glow in the dark tour

Glow in the Dark Tour

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The Glow in the Dark Tour was the third concert tour by Kanye West featuring Rihanna , Lupe Fiasco , N.E.R.D , Santigold and Nas . It began on April 16, 2008 in Seattle, Washington and traveled to Latin America, Asia, Europe, New Zealand, and Australia through to early December. The tour featured some surprise special guest artists, including Gnarls Barkley and Jay-Z . Chris Brown also appeared at some shows to perform his remix of " Umbrella " with Rihanna, and as a dancer for N.E.R.D. For the New Zealand and Australian leg of the tour special guests Nas and New Zealand rapper Scribe replaced Lupe Fiasco and N.E.R.D, as N.E.R.D toured these countries separately. Vanness Wu performed as the opening act on the Asian leg of the tour and performed " Good Life " with West during the show. A book named after the tour , authored by Kanye West with photography by Nabil Elderkin , was published by Rizzoli USA in October 2009.

The tour grossed $30.8 million from 49 shows and was by the end of 2008 the second-highest-grossing rap tour that Billboard had ever tracked after the Heart of the City Tour . [1] Direction, production, and lighting design were handled by; Es Devlin, Kanye West, Martin Phillips, John McGuire, and Simon Henwood. [2]

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Kanye West / May 13, 2008 / New York (Madison Square Garden)

Kanye West's Glow in the Dark tour made its long-awaited touchdown at New York's Madison Square Garden last night (May 13), and one got the sense this was the show for which West has been preparing…

By Hillary Crosley

Hillary Crosley

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Kanye West’s Glow in the Dark tour made its long-awaited touchdown at New York’s Madison Square Garden last night (May 13), and one got the sense this was the show for which West has been preparing his entire life. The artist took to his moonlit, smoke-filled, planet-like stage in jeans, a sweater missing one sleeve, elaborate shoulder pads and a red windbreaker tied around his waist. Beginning with “Good Morning,” West informed the crowd that he was a space traveler who’d crashed on a planet devoid of creativity. West’s music and performance merely provided the soundtrack to his escape from planet non-creative, if you will. West even had a “Knight Rider”-like talking computer named Jane, helping him through this difficult predicament. “Remember, this isn’t your first crash,” said Jane just before West performed “Through The Wire.” “Champion,” “Get ‘Em High,” “Diamonds Are Forever,” “Can’t Tell Me Nothing,” with flames flying each time the song’s “oh” sample dropped, followed, and during “Flashing Lights,” West danced until he eventually humped the planet-like stage. Things got even more conceptual when West and Jane attempted to “escape” the planet using the shooting stars mentioned in “Flashing Lights.” Alas, they couldn’t, and crashed back down to the earthen stage. After “Drunk and Hot Girls,” “Spaceship” and “Gold Digger,” West called out and promised God that “if you get me out of here, I promise to stop talking sh*t and spazzing out at awards shows. I just want to go home.” It seems like God heard West, because after “Jesus Walks” and an emotion-filled performance of “Hey Mama,” Journey’s “Don’t Stop Believing” boomed through Madison Square Garden. “Stronger” was next, while West stabbed at Jane’s buttons on an oversized motherboard displayed on a giant stage screen, frantically preparing for liftoff. “We need the brightest star in the universe. We need you Kanye. You can glow in the dark,” chirped Jane. There’s no doubt the set was extremely creative and the concept was amazing. West’s stamina, performing alone for almost two hours without any special guests, or real breaks was breathtaking. Each song was a new arrangement, adding new chords or more drums, among other tweaks. However, West seemed to be so involved in the narrative that he didn’t directly speak to the crowd once. Hopefully, West’s next headlining tour will not only take his fans to another world, but include a little interaction as well. Lupe Fiasco opened, performing on an unfairly tiny stage in a black sparkly Polo and shiny black jeans. The set featured “Go Go Gadget Flow,” “Paris, Tokyo,” “Fighters” and “Superstar,” the latter two of which found backup singers Matthew Santos and Sarah Green trading high notes. Fiasco also held up a plaque celebrating gold certification (500,000 copies) for his sophomore album, “The Cool.” N.E.R.D. was next up, flanked by three pianists, including Chad Hugo, two drummers, one guitarist and two stationary hype men. Pharrell Williams hopped around the stage, performing “Anti,” and “Brain” before shouting, “I can’t believe N.E.R.D. finally made it to MSG! How many came to get your money’s worth?” The set closed with current single “Everybody Nose” and the 2004 hit “She Wants To Move.” Rihanna, the only female on the bill, was by far the most interesting and interactive performer of the evening. Clad in a black layered-lace gown with a hood, the singer hit the stage to Nelly Furtado’s “Maneater,” backed by two guitarists, a drummer and four dancers. Beyond her own tracks like “Breaking Dishes,” “Pon De Replay” and “SOS,” the artist covered M.I.A.’s “Paper Planes” and Lauryn Hill’s “Doo Wop (That Thing).” Ditching the dancers for two background singers, the West Indian pop star then gave heartfelt renditions of “Hate That I Love You” and “Unfaithful.” Closing her set with “Umbrella,” Rihanna shared that she “fell in love with the song instantly — it was the ‘eh eh eh.'” Chris Brown, her rumored boyfriend, joined her for their “Umbrella” remix, “Cinderella,” but each left the stage without any discernable displays of affection.

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Live: Kanye West’s Glow in the Dark tour

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KANYE WEST has always fancied himself a hero; now he has staged his “Götterdämmerung.” The hip-hop star may or may not have been thinking about Richard Wagner’s epic Ring cycle when he decided to turn his Glow in the Dark tour into an apocalyptic space opera. The show, which premiered Wednesday at this city’s Key Arena, had more obvious reference points: Japanese anime, Will Smith in “I Am Legend” and any Imax shows about the planets that West might have seen as a kid.

But West, the chart-topper most determined to burn his likeness into the walls of pop’s Valhalla, cares deeply about what it means to be a hero. Wednesday, he didn’t take a spear to the gut the way Wagner’s Siegfried did, but he did confront terror, doubt and filial grief in a show that carried his braggadocio into the realm of myth itself.

FOR THE RECORD: This article states that Kanye West performed to prerecorded tracks during the show. He was actually accompanied by a live band playing below the stage. Also, the article incorrectly gave Lupe Fiasco singer Matthew Santos’ first name as Michael.

Performing a set of favorites from throughout his repertoire, West moved like a dancer in a Gene Kelly movie on a slanted stage made to look like a distant moon.

Screens big and small showed scenes of whirling galaxies and cataclysmic weather; sometimes these images escaped their boundaries and saturated the stage floor. Announcing himself as an astronaut on a mission to bring creativity back to Earth, West used songs like “Through the Wire,” “Can’t Tell Me Nothing” and “Stronger” to narrate his journey from spaceship crash to alien encounter to self-realization and escape.

This was pure comic-book adventure, obvious at times. But the real message came through those unstoppable images. Glow in the Dark raises the bar for arena tours as no show has since U2’s 1992 Zoo TV breakthrough. It’s that innovative and galvanizing.

Unlike most highly staged concerts since U2’s meditation on rock in the media age, West’s show isn’t literary at heart. It’s imagistic. West is a conceptual artist who works in visuals as well as sound, and his inspiration comes from fine artists such as Takashi Murakami and haute couture designers like Hedi Slimane. In this show, he’s imagining not so much how a hero’s story unfolds but what a hero might say if he were to rap -- and how he might appear onstage.

Performing alone is one of West’s key choices. Negotiating vast stages without the aid of a crew, last night he rapped over backing tracks, asserting his independence and uniqueness and presenting a new way to be a hip-hop star, separate from a protective community.

The spectacular backdrops of the Glow in the Dark tour solve a problem his previous solo performances have posed: They provide excitement beyond what West could generate through his own voice and movements, and give him an environment (and a few characters, like that alien -- a chesty, anime-style plastic doll that descended from the ceiling) to play against.

The concert’s screen images also reinforced West’s isolation; he sometimes seemed small, caught up in their storm. The hero’s quest is a source of romantic power for West; as he explores the role more, he seems more interested in its painful aspects too. Roaming the slanted proscenium under violent skies heavy with asteroids and whirling clouds, West played the grim son of destiny, unable to break through and connect with others.

Against this backdrop, West rapped for more than an hour without a break, only slowing down for “Hey Mama,” the ballad he wrote for his recently deceased mother. That song caused a rare moment of real vulnerability as West held his head in his hands for a moment, near tears. Otherwise he projected focused intensity, driving home hits such as “Jesus Walks” and “Touch the Sky” without ever flirting with the audience or even really taking a break to breathe.

His lyrics are often clever and light in tone, but pacing across his self-constructed lonely planet, West couldn’t have been more serious. After all, he has a world to reinspire -- and even when he states that goal in terms of comic-book fantasy, he means it.

The other artists on this carefully built bill share West’s forward-thinking attitude about hip-hop, as well as his showiness. The rapper Lupe Fiasco opened the evening with a smooth set that featured red-clad backup singers and several suave turns by singer Michael Santos. The young, very racially mixed crowd yelled “Lupe!” as the Chicago rapper spun out his hipster tales.

N.E.R.D. made a sensual racket during its mood-lit set. The band, which features Neptunes producers Pharrell Williams and Chad Hugo and their longtime friend, vocalist Shay Haley, plays hip-hop-infused rock with cutting lyrics and menacing beats. With two drummers pushing the groove forward, N.E.R.D. proved musically charismatic. Williams is the band’s star, though he’s a rather delicate vocalist; like many rockers before him, he cashes in on charisma.

Rihanna, the last of the three openers, can really sing, but she hadn’t found her footing Wednesday, struggling to stay in tune and project in the huge arena. It didn’t help that the bass was so distorted during her set that it shook the floor; Rihanna’s talent is for impressing without ever pushing herself, but when your own band’s amps are tuned to “assault,” you have to fight back.

The noise distracted from her troupe’s cute dance moves and shiny retro-new wave costumes, but that’s the kind of kink a touring artist works out in a few dates.

By the time she and her tour mates hit the Nokia Theatre L.A. Live on Monday, they should be on point and ready to push toward the ridiculous, beautiful heights of West’s heroics.

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Kanye West's Glow in the Dark Tour

Chris Willman is a senior music writer for Entertainment Weekly

When 2001: A Space Odyssey came out, it was famously advertised as ”the ultimate trip.” For his headlining chunk of the Glow in the Dark Tour, Kanye West also takes fans on a galactic voyage, folding his hits into a wacked-out space opera that’s the ultimate ego trip. Normally, that’d be an insult, but with West, who’s made an art form out of dramatizing both humility and hubris, it’s mission accomplished.

On opening night in Seattle, West began by standing in front of a giant LED screen full of star fields. Soon, marooned on what the screen depicted as a desert planet, he reviewed his weaknesses back on earth: his pride (in the form of the fiercely self-mocking ”Can’t Tell Me Nothing”), harpies (his cautionary ”Gold Digger”), and the popular materialism/sex combo platter (”Good Life”). These produced in him a spiritual malaise that even a rendition of ”Jesus Walks” couldn’t lift. So his only companion, the disembodied voice of his talking spaceship, Jane, tried some brownnosing: ”We need the brightest star in the universe — you , Kanye! Only you can bring us home. You can glow in the dark!” Cue the rousingly Nietzschean ”Stronger.” In space, no one can hear you scream, but if you’re West, everyone will hear you self-actualize.

Okay, so he’s a nut. Still, West’s commitment to communicating inner passions and identity crises is so consuming it nearly redeems any conceptual hokeyness. Eschewing hip-hop’s buddy system, West is his stage’s sole visible human, and he’s become a riveting soliloquist. Crouching on one knee, broken up, during ”Hey Mama” — or pacing like a prizefighter during every other number — he gets you caught up in his journey to the center of the id and pulls off something rare: an intimate spectacle.

West may not allow other folks on stage during his set, but he’s generously assembled the most potent opening lineup in recent touring history, even if they don’t all maximize their potential. Lupe Fiasco has the material to make good on his ”next Kanye” status, though he suffered from rapping to studio tracks (and ”Kick, Push” deserves more than a reduced medley slot). By contrast, N.E.R.D. rocked out with their full-band set; Pharrell Williams is no great singer, but he’s a great party starter. The glam Rihanna provided respite from all this testosterone and packed an undeniable string of hits into her half hour, moving smoothly through light choreography. But her should-be slam dunk, ”Umbrella,” felt off, with the rain-gear-wielding backup dancers working harder to sell the smash than she did. Maybe what Ri-Ri needs to ramp up the charisma is a good pep talk from West’s chatty spacecraft. B+

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Kanye West Tells A Story With His Biggest Hits, At The Glow In The Dark Tour's L.A. Stop

LOS ANGELES -- It was 11 p.m. by the time Kanye West began his set at the Nokia Theatre on Tuesday night, and the pressure was most certainly on.

For his [article id="1581586"]Glow in the Dark Tour[/article], West lined up a veritable who's-who in hip-hop, taking the stage after opening sets from Lupe Fiasco, N.E.R.D. and Rihanna. But as he wrote in his book of personal proverbs, [article id="1580942"]"Thank You and You're Welcome"[/article] (passed out at the end of the show), "Old folks used to say, 'You can't soar with eagles if you're walking around with chickens.' If you know you're the best, it only makes sense for you to surround yourself with the best."

Although the openers brought along riotous entourages, when it was Kanye's time to shine, he made a point of going it alone. (In life, he recently made that decision as well, reflected in his [article id="1585980"]split with now-ex-fiancee Alexis Phifer[/article] earlier this week.) It was a powerful statement of self-reliance, and all West needed was a computer dubbed Jane, who prompted the narrative of the set in a sexy, robotic voice.

At the start of the show, Jane told him that the Earth had lost all its creativity, and he must save us from our banal existence. Kanye looked like he was on a small island onstage, smoke billowing around him, and the fist-pumping crowd spilling out before him in the sold-out, 7,100-seat theater was like a roaring sea. The opening strains of "Wake Up Mr. West," from 2005's Late Registration, pulled him to his feet, and although it was nearly midnight, that was sort of the point: Whatever time it is in your life, you need to "wake up." Kanye is the Tony Robbins of hip-hop. In the past six months, [article id="1573999"]he lost his mother[/article] and his fiancee, but he is here to prove he's carrying on.

The small set spread into a desert, and the skyline changed from shooting stars ("Flashing Lights") to pumping blue cells ("Heard 'Em Say") to a Hype Williams-designed gold hologram girl ("Gold Digger"). A sad cloudy sky filled the stage during his tribute to his late mother, Donda West ("Hey Mama"), which then rose to a red dawn, and Kanye, crawling up a hill, hunkered down with emotion, sat down until Journey's "Don't Stop Believin' " filled the theater, followed by "Stronger." "Homecoming" and "Touch the Sky" finished the set, and Kanye's carefully plotted narrative came to an end. When was the last time we saw a performer treat every individual song like a firstborn child? Kanye was slick with sweat but triumphant. His show felt like a front-row seat at a hip-hop Olympics, as if each athlete had tagged each other out until we finally got to Kanye. Still, every performance of the night was nothing but gold.

During his set, Lupe Fiasco sang his hit "Superstar," with Matthew Santos handling the chorus, and the rapper slid around the stage as if it were made of butter. When he cried out, "I love you, L.A.!" the crowd was only too happy to return the sentiment.

N.E.R.D. were completely at the top of their game, and "Lap Dance" was a sonic and physical explosion, as Pharrell Williams was eagerly intimate with the crowd, calling out to the "sexy girls" to join him, and telling the "ugly girls" to be quiet; apparently there wasn't a homely soul in attendance. Williams introduced "Everyone Nose" as their "indie joint" and called out to the stars of [article id="1584718"]the song's forthcoming video[/article]: "Samantha Ronson told me this was the sh-- in the club -- what up, Lindsay!" A jungle beat preceded the riff of "Iron Man," before the frontman ended the set singing about those girls lining up for the bathroom again.

Rihanna emerged onstage in a dominatrix-esque black-leather shorts suit lined in neon pink, her lips painted to match the lines. The Caribbean-born stalked the stage like a panther, phenomenally fit and limber as hell. Her newly inked star tattoos were etched down her right shoulder blade, perhaps to mark the year she became a full-blown star herself. The singer fired out an incessant artillery of hits. "Don't Stop the Music," "S.O.S.," "Shut Up and Drive" and "Unfaithful" all made the list before she paused to thank Kanye for letting her "glow in the dark with him," launching into an amped- up version of "Umbrella."

Still, despite an illuminated set in a theater lined with neon blue and green and an electrified crowd wielding glow sticks, it was Kanye's performance that glowed the brightest.

For more sights and stories from concerts around the country, check out MTV News Tour Reports . And send your own concert pics, videos and reviews to MTV News You R Here!

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Check Out Images From Kanye West's New Glow in the Dark Tour Book

By Ryan Dombal

All photos by Nabil Elderkin

Let's try to ignore Kanye West 's current woes for a moment and think back to a time when he was triumphantly traveling around the world with his sci-fi-themed Glow in the Dark tour. The 2008 show had tons of blinding lights, a vaguely pornographic alien, and Kanye rampaging like the last man on Mars. It was incredible.

Now, we're going to get a really nice belated program in the form of the 288-page book Kanye West: Glow in the Dark , featuring photos by Nabil Elderkin (director of Kanye's "Paranoid" and "Welcome to Heartbreak" videos) and designed by the graphic team Base . Along with on stage and behind-the-scenes shots, the book includes conceptual sketches by West, costume designs, and stage models. The book comes with an audio CD featuring the previously unreleased live instrumentals for "Hey Mama", "Touch the Sky", "Jesus Walks", and "I Wonder", as well as an interview with tour collaborator Spike Jonze. It's due out this month via Rizzoli .

Click on to see a few choice pics from the book, including one of Kanye apparently being eaten by an overgrown lizard:

Conceptual sketch by Kanye West (this explains a lot):

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Kanye West , Rihanna , N.E.R.D. and Lupe Fiasco all turned in stellar sets to begin the “Glow in the Dark” Tour, what will likely end up as one of 2008’s most talked-about bills. All of Kanye’s openers were given thirty minutes to do their thing at Seattle’s KeyArena last night, and Lupe Fiasco kicked off the night with a fast-paced half-hour into which he crammed parts of eleven songs, including the hits “Kick, Push” and “Superstar.” (Matthew Santos, who sings on the latter track, appeared for three songs at the end of Fiasco’s set.) The stage was bare for his performance, but Fiasco made up for it with vibrant physical energy and a very red dress scheme shared by his backing singers and DJ.

N.E.R.D. — Pharrell Williams’ rock ensemble — played second. Fronting two drummers, a bassist/keyboardist, a synth player and guitarist (as well as a small handful of hangers-onstage who helped hype the crowd at climactic moments), Williams and co-vocalist Shay threw themselves into performances of “Lapdance,” “Brain,” “Rock Star” and “She Wants to Move” (the latter featuring a brief jam on Queen’s “Another One Bites the Dust”). After the set was finished, Pharrell returned to the stage to apologize for his use of profanity in front of a young child seated in the front row.

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No apologies were necessary from Rihanna, whose stage set-up included light-up speaker stacks that glowed yellow, pink and aqua. The singer and her dancers’ clothes were basic black accented by pink and lime neon; the entire presentation was very new wave, down to Rihanna’s bright pink lipstick. The show was tightly choreographed but never felt laborious, and she got some traction doing “Hate That I Love You,” a duet with Ne-Yo on record, by herself. She also introduced “Umbrella” by saying, “I remember going up to Dream” (R&B phenom The-Dream, who helped produce and write the song) “and saying, ‘If you give this record away [to someone else] I’m going to kill you .'”

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The headliner took his time, playing eighteen songs in an unbroken ninety-minute set. Half of the songs came from 2007’s Graduation , five from 2005’s Late Registration and the rest from 2004’s The College Dropout . Kanye stood alone on a stage that was made out to look like a spaceship, complete with a giant video backdrop that flashed psychedelic fractal patterns, bursting stars and moonscapes. Ostensibly, Kanye was trapped aboard a rogue ship piloted by a female version, dubbed Jane, of 2001 ‘s HAL 9000. Kanye began with “Good Morning,” then touched on “Through the Wire,” the thematically inevitable trio of “Flashing Lights,” “Spaceship,” and “All Falls Down” and hit his climax for “Hey Mama,” during which he bowed forward on his knees and delivered an emotional monologue about following one’s dreams. The song that came immediately after Journey’s “Don’t Stop Believin’,” blasting over the PA before Kanye-in-space got his strength back to deliver “Stronger.”

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Hip-hop shows have never been known for their production values, and Kanye West has decided to do something about it. His Glow in the Dark Tour is an arena extravaganza, filled with smoke, fire, giant HD screens and hydraulic stages. But they're all dwarfed by West's massive ego.

By Steven Mirkin

Steven Mirkin

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Hip-hop shows have never been known for their production values, and Kanye West has decided to do something about it. His Glow in the Dark Tour is an arena extravaganza, filled with smoke, fire, giant HD screens and hydraulic stages. But they’re all dwarfed by West’s massive ego. In essence, he’s cast himself as the only character in a space opera, sent to the ends of universe because he’s only man who can save the world from its lack of creativity. After sitting through his muddled 80-minute show, audiences might beg to differ.

Of course, any performer who looks to outer space is going to come in contact with George Clinton and P-Funk’s late-’70s extravaganzas. Those legendary shows embraced a sense of community and stoned humor — Dr. Funkenstein and his troupe have something the Earth could use on their mothership: diapered guitarists, slinky women and expansive jams; West’s one-man turn (his eight-piece band is hidden behind the main screen) is a chilly production that doesn’t allow the star any contact with his aud; stranded on a far-off planet without even a Friday or Wilson to play off (the only other voice heard is Jane, his spaceship, who sounds disconcertingly like the recordings warning you to “watch the doors” on airport trams), he can only run from one side of the expansive stage to the other.

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There’s a lot of energy expended, but to little effect; the only time he breaks character (so to speak) is to admonish L.A. Reid for leaving early (not a bad idea as the production repeats itself, having run out of ideas about halfway). West means for this to be taken seriously, but the effect is closer to something Tracy Jordan would attempt on “30 Rock.” This is especially true when he tries a move toward the dramatic, and the staging actually makes him appear smaller than life.

There’s no story in the program: Once the concept is established, it is jettisoned for long stretches. When West starts “Can’t Tell Me Nothing” you want to remind him that such arrogance is unbecoming, especially after he has just crashed a spaceship, leaving him with no way home. Bragging how he has the best skills on the planet is a rather hollow honor when he is the only sentient being in the vicinity. He’s so insanely self-involved, he barely seems to notice the geysers of steam and plumes of flame erupting on all sides of him. He does notice an alien blow-up doll who — in one of the evening’s technical glitches — hung limply on a wire .

This is followed by some odd business involving West sitting off to one side of the stage while Journey’s “Don’t Stop Believing” plays (why this particular song is never explained) and a plea to God to save him, accompanied by — what else? — “Jesus Walks” (the song selections are, when not total non sequiturs, too literal).

For the most part, the music matches the staging in bombast and overstated affect. Densely layered with choruses, synthesized strings and samples, there’s a sterility to their playing; before the lighting exposed their perch at the end of the show, it was easy to assume West was singing to backing tracks. But given that his Glow in the Dark tour gives off such a dim, unsatisfying light, that’s the least of West’s problems.

If West’s portion of the show is less than a success, the opening acts all had their charms. Lupe Fiasco was energetic and engaging in an old-school hip-hop fashion; N.E.R.D. played a crunchy amalgam of prog-rock and rap; and Rihanna was a revelation. Not only does she have a real set of pipes, her songs — including last summer’s hit “Umbrella” — were a clever grab bag of styles. She’s not only beautiful, but also charismatic.

Nokia Theater; 7,100 seats; $109.50 top

• Production: Presented by AEG Live. Opened, reviewed April 21, 2008; also April 22.
• Cast: Band: Tony Williams, Joi Campbell, Arist Delgado, Adam Blackstone, Jeff Bhasker, George "Spanky" McCurdy, Charles Haynes, Jesse Bond. Also appearing: Lupe Fiasco, N.E.R.D., Rihanna.

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Musicians are barely getting a slice of music industry revenue, largely eating off of live performances instead. For ’Tour Tales,’ we dig into the rider requests, delayed shows, diligent preparation, and future of touring by talking with the multitude of people that move behind the scenes. Record executives, photographers, tour managers, artists, and more all break down what goes into touring and why it’s still so vital to the livelihood of your favorite artists. What happens on tour stays on ‘Tour Tales.’

As the son of a pastor, Darrell Robinson’s drumming prowess started in church and took him across the world and back multiple times. He’s had to make sacrifices over the last 20 years in order to make history with the likes of Pharrell, Jill Scott, and Jazmine Sullivan.

“I said, ‘My daughter was born today,’ and [K. Michelle] was like, ‘Oh my god, she is going to be so mad at me,’” Robinson told REVOLT . “That haunts me to this day. That’s part of the game. When my oldest was born, we were at Comerica Park.”

In this installment of “Tour Tales,” Robinson discusses a teenaged Jazmine Sullivan performing for Clive Davis, why Kanye West’s “Glow In The Dark Tour” is the best tour he’s ever worked on, and helping Jill Scott’s live sound. Read below.

How did you get into drumming for major artists?

Steve McKie is a great friend of mine and we went to same high school, University City High School. He graduated four years before me, but he would come back to the music room and check on a teacher . He was playing for Bilal at the time and told me, “Dude, you have a lot of talent. You’re going to be on soon.” I was like, “Alright, when?! When?!” I wanted to be on right then and there.

There was an event The Roots used to throw every year. Rich Nichols, the manager of The Roots, would throw an event called The Black Lily at the Five Spot in Philly. It was 2001, I was 16/17 years old and Steve would sneak me in. I went into this world where I saw Ahmir (Questlove) playing the drums; Jazmine Sullivan at 13 singing. Jill Scott was there, Bilal was there, Musiq [Soulchild] was there. There was all of this talent, but it was a secret because it was a small venue and no one really knew about it. It was on Tuesdays. Getting in that space was big for me. I ended up getting the Jazmine Sullivan gig as her MD (musical director) when she was 13/14 and we did a lot of shows.

What were those early shows with Jazmine like?

Her family lived in The Strawberry Mansion, which is actually a historic place, but they got to live there (laughs). We would rehearse there. She pretty much had a set together . What I would do would be to come in and reorganize the set. If she wanted to do a new song, I would come in and put some intros and outros. I put together her showcase show for Clive Davis that got her signed. This was 2001, but you couldn’t tell us we weren’t the truth (laughs). The showcase was so dope. We were coming from Philly and really just doing local gigs — D.C., Baltimore, Philly — but you couldn’t tell us we weren’t the best band in the world and she wasn’t the most talented . So, when we went to Clive Davis to perform for a bunch of record executives, we were thinking, “This is fun.” So, we just went in. They were blown away. Now, I know who Clive Davis is and all of his accomplishments. But, back then, it was just some white dude that’s listening to us (laughs). She got signed to Jive Records then and there. When we were done, Clive was like, “How long have you been together?” He was ecstatic about us. They were telling us, “He doesn’t ever do that.” We had such a burning desire, we felt like was supposed to happen.

What was your next big drumming gig?

Back to Steve McKie. One day he told me, “Jaguar Wright called me to play for her, but I’m going to say I can do it until the day before and then I’m going to send. I walked in the door and the first person I saw was Adam Blackstone . I was like, “You on this jawn? Oh it’s over.” Omar Edwards — MD for JAY-Z, Rihanna, and others — was the MD for that tour. That was my first gig where we were actually going on the road and flying out. Jaguar really treated me cold for the first couple rehearsals. Detroit was the first show and my first show on the road. We’re in an amphitheater with thousands of people and she says, “Yeah, this is my new drummer Derrick.” She didn’t even know my name. She said, “I’ll give him a solo. If he does a good job and y’all like him, I’ll keep him. If y’all boo him, I’m going to send him home.”

Wait, she said that to the crowd?

She said that to the crowd (laughs).

Questlove (left) and Darrell Robinson (right)

What went through your head at the time?

At that time, I was starting to get nervous, but I looked at O and he said “Do you.” Once he said that, I gathered my nerves, did me, and everybody went crazy . After that, we were like best friends. I thank God she did that because she let me see how it really could be with certain people. Even though we’ve cultivated great relationships with artists, some artists don’t want to do that. They just want you to do whatever you do.

You also drummed for Jill Scott at the Sugar Water Festival, which she and Erykah Badu talked about in their Verzuz. What memories do you have from that?

That was one of my first biggest tours because we were on tour with Queen Latifah, Erykah Badu, and Floetry. Queen Latifah loved us. I’m from the hood, so we know about Queen Latifah. She showed us so much love. We called her “Dana,” it was crazy. We met Rickey Minor, he was the MD for her . He used to MD for Whitney Houston, too. That was big because Floetry and Jill both had Philly bands, so we had that tour on smash. I was 21.

What was the vibe backstage like with all of those great Black women?

We were staying at the same hotel as Queen Latifah and she asked, “What y’all about to go do?” We said, “We’re about to go swimming.” She was like, “Alright, bet.” We went down to the pool and she came down to the pool with her people. She was in the pool with us. We were dunking her and everything. It was crazy. For me, it was a real highlight because I had never seen someone that famous be that cool. She would say, “What’s up y’all? Want to come to my room?” It was amazing.

Darrell Robinson (left), Jill Scott (center), Monique (right)

What was your contribution to Jill Scott’s live show?

Coming up when I was still playing with Jazmine , Jill had the hottest band. To get that gig after they did that [live album] in 2001 was big because she already had a hot show, so what are these young bulls going to do with it? What I added to the show was my feel. A lot of the beats I added and changed, they still do today. So, I did that in 2005. If you ever hear her play “Cross My Mind,” I created that in 2005. She loved everything I played over the music. She would go, “Oh, Darrell, keep playing that. I want to play it like that now.”

In rehearsals she’ll be running over vocals so the band would be quiet, but I’d be changing the beat up having fun. She would get excited and say, “I like that! Let’s do what Darrell is doing.” I won’t lie, but one of her drummers called me and said, “You’re amazing because when I first came to drum for Jill, she made me listen to how you played the stuff and mimic how you played it.” That’s a really big deal . I also co-produced “Golden,” that’s me on the drums. Jill’s one of the people I have no issues with. It’s awesome. She loves how I play everything.

What are Jill Scott’s tour hits?

The first one is “The Way.” When we were in amphitheaters, they would be at the vendors getting food, but when that song comes on, they would run to the front or their seat to stand up and go crazy when they hear that intro. Another one is “He Loves Me.” They love that. It was amazing because Jamar Jones was on keys and he would take a solo on that. Every night that was the highlight.

From Jill Scott , how’d you connect with Pharrell?

I was about to say, that’s who was next. We come home from that and Pharrell comes out with his album In My Mind . We did the gig in Japan and it was supposed to just be that gig because The Roots couldn’t do it. At that time, The Roots did all of the TV stuff. Snoop was on those shows, too. It was three shows: one in Tokyo, Osaka, and I can’t remember the third. After the second show, we went back to the greenroom and Pharrell told Eric ‘Boots’ Greene and I, “I need y’all to be my drummers.” That was the beginning of what we’re doing now. We started playing with N.E.R.D. Adam Blackstone played with Pharrell , but he went back out with Jill. I said I was going to chill and stay with P. I’ve basically [been] loyal to him throughout that time.

How involved is Pharrell with putting together his live show?

He leaves that to us completely. He loves what we do so much. One of the key things I got from him is he knows what he knows and that’s what he controls. But, what he doesn’t know, he follows the person who does. His mindset is all production . Only thing he would critique is a sound.

Darrell Robinson (left) and Pharrell (right)

How has touring affected your family life?

I have a wife and three children. I have a 17-year-old, an 11-year old, and a 6-year-old. I was just missing so much. I wasn’t there when my oldest or my youngest were born. That sucks. But, at the time, my rationale was, “I’m getting this money, I’m going to need that.” That really started to get to me… I was the MD for K. Michelle and that was how I missed my daughter’s birthday.

Did you tell K. Michelle that?

I told her. I said, “My daughter was born today,” and she was like, “Oh my god, she is going to be so mad at me” (laughs). It was the first day of the tour. It was nutty and I missed my daughter’s birth over that. That haunts me to this day. That’s part of the game. When my oldest was born, we were at Comerica Park. I was with Jaguar on a show with R. Kelly and I was with Black ( Adam Blackstone ). But, I got to bring my kids to L.A. They got to come on stage with Pharrell. That’s crazy. When we were on the “Glow in the Dark Tour,” one of the best tours I’ve ever been on, Rihanna kidnapped my son Darryl and took him to rehearsal. That was back when she was messing with Chris Brown, so he was dancing with Chris Brown. That was crazy.

The “Glow in the Dark Tour” is considered by a lot of people to be the best hip hop tour of the first decade this century. What was special about it?

In person, the Glow in the Dark Kanye West show is the best show I’ve ever seen. It was Michael Jackson status because he knew every detail. If a light came on wrong, he would call out the light person on the mic. If someone [played] the song wrong, he would be like “Not right now.” He had a spaceship on the show that would spit him out every night. It was a three-hour show. It was right after his mom died and he would freestyle every night. Chris Brown danced with [N.E.R.D.] every night. He would come out and dance during “Spaz.” Everybody was on our bus. Rihanna, Kanye, Chris Brown, and everyone.

I got cool with Ibn Jasper, Kanye ’s barber. I told him, “Damn, I need a cut.” He was like, “Alright, bet.” We did our show and then Rihanna was next on the show and that’s when he said, “Alright, I’ll cut you right now.” The only person he cut was Kanye. So, I’m in Kanye’s chair, in his room, getting a cut. Kanye had this 100-inch TV and big sound system because he’s watching every part of the show. There were all these people in his room; it was crazy. While everyone was partying and chilling, he was working out. He was working out before his show. They had a bike and treadmill working out watching Rihanna.

What was the craziest moment on that tour?

When we went to Virginia because Pharrell ’s mom had a cookout at his studio. I went in the studio and it was Kanye, Pharrell, and Timbaland standing at the mixing board together. That’s when they did “Everybody Nose (Remix).” It was crazy just to see them vibing. That was exciting.

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Watch the Trailer for an Unreleased Kanye Documentary About 2008 Glow in the Dark Tour

Check out unreleased footage from a Kanye doc that never saw the light of day.

Kanye West’s return to Twitter doubles as yet another of the artist’s ambitious projects: his tweets are becoming a philosophy book, written in real-time . This is just Kanye’s newest out-of-the-box idea—and, more importantly, it’s one of the likely thousands of ideas that he has that have actually come to fruition. An artist as prolific and creative as Kanye must leave quite a few projects by the wayside. Take, for example, a documentary of his that never saw the light of day.

The trailer for the doc, titled  What Doesn’t Kill Me , was directed by Tobias Spellman and can be seen above. Based on the trailer, the doc followed Kanye and his team as they prepared for the Glow in the Dark Tour, one of Kanye’s largest world tours that went from April to December 2008. The tour also featured performances by Rihanna, Lupe Fiasco, and N*E*R*D, among other acts throughout the trek.

Kanye has come a long way since 2008, but many fans would echo Perez’s sentiment that this doc should still come out. It’s unclear why it wasn’t released, and there are few mentions of the doc anywhere, suggesting it was done in secret and stayed that way for some reason.

In any case, we know from the Great Kim Kardashian vs. Taylor Swift Feud of Summer 2016 that Kanye always has a film crew when he’s in the studio. Kim told GQ that Kanye “commissions videographers to film everything when he's recording an album, for posterity (and possibly, one day, a documentary).”

There is probably a lot of footage of Kanye in the studio that we might never see. With that in mind, this trailer becomes even more precious.

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“Glow In The Dark” Tour Review: Philly

Kanye West is one of hip-hop’s few true geniuses that pushes the culture and musical genre forward with each outing of his. Whether it’s the daring sound of his third album, Graduation , the provocative (or some would simply say confusing) clip for his last video, “Flashing Lights,” or now his otherworldly showcase, “The Glow In The Dark” tour, which stopped at the Susquehanna Bank Center in Camden, New Jersey over the weekend.

‘Ye, as always, should be credited for his ambition. The Chicago lyricist often goes without praise for the way he introduces the hip-hop audience to global trends and vice versa, introducing the global audience to hip-hop at large.

The downside to trend setting, however, is that every so often there’s a miss.

And unfortunately West is off the mark this time.

He doesn’t miss entirely. The giant LCD screen that West performs in front of for most of his set is impressive. Throughout the show, lights cut in and out and flash in the background while smoke billows on stage, creating a visually stunning sight. At times, West moves in and out of the imagery masterfully, in effect performing almost as an interpretive artist.

His entrance to “Stronger,” and songs like “I Wonder” and “Heard ‘Em Say” are imbued with an emotional jolt by the light offerings and West’s less-is-more vocal delivery on each.

It’s easy to see why Diddy would approve. It’s easy to see, too, why his show has been getting mixed reviews.

“Can’t Tell Me Nothing,” with its big, chanting chorus, on the other hand, was muted by the theatrics.

The song, bare and passionate, became ‘Ye’s first street anthem last year. The theme, more about defiance than monetary desire, connected with fans as West talked directly to both thugs and backpackers alike. Everyone related to the idea of bravado in the face of adversity. Fancy tricks weren’t needed.

So it’s worth noting that West, a natural-born connector if there ever was one, didn’t even acknowledge the audience until almost half-an-hour into his just over hour-long set.

Physically, he waved his arms in order to get the crowd louder. But he didn’t directly address the audience until later in the show. Also, at points, when he performed sitting on the floor or with his back slightly to the audience there was a noticeable lag.

For an artist such as West, who craves acceptance and reception to his work, it was odd. You beg for the world to pay attention and you often speak about how great your work is (which, with regularity, it is) but once you have the stage to yourself you stop talking?

The notion seems extremely self-indulgent. Especially considering a concert is about becoming one with your audience; in this case, the die-hards who supported West and helped his album debut at number one and also top 50 Cent’s challenge last Fall. And now, given the opportunity to reward them, Kanye doesn’t fully.

West is certainly brilliant, it goes without saying, and the light component to the show was impressive, but the combination never coalesced. Far too often, it felt like he wasn’t projecting his presence (‘Ye was the only person that appeared on stage until Lupe Fiasco joined in at the very end). Older selections of West’s also seemed stale when combined with the flashy laser show.

Kanye is at his best when, even though he’s ascended to higher heights, he’s fighting as if he still has something to prove to fans. To prove that he can produce, to prove that he can rap, and to prove that he can be as big a superstar as Jay-Z.

His genius lies in his genuine passion to please, which usually is all heart and about servicing fans. During his “Glow In The Dark” run he’s made it all about himself and aesthetics, without the soul that powers much of his work.

Perhaps ‘Ye could have taken one more page out of Big Brother’s playbook and paid attention to (most importantly) you, the customer. – Jayson Rodriguez

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Hot Wheels Monster Trucks come to life at Mullins Center

• Updated: Apr. 11, 2024, 8:11 a.m. |
• Published: Apr. 11, 2024, 8:00 a.m.

Hot Wheels Monster Trucks Live comes to Amherst this weekend.

• Keith O'Connor | Special to The Republican

Things will be positively “glowing” inside the Mullins Center this weekend.

Kids, and adults, too, can light up the arena with their own glow sticks as part of the Hot Wheels Monster Trucks Live Glow Party which roars its way into Amherst for two days beginning Saturday, April 13.

Showtimes for the event, produced by Family Entertainment Live, are 12:30 and 7:30 p.m. on Saturday, April 13, and 2:30 p.m. on Sunday, April 14.

Audiences will be entertained by a thrill show featuring their favorite Hot Wheels Monster Trucks including Mega Wrex, Tiger Shark, Demo Derby, Bone Shaker, Bigfoot, Gunkster, and the newest to the lineup HW 5-Alarm, the firetruck hero of Hot Wheels Monster Trucks.

The Glow Party production features a spectacular laser show, dance parties, and Hot Wheels toy giveaways. Fans can also witness a special appearance from a transforming robot, as well as the high flyers of Hot Wheels Monster Trucks Live Freestyle Motor Team.

“Hot Wheels Monster Trucks Live Glow Party continues delivering the ultimate fan experience to families across the country,” said Julie Freeland, senior director of Global Location Based Entertainment at Mattel. “This exhilarating show offers so many unique surprises, amazing glow effects and larger than life moments. We’re excited to bring the tour to more cities than ever before.”

In addition to the main show, there is a special Crash Zone/Power Smashers Pre-Show. For an additional $10 add-on to their tickets, fans can gain access to the competition floor to see their favorite Monster Trucks up close. Crash Zone times are Saturday matinee from 10-11:15 a.m., Saturday evening from 5-6:15 p.m., and Sunday matinee from noon to 1:15 p.m.

For an additional $75 ticket ad-on, the Backstage VIP Experience offers a backstage tour to see what happens behind the scenes before all of the smashing and crashing, as well as seeing the Monster Trucks up close during an exclusively guided tour by the hosts of Hot Wheels Monster Trucks Live. The VIP Experience also offers early entry to the Crash Zone and a merchandise bundle including a tote bag and glow-in-the-dark poster. Backstage VIP Experience times are Saturday matinee at 9:30 a.m., Saturday evening at 4:30 p.m., and Sunday matinee at 11:30 a.m.

Main Show tickets range in price from $29 to $59 for adults and $16.50 to $31.50 for children ages 2-12 and are available on the Mullins Center website .

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Saudi Arabia's futuristic $500 billion Neom megacity just got a lot smaller... for now, report says

• Saudi Arabia has cut estimates for people living in its $500 billion Neom project.
• Its government hoped the futuristic "The Line" city would hold 1.5 million by 2030.
• Now, fewer than 300,000 are expected to live there by then, officials said, per Bloomberg.

Saudi Arabia has cut estimates for the number of people living in its Neom megacity project by 2030.

Its government had previously said it wanted 1.5 million residents to be moved into the project's futuristic city, "The Line," by then, Bloomberg reported.

But that number is now likely to be fewer than 300,000, the Bloomberg report said, citing an unnamed person familiar with the matter.

Billed as a "cognitive city," The Line is set to stretch over 170 kilometers (roughly 105 miles) of desert to the Red Sea in the northwest of Saudi Arabia.

But just 2.4 kilometers (around 1.5 miles) of that is expected to be completed by 2030, the person familiar with the matter told Bloomberg.

The $500 billion Neom megacity, which will cover 26,500 square kilometers (just over 10,200 square miles), is part of Saudi Crown Prince Mohammed bin Salman's Vision 2030 plan to diversify the kingdom's economy away from oil and pivot toward tech and innovation.

It is set to feature glow-in-the-dark beaches, ski slopes, an artificial moon, robot butlers, and flying taxis, according to glossy brochures and public statements by its planners .

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But human rights activists have raised fears that the grandiose plans reflect not just Crown Prince Mohammed's ambition but his refusal to tolerate challenges to his power.

Experts told Business Insider in 2023 that the city could be fitted with Chinese technology to gather data on residents as part of a sweeping surveillance program. Others raised concern about the harsh punishments meted out to Saudi critics of the project, with Business Insider reporting last year that a woman was jailed for 30 years for criticizing the plans on social media.

Neom is just one of several "gigaprojects" underway as part of this plan.

The country's Public Investment Fund (PIF), its sovereign wealth fund, has long shouldered the large financial burden imposed by such projects — which are estimated to run at tens of billions of dollars each.

But the PIF said in January that its cash as of September had dropped to the lowest level since December 2020, The Wall Street Journal reported.

And that has forced the government to turn to a tactic it hasn't used for a long time to boost its funds — borrowing, per the report. It has also been reported that the kingdom plans to sell more shares in the state oil company Saudi Aramco this year.

The Saudi ruler has used a range of tactics to rebuild his global influence and reshape Saudi Arabia since the 2018 murder of dissident Jamal Khashoggi, which almost resulted in him being made a pariah on the world stage.

Alongside economic megaprojects, Saudi Arabia has also thrown money into other areas, such as sports.

The Guardian estimated in July 2023 that the kingdom had spent at least $6.3 billion on sports deals since 2021, from funding a giant merger between the PGA Tour and LIV Golf to prying a host of global soccer stars away from European leagues on huge salaries.

"It's mind-boggling the amount of stuff that's trying to be done here," Tim Callen, a visiting fellow at the Arab Gulf States Institute think tank, told The Journal.

Watch: The true cost of the lithium mining boom powering electric cars

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An Overview of Kanye West's Tour Stage Designs

12 years of unparalleled innovation..

You are reading your free article for this month. Members-only

[gallery columns="3"]Throughout the past 12 years of Kanye’s solo career, creative polymath has not pushed not only the creative boundaries for rap concerts but music, fashion and performance art. There has been no other artist that has pushed the frontiers of stage performance more than ‘Ye. He’s postponed or cancelled dates before when things weren’t up to par with his vision, even if it was far from the most economical decision.

Every time Kanye starts a new tour, it’s bigger, grander, more controversial and pushes the envelope to live performance. He pairs with fashion designers, artists, technicians and engineers to create shows that not only receive widespread critical acclaim, but also redefines the concert experience. We have put together a timeline of all of Kanye West’s tour stage designs, from his humble beginnings with the ‘College Dropout’ tour in 2004 to his infamous “floating stage” for his ongoing ‘Saint Pablo’ tour.

The ‘College Dropout’ Tour

The ‘Touch the Sky’ Tour

The ‘Glow in the Dark’ Tour

The ‘Watch The Throne’ Tour (with JAY Z)

The ‘Yeezus’ Tour

The ‘Saint Pablo’ Tour

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Hot Wheels Monster Trucks Live Glow Party

• Oct 19 Saturday / 12:30PM Buy Tickets
• Oct 19 Saturday / 7:30PM Buy Tickets
• Oct 20 Sunday / 2:30PM Buy Tickets

Event Details

Hot Wheels Monster Trucks Live ™ Glow Party ™ brings fans’ favorite Hot Wheels Monster Trucks to life including Mega Wrex™, Tiger Shark™, Demo Derby™, Bone Shaker™, Bigfoot®, Gunkster™, and introducing the brand new HW 5-Alarm™, the firetruck hero of Hot Wheels Monster Trucks! The Glow Party production features a laser light show, spectacular theatrical effects, dance parties, and Hot Wheels toy giveaways. Fans can also witness a special appearance from a transforming robot, plus the high-flyers of Hot Wheels Monster Trucks Live Freestyle Motocross Team. Special kid's pricing is available for all shows providing a great value for the whole family!

PLEASE NOTE: Children under 2 are free (no seat provided). Clear Bag Policy will be in effect.  Thanks in advance for your cooperation. 

Ticket Information

*Applicable facility fee & service charges are additional.

• Kids ages 2 and up must have a ticket. Kids tickets are valid ages 2-12.
• Must purchase 1 adult per 3 kids tickets.
• Kids under 2 are free on a parent’s lap.

Group Information

BRING A GROUP!

Bring a group of 10 adults or more, and save on tickets! Group and Military discounts available. Call the Box Office for more information. 

Related Links

• Official Website
• Private Viewing Suite Inquiry

Clear Bag Policy

NEW CLEAR BAG POLICY FOR CAJUNDOME & CONVENTION CENTER EVENTS

The policy, which is part of a growing trend at venues across the country, will start March 1, 2020. 

Each ticket holder, including children, may carry one approved clear bag, such as a one-gallon clear storage bag or clear purse no larger than 12" x 12" x 6". The following bags will be permitted inside the CAJUNDOME & Convention Center and are subject to search.

• Gallon size clear plastic storage bag.
• Clear bag equal to or smaller than 12" x 12" x 6" 
• A clutch or purse smaller than 6.5" x 4.5"
• Equipment bag for necessary medical items.
• Diaper bag for age-appropriate children accompanied by an adult.

Prohibited bags include, but are not limited to: large purses, duffle bags, coolers, briefcases, backpacks, fanny packs, mesh bags, or any bag larger than the permissible sizes mentioned above. Tinted or printed-pattern plastic bags are not clear, so they will not be permitted.

The Table Room is a brand new venue space that will provide an additional entertainment space featuring full bar service including beer, specialty cocktails and premium wine selections. The Table Room provides an opportunity for concert and event patrons to arrive early and socialize with friends, family and other guests.  

Hot Wheels Power Smashers Pre-Show

The Hot Wheels Power Smashers™ Pre-Show is an event that gives fans exclusive access to their favorite Hot Wheels Monster Trucks up close! This unique experience allows fans to enter the competition floor before the show and get their minds blown by the outrageous design and epic size of the Hot Wheels Monster Trucks.

Experience the heart of where all the epic crashes and thrilling stunts will take place. This party also features exclusive games, contests and giveaways. If you want to go big, you gotta go Hot Wheels at the Hot Wheels Power Smashers™ Pre-Show !

The Hot Wheels Power Smashers™ Pre-Show is available for your enjoyment starting 2 1/2 hours before each showtime and lasts an hour and 15 minutes. Admittance will end 15 minutes before the Hot Wheels Power Smashers™ Pre-Show concludes.  

Hot Wheels Power Smashers™ Pre-Show Tickets | $10 per ticket  

PURCHASE TICKETS

Exclusive Backstage Hot Wheels VIP Experience

Exclusive Backstage Hot Wheels VIP Experience

See the Hot Wheels Monster Trucks up close and personal, exclusively guided by the hosts of Hot Wheels Monster Trucks Live! Experience what happens behind the scenes before all of the smashing and crashing goes down and then watch when the Hot Wheels Monster Trucks come to life, includes a VIP merch bundle.

VIP Backstage Tour Package includes tour, autographs and merchandise as well as early access into the Hot Wheels Power Smashers™ Pre-Show . The Merchandise Bundle includes:

• 3-inch Hot Wheels Monster Truck VIP cloth patch
• 11x17 Hot Wheels Monster Truck Live Glow in the Dark poster
• 12x16 Hot Wheels Monster Truck VIP reusable tote bag

Purchase Tickets

Group Sales

Group Discounts Available

Minimum of 10 adult tickets required. Discount applies to select ticket locations.  

Private Suite Rental

PRIVATE SUITE RENTAL

Experience a CAJUNDOME event from the comfort of a luxury suite. These newly renovated luxury suites can accommodate anywhere from 16 - 40 guests and include some of the finest amenities available. While the view from the suites will be one to remember, the real memories come from those extra perks that make these suites the premier showplace for entertaining. Rest assured that whomever your guest may be, the level of entertainment and service will be second to none.

Please contact the Premium Sales Department at 337-265-2390 for more information or click on the following button to request more information. 

Suite/Audi VIP Club Inquiry  

SUITE AMENITIES

• Tickets to event (depending on suite capacity)
• VIP parking spaces
• Private restroom
• Dedicated suite attendants
• Upscale furnishings with a great view overlooking the arena
• TV monitor linked to the in-house channel (cable ready)
• Wet bar with sink, ice bin and refrigerator (not available in all suites)
• Cabinets for storage
• Independent climate control
• Private and secure environment
• Upscale catering service available

COVID-19 ACKNOWLEDGEMENT

By accepting a ticket and using it for entry or resale/other, you are acknowledging that an inherent risk of exposure to COVID-19 exists in any public place where people are or have been present and that the CAJUNDOME cannot ensure that its premises are risk-free. 

By attending the Event, you and any guests voluntarily assume all risks related to exposure to COVID-19 (coronavirus), and agree not to hold the Lafayette City-Parish Consolidated Government, its officials, employees and volunteers, the CAJUNDOME Commission and The University of Louisiana at Lafayette for any illness or injury in connection with your or your guests, attendance at the Event. 

You assume all risks, hazards, and dangers arising from or relating in any way to the risk of contracting a communicable disease or illness—including, without limitation, exposure to COVID-19 or any other bacteria, virus, or other pathogen capable of causing a communicable disease or illness, whether that exposure occurs before, during, or after the event, and regardless of how caused or contracted—and you hereby waive any and all claims and potential claims against Ticketmaster, H.G.I., and the Event Organizer — and against any companies affiliated with Ticketmaster, H.G.I., or the Event Organizer / Promoter — relating to such risks, hazards, and dangers.

Latest News

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Toughest Monster Truck Tour Returns to CAJUNDOME March 15 & 16

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In the Magnificence of Iowa’s Glow, Albany Catches Some Shade

During the waning moments of Iowa’s victory over L.S.U. on Monday, a stray comment on the televised broadcast cast the New York capital in an unflattering light.

By Claire Fahy

Reporting from Albany, N.Y.

As Caitlin Clark and the Iowa Hawkeyes watched the clock wind down on their Elite Eight victory in Albany, N.Y., on Monday night, a sarcastic aside suddenly brought unwanted attention to the host city.

With Iowa about to advance in the N.C.A.A. women’s basketball tournament, one of the ESPN announcers related an anecdote about how Clark, Iowa’s superstar shooting guard, had told her family to leave her alone leading up to the game and entertain themselves in New York’s capital city. The other commentator, Rebecca Lobo, laughed.

“Good luck finding something to do in Albany,” she said.

In a game that featured 36 fouls, those eight words may have landed the toughest blow. Almost 14,000 fans packed the MVP Arena on Monday, and even more traveled from around the country to crowd Albany’s hotels and restaurants over the weekend to see some of the greatest women’s college basketball teams compete.

Millions more tuned in to the broadcast. In short, all eyes were on Albany.

Lobo, a former W.N.B.A. star who played for the University of Connecticut, later apologized, writing on social media that she was familiar with Albany, having spent a number of weekends there to coach her children’s sports teams.

“No shade intended towards the capital city and the outstanding job they did hosting the regional,” she wrote.

But the damage was done. Defenders of Albany, including its mayor, Kathy Sheehan, flocked to social media to express outrage at the comment.

On Tuesday morning, Ms. Sheehan acknowledged Lobo’s comments in a post on X and invited her to ride along to some of the city’s sights before leaving town.

“Look, I can understand that people coming to Albany, if they’re expecting a New York City or some other multimillion-person city, that this is a little bit different,” Ms. Sheehan said in an interview on Tuesday. “But I think that we bring a local flavor to everything.”

Gov. Kathy Hochul also extended Lobo an invitation to join her for a tour of the State Capitol building next time she was in town, or for a meal at Cafe Capriccio or a drink at the War Room , a local watering hole.

“Albany is full of gems and anyone who disagrees simply doesn’t know where to look,” Ms. Hochul said on Tuesday.

The regional round of the women’s tournament was split between two sites this year — Portland, Ore., and Albany — with eight teams competing in each location to determine who advances to the Final Four in Cleveland. The cities were chosen in 2021, before the record-setting success of last year’s women’s March Madness .

Earlier in the week, L.S.U. coach Kim Mulkey questioned the quality of Albany’s hotels, wondering aloud whether the eight team hotels were of the same standard.

“Do you have eight hotels that are all of equal value, that are all the same?” she asked. “Probably not. I don’t know how many cities do.”

Albany is no stranger to criticism. A quarter-century ago, The Times Union, Albany’s local newspaper, chronicled the many slights against the city in popular culture. Three years ago, the paper offered a companion piece: “9 more times celebrities hated on Albany.”

But disdain does carry some risk: Edward I. Koch, the former mayor of New York City, may have doomed his chances in the 1982 primary for governor when he voiced his hesitation over running because the job “requires living in Albany, which is small-town living at its worst.” Mr. Koch lost to Mario M. Cuomo .

In an interview with The Washington Post , Lisa Peterson, the chair of the Division I women’s basketball committee for the N.C.A.A., acknowledged Albany’s limitations in hosting a major sporting event. While Albany has played host to both the men’s and women’s tournaments in years past, the city can be difficult to travel to, she said, and has limited entertainment options.

Those limitations were on display on Monday night. Inside the MVP Arena, the Hawkeyes celebrated on the court for close to an hour following the final whistle, reveling in mounds of confetti and dancing to upbeat music. But outside, the businesses surrounding the arena were mostly dark. The buzz from the court did not spill out into the city itself. Once again, Ms. Sheehan pushed back.

“I live downtown, and after the game I could have stopped at no fewer than five places between the arena and my house,” Ms. Sheehan said. “There were lots of people, they were jumping, it was really great to see.”

Despite its apparent shortcomings, Albany did manage to draw some star power on Monday. The star of “Ted Lasso,” Jason Sudeikis, a noted Brooklynite, stood in the stands wearing a sweatshirt that said, “Everyone watches women’s sports.”

While everyone was watching, the tournament itself went off without a hitch. There were no complaints from players about accommodations, and the games ran smoothly.

With the tournament now in Albany’s rearview mirror, the city can turn its attention to a more pressing matter: a mysterious odor plaguing its north side — described by The New York Post as a “urine-flatulence combination stench.” An investigation is underway.

Claire Fahy reports on New York City and the surrounding area for The Times. She can be reached at [email protected]. More about Claire Fahy

Inside the World of Sports

Dive deeper into the people, issues and trends shaping professional, collegiate and amateur athletics..

Minor League Baseball’s Real Estate: The fight over a new stadium for the Eugene Emeralds  highlights a wider challenge for cheaper alternatives to big-league live sports.

New York’s Favorite Soccer Team: Some people splurge on vacations, fancy shoes and motorcycles. A group of dozens of friends, neighbors and co-workers decided to try something better (or maybe worse): They bought a middling soccer team in Denmark .

Here Comes Padel: The sport is played with a racket on a court with a net, but watch out for those bouncing shots from the back wall. Reporters take a look at the padel scene in New York City .

Have the Brands Gone Too Far?: Runners at the Boston Marathon are disappointed that the new finisher medals feature a large bank logo  across the bottom.

How Soccer Embraced Ramadan: In competitions like the Premier League, Muslim pros who once faced pressure to avoid daily fasts  during the monthlong holiday now benefit from custom diets and in-game breaks.