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Olivia Rodrigo’s Relatable Superstardom on the Guts Tour

By Amanda Petrusich

The opening moments of Olivia Rodrigo’s seventy-seven-date Guts World Tour—which began in February and arrived at Madison Square Garden for four sold-out nights in early April—feature a video of the pop star sprinting down a dumpy hallway, then rapping her knuckles on a purple door. Anyone attuned to Rodrigo’s musical disposition knows that whatever is waiting on the other side is probably not virtuous, exactly, but is almost certainly a good-ass time. Last Saturday, as her band slammed out the opening chords of the night’s first song, the punkish, frothing “Bad Idea Right?,” Rodrigo appeared onstage in a silver sequinned miniskirt with a matching bralette and black combat boots. The crowd was instantly united in a kind of lawless exuberance. The feeling in the room was: Let’s give ourselves something to regret in the morning!

Rodrigo, who recently turned twenty-one, is funnier and less fussy than the other pop stars in her echelon. She is not apolitical (she has invited abortion funds to set up information booths at Guts shows, and is donating a portion of the tour’s proceeds to a fund supporting women’s reproductive health), and she has not cultivated an image of sexlessness, piousness, or self-seriousness. She appears, instead, to revel in pleasure—even when she knows that whatever it is she’s thirsting after will probably get her into trouble.

Rodrigo’s best songs feature her clowning on herself—“Everything I do is tragic / Every guy I like is gay,” she sang while charging around the stage during a performance of “Ballad of a Homeschooled Girl,” a raucous song teeming with excellent one-liners—or meditating on a choice made in pursuit of fleeting bliss. That sort of thing might not seem radical—who among us has not muttered, “Fuck it, it’s fine,” and run directly toward the wrong person, as Rodrigo gleefully recounts doing—but, in an era in which a woman’s desire is still often thought of as inherently dangerous, Rodrigo’s unself-consciousness about what she wants can feel nearly revolutionary. She never projects superiority, and her relatability—perhaps the most powerful cultural currency of our time—doesn’t feel overly engineered. She knows that true yearning is always a little humiliating. “God, love’s fucking embarrassing,” she sang in the middle of “Love Is Embarrassing,” before turning one of the song’s more defeated proclamations—“How could I be so stupid?”—into a blithe punch line. This is another recurring theme of Rodrigo’s writing: the indignities of growing up when you have to learn everything the hard way.

The Guts tour is the first time that Rodrigo has consistently played arena-size venues. (For her last major tour, in 2022, she booked theatres and concert halls, telling Billboard she didn’t want to “skip steps” in her career.) Rodrigo was a Disney Channel star in the late twenty-tens, beginning when she was thirteen. She rose to global prominence in January of 2021, with the release of “Drivers License,” a gentle but devastating ballad about a relationship gone awry: “Guess you didn’t mean what you wrote in that song about me / ’Cause you said forever, now I drive alone past your street.”

The song, which Rodrigo co-wrote with the producer Daniel Nigro, destroyed an array of streaming records. Rodrigo’s first album, “Sour,” which arrived that May, débuted at No. 1, was nominated for seven Grammys, and eventually went quadruple platinum. She released “Guts” in September of 2023. Rodrigo’s voice is substantive—on her burlier songs, there are moments when she reminds me of Adele—but it contains a tiny tremble that gives her work heart. “The better a singer’s voice, the harder it is to believe what they’re saying,” David Byrne once noted; Rodrigo gets this, and never grasps for perfection. At M.S.G., she performed “Drivers License” seated at a piano, while fog rolled across the stage. “I still fucking love you, babe,” she wailed on the bridge. If she’s over the heartbreak now, it was hard to tell. In the crowd, people held one another and swayed.

Though tours of this magnitude tend to be impeccably coördinated, down to breaks for banter, Rodrigo was appealingly low-key and natural. The Guts show has five costume changes, which felt modest compared with Beyoncé’s Renaissance tour (nine) or Taylor Swift’s Eras (sixteen). At ninety minutes, it is also far shorter than both of those. Rodrigo, a stronger singer than dancer, avoids elaborate choreography, though she is preternaturally good at galloping across a stage, knees high, waving an arm around. A scrum of talented dancers sometimes followed behind her like a swarm of bees. It feels odd to call a run this ambitious “small”—and, to be fair, at one point Rodrigo sailed above the arena on a crescent moon—but I appreciated the sanity and the precision of its scope. Rodrigo’s performances are true to the arrangements on her records—she is not Bob Dylan on his Never Ending Tour, boldly reinventing a vast and varied catalogue—but the evening still felt spontaneous, even intimate. When she performed “Favorite Crime,” a wounded acoustic song from “Sour,” about (what else?) behaving badly while in the throes of love, she sat cross-legged on the stage with her guitarist. For a few minutes, the vibe felt more coffeehouse than world-tour.

The crowd was largely female and very young—a good portion was under twelve, I’d guess, and though I wasn’t quite expecting retirees, I was still startled by the median age, particularly considering the candor of Rodrigo’s lyrics and her jocular comfort with certain expletives. Her fans sang along the entire time, loudly and persistently enough that it was often impossible to hear Rodrigo. Midway through the show, she paused to ask, “Did anyone come with their mom or their dad tonight, maybe? I love going to concerts with my mom and dad! Hey, guys! Hey, sweet families!”

The kids were exquisitely dressed. A time comes in every grown person’s life in which the fashion of her adolescence becomes cool again. For anyone who came of age in the late nineties and still recalls the moment in which grunge (fading) and pop-punk (ascendant) had a brief but potent sartorial collision, the look of the Guts tour, both onstage and off, will feel deeply familiar. It’s X-Girl-era Kim Gordon meets Ashlee Simpson circa “Boyfriend”—high-school cheerleader, but make it goth. Last summer, I committed the grave mistake of rolling up to an Eras performance in Levi’s, Converse, and a T-shirt (in my defense, the concert was in New Jersey), and received myriad looks of pity from the crowd. “We must dress,” I texted my companion (male, thirty-two) before the Guts show. I picked out a vintage Marc Jacobs dress with a Peter Pan collar, and pulled my hair into a high ponytail tied with a black bow. He wore a Megadeth T-shirt. I am not sure we fully assimilated, but at least no one whispered “narc” when we walked by.

Though Rodrigo’s voice feels engineered for big, swooning ballads, she is also unusually good at the sort of bratty, frenetic delivery immortalized, in the early to mid-two-thousands, by such pop-punk acts as Avril Lavigne, Sum 41, and Blink-182. “I wanna get him back / I wanna make him really jealous / Wanna make him feel bad,” Rodrigo sings on “Get Him Back!,” a prickly song about hating and wanting someone at the same time. It was her final encore of the night, and she performed it wearing sparkly hot pants and a crop top with the phrase “And just like that . . .” scrawled across the front. (The previous night, in another allusion to “Sex and the City,” her shirt had read “Carrie Bradshaw AF.”) She sang the first verse through a red megaphone, her handheld microphone tucked into her waistband. “I wanna meet his mom,” she purred, her voice tender, vulnerable. A beat. “And tell her her son sucks!” (We contain multitudes.) Rodrigo held out the microphone to let the crowd take the song’s best lyric, and, in a kind of deranged unison, we stood and bellowed, “Maybe I can fix him!” ♦

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Doja Cat at Coachella review – an electrifying tour de force

Empire Polo Club, Indio, California

Festival headliner delivered an A-game set, ignoring some of her mainstream hits yet bringing enough energy to power what some have called a middling year

D oja Cat took the Coachella main stage as the last official act to perform on Sunday’s bill, becoming the first female rapper to headline the festival. (She’s also only the second Black woman to do so, after Beyoncé in 2018.) Her closer rounded out a Sunday showcase of powerhouse female performers such as Reneé Rapp and Kesha duetting the recession banger TiK ToK – changing the opening line to “wake up in the morning saying fuck P Diddy” – and Victoria Monet grinding through a slick and ultra-sexy set, at one point receiving artfully-simulated oral sex from a background dancer.

It would be diplomatic to say that Doja maintains a distant relationship with her fans, who call themselves kittenz, though their fave does not sanction this moniker. Doja has told those who engage in parasocial relationships with the idea of her to “get off your phone and get a job” and “rethink everything” about their lives. Such boundary-setting has cost her some Instagram followers – around 300,000, to be exact, after going off on them in a social media tirade – but she could care less. “I feel free,” she wrote in an Instagram story after the snafu last year.

So it’s not surprising that Doja kept the stage banter to a minimum; about an hour in, she allowed a cursory, but seemingly genuine, “Thank you everyone.” That was about it. Still, Doja didn’t need to give us the cliched “it’s always been a dream to perform on this stage” monologue to show a deep respect for her audience. She did so by putting on a tour de force of a set, one that merged her musical talents with a clear knack for spectacle. I suspect it will become a staple on best-of-Coachella lists for years to come.

Doja first appeared by popping up on the stage’s extended catwalk, opening the night further back in the crowd, so those of us who hadn’t made it to the pit got a good look at her, too. She first wore an all-white hazmat suit. I thought it was a little Patrick Bateman; the girl next to me remarked that Doja looked like “a whole-ass sperm”.

Whatever the inspiration, she took that off pretty quickly, revealing extra-long blonde hair that went well past her butt, and a matching tunic also made of hair. Her background dancers matched in their own full hair suits, and when paired with their syncopated moves, the vibe was a little Bob Fosse meets Fraggle Rock. The South African a capella group The Joy encircled Doja during Shutcho, a diss track for haters that the group turned into a melodic, choir-like crescendo.

Though Doja is a very 2020s pop star, terminally online and well-versed in the meme ecosystem, she didn’t rely on many gimmicks to make it through her set. The stage design was sparse and industrial. Her numerous outfit changes kept the same off-white palette, very Virgil Abloh-esque aesthetic: sculptural, sleek, architectural. My favorite look was a shaggy bikini set by Entire Studios that could have been a reference to Jane Fonda as Barbarella, or just a sartorial nod to the concept of merkins.

Doja tapped A$AP Rocky, 21 Savage and a giant recreation of a T-Rex fossil for guest stars. During her penultimate song, Paint the Town Red, which samples Dionne Warwick’s 1963 hit Walk on By, I wondered for a moment if Doja was about to make my entire life and bring out the octogenarian legend herself. Instead, she did perhaps the opposite of that and rolled around in a sapphic mud pit with her background dancers for the finale, Wet Vagina.

Though Doja found mainstream success in the pop arena with early pandemic groovers like Kiss Me More and Say So, her Coachella set stuck to rap. Understandably, much of it came from her latest release, last year’s Scarlet. She described the album as a“masculine” response to her desire of moving away from pop princess-dom.

This meant that the fans who were there for Doja’s more accessible fare may have been disappointed by the exclusion of those songs – when the set ended, many mulled around the stage as if they were sure she’d come back rearing into Say So. (Again, she didn’t.)

But to me, it didn’t matter: Doja followed her gut, performed the songs she felt represented her best, all presented in an energetic, top-of-game triumph. For all the endless chatter this year about a lackluster lineup, Doja proved she’s worthy of a headline spot, so long as the people in charge – and, crucially, her fans – trust her to do it her own way.

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Madonna returns to Austin after 40 years with sweaty, sexy Celebration Tour at Moody Center

“It took 40 years to invite me back,” Madonna told an Austin audience on Sunday night. “Should I take that personally?”

The Queen of Pop indeed last performed in the Live Music Capital in 1985 at the Erwin Center. Strange, but true (blue).  Perhaps the mistress of reinvention, ever looking for the new, waited until that venue was demolished and she could pack in two nights at Moody Center . She’ll perform again on Monday.

Regardless, Austin has missed a lot of Madonna over four decades. That made her retrospective Celebration Tour all the more spectacular — and if the cradle of weird can appreciate anything, it's a spectacle. 

Madonna postponed her original September dates following a health scare, and pent-up fan pride runneth over. Before the show, material girls and leather daddies filed through the corridors of the arena. Blonde Ambition-era high ponytails mingled with “Lucky Star” hair bows. Local drag artists like Brigitte Bandit — in full “Like a Virgin” regalia — posed for photos a few steps away from a Trisha Yearwood-branded nacho stand. On the floor, a group of middle-aged ladies in tulle skirts and fishnet gloves chatted next to a row of bears in decades-old concert tees. Accessorization was key. If you forgot your chunky silver cross pendant, hopefully someone could lend you their riding crop.

The air conditioner took the night off. The show had an 8:30 p.m. start time, but the main event didn’t get going until 10:30 p.m., when tour emcee Bob the Drag Queen emerged wearing the rosy contents of Marie Antoinette’s closet. 

“It’s showtime,” Bob said with a tongue pop. 

Her Madgesty lived up to her name, appearing as a holy apparition, much more exciting than her namesake’s various cameos on pieces of toast. Cloaked in a dark kimono with giant sleeve cutouts, Madonna donned a headpiece equal parts crown and halo to sing late-’90s techno earworm “Nothing Really Matters.”  A giant lighting rig circled above like an even larger hat from heaven. It’s right there in the name, folks.

“Nothing takes the past away/ Like the future,” she sang. The song made a fitting icebreaker for the mother of all pop music: “Everything I give you/ All comes back to me.”

Then it was off to the time machine — though as the star admitted later in the show, the setlist made emotional sense, if not always the chronological kind. First stop: Danceteria. Madonna conjured her early 1980s it-girl era with “Everybody” and “Into the Groove.” Dancers swarmed around her in thrift store finery and spotted the singer in a backbend. There was a lot of crotch work.

“I’m about to share the story of my life with you,” Madonna said during the first of several rambling, prickly stretches of crowd work that skirted right up to coherence but instead opted for a middle finger. Joined by a masked dancer dressed as her past self, she asked if everyone knew what a metaphor was. An audience member asked who her next boyfriend would be. “My next boyfriend is me,” she cracked.

Then, Madonna offered a sage bit of advice for the next two hours: “Embrace the confusion.”

The singer astral projected into CBGB with an electric guitar as her guide, shredding through “Burning Up” and spewing Budweiser at the front rows. (Shout out to the stage tech responsible for wiping up Ms. Ciccone’s beer spit immediately afterward.) 

So much of Sunday’s party hinged on awe-inspiring choreography. For “Open Your Heart,” Madonna and company made iconic use of a few chairs and the laps that went on top of them. For “Holiday,” the singer and her crew became a many-headed disco hydra massed around a mirror ball the size of New Jersey.

A trip through time also invited sorrow. At the end of “Holiday,” a dancer fell to the ground as Madonna gazed mournfully. She entered a floating picture frame rigged to the ceiling, one of the night’s most oft-used set pieces, for a gorgeous rendition of “Live to Tell.” Around her, photos memorialized icons lost to AIDS — Freddie Mercury, Keith Haring, Robert Mapplethorpe, Arthur Ashe, Cookie Mueller and more. An affecting vigil from a pioneering activist.

But this was a Madonna show, so then shirtless men in lace gimp masks came out to writhe around glowing crosses. Robed monks, rosary beads, a Catholic censer and a snippet of Sam Smith’s “Unholy” helped usher in “Like a Prayer.” One of her most controversial pop culture moments, the song played like a thumping salute to sacrilege and gymnastics.

Madonna put on a Marlene Dietrich wig and thrusted her way into the 1990s: “Erotica,” “Justify My Love” and “Bad Girl.” In the middle there, she squeezed in 2005’s “Hung Up,” which might have felt like an awkward fit for that act if not for the fleet of topless dancers.

Of course, Madonna couldn’t curate her legacy without two things: cone bras and “Vogue.” Bob the Drag Queen took the stage with a glittery bowler hat and a houndstooth fan to take Austin to the ballroom. Clips of the tour’s “Vogue” segment have gone viral for months, and it was just as joyful in person. A conically breasted Madonna always welcomes a special guest to help her judge a cavalcade of runway looks. For Sunday’s show, she brought up drag superstar Trixie Mattel , and the pair gave their 10s and chops as appropriate. A gay ol’ time.

The dancers weren’t the only ones falling into dips on stage. The setlist meandered a bit after Ginger Rogers danced on air and Rita Hayworth gave good face. “Human Nature” and “Crazy For You” led into James Bond theme “Die Another Day,” a song this reviewer appreciates for nostalgic reasons but admits is an oddball cut for a four-decade hit parade. If you longed to see Madonna dressed like a character from Alejandro Jodorowsky’s “The Holy Mountain” while dropping mainstream music’s foremost reference to Sigmund Freud, congrats.

The wide-brimmed hats kept coming. Madonna stripped to full cowgirl leathers, boot-scooted and strummed out “Don’t Tell Me” from the “Music” album. For “Mother Father,” she brought out son David Banda to sing and play guitar. (She also welcomed daughters Mercy and Estere onstage to perform during “Bad Girl” and “Vogue,” respectively.)

“People don’t get tired in Texas, do they?” Madonna asked after picking up her fallen cowboy hat with her foot. More freewheeling Madge moments: bragging on the kids, talking about forgiving herself for mistakes, berating an audience member for not lighting up his phone upon her command. 

“It’s so important you understand the concept of light,” she said while vamping about darkness and such. Madonna led the “boys and girls and theys and thems” in a campfire singalong to an acoustic “Express Yourself.” 

During “La Isla Bonita,” she projected jumbo photos of cultural revolutionaries like Sinead O’Connor, Che Guevara and Martin Luther King Jr. Not sure what the thematic connection between song and imagery was, but RIP Malcolm X — you would have loved dreaming of San Pedro, I guess.

As Madonna rounded the home stretch, she changed into a pink wig and textured silver catsuit that evoked Jane Lynch performing “Super Bass” on that one episode of “Glee.” Nevermind the sartorial critique: As Madonna soared above the arena in her aerial frame and doused the crowd in lasers during “Ray of Light,” she truly was goddess of her universe.

“Take a Bow” led into a questionable amount of time devoted to a Michael Jackson tribute. But there wasn’t much time to marinate on that, as Madonna stormed the stage flanked by her cadre of dancers, all dressed in recreations of some of her most famous looks. The finale: “Bitch I’m Madonna,” of course. 

Super Bowl Madonna strutted next to “Frozen” Madonna. If you’d sealed an Austin fan in a cryogenic tube for the decades since the pop icon last came to town, the multiversal procession might have driven them to madness.

But, then again … the American-Statesman’s review of Madonna’s 1985 show praised the “slick, polished, contemporary Las Vegas-style production.” The critic also wrote: “Madonna may be considered by some music critics as a fleeting pop star and her penchant for lingerie and erotic posturing understandably irritates feminists. Nevertheless, Madonna is a formidable, timely talent.” 

Erotic posturing. Formidable talent. She might be the living avatar of reinvention, but Madonna never lost her own plot. That’s something worth waiting 40 years to celebrate.

Eric Webb is an award-winning culture writer based in Austin. Find him at www.ericwebb.me .

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Cara untuk pergi ke Obaja tour & Travel di Jakarta Utara, menggunakan Bis, MRT atau Kereta?

Lihat obaja tour & travel, jakarta utara, di peta.

Petunjuk ke Obaja tour & Travel (Jakarta Utara) dengan transportasi umum

Jalur transit berikut memiliki rute yang melewati dekat Obaja tour & Travel

Bagaimana menuju ke Obaja tour & Travel menggunakan Bis?

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Pemberhentian Bis dekat Obaja tour & Travel di Jakarta Utara

• Bandengan Selatan 2, Berjalan 8 menit, LIHAT
• Bandengan Selatan 2b, Berjalan 9 menit, LIHAT
• Jalan Jembatan Gambang 2, Berjalan 12 menit, LIHAT
• Jalan Ruko Bandengan Indah, 32, Berjalan 12 menit, LIHAT
• Pertigaan Angke Indah, Berjalan 13 menit, LIHAT
• Jalan Bandengan Utara 1, Berjalan 19 menit, LIHAT
• Bandengan, Berjalan 20 menit, LIHAT

Pemberhentian Kereta dekat Obaja tour & Travel di Jakarta Utara

• Angke, Berjalan 21 menit, LIHAT

Jalur Bis ke Obaja tour & Travel di Jakarta Utara

• B06, Kota - Kamal Muara, LIHAT
• M25, Kota - Grogol, LIHAT
• BUS SEKOLAH 17, Rusun Muara Baru - Banbengan Muara Angke, LIHAT
• B02, Cengkareng, LIHAT
• BUS SEKOLAH ZR11, Rusun Kapuk - Cideng, LIHAT
• M43, Grogol, LIHAT
• 1A, Pantai Maju - Balai Kota, LIHAT
• R1A, Pantai Maju - Kota via TWA Muara Angke, LIHAT
• 3D, TAMAN Kota, LIHAT
• 12B, Pluit, LIHAT
• JAK120, Terminal Muara Angke, LIHAT
• 12, Pluit - Tanjung Priok, LIHAT
• 12A, Kota - Dermaga Kaliadem, LIHAT
• 12C, Rusun Waduk Pluit - Penjaringan, LIHAT
• M12, Sunter Boulevard Barat - Penjaringan (AMARI ☾), LIHAT

Stasiun apa yang paling dekat dekat dengan Obaja tour & Travel?

Stasiun terdekat dengan Obaja tour & Travel adalah:

• Bandengan Selatan 2 berjarak 588 meter , dengan berjalan 8 menit.
• Bandengan Selatan 2b berjarak 696 meter , dengan berjalan 9 menit.
• Jalan Jembatan Gambang 2 berjarak 896 meter , dengan berjalan 12 menit.
• Jalan Ruko Bandengan Indah, 32 berjarak 899 meter , dengan berjalan 12 menit.
• Pertigaan Angke Indah berjarak 981 meter , dengan berjalan 13 menit.
• Jalan Bandengan Utara 1 berjarak 1492 meter , dengan berjalan 19 menit.
• Bandengan berjarak 1534 meter , dengan berjalan 20 menit.
• Angke berjarak 1570 meter , dengan berjalan 21 menit.

Jalur Bis mana yang berhenti dekat Obaja tour & Travel

Jalur Bis ini berhenti dekat Obaja tour & Travel:  B06 , M25

Jalur Kereta mana yang berhenti dekat Obaja tour & Travel

Jalur Kereta ini berhenti dekat Obaja tour & Travel:  LINGKAR CIKARANG LINE

Di mana stasiun kereta terdekat ke Obaja tour & Travel terdekat di Jakarta Utara?

stasiun kereta terdekat ke Obaja tour & Travel di Jakarta Utara adalah Angke. Jaraknya 21 min berjalan kaki

Di mana perhentian bis terdekat ke Obaja tour & Travel terdekat di Jakarta Utara?

perhentian bis terdekat ke Obaja tour & Travel di Jakarta Utara adalah Bandengan Selatan 2. Jaraknya 8 min berjalan kaki

Pukul berapa Kereta pertama ke Obaja tour & Travel di Jakarta Utara?

LINGKAR CIKARANG LINE adalah Kereta pertama yang menuju Obaja tour & Travel di Jakarta Utara. Berhenti di dekat sini pada 04.39.

Pukul berapa Kereta terakhir ke Obaja tour & Travel di Jakarta Utara?

LINGKAR CIKARANG LINE adalah Kereta terakhir yang menuju Obaja tour & Travel di Jakarta Utara. Berhenti di dekat sini pada 23.59.

Pukul berapa Bis pertama ke Obaja tour & Travel di Jakarta Utara?

M12 adalah Bis pertama yang menuju Obaja tour & Travel di Jakarta Utara. Berhenti di dekat sini pada 03.07.

Pukul berapa Bis terakhir ke Obaja tour & Travel di Jakarta Utara?

M12 adalah Bis terakhir yang menuju Obaja tour & Travel di Jakarta Utara. Berhenti di dekat sini pada 03.07.

Berapa tarif MRTke Obaja tour & Travel?

Tarif MRT ke Obaja tour & Travel sekitar Rp3000.00 - Rp14000.00.

Transportasi Umum ke Obaja tour & Travel di Jakarta Utara

Ingin tahu bagaimana caranya sampai ke Obaja tour & Travel di Jakarta Utara, Indonesia? Moovit helps you membantumu menemukan cara teerbaik untuk sampai ke Obaja tour & Travel dengan petunjuk langkah demi langkah dari stasiun transportasi umum terdekat.

Moovit menyediakan peta gratis dan panduan langsung untuk membantumu bepergian di kotamu. Melihat jadwal, rute, jadwal waktu dan mencari tahu berapa lama untuk sampai ke Obaja tour & Travel secara langsung.

Mencari pemberhentian atau stasiun terdekat untuk ke Obaja tour & Travel? Coba lihat daftar pemberhentian terdekat dari tujuan mu. Bandengan Selatan 2; Bandengan Selatan 2b; Jalan Jembatan Gambang 2; Jalan Ruko Bandengan Indah; Pertigaan Angke Indah; Jalan Bandengan Utara 1; Bandengan; Angke.

Bis: B06 M25 Kereta: LINGKAR CIKARANG LINE

Ingin melihat apakah ada rute lain yang dapat membawa mu lebih cepat ke tujuan? Moovit akan membantumu mencari rute dan waktu alternatif. Dapatkan arah dari dan arah ke Obaja tour & Travel dengan mudah melalui Moovit app atau Situs Web.

Kami membuat perjalanan ke Obaja tour & Travel mudah, alasan itu lah yang membuat jutaan 1.5 pengguna, termasuk pengguna di Jakarta Utara, percaya kepada Moovit sebagai app Transportasi Umum terbaik. Kamu tidak perlu mengunduh app untuk bis atau kereta secara terpisah, Moovit adalah app Transportasi Umum yang semua ada didalamnya akan membantumu mencari jadwal terbaik bis dan kereta.

Untuk informasi harga Bis, MRT dan Kereta, biaya dan tarif perjalanan ke Obaja tour & Travel, silakan periksa aplikasi Moovit.

Gunakan aplikasi untuk menavigasi ke tempat-tempat populer termasuk ke bandara, rumah sakit, stadion, toko kelontong, mal, kedai kopi, sekolah, perguruan tinggi, dan universitas.

Obaja tour & Travel alamat: Jalan Komp. Puri Delta Mas Blok C no 36 di Jakarta Utara

Tempat wisata terdekat sekitar Obaja tour & Travel

• Komplek Puri Delta Mas
• Komplek Puri Deltamas Blok I-12
• puri delta mas
• 2 Jalan Kompleks Puri Deltamas
• Law Office H. Harris Sarana, Sh Dan Partners
• Defasindo Kreasi Prima
• PT Hoppor International
• Ruko Puri DeLta Mas, Blok K9
• Jalan Komplek Puri Deltamas Jalan Bandengan Selat
• Ruko Puri Deltamas
• PT Shukaku Indonesia
• GBI Bandengan Selatan
• Astrido Toyota Bandengan
• Jalan Tubagus Angke
• Lobby Utama PT PLN (Persero) AREA BANDENGAN
• Lapangan PLN Area Bandengan
• PT. SUMMIT OTO FINANCE BANDENGAN
• 5 Jalan Jembatan Gambang 1
• Jalan Bandengan Selatan

Tempat Wisata populer di Jakarta Utara

• NAM Training Center , Kota Tangerang
• WAHANA HONDA JATAKE , Kota Tangerang
• KFC , Tangerang
• Pondok Kemangi Restaurant , Tangerang
• Melati Mas Serpong , Tangerang
• Teras Air Resto & Cafe, Bogor , Kota Bogor
• Kolam Renang Citra Garden 1 , Jakarta Barat
• Perumahan Keroncong Permai , Kota Tangerang
• Robinson Departement Store , Kota Tangerang
• Commuter Line Bogor - Jakarta Kota , Bogor
• Ruko BIDEX , Tangerang
• Masjid Roosniah Al-Ahmad BNR , Kota Bogor
• DAAI TV Indonesia , Jakarta Utara
• Nirwana Estate , Bogor
• Kampung Melayu , Tangerang
• PT. Patra Nusa Data , Tangerang
• Masjid Agung AL - ITTIHAD , Kota Tangerang
• Kuntum farm field , Bogor
• Dramaga Cantik , Bogor
• Gerbang Tol Gunung Putri , Bogor

Jalur transit umum dengan stasiun terdekat ke Obaja tour & Travel di Jakarta Utara

Jalur kereta dengan pemberhentian terdekat ke obaja tour & travel di jakarta utara, jalur bis dengan pemberhentian terdekat ke obaja tour & travel di jakarta utara, bandengan selatan 2, bandengan selatan 2b, jalan ruko bandengan indah, 32, jalan jembatan gambang 2.

• R1A Pantai Maju - Kota via TWA Muara Angke
• Bahasa Indonesia