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THE PRODIGY Announces First Tour Since KEITH FLINT's Death

"THIS ONE'S FOR FLINTY."

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The Prodigy Announce First Tour Since Keith Flint’s Death: “This One’s for Flinty”

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The post The Prodigy Announce First Tour Since Keith Flint ’s Death: “This One’s for Flinty” appeared first on Consequence .

For the first time since frontman Keith Flint was found dead in 2019, The Prodigy are hitting the road. Bandmates Liam Howlett and Maxim Reality are celebrating the 25th anniversary of the seminal electronic album The Fat of the Land with a 10-date trek through the UK.

“WE CANT WAIT TO GET BACK ONSTAGE AND PLAY OUR TUNES FOR THE PEOPLE AGAIN,” The Prodigy wrote in a social media statement . “THE 25TH ANNIVERSARY OF ‘FAT OF THE LAND’ FELT LIKE THE RIGHT TIME FOR US TO STEP UP.” The band also hinted at new music, adding, “WE’LL BE DROPPIN TUNES FROM ALL OUR ALBUMS AND MAYBE SOME SHIT U HAVNT HEARD BEFORE.”

The statement ended with the words, “THIS ONE’S FOR FLINTY, NOW LETS FUKIN GO!!”

Nine out of the ten stops will be at Academy Music Group venues, so The Prodigy will play such diverse spots as O2 Academy Sheffield, 02 Academy Leeds, and other O2 Academies in Birmingham, City Hall Newcastle, Victoria Manchester, and Brixton in London. Just to mix things up, they’ll also play a single night in Liverpool’s Montford Hall. Check out the dates below. Tickets go on sale Friday, March 11th, and you can book your seat here .

The Prodigy 2022 Tour Dates: 07/08 — Sheffield, England @ O2 Academy Sheffield 07/09 — Sheffield, England @ O2 Academy Sheffield 07/14 — Liverpool, England @ Montford Hall 07/15 — Leeds, England @ O2 Academy Leeds 07/16 — Birmingham, England @ O2 Academy Birmingham 07/18 — Newcastle upon Tyne @ O2 City Hall Newcastle 07/19 — Manchester, England @ O2 Victoria Warehouse Manchester 07/21 — London, England @ O2 Academy Brixton 07/22 — London, England @ O2 Academy Brixton 07/23 — London, England @ O2 Academy Brixton

The Prodigy Announce First Tour Since Keith Flint’s Death: “This One’s for Flinty” Wren Graves

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The Prodigy played their first show since Keith Flint died last night – here's what they played

The Prodigy’s first show without Keith Flint took place last night in Sheffield

The Prodigy played Sheffield’s 02 Academy on Friday July 8, and it was their first live performance since frontman Keith Flint passed away.

Flint passed away on March 4, 2019 at the age of 49. It was confirmed by his bandmates in a statement that he died by suicide.

The Prodigy’s Sheffield show last night was the opening date of a sold-out UK tour that will see them playing again in Sheffield tonight as well as shows in Liverpool, Leeds, Birmingham, Newcastle, Manchester and London.

The touring line-up includes original members Maxim and Liam Howlett. “It’s been a long time fucking coming,” said Maxim on stage in Sheffield last night, before the band opened with Breathe , their hit single that went to Number One in the UK when it was released back in 1996.

The packed setlist also included Voodoo People , Take Me To The Hospital, and Firestarter – that included a hologram outline of Keith Flint. Though the band previously hinted that they might drop new music on this tour, and also shared a snippet of new music on their social media last year, they didn't play any new songs last night. You can see the full setlist and the rest of the tour dates below.

Fans took to social media to share pictures and videos from the show, with many commenting that it was a fitting tribute to Flint.

Great punk rock show from the Prodigy in Sheffield last night. Keith was missed but the rest of the guys really stepped up. pic.twitter.com/SeAzjvX3kM July 9, 2022

A post shared by Adam Taylor (@_ademan_) A photo posted by on

So hyped last night at the emotional return of The Prodigy last night in Sheffield, the greatest dance act of all time raised the roof once more.30 years and still rippin shit up 🤘 pic.twitter.com/E5XLY8feKC July 9, 2022

A post shared by Scott Robinson (@scottlerobinson) A photo posted by on

The Prodigy were class last night in Sheffield. Never had an out of body experience by a sub woofer before 😂One of the hottest gigs I’ve ever been to and a beautiful tribute to Keith. July 9, 2022

The Prodigy setlist, Sheffield

Breathe Omen Wild Frontier Light Up the Sky Climbatize Everybody in the Place Voodoo People Champions of London Their Law Omen (Reprise) Firestarter Roadblox No Good (Start the Dance) Poison Get Your Fight On Need Some1 Smack My Bitch Up Encore: We Live Forever Take Me to the Hospital Invaders Must Die Out of Space

Metal Hammer Newsletter

The Prodigy UK tour dates

Jul 09: O2 Academy, Sheffield Jul 14: Monford Hall, Liverpool Jul 15: O2 Academy, Leeds Jul 16: O2 Academy, Birmingham Jul 18: O2 City Hall, Newcastle Jul 19: O2 Victoria Warehouse, Manchester Jul 22: London O2 Academy, Brixton Jul 23: London O2 Academy, Brixton

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The Prodigy unveil 2023 U.K. tour dates

The band will be visiting seven venues this november..

The Prodigy are going on tour again this fall. The band, made up of Maxim and Liam Howell, hit the road last year for the first since the death of their frontman, Keith Flint , in 2019. Now, they've announced seven dates across the U.K. for their forthcoming "Army Of The Ants" Tour.

"'Army Of The Ants' is a calling to The Prodigy Peoples," Liam Howell writes on The Prodigy's official Instagram . "We're coming back for you the only way we know, full attack mode, double barrel."

The Prodigy announce shows for The Fat of the Land’s 25th anniversary

The Prodigy 2023 tour dates

November 16 - Glasgow, UK - Glasgow OVO Hydro November 17 - Manchester, UK - Manchester AO Arena November 18 - Leeds, UK - Leeds First Direct Arena November 20 - Brighton, UK - Brighton Centre November 21 - Cardiff, UK - Cardiff Motorpoint Arena November 23 - Birmingham, UK - Birmingham Utilita Arena November 24 - London, UK - London Alexandra Palace

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The Prodigy announce trio of headline shows for 2023

8 November 2022, 17:20 | Updated: 8 November 2022, 17:49

The Firestarter outfit will play three shows in Ireland, where they will be supported by Andy C. Find out how to buy tickets.

Listen to this article

The Prodigy have announced three Irish dates for 2023.

The outfit - made up of Liam Howlett and Maxim - will play a trio of dates in the country which will see them perform at Cork's Musgrave Park on 28th June and Dublin's Fairview Park on 29th June, before heading to Northern Ireland for a headline show at Belfast's Belsonic on 30th June.

Support will come in the form of special guest Andy C , with tickets on sale this Friday 11th November at 9am.

Find out everything you need to know about the shows below:

View this post on Instagram A post shared by The Prodigy official (@theprodigyofficial)

READ MORE: The Prodigy thank fans after playing first gigs since Keith Flint's passing

What are The Prodigy's 2023 dates?

28th June 2023: Musgrave Park, Cork

29th June 2023: Fairview Park, Dublic

30th June 2023: Belsonic, Belfast

When do The Prodigy tickets go on sale?

Tickets for The Prodigy's 2023 gigs are on sale this Friday 11th November at 9am from ticketmaster.ie.

This summer saw the outfit play their first gigs since the tragic passing of frontman Keith Flint.

The band's founding member tragically passed away 4th March 2019, aged 49 and his bandmates Liam Howlett and Maxim returned to the stage for a duo of gigs at Sheffield's O2 Academy on Friday (8th July) and Saturday (9th July).

Before performing the dance icons Breathe banger, co-founder Howlett said to the crowd: "It’s been a long time f****** coming."

A hologram of Keith Flint was also used to pay homage to the late star during the band's rendition of Firestarter .

The setlist also included fan-favourites such as Omen, oodoo People and Smack My B**** Up.

Taking to social media to share photos after one of their dates, they wrote: "Sheffield We wanna thank every one of u that came out and supported us , this ment so much to us , the whole place blew the fu* up and it was a night we will never forget , Thankyou for the continued luv and support , we luv all muthaf*****s,

"Now let’s F**in do it again!"

Sheffield We wanna thank every one of u that came out and supported us , this ment so much to us , the whole place blew the fuk up and it was a night we will never forget , Thankyou for the continued luv and support , we luv all muthafukkas, Now let’s Fukin do it again! pic.twitter.com/UcMze7qVM2 — The Prodigy (@the_prodigy) July 9, 2022

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The Prodigy announce return with live tour for 2022: “This one’s for Flinty”

The group have hinted that new music could be on the way too

The Prodigy have today (March 7) announced details of a live tour for 2022 – check out the dates below and buy your tickets here .

READ MORE: Keith Flint, 1969-2019: the twisted face of rave, the beating heart of The Prodigy

The group will return with a run of live dates in England across July this year to coincide with the 25th anniversary of their iconic album, ‘The Fat Of The Land’.

Writing on social media, the group said: “We can’t wait to get back onstage to play our tunes for the people again. The 25th anniversary of ‘Fat Of The Land’ felt like the right time for us to step up.”

They also hinted that new music could follow too.

They wrote: “We’ll be droppin tunes from all our albums and maybe some shit u haven’t heard before.”

They concluded by saying that they are dedicating the shows to late frontman Keith Flint, adding: “This one’s for Flinty…Now let’s fuckin go!”

The Prodigy return to the stage to play a run of live dates in England during July this year, coinciding with the 25th anniversary of The Fat Of The Land.⁰ Warrior pre-sale information and full details at https://t.co/6uispvc388 Photo – @shootinginvader pic.twitter.com/lO6nLSNugp — The Prodigy (@the_prodigy) March 7, 2022

👀 @the_prodigy On O2? Priority Tickets on sale 9am Wed 09 Mar & 9am Fri 11 Mar @TicketmasterUK #O2Priority pic.twitter.com/XhbAgn9qKP — O2 Academy Brixton (@O2academybrix) March 7, 2022

A ticket pre-sale starts at 9am on March 9 and the general sale begins at 9am on March 11. Tickets will be available to buy here .

The group will play gigs in Sheffield, Liverpool, Leeds, Birmingham, Newcastle and Manchester before a three-night run in Brixton, London.

The full list of tour dates can be found below:

JULY 8 – O2 Academy, Sheffield 9 – O2 Academy, Sheffield 14 – Mountford Hall, Liverpool 15 – O2 Academy, Leeds 16 – O2 Academy, Birmingham 18 – O2 City Hall, Newcastle 19 – O2 Victoria Warehouse, Manchester 21 – London O2 Academy, Brixton 22 – London O2 Academy, Brixton 23 – London O2 Academy, Brixton

The Prodigy last week paid fresh tribute to their late frontman Keith Flint to mark the third anniversary of his death.

After they previously paid tribute to Flint in March 2021 , The Prodigy once again marked the anniversary of the singer’s passing with a social media post in his honour.

Sharing a trio of images, including one of Flint on stage, The Prodigy’s Liam Howlett and Maxim wrote: “Its been three years … We miss u every single day brother, but we feel u always with and around us.

“Your Fire will never go out. Stay Punk brother. We live forever!”

Back in September, a mural honouring Flint was unveiled in Hackney in east London to mark World Suicide Prevention Day 2021 .

The Crowdfunder-funded artwork was done by the street artist Akse in partnership with the music and mental wellbeing festival Headstock .

Speaking about the mural, Howlett said: “Respect to everyone for coming together to make this happen for a cause so close to us. Akse has done Keef proud.”

Headstock founder Atheer Al-Salim added: “Keith Flint was the original firestarter. He was a true trailblazer in electronic music, and I was lucky enough to see him perform with The Prodigy on a number of occasions.

“Off-stage, Keith struggled with his mental health, and he talked candidly about his ‘dark periods’. Tragically, this culminated in him taking his own life. We’ve created this mural to help remember Keith and ensure that his flame continues to burn brightly – but also to raise awareness of Shout 85258, and the incredible 24/7 text support service it provides.

“We hope that the mural will help anyone that sees it know that confidential support is just a text message away.”

For help and advice on mental health:

Calm – the campaign against living miserably, young minds – the voice for young people’s health and wellbeing, time to change – let’s end mental health discrimination, the samaritans – confidential support 24 hours a day, help musicians uk – around the clock mental health support and advice for musicians (call music minds matter on: 0808 802 8008), music support org – help and support for musicians struggling with alcoholism, addiction, or mental health issues (call: 0800 030 6789).

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The Prodigy

The Prodigy announce return for 2022 UK tour: “Let’s F***** Go!”

The dates, including three shows at london's o2 academy brixton, will be the first since keith flint's death.

By Nick Reilly

The Prodigy's Liam Howlett performs live

The Prodigy have announced they will return later this year for their first string of live shows since the death of Keith Flint.

Flint, the charismatic leader of the electro pioneers , was found dead at his home in Essex in 2019.

The group, now comprised of Flint’s former bandmates Liam Howlett and Maxim, have now confirmed a string of dates in July to mark the 25th anniversary of their seminal album ‘The Fat Of The Land’.

“We can’t wait to get back onstage and play our tunes for the people again,” the band said.

“The 25th anniversary of ‘Fat Of The Land’ felt like the right time for us to step up, we’ll be droppin tunes from all our albums and maybe some shit you haven’t heard before.”

The dates, which you can view in full below, include three shows at London’s O2 Academy Brixton, a venue that the band played many times with Flint at the helm. A dressing room there was renamed the ‘Keef Flint Suite’ in late 2019 to recognise his contribution.

The Prodigy return to the stage to play a run of live dates in England during July this year, coinciding with the 25th anniversary of The Fat Of The Land.⁰ Warrior pre-sale information and full details at https://t.co/6uispvc388 Photo – @shootinginvader pic.twitter.com/lO6nLSNugp — The Prodigy (@the_prodigy) March 7, 2022

Paying tribute to their former bandmate, they added: “This one’s for Flinty, now let’s fukin [sic] go!! Liam H & Maxim.”

The announcement of the shows comes days after the group paid tribute to Flint on the third anniversary of his death.

Sharing a selection of old photos, they said: “Its been three years … We miss u every single day brother, but we feel u always with and around us. Your Fire will never go out. Stay Punk brother. We live forever!”

It is believed that Howlett and Maxim have been recording new material in the wake of Flint’s death, although it is yet to be released.

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The Prodigy announce Army of the Ants tour: “We’re comin’ back for u the only way we know, full attack mode, double barrel,” says Liam Howlett

The band will play a run of UK dates later this year

The Prodigy have confirmed the Army of the Ants tour, which will see them playing shows across the UK in November 2023.

The band, led by Liam Howlett and also featuring Maxim, will kick off in Glasgow on 16 November, moving on to Manchester, Leeds, Brighton, Cardiff and Birmingham. The tour will finish on 24 November with a show at London’s Alexandra Palace.

Announcing the shows, Liam Howlett said: “‘Army of the Ants’ is a calling to the Prodigy peoples. We’re comin’ back for u the only way we know, full attack mode, double barrel…”

Following the death of frontman Keith Flint in 2019, The Prodigy returned to live performance in 2022, and are currently playing a run of international festivals. They will be supported on the UK tour by Soft Play, the British punk duo formerly known as Slaves.

In 2021, the band announced plans for an eponymous feature-length documentary telling their “raw, uncompromising and emotional story” . A release date for this has still to be confirmed.

Tickets for the Army of the Ants tour go on sale on 16 June at 9.30am .

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I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.

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The Prodigy prove to be as incendiary as ever, even missing one of music’s most formidable frontmen…

Released in 1996, Firestarter was the moment that catapulted The Prodigy from a cult clubland crossover to a globally renowned dance-rock monster and newfound terror of the tabloids. ‘Ban this sick fire record,’ the Mail On Sunday demanded after the song hit Number One and Keith Flint frightened children with his punk Pennywise antics on Top Of The Pops.

It was also the song that saw Keith promoted from his former background role as a dancer to one of the most suitably incendiary frontmen we’d ever seen. It’s fitting, then, that tonight’s rearranged version of Firestarter is delivered as an instrumental. Elsewhere, Maxim proves more than capable of fronting for two, but this is very much Keith’s song. He even makes an appearance of sorts; that instantly recognisable spiky-haired silhouette picked out in green lasers as the riffs and beats convolute. “We’re still here, he’s still fucking here!” declares Maxim as the entire crowd chants “Keith! Keith! Keith!” in unison.

It's a touching and spine-tingling moment that deals with the noticeably large gap onstage without any mawkish sentimentality. Liam Howlett has always been The Prodigy’s musical brain and Maxim added power and style, but Keith became both the heart and face of the band. His death in 2019 could have permanently derailed them, but it’s to the remaining members’ monumental credit – and, somewhere, Keith’s delight – that they’re returning now with a monstrous fire under their arses. It’s not that the frontman isn’t missed, because he absolutely is, but The Prodigy have never sounded better in any iteration.

The energy is off the scale from the moment they crank out the twangy riff and pulsing beat of Breathe, inviting the crowd to come play their game. And the crowd accepts – gladly. There is no calm space in this sold-out venue; no haven towards the back or sides for the safe nursing of an over-priced lager. The whole place is moving, jumping and sometimes gurning as the Prodge roll back the years. It’s easy to forget what a selection of bona fide big beat bangers they have at their disposal as the crowd sings along to everything – including iconic synth and guitar riffs when lacking in vocal hooks.

This tour coincides with the 25th anniversary of The Fat Of The Land and, while they haul out all the big hitters from that groundbreaking album, they also stud the set with gems from throughout their career. Their Law sounds absolutely massive, bolstered by live guitarist Rob Holliday, and is sadly no less relevant as, more than a quarter of a century on, another Tory government has just passed laws impacting the rights to protest. No Good (Start The Dance) causes a minor frenzy and Smack My Bitch Up turns the dial to positive mayhem.

The encore tumbles towards the present via Take Me To The Hospital and a huge, kettledrum-fuelled Invaders Must Die before We Live Forever brings things almost to a close with an entirely suitable sentiment and high-energy shakedown. That only leaves a truncated Out Of Space to bring things to a sweat-soaked conclusion. It’s a performance that feels like both a tribute to the past and a promise of the future – hopefully there will be much more to come.

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Prodigy Plot First U.S. Headlining Tour in 10 Years

By Jon Blistein

Jon Blistein

Seminal electronic outfit the Prodigy will embark on their first headlining tour of North America in 10 years this May.

The trek boasts a mix of festival sets and headlining solo shows, and starts May 3rd with an appearance at the Welcome to Rockville fest in Jacksonville, Florida. The Prodigy will perform solo shows in Dallas, New Orleans, Atlanta, Washington, D.C., Boston and New York City, while their festival itinerary includes stops at the Epicenter Festival in Rockingham, North Carolina and Open Air in Chicago, Illinois.

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Tickets for the Prodigy’s solo headlining shows will go on sale February 8th at 10 a.m. local time. Complete ticket information is available on the band’s website .

Last November the Prodigy released their seventh studio album, No Tourists , which marked their first since 2015’s The Day Is My Enemy . The album became the Prodigy’s seventh LP to hit Number One on the U.K. albums chart, making them the first electronic act to achieve such a feat previously attained by artists like Paul McCartney and Elton John.

The Prodigy Tour Dates

May 3 – Jacksonville, FL @ Welcome to Rockville Festival May 5 – Dallas, TX @ South Side Ballroom May 7 – New Orleans, LA @ Orpheum May 8 – Atlanta, GA @ Tabernacle May 10 – Rockingham, NC @ Epicenter Festival May 11 – Washington, DC @ Echostage May 13 – Boston, MA @ House Of Blues May 16 – New York, NY @ Terminal 5 May 18 – Columbus, OH @ Sonic Temple Festival May 19 – Chicago, IL @ Chicago Open Air Festival

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A comprehensive list of gigs The Prodigy have done in their tours since 1991.

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THE PRODIGY RETURNS TO TALLINN and rigA

One of the most successful electronic bands of all time keeps captivating its fans. For the first time since 2018, The Prodigy has announced a massive concerts in Tallinn on August 17th and in Riga on August 18th.

This is the band's first concert in Estonia and Latvia without their brother, cult icon Keith Flint. Liam Howlett and Maxim will return to the stage with a new, extremely powerful performance.

The Prodigy's recordings have topped the global charts, attracting millions of admirers, and their live performances have set the standard for numerous rave events. Now, fans will finally get to see the band bring insane fire back to their cities. The unique venues TALLINNA LAULUVÄLJAK in Tallinn and Wondersala in Riga hosts one of the most spectacular raves in the country's history.

Liam Howlett said: “This is a call to The Prodigy Peoples; we're coming back for you the only way we know how: full attack mode, double barrel.”

Because not all of The Prodigy are still with us, Liam Howlett, Maxim and the band's live performances these days are a definite celebration of life. So, see you on August 17th. at TALLINNA LAULUVALJAK and on August 18th. at Wondersala to see the most sensational band ever to perform live.

Live life to the fullest! Life’s too short to sit still.

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Flo Milli Leaves Mid-Set After Fans Throw Things Onstage, Ari Lennox and Gunna Show Support

The 24-year-old rapper, who clarified that the behavior wasn't meant to be aggressive, is currently on tour supporting Gunna.

Flo Milli abruptly left the stage after a concert goer threw an object at her.

The 24-year-old rapper is currently on tour with Gunna, serving as the opening act for The Bittersweet Tour. The trek kicked off on Saturday in Columbus, Ohio at the Schottenstein Center.

Unfortunately, the tour had an unfortunate start when Flo Milli took the stage as objects kept flying at the young star during her set. From the footage circulating on social media, it’s not clear what was thrown.

Flo Milli walks off stage after fans kept throwing things on stage at the first night of Gunna’s concert. pic.twitter.com/vZj9noeSr8 — ✨GOT DA SCOOP✨ (@GotDaScoop) May 5, 2024

SOMEONE THREW SHIT AT FLO MILLI— pic.twitter.com/UvaHrFdALX — dani ♡ (@INLUVWTHMINAJ) May 5, 2024

“Hold on, stop the show,” Flo is heard saying in a video of the incident. “Bitch, who you throwing shit at?”

From there, it seems as if someone in the floor section of the arena owned up to their action and an inaudible interaction happens between them and Flo.

In a separate clip, Flo Milli is seen walking away from the stage and says, “Bitch, when I fucking catch you, ho. I swear to fucking God.” A microphone thump is heard in the video as she exits.

& for the hoes tryna be funny ..they weren’t throwing shit outta spite ! they wanted me to sign their stuff — FLOSKI✰ (@_FloMilli) May 5, 2024

The "Never Lose Me" rapper responded to the incident on X (formerly known as Twitter) on Sunday, writing, “& for the hoes tryna be funny ..they weren’t throwing shit outta spite ! they wanted me to sign their stuff.”

but im from mobile so i take everything as a threat lol — FLOSKI✰ (@_FloMilli) May 5, 2024

i come to the pit and show love to the crowd every show 🩷 lets have a good day today — FLOSKI✰ (@_FloMilli) May 5, 2024

“but im from mobile so i take everything as a threat lol,” she added. “i come to the pit and show love to the crowd every show 🩷 lets have a good day today.”

Ari Lennox, 33, who endured a similar experience last year with aggressive fans while opening for Rod Wave ’s tour, showed support for Flo Milli with a message on her Instagram Story.

Ari Lennox's Instagram post expressing sympathy to Flo Milli, acknowledging her talent and lamenting over cruelty faced

“Flo Milli I'm sorry this happened to you. You are a beautiful and incredibly talented woman. Some of these people can be so damn cruel,” wrote Lennox on Sunday.

No disrespect in any form @_FloMilli will be tolerated on tour . family ties 🤞🏾 — WUNNA (@1GunnaGunna) May 5, 2024

Gunna himself chimed in on the matter via X, writing, “No disrespect in any form @_FloMilli will be tolerated on tour . family ties 🤞🏾”

Lennox followed up with a lengthy second post and expressed disappointment with the behavior of some of Rod Wave’s fans whom she called “evil, racist, and demonic.” The singer said she felt further let down by Wave’s lack of defense for her against these fans, despite her attempts to show gratitude for the opportunity.

Text summary: A person reflects on past relationships, growth, and the need for self-care, highlighting the importance of not tolerating disrespect and prioritizing personal well-being over others' validation

Ultimately, Lennox announced her intention to no longer open for other artists, urged headliners to protect their openers, and called for an end to excuses for disrespectful behavior towards Black women in the music industry.

Rico Nasty endured something similar. The 26-year-old told fans in 2021 that she was “crying [herself] to sleep every night” because of unkind fans who booed and threw objects at her while opening up for Playboi Carti.

It seems as though this concerning pattern of bad concertgoer behavior is making a return from last year’s summer concert season where artists like Drake , Cardi B , Latto , and GloRilla fielded flying objects on stage from fans.

Earlier this week, SZA threatened to leave her concert in Melbourne, Australia when cell phones were being thrown in her direction. Last month, Nicki Minaj had a small item nearly hit her in the face during her concert in Detroit, Michigan. However, she grabbed the item and threw it back into the crowd .

Im happy she came back out 😩😭💕 pic.twitter.com/VYj3ffLDN8 — Bobbi Caitlyn (@bawbicai) May 5, 2024

It’s unclear if the concertgoer was removed after Flo Milli left the stage. According to fans on X, the rapper eventually finished her set.

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Eurovision 2024 review: Contest unfolds under the darkest shadow in its history

After banning russia, eurovision organisers painted the song contest and its ‘anti-political’ ethos into a corner, article bookmarked.

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Graham Norton had his work cut out keeping this one light. There were breakdowns, blood rites, curses, drug busts, infidelities aplenty and great howls of existential anguish, and that’s just the songs. Draw the camera back from its tight crop on the gritted-teeth performances and Eurovision 2024 arrives under the darkest shadow of the contest’s entire history.

When organisers disqualified Russia over opaque rule-breaking and “the violation of public service values” in 2022, allowing for widespread displays of solidarity with Ukraine from both public and voting panels, they painted Eurovision and its anti-political ethos into a corner. Now this year’s ceremony arrives at a precise moment in history when it becomes the last chance for high-profile global protest. As the tanks threaten to roll into Rafah, where 1.4 million starving Palestinian civilians have been kettled, Eden Golan strides onto the Eurovision stage to represent Israel with a stirring and angelic battle ballad “Hurricane” that’s plenty good enough to win. But the fallout has effectively torn the Eurovision spirit to shreds.

A 10,000 strong pro-Palestinian march took place through Malmo in Sweden, with Greta Thunberg among the protesters calling Israel’s participation an “artwash”. Viewing parties across Europe were cancelled amid calls for a fan boycott. Signs of solidarity with Palestine have been meticulously erased from the event, right down to the words “freedom” and “ceasefire” that Ireland’s “goth gremlin” Bambie Thug planned to have written on their body in ancient Irish Ogham script. Though – it pains me to have to point out – clearly not in charge of Israeli government policy herself and undeserving of any abuse for it, Golan was roundly booed by the Malmo Arena in rehearsal, a Finnish jury stand-in refused to give their allotted 12 points to Israel during the mock-voting rehearsal and several jury announcers have withdrawn.

Meanwhile, with complaints and accusations flying, the atmosphere backstage was said to have been on a knife-edge. Italy’s entry Angelina Mango even sang an impromptu version of John Lennon’s “Imagine” to the press in the name of “letting the music speak”. And most shocking of all – and quite possibly unrelated – was the last-minute disqualification of Netherland’s jocular entry Joost Klein and his song “Europapa” . Encapsulating what The Prodigy might be like if a sentient Mr Potatohead, styled by David Byrne, had replaced Keith Flint, Klein was one of the favourites until he was axed from the show for allegedly threatening a female TV crew member. Gag your way round that one, Norton.

Yet, despite gaping fractures in its façade of international musical unity, the show went on. After a flag parade to a medley of Sweden’s formidable pop hits, beneath the now ironic slogan “UNITED BY MUSIC”, Sweden’s identical twins Marcus & Martinus kicked off proceedings with a cyber-colour rave pop performance that looks like The Cube has taken MDMA, setting a fittingly dark tone for the evening. Their song, “Unforgettable”, is dedicated to a “dangerous” lover who’ll eat your soul, blind your eyes and infect you with her “venomous” love. Eurovision’s post-show duty of care should probably extend to hypnotism therapy to help them forget her.

Ukraine’s entry “Teresa & Maria”, delivered like a Biblical fantasy epic, is a collaboration between two of the country’s biggest stars – rapper Alyona Alyona and YouTube singer-songwriter Jerry Heil – which cites Mother Theresa and the Virgin Mary as symbols of the divinity within humanity and inner happiness despite overwhelming struggle. Which all leaves Germany’s Rag’n’Bone Man Isaak laying it on a bit thick with “Always on the Run”, an EDM R&B bawler with lyrics about being “lost in my own identity” and “haunted by the voices deep within” that could have been scratched into a padded wall. So deep are his hardships, he even has to perform from inside a homeless shelter that’s on fire.

But, without a “Europapa” to lighten the mood of the first half hour or so, these are virtual Subwoofers compared to what’s to come. The 2023 triumph of Sweden’s Loreen, the diabolic result of crossing a human with Predator, has opened Eurovision’s horror pop floodgates. Serbia’s Teya Dora croons her cinematic pain pop like a siren on a midnight rock, all loneliness and sleepless anxiety as “the night frightens the day from arriving”. Slovenia’s Raiven, a classically trained harpist and opera singer back home, emerges like a lascivious Lady of the Lake, tended to by writhing, flesh-panted dancers.

Norway’s Gate are like a haunted forest come to life and gone synth metal, shredding their nyckelharpas and wailing at the moon in rapturous paroxysms like one of those pagan woodland sex cults that Scandinavia has instead of dogging. Their “Ulveham” (or “Wolf Man”) is the grimmest of fairy tales in which an evil stepmother turns the protagonist into a sword, only to be freed of the curse when they slaughter their own brother. “I then tore out her heart so her blood flowed free, then I got to drink my brother’s blood,” howls Gunnhild Sundli (in translation). Have we tuned in to live footage from Bloodstock by mistake?

That’s not even the scariest of it. Bambie Thug’s demoncore performance of “Doomsday Blue” has sparked a lot of “down with this sort of thing” protest in Ireland thanks to this non-binary devil fawn casting hexes, invoking the Harry Potter “Killing Curse” and dancing around a pentagram with a fanged fiend. They light ceremonial candles with a flick of their bejewelled claws, gets stripped to a trans flag hellkini, and it all ends with what appears to be an actual screaming exorcism. At which point Eurovision arguably becomes the most satanic televisual event until ITV finally commissions An Audience With Satyricon .

It’s Finland’s Windows95man (whom journalistic form requires me to clarify as DJ and visual artist Teemu Keisteri, but I wouldn’t bother remembering that) who really falls on Eurovision’s classic novelty sword. His performance of “No Rules!” is essentially an electropop operetta following the allegorical story of one man – a Duffman-esque roadshow DJ, born from a giant denim egg – and his eternal search for trousers. “Is there something wrong with who I am?” sings an associate dressed as a Wonder Mop, while an Austin Powers skit plays out at length to convince us, through masterful masking camerawork worthy of Hitchcock at his peak, that Windows95man has got his nadgers out.

Otherwise, it’s Eurovision as usual. Of the half-dozen countries sending local talent show starlets with electropop songs about surviving toxic relationships, a few stand out. Kaleen’s “We Will Rave”, representing Austria, is a genuine world-class laser rave anthem. Mango’s “La Noia” at least declares “ I’m happy as a clam, look, zero dramas ” (thank God!) before detailing her music industry exploitation and how “ I die because dying makes the day more human ”. Marina Satti delivers a refreshingly Grecian take on Jamaican dancehall on “Zari” and Spain’s Nebulosa transport us back to any given Madonna tour of the Eighties or Nineties: singer Maria Bas declaring herself a “postcard bitch” while being pawed on bordello banquettes by half-naked, bearded dancers in buttock throttling corsets. Honourable mention also goes to Armenia’s Ladaniva who, with “Jako”, throw back to the classic Eurovision standard of bunging some euro beats on a regional folk song, some sequins on their traditional dress and a pipe solo on the second chorus.

Our own Olly Alexander lifts the mood with “Dizzy”, performed in a homoerotic East End gym where gravity has lost all meaning and not half as bad as we’ve been led to believe. But he pales next to Croatia’s Baby Lasagna, a bandy-legged metal Mozart fronting a loose collective of balaclava insurrectionists and S&M babushkas, proffering a ridiculously catchy pop metal tune (“Rim Tim Tagi Dim”) about a farm boy selling his cow and moving to the big city to seek his fortune. And, of course, to the operatic gabba brilliance of Switzerland’s Nemo, essentially the Phantom of the Opera if they were haunting a theatre showing Priscilla Queen of the Desert .

Golan receives what Norton tactfully describes as “ a mixed reception” in the arena and is mid-tabled by the juries, but tops the table briefly thanks to the public vote. Still, Nemo sweeps to a victory that wouldn’t have had even Loreen biting a nail. And despite resounding boos for both the Israel jury and Eurovision chief Martin Osterdahl, the policy of slapping on a rictus grin, throwing to the Abbatars whenever possible and just getting through it successfully papers over the cracks of Eurovision 2024. “I hope this contest can continue to live up to its promise and stand up for peace,” Nemo says, speaking for the continent as they lift the trophy. Heads might well roll, but on that note the spirit of Eurovision can be rebuilt.

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Live from Paris: Taylor Swift adds 'Tortured Poets' songs to Eras Tour in France

PARIS, France — The Chairman jump-started her tour after a two-month hiatus, and anticipation was high over whether Taylor Swift would incorporate her 11th era album into the Eras Tour set at La Défense Arena on Thursday.

She did and then some.

Swift extended the set list by one track to land at 46 songs. But many changes were made along the way. She added a new era for "The Tortured Poets Department," cut a handful of songs and rearranged most of the eras including combining the sets for "Folklore" and "Evermore."

She also debuted a number of new outfits along the way.

Delivering all the updates were Bryan West, the USA TODAY Network's full-time Taylor Swift reporter, from inside La Défense Arena in Paris, with Swiftie and trending reporter Anthony Robledo assisting from his desk.

Need a break? Play the USA TODAY Daily Crossword Puzzle.

We hereby present the minutes from the first Eras Tour meeting in Paris, France.

More: Taylor Swift unveils new Eras Tour set list in Paris

'Midnights' set follows secret songs

Swift stuck to her original set list for the "Midnights" era by singing "Lavender Haze," "Anti-Hero" and "Midnight Rain." She ended the night with a triumphant rendition of "Karma" as usual.

'loml' is second secret song

Fans got one more taste of "The Tortured Poets Department" when Swift played the heartbreaking song "loml" on the piano during her secret set.

'Paris' is a secret song, of course

Swift started her secret set with "Paris," a bonus song from her "Midnights" album.

'Tortured Poets' set list

Swift played these songs from her newest album:

"But Daddy I Love Him"
"So High School"
"Who's Afraid of Little Old Me"
"Fortnight"
"The Smallest Man Who Ever Lived"
"I Can Do It with a Broken Heart"

New 'Tortured Poets' set is here

Toward the end of her show, Swift officially launched the long-awaited “The Tortured Poets Department” section of the tour after the 1989 era.

Swift performed the track “But Daddy I Love Him” off the April 19 album for her ecstatic fans while wearing a new beige dress with cursive letters.

A road spiraled down the catwalk in an animation to initiate the era. The background animation showed a deserted road while large cages animated and fell on the road.

“Oh my god you should see your faces,” she sang.

She quickly segued into a brief moment of “So High School,” the beloved track speculated to be about her romance with Kansas City Chiefs tight end Travis Kelce. She quickly performed the powerhouse anthem “Who’s Afraid of Little Old Me.”

Swift switched to “Down Bad” before seamlessly transitioning into the lead single “Fortnight.” Stage production recreated an asylum that resembled the music video for the song with Post Malone, recorded harmony played concluding the song.

Dancers entered the stage in a marching band style format playing drums as she performed the wrath-fueled song “The Smallest Man Who Ever Lived.” Jan Ravnik and Kameron Saunders then revived Swift in a jazzy skit to set up “I Can Do With A Broken Heart,” where she debuted another new outfit.

“The End” text displayed wrapping up the era that’s likely here to stay. Other beloved tracks like “Guilty As Sin” and “Florida!” did not make the cut.

New '1989' outfit

Swift never goes out of Style. During her “1989” set, she debuted a new, sequined outfit of blue and pink. Her sparkly shoes matched with a different colored heel on each. For the bridge of “Blank Space,” the crowd started chanting in Sydney, Australia, “Syd-ney” as a nod to the 1989 World Tour concert movie where Swift would chant the name of the city she was in after hitting a pole with a club two times. Singapore followed the chant and Taylor Nation tweeted they want every city to incorporate the fan-fueled chant.In Paris, thousands chanted “Par-ee,” the French way to say the capital city.

Swift made no cuts to the "1989" set.

Four songs cut from 'Folklore' and 'Evermore'

The new set list cut four tracks from the "Folklore" and "Evermore" eras:

"'Tis the Damn Season"
"Tolerate It"
"The Last Great American Dynasty"

The combined set included eight songs altogether and wrapped up with "Willow."

'Folkmore' set debuts

Swift revealed she merged the 2020 pandemic albums “Folklore” and “Evermore” into one section. She told fans she wrote “Folklore” to represent spring and summer with “Evermore” representing fall and winter in what she always considered sister albums.

“On the Eras Tour we have now reunited the sisters, combined them into one chapter,” she said. “You can call it whatever you want as long as you promise to sing ‘Champagne Problems’ with me.”

'Folklore' set: 'Cardigan' makes the cut

Many fans had speculated "Cardigan" would be cut from the set list. But Swift actually moved it to the top of the "Folklore" set.

Up next: 'Reputation'

Swift kicked off her fifth set with "Ready for It?"

Another surprise: 'Speak Now' era comes fourth

Swift updated her "Speak Now" set with an intro dance featuring Raphael Thomas and eight other dancers wearing flowy purple dresses. She then sang "Enchanted."

Fan favorite track "Long Live" was cut from the set list.

Order of eras changed

After a fairly routine "Fearless" set, Swift altered her concert by including the “Red” era third instead of the expected “Evermore” set. Previously, "Red" came fifth.

With a new shirt that read “This Is Not Taylor’s Version,” the singer performed "22" and showed her audience that they needed to leave any expectations at home.

The relocated "Red" set included the same four songs: "22," "We Are Never Ever Getting Back Together," "I Knew You Were Trouble" and "All Too Well (10-Minute Version)."

Beflore playing “All Too Well (10 Minute Version),” Swift talked about bringing all of her favorite memories to France.She did her 2019 “Lover” live show here but hadn’t brought a tour to the country since the Speak Now World Tour 13 years ago.“I cannot thank you enough. I’m so moved," she said.

Follow along with set list changes here .

First set list change

Swift cut "The Archer" from her "Lover" set before beginning her "Fearless" set in a silver and black minidress as opposed to her classic gold one. A graphic showed her "Lover" house with a new addition in the attic for "The Tortured Poets Department." Her "Fearless" set remained the same with "Fearless," "You Belong With Me" and "Love Story."

More: Taylor Swift's 'Love Story' castle will soon host weddings

'Je m'appelle Taylor'

In her monologue before playing the song "Lover," Swift said the night would span 18 years of music. Previously, the concert covered 16 years. Get ready for a "The Tortured Poets Department" addition some time tonight.

She confirmed the tour would still go era by era, and also spoke about how Paramore is a band she idolized since she was a teenager. She ended with some French: "Je m'appelle Taylor."

First new outfit

Swift debuted a new, orange bodysuit and jacket for the "Lover" set.

Snippet of 'Tortured Poets' in intro

A snippet of the song "The Tortured Poets Department" was included in the intro music Swift kicks the concert off with. Is she foreshadowing other changes ahead? It seems likely.

Taylor Swift takes the stage

Swift took the stage about 8 p.m. in Paris (2 p.m. ET) to relaunch her Eras Tour in Europe. She kicked it off with a countdown clock and the Lesley Gore song "You Don't Own Me" as usual. Then she began her "Lover" set with "Miss Americana."

Paramore covers Blondie, Talking Heads in Paris set list

At the Paris show Thursday, Paramore energized fans with eight tracks including their cover off the upcoming “Stop Making Sense” tribute album out May 17 featuring artists like Miley Cyrus and Lorde.

Debuting a blond mullet, lead singer Hayley Williams encouraged fans to dance without fear of judgment ahead of Swift’s performance.

“Enjoy your time with Miss Taylor, we will see you next time,” Williams said.

Paramore's set list included:

"Hard Times"
"Burning Down the House" (Talking Heads cover)
"Caught in the Middle"
“Brick by Boring Brick”
“The Only Exception”
“That’s What You Get”
“Ain't It Fun”
“This Is Why”

Paramore begins their set

At about 6:45 p.m. in Paris (12:45 p.m. ET), Paramore began their set, officially restarting the second year of the historic Eras Tour. Lead singer Hayley Williams sported a new, blond mullet hairdo.

Paramore opens European leg of Eras Tour

The American rock band is joining Swift on her European leg of 51 shows. Paramore also opened the show for two nights in Glendale, Arizona, in 2023. Their setlist then included nine songs:

"This Is Why"
"That’s What You Get"
"The Only Exception"
"Still Into You"
"Rose-Colored Boy"
"Misery Business"
"Ain’t It Fun"

Where to watch the Eras Tour livestreams

The Eras Tour is one of the first tours that has been followed, globally, by thousands of fans on digital platforms. Fans dedicate part of their concert experience to livestreaming as Swift performs. Livestream Queen Tess Bohne has spearheaded the "Great War" to find fans going live on social media and broadcasting a custom show to tens of thousands of fans almost every night on her account @tessdear .

On YouTube, user @TaylorSwiftHockeyBro also livestreams the 3-hour show, and on Twitch, @folkleric is a host fans follow.

There is also an app, Swift Alert , that notifies fans who only want to watch certain eras like the acoustic, surprise set. The app also sends out push alerts if there are any major announcements.

What secret songs are left?

For the past 83 shows, Swift has had an acoustic set she customizes every stop with a guitar and piano performance. In 2024, the Eras Tour star added mash-ups of her songs for each stop. Here are the songs she has yet to perform:

"Taylor Swift" (debut album): "Mary's Song" and "A Perfectly Good Heart"
"Fearless": "The Way I Loved You," "Change," "Superstar," "We Were Happy," "That's When," "Don't You" and "Bye Bye Baby"
"Red": "Girl At Home," "Ronan," "Forever Winter" and "Run"
"1989": "Sweeter Than Fiction"
"Reputation": "I Did Something Bad"
"Lover": "London Boy," "Soon You'll Get Better" and "It's Nice to Have a Friend"
"Folklore": "Hoax"
"Evermore": "Happiness" and "Closure"
"Midnights": "Paris" and "Glitch"
"The Tortured Poets Department": all 31 tracks

Bienvenue dans le 'Eras Tour'

Welcome to the Eras Tour (France's Version). Swift is kicking off her 3-plus-hour concert from La Défense Arena in the Jardins de l’Arche district. The venue is Europe’s largest indoor arena and houses the Racing 92 rugby club. More than 40,000 fans will watch the concert, according to the stadium's website.

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Follow Taylor Swift reporter Bryan West on Instagram , TikTok and X as @BryanWestTV .

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With Arms Wide Open

How did creed, the most hated band of the 1990s, become so beloved—and even cool i sailed the seas with thousands of fellow lunatics to find out..

It’s high noon on a blazing April day, which is the ideal time to be sitting in an Irish pub aboard a cruise ship the size of a small asteroid. The bar is called O’Sheehan’s—yes, pronounced “oceans”—and it’s located deep within the belly of the boat, just above the teppanyaki joint, the sake bar, and the lustrous duty-free shops. This consciousness-altering diorama of infinite seas and cloying Guinness-themed paraphernalia is where I meet Colleen Sullivan, a 46-year-old woman with a beehive of curly red hair and arms encased by plastic wristbands. She wants to tell me how Creed changed her life.

A few moments earlier, Sullivan dropped one of those wristbands on my table—an invitation to talk. It’s lime-green and emblazoned with pink lettering that reads “Rock the Boat With Creed.” I slip it past my hand and sidle up to her booth. Sullivan uses one nuclear-yellow-painted fingernail to hook back the wristbands on her right arm. Underneath is the pinched autograph of Scott Stapp, the band’s mercurial lead singer, enshrined in tattoo ink. This, it seems, is not her first rodeo.

We are both here for “Summer of ’99,” a weekendlong cruise and concert festival for which Creed—as in the Christian-lite rock band that sold more than 28 million albums in the U.S. alone and yet may be the most widely disdained group in modern times—is reuniting for the first time in 12 years. Roughly 2,400 other Creed fans are along for the round-trip ride from Miami to the Bahamas, and the rest of the bill is occupied by the dregs of turn-of-the-millennium alt-rock stardom. Buckcherry is here. So are Vertical Horizon, Fuel, and 3 Doors Down, the latter of whom hasn’t released an album since 2016.

To celebrate, Sixthman, the booking agency responsible for this and many other cruises, has thoroughly Creed-ified every element of the ship. The band’s logo is printed on the napkins and scripted across the blackjack felt. The TV screens at the bar are tuned to a near-constant loop of Creed’s performance at Woodstock ’99. The onboard library has been converted to a merch store selling Creed hoodies and shot glasses. The stock music piped into the corridors has been swapped out for Hinder’s “Lips of an Angel,” Lit’s “My Own Worst Enemy,” and 3 Doors Down’s “Kryptonite.” When I turn on the closed-circuit television in my cabin, a channel called New Movies plays Scream 3 and Can’t Hardly Wait . And four elevator doors in the boat’s central plaza are plastered with the words “Can You Take Me Higher or Lower?” Sixthman pulled similar stunts with 311’s “ Caribbean Cruise ,” Train’s “ Sail Across the Sun ” cruise, and Kid Rock’s notoriously debauched “ Chillin’ the Most ” cruise—the Kid Rock cruise also took place on the vessel I’m on, the Norwegian Pearl . The idea is to teleport a captive audience back into the dirtbags they once embodied and to a simpler time, when Scott Stapp controlled the universe.

Sullivan tells me that her relationship with Creed overlaps with her sobriety story. She first became a fan of the band in the late 1990s, when “Higher” and “With Arms Wide Open” were soaring up the Billboard charts. Then, Sullivan started using, and her appreciation for the divine proportions of those songs faded in service of more corporeal needs. Years later, after Creed broke up and Sullivan got clean, she returned to the music and discovered a dogma of her own: Maybe she had been put on earth to love Stapp—and Creed—harder, and with more urgency, than anyone else in the world.

“He helped me grow with those old Creed songs,” she tells me. “When I saw Scott for the first time live, he had just gotten clean too. I’d go to the shows and there would be tears streaming down my face.” Her left arm contains another Stapp tattoo, with the words “His Love Was Thunder in the Sky” scrawled up to her elbow, surrounded by a constellation of quarter notes. It’s a lyric taken from a 2013 Stapp solo song called “Jesus Was a Rockstar.” The singer Sharpie’d it onto her body himself.

“Summer of ’99” is Creed’s second attempt to reunite, after it disbanded in both 2004 and 2012 amid clashing egos and substance issues. The band couldn’t have picked a better time to get back together. If you haven’t noticed, we’re in the midst of an extremely unlikely Creed renaissance, redeeming the most reviled—and, perhaps more damningly, most uncool —band in the world. For much of the past 20 years, hating Creed has been a natural extension of being a music fan: In 2013 Rolling Stone readers voted the group “the worst band of the 1990s,” beating out a murderers’ row of Hootie and the Blowfish, Nickelback, and Hanson. Entertainment Weekly, reviewing Human Clay , the band’s bestselling album and one of the highest-selling albums of all time, bemoaned the record’s “lunkheaded kegger rock” and “quasi-spiritual lyrics that have all the resonance of a self-help manual.” Meanwhile, Robert Christgau, the self-appointed dean of American rock critics, wrote Creed off as “God-fearing grunge babies,” comparing the group unfavorably with Limp Bizkit.

The disrespect was reflected more sharply by Stapp’s own contemporaries. In the early 2000s, Dexter Holland, the frontman of the Offspring, played shows wearing a T-shirt that read “Even Jesus Hates Creed.” After leaked images of a sex tape filmed in 1999 featuring Stapp and Kid Rock and a room full of groupies made it onto the internet, Kid Rock retorted by saying that his fans didn’t care about the pornography but were appalled that he was hanging out with someone like Stapp. The comedian David Cross, who embodies the archetype of the exact sort of coastal hipsters who became the band’s loudest hecklers, dedicated swaths of his stand-up material to bird-dogging the singer. (One choice punchline: “That guy hangs out outside a junior high school girls locker room and writes down poetry he overhears.”) Then, in 2002, after a disastrous show in Chicago at which a belligerently drunk Stapp forgot the words to his songs and stumbled off the stage for 10 minutes, four attendees unsuccessfully sued the band for $2 million. Holland’s shirt didn’t go far enough—at the group’s lowest, even Creed fans hated Creed.

All this acrimony plunged Stapp into several episodes of psychic distress. His dependence on alcohol and painkillers was well documented during the band’s initial brush with success, but after Creed’s short-lived reconciliation, Stapp spiraled into a truly cavernous nadir. In 2014 the singer started posting unsettling videos to Facebook, asserting that he had been victimized by a cascading financial scam and was living in a Holiday Inn. That same year, TMZ released 911 calls made by Stapp’s wife Jaclyn claiming that he had printed out reams of CIA documents and was threatening to kill Barack Obama. But these days, Stapp—who announced a bipolar diagnosis in 2015—appears to be on much firmer ground, and the band has reportedly patched up some of those long-gestating interpersonal wounds.

But with time comes wisdom, and in 2024 neither the critical slander nor the troubling reports about Stapp’s mental state are anywhere to be found. It is a truth universally acknowledged that Creed is good, a shift that, as Stapp told Esquire , “just started happening” around 2021. The new paradigm likely solidified the next year, when Creed’s mythically patriotic post-9/11 halftime show, played on Thanksgiving in 2001, began to accrue latter-day meme status. The set was ridiculous and immaculately lip-synced by Stapp and company. Yoked, shirtless angels spin through the air, and cheerleaders pump out pompom routines synchronized with “My Sacrifice,” all while the live broadcast is interspersed with grim footage from ground zero. It’s garishly, unapologetically American, issued just before the unsavory decline of the Bush administration clicked into place. Today both of those relics—Creed and the unified national optimism—are worth getting wistful about. “This is where we peaked as a nation,” wrote football commentator Mike Golic Jr., linking to the video.

Creed nostalgia has only proliferated further since the resurrection of that halftime show. The band’s guitarist, Mark Tremonti, told the hard-rock site Blabbermouth that he’d recently noticed athletes bumping Creed as their “ go-to battle music ,” and in November, an entire stadium of Texas Rangers fans belted out “Higher” to commemorate their team’s World Series victory . Earlier this year, a viral remix of “ One Last Breath ” even began pulsing through some of the hottest parties in New York. The band has clearly crossed some sort of inscrutable cultural Rubicon and thrown reality into flux—up is down, black is white, and, due to a sublime confluence of biting irony and prostrating sincerity, Creed fucking rocks .

All this means that the inaugural edition of the “Summer of ’99” cruise is buoyed by very high stakes. It has been 12 long years since Creed last played a show, and the cruise is intended to be the dry run for a mammoth comeback tour that is scheduled for 60 dates, through summer and autumn, in basketball arenas and hockey stadiums across North America. The only remaining question is whether the band can keep it together. I’m there in a commemorative Creed Super Bowl halftime T-shirt to find out.

Several flights of stairs above O’Sheehan’s, the day before I meet Sullivan, I find Sean Patrick, a giddily beer-buzzed 34-year-old from Nashville who is standing in awe of a Coachella-sized stage that looks downright sinister on the pool deck. Creed is playing two shows this weekend, and the first is set for the very minute the boat leaves port and escapes Miami for the horizon. This means that everyone who purchased a ticket to “Summer of ’99”—which ranges from $895 for a windowless hovel to $6,381 for a stateroom with a balcony—has ascended to the top of the ship, preparing for Creed’s rebirth in a wash of Coors Light tallboys.

As of two days ago, Patrick was unaware he would be attending this cruise. Everything changed when a friend, who was on the waitlist, received a call from Norwegian Cruise Line informing him that a cabin with his name on it had miraculously become available. Patrick was suddenly presented with the opportunity to spend a tremendous amount of cash, on very short notice, to witness this reunion amid the die-hards.

Unlike Sullivan, Patrick doesn’t possess one of those highly intimate histories with the band, flecked with tales of trauma and perseverance. Still, he fell in love with Creed—even if it was only by accident.

“I think it started as a joke. The songs were good, but there was definitely a feeling of, like, Yeah, Creed! ” he tells me. “But then, next thing you know, you find yourself in your car, alone, deciding to put on Creed.”

The majority of the passengers on the Pearl have never been burdened with Patrick’s hesitance. Their relationship with Creed is genuine and free—cleansed of even the faintest whiff of irony—and, unlike Patrick, they tend to be in their late 40s and early 50s. The woman standing ankle-deep in the wading pool with a Stewie Griffin tattoo on her shin unambiguously loves Creed, and the same is probably true of whoever was lounging on a deck chair with a book, written by Fox News pundit Jesse Watters, titled Get It Together: Troubling Tales From the Liberal Fringe . Two brothers from Kentucky who work in steel mills, but not the same steel mill, tell me that loving Creed is practically a family tradition: Their eldest brother, not present on the boat, initially showed them the band’s records. Tina Smith, a 48-year-old home-care aide from Texas, crowned with a black tennis visor adorned with golden letters spelling out the name of her favorite band, loves Creed so much that she embarked on this trip all by herself. “This is my first cruise and my first vacation,” she says, proudly. (Smith is already planning her next vacation. It will coincide with another Creed show.)

Passengers I encounter that are a generation younger are clearly acquainted more with Creed the meme than Creed the band. These are the people who vibe with statements like “Born too late to own property, born just in time to be a crusader in the ‘Creed Isn’t Bad’ fight”—especially when they’re arranged as deep-fried blocks of text superimposed over the face of Keanu Reeves as Neo. If the establishment brokers of culture once settled on the position that Creed sucks, then it has been met with a youth-led insurgency that seems dead-set on shifting the consensus—if for no other reason than to savor the nectar of pure, uncut taboo.

Many members of this insurgency are aboard the Pearl , and they’re caked in emblems of internet miscellany that scream out to anyone in the know. Consider the young man, traveling with his father, who is draped in a T-shirt bearing the Creed logo below a beatific image of Nicolas Cage circa Con Air , or the many fans who wander around the innards of the Pearl in matching Scott Stapp–branded Dallas Cowboys jerseys, a reference to that halftime show. In fact, the best representatives of sardonic Creed-fandom colonists might be the youngest collection of friends that I’ve met on board. They are all in their 20s, most of them work in Boston’s medicine and science sectors, and each is dressed in a custom-ordered tropical button-down dotted with the angelic face of Scott Stapp in places where you’d expect to find coconuts and banana bunches. A week before “Summer of ’99” was announced, the four of them made a pact, via group text, that if Creed were ever to reunite, they would make it out to see the band play, no matter the cost. Their fate was sealed.

“I hated Creed. I thought they were terrible,” says Mike Hobey, who, at 28, is the oldest of the posse and therefore the one who possesses the clearest recollection of Creed’s long, strange journey toward absolution. “But then I started listening to them ironically. And I was like, Oh, shit, I like them now .”

His point is indicative of a strange tension in this new age of Creed: If “the worst band of the 1990s” is suddenly good, does that mean all music is good now? Is nothing tacky? Have the digitized music discovery apparatuses—the melting-pot TikTok algorithm, the self-replicating profusion of Spotify playlists—blurred the boundaries of good and bad taste? Am I, like Hobey, incapable of being a hater anymore?

This is what I found myself thinking about when Creed took the stage, right as the Miami skies began to mellow into a late-afternoon smolder, and put on what was, without a doubt, one of the best rock shows I’ve ever seen. The scalloped penthouses of Miami’s gleaming hotel district passed overhead as the Pearl ’s rudder kicked into gear, and Scott Stapp—looking jacked and gorgeous, chain on neck and chain on belt, flexing toward God in a tight black shirt—launched into “Are You Ready?,” the first song of the afternoon, his baritone sounding, somehow, exactly like it did in 1999. “Who would’ve thought, after our last show in 2012, our next show would be 12 years later, on a boat?” Stapp said. He is risen, indeed.

I later hear from Creed’s PR agent that Tremonti, the guitarist, was more anxious than he was excited to get this first show in the books. I also gather, from Stapp’s representative, that photographers are mandated to shoot the lead singer during only the first two songs of the set, before he begins to “glisten” (her word) with sweat. But if nerves were fraying, Creed conquered them with ease. The members of the band were enveloped by an audience that had paid a lot of money to see them, and in that atmosphere, they could do no wrong. They blitzed through a variety of album cuts before arriving at the brawny triptych of “Higher,” “One Last Breath,” and “With Arms Wide Open,” pausing briefly to wish Tremonti, who was turning 50, a happy birthday. (Stapp wiped away tears afterward, a genuinely touching moment, considering that during their first breakup, Tremonti had compared his years collaborating with Stapp—who was then in the throes of addiction— with surviving Vietnam .) Given Creed’s historic proximity to the Kid Rock brand of red-state overindulgence, I half expected the concert to detonate with violent pits and acrobatic beer stunts, but nothing remotely close to mayhem occurred. This crowd was downright polite—chaste, even—as if it had been stunned by the grandeur of Creed.

“He tried to dance pogo ,” says a disappointed German woman, basking in the pool after the show, gesturing toward her husband. Both of them explain to me that pogoing is the German word for “moshing” and that, even more astonishingly, Creed is huge in their native hamlet, just outside Düsseldorf.

“It’s a reunion after 12 years!” says her husband. “Everyone should be dancing pogo .”

Nothing about Creed’s music has changed in the past decade, which is to say that many of the quirks that people like Hobey once used to mock the band for were on brilliant display during its first show back. But the truth is that little of the smug hatred for the group has ever had much to do with the music itself. Creed’s first record, 1997’s My Own Prison , was nearly identical to the down-tuned angst of Soundgarden or Alice in Chains, drawn well inside the lines of alt-rock radio. (It earned a tasteful 4/5 rating from the longtime consumer guide AllMusic.)

The problems arose only after the band started writing the celestial hooks of Human Clay , solidifying its superstar association with other groups chasing the same crunchy highs with machine-learning efficiency: Nickelback, Staind, Shinedown, and so on. Post-grunge was the term music journalists eventually bestowed on this generation, and in retrospect, that was the kiss of death. Creed was suddenly positioned as the inheritor of the legacy of Kurt Cobain, the godfather of grunge, who bristled at all associations with the mainstream music industry and hired the notoriously bellicose Steve Albini to make Nirvana’s third album as sour and uncommercial as possible. Stapp, meanwhile, has long called Bono—he of the flowing locks, billionaire best friends , and residencies in extravagant Las Vegas monoliths —his “ rock god .” Creed’s sole aspiration was to become the biggest rock band in the world, and for a few years there, the group actually pulled it off. Cobain’s grave got a little colder.

Post-grunge steamrolled the rock business, reducing its sonic palette to an all-consuming minor-chord dirge. Nickelback’s “How You Remind Me” went quadruple platinum in 2001, eventually sparking a furious period of retaliation from the underground. (You could make the argument that the rise of the Strokes or the White Stripes or the indie-rock boom writ large is directly tied to the vise grip Creed once held on the genre.) Before long, music aesthetes adopted a new term, rather than post-grunge , to refer to the Creed phenotype: butt rock . In fact, by the late-2000s, the hatred of Creed had been so canonized that when Slate published a rebuttal —in which critic Jonah Weiner asserted that the band was “seriously underrated”—the essay was considered so “ridiculous” and contrarian as to single-handedly inspire the viral and enduring #slatepitches hashtag, instantly prompting parodies such as “ Star Wars I, II, & III, better than Star Wars IV, V, & VI .”

But, frankly, when I revisit Weiner’s piece, many of his arguments sound remarkably cogent to modern orthodoxies. “Creed seemed to irritate people precisely because its music was so unabashedly calibrated towards pleasure: Every surging riff, skyscraping chorus, and cathartic chord progression telegraphed the band’s intention to rock us, wow us, move us,” he writes. Yes, these easy gratifications might have been unpardonable sins in the summer of 1999, capping off a decade obsessively preoccupied with anxiety about all things commercial and phony. But now even LCD Soundsystem—once the standard-bearer of a certain kind of countercultural fashionability—is booking residencies sponsored by American Express. We have all become hedonists and proud sellouts, and with Creed back in vogue, it seems as if the band’s monumental intemperance has become a feature rather than a bug.

That does not mean Stapp no longer takes himself, or his art, seriously. The singer’s earnestness—some might say humorlessness—has always been a cornerstone of Creed’s brand, and there are millions of fans who will continue to meet him at his word. They brandish personal biographies that intersect with Creed’s records; they finds lines about places with “golden streets” “where blind men see” more inspiring than corny, and many of them are etched with the tattoos to prove it. But in the band’s contemporary afterlife, when all its old context evaporates, Stapp has also attracted a community eager to treat Creed like the party band it never aspired to be—the group of licentious pleasure seekers Weiner wrote about. They’re all here, sprinkled throughout the boat, ready to drink a couple of Coronas and shred their lungs to “My Sacrifice.”

After wrapping up the first night of the cruise, Creed, along with the rest of the bands on the bill, was scheduled to administer a few glad-handing sessions on the weekend itinerary. On Saturday, Tremonti chaperoned a low-key painting session while the Pearl floated into the Bahamas at a dock already crammed with other day-trippers. (Our boat was parked next to a Disney cruise, and when we disembarked, in direct earshot of all the young families, the PA blasted Puddle of Mudd’s “She Fucking Hates Me.”) Tremonti keeps busy: The previous evening, he had judged a karaoke tournament—on the main stage—alongside 3 Doors Down lead singer Brad Arnold. Toward the end of the competition, Tremonti grabbed the microphone for a rousing cover of Frank Sinatra’s “My Way,” which I’d like to think served as a tribute to Creed’s own tenaciousness.

Stapp, on the other hand, is slated for exactly one appointment mingling with the masses: He’ll be shooting hoops with some of the more athletically oriented Creed adherents on a helipad that doubles as a basketball court near the rear of the boat. Stapp is, by far, the most famous person on board, evidenced by the security detail that stands guard on the concrete. So I take my seat on the bleachers and watch him casually drain 10 free throws in a row in mesh shorts under the piercing Atlantic sun with the distinct tang of contractually obligated restraint. Afterward, Stapp slips back into the mysterious alcoves of the ship, while an awed buzz of fans—hoping for a selfie, an autograph, or a split second of euphoric surrender—tail him until they are sealed off for good. It is the one and only time I see him cameoing anywhere but the stage, drawing a stark contrast to the other musicians on board, who flit between the casinos, restaurants, and watering holes in the guts of the Pearl .

This makes some sort of cosmic sense. Stapp, to both his detriment and credit, has never embraced the flippancy that so many other people wanted to impose on Creed. “Sometimes I wish we weren’t so damn serious,” he said in a memorable Spin cover story from 2000, at the height of his mystique. “My agenda from the beginning was to write music that had meaning and was from the heart. You can’t force the hand of the muse.” If you’ll excuse the ostentation of the sentiment, you can maybe understand how someone like Stapp might not be able to feel like himself when he’s orchestrating photo-ops around a free-throw line with that same young man dressed in his Nic Cage–themed parody Creed shirt. He seems to find nothing trivial about Creed’s music. The threat of irrelevance shall never tame him. You cannot force the hand of the muse.

Unfortunately, Stapp’s remoteness is also why Kelly Risch, a 58-year-old from Wisconsin with streaks of ringed, white-blond hair and glam-metal eye shadow, is currently fighting back tears in the Atrium, the ship’s lobby and central bar. Risch is sipping mimosas with her sister Shannon Crass, and, like so many of the others I have spoken to on this cruise, they each have matching Creed tattoos memorializing a personal catastrophe. Twenty years ago, Risch suffered a massive blood clot in her leg and almost died. Crass printed out the lyrics to the latter-day Creed ballad “Don’t Stop Dancing”—a song about finding dignity in the chaos of life—and pinned them in Crass’ intensive care unit during her recovery. Today the chorus is painted on their wrists, right above Scott Stapp’s initials.

The sisters were two of the first 500 customers to buy tickets to “Summer of ’99,” which guaranteed them a photo with the band at its cabin. This is why Risch is crying. The photo shoot came with strict rules, all of which she respected: no Sharpies, no hugs, and no cellphones. She’d hoped for a moment, though—after spending $5,000 and traveling all the way from the upper Midwest, after clinging to life with the help of Creed, and after waiting 12 long years to have the band back—to thank the singer for his comfort. But Stapp, even indoors, was wearing dark, face-obscuring sunglasses. She didn’t even get to make eye contact.

“He’s so great with the crowd. He’s so engaging onstage,” says Crass. “I think that’s why this is disappointing.”

The two sisters are determined to make the most of the rest of their vacation. The Pearl will be pulling into Miami tomorrow at 7 a.m., and there are plenty more mimosas left to drink. I tell them I’m going to speak with Stapp, and the rest of Creed, in an hour. Do they have anything they’d like me to ask?

“Tell him not to wear sunglasses during the photos,” they say.

Creed is finishing up the meet-and-greet obligations in a chilly rococo ballroom, paneled—somewhat inexplicably—with portraits of Russian royalty. The band members have been at this all morning, after a late night finishing off the second performance of their two comeback sets. A molasses churn of Creed fans, all sea-weathered and scalded with maroon sunburns, weaves through a bulwark of chairs and tables toward the pinned black curtains at the rear.

Creed has this down to an art. The band is capable of generating a photo every 30 seconds, and afterward, the fans exit back down the aisle, with beaming smiles, their brush with stardom consummated. Stapp chugs a bottle of Fiji water and holds out his hand for a fist bump after the last of those passengers disappear. A crucifix dangles above his navel, and an American flag is stitched to his T-shirt. He’s still wearing those sunglasses.

I am given just 15 minutes to ask questions, in a makeshift interview setup against the portside windows, under the watchful surveillance of the entire Creed apparatus—both PR reps, a few scurrying Sixthman operators, the photographer, and so on. I ask what their day-to-day life is like aboard the “Summer of ’99,” in this highly concentrated environment of super fans, with no obvious escape routes. Stapp says that he has spent most of the time on the cruise “resting and exercising,” while Brian Marshall, the band’s bassist, told me he executes his privilege of being one of the band’s secondary members by frequenting the sauna and steam room. Throughout the weekend, Marshall is hardly recognized.

Scott Phillips, Creed’s drummer, confirms my suspicions about the cruise’s demographics. The ticket data reveals that a good number of the passengers aboard are under 35 years old. I’m curious to know how the band members are adjusting to this new paradigm shift, and if they wish to settle common ground between the post-ironic millennials and the much more zealous Gen Xers, who bear Creed insignias on their calves and forearms.

“People are drawn to our music for different reasons,” Stapp says. “That’s probably why you have the guys you were talking about, who want to chill and drink light beer and scream ‘Creed rocks!’ and the others, who have a much deeper, emotional impact.”

“And maybe, at some point, with the light-beer guys, it does connect with them,” Phillips adds. Stapp agrees.

But, really, the reason I’m here is because I want to ask Stapp a question I’ve been curious about for the entirety of Creed’s career. The band’s bizarre odyssey, from its warm reception among youth groups across America to the bloodthirsty backlash that met its success to this current psychedelic revival, has all orbited around a single lasting question: Why is Scott Stapp so serious? Could he ever mellow out? Does he want to? Surely now is the time. If Stapp allocated some levity for himself, then so many of the bad things people have said about him would be easier to process. Who knows? Maybe he’d have an easier time getting his arms around the current state of Creed, a group that is now, without a doubt, simultaneously the coolest and lamest band in the world. Why must he make being in Creed so difficult?

“It’s just who I am,” he says. “It’s what inspires me. It’s where I come from. And it’s tough, because you have to live it. That’s the conundrum of it all. That’s the double-edged sword. If I started writing [lighter material], there would be a dramatic shift in my existence.”

There’s a break in the conversation, then Stapp asks me to identify the name of the new Taylor Swift album. The songwriter’s 11 th record has dropped like a nuclear bomb while we’ve all been out to sea, but data restrictions mean that nobody on board can access Spotify or any other streaming service. The Norwegian Pearl serves as a butt-rock pocket dimension: The biggest story in pop music simply can’t penetrate our airtight seal of Hinder, Staind, and so much Creed. “It’s called The Tortured Poets Department ,” I reply. Outside of my fiancée, he is the only person on the entire cruise I will speak to about Taylor Swift.

“That’s what I feel,” he says, without a shred of artifice. “I connect with that title.”

Later that evening, I climb to the top of the Pearl for a final round of karaoke, where fans keep the spirit of 1999 alive for a few more hours. The bar is more hectic than it’s been all trip—everyone is willing to risk a hangover now that Monday is all that looms on the horizon. The host asks a guest if they intended to sing “Torn” by Creed or “Torn” by Natalie Imbruglia. “I assume Creed, but Natalie would be a fun surprise.”

The playlist is more diverse than I expected. We are treated to both Jay-Z’s “Big Pimpin’ ” and Shania Twain’s “Any Man of Mine.” Brandon Smith, one of the very few people of color aboard the cruise, crushes Maroon 5’s “She Will Be Loved.” A lanky kid from St. Louis unleashes a Slipknot death-growl into the microphone. A queer couple quietly slow-dances on the otherwise empty dance floor. And a 16-year-old, teeth tightened by braces, orders his last Sprite of the night. “Rockers are the most awesome people!” shouts one transcendently inebriated guest over the clamor of his Rolling Stones cover. “Creed is awesome!” On this one thing, at least, we can all agree.

ESPN Films Unveils ’30 for 30′ Summer Slate, Debuts Trailer (EXCLUSIVE)

By Addie Morfoot

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ESPN Films Unveils ’30 for 30′ Summer Slate, Debuts Trailer (EXCLUSIVE) 22 hours ago
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ESPN Films’ sports docuseries “ 30 for 30 ” will launch five new docus this summer.

The upcoming slate features docs about topics including gamer brand FaZe Clan, former track and field superstar Butch Reynolds, and comedy and sports YouTube creator company Dude Perfect.

The summer lineup will launch on June 4 with Kathleen Jayme and Asia Youngman’s “I’m Just Here for the Riot.” About the infamous 2011 Vancouver riot following a Canucks loss to the Boston Bruins during the Stanley Cup final, the film chronicles the event and its aftermath while also raising deeper questions about fandom, violence, and the shocking power of an angry crowd.

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“Our upcoming ’30 for 30′ installments encapsulate the true spirit of sports and entertainment, offering an immersive experience into the lives, triumphs, and challenges of the fascinating subjects and events we delve into,” says Marsha Cooke, ESPN Films’ VP and executive producer. “With our filmmakers and production partners pouring their passion into creating captivating and emotionally resonant stories, we can’t wait to share these compelling narratives, taking our audiences on unforgettable journeys through the rich tapestry of sports and human resilience.”

This year marks the 15th anniversary of “30 for 30,” which Bill Simmons and Connor Schell co-created in 2007. Three of the five “30 for 30” docus launching this summer are executive produced by Words + Pictures, the production company that Schell, the former ESPN content chief, launched in 2021.

“Being involved with “30 for 30″ since its inception, it’s important to me to continue to be part of the series, just now from the filmmaker side,” says Schell, CEO of Words + Pictures. “This summer marks an exciting chapter for Words + Pictures as we partner with ESPN Films, continuing our journey with a series we all deeply cherish and take pride in.”

The “30 for 30” summer slate will begin to roll out on ESPN and ESPN+ on June 4 and will conclude on Aug. 3.

“30 for 30” summer 2024 programming slate:

“I’m Just Here for the Riot” June 4 On June 15, 2011, the Canucks’ Game 7 Stanley Cup Finals loss to the Boston Bruins sparks a massive riot in downtown Vancouver. Police cars are overturned and burned, windows are shattered, stores are looted, and waves of young people are caught up in the mayhem. “I’m Just Here For The Riot” chronicles the aftermath of an event captured on hundreds of cell phone cameras; the rioters are outed, shamed, and see their lives altered forever. From the mob mentality in the streets to similar vengeance in the online hunting of those responsible, it is a dark moment in the city’s history – one that raises deeper questions about fandom, violence, and the shocking power of an angry crowd. Directed by Kathleen Jayme & Asia Youngman. Executive Produced by ESPN Films.

“False Positive” June 11 Butch Reynolds was one of the biggest track and field stars in the world, a talent in his prime on top of his sport. But when he took a drug test in Monaco in the summer of 1990, his career was upended, and his life was forever changed. Yet then and now, the facts of the case shed more than considerable doubt on what happened – instead revealing the tale of a man falsely accused and still compelled in many ways to fight to clear his name all these years later. “False Positive” tells Reynolds’ story in full, beginning with his childhood in Akron, Ohio, to global fame, to his subsequent suspension by the IAAF. It would take years for him to put his life back together, and to this day, the ban continues to shadow his legacy. False Positive delves into Reynolds’ relentless battle to clear his name, revealing systemic flaws within sports governance and the enduring impact of false accusations on an athlete’s legacy. As the documentary makes clear, when it comes to a story like his, the real truth is found beyond the headlines. And it’s that truth that ultimately defines who a person really is. Directed by Ismail Al-Amin. Executive Produced by ESPN Films and Hock Films.

“American Son” July 29 “American Son” captures a pivotal moment in sports and history, as it chronicles the remarkable journey of Michael Chang, a young tennis prodigy whose ascent to fame coincided with an unfathomable and unforgettable upset of Ivan Lendl at the 1989 French Open. The documentary delves into Chang’s upbringing shaped by his family’s immigrant experience, his rapid rise in the tennis world, and the challenges he overcame to achieve success. Directed by Jay Caspian Kang. Executive Produced by ESPN Films and Words + Pictures.

“Dude Perfect: A Very Long Shot” Aug. 3 “Dude Perfect: A Very Long Shot” traces the meteoric rise of a group of friends from College Station, Texas, whose backyard antics evolved into a global sports-comedy phenomenon. Beginning with their humble origins filming trick shots for YouTube, the documentary delves into the journeys of Tyler Toney, Coby Cotton, Cory Cotton, Garrett Hilbert, and Cody Jones as their group, Dude Perfect, became a cultural phenomenon with a massive media following, a live tour, and ambitious dreams of an amusement park. The film highlights key moments in their trajectory, including reclaiming a Guinness World Record for the “tallest shot” by launching a basketball from the top of the Strat Tower in Las Vegas. Beyond the laughs and daring feats, it explores the challenges and sacrifices behind building Dude Perfect as a business and sustaining their camaraderie amidst growing success. As the group faces hurdles and pushes boundaries, their story resonates as a testament to teamwork, ambition, and the captivating drama that mirrors the best narratives in sports Directed by Oliver Anderson and Louis Burgdorf. Executive Produced by ESPN Films and Words + Pictures.

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Reese witherspoon, will ferrell star in new wedding disaster movie, eric clapton’s ‘wonderful tonight’ guitar could fetch up to $500,000 at auction this summer, disney upfront features a kelce hire, nfl chatter and a knicks nix, the best loofahs and body scrubbers, according to dermatologists, the voice semi-finals results-show recap: it’s four to the door as season 25’s final five are revealed, verify it's you, please log in.

Akshay Bhatia’s Valhalla history gives him confidence ahead of PGA Championship

HOUSTON, TEXAS - MARCH 29: Akshay Bhatia of the United States walks the course during the second round of the Texas Children's Houston Open at Memorial Park Golf Course on March 29, 2024 in Houston, Texas. (Photo by Logan Riely/Getty Images)

“Did you chunk it?”

All Akshay Bhatia could do was shake his head at the ridiculous question from his friend after the round. Sixteen-year-old Bhatia had just sunk a near-impossible 40-foot chip for an eagle. And this was not your average hole out. Bhatia did it on the 72nd hole of the 2018 Junior PGA Championship at Valhalla Golf Club. A downhill slider from just long of the par 5, which he reached in two.

It is not an exaggeration to say that Bhatia left himself with one of the most precarious chips possible around the horseshoe-shaped green complex. And with the clubhouse leader one shot ahead, Bhatia needed an up-and-down birdie to tie and move into a sudden-death playoff.

He did one better instead.

“It was one of the clutchest moments of my career,” Bhatia said three weeks before the PGA Championship’s return to Valhalla for the fourth time.

Earlier today, Akshay Bhatia won the #JuniorPGA at @ValhallaGolf … by doing this! pic.twitter.com/MeITpo4ufH — PGA of America (@PGA) August 4, 2018

The chip was airborne for less than a yard — hence the inquiry about it being an accidental mishit — before it softly landed on the putting surface and picked up speed. The lefty retracted his wedge into his right hand like a knight returning his sword to his sheath as he watched his ball head directly toward the cup. It was all part of Bhatia’s plan.

“I hit it exactly how I wanted to,” Bhatia said. “It was one of those chips where you just have to tap the golf ball and it’s going to feed down to the hole.”

The teenage golf sensation triumphantly pumped his clenched fists as the ball fell over the hole’s edge, family and friends joining him in celebration around the green. With the improbable chip-in, Bhatia defended his 2017 Junior PGA title, becoming the first back-to-back champion in the event’s 48-year history. Tiger Woods, Phil Mickelson, Jordan Spieth and Justin Thomas have all played in the prestigious junior tournament. Sam Burns and Trevor Immelman have won it. Bhatia is the only player who has come out on top twice.

He might not have known it then, but the confidence Bhatia mustered to visualize and execute that shot epitomizes exactly why he came out on top on that sticky afternoon in Louisville. It also explains how he made it back to Valhalla six years later, this time as a PGA Tour player making his first PGA Championship start.

He stands a couple of inches taller, and a few additional pounds support his recognizable lanky physique. His signature eyeglasses have shape-shifted from nerdy rectangles to sleek, rounded frames. A few more trophies stand on his shelf at home in Wake Forest, N.C. Bhatia is ready as ever to compete in his third major, at the same venue that started it all: The Kentucky course awaits another flash of brilliance from the former golf prodigy.

Full-circle moments are starting to feel like regularly scheduled programming for Bhatia.

Last month, the 22-year-old clinched his second PGA Tour victory at the Valero Texas Open in a one-hole playoff against Denny McCarthy to earn the final Masters invitation up for grabs. He was the last player to be added to the field at Augusta National, but his entry had another significance.

That week Bhatia became the first Drive, Chip & Putt Finals alum to tee it up in the Masters, 10 years after participating in the competition for 7-to-15-year-olds hosted annually at Augusta National.

Friday morning, he found himself next to Tiger Woods on the practice green.

“Tiger came up to me and said congrats,” Bhatia said. “He joked around with me and gave me a nickname. The first time I met him, it was just a handshake in line with a bunch of other junior golfers. For Tiger Woods to recognize me as a player and a person is something I’ll cherish as a memory from my first Masters.”

He made the cut in his Masters debut and finished tied for 35th.

Threads continue to string themselves together throughout Bhatia’s career, with Valhalla being the latest example. The trend won’t stop here. Why? Bhatia has been winning and succeeding at the game’s highest levels for a long time.

Bhatia’s journey to his current position as the No. 33-ranked player in the world, per DataGolf.com, was unconventional. But Bhatia wouldn’t have had it any other way.

Already gaining significant traction on the amateur golf scene as a middle schooler, Bhatia’s parents, Sonny and Renu, knew they had a special talent on their hands. Renu took on additional work outside of her 9-to-5 corporate planning job to continue supporting her son’s dream of becoming a professional golfer. Sonny traveled with Bhatia to tournaments across the country. Bhatia took advantage, honing his craft nonstop.

The accolades kept coming. When Bhatia won tournaments, he’d ask his coach at the time, George Gankas, what he could have done to win by more. He would speak about getting bored when playing so well, always searching for a new skill to perfect on the course. Bhatia’s relentless, never-satisfied attitude was innate. His parents decided to transition Bhatia to online home school starting in sixth grade.

Most elite junior golfers in the U.S. have sights set on verbal commitment offers from Stanford, Texas or another top-tier Division I golf program. Bhatia had a different vision, and his parents were on board, despite his older sister Rhea enjoying college golf at Queens University of Charlotte. Bhatia wanted to skip college and turn professional as soon as he completed online high school, and that’s exactly what he did. A path that American juniors rarely dare to take was the only option Bhatia ever truly considered.

A 17-year-old Bhatia turned pro at the 2019 Sanderson Farms Championship. Already growing a social media following for his junior dominance and powerful swing, Bhatia received seven sponsor exemptions to PGA Tour events. He missed all seven cuts. Bhatia wasn’t sitting in a classroom, but he was learning.

He didn’t earn a fast track to the PGA Tour by succeeding in those coveted sponsor exemptions, like college stars Viktor Hovland, Matthew Wolff and Collin Morikawa had done that summer. Instead, Bhatia had to grind it out on the mini-tours. He encountered all sorts of unforeseen hurdles: His mental game was in disarray and the onset of the pandemic limited his competitive schedule. Many questioned his decision to forgo an NCAA career.

Traveling the country as a sub-21-year-old presented its challenges. While competing on the Korn Ferry Tour, Bhatia was forced to drive a U-Haul to the Wichita Open because he was too young to rent an SUV.

Finally, Bhatia made his first PGA Tour cut and found a groove. He won a Korn Ferry Tour event in 2022. He secured special temporary member status on the PGA Tour by early 2023. Bhatia parlayed the opportunity into his maiden PGA Tour victory at the opposite-field Barracuda Championship that July, where he sunk a 15-foot putt to force a playoff.

He captured his second victory on tour at the Valero in a similar fashion. After Bhatia made the turn with a comfortable six-shot lead, Denny McCarthy charged, making eight birdies on the back nine to shoot a back-nine 28. Bhatia again faced a putt that would determine his fate: He drained an 11-footer for birdie to enter a playoff, and the ensuing fist pump was so forceful it nearly threw out his bad shoulder. He won in sudden-death play.

Bhatia’s winning instinct took over. He executed the task at hand when it mattered the most. Sound familiar?

“I always go back to those three moments I’ve had,” Bhatia said, “Barracuda, Valero and Valhalla. Those are all shots I needed to make and I was able to do it three times. It shows me that I can dig deep and truly embrace the moment when a lot of people can’t.”

Near ACE for Akshay Bhatia on 17. 😨 📺: Golf Channel & @peacock | @WellsFargoGolf pic.twitter.com/yxJGidZqeC — Golf Channel (@GolfChannel) May 11, 2024

That summer at Valhalla, Bhatia was in the middle of his most successful junior golf season. The No. 1 junior in the world at the time, Bhatia was busy claiming victory after victory. He began winning the prestigious Junior Invitational at Sage Valley, just 20 miles from Augusta National. A few weeks later, he claimed the AJGA Polo Golf Junior Classic title by 10 shots, his sixth victory on the elite junior tour.

Then it came time to chase junior golf’s pinnacle achievement: the U.S. Junior Amateur, a match-play format tournament with a 36-hole championship match, hosted at Baltusrol Golf Club in 2018. It was no surprise when Bhatia made it to the finals. But that Sunday Bhatia was outplayed. Fellow 16-year-old Michael Thorbjornsen defeated Bhatia in a thrilling back-and-forth battle, winning 1 up on the final hole.

The loss stung, but Bhatia pressed on. The Junior PGA — where he had won the year prior by shooting a record-breaking 61 — was the next major junior event on his schedule.

Bhatia remembers bits and pieces of his historic week in Kentucky in 2018. He recalls studying the hole locations from the 2014 PGA Championship at Valhalla, when Rory McIlroy won his last major championship. When the tournament began, Bhatia recognized the pin positions from his pre-tournament research. He felt like he suddenly had a leg up on the rest of the field.

Bhatia can grudgingly recount shooting a 4-over 76 in the second round. He needed a pep talk from his coach, Chase Duncan, in the car. The next day he fired a 7-under 65 to take a share of the lead heading into Sunday.

Then came the eagle hole-out that cemented his status as a junior golf legend.

“We were expecting him to get it up and down, no question,” said Canon Claycomb, a current member of the University of Alabama men’s golf team who finished top five at the Junior PGA. “The chip was so hard. We were all kind of joking, ‘He’s gonna make this’ because he had just killed everyone all year.”

Returning to Louisville six years later, Bhatia is a different person. He’ll still be one of the youngest competitors in the PGA Championship field, but he’s engaged to his long-time girlfriend Presleigh Schultz. He’s hired a full team around him, including mental coach Ryan Davis, putting coach Stephen Sweeney and short-game expert Gabe Hjerstedt. Still at an age when his peers are just entering professional golf, ">Bhatia has built a brand and has proved he belongs among the world’s best.

But Bhatia knows he is the same in many ways. He’ll always be the fearless competitor who got up and down from jail on the 18th green at Valhalla for the win.

The shot was far from a “chunk” that got lucky. It was the chip that started it all.

(Top photo: Logan Riely / Getty Images)

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Gabby Herzig is a Staff Writer for The Athletic covering golf. Before joining The Athletic, she worked as a breaking news writer for Sports Illustrated’s golf vertical and a contributing editor at Golf Digest. She is a graduate of Pomona College, where she captained the varsity women’s golf team.

Taylor Swift named Time magazine’s person of the year

Looks like Taylor Swift is now in her “person of the year” era.

Time magazine announced Swift as 2023’s person of the year on Wednesday, granting her the distinction over a shortlist of candidates including Barbie, King Charles III and Vladimir Putin. Last year, Ukrainian President Volodymyr Zelensky won the honor.

“Taylor Swift found a way to transcend borders and be a source of light,” wrote Time’s editor in chief, Sam Jacobs. “Swift is the rare person who is both the writer and hero of her own story.”

The Style section

The award caps what’s been a commercially successful year for Swift, who dominated the concert scene with “The Eras Tour” and in October released a concert film based on the tour . The tour turned tragic in mid-November, when sweltering temperatures at a show in Brazil led to hundreds of reported medical incidents and the death of a fan.

Swift also dominated the Billboard charts with songs from her 2022 album “Midnights” and from previous albums. Her song “Cruel Summer” from the 2019 album “Lover” topped the Billboard Hot 100 four years after it was released. Swift also released rerecorded versions of her albums “Speak Now” and “1989” with additional tracks.

She also split from longtime partner Joe Alwyn in the spring and faced backlash from fans over a rumored relationship with controversial singer Matt Healy .

Time’s cover story — based on an interview with Swift — is packed with nuggets about Swift’s life from the past year, including details of how she started dating Travis Kelce of the Kansas City Chiefs. Swift also spilled some tea about her upcoming rerecording of the 2017 “Reputation” album, as well as her mind-set during a public feud with Kanye West and Kim Kardashian in the mid-2010s.

Here are highlights from The Post’s coverage of Taylor Swift throughout the year, with links to the stories within each excerpt:

For Beyoncé and Taylor Swift, the big screen feels like a tight fit

“With the respective box office successes of ‘Renaissance: A Film by Beyoncé’ and ‘Taylor Swift: The Eras Tour,’ two of civilization’s most famous voices have made the migration from the stadium to the big screen appear pretty much effortless, as if the line between a pop star and a movie star were simply something to be stepped over. As for the rest of us strugglers whose money trees resemble dead houseplants, the pros and cons feel tightly intertwined. …”

What Taylor Swift superfans want you to understand

“In a sunlit bedroom of a cozy stone house nestled among the fall foliage of Georgia’s Chattahoochee River, Molly Swindall sits in a closet. It’s where the 29-year-old flight attendant often retreats when she’s back in her childhood home, admiring and tending to a cramped and overflowing collection of memorabilia that began being assembled in 2006 — the same year she discovered a budding singer-songwriter named Taylor Swift. …”

The Economy (Taylor’s Version)

“Swift’s record-shattering Eras Tour is set to be the most lucrative concert run in American history. But the massive production not only provided a jolt of money to sold-out stadiums — it also infused the American economy with a trickle-down flow of cash. …”

They couldn’t get Taylor Swift tickets. So they got jobs at the venues.

“As the Eras Tour winds down in the United States (eight California shows remain before Swift, 33, kicks off the international dates in late August), one small but elite group has emerged triumphant: fans who couldn’t procure or afford tickets, so they opted to temporarily work or volunteer at the stadiums — and watch the shows free. …”

Sharp. Witty. Thoughtful. Sign up for the Style Memo newsletter.

Surprised by the Eras Tour’s dominance? You weren’t paying attention.

“Ever since the first concert in March in Glendale, Ariz., the Swifties have been studying every minute of the tour, watching livestreams on TikTok and combing through social media posts. It’s a level of devotion that comes from nearly two decades of Swift’s fan base following her every move, because she makes them feel like they really know her — and more importantly, that she really knows them. Everything Swift has built, going from a teen country songwriting prodigy to one of the biggest pop stars in history at age 33, has led to this 3½-hour celebration of her ‘Eras’ each night . And on the last show of this year’s American leg of the tour, the fans were ready. …”

The bonding experience of watching a Taylor Swift concert from a parking lot

“The very difficult odds of scoring tickets to Swift’s 52-date stadium tour are no joke — which is what brought [Daniela] Mello and her fiance to an area outside the gates of Lincoln Financial Field on Saturday night, where they sat on concrete parking barriers near a sign for Lot K. Around them, thousands more Swift fans swarmed parking lots and closed streets by the stadium, screaming and dancing and singing and sometimes crying along to Swift’s vocals that rang out from the enormous speakers inside the venue. If they couldn’t see the pop megastar, they were certainly going to hear her. …”

After woman’s death at Taylor Swift concert, a search for accountability

“Amid the chaos, an early-entry VIP ticket holder named Ana Clara Benevides Machado tried to enjoy herself. A friend remembered how the 23-year-old jumped, sang and cried when she saw Swift — then fainted in the middle of ‘Cruel Summer,’ and died of cardiorespiratory arrest at a hospital . She was the only reported death from the show, but firefighters said more than 1,000 others had passed out by the end of the night.

A week later, the international Eras Tour appears to be back on track. Swift has performed more shows in Brazil, including two in the same stadium — even as the country has sought accountability in the wake of the Nov. 17 show, and the Brazilian company that organized the show, Time4Fun, is the subject of government and police investigations. …”

Movie review: Love Taylor Swift or not, ‘The Eras Tour’ is astonishing

“Filmed with multiple cameras during Swift’s engagement at SoFi Stadium outside Los Angeles, this impressively immersive chronicle has every technological gizmo at its disposal but wisely keeps things simple. After a brief drone shot of the immense arena, director Sam Wrench zooms down to the stage, where dancers appear waving giant, parachute-like wings — a dazzling, lyrical segue into Swift’s triumphant arrival in a crystal-encrusted bodysuit and matching Louboutin boots. …”

Taylor Swift, Travis Kelce and a monoculture yearning for romance

“It’s 2023, so this budding romance story has consumed every corner of the internet, sports media, non-sports media, sports betting apps, cable-news segments, memes and text messages from dads to daughters asking, ‘Have you seen this?’ During the Sept. 24 game, Fox announcers gleefully dubbed the Swift-Kelce pairing as ‘the romance that we all need. It feels like it’s right for America.’ …”

A review of ‘1989 (Taylor’s Version)’ (Critic’s Version)

“ In the spirit of Taylor Swift rerecording her early discography, I’ve resurrected my take on ‘ 1989, ’ originally published in 2014, with updates in italics.

Haters gonna hate, hate, hate, hate, hate, so here goes we go again.

Taylor Swift’s ‘1989 (Taylor’s Version) ’ — an antiseptic pop album scrubbed of any greasy country music fingerprints — qualifies as is a re-creation of a rare and exquisite dud that ate the entire planet back in 2014 . When it’s triumphant, it’s like that Super Bowl Sunday when your team is up 42 points at the half. (Go Chiefs!) When it’s bland, it’s like noshing on empty calories in a dream you won’t remember. Sometimes, somehow, it’s both. …”

The unprecedented weirdness of Taylor Swift

“Taylor Swift is weird. If you think she’s the greatest pop singer to ever exist, that means she’s weird. If you think she’s too boring to be this preposterously famous, that also means she’s weird. Does the intimacy of her world-beating songcraft make you feel as if she has been singing about your life this entire time? Weird. Or maybe you feel profoundly alienated by her fandom-fluffed aura of total infallibility. Yeah, because it’s weird. She’s clearly some kind of genius, and she’s obviously a brighter brand of superstar than most who came before, but it’s Swift’s weirdness that accommodates all perspectives . It might be her most essential trait, even though her music feels so normal. And that’s weird, too. …”

IMAGES

THE PRODIGY Announces First Tour Since KEITH FLINT's Death
The Prodigy Announce Tour
The Prodigy announce return for 2022 UK tour: "Let's F***** Go!"
The Prodigy announce 2023 UK tour and tell us what the future holds
The Prodigy will return to Glasgow on arena tour
The Prodigy Concert Tickets, 2023 Tour Dates & Locations

VIDEO

The Demon King Got Reincarnated So He Became The Strongest Child Prodigy Ever Part [2]
The Demon King Got Reincarnated So He Became The Strongest Child Prodigy Ever Part [1]
The Prodigy Come on stage at Brighton Arena November 2023 and play Breathe
The Prodigy

COMMENTS

"This One's for Flinty": The Prodigy Announce First Tour Since Keith
This marks The Prodigy's first tour since the passing of charismatic frontman Keith Flint in 2019. The news of the tour arrives a mere days after the band posted a heartfelt tribute to remember ...
The Prodigy announce 2023 UK tour and tell us what the future holds
Friday 17 - Manchester AO Arena. Saturday 18 - Leeds First Direct Arena. Monday 20 - Brighton Centre. Tuesday 21 - Cardiff Motorpoint Arena. Thursday 23 - Birmingham Utilita Arena ...
The Prodigy
last night of the tour in Paris , thanks for havin us !, the building was shook , great to finish in a smaller venue ,,, the whole tour has been insane ,, Thanku to all the people that came out to see us , we luv y'all , We Will return , new music next year , let's fukin go!! L H x #theprodigy #weliveforever Pics by @mikevancleven
Watch The Prodigy play their first show since Keith Flint's death
12th July 2022. The Prodigy make their live return at the O2 Academy Sheffield in July 2022. CREDIT: Anthony Mooney. The Prodigy recently played their first live show since the death of frontman ...
THE PRODIGY Announces First Tour Since KEITH FLINT's Death
The Prodigy has announced their first tour since the passing of vocalist Keith Flint in 2019. The band notes the tour is in support of Fat Of The Land turning 25 years old, and that will be ...
The Prodigy Announce First Tour Since Keith Flint's Death ...
Wren Graves. March 7, 2022 · 2 min read. The post The Prodigy Announce First Tour Since. Keith Flint 's Death: "This One's for Flinty" appeared first on Consequence. For the first time ...
The Prodigy played their first show since Keith Flint died ...
The Prodigy's Sheffield show last night was the opening date of a sold-out UK tour that will see them playing again in Sheffield tonight as well as shows in Liverpool, Leeds, Birmingham, Newcastle, Manchester and London. ... Never had an out of body experience by a sub woofer before One of the hottest gigs I've ever been to and a beautiful ...
The Prodigy Announce First Shows Since Keith Flint's Death
News March 7, 2022 12:33 PM By James Rettig. The Prodigy have announced their first run of shows since Keith Flint's death — he passed away three years ago this week at age 49. Liam Howlett ...
The Prodigy unveil 2023 U.K. tour dates
The Prodigy are going on tour again this fall. The band, made up of Maxim and Liam Howell, hit the road last year for the first since the death of their frontman, Keith Flint , in 2019.
The Prodigy Share Preview of First New Music Since Keith Flint's Death
The Prodigy are officially back in studio.. The legendary electronic music group have shared a preview of a new track, the first music they've teased since the death of frontman Keith Flint.Flint ...
The Prodigy announced 2023 dates: How to buy tickets
The Prodigy announce trio of headline shows for 2023. 8 November 2022, 17:20 | Updated: 8 November 2022, 17:49. The Prodigy's Liam Howlett and Maxim.
The Prodigy announce return with live tour for 2022: "This ones ...
The Prodigy have today (March 7) announced details of a live tour for 2022 - check out the dates below and buy your tickets here. The group will return with a run of live dates in England across ...
The Prodigy announce return for 2022 UK tour: "Let's F***** Go!"
The Prodigy announce return for 2022 UK tour: "Let's F***** Go!". The Prodigy have announced they will return later this year for their first string of live shows since the death of Keith Flint. Flint, the charismatic leader of the electro pioneers, was found dead at his home in Essex in 2019.
Live Dates
Hérouville-Saint-Clair, France . 09 Jul. Icónica Santalucía Sevilla Festival
The Prodigy announce Army of the Ants tour: "We're comin' back for u
The Prodigy have confirmed the Army of the Ants tour, which will see them playing shows across the UK in November 2023. The band, led by Liam Howlett and also featuring Maxim, will kick off in Glasgow on 16 November, moving on to Manchester, Leeds, Brighton, Cardiff and Birmingham.
The Prodigy Concert & Tour History (Updated for 2024)
The Prodigy Concert History. The Prodigy is an English electronic dance music band from Braintree, Essex, formed in 1990 by keyboardist and songwriter Liam Howlett. The line-up of the band has included MC and vocalist Maxim, dancer and vocalist Keith Flint (until his death in March 2019), dancer and live keyboardist Leeroy Thornhill (who left ...
Live review: The Prodigy, O2 Academy Leeds
The Prodigy prove to be as incendiary as ever, even missing one of music's most formidable frontmen ... This tour coincides with the 25th anniversary of The Fat Of The Land and, while they haul ...
The Prodigy
The official YouTube Channel for The Prodigy.
The Prodigy will be back on tour in 2023! Hope they will come to
The Prodigy will be back on tour in 2023! Hope they will come to Central Europe too : r/TheProdigy. r/TheProdigy • 10 mo. ago. by sakalemberekUldoznek. The Prodigy will be back on tour in 2023! Hope they will come to Central Europe too. comments Best Top New Controversial Q&A. Add a Comment.
The Prodigy Detail North American Tour
The Prodigy Tour Dates. May 3 - Jacksonville, FL @ Welcome to Rockville Festival. May 5 - Dallas, TX @ South Side Ballroom. May 7 - New Orleans, LA @ Orpheum. May 8 - Atlanta, GA ...
The Prodigy
The Prodigy are an English electronic dance music band formed in Braintree, Essex, in 1990 by producer, keyboardist, and songwriter Liam Howlett.The original line-up also featured dancer and vocalist Keith Flint, dancer and occasional live keyboardist Leeroy Thornhill, dancer Sharky, and MC and vocalist Maxim.They are pioneers of the breakbeat-influenced genre big beat, and describe their ...
The Prodigy Tour guide and history archive
The Prodigy 34 pcs sticker set Huge set of The Prodigy stickers. 17 different designs (2 of each) and total of 34 stickers. Sticker sizes vary from 7 cm to 3,5 cm. Order here >
The Prodigy
For the first time since 2018, The Prodigy has announced a massive concerts in Tallinn on August 17th and in Riga on August 18th. This is the band's first concert in Estonia and Latvia without their brother, cult icon Keith Flint. Liam Howlett and Maxim will return to the stage with a new, extremely powerful performance.
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