who did incubus tour with

Incubus Announces 2024 US Arena Tour Performing The Iconic Album “Morning View” In Its Entirety Plus The Hits

PREORDER FOR MORNING VIEW XXIII BEGINS FEBRUARY 9TH

Tickets available starting tuesday, february 6 with citi presale, general onsale begins friday, february 9 at 10am local on livenation.com.

Today, Incubus announced their 2024 US Arena tour, performing their iconic album “Morning View” in its entirety, plus the hits featuring special guests Coheed and Cambria. Produced by Live Nation, the 10-city ARENA tour kicks off on August 23 at Little Caesars Arena in Detroit making stops across the U.S. in New York, Tampa, Austin and more before wrapping up in San Francisco at Chase Center on September 12.

Incubus originally released their critically acclaimed studio album Morning View on October 23, 2001, and were met with an outpouring of love and acclaim from fans and industry alike. The album has been RIAA certified double Platinum and spent 60 weeks on the Billboard 200 peaking at number 2.

On October 6, 2023, the band announced the re-recording and re-release of the acclaimed double album entitled Morning View XXIII  (Virgin Music Group), which is set for an album release date of May 10 th , 2024.  Morning View XXIII preorders will begin alongside the general tour on sale this Friday, February 9th, and you can presave HERE .

“Roughly 23 years ago we rented a house at the sea to do an art experiment. The novel and expansive environment combined with a healthy dose of momentum helped us find that ever sought after FLOW state and the songs that became known as ‘Morning View’ have since become indelible and deeply important parts of our lives,” said Brandon Boyd.

“This album helped propel our little art experiment called ‘Incubus’ into a way of life and here we are today, some 23 years later, about to introduce a new/next phase of it’s existence. ‘Morning View xxiii’ is a re-recording/re-think of the 2001 album and is the result of our desire to honor this burgeoning legacy but also reimagine it as musicians who have been lovingly performing these songs night after night for the last 23 years. See you on the road soon!”

TICKETS: Tickets will be available starting with Citi presale (details below) beginning Tuesday, February 6. Additional presales will run throughout the week ahead of the general onsale beginning Friday, February 9 at 10am local time at LiveNation.com.

PRESALE: Citi is the official card of the Incubus 2024 Tour. Citi cardmembers will have access to presale tickets beginning Tuesday, February 6 at 10am local time until Thursday, February 8 at 10pm local time through the Citi Entertainment program. For complete presale details visit www.citientertainment.com .

VIP: The tour will also offer a variety of different VIP packages and experiences for fans to take their concert experience to the next level. Packages vary but include premium tickets, playing table tennis with select members of the band, photo op with Incubus, side stage viewing of the Incubus set, exclusive merch item & more. For more information, visit vipnation .com !

INCUBUS 2024 TOUR DATES:

Fri Aug 23 – Detroit, MI – Little Caesars Arena

Sat Aug 24 – Rosemont, IL – Allstate Arena

Tue Aug 27 – Philadelphia, PA – Wells Fargo Center

Thu Aug 29 – New York, NY – Madison Square Garden

Sat Aug 31 – Boston, MA – TD Garden

Tue Sep 03 – Tampa, FL – Amalie Arena

Fri Sep 06 – Irving, TX – The Pavilion at Toyota Music Factory

Sat Sep 07 – Austin, TX – Moody Center ATX

Mon Sep 09 – Denver, CO – Ball Arena

Thu Sep 12 – San Francisco, CA – Chase Center

ABOUT INCUBUS

As a sonic and spiritual enigma, Incubus continue to stretch, shape, and shake the foundation of alternative music, embracing endless possibilities and eclipsing any and all boundaries in the process. The multiplatinum Los Angeles band—Brandon Boyd [vocals], Mike Einziger [guitar, piano, backing vocals], José Pasillas II [drums], Chris Kilmore [turntables, keyboards], and Nicole Row [bass]—tune into the creative exchange between them and beam it back to audiences as loudly (and lovingly) as possible. To date, the quintet have notably sold over 23 million albums, scored dozens of multi-platinum and platinum certifications around the globe, gathered billions of streams, and notched six consecutive Top 5 debuts on the Billboard 200. At the same time, they have graced the bills of festivals such as BottleRock, Ohana, Lollapalooza, and Rock In Rio in addition to headlining arenas and amphitheaters worldwide. During 2021, the musicians celebrated the 20th anniversary of their seminal double-platinum third full-length offering, Morning View, with a worldwide livestream. Incubus returned to the house where they famously recorded the album and performed the entire tracklisting from front-to-back for the first time. It incited a rapturous fan response, and the band decided to do it again in October 2023. The group sold out the legendary Hollywood Bowl and performed Morning View in front of a hometown audience, unassumingly kickstarting another era. Between launching a massive US Morning View arena tour in 2024, they ignite the next phase of Incubus with Morning View XXIII and more new music on the horizon. So, are you in?

About Live Nation Entertainment

Live Nation Entertainment (NYSE: LYV) is the world’s leading live entertainment company comprised of global market leaders: Ticketmaster, Live Nation Concerts, and Live Nation Sponsorship. For additional information, visit www.livenationentertainment.com .  

MEDIA CONTACTS:  

Kristen Foster | [email protected]

Erica Gerard | [email protected]

Live Nation Concerts

Monique Sowinski | [email protected]

Navier Grimes | [email protected]

Read more about

MORNING VIEW XXIII

    OUT NOW!    

Upcoming shows, little caesars arena (performing morning view + the hits), detroit, mi, allstate arena (performing morning view + the hits), chicago, il, wells fargo center (performing morning view + the hits), philadelphia, pa, madison square garden (performing morning view + the hits), new york, ny, td garden (performing morning view + the hits), amalie arena (performing morning view + the hits), toyota music factory (performing morning view + the hits), moody center (performing morning view + the hits), ball arena (performing morning view + the hits), chase center (performing morning view + the hits), san francisco, ca, rock in rio, rio de janeiro, brazil.

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Incubus Announces U.S. Arena Tour With Coheed And Cambria

Incubus will return to the road in 2024 for a U.S. arena tour celebrating the band’s iconic album Morning View with special guests Coheed and Cambria .

Each night of the ten-show tour, Incubus will perform  Morning View in full, plus the hits. Originally released in 2001, the double album has been RIAA certified double Platinum and spent 60 weeks on the Billboard 200, peaking at number two.

“Roughly 23 years ago we rented a house at the sea to do an art experiment. The novel and expansive environment combined with a healthy dose of momentum helped us find that ever sought-after FLOW state and the songs that became known as ‘Morning View’ have since become indelible and deeply important parts of our lives,” said singer Brandon Boyd .

Last year, the band announced it would re-record and re-release the album. The new version, Morning View XXIII , is due out on May 10th via Virgin Music Group and will be available to pre-order when tickets for the tour go on sale this Friday, February 9th. Pre-save the album here .

“This album helped propel our little art experiment called ‘Incubus’ into a way of life and here we are today, some 23 years later, about to introduce a new/next phase of its existence. ‘Morning View XXIII’ is a re-recording/re-think of the 2001 album and is the result of our desire to honor this burgeoning legacy but also reimagine it as musicians who have been lovingly performing these songs night after night for the last 23 years. See you on the road soon!”

The tour is set to kick off on August 23rd at Little Caesars Arena in Detroit and make stops at Philadelphia’s Wells Fargo Arena , New York’s Madison Square Garden , and Boston’s TD Garden , as well as arenas in Tampa, Austin, and Denver before ultimately wrapping up in San Francisco at Chase Center on September 12th. Click below for a full list of dates.

Tickets will be available via a Citi Entertainment presale beginning Tuesday, February 6th at 10 a.m. local time until Thursday, February 8th at 10 p.m. Additional presales will run throughout the week followed by the general on-sale on Friday, February 9th at 10 a.m. local time.

A variety of different VIP packages and experiences for fans will be available as well, with packages including premium tickets, table tennis matches with select members of the band, photo ops with Incubus, side-stage viewing of Incubus’ set, exclusive merch items, and more. Head here for more on specific VIP offerings.

Incubus also has upcoming international tour dates and will headline BeachLife Festival in May. For more information and to purchase tickets, visit Incubus’ website .

INCUBUS 2024 TOUR DATES:

Fri Aug 23 – Detroit, MI – Little Caesars Arena

Sat Aug 24 – Rosemont, IL – Allstate Arena

Tue Aug 27 – Philadelphia, PA – Wells Fargo Center

Thu Aug 29 – New York, NY – Madison Square Garden

Sat Aug 31 – Boston, MA – TD Garden

Tue Sep 03 – Tampa, FL – Amalie Arena

Fri Sep 06 – Irving, TX – The Pavilion at Toyota Music Factory

Sat Sep 07 – Austin, TX – Moody Center ATX

Mon Sep 09 – Denver, CO – Ball Arena

Thu Sep 12 – San Francisco, CA – Chase Center

Incubus Revisit Their Past With ‘Morning View XXIII’ — and the Future Looks Bright

By Angie Martoccio

Angie Martoccio

When Brandon Boyd thinks back on the spring of 2001, he’s amazed he wasn’t more stressed out. His band, Incubus , had just broken through with 1999’s Make Yourself , and their hit “Drive” was climbing the charts. “In retrospect, we probably should have felt more pressure to make a great follow-up record because we have this hit single right now,” Boyd, 47, tells Rolling Stone . “That didn’t even enter our minds. We were just like, ‘This is crazy! A lot of people are listening to our songs right now. Let’s make another one!’ So we decided to rent this house and get out of a traditional studio setting.”

The result was Morning View , released on Oct. 23, 2001. Named after the street of the Malibu home where they recorded it, it’s perhaps one of the most delightfully chill rock albums of the early 2000s, featuring beloved gems like “Wish You Were Here,” “Are You In?” and “Just a Phase.” The album went double-platinum, landing at Number Two on the Billboard 200.

In addition to the tour, Incubus will release Morning View XXIII , a re-recording of the album out May 24. Boyd talked to us about the album, the upcoming tour, their new bassist, Nicole Row, and bringing Lizzo onstage at the Hollywood Bowl.

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Sometimes re-recording an album means relearning old songs that haven’t been touched in a long time. But you guys have been actively playing these songs live for years — except for maybe, like, “Blood on the Ground.” Honestly, it was both amazingly enjoyable and surprisingly challenging. It is one thing to perform a song live amongst 20 other songs in a set or perform a handful of songs from a record. Say you hit a bad note here and there, you have a dozen more chances throughout the night to get it right. Our philosophy in playing live [is that] we’re not trying to be perfect, we’re trying to capture an energy. 

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I’m sure it was easier to re-record “Mexico” now than, like, “Are You In?” Yeah. 20-plus years of touring definitely has a tendency to chip away at the instrument. When it’s working well, I’ve noticed that my instrument is wider and more broad than it was when I was younger. I also had a procedure done in December 2019 where I had my septum repaired. 

Let me start over: I broke my nose twice. Once on stage at the Whisky a Go Go when I was 17. Our former bass player, Alex [Katunich], his bass sort of collided with my face. I didn’t do anything, I just let it heal randomly. And before that, when I was in seventh grade, I caught an egg in the face on Halloween. I basically learned to sing on one nostril, and I’ve been breathing through one nostril for most of my life. But it started to get progressively worse as I’m aging. And I went to see an ear, nose, and throat doctor, and he looked in there and goes, “Your face is fucked up. Will you please let me fix your septum?” And I only bring that up because I’ve noticed that since it healed, I have my range from my twenties and thirties back again.

I’m glad you can breathe through both nostrils now. Lovely. I recommend it.

That being said, we did our very best to honor the songs in as many ways possible, but we did embellish here and there, and the embellishments that we made were things that have evolved out of live performances of the songs. So the versions that are on Morning View XXIII are very true to the originals, but it’s almost as if we did real recordings of the versions that we’ve been playing live of them.

Taylor Swift has really popularized re-recording so she can own her music. How much of that was a factor in this decision? It was definitely part of the discussion. Through time, we won our re-record rights back, and it’s not unimportant to the process. To me, it’s sort of a less interesting part of the process, but still a part of it. When you’re involved in the making of music, especially when it’s exotic recording contracts from the Nineties, you pour your soul out and give everything you have into these recordings, and then ultimately you don’t own them. And there’s something not unusual about that, but it’s also sad.

So we’ve been around long enough now. We got to that point after all the decades where we’ve started to get our re-record rights back. We’ll never own the masters to the original recordings, but in the contracts it basically says that should we choose to re-record the album, we then own those master recordings. So it just gives a little bit more license and ownership to these tracks. But like I said, it’s not the most important thing. 

When you feel like the wind is at your back, it’s a feeling that is palpable. I’m speaking now as a person who’s in his late forties, and once you have a taste of that, it’s a lovely, lovely thing. And we’re taking this kind of psychic momentum into our songwriting process now, where we’re writing a new record. We go into the studio and there’s a new song idea every single day. It’s a fun, infectious feeling. 

Were there any challenges that you faced during the re-recording? Did you look at any of the songs and say, “This hasn’t aged well?” [ Laughs. ] I have to say that there definitely weren’t problems in that regard. Beyond that, the challenges were kind of beautiful. We were working with Nicole Row, who’s playing bass with us now. 

I was going to say, Morning View was the last Incubus album with Alex. How did Nicole approach his parts? It was so much fun watching her perform them, honor the original recordings, but also put her own stamp on them. She’s an incredible musician. She’s just effortless on a guitar. Watching her take on this challenge was really wonderful. I think people are really going to like her on this album, but also witnessing her become part of this band family.

I know Nicole took over Ben Kenney’s parts on tour after he got sick . But is she an official member of the band? Yeah, she’s definitely part of the band now. Her very first project with us was obviously going on tour, and she swooped in and was this delightful breath of fresh air, which we’re so thankful for so many reasons. It’s always sad when somebody from a creative family decides to step away, but she brought a whole new universe into our band, which has been amazing. Part of that momentum we’re feeling in writing a new record is partly her fault. 

The original video for “Wish You Were Here” featured the band running from screaming fans and jumping off a bridge à la the Monkees in Head. MTV banned it because of the September 11th attacks, but hardcore fans were able to see it on the Morning View Sessions DVD. Will you release it alongside the re-recording? It didn’t occur to me, but I think that’s a fantastic idea. The only problem is we probably don’t own the rights to it. It’s owned by Sony. It’s so funny that it got banned. It’s just so stupid. It’s like, what’s wrong with this? It was just us jumping off the bridge. I think it came out overseas, so it’s out there, but it’s hard to find. Which is sort of fun, especially in the age of the internet.

We spent all our money on it. But I remember when we got the message from our record label that MTV wasn’t going to play it because of September 11th and they perceived it as being insensitive. We were gutted. Then they were like, “You have about 24 hours to call it something else.” I think it was either 24 or 36 hours, but for the sake of drama, let’s call it 24. 

We fortunately had done a day of performance footage, which is all that slo-mo footage of us in that white room with the fans and blowing our hair and all that shit. Then I had a camcorder on me all the time at the Morning View house, so we had all this footage. I was like, “I’m going to make a home movie music video mixed with this performance footage.” And I actually edited the video. Forget that I had never edited a video before. It didn’t matter. So we turned a potential disaster into something usable.

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With the early-2000s rock revival, Incubus has gained a lot of younger fans. Is that something you’ve noticed? I don’t think about it very often, but it does occur to me that there are new generations of people discovering our music. From what I am able to observe at our shows, looking out at the audience, it’s a confusing swath of humanity. It’s not one particular age group or demographic. It feels like it’s a little bit of everybody. I love that people of all sorts, ages, skin colors, creeds, planets, whatever, come to our concerts. I think it’s so cool. But I have been noticing younger people over the past two years in particular since we started touring again after Covid, and I am getting the sense that it’s parents who grew up coming to our shows. Now they’re bringing their kids.

I remember I got really into Led Zeppelin when I was between 13 and 15, and that would’ve been in the late Eighties, early Nineties. Those records had only come out 10 or 15 years before that, but it seemed so old and vintage and rad to me in this way I can’t really describe. So these people coming to the shows with their kids, our albums are older than those Zeppelin records were [when I was] growing up. That throws things into perspective, in a really wild way.

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Incubus Announce Summer 2023 Tour With Badflower + Paris Jackson

Incubus are back for another summer of touring, putting together a 2023 package that includes Badflower and Paris Jackson opening shows.

The trek gets underway July 21 in Eugene, Oregon, heading east and dipping into Canada before circling back across the southern U.S. and coming to a conclusion Aug. 29 in Grand Junction, Colorado. In addition, the band have booked appearances at Oceans Calling Festival in Ocean City, Maryland on Sept. 30, will play Aftershock in Sacramento on Oct. 5 and will headline a Hollywood Bowl show in Los Angeles with Action Bronson supporting on Oct. 6. See all the dates, cities and venues listed below.

READ MORE: Incubus Bassist Ben Kenney Reveals He Had Brain Tumor Removed

Incubus last released a full album with 2017's 8, but did return in 2019 with "Into the Summer" and in 2020 with "Our Love" from the Trust Fall (Side B) EP . Badflower's most recent offering was 2021's This Is How the World Ends,  and Paris Jackson issued the lost ep in February 2022.

Incubus also have a number of shows scheduled for the spring and will do a European tour leg in early summer. You can get tickets for all of the band's currently scheduled shows here .

Incubus / Badflower / Paris Jackson Summer 2023 North American Tour

July 21 - Eugene, Ore. @ Cuthbert Amphitheater July 22 - Spokane, Wash. @ Spokane Pavilion July 23 - Bonner, Mont. @ KettleHouse Amphitheater July 25 - Sioux Falls, S.D. @ Denny Sanford Premier Center July 26 - Waite Park, Minn. @ The Ledge Amphitheater July 28 - Indianapolis, Ind. @ TCU Amphitheater at White River State Park July 29 - Cedar Rapids, Iowa @ McGrath Amphitheatre July 30 - Chicago, Ill. @ Huntington Bank Pavilion at Northerly Island Aug. 1 - Cincinnati, Ohio @ Andrew J. Brady Music Center Aug. 2 - Grand Rapids, Mich. @ Van Andel Arena Aug. 5 - Windsor, Ontario @ Colosseum at Caesars Windsor (no Paris Jackson) Aug. 6 - Niagara Falls, Ontario @ Fallsview Casino Resort (no Paris Jackson) Aug. 8 - Asbury Park, N.J. @ Stone Pony Summer Stage Aug. 9 - Gilford, N.H. @ Bank of New Hampshire Pavilion Aug. 11 - Atlantic City, N.J. @ Hard Rock Hotel & Casino Atlantic City (no Paris Jackson) Aug. 12 - Grantville, Pa. @ Hollywood Casino at Penn National Race Course Aug. 13 - Uncasville, Ct. @ Mohegan Sun Arena Aug. 15 - Moon Township, Pa. @ UPMC Events Center Aug. 16 - Franklin, Tenn. @ FirstBank Amphitheater Aug. 18 - Camdenton, Mo. @ Ozarks Amphitheater Aug. 19 - Bonner Springs, Kan. @ Azura Amphitheater Aug. 20 - Oklahoma City, Okla. @ Zoom Amphitheatre Aug. 22 - El Paso, Texas @ El Paso County Coliseum Aug. 23 - Tucson, Ariz. @ Tucson Arena Aug. 25 - Rio Rancho, N.M. @ Rio Rancho Events Center Aug. 26 - Lubbock, Texas @ Lonestar Amphitheater Aug. 27 - Colorado Springs, Colo. @ Weidner Field Aug. 29 - Grand Junction, Colo. @ Amphitheater at Los Colonias Park Sept. 30 - Ocean City, Md. @ Oceans Calling Festival Oct. 5 - Sacramento, Calif. @ Aftershock Oct. 6 - Los Angeles, Calif. @ Hollywood Bowl (Action Bronson opens in place of Badflower)

Your Guide to Rock + Metal Bands Touring in 2023

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Incubus announces 2024 tour to perform entire 'Morning View' album: See the dates

Incubus is hitting the road in 2024 to perform the group's entire "Morning View" album with stops in New York, Tampa, Austin and San Francisco.

The band announced the tour, produced by Live Nation, will start on Aug. 23 at Little Caesars Arena in Detroit and will travel to 10 cities.

"Morning View," Incubus' double Platinum album, was originally released in 2001 and rereleased in October last year. The show will also feature hits with special guests Coheed and Cambria.

“Roughly 23 years ago, we rented a house at the sea to do an art experiment," said Brandon Boyd, the band's lead vocalist, in a statement. "The novel and expansive environment combined with a healthy dose of momentum helped us find that ever sought after FLOW state and the songs that became known as 'Morning View' have since become indelible and deeply important parts of our lives."

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Incubus 'Morning View' tour dates

According to the press release, the tour will be visiting the following cities:

• Aug. 23 – Detroit, Mich. (Little Caesars Arena)
• Aug. 24 – Rosemont, Ill. (Allstate Arena)
• Aug. 27 – Philadelphia, Pa. (Wells Fargo Center)
• Aug. 29 – New York, N.Y. (Madison Square Garden)
• Aug. 31 – Boston, Mass. (TD Garden)
• Sept. 3 – Tampa, Fla. (Amalie Arena)
• Sept. 6 – Irving, Texas (The Pavilion at Toyota Music Factory)
• Sept. 7 – Austin, Texas (Moody Center ATX)
• Sept. 9 – Denver, Colo. (Ball Arena)
• Sept. 12 – San Francisco, Calif. (Chase Center)

How to get tickets

Citi cardmembers can access presale tickets from Tuesday, February 6 at 10 a.m. local time until Thursday, February 8 at 10 p.m. local time through the Citi Entertainment program. For complete presale details, visit www.citientertainment.com.

General sales start on Friday, February 9 at 10 a.m. local time at LiveNation.com.

There are also different VIP packages and experiences. Packages vary but include premium tickets, playing table tennis with select band members, a photo op with Incubus, side stage viewing of the Incubus set, exclusive merch and more. For more information, visit vipnation.com.

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

Purchases you make through our links may earn us and our publishing partners a commission.

Who is Incubus?

Incubus is a multi-platinum Los Angeles band that has sold over 23 million albums to date and has 6 consecutive Top 5 debuts on the Billboard 200.

Members include Brandon Boyd, vocalist; Mike Einziger, guitar, piano, backing vocals; José Pasillas II, drums; Chris Kilmore, turntables, keyboards; and Nicole Row, bass.

• Consequence

Incubus Announce 2023 Summer Tour

With support from Badflower and Paris Jackson

Incubus will return to the road this summer for a 29-date US tour.

The trek kicks off on July 21st in Eugene, Oregon, with further stops scheduled in cities like Spokane, Indianapolis, Chicago, Cincinnati, Asbury Park, El Paso, and Oklahoma City. Joining Incubus on the road will be Badflower and Paris Jackson. Following the summer jaunt, Incubus will play an October 6th headlining gig at the Hollywood Bowl in Los Angeles with Action Bronson and Paris Jackson.

Tickets are available via StubHub , where orders are 100% guaranteed through StubHub’s FanProtect program. StubHub is a secondary market ticketing platform, and prices may be higher or lower than face value, depending on demand.

Last year, Heavy Consequence spoke to frontman Brandon Boyd about the prospect of new Incubus music and the band’s place in the rock music scene. Incubus released their last full-length album in 2017 with 8 , although they did issue the EP Trust Fall (Side B) in 2020.

Incubus 2023 Tour Dates:

05/11 – Highland, CA @ Yaamava’ Resort & Casino at San Manuel 05/12 – Highland, CA @ Yaamava’ Resort & Casino at San Manuel 05/13 – Las Vegas, NV @ Sick New World 05/18 – Daytona Beach, FL @ Welcome to Rockville 05/23 – Wilmington, NC @ Live Oak Bank Pavilion 05/24 – Columbia, SC @ Township Auditorium 05/26 – Rogers, AR @ Walmart Arkansas Music Pavilion (AMP) 05/27 – Maryland Heights, MO @ Pointfest 06/01 – Berlin, DE @ Verti Music Hall 06/02 – Nürburg, DE @ Rock am Ring 06/05 – Hamburg, DE @ Stadtpark Hamburg 06/15 – Clisson, FR @ Hellfest 06/20 – Tilburg, NL @ 013 06/21 – Brussels, BE @ Royal Circus (Cirque Royal/Koninklijk Circus) 06/23 – London, UK @ Eventim Apollo 06/24 – St. Austell, UK @ Eden Project 07/21 – Eugene, OR @ Cuthbert Amphitheater *^ 07/22 – Spokane, WA @ Spokane Pavilion *^ 07/23 – Bonner, MT @ KettleHouse Amphitheater *^ 07/25 – Sioux Falls, SD @ Denny Sanford Premier Center *^*^ 07/26 – Waite Park, MN @ The Ledge Amphitheater *^ 07/28 – Indianapolis, IN @ TCU Amphitheater at White River State Park *^ 07/29 – Cedar Rapids, IA @ McGrath Amphitheatre *^ 07/30 – Chicago, IL @ Huntington Bank Pavilion at Northerly Island *^ 08/01 – Cincinnati, OH @ The Andrew J Brady Music Center *^ 08/02 – Grand Rapids, MI @ Van Andel Arena *^ 08/05 – Windsor, ON @ The Colosseum at Caesars Windsor * 08/06 – Niagara Falls, ON @ Fallsview Casino Resort * 08/08 – Asbury Park, NJ @ The Stone Pony Summer Stage *^ 08/09 – Gilford, NH @ Bank of New Hampshire Pavilion *^ 08/11 – Atlantic City, NJ @ Hard Rock Hotel & Casino Atlantic City * 08/12 – Grantville, PA @ Hollywood Casino at Penn National Race Course *^ 08/13 – Uncasville, CT @ Mohegan Sun Arena *^ 08/15 – Moon Township, PA @ UPMC Events Center *^ 08/16 – Franklin, TN @ FirstBank Amphitheater *^ 08/18 – Camdenton, MO @ Ozarks Amphitheater *^ 08/19 – Bonner Springs, KS @ Azura Amphitheater *^ 08/20 – Oklahoma City, OK @ The Zoo Amphitheatre *^ 08/22 – El Paso, TX @ El Paso County Coliseum *^ 08/23 – Tucson, AZ @ Tucson Arena *^ 08/25 – Rio Rancho, NM @ Rio Rancho Events Center *^ 08/26 – Lubbock, TX @ Lonestar Amphitheater *^ 08/27 – Colorado Springs, CO @ Weidner Field *^ 08/29 – Grand Junction, CO @ Amphitheater at Las Colonias Park *^ 10/05 – Sacramento, CA @ Aftershock Festival 10/06 – Los Angeles, CA @ Hollywood Bowl +^

* = w/ Badflower ^ = w/ Paris Jackson + = w/ Action Bronson

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Incubus tour dates 2024

Incubus is currently touring across 2 countries and has 11 upcoming concerts.

Their next tour date is at Little Caesars Arena in Detroit, after that they'll be at Allstate Arena in Rosemont.

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Upcoming concerts (11) See nearest concert

Little Caesars Arena

Allstate Arena

Wells Fargo Center

Madison Square Garden

Amalie Arena

The Pavilion at Toyota Music Factory

Moody Center ATX

Chase Center

Rock In Rio

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BeachLife Festival

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I was fortunate enough to go to the December 1, 2019 concert at the Kravis Center and it was the best show that I have been to, easily. They played the Make Yourself album front to back and then said “we’re just gonna keep playing more songs” and played an insanely good playlist.

The sound inside of the Kravis Center seemed perfect. I would never expect Incubus to play at such a small venue but it’s obvious that they genuinely care and take pride in playing a show that sounds amazing. I’ve never seen such a big and popular band play their hearts out like they did. They genuinely care.

After their last encore the crowd chanted “one more song” and the band came back our and concluded with “Wish You Were Here.” Everybody in the building was standing up and screaming. I saw 2 people leave before Wish You Were Here. I had never seen anything like it in my life.

I’m so thankful to incubus for playing in my home town. I’m curious why they came to West Palm Beach and would love to know what I can do to get them to come back.

We love you Incubus! Thank you!

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I thoroughly enjoyed this show. I've been waiting 20 years for and it was well worth the wait. They played the entire Make Yourself album from start to finish and it sounded magnificent. This album is what turned me on to them initially when I was just starting high school, so it brings back many great memories. Incubus never disappoints and this show was no different, in that regard. They played about 6 or 7 songs after they were finished playing Make Yourself, including a new one I hadn't heard yet. I'm excited about new music from these guys because they are hands down my favorite band of all time.

A visually appealing concert (and I'm not talking about the shirtless frontman), brings the Make Yourself album to life for its 20th anniversary celebration. Add ons as Warning, from Morning View, No Fun, from 8, and Into the Summer, EP released last August, make the experience go beyond Make Yourself and make you feel you need more from those albums as well.

Not kidding, I could go for the same concert again and again without getting sick of it. Praying for a Morning View Anniversary tour and for the Gods to give long life to this band that represents a whole generation.

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INCUBUS - Performing MORNING VIEW In Its Entirety + The Hits

With Support From Coheed and Cambria

INCUBUS announced their 2024 tour will include a stop at Chase Center on Thursday, September 12, 2024. They will be performing their iconic album Morning View in its entirety and fan favorite hits with special guest Coheed and Cambria. Incubus originally released their critically acclaimed studio album Morning View on October 23, 2001, and were met with an outpouring of love and acclaim from fans and industry alike. The album has been RIAA certified double Platinum and spent 60 weeks on the Billboard 200 peaking at number 2. “Roughly 23 years ago we rented a house at the sea to do an art experiment. The novel and expansive environment combined with a healthy dose of momentum helped us find that ever sought after FLOW state and the songs that became known as ‘Morning View’ have since become indelible and deeply important parts of our lives,” said Brandon Boyd. “This album helped propel our little art experiment called ‘Incubus’ into a way of life and here we are today, some 23 years later, about to introduce a new/next phase of it’s existence. ‘Morning View xxiii’ is a re-recording/re-think of the 2001 album and is the result of our desire to honor this burgeoning legacy but also reimagine it as musicians who have been lovingly performing these songs night after night for the last 23 years. See you on the road soon!”

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

More than two decades after 'Morning View' helped solidify Incubus as a rock mainstay, Brandon Boyd and Michael Einziger break down how rerecording the album for 'Morning View XXIII' "reinvigorated" the band.

By 2001, alt-rock heroes Incubus were on the verge of something big. Their third album, 1999's Make Yourself , was a crossover hit, thanks to singles "Stellar," "Pardon Me" and "Drive," all of which were on constant rotation on alt-rock radio and MTV. To capitalize on the momentum and record a follow-up, the band rented a beachside mansion on Morning View Drive in Malibu instead of recording in a traditional studio.

For a little over four weeks, the band lived together in that beachside mansion, working on songs day and night, creating what would become their best-selling record, 2001's Morning View . As frontman Brandon Boyd remembers, the carefree setup helped Incubus create without any pressure to match Make Yourself : "For whatever reason, I never felt like we had to come up with something better or else it'd all be over. It was just fun and exciting."

The result was an album that moved them further away from the heavy nu-metal sound of their earlier records and leaning into their new mainstream appeal. Morning View debuted on the Billboard 200 at No. 2, kickstarting a trend that would continue with each of the band's preceding albums landing in the top 5 on the all-genre albums chart. By evolving their sound on Morning View , Incubus found connection with a wider audience and changed the trajectory of the band.

Twenty-three years after Morning View was originally released, Incubus are commemorating the album with a U.S. tour and a re-recorded version titled Morning View XXIII, out now . While bands tend to celebrate anniversaries with deluxe reissues and remasters, Incubus uniquely decided to rerecord the album in order to capture these songs as they are now — that is, fully evolved and gracefully aged.

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Recorded in the same mansion on Morning View Drive in Malibu with Boyd on vocals, Michael Einziger on guitars, Jose Pasillas on drums, Chris Kilmore on turntables and keys, and newbie Nicole Row on bass, Morning View XXIII sees the band stepping back into the snapshot of an album and paying homage their most successful recordings. These are not remixes or carbon copies; these recordings are a representation of wizened alt-rock veterans Incubus are now. As a result, it has rejuvenated the band: "There's this feeling of, 'Oh wow, there's still a lot of life in this,'" Boyd adds.

Mostly, Morning View XIII remains faithful to the original, with subtle differences throughout. Others you'll notice, like the extended swelling intro in album stand-out "Nice to Know You," or the heavy riff return in "Circles." Overall, the band sounds as youthful as they ever have, excited to pay respect to an album that shaped both them and their fans.

Ahead of XXIII 's release, GRAMMY.com caught up with Boyd and Einziger over Zoom to talk more about the project, the album anniversary, and tapping into that exuberant energy to pave the way forward into the band's next era.

This interview has been edited for length and clarity.

First of all, welcome back to the U.S., I know you've been out of the country for a while. And you guys just played "Kimmel" and sounded fantastic. What's it like being Incubus in 2024?

Brandon Boyd: It's a trip. There's this feeling that we've been… I don't know if the right word is reinvigorated… I think it's probably a number of factors that we have to include. But the one that feels the most appropriate to mention is the fact that Nicole Row joined our band. It started as her filling in for Ben Kenny on Ben's suggestion, and fast forward to a few months later and she's become an actual member of the band.

It's just been so much fun getting to know her, but also getting to know her through the lens of being on stage together and traveling and playing shows all over the world. She's a phenomenal player, and she's a wonderful presence and personality. And it seems like our longtime listeners have fully accepted her and welcomed her into the fold with open arms.

Mike Einziger: I couldn't agree more. It's kind of a combination of things for me, but definitely Nicole. Nicole's presence has reinvigorated us in a bunch of different ways. She's a bit younger than us…

Boyd: Just a bit. [ Laughs .]

Einziger: …And super talented, fun to play with, and fun to be around. That's having a really great effect on all of us as a collective. But also, as you mentioned, we just got back from five weeks touring in Asia, Australia and New Zealand — these are parts of the world we haven't been to in quite some time, not since the pandemic. And you know, I'm 47 now, and it's pretty crazy to be this age and traveling that far away from our country and city of origin to be playing in front of tens of thousands of people who care about our music.

It's like, the older I get, the more I can't believe and am astonished and appreciative and humbled by the level of enthusiasm for this music that we wrote so long ago. It's just a feeling of appreciation and humility to be in this position to now consider writing new music and keeping the dream alive, as it were.

It sounds like you've tapped into this youthful energy. That's sort of the vibe I've been getting with Morning View XXIII . When you were rerecording this record, did you feel like you wanted to reach back to the kids you were 23 years ago when you originally recorded?

Einziger: It's really interesting because, to be totally honest, I wasn't totally enthused about the idea in the beginning. When we first started talking about it, it kinda seemed like, "Why would we do this?" But we ended up playing Morning View at the Hollywood Bowl here in Los Angeles, and when we played that music in front of people, it felt really different than I imagined it would.

That experience shaped my perspective on the idea of rerecording the music. In a strange way, it was a new experience, but it also [felt] like visiting really old friends. It was just fun. That's really the only way to describe it.

It was so much fun rerecording those songs, being conscious of how we were changing certain aspects but also not really caring at the same time. This is our music. We can do whatever the f— we want with it. People can like or not like it. Whatever. We're gonna have a good time putting this together. To me, it was all about that experience of just enjoying it and reliving that music, and also making it new at the same time.

Boyd: I agree with you 100 percent, Mike. There's one small factor from a selfish point of view that I feel compelled to mention: the songs from Morning View were getting harder and harder for me to perform live over the last 10 years. Part of it was because of the process of aging. We wrote these songs when we were in our 20s, and now we're all in our late 40s trying to perform them [ Laughs ].

And then on a boring physiological human level, I had broken my nose twice as a kid and I learned to sing through one nostril. My other nostril I could never breathe through. I made the decision to have my septum repaired in late 2019. I knew it was gonna take some time for my face to heal completely. The global pandemic forced us to stay home, and I got this really interesting period of time to let my surgery heal and to learn how to breathe and sing out of two nostrils.

By the time we got to the rerecording of this record and I started doing my vocals, I had access to my voice again for the first time in what felt like over 10 years. And so now we're performing these songs again, and it's like somebody gave me back this breath capacity and this space on the inside of my face to access these things. It feels very different now, and I'm feeling invigorated again for sure.

Einziger: So much of musical performance is not thinking about what you're doing. It's more about expressing yourself and not worrying about if what you're playing is hurting you.

Boyd: The music is kind of spilling out of us again like it did when we were in our 20s.

Einziger: We'll just continue to make it harder for ourselves when we get even older, because we constantly are like, "Wow, we wrote all this music that is extra hard for a 40-something to play," and now we'll write music that is extra hard for 60 somethings to play and that'll be challenging in the future… but we'll be lucky if we get there. [ Laughs .]

It's so interesting to hear how these songs have grown over the years. Is this something you wanted to capture with Morning View XXIII ? What are your thoughts on how these songs have evolved and what time has done for your band?

Einziger: It's interesting because we didn't go into the recording process of rerecording Morning View with this intention that we were going to make new versions of the songs and, like, reimagine them so much as we went in there and just played them how we play them now. There were some things that we changed around a little bit, but it became obvious that there are certain parts of the songs that we play now that are just different than when we were recording them [23 years ago]. Sometimes we had to go back to the original recording and be like, "Oh wow, we actually don't play it like that."

Were there things you wanted to do differently this time around that you didn't or couldn't do in 2001?

Einziger: No, just there were parts that we play now — that I play now, for example — that Brandon would point out to me and he'd be like, "I don't think you play it like that on the recording," and I'd be like, "Of course I did! That's ridiculous. What are you talking about?"

Then we'd go back and listen to it and I'd be like, "Oh yeah, I actually did play it that way." We weren't overly concerned about that. We weren't trying to do this verbatim recitation of what we had done in the past. If we're playing it this way now, that's how we're gonna record it. And we did. It was fun.

So you didn't worry about "tampering" with the songs?

Einziger: Nah, like who f—ing cares! People will say "I wish they didn't change it" and it's like, we didn't change anything. We just made a different recording, but the original version will never go away. It will always be there, unless some cataclysmic event happens and wipes out all humanity. Then we have a bigger problem.

I remember reading something about how you wanted to separate yourselves from the nu-metal scene in 2001. Did you feel a sort of pressure to stand out when you were originally writing for Morning View ? Do you care about that anymore?

Einziger: No. That s— makes me laugh when I think about it now. There was all this dumb, macho energy going on. We didn't want to be associated with that energy, but it's not really up to us to decide that anyway. We're expressing ourselves, we're making the music that we make and it's kind of up to everyone else to figure out.

But we ended up touring with a lot of those bands. We spent the whole early part of our career playing the Ozzfests and touring with bands like the Deftones — who I love — and System of a Down , Korn , and it just so happened that we had a lot of audiences in common. And I'm super grateful for that. It was an interesting musical time, and we made a lot of great friends, and we found an audience that we really connected with.

Boyd: I think the part about it that bothered me was more the fact that we didn't have a say in how our band was categorized. One of the things that's so attractive about being in the band — and I felt the same way when we were younger — is that, for better or worse, what we're presenting is coming directly from us. We're not a product of a team of producers and songwriters, which you see is sort of endemic to the music industry.

There's a lot of popular music that comes from think tanks. We're five people that go into a room, put our heads together, and what you hear is the result of that day. And there's something really cool about that. There's true self-authorship. And so when there were labels that were put onto us and associations with other bands, it felt like some of that self-authorship was being taken away.

It would be different if the labels were things that I associated more with. But when I was seeing sort of the terminology and labels that were being used to describe our band, I was like, "What the f—, that's not what we're doing! Ew!" It just felt icky to me.

But I was also — as we all are in our late teens, early 20s — kind of in a self-righteous period of time in my life, so it's very possible I was taking myself and our band a little too seriously. I feel a deep appreciation that anybody listened to what we did in any capacity. Associations be damned.

It doesn't really matter at the end of the day. If people are being exposed to it, then choosing to like it and make it a part of their experience, it doesn't f—ing matter what it's called, you know?

And the music speaks for itself.

Boyd: At the end of the day, yes.

Einziger: I think how I felt about this has evolved over the years. There's a handful of bands that we came up alongside, like Deftones, System of a Down, and Korn — including ourselves — we all somehow found a way to really connect with an audience. All of us are still making music. There's still a vibrant scene.

Why is Morning View special to you? Why do all of this for this particular album?

Boyd: When we were writing and recording this record [in 2001], our band caught a gust of momentum for what felt [like] the first time, where we were collectively like, "Woah, we get to write music as our job." And there was something really exciting and humbling and fun about that.

When we were writing Morning View , our song "Drive" from the record before it [ Make Yourself ] was climbing the charts really fast and they were playing it on MTV and all over the radio. To even have a whiff of that creative and career momentum at the same time is a real blessing, and I'm so grateful that we got to experience that.

When Morning View came out, the momentum just exploded. So this album means a lot to this band, not only from a career point of view but also just from the way it shot us into a trajectory. It was the record that sent us off into space, so to speak.

Einziger: Yeah, it was a heavy experience for everybody. I had this idea that I didn't want us to make what became Morning View in a recording studio. I wanted us to do it in a house, in a place that wasn't designed to make music. I loved the idea of taking a space that wasn't intended for that purpose and commandeering it into a space where we made music.

I got a lot of push back from our record label and our manager at the time. Nobody wanted us to do that. Nobody thought it was a good idea. It was gonna cost a lot of money to do it and the quickest, safest route from point A to point B was where everyone else wanted us to go. But I was very, very adamant that we not do it that way, and we somehow wrangled enough support to get the funding and find the right place to do it, which was that Morning View house.

Having that confidence and vision to be able to say, "No, f— you, this is how we're going to do it," and then have it be super successful, that was a big lesson to me and for all of us that we need to follow our vision. For better or worse, whatever risk it's going to be, that's how great s— happens. We just dove into it full on and fulfilled that vision.

It felt awesome to have that vision and have the record be successful. It was a fun experience, and I'm just really glad that we did it. It was life-changing for all of us.

Why Weezer's 'The Blue Album' Is One Of The Most Influential '90s Indie Pop Debuts

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

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

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

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

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

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

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

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

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

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

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

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

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

Slash's Blues Ball.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I mean the overall vibe of the song.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo: Timothy Norris/Getty Images

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

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

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

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

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

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

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

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

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

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

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

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

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

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

"Gravity," Continuum (2006)

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

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

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

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

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

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

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

"Edge of Desire," Battle Studies (2009)

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

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

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

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

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

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

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

"Wildfire," Paradise Valley (2014)

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

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

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

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

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

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

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

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

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

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

"Wild Blue," Sob Rock (2021)

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

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

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

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

Photo: Courtesy of Brann Dailor

Where Do You Keep Your GRAMMY?: Mastodon’s Brann Dailor Shares The Story Of Their Best Metal Performance Track, “Sultan’s Curse”

Mastodon drummer and singer Brann Dailor reveals the metaphor behind the track that snagged him his first golden gramophone, “Sultan’s Curse,” and how winning a GRAMMY was the “American Dream” of his career.

Mastodon 's drummer and singer Brann Dailor assures you he did not purchase his shiny golden gramophone at his local shopping mall.

“I won that! I’m telling you. It’s a major award,” he says in the latest episode of Where Do You Keep Your GRAMMY?

The metal musician won his first GRAMMY award for Best Metal Performance for Mastodon's “Sultan’s Curse” at the 2018 GRAMMYs .

“‘Sultan’s Curse’ was the jumping-off point for the whole theme of the album,” he explains. “The protagonist is walking alone in the desert, and the elements have been cursed by a Sultan.”

It’s a metaphor for illness — during the creation of the album, the band’s guitarist Bill Kelliher ’s mother had been diagnosed with a brain tumor and bassist Troy Sanders ’s wife was battling breast cancer.

For the band, the GRAMMY award represented their version of the American Dream and culmination of their career work. Even if Mastodon didn’t win the award, Dailor was happy to be in the room: “We felt like we weren't supposed to be there in the first place! But it's an incredible moment when they actually read your name."

Press play on the video above to learn the complete story behind Brann Dailor's award for Best Metal Performance, and check back to GRAMMY.com for more new episodes of Where Do You Keep Your GRAMMY?

Brann Dailor Talks 20 Years Of Mastodon, New 'Medium Rarities' Collection And How He Spent The Coronavirus Lockdown Drawing Clowns

Photo: Koh Hasebe/Shinko Music/Getty Images

7 Ways Blur's 'Parklife' Served As The Genesis Of Britpop

On the heels of their Coachella return, Blur celebrates the 30th anniversary of their opus, 'Parklife,' on April 25. Take a look at how the album helped bring Britpop to the mainstream.

In April 1993, journalist Stuart Maconie coined the term Britpop for a Select magazine article celebrating the UK's fight back against the dominance of American rock. Remarkably, London four-piece Blur weren't even mentioned in the story. And yet, frontman Damon Albarn , guitarist Graham Coxon , bassist Alex James , and drummer Dave Rowntree would provide the catalyst for the scene's mainstream breakthrough.

Just a year later, Blur released what many consider to be Britpop's defining statement. Parklife served as a colorful, vibrant, and incredibly infectious love letter to all things Anglocentric, drawing upon the nation's great cultural heritage while also foreshadowing what was to come. And it instantly struck a chord with homegrown audiences desperate for guitar music that wasn't drowning in abject misery, and better reflected their day-to-day lives.

Remarkably, Albarn had predicted Parklife 's success four years earlier. As he declared to music writer David Cavanagh in 1990, "When our third album comes out, our place as the quintessential English band of the '90s will be assured. That is a simple statement of fact."

Three decades after its game-changing release, here's a look at how Parklife forever changed both Blur's career trajectory and the history of British rock.

It Kickstarted Britpop's Greatest Rivalry

In one of those great rock coincidences, Blur's third LP hit the shelves just 24 hours after "Supersonic" gave a then-relative unknown Manchester outfit named Oasis their first ever UK Top 40 single. And the two bands would remain intertwined (perhaps begrudgingly so) from then on, culminating in the most high-profile chart battle in British music history.

You could argue that Oasis' Noel Gallagher threw the first stone, describing Parklife as "Southern England personified" in a manner that suggested it wasn't exactly complimentary. And according to his manager Alan McGee , Definitely Maybe cut "Digsy's Dinner" was written as a deliberate "piss-take of Blur."

An increasingly bitter war of words then broke out in the summer of 1995 as the "Country House" versus "Roll With It" war swept the nation . Blur emerged victorious, although Oasis had the last laugh when (What's The Story) Morning Glory spent 10 weeks atop the UK album chart.

It Brought Storytelling Back To Indie Pop

Heavily inspired by Martin Amis novel London Fields , Parklife was inhabited by a cast of intriguing fictional characters, essentially doubling up as a series of short stories. "Tracy Jacks," for example, is about a golf-obsessed civil servant who ends up getting arrested for public indecency before bulldozing his own house.

"Magic America" is the tale of Bill Barret, a Brit who commits to a life of excess during a Stateside holiday ("Took a cab to the shopping malls/ Bought and ate until he could do neither anymore"), while "Clover Over Dover" explores the mindset of a manipulative boyfriend threatening to jumping off the titular white cliffs.

Over the following 18 months, everything from Pulp's "Common People" and Space's "Neighbourhood" to Supergrass' "Caught by the Fuzz" and The Boo Radleys' "It's Lulu" were combining classic British guitar pop with witty Mike Leigh-esque vignettes of modern life.

It Originated The Big Indie Ballad

Dramatic ballads aren't necessarily the first thing that come to mind with Parklife , a record famed for its jaunty, "knees-up Mother Brown" ditties. But it boasts two examples: "To The End," an alternate Bond theme featuring a burst of Gallic flair from Stereolab's Laetitia Sadler, and the swoonsome "This Is A Low." Turns out the " mystical lager-eater " the record was designed to embody could also get a little vulnerable from time to time.

This appeared to give all of their laddish peers some pause for thought. Oasis, the most fervent advocates of the "cigarettes and alcohol" lifestyle, later scored their biggest hit with acoustic ballad "Wonderwall." And bands including Cast ("Walkaway"), Shed Seven ("Chasing Rainbows") and Menswear ("Being Brave") all enjoyed UK hits revealing their softer sides. No doubt Coldplay , Travis, and every other sensitive post-Britpop outfit that emerged in the late 1990s were taking notes, too.

It Paid Respect To The Greats

The Britpop scene was renowned for its slavish devotion to the first time British guitar bands ruled the airwaves, the Swinging Sixties. Oasis freely admitted they modeled themselves on the Beatles , while the likes of Ocean Colour Scene, Kula Shaker and The Paul Weller all released albums that sounded like they'd been discovered in a vintage record shop.

And while Blur would later distance themselves from the past with a sense of invention (which Albarn would also parlay into his various side projects, including the virtual band Gorillaz ), they were more than happy to get all nostalgic on Parklife . See "Far Out," their only track to feature James on lead vocal, which resembled the trippy psychedelia of Pink Floyd in their Syd Barrett era, and the Sgt. Pepper -esque brassy instrumental "The Debt Collector," while there are also echoes of the Walker Brothers, The Kinks, and Small Faces. Suddenly, retro was the new cool.

It Turned Blur Into Britain's Biggest Guitar Band

The UK Top 10 success of 1991's "There's No Other Way" proved to be something of a false start for Blur, with the band soon falling by the wayside like every other baggy pop outfit that emerged at the turn of the decade. "Popscene," the 1992 single intended to revolutionize both their career and British guitar music in general, stalled at No. 32 , while 1993 sophomore Modern Life is Rubbish sold just 40,000 copies .

But Parklife single-handedly turned Blur into Britain's biggest guitar band, reaching No. 1 in their homeland, spending 82 weeks in the Top 40, and eventually becoming a million-seller . It went on to pick up four BRITs, a Mercury Prize nomination, and has been recognized as an all-time great by Spin , Pitchfork , and Rolling Stone . Further proof of its glowing reputation came in 2009 when Royal Mail selected it as one of 10 albums worthy of commemorating on a postage stamp.

It Spawned A String Of Classic Singles

Parklife 's campaign was kicked off in March 1994 with "Girls and Boys," a glorious dissection of British vacationers — which, surprisingly in the days when genre-hopping was frowned upon — evoked the '80s synth-pop of Duran Duran and Pet Shop Boys . Rowntree was even replaced by a drum machine, not that he particularly minded , luckily.

This indie floorfiller was followed up by the hugely underrated "To The End" and then the much-quoted title track. Everything about "Parklife" the song is larger than life: the Cockney geezer narration from Quadrophenia 's Phil Daniels, the festival-friendly sing-along chorus, and the brightly colored video in which James — perhaps tipping his hat to Queen 's "I Want to Break Free" -– donned soap opera drag. But fourth release "End of a Century," a melancholic tale of domestic drudgery complete with mournful trombone solo, once again proved there was a depth beyond their cheeky chappy personas.

It Made Brits Proud To Be British Again

Unable to connect with the oppressive angst and flannel shirts of the grunge movement that had plagued their first major North American tour in 1992, Blur first started to embrace their inherent Englishness on the following year's Modern Life is Rubbish . Unfortunately, this throwback to the original British Invasion was met with a resounding shrug of the shoulders on both sides of the Atlantic.

Undeterred, however, the band doubled down on all things Anglocentric on its follow-up, from its original title of London, to its greyhound racing cover art, to its celebrations of bank holidays, Club 18-30 holidays, and shipping forecasts. This time around, they managed to capture the zeitgeist (at home, at least), as the rise of New Labour and the forthcoming hosting of Euro '96 made everyone proud to be British again. Within 12 months, the UK charts were littered with homegrown guitar bands selling the idea of the English dream — and it all started with Parklife .

Coachella 2024 Weekend 1 Recap: 20 Surprises And Special Moments, From Billie Eilish & Lana Del Rey To Olivia Rodrigo With No Doubt

• 1 Incubus On Revisiting 'Morning View' & Finding Rejuvenation By Looking To The Past
• 2 Slash's New Blues Ball: How His Collaborations Album 'Orgy Of The Damned' Came Together
• 3 10 John Mayer Songs That Show His Versatility, From 'Room For Squares' To Dead & Co
• 4 Where Do You Keep Your GRAMMY?: Mastodon’s Brann Dailor Shares The Story Of Their Best Metal Performance Track, “Sultan’s Curse”
• 5 7 Ways Blur's 'Parklife' Served As The Genesis Of Britpop

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Performing The Iconic Album Morning View In Its Entirety + The Hits with special guest Coheed and Cambria

Incubus announced their 2024 US Arena tour, performing their iconic album "Morning View" in its entirety, plus the hits featuring special guests Coheed and Cambria. Produced by Live Nation, the 10-city Arena tour kicks off at Little Caesars Arena in Detroit on Friday, August 23, 2024 at 7:30 p.m.

Incubus originally released their critically acclaimed studio album Morning View on October 23, 2001, and were met with an outpouring of love and acclaim from fans and industry alike. The album has been RIAA certified double Platinum and spent 60 weeks on the Billboard 200 peaking at number 2.

On October 6, 2023, the band announced the re-recording and re-release of the acclaimed double album entitled Morning View XXIII  (Virgin Music Group), which is set for an album release date of May 10 th , 2024.  Morning View XXIII preorders will begin alongside the general tour on sale this Friday, February 9th, and you can presave HERE . 

“Roughly 23 years ago we rented a house at the sea to do an art experiment. The novel and expansive environment combined with a healthy dose of momentum helped us find that ever sought after FLOW state and the songs that became known as ‘Morning View’ have since become indelible and deeply important parts of our lives,” said Brandon Boyd.

“This album helped propel our little art experiment called ‘Incubus’ into a way of life and here we are today, some 23 years later, about to introduce a new/next phase of it’s existence. ‘Morning View xxiii’ is a re-recording/re-think of the 2001 album and is the result of our desire to honor this burgeoning legacy but also reimagine it as musicians who have been lovingly performing these songs night after night for the last 23 years. See you on the road soon!”

About Incubus

As a sonic and spiritual enigma, Incubus continue to stretch, shape, and shake the foundation of alternative music, embracing endless possibilities and eclipsing any and all boundaries in the process. The multiplatinum Los Angeles band—Brandon Boyd [vocals], Mike Einziger [guitar, piano, backing vocals], José Pasillas II [drums], Chris Kilmore [turntables, keyboards], and Nicole Row [bass]—tune into the creative exchange between them and beam it back to audiences as loudly (and lovingly) as possible. To date, the quintet have notably sold over 23 million albums, scored dozens of multi-platinum and platinum certifications around the globe, gathered billions of streams, and notched six consecutive Top 5 debuts on the Billboard 200. At the same time, they have graced the bills of festivals such as BottleRock, Ohana, Lollapalooza, and Rock In Rio in addition to headlining arenas and amphitheaters worldwide. During 2021, the musicians celebrated the 20th anniversary of their seminal double-platinum third full-length offering, Morning View, with a worldwide livestream. Incubus returned to the house where they famously recorded the album and performed the entire tracklisting from front-to-back for the first time. It incited a rapturous fan response, and the band decided to do it again in October 2023. The group sold out the legendary Hollywood Bowl and performed Morning View in front of a hometown audience, unassumingly kickstarting another era. Between launching a massive US Morning View arena tour in 2024, they ignite the next phase of Incubus with Morning View XXIII and more new music on the horizon. So, are you in?

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INCUBUS Announce 2024 US Arena Tour Performing Their Iconic Album “Morning View” In Its Entirety

Incubus have officially announced their 2024 US Arena tour, performing their iconic album “Morning View” in its entirety, plus the hits featuring special guests Coheed and Cambria. Produced by Live Nation, the 10-city ARENA tour kicks off on August 23 at Little Caesars Arena in Detroit making stops across the U.S. in New York, Tampa, Austin and more before wrapping up in San Francisco at Chase Center on September 12.

Incubus originally released their critically acclaimed studio album Morning View on October 23, 2001, and were met with an outpouring of love and acclaim from fans and industry alike. The album has been RIAA certified double Platinum and spent 60 weeks on the Billboard 200 peaking at number 2.

On October 6, 2023, the band announced the re-recording and re-release of the acclaimed double album entitled Morning View XXIII   (Virgin Music Group), which is set for an album release date of May 10 th , 2024.  Morning View XXIII preorders will begin alongside the general tour on sale this Friday, February 9th, and you can presave HERE .

“Roughly 23 years ago we rented a house at the sea to do an art experiment. The novel and expansive environment combined with a healthy dose of momentum helped us find that ever sought after FLOW state and the songs that became known as ‘Morning View’ have since become indelible and deeply important parts of our lives,” said Brandon Boyd .

“This album helped propel our little art experiment called ‘Incubus’ into a way of life and here we are today, some 23 years later, about to introduce a new/next phase of it’s existence. ‘Morning View xxiii’ is a re-recording/re-think of the 2001 album and is the result of our desire to honor this burgeoning legacy but also reimagine it as musicians who have been lovingly performing these songs night after night for the last 23 years. See you on the road soon!”

TICKETS: Tickets will be available starting with Citi presale (details below) beginning Tuesday, February 6. Additional presales will run throughout the week ahead of the general onsale beginning Friday, February 9 at 10am local time at LiveNation.com .

PRESALE: Citi is the official card of the Incubus 2024 Tour. Citi cardmembers will have access to presale tickets beginning Tuesday, February 6 at 10am local time until Thursday, February 8 at 10pm local time through the Citi Entertainment program. For complete presale details visit www.citientertainment.com .

VIP: The tour will also offer a variety of different VIP packages and experiences for fans to take their concert experience to the next level. Packages vary but include premium tickets, playing table tennis with select members of the band, photo op with Incubus, side stage viewing of the Incubus set, exclusive merch item & more. For more information, visit vipnation .com !

INCUBUS 2024 TOUR DATES:

Fri Aug 23 – Detroit, MI – Little Caesars Arena

Sat Aug 24 – Rosemont, IL – Allstate Arena

Tue Aug 27 – Philadelphia, PA – Wells Fargo Center

Thu Aug 29 – New York, NY – Madison Square Garden

Sat Aug 31 – Boston, MA – TD Garden

Tue Sep 03 – Tampa, FL – Amalie Arena

Fri Sep 06 – Irving, TX – The Pavilion at Toyota Music Factory

Sat Sep 07 – Austin, TX – Moody Center ATX

Mon Sep 09 – Denver, CO – Ball Arena

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ABOUT INCUBUS

As a sonic and spiritual enigma, Incubus continue to stretch, shape, and shake the foundation of alternative music, embracing endless possibilities and eclipsing any and all boundaries in the process. The multiplatinum Los Angeles band—Brandon Boyd [vocals], Mike Einziger [guitar, piano, backing vocals], José Pasillas II [drums], Chris Kilmore [turntables, keyboards], and Nicole Row [bass]—tune into the creative exchange between them and beam it back to audiences as loudly (and lovingly) as possible. To date, the quintet have notably sold over 23 million albums, scored dozens of multi-platinum and platinum certifications around the globe, gathered billions of streams, and notched six consecutive Top 5 debuts on the Billboard 200. At the same time, they have graced the bills of festivals such as BottleRock, Ohana, Lollapalooza, and Rock In Rio in addition to headlining arenas and amphitheaters worldwide. During 2021, the musicians celebrated the 20th anniversary of their seminal double-platinum third full-length offering, Morning View, with a worldwide livestream. Incubus returned to the house where they famously recorded the album and performed the entire tracklisting from front-to-back for the first time. It incited a rapturous fan response, and the band decided to do it again in October 2023. The group sold out the legendary Hollywood Bowl and performed Morning View in front of a hometown audience, unassumingly kickstarting another era. Between launching a massive US Morning View arena tour in 2024, they ignite the next phase of Incubus with Morning View XXIII and more new music on the horizon. So, are you in?

Jason Price founded the mighty Icon Vs. Icon more than a decade ago. Along the way, he’s assembled an amazing group of like-minded individuals to spread the word on some of the most unique people and projects on the pop culture landscape.

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LOOK: Incubus to hold Philippine concert in April 2024

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This is AI generated summarization, which may have errors. For context, always refer to the full article.

American rock band Incubus during their February 2018 concert in the Philippines.

Jill Tan Randovan/Rappler

MANILA, Philippines – American rock band Incubus is coming back to the Philippines for their first show in the country after six years. 

On Monday, December 4, Incubus announced the details for their tour’s Asian leg, which includes a stop in the Philippines. The one-night show is set for April 25, 2024 at the Araneta Coliseum. 

🖤 pic.twitter.com/kyH54ayBGm — Incubus (@IncubusBand) December 4, 2023

According to local promoter Wilbros Live, tickets will be available starting December 16 at 12 noon via the TicketNet website and outlets nationwide.

Ticket prices have yet to be announced. 

Attention rock fans! 📣 American rock band 𝐈𝐍𝐂𝐔𝐁𝐔𝐒 is coming to Manila for the first time in six years for their Asia Tour 2024 on April 25 at the Araneta Coliseum! 🤘🏻 Performing their greatest hits "Drive", "Wish You Were Here", "Megalomaniac", "Nice To Know You" and… pic.twitter.com/Kxa0Uwa3eu — Wilbros Live (@WilbrosLive) December 4, 2023

Aside from Manila, the band will also have shows in Jakarta, Singapore, and Tokyo. 

Incubus last performed in the Philippines in February 2018. The April 2024 show would also serve as the band’s sixth visit to the country. 

The band is known for songs “Wish You Were Here,” “Stellar,” “New Skin,” “Pardon Me,” and “Megalomaniac,” among others. – Rappler.com

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• Martinez, Melanie
• May 10, 2024 Setlist

Melanie Martinez Setlist at Climate Pledge Arena, Seattle, WA, USA

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Tour: The Trilogy Tour Tour statistics Add setlist

• Song played from tape Intro ( contains elements of "Cry Baby" )
• Cry Baby ( first time since 2017 ) Play Video
• Dollhouse Play Video
• Sippy Cup ( shortened ) Play Video
• Carousel ( first time since 2017 ) Play Video
• Alphabet Boy ( shortened ) Play Video
• Soap Play Video
• Song played from tape Interlude
• Pity Party Play Video
• Play Date ( shortened ) Play Video
• Mad Hatter Play Video
• Wheels on the Bus ( snippet ) Play Video
• Class Fight Play Video
• Song played from tape Interlude ( contains elements of "The Principal" )
• Show & Tell Play Video
• Nurse's Office Play Video
• Strawberry Shortcake Play Video
• Lunchbox Friends ( shortened ) Play Video
• Teacher's Pet Play Video
• High School Sweethearts Play Video
• DEATH Play Video
• VOID Play Video
• TUNNEL VISION Play Video
• FAERIE SOIRÉE Play Video
• LIGHT SHOWER Play Video
• SPIDER WEB Play Video
• BATTLE OF THE LARYNX Play Video
• THE CONTORTIONIST Play Video
• NYMPHOLOGY Play Video
• AMULET Play Video
• EVIL Play Video
• WOMB Play Video
• Song played from tape LIGHT SHOWER ( music video premiere ) Play Video
• Song played from tape Outro ( contains elements of "Angels Song" )

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85 activities (last edit by CTFMM , 13 May 2024, 09:22 Etc/UTC )

Songs on Albums

• BATTLE OF THE LARYNX
• FAERIE SOIRÉE
• LIGHT SHOWER
• THE CONTORTIONIST
• TUNNEL VISION
• Class Fight
• High School Sweethearts
• Lunchbox Friends
• Nurse's Office
• Show & Tell
• Strawberry Shortcake
• Teacher's Pet
• Wheels on the Bus
• Alphabet Boy

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• Beach Bunny Start time: 7:00 PM 7:00 PM
• Men I Trust Start time: 7:40 PM 7:40 PM
• Melanie Martinez This Setlist Start time: 8:50 PM 8:50 PM

Melanie Martinez Gig Timeline

• Feb 05 2024 Margaret Court Arena Melbourne, Australia Start time: 8:30 PM 8:30 PM
• Feb 06 2024 Margaret Court Arena Melbourne, Australia Start time: 8:35 PM 8:35 PM
• May 10 2024 Climate Pledge Arena This Setlist Seattle, WA, USA Start time: 8:50 PM 8:50 PM
• May 12 2024 Oakland Arena Oakland, CA, USA Start time: 8:40 PM 8:40 PM
• May 14 2024 Acrisure Arena Thousand Palms, CA, USA Add time Add time

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<div style="text-align: center;" class="setlistImage"><a href="https://www.setlist.fm/setlist/melanie-martinez/2024/climate-pledge-arena-seattle-wa-13a93de5.html" title="Melanie Martinez Setlist Climate Pledge Arena, Seattle, WA, USA 2024, The Trilogy Tour" target="_blank"><img src="https://www.setlist.fm/widgets/setlist-image-v1?id=13a93de5" alt="Melanie Martinez Setlist Climate Pledge Arena, Seattle, WA, USA 2024, The Trilogy Tour" style="border: 0;" /></a> <div><a href="https://www.setlist.fm/edit?setlist=13a93de5&amp;step=song">Edit this setlist</a> | <a href="https://www.setlist.fm/setlists/melanie-martinez-1bdf6124.html">More Melanie Martinez setlists</a></div></div>

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[url=https://www.setlist.fm/setlist/melanie-martinez/2024/climate-pledge-arena-seattle-wa-13a93de5.html][img]https://www.setlist.fm/widgets/setlist-image-v1?id=13a93de5[/img][/url] [url=https://www.setlist.fm/edit?setlist=13a93de5&amp;step=song]Edit this setlist[/url] | [url=https://www.setlist.fm/setlists/melanie-martinez-1bdf6124.html]More Melanie Martinez setlists[/url]

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Taylor swift's surprise songs from night 1 of her stockholm eras tour show, share this article.

Taylor Swift’s Eras Tour continued its international journey on Friday night in Sweden (afternoon in the United States) with the first of three shows in Stockholm. The now 14-time Grammy winner will be touring almost non-stop for the entire year, and at each show she adds two “surprise songs” to her 44-song, three hour plus set list.

MORE:  The Chiefs’ game at the Bills perfectly aligns with Taylor Swift’s Eras Tour in Toronto. Coincidence or conspiracy?

For the first night in Stockholm, Swift did a mashup of “I Think He Knows” from Lover and “Gorgeous” from Reputation on the guitar before switching to the piano for a rendition of “Peter” from her new album The Tortured Poets Department .

🚨| Tonight's surprise songs are: – "I Think He Knows" & "Gorgeous" – "Peter" #StockholmTSTheErasTour pic.twitter.com/vUBpgKMO2V — The Swift Society (@TheSwiftSociety) May 17, 2024

Next up, Swift has two more shows in Stockholm before heading to Lisbon.

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Mexican music star Peso Pluma postpones his Milwaukee concert debut — for a third time

Breakout regional Mexican music star Peso Pluma has postponed his Milwaukee debut at Fiserv Forum — again.

The Milwaukee Bucks arena posted on its website that Pluma's May 30 concert has been rescheduled for Aug. 6. All previously purchased tickets will be honored on that date.

No explanation for the postponement was included in the post, nor is there an answer on Pluma's website, which still lists the May 30 concert even though the Ticketmaster link has the Aug. 6 date.

This is the third time Pluma's concert has been pushed back. Initially, the concert was scheduled for Sept. 14 at Fiserv Forum; that show was postponed 48 hours before showtime, amid reports of threats against the singer in Mexico from a drug cartel.

The show was quickly rescheduled for Nov. 4 at Fiserv Forum, but that date was pulled off the schedule a couple of weeks later and ultimately rescheduled for May 30.

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Pluma is one of several major Latin music acts scheduled to perform in Milwaukee this summer. Five concerts are scheduled for Fiserv Forum through September, including breakout bachata group Aventura on May 18.

RELATED: From Peso Pluma to Ivan Cornejo, Milwaukee is getting more A-list Latin concerts than ever

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No, the nfl didn’t weigh taylor swift’s eras tour when scheduling chiefs games.

That said, a top NFL executive said that it did schedule some away games during weeks when Swift's tour was due to play NFL stadiums.

By Alex Weprin

Alex Weprin

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By now, everyone knows that Taylor Swift has “a guy on the Chiefs,” but no, the NFL did not plan the 2024-2024 schedule for the Kansas City Chiefs to make it easier for Swift to attend the team’s games.

NFL VP of broadcast planning Mike North was asked about the matter during a conference call with reporters Thursday and while he acknowledged that the league did consider Swift’s Eras Tour while building the schedule (more on that below), it was not a factor when it came to the Chiefs.

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“I saw a lot of conspiracy theorists talking about Kansas City at Buffalo in the middle of the season, right when Taylor’s playing Toronto,” North said. “That one definitely did not hit our radar screen.”

That being said, North did say that the league had to take the tour into account for some other team schedules. In particular the Miami Dolphins, New Orleans Saints, and Indianapolis Colts, who all play in stadiums where Swift is scheduled to bring her Eras Tour in the fall.

“We certainly considered the tour dates that hit NFL stadiums,” North said. “I think she’s in Miami, maybe New Orleans, Indy. We certainly considered those.”

Indeed, those teams are all scheduled to be on the road around the time Swift hits up their cities.

Swift, of course, made a handful of appearances at Chiefs games last season to cheer on her boyfriend, Kansas City tight end Travis Kelce. Her appearances in the crowd drove real viewership, with the league and commissioner Roger Goodell expressing enthusiasm for the younger, female audience she is bringing to the games.

“The Taylor Swift effect is also a positive,” Goodell said during a Super Bowl week press conference, adding that “it’s great to have her a part of it. Obviously it creates a buzz, it creates another group of young fans, particularly young women that are interested in seeing, ‘Why is she going to this game?’ ‘Why is she interested in this game besides Travis?’ She’s a football fan. And I think that’s great for us.”

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