depending on when you purchase. There are also many different types of passes. The 3-day General Admission ticket starts at $219 and will increase to $249 as the final price. Single-day GA tickets start at $109.
The next ticket level is called Pitchfork PLUS and includes access to a special lounge, air-conditioned restrooms, and more. It starts at $399 for a 3-day pass and $199 for just one day.
Pitchfork Music Festival’s last ticket offering is for VIP passes. The 3-day ticket starts at $699 and will end at $749. Single-day VIP tickets start at $379. These passes will include many perks, including exclusive viewing areas at the stages, complimentary drinks and snacks, a daily catered meal, access to a backstage lounge, and other quality aspects.
More information about Pitchfork Music Festival can be found on the official website.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
On AEW Dynamite in Boston, Founder and CEO Tony Khan is expected to debut someone who has the chance to completely redefine the promotion’s women’s division in Mercedes Moné. He wouldn’t confirm the signing, but alluded to Wednesday night being one of the biggest nights in AEW history following months of speculation and reports.
“We’re very excited about Big Business tonight on TBS. It’s one of the most anticipated AEW events,” Khan tells Uproxx Sports. “We’ve got a huge crowd coming to the TD Garden in Boston and everyone’s looking forward to seeing the great night of AEW. I do have something very special planned for the fans at Big Business and everyone’s going to have to tune into TBS tonight to see what it’s all about.”
Big Business could be another step forward for AEW in building what Khan says is the “strongest our women’s roster has ever been.” Former champions Thunder Rosa and Kris Statlander have returned from injury. Toni Storm is blossoming as champion in a really engaging storyline next to Mariah May and Deonna Purrazzo. And while Athena has been crushing it in Ring of Honor, she could very well be added to the mix.
“I’m very excited about what Athena offers as a model world champion for Ring of Honor and the standard she’s set for the roster in ROH. I would say I think Athena is absolutely capable of wrestling the best stars in AEW as well,” Khan continues. “With Athena, the Ring of Honor Women’s World Champion, along with a tournament right now to establish a Ring of Honor Women’s World Television Champion, and ‘Timeless’ Toni Storm, the AEW Women’s World Champion, and Julia Hart, the TBS Champion, it feels like a very strong group of champions we have in AEW and ROH right now.”
While the women’s division will likely take the spotlight on Wednesday night, Khan has reloaded the men’s division as well in recent months after giving Sting a proper sendoff at AEW Revolution.
“Sting is one of the best ever,” Khan continues. “His previous sendoff was not commensurate with his iconic reputation and legendary stature. I felt that we could bring Sting back to AEW and for as long as he was interested in wrestling, we would push him to the forefront, showcase Sting, highlight what makes Sting great, and present him in the strongest light. I wanted to give Sting a great retirement, and then as I got to know him, it became even more important to me because Steve the man is every bit as wonderful as Sting.”
To fill the massive void left by the Icon, AEW has reloaded with the likes of Okada and Ospreay. Just a week into his AEW tenure and Okada has been a perfect fit alongside the Young Bucks as AEW’s top villains. And Ospreay, just two matches into his full-time AEW tenure, is showing why he was someone Khan has admired for years.
“(Ospreay) is one of the most talented athletes I’ve ever seen in a wrestling ring. He’s a perfect fit for any locker room and a perfect headliner for any wrestling company,” Khan says.
“I first met Will Ospreay over five years ago in London. He was wrestling PAC and PAC was about to sign with AEW at the time. As AEW launched, he had stepped into a top role in New Japan Pro Wrestling and he thrived there. He had become a lead star of New Japan’s promotion and we’re very, very happy that Will Ospreay joined AEW. I think Will Ospreay is exactly the kind of great star wrestler that any wrestling promoter would want to sign up for their company.”
For Khan, the first few months of 2024 have been all about riding the momentum the promotion developed at the end of last year and continuing to build stronger. The next phase in that process feels like it begins Wednesday night in Boston.
“I was very excited to launch the Continental Classic, and I thought that it would be the perfect event at the perfect time for the AEW fans across the world. I felt like it delivered one of the strongest runs of television in the history of the company and gave us a lot of great momentum going into 2024 as we ended the year,” Khan says.
“Now, I think we’ve done very well following up on that and creating a lot of excitement to start the year. It’s been a team effort from the great wrestlers in AEW and our awesome staff and the new big names that are joining the company. We’ve seen Ospreay and Okada arrive already in 2024. It’s going to be a great year and we’ll continue pushing for the very best of AEW tonight on Dynamite on TBS for AEW Big Business.”
Weezer is hitting the road this fall. Beginning in September, the band will embark on their Voyage To The Blue Planet Tour. This tour celebrates the 30th anniversary of their self-titled debut album, with is often referred to as the “Blue Album.” This album boasted hits like “Buddy Holly” and “Say It Ain’t So” and marked an instant breakthrough for the band.
Day one fans and fans of the new generation are itching to get tickets to see Weezer. Tickets go on sale today (March 13), and they are available to purchase at a wide range of price points.
How much are tickets for Weezer’s Voyage To The Blue Planet Tour?
According to Ticketmaster, tickets for the Voyage To The Blue Planet Tour range from $34 to $144 for general admission, depending on seating. Fans can also purchase VIP packages from $249 to $495. All of these prices are before taxes and fees.
Tickets for the Voyage To The Blue Planet Tour have already begun to go on sale via a presale through Weezer’s fan mailing list. Citi cardmembers will also have access to presale tickets for U.S. dates, starting today (March 13) until Thursday (March 14) at 10 p.m. ET through the Citi Entertainment program. General onsale begins Friday (March 15).
Fans will be able to purchase tickets through the band’s official website.
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