New Order announce four-night residency at the Fillmore Miami Beach

If you’re currently blasting “Blue Monday” or “Bizarre Love Triangle” and need plans to bail on the cold days of winter, we may have the perfect solution for you.

On Monday (June 24), New Order announced plans for their first-ever residency in the United States. The band will perform four shows throughout four nights at the Fillmore at the Jackie Gleason Theater in Miami Beach.

Dubbed “Four Nights at the Fillmore,” the four-night engagement will find the group taking the stage at the iconic South Florida venue in mid-January 2020. The dates are as follows: Tuesday, Jan. 14; Wednesday, Jan. 15; Friday, Jan. 17; and their final performance on Saturday, Jan. 18.

Tickets for the shows go on sale this Friday, June 28, at 10 a.m. local time. Tickets start at $78.50 for general admission. If you’re a superfan whose goal is to see the group on all four days, a special four-pass will be available for $250. The only downside will be if the band decides to play the same exact set list each night (sorry, we can’t control that).

Special hotel packages will also be available for those who want to make a vacation of it (the beach is a good five minutes away from the venue, FYI).

DJ Arthur Baker and some special guests who have yet to be announced are slated to appear during the four nights.

The upcoming residency will not be the first for the Fillmore. A few weeks before New Order, Madame X herself Madonna will take over the Fillmore for a five-night run in mid-December. That residency is in support of Madonna’s 14th studio album Madame X.

New Order is set to release their live album ?(No,12k,Lg,17Mif) New Order + Liam Gillick: So It Goes.., on July 12.

The album was recorded during the band’s July 2017 show at Manchester’s Old Granada Studios. That show was part of New Order’s five-night residency at Old Granada.

New Order’s last studio effort was 2015’s Music Complete.

Walk the Moon Bring the High-Energy Dance Party to Miami Beach


(Oct. 13) Walk the Moon at The Fillmore Miami Beach/ Photo by Erica Dominguez

Walk the Moon have become known for their catchy and upbeat songs almost as much as for their colorful and vivid shows reminiscent of a Lisa Frank drawing. On Tuesday night (Oct. 13), the Ohio-based band landed in Miami Beach for their first show ever at The Fillmore Miami Beach.

Kicking off the evening was California-based group HOLYCHILD. The duo, who met in a dance class, is made up of singer Liz Nistico and multi-instrumentalist Louie Diller. Their stage presence, especially Nistico, was not to be missed. Dressed in a Boho version of Princess Jasmine’s attire in Aladdin, Nistico showed the crowd just how into her own music she was, dancing around the stage while Diller, who was dressed in a sweater with a massive hamburger on his chest, played his own instruments.

While their stagemanship was energetic and vivid, the same cannot be said about their stage lighting. For a venue with a dark paint job, it was not ideal to have the duo perform in predominately dark lights. For audience members nowhere near the front of the stage, and the photographers alike, it became a particularly difficult task to see the band members on stage. But while some were bothered by the unfortunate lighting situation, it didn’t seem to bother those at the front of the barricades singing and dancing throughout the whole set.

Once their set ended, that stage went dark allowing Walk the Moon’s technicians to get to work setting up the stage for the band. Knowing that waiting for a set change is a particularly daunting and boring task, especially for the fans who had been waiting since three in the afternoon, the venue put on a playlist consisting of electro-pop groups with music styles similar to Walk the Moon.

When Capital Cities’ “Safe and Sound” blasted through the speakers, a massive sing-along ensued with the crowd’s joint voices almost drowning out the actual song. Once “Safe and Sound” ended, Elton John’s “Circle of Life” soon filled the room. The song was an indication that the band was about to hit the stage.

Hidden by the dark blue lights illuminating the stage, the members of Walk the Moon made their way to their rightful places on the stage during the Lion King song. The subdued moment didn’t last long as the band quickly launched into the first song of the evening, “Jenny.” Quickly, everyone in the room began to realize that this was not a show that was going to lose its high energy, liveness.

During “Jenny,” frontman Nicholas Petricca was so in the zone that at one point it appeared that he was grinding against his keyboards. Not to be outdone by their frontman, guitarist Eli Maiman and bassist Kevin Ray ran up and down the stage like a bunch of children who drank one too many Red Bulls earlier in the day. Not to be left out was drummer Sean Waugaman with his purple hair and turquoise lit drum set, banging his drums and cymbals to the beat of the first song of the night.

After playing through “Sidekick” and “Avalanche” from 2014’s Talking is Hard, the album the tour is named after, Petricca admitted that this was their first show in the “Magic City.” It was true. When they opened for Panic! at the Disco during 2014’s “The Gospel Tour,” the show took place in Boca Raton while their sold out show earlier this year was at Ft. Lauderdale’s Revolution Live. Petricca also admitted how much he liked Miami because it was a “melting pot” full of “different colors”; a direct lead-in for their current single, “Different Colors.”

The setlist mainly consisted of songs from Talking is Hard including “UP2U,” “Work That Body,” Portugal,” and “Aquaman,” but managed to add some songs from their self-titled debut like “Tightrope,” “Lisa Baby,” and “I Can Lift a Car.” The last song on their official setlist was the one that earned them massive popularity and resulted in the song spending a history-making 27 consecutive weeks at number one on Billboard’s Hot Rock Song chart; “Shut Up and Dance.” The song stayed true to its title, making everyone in the crowd get up and dance, including a couple of security guards and fire rescue personnel.

Once the song ended, the four-piece walked off stage, but the crowd was not happy about that. Instead, they began to chant “Anna Sun”; arguably the band’s breakout song and the one track they had yet to play. For what was probably the shortest pre-encore break, the band came back onto the stage for their encore set. Petricca spoke to the audience, thanking them for coming out on a rainy Tuesday evening and even showing off some of his Spanish; “To all our friends from south of the border, gracias por venir.” After the thanks, they launched into “We are the Kids” also off of Talking is Hard.

Once “We are the Kids” had concluded, Walk the Moon didn’t waste any time and launched directly into the song that everyone, or at least the vast majority of the audience, was waiting for, “Anna Sun.” Proving that these were not just a group of people here for the “one hit,” the medley of voice sang the lyrics alongside Petricca until the very last word. After throwing some guitar picks, a Styrofoam plate with the setlist written on it, and what was appeared to be a drum head into the crowd, the band bid their final farewell to the dissipating crowd before them. As they made their way off the stage to the backstage area, the crowd of fans that still lingered made their own ways to the exit, signaling the end to another concert at The Fillmore.

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Things Have Changed for Panic! at the Disco


Making it to the tenth year anniversary of your debut album is quite a feat for many bands and for Panic! at the Disco it hasn’t been such a quiet journey. With several band members leaving the act including original lyricist and guitarist, Ryan Ross, all seemed doom for the Las Vegas band, but almost five years after all that happened, they are back and even more loved than before.

Any preconceived notions that the band was a one-hit wonder went out the window the second you pulled up to the historic Fillmore at the Jackie Gleason in Miami Beach. A line began at the front of the venue and circled around it, clear towards a parking garage a block or so away. Even the fast pass lane had its own traffic jam of people eager to make their way in. Once the sold out crowd made up of mostly kids in their early teens, made their way into the venue, it was as if the floodgates had opened from a dam. Pushing and shoving began in no time from those who arrived late and hoped to get close enough to witness frontman Brendon Urie in all his glory.

The show began with New York City-based Junior Prom who opened with several of their songs including lead single, “Sheila” from their EP. The duo spoke about being grateful to be out of the frozen weather of New York and in Summery sunshine of South Florida, for a change. With music that would be fitting on an All Time Low and Boys Like Girls tour, they were an instant hit with the catchy tunes.

Following a quick set change, the other opening act, The Colourist took the stage. With songs reminiscent of what poppy indie music should sound like, you would expect to hear their tracks on the local college’s radio station. The California band which is made up of five members, were introduced individually by girl drummer, Maya Tuttle (PS, guitarist Justin like pizza). They also announced that their self-titled debut album would be coming out soon and to keep an eye out for it. With a few more songs, a slower one that didn’t seem to fit and a more upbeat one, their set came to a close, giving way to the long pause before Panic! at the Disco would take the stage.

For what felt like ages of pushing and shoving from audience members getting relentless, the lights finally dimmed and the countdown began.

It was show time.

Frontman Brendon Urie appeared on stage in full black (black leather pants anyone?) minus his jacket which looked to be of gold sequins while the rest of the band was dressed in all black. The countdown blended into the first song of the night, “Vegas Lights” from their recently released album, Too Weird to Live, Too Rare to Die.

Instead of sticking to all songs from the newly released album, the set list did a great job of including fan favorites from all their previous albums. From their debut, A Fever You Can’t Sweat Out “The Only Difference Between Martyrdom and Suicide Is Press Coverage,” “Time to Dance,” “Camisado,” “But It’s Better If You Do” and “Lying Is the Most Fun a Girl Can Have Without Taking Her Clothes Off” made the list.

As for their second album, Pretty.Odd, not much love was given except for “Nine in the Afternoon” with its clock-centric visuals.

Vice and Virtues which can arguably be the least liked album had several songs make the cut including lead single, “The Ballad of Mona Lisa,” “Hurricane,” “Let’s Kill Tonight,” and Universal Studios’ current theme song, “Ready to Go.” But while the set list was a blend of new and old tracks, many songs from Too Weird to Live were present including “This is Gospel,” “Nicotine,” “Casual Affair,” and first single “Miss Jackson” where Urie got on the drum platform and did a backflip onto the stage.

You could not deny that Urie has showmanship running through his veins because he easily transitioned from playing the drums, to playing the guitar to playing the piano on stage throughout the set.

Without any warning, the stage lights turned a shade of indigo and the band left the stage, without a single sign on what was to come.

Whispers began among the audience which eventually led to most of them chanting, “Panic! Panic!” coaxing the band to come back on stage for their encore.

Like clockwork, the band returned onto the stage for their encore with a shirtless Urie carrying a microphone stand wrapped in bras. Like with any shows with a half-dressed singer, the audience began to push and shove as well as hooting and hollering.

The encore was two songs long beginning with “Girls/Girls/Boy,” the same song in which the video features a “naked” Urie. Before beginning on the last song of the evening, Urie gave the audience a taste of his YouTube compilation, “Positive Hardcore Thursday”; a nudge at what would have happened if Panic! would have gone in the screamo direction. Like most screamo acts, the words that were being screamed were unintelligible.

Closing out the show was the song that made them a name in the music world and took them from being Fall Out Boy, Pete Wentz’s pet project to performing at the MTV Video Music Awards, “I Write Sins, Not Tragedies.” With how loud the crowd was singing along, you could barely make out the real voice of the song. Midway through the song, Urie once again did a backflip, not missing a beat from the song. With a simple wave of the hand and throwing of some drumsticks and guitar picks, the house light came up putting an end to another great show.

When all was said and done, the insane crowd shuffled out as fast as they arrived, leaving a sea of empty, overpriced water bottles and glow sticks on the ground for the staff to clean up.

Just another night at a rock show.

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**Noticeably missing from the line up was drummer Spencer Smith. The drummer had decided not to take part in the current tour after revealing that he was suffering from addiction last year.**

Take Over, the Break is Definitely Over for Fall Out Boy


Ever thought you’d see the day when Chicago-based Fall Out Boy would sell out, let alone have a line circling a venue? Well, that’s what happened at the Miami stop of the “Save Rock and Roll” tour.

The Fillmore is not exactly a small venue, but in less than 8 hours, the box office had officially ruled the tour stop, sold out. The line outside the venue that started to form at eight in the morning showed proof of just how much the fans missed the foursome.

The show started out with Fall Out Boy’s opening act, New Politics taking the stage and proving why they got the gig. The Denmark-based band, made a splash with fans easily shifting from hard-hitting rock songs to pop-punk songs that could easily fit into the genre that Fall Out Boy helped mold.

Frontman David Boyd, was what every frontman should hope to be with the energy that not once wavered as he did cartwheels, handstands, some break dancing and even clapping with his feet. His energy as well as the energy from the other two members, would explain why FOB frontman, Patrick Stump told the audience his cousin was more excited to see New Politics than FOB.

Once their set had finished, the stage went dark and the lights went up, giving fans time to prepare themselves for the show that would be starting after the set change.

It was a little past nine when the banging of the drums started and the silhouettes of the band could be seen behind sheer curtains. The noise of the fans cheering become united once the sheer curtains dropped, minus one that decided to stay lingering as the band into 2007’s “Thriller.”

Dressed in matching attire, minus drummer Andy Hurley who apparently missed the memo, they launched into a setlist that brought together songs from all of their albums. The hour and a half show featured songs from each one of their albums giving old fans some nostalgic moments and new ones to be introduced to those songs.

The set included songs from Take This to Your Grave such as “Grand Theft Autumn (Where is Your Boy)” and “Tell That Mick He Just Made My List of Things to Do Today” as well as selected songs from From Under the Corktree including “Dance, Dance,” “A Little Less Sixteen Candles, A Little More Touch Me” and the song that launched them to top 40 success, “Sugar, We’re Going Down.”

“Hum Hallelujah” and “This Ain’t a Scene, It’s an Arms Race” joined show opener, “Thriller” from Infinity on High while “I Don’t Care” and “Disloyal Order of Water Buffaloes” from pre-hiatus album, Folie à Deux made an appearance as well.

After taking a few seconds to collect themselves, they returned for their encore but first they sang bassist, Pete Wentz, happy birthday with the help of the sold out venue. The band presented the bassist with a cake and a $25 gift card to Starbucks which made him so excited, he ran clear across stage to give guitarist, Joe Trohman who had the card, a big, manly hug.

The encore included three songs, starting with a visually beautiful performance of “Save Rock and Roll” which paid tribute to some of rock’s late stars as well as current ones. Closing out the show were “Thnks Fr Th Mmrs” and “Saturday” which signaled the end of Fall Out Boy’s comeback.

While the show was great there was some disappointment which came in the form of Wentz. The charismatic stage persona he was known for was no longer there. The energy that he used to portray like a five-year-old on Sour Patches and Red Bull was all gone as well as the bass flips, jumps and dangerous antics. One thing that really changed and maybe for the best during the break was Stump’s ability to articulate. Long gone are the days of “watching Youtube from the closet.”

So when anyone asks if the break is officially over, the answer is “yes, the break is definitely over.”

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