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dreamings-free · 4 months

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‘A dirty nightclub in an arena’ – behind Louis Tomlinson’s Faith In The Future World Tour

Louis Tomlinson and his tight-knit touring crew traverse the world in close to 80 shows, fulfilling a ‘dirty nightclub in an arena’ brief with a dynamic live campaign.

Production Profiles 5 January 2024

Following the success of his record-breaking Live From London livestream, which reportedly raised over £1m for touring and live events personnel and charitable organisations, Louis Tomlinson and his tight-knit crew have toured the world twice over. This time, visiting sold-out arenas in Europe and the UK with a cleverly networked live production with abstract video and lighting and a ‘no frills’ approach to sound, which guaranteed that every ticket holder experienced the same show, regardless of where they stood, sat, or screamed (more on that later). With close to 80 shows under their belt, TPi visited London’s O2 arena ahead of the production’s penultimate date of 2023.

Words: Jacob Waite Photos: Justin De Souza and Oli Crump

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“A team effort is required to get this show off the ground,” explained Technical Manager, Sam ‘Kenny’ Kenyon, who has been a fixture of Louis Tomlinson’s live output since joining as Lighting Crew Chief in 2019. “This has been a complete redesign, and the production has expanded and gotten more complex, which requires different solutions to make it happen.”

Kenny and the team oversaw the deployment of an A and B rig. “We’ve been fortunate for the European stint that the venues we’ve toured have, mostly, been arenas. The main difference between the A and B rig is the addition of IMAG and further lighting header trusses. Aside from that, the A rig fits everywhere. If anything, we’ve run into weight issues, which we can overcome swiftly by removing overhead trusses.”

For the first few shows, Riggers, Ian Bracewell, and Alex Walker incorporated load cells on trusses to get an accurate rate and account of the weight of the load of each truss. In the UK, The Brighton Centre had a particularly low-rate roof with weight limitations. Production Manager, Craig Sherwood and Tour Manager, Tom Allen’s vendors of choice included: Altour (travel), Beat the Street, BPM SFX, CSE Crosscom, Colour Sound Experiment (lighting, rigging, and video), Hangman UK, Boxcat Studio and Two Suns Creative (video content), LED Creative, Ox Event House (custom light housings), Sarah’s Kitchen, Seven 7 Management (artist management), Solotech (audio), Stardes Trucking, and TANCK (production design and video content).

There was no video director, as the show’s visuals were programmed and interspersed with live footage and triggered by a lighting console at FOH, thanks in part to an intricate network setup. “There’s a lot going on in racks that people never see, but it has been stable thanks to the quality of kit supplied by our vendors, who have invested heavily, and the team taking the time to programme the show,” Kenny noted.

Key to the success of the operation was the incorporation of Central Control software, which takes a signal from a lighting console, be it ACN or Art-Net, and translates it to talk to various products – in this case, video. “There is a giant brain that nobody knows exists other than those that have programmed it,” he added.

Additional crew members joined the tour in Europe to aid the video deployment and lead to far more efficient load-in an -outs. “We are close to 80 shows in and on days where we have access to multiple trucks, it comes out very quickly, which for a show of this scale is impressive and credit goes to the team,” enthused Kenny. “The biggest hurdle is when you’ve only got a two-truck dock.”

Prior to the tour, the team had five days of production rehearsals spent in Connecticut’s Mohegan Sun. “When we came to Europe a week later, we had a week of re-prepping with a day of rehearsals at Hamburg’s Barclays Arena, the day before a show,” he described. “It’s been a fun and long run,” added Stage Manager, Torin Arnold. “We’ve visited a good range of venues and countries – especially the Eastern European legs, visiting places you wouldn’t ordinarily tour and experiencing how they operate. This show is designed so it can be accomplished in any part of the world.” Carpenter, Harry Reeves was also on hand to support the build.

The routing, however, was sometimes challenging with some late arrivals and difficult border crossings. “There were a few times in Eastern Europe where we were doing a ferry back-to-back to arrive at 11am, sitting at a difficult border crossing. We usually start with a 7am mark out, so knocking hours off your load-in is tough but everyone pulled together to overcome it,” Arnold explained, noting that touring without staging, and instead, using venue stages (particularly rolling stages), was a blessing during those late arrivals. “As with any tour, as dates progress you build a rhythm while maintaining the safety of the build,” he noted.

Arnold also highlighted the benefit of Lead Truck Driver, Neil Thornton and Truck Drivers, Matt Marlow, Ben Woods, Sarah Goldsmith, Bob Miles, Alam Minshall, Franco DeRosa, and Ollie Thornton who “speed up the process” and maintained a level of consistency.

The transitions between support acts before Louis hit the stage was equally seamless, with ample downstage space for the singer-songwriter to traverse during his performance. “Having a clean frontline means we have space to get the bands on and off,” he added. “Our vendors have also provided everything from an audio package standpoint for support acts, which also speeds up the load-in and -out.”

Highlighting a ‘bucket list’ show at Hollywood Bowl, working closely with US union officials as a “fun” and “interesting” experience, Arnold reflected on the entire tour with crewmembers he now considers close friends. “This is a close team and I’ve made some great memories and stories. It’s been a fun year!”

A DIRTY NIGHTCLUB IN AN ARENA Production Designer, Programmer and Director, Tom Taylor, and Francis Clegg of TANCK have worked with Louis Tomlinson ever since he made the leap to solo artist. “The production design has evolved into an angular, grungy, asymmetrical setup, borne out of the ‘dirty nightclub in an arena setting’ creative brief I was given,” Taylor said, citing the creative influence of Matt Vines and Seven 7 Management. “Louis is a phenomenal performer, and the crowd is captivated the entire time. We started knocking ideas around, speaking to Louis about his inspirations and influences, which we then developed into a creative deck, which I sketched in Blender, and imported into WYSIWYG for visuals, to create stills and pre-visualise.”

Taylor spent 10 days programming the visuals at Colour Sound Experiment, a firm he shares a “longstanding” relationship with. “They are always a call away regardless of the day or time. Their team is easy to get along with and I like their whole ‘production sphere’ – sometimes it’s nice to split lighting and video, but for a show like this, aligning those departments with one line of communication is ideal,” he said, underlining the support of Colour Sound Experiment Account Handler, Haydn Cruickshank.

With production rehearsals under their belt and recordings from Louis Tomlinson World Tour (2020–22), where TANCK piloted Central Control software, the creatives understood how the singer and his band moved on stage, developing a rhythm and consistency of when to implement visual cues and which camera angle fit best. This allowed the team to pre-programme the visual content to timecode.

Video content was made by a combination of TANCK, Two Suns Creative, and Boxcat Studio, with the latter creating 3D models and rendered content, all of which was broadcast across a unique set of video surfaces. “Having the abstract video columns on stage makes it much more interesting than your standard slab of LED at the back of the stage,” Taylor noted.

On stage boxes created by Ox Event House housed GLP JDC Line 1000 strobes with reflective panelling and fabric that were printed to look like heavy concrete slabs, ladened with custom LED Creative solutions. These boxes then moved up and down using Wahlberg Motion Design winches to provide a “low-level, clubby feel” to the set.

“The winches can only carry 50kg and the lights alone are 35kg, so we had to be careful not to overload them, but the result was cool. We also have one single lightbulb on a winch which comes up and down above Louis to create a classic lighting moment,” Taylor said, further highlighting Ayrton Huracán’s prismatic colour wheel as a ‘fan favourite’.

The lighting design saw a wall of GLP impression X4 Bar 20s at the rear of the stage in 12 columns. Further lighting trusses over the stage carried the Wahlberg winches for several automated looks. The DMX winches were utilised for three or four songs, either statically or moving up and down, while JDC Line 1000s provided colour and strobe effects, to achieve varied looks, with a relatively minimal overhead lighting package.

Taylor elaborated: “There are some shutters for one specific track which go directly in-front of some of the GLP X4 Bars to get the aura of the lights, instead of the lenses, which I really like the look of. Lighting and video complement each other during this show – there’s also a section with flickering fluorescent tubes on the video content with the X4 Bar 20s behind the LED screens flickering in a similar way.

Taylor was delighted with the performance of the crew. “Overall, it has been a great run, executed flawlessly,” he commented, citing the support of Lighting Crew Chief, James Box; Dimmer Technician, Rick Carr, and Lighting Technicians, Amy Barnett, and Kieran Hancox.

The wider lighting rig comprised Ayrton Eurus, CHAUVET Professional Strike Array 4, Claypaky Mini-B eLumen8 Endura 1Q120, and Robe BMFL fixtures with robo cameras, all fixed on various HOF MLT3, Litec QH40 and Thomas James Thomas Engineering Superstruss. The lighting riser featured Ayrton Huracan LT and GLP JDC1 fixtures.

Robe Spiider fixtures were situated on the up and downstage video trusses, with the floor package boasting the deployment of further Ayrton Eurus, LEDJ Spectra Flood Q15 and Chroma-Q Color Force 72 units, the latter chosen for key light. Atmospherics came in the shape of Smoke Factory Tour Hazer 2, Martin Professional JEM ZR45 and MDG Atmosphere ATMe hazers with TMB ProFans. “We had some challenging shows, implementing an arena-scale design into sheds in the US, but it’s been good to return to Europe and witness the fans enjoying the show,” added Lighting Crew Chief, James Box, who pinpointed the use of the multicoloured glass gobo in Hurricanes as among his favourite looks.

“There is a lot of effort put in by TANCK to ensure we get the utmost from every fixture on the rig, which is great to see, when the team has gone to the effort of assembling the show each morning. Seeing the looks they achieve from the rig and the extra details, with each advanced cue within the show, is a pleasure.

Almost every pixel on the JDC Line 1000 and X4 impression Bars are being used.”

Video Crew Chief, Dave Mallandain, formerly of Colour Sound Experiment, supervised the video build and the team of Video Technicians, Ed Driver, Frank Wlliams and Tim Curwen.

“Working with Colour Sound Experiment again, in a freelance capacity, certainly has its benefits,” he stated. “You get to know the workflows and personalities of the company. There is an element of trust there and our relationship is stronger because of that.” The 2.5m by 2.5m video screen, made up of Leyard CLM6 LED panels with Colorlight Z6 processing on the back end, was built in an abstract configuration – hung from varying size steel structures fixed on to lighting truss, spanning the entire stage, as opposed to a traditional backwall. “This setup requires us to build it quicker, so the backline can start building their world, but it’s very lightweight and easy to use, so once the local crew are up to speed, it flies up in no time,” he reported.

During the show, there was a lot of camera angles fed into a Blackmagic ATEM switcher, with content then fed into Resolume media servers which was processed and treated with video effects and filters to manipulate the content, monitored by the video team, and pre-programmed by Taylor via an MA Lighting grandMA3 console, operating in MA2 mode.

“The fan camera, which was one of Tom’s ideas, has evolved to the point where Frank and I are on stage during Out Of My System, pointing these cameras fabricated in an old VHS-style shell at Louis’ face in reference to the fisheye-lens inspired music video.”

A mixture of Marshall Electronics and Panasonic PTZ cameras ensured the wider on-stage action was captured. “While the visual content is the same, the shots differ based on the energy of the crowd from night to night,” he explained. “We have an overhead shot for the drums, and another behind Louis, which shoots over his shoulder to the crowd. We also have a PTZ camera on the ground in front of Louis which can rotate to capture crowd scans along with a little ‘bullet camera’ for each musician. It’s been a fantastic tour; everyone on this team has been phenomenal.”

The special effects and pyrotechnics package supplied by BPM SFX included Galaxis PFC 10-way receivers running Galaxis, with a main and a backup controller, which ran through an MA Lighting grandMA2 console, to trigger MagicFX Stadium Shot IIs and a single shot of red streamers. The latter, a “signature of Louis Tomlinson live shows”, according to BPM SFX Technician, Jack Webber – who toured with a new custom control rack, with much of the hardware integrated in one rack.

BPM SFX Account Handler, Matt Heap and SFX Technicians, Blake Harward and Phillip Mathew also provided Webber with support. “The one major change on this tour was putting the Stadium Shot IIs at the downstage edge, and adding lasers for the O2 arena show,” said Webber, who has been involved in past touring campaigns with the camp. “This is the first touring camp to take me to the US, so I feel incredibly privileged.”

Safety was paramount for the BPM SFX team, who implemented the safeguard of warning notices on-stage to ensure the band knew exactly when an effect was triggered. In closing, Webber referenced the ‘rainbow-inspired’ track, She Is Beauty We Are World Class, which demonstrated the strength of the special effects package. “There are about 22 rapid fire chase Comets all going off at the same time with a big lift, which differs in comparison to the other looks with eight units.”

MIXING IN A SEA OF SCREAMS FOH Engineer, John Delf mixed on an Avid S6L 32D console with onboard plug-ins. “I use the onboard plug-ins as much as possible because I want to keep it as simple as possible and know I’ve got a show out of the box without any added extras, which is particularly useful during fly-in gigs, where I have to use a house console or have limited time to set up,” he noted. Delf also toured with some choice pieces of outboard gear including a Rupert Neve Designs 5045 primary source enhancer for vocals, an Empirical Labs Fatso two-channel compressor for drums, and further Distressors for the bass guitar group and vocals.

“The bulk of my mixing is riding the DCA control groups and the vocals, balancing between them, and when there is a lead guitar solo, I’ll jump to that. Most of the mix should stay where it is, and I shouldn’t have to think about it, but every day you make major tweaks and refinements based on how the musicians are performing. Most of the gig is turning the band up and down without affecting the vocals because I have DCAs for drums, bass, guitars, keyboards, main vocal, backing vocals, and an ‘all’ DCA that includes everything but vocals,” he said, explaining his mixing wizardry modestly. “I also run snapshots in which I am changing the sub send amount for different songs, as well as reverb and delay times. If the band changes the set last minute, I have the desk synced to the timecode and that will trigger the snapshots.”

At the beginning of the set, the noise of the crowd can be between 112 to 116dB. “We have a little bit of headroom. When they are loud, I can push the mix, and when they are quieter, I can pull it back for the more introspective moments of the show,” he explained.

“My favourite section to mix is the transition from a cover of Arctic Monkeys’ 505 into Back to You. When that kicks in, I push the “All” DCA up to +10. We’ve built the set up to that point, where I’m able to throw it to the top before the end of the set. The three songs in the encore are also fun songs to mix,” he enthused, accenting the support of Solotech Account Handler, David Shepherd.

“I’ve worked with Dave for years, while he was at BCS Audio (now part of Solotech). He’s been my go-to account handler for a very long time, and Solotech has inherited this gig from them, so there was a natural transition.”

System Engineer and Head of Audio, Oli Crump walked TPi through the PA system: “We’ve been using L-Acoustics, which is our preference, since the start of last year’s tour. The main hang has been K1 with K2 downfill for both tours, however, we are touring with a much larger system this year with K2 on the sides instead of KARA-II. We’re flying subwoofers and carrying delays with us, which is also our preference in big arenas, like the O2 – it provides an even level of coverage across the audience,” the TPi Breakthrough Talent Award alumni said, explaining the thought process behind a larger sound system.

“The PA system is naturally bigger this year because we’re touring larger venues. The crowd is very loud, and we need to be able to compete with that at points of the show. The window of dynamic range we have without it being too loud is compressed because the background level from the crowd is so high, so we need to be able to get our level as consistent as possible from front to back. This setup really helps overcome that.”

Out of ear shot from Crump, Delf extolled the virtues of his partner at FOH: “Oli and I work well together. Every day, regardless of the venue, I know the system is going to sound consistent. We deal with different venue acoustics each day but as soon as I run up my virtual soundcheck, I’ve got the mix back to where I want it because the PA is at the same level every day. I used to walk the room a lot during sound check, but it always sounded consistent, so I’ve stopped doing that because I trust him explicitly.”

The PA generally sat in a standard location for an arena PA, 10.5m off centre and no wider than that, using the same basic system design as Louis Tomlinson’s past touring campaign, which Crump worked on with Kenny to ensure it didn’t impede the production design. “The number of boxes we deploy varies from show to show, based on the venue. The worst-case scenario [visually] is that the PA needs to be a little lower than usual and gets in the way of the IMAG screens slightly,” Crump detailed.

He designed the system using Soundvision, then imported his file into Network Manager, with a DirectOut Technologies PRODIGY.MP chosen for system processing. “I have visited many of the European arenas before so I’ve got fairly accurate plots, however, sometimes you will stumble across an error someone has made in building the models,” he continued. “Madrid’s WiZink Center had different CAD drawings for each layer of the venue and one of the layers was accidentally scaled wrong, so the bottom floors were fine but as you went up everything was out. You get curveballs like that occasionally but that’s why it’s important to verify drawings.”

An audience also changes the acoustics of a room, generally for the better, but sometimes not, so Crump was on hand at FOH to make tweaks when required. “As rooms get larger, they generally get more difficult, reverb time will go up purely as a factor of the room size, regardless of how you treat it. The O2 is quite tall seating-wise, so you end up having to angle the PA up into the roof a lot,” Crump noted.

Over by the stage, Monitor Engineer, Barrie Pitt mixed the five-piece band and frontman using a DiGiCo Quantum 338 console. “Louis and the band are good at verbalising what they want. They’ve been playing a long time, so it’s my job to translate those desires into the mix,” he explained. “DiGiCo has been my ‘go-to’ brand of console for the past 15 years. The 338 is an incredibly powerful console, which can do as much as any other on the market and more in a much less convoluted way. I know it like the back of my hand and how to get the best out of it and do the most complicated things at the push of a button. The Capture features are ridiculously powerful.”

Pitt oversaw 85 channels, 64 directly from stage, with additional channels for shouts, sends, returns, communications, and routing, among others. His outboard rack included a classic Lexicon PCM 91 digital reverberator for vocals. “The way I set up the communications and shout systems are the same across the board. For the layout, a lot of people have instruments on one side and vocal and effects on the other, however, I tend to adjust my banks of faders visually, how you would see it on stage, left to right, as a nod to my analogue mixing days. My second layer is usually tracks and any track content with reverbs next to the vocals, so they’re changed in unison. Sometimes, I’ll do a custom layer of [drum or spill group, two lead guitar channels and vocal] the things I use most, particularly if it’s a busy show input-wise.”

Pitt referred to the basis of his mix as ‘static’ with minor changes. “Louis changes a fair bit between songs I’m running upwards of 60 scenes with a lot of songs having multiple scenes for verse and chorus or specific sections,” he explained. The Monitor Engineer is a big believer in unifying the in-ear monitors, so what he hears is the same as those on stage. “We use Shure PSM1000s, JH Audio Roxanne in-ear monitors for Louis and JH16s for everyone else, except for the drummer, who is using Ultimate Ears IEMs. Louis and the band are solid, and they keep their ears in from start to finish. Louis wants the rock star mix; he likes to feel the weight of the mix. It’s not an overpowering mix but it’s a full mix with his vocal on top with Neve 5045 primary source enhancers on all vocals. Everyone else has a standard band mix at moderate level with their instrument and vocals high. The drummer has the most straightforward mix with his drums and shouts layered on top.”

A further pair of subwoofers stage left, and right were situated under the stage risers, providing the weight of side fills without the top end. “It’s a big rock show with drums and guitars, so the less noise I can have flying about the stage, the better,” he said.

The microphone package included a Shure Axient Digital AD4D two-channel digital wireless receiver, a AD2 vocal microphone with a KSM9 capsule for vocals. Sennheiser MKH 60 and AKG C414 XLS microphones captured the ambient noise of the room. “We track everything, including the two sets of ambient microphones for recording and virtual soundcheck, in case the band decides to do anything with the live content,” he noted.

Having collaborated with Solotech and previously BCS Audio multiple times, Pitt was pleased to see the company on the tour sheet. “They are a solid choice and I know Dave Shepherd well. They fix any problems swiftly, and all their gear is well packaged and maintained,” he said. “The band and crew are lovely. It’s rare to come across a camp so friendly on a show of this size.” Pitt thanked Solotech Monitor and Stage Technician, Matt Coton. “He is fantastic. He takes all the second guessing out of my day and is so meticulous and thorough that I know everything will be as it should be from the get-go. When there are issues, he knows exactly what to do to remedy it. He’s been a joy to work and hang out with.”

Audio Technicians, Matt Coton, Tim Miller, Kim Watson, Elliott Clarke, James Coghlan, Matt Benton; Bassist and Keyboard Technician, Chris Freeman; Guitar Technician, Dan Ely and Playback Technician, Scotty Anderson made up the sound team.

CURATING A HOME AWAY FROM HOME Sarah Nicholas of Sarah’s Kitchen and Caterers, Rebecca Henderson, Helena Robertson, Chris Carter, Matty Pople and Tamsin Manvell provided band and crew catering, ensuring morale stayed high and stomachs were full on the road. Making a name for themselves as One Direction’s caterers, the outfit now cater for each of the band members’ individual tours and private functions, amassing a dedicated online following. “I started catering for Louis and the rest of One Direction during their first theatre gig in Watford and I feel very privileged to have that connection. At dinner time, we perform a plate service, which I think is important – our reputation is not only built on really good food but the entire hospitality package, creating a nourishing environment away from home,” Nicholas said.

Sarah’s Kitchen provided a range of vegan, gluten-free and vegetarian options. “We also provide disposable products and water coolers, and our runner regularly collects fresh, local produce from markets based on where we are in the world,” she explained.

The wider European crew featured Security, Kristian ‘Ches’, Ross Foster, Ben Major, and Gav Kerr; Merchandisers, Jon Ellis and Maddy Stephens; Bus Drivers, Aivaras Arminas, Frederico Antunes, Scott Pickering, Chris Grover; Entourage Bus Driver, Paul Roberts; Merchandise Truck Driver, Warren Dowey; BTS UK Account Handler, Garry Lewis; Stardes Account Handlers, Tyrone Reynolds, and Alam Minshall; CSE Crosscom Account Handler, Hannah Evans and Altour Travel Account Handler, Alexandra Gati.

Having wrapped up the best-selling livestream of 2020 – a lofty achievement given the proliferation of remote productions amid the grounding of live events with in-person crowds – Tomlinson shows no signs of slowing down post-pandemic, making the leap from sold-out theatres to arenas across the globe with his trusty crew in tow. “Live From London was great because the crew and I really needed it,” Delf said. “It gave us some much-needed work amid the lockdown, and all the proceeds went directly to the crew, which was an incredibly honourable thing to do. To come back out on the other side of lockdown was great. It was a dark time back then for everyone, but to be back out on tour surrounded by friends, who feel more like family, it’s special.”

-> read here on Issuu

#louis #fitf tour #fitfwt #lt crew #tpi magazine #05.01.24 #article #touring #thank youu omglarryrabbit ;)#love getting to peek behind the scenes this is great

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uhbasicallyjustmilex · 8 months

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5 fics i've enjoyed this month

stealing this idea from @alexturne because i absolutely love the idea of promoting all the amazing talented authors in this fandom more! 💜

missed your bones on me by @glorious-blackout summary: In the aftermath of their blissful reunion at Emirates Stadium, Miles wakes alone in Alex's bed to the sound of a gentle piano melody. Set following Miles' reunion with Arctic Monkeys on 18th June 2023. notes: this fic is absolutely beautiful. full of sadness for the past and hope for the future and just suffused throughout with the kind of bone-deep love that feels so utterly in character for milex. it tugged on my heartstrings in all the best ways, and has my favourite ever portrayal of alex lost in his creative headspace.

some velvet morning by @musette22/@subtle-as-an-earthquake summary: It happens at the OIympia in Paris, just after the show. Their hundredth show. A memorable one for more than just that reason, as it turns out. (Or, the fic in which Alex's body starts talking before his mind does, forcing him to finally realise a thing or two about his relationship with his best friend Miles). notes: oh my lord, this fic 😍 it's like someone (and by someone i mean @subtle-as-an-earthquake) took all my favourite tropes and poured them into a gorgeously written, tension-laden 14k fic that is so stupidly good i've already read it at least three times already 😅 it captures the dynamic between alex and miles SO well - the sense of contrasting complete ease/simmering tension with each other is one of the best portrayals i've ever read of them, and alex's thought process throughout unfolds in a way that feels so utterly (and infuriatingly) in character. the slow build is absolutely delicious, and the culmination of it delivers above and beyond! ✨

sometime in the future by @blacktrickle summary: In a world quite similar to this one, Miles Kane is an international supermodel and Alex Turner is the rockstar who has broken his heart one too many times. Now, two years after their most vicious break up, Alex is asking for one more shot, but this time, Miles won’t make it easy. notes: oh my goddddd THIS FIC 😭😭 i put off reading it for ages because i had this sneaking little suspicion it was going to destroy me - and i was right. destroy me it has, in the BEST possible way. i literally cannot recommend it enough. the writing and depth of character portrayal is just stunning, and i am completely and utterly hooked. i'm actually only halfway through rn, but already i know that this fic is one that's going to stay with me in my heart for the longest time - and can't wait to see where it's heading.

you've got control of everyone's eyes (including mine) by @alexturne summary: It's 2005 and the Arctic Monkeys are about to set out on their first proper tour. Alex is quite happy with that, until a certain someone gets in the way and spoils it all. A story about facing hardships, insecurities and stage fright, about friendships, dreams, music and smoking too many fucking cigarettes in dark back alleys. About keeping your friends close, and perhaps your enemies even closer. notes: i'm only three chapters in, but already this fic has hooked me in completely. it's beautifully readable, and just feels like such a vivid slice of early era am life. alex and miles are absolutely INSUFFERABLE in the best possible way - clearly obsessed with each other, but hiding behind the idea that they hate each other. the constantly simmering ust is wonderfully written, and the way they relate with each other feels so authentic (even if it also makes me want to knock their heads together). i can't wait to see where this fic goes 😍

ain't got anything to lick without you baby by @elorianna summary: At some point during their usual stage antics, Alex and Miles start playing an innocent game of one-upmanship – but with neither one of them willing to back down, things eventually get a little bit out of hand… notes: listen, i've read this one before. and i'll read it a bunch of times again too because it's just a CLASSIC. one of the first ever milex fics i read and i find myself returning to it over and over because it's just such a fun little read, and of course so well written too because it's elorianna. it captures all the ridiculousness and ust of eycte era milex messing around with each other, and the smut is well - *fans self*

okay, that's all for this month, but i think i'm going to try and do this every month and make it a regular thing! if anyone has any fic recs for me then please feel free to drop them in the comments/my asks/dms - i'm always on the lookout for more milex fics 💗

#these are just the five fics i've enjoyed most recently #it is by no means an exhaustive list of my all time favourites #also i have so many on my to-read list that i'm stupidly excited for too #i notice there's a new @yellowloid one i haven't read yet which ahhhhhhh. YES PLEASE 😍#honestly god bless this fandom for having so many wonderful talented authors who share their work with us #i'm truly so grateful for you 💞#milex #milex fic #milex fic recs #lulu posts

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tailschannel · 10 months

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Here's a complete recap of everything featured in this year's Sonic Central presentation

New collaborations with LEGO, an upcoming Sonic Frontiers DLC update, and a first look at Part 2 of Sonic Prime were among the major highlights in this year's Sonic Central presentation.

Here's everything you need to know.

Sonic Frontiers

Details on the second major content update for Sonic Frontiers was revealed in the Sonic Central. Titled "Sonic's Birthday Bash", it's scheduled for a release on 23 June 2023.

Sonic's Birthday: Celebrate Sonic's birthday in Sonic Frontiers with a new birthday theme, including a festive HUD, environment objects, a new birthday skin, and more!

Open Zone Challenges: Explore the Open Zone with all new challanges scattered throughout.

Spindash: The iconic Sonic move makes a return in Sonic Frontiers!

New Kocos: Some Kocos seem to dawn new outfits and some do seem a bit bigger than usual.

New Game Plus.

Sonic Superstars

A new teaser was shown promoting the new Sonic Superstars and LEGO collaboration, featuring LEGO Eggman as a pre-order bonus.

Following the presentation, SEGA dropped new renders and descriptions for all the characters featured in the upcoming game.

Trip: Not much is known yet about Trip, the mysterious girl first encountered by Fang on the Northstar Islands. While a bit clumsy, Trip is heavily armored and has been enlisted by Fang and Dr. Eggman to protect and guide them around the wonders of this uncharted region.

Fang the Hunter (formerly Fang the Sniper): Fang is a springy jerboa that is light on his feet and is always looking for the next big score. A bounty hunter by trade, Fang the Hunter has been known by many different names over the years, likely due to his “WANTED” status with the authorities. Always trying to stay one step ahead, he’s constantly modifying and upgrading his primary mode of transportation, the Marvelous Queen.

You can check out the rest of the descriptions for Sonic, Amy, Tails, Knuckles and Eggman here.

youtube

The official Sonic the Hedgehog YouTube channel also uploaded a new 3-minute video featuring Superstars producer Naoto Ohshima and Sonic Studio creative officer Takashi Iizuka.

They "talk in-depth about Superstars, including inspirations, challenges, and what it's like to create a new character."

Sonic Symphony World Tour

Here are the official tour dates for the Sonic Symphony from 2023 to 2024:

Sept 16, 2023 - London, Barbican Hall

Sept 22, 2023 - Paris, Le Grand Rex

Sept 30, 2023 - Los Angeles, Dolby Theatre

Oct 14-15, 2023 - São Paulo, Brasil Game Show

Oct 21, 2023 - Boston, Emerson Colonial Theatre

Oct 28, 2023 - Chicago, Auditorium Theatre

Nov 17, 2023 - Düsseldorf, Mitsubishi Electric Halle

Dec 15, 2023 - San Antonio, Majestic Theatre

Dec 29, 2023 - Atlanta, Cobb Energy P.A.C.

Jan 05, 2024 - Seattle, Paramount Theatre

Jan 06, 2024 - San Francisco, Davies Symphony Hall

Jan 20, 2024 - Washington DC, Warner Theater

Jan 27, 2024 - Kansas City, Kansas City Music Hall

Feb 11, 2024 - Tokyo, LINE CUBE SHIBUYA

Feb 17, 2024 - Toronto, Meridian Hall

Mar 24, 2024 - Montreal, Wilfrid-Pelletier Theater

Mar 29, 2024 - Portland, Schnitzer Auditorium

For more information such as ticket pricing and availability, check out the above links.

Sonic Prime

A new extended clip of the upcoming second content drop of Sonic Prime was previewed. It's scheduled to make its debut on Netflix in 13 July.

youtube

With the help of his ragtag group of Shatterverse allies, Sonic battles the Chaos Council for control of the powerful Paradox Prism, one Shard at a time.

Sonic Dash and Speed Battle

A new Classic Super Sonic skin will be joining SEGA HARDlight's flagship titles Speed Battle and Dash soon.

Other things of note, as reported last week:

To coincide with the release of the 2nd season of Sonic Prime, characters from Prime will be playable in Dash, including Boscage Sonic, Rusty Rose, and Tails Nine.

Alongside the Prime characters, Super Silver and an all new Dragon Hunter Lancelot will make their debut in Dash and Speed Battle later this month.

San Diego Comic-Con 2023

With Comic-Con coming this summer, a new pop-up restaurant featuring the blue blur will open near the show floor.

More details will be announced in the weeks ahead.

Merchandise

New Death Egg Set from Jakks Pacific: Based on the Sonic 4 Episode 2 final boss, fight The Egg Heart in the new Death Egg set.

Streetwear brand Hypland announced their collaboration with Sonic the Hedgehog: The limited edition collection features an assortment of graphic tees and hoodies featuring Sonic and his friends meshed into contemporary streetwear designs.

S-Fire Sonic Statue: Pre-order the new Sonic & Shadow statue today with augmented reality compatibility.

Sonic has officially announced a collaboration with the popular shoe brand Crocs. As reported back in late May: it's available in adult and kids sizes, for $49.99 USD and $44.99 USD respectively. Besides the shoes themselves, Crocs will be offering Jibbitz charms. They will be coming in a pack of 5 with Sonic, Tails, Knuckles, Amy, and Shadow, offered at $19.99 USD.

Other things of note: a Sonic-themed Playmate cooler from Igloo, a themed guitar from ESP Guitars, and Sonic and Shadow Cable Guy figures.

Sonic Origins Plus

youtube

With Origins Plus out, SEGA released a new launch trailer.

With more content than ever before, and a new premium physical version, Sonic Origins Plus is the definitive way to play 16 classic Sonic games in one timeless collection.

LEGO

SEGA officially previewed the Death Egg Robot set, now scheduled for a release in August.

As reported via a leak earlier this month, it contains a Sonic mini figure accompanied with his speed sphere mechanism and the launcher to it; and the Death Egg Robot piloted by Eggman, and Cubot.

Samba de Amigo: Party Central

As reported, the upcoming Samba De Amigo: Party Central will be featuring the world's famous hedgehog as a guest character.

The game will feature two iconic Sonic tunes, Escape From the City and Fist Bump, alongside the City Escape stage itself.

IDW Sonic the Hedgehog

Today's Central presentation made a brief mention of IDW Publishing's upcoming one-shot issue for the Sonic the Hedgehog comic book series: Amy Rose's 30th Anniversary.

You can read more details in our report from earlier today.

Sonic Speed Simulator

Despite the developer's controversies, the officially-licenced Speed Simulator got a mention in the Central presentation.

Users can celebrate Sonic's birthday in style with the new Tuxedo Classic Sonic skin, out now.

Lastly...

TailsTube got a shoutout, and voice actor Mike Pollock dropped some fire bars in the LEGO collaboration video.

...and that's all! For news and updates anytime, be sure to follow @TailsChannel where you are on social media.

(Files contributed by the Tails' Channel Newsfeed.)

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louisupdates · 1 year

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All Of Those Voices review | Louis Tomlinson documentary will surprise even the cynics among us

WHYNOW

Teddy Coward | 22 Mar 2023

2010 was The X Factor’s peak. Not only did it see the show’s highest average weekly viewing figures, raking in a peak of 19.1 million viewers for its final, but it also involved a list of names that have become embedded in British TV history. Cher Lloyd, Rebecca Ferguson and, of course, Wagner, the barmy Brazilian from outer-Brum; it was a year that seemed to match a genuine degree of talent with a light-heartedness.

And, of course, it brought together five baby-faced teens who would go on to produce not just the show’s most successful act but one of the most popular boy bands this country has ever seen: One Direction.

Yet because, with The X Factor, what was once pop cultural cache has nowadays become merely pub quiz fodder (the show last aired in December 2018), that snobbishness towards 1D still lingers to this day – despite the many awards its leading light, Harry Styles, picks up as a solo artist.

All Of Those Voices, the new documentary from Charlie Lightening (whose prior credits include the award-winning Liam Gallagher: As It Was and The Paul McCartney Project), reminds us that at the heart of the manufactured, Simon Cowell-orchestrated world One Direction once operated in, lie real lads. And one of those young men, Louis Tomlinson, is relatable, honest, and has overcome more than his fair share of struggle under a public spotlight.

The film’s best attribute – and the way it achieves it – is how it’s shot. It’s not so much fly-on-the-wall as it is captured with considerable trust between artist and filmmaker. At one stage toward the end, Louis and his crew joke about the seeming lack of a barrier between each other, and this feels like it was extended to Lightening, too.

As such, Tomlinson is forthright about his sense of having no control over his own (let alone One Direction’s) destiny for at least the first two-and-a-half years of the band. He casts himself as the band’s thinker in a rather shrewd creative light by telling us he’s most proud of being the member with the most songwriting credits.

But another strength of the film is that it doesn’t dwell on Louis’ 1D days. Granted, you can’t tell his story as an artist by ignoring it, but its inclusion merely paints a backdrop of what’s to come, most usefully starting the narrative arc of someone at a loss, personally and creatively, when the band announced their split in late 2015.

From here, Louis begins to build, pensively smoking and staring into empty space like any self-respecting existentialist as he contemplates life as a solo artist. Then, tragedy hits. His mother, Johannah Deakin, with whom he had an exceptionally strong relationship–mainly because of an absent father growing up (which struck a particular nerve with me) – passed away in December 2016 after her battle with leukaemia.

Replays of an X Factor performance Louis gave that very same week, spliced with personal testimony from the present day, remind us of the public gaze he was under during an exceptionally challenging period.

Meanwhile, the tragic death of his sister Félicité in 2018 is discussed in less detail but adds to the image of not just an artist but a man beset by loss, still keeping his head afloat. (A moving discussion with Louis’ grandmother provides insight into the keep-calm-and-carry-on spirit of the whole family).

These make the high points feel all the more gratifying – and there are plenty of those. From the release of his long-awaited debut album Walls in 2020 to his triumphant, Guinness World Record-setting livestream during the pandemic and his subsequent return to a global headline tour, it’s safe to say his artistic trajectory is a pretty sharp incline throughout the film.

But whereas some pop personalities might make that seem like an irksome inevitability, the setbacks Louis Tomlinson faces and, crucially, his authentically affable charm mean you end up rooting for him. Do you have to be a fan of his music? Not at all. Can you still admire the way his personhood is portrayed? Of course. And this film captures that in abundance.

Of course, Louis’ mass of fans will love it. That much is a given. But for a purely personal tale, even the most cynical among us would struggle not to find something from All Of Those Voices. Indeed, we’ve come a long way since the fakery of The X Factor.

#louis press #aotv review #why now #aotvfilm #24 march 2023

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louistomlinsoncouk · 9 months

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Louis Tomlinson and Pete Doherty‘s record label have come together to release new music by emerging artist Andrew Cushin. Check out his latest track ‘Wor Flags’ below.

Both the former One Direction star and The Libertines frontman are set to support the emerging singer-songwriter with the release of his upcoming debut album, ‘Waiting For The Rain’.

Released on September 29, the LP will be made available from Doherty’s own ‘Strap Originals’ – an independent record label devoted to signing new, original artists and retaining their right to evolve and take creative control over their own work. Pre-orders are available here.

Now, following his time playing to sold-out crowds across the US as support to Louis Tomlinson on his ‘Faith In The Future’ world tour, Tomlinson has also offered to lend a supporting hand with the album release, and looks to help Cushin reach a wider audience.

Both Tomlinson and Cushin met last year after the former caught Cushin’s appearance on the Sky Sports show Soccer AM. After being impressed by his performance, he offered him a support slot in London, which then led to support shows across the US and Europe through 2023. From there, Tomlinson and Doherty bonded over their mutual admiration for the artist.

“As somebody who has been interested in up-and-coming acts, working with Andrew was a no-brainer. With his incredible voice partnered with his honesty in lyric I’m really excited to work alongside Peter and the Strap Originals team to help Andrew reach as many people as possible,” said Tomlinson, discussing his vow to support the release of ‘Waiting For The Rain’.

Additionally, speaking of the encouragement from both Doherty and Tomlinson, Cushin said: “It’s amazing to have someone as established as Louis fighting in my corner. It’s been a pleasure getting to know him on and off the stage and I’m learning a great deal from him and his team. I’m looking forward to what I know will be an enjoyable and hugely beneficial collaboration together.”

Earlier this week, Cushin released ‘Wor Flags’ – the latest single from his forthcoming album. Check it out above.

A song devoted to embracing the now and choosing to escape from everyday troubles, the track arrived on Wednesday (August 2) and is the fifth track to be shared from the LP – following ‘It’s Coming Round Again’, ‘4.5%’, ‘You’ll Be Free’ and ‘Dream For A Moment’.

Previous single, ‘It’s Coming Round Again’ arrived back in June, and featured an intimate music video, which was filmed during Cushin’s time touring across North America with Tomlinson.

Later this year, following the release of ‘Waiting For The Rain’ Cushin is also set to embark on a UK headline tour, including two nights at Newcastle’s prestigious City Hall. Tickets and a full list of tour dates can be found here.

Although he signed to Doherty’s record label back in October 2021, this was far from the first time that the 23-year-old songwriter has received backing from an indie legend. Back in 2020, the rising star also joined forces with Noel Gallagher, and the two released the track ‘Where’s My Family Gone’.

#louis tomlinson #press #04aug23

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spnbaby-67 · 8 months

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Ok so I decided to scrap the other story I had for this one. I’ll get to it just this one kept calling my name, besides I need to do a bit more research before I post that one. Thank you to @deans-baby-momma for beating this chapter.

Please keep in mind that this is only fanfiction, not real life. So in this story Jensen is single. No disrespect to Danneel, I love her just the same. Please don’t copy my work and use as yours it’s literally taken me four years to get back to writing,

Summary.

"Behind the Lens" is a love story set in the summer of 2023, focusing on Jensen Ackles, a renowned actor facing the burden of stardom. Jensen's relentless dedication to his career has left him overwhelmed and disconnected from his true self. He's caught between his desire for a break and the pressure to maintain his public image. Through conversations with his manager, Darren, Jensen grapples with the need to find balance between his demanding career and personal well-being. This story explores the challenges of fame and the quest to rediscover one's passion in the entertainment industry. When he crosses path with a photographer Saamiya Siddiqiewill she be able to help him be the man he used to be?

Jensen Ackles x ofc Saamiya Siddiqie

Chapter one.

“Behind the Lens”

A Jensen Ackles and Saamiya Siddique Love Story

Written by Samantha Williams

Summer of 2023

Chapter One: Burden of Stardom

Jensen Ackles, renowned for his dedication and passion as an actor, saw his career soar to new heights over the years. However, the weight of his stardom took its toll as time went on. The constant demands of the entertainment industry, coupled with his perfectionist tendencies, led him down a path of exhaustion and inner turmoil.

At the beginning of his career, Jensen eagerly embraced every opportunity that came his way. He tackled premieres, interviews, and promotional events with enthusiasm, believing each appearance propelled him closer to his dreams. His determination to showcase his talent and worth to the world was unwavering. Yet, with escalating demands and skyrocketing fame, Jensen found himself consistently juggling numerous commitments. Endless film shoots, press tours, talk show appearances, charity events, and Supernatural convention weekends formed an unending list. It seemed as though he lived a life meticulously governed by a tightly controlled schedule, leaving only a few precious moments for himself before the next obligation arose. This rigid structure left him with scant time for genuine rest and relaxation.

As time passed, the unrelenting pressure to perform and maintain the charismatic and charming image the public adored eroded Jensen's sense of self. He felt as if he was in a perpetual role, even when off-screen, and genuine moments of respite and authenticity became increasingly rare. The more he pushed himself, the more his true identity seemed to slip through his fingers. Reluctance to attend events and interviews stemmed from a deep-rooted fear of losing himself entirely. He had heard stories of actors who had burned out, sacrificing their personal lives and well-being for the allure of fame. Becoming one of those cautionary tales was a fate he vehemently opposed. Despite this, he yearned for reality, for a connection to his craft that went beyond the glamour of the red carpet.

His desire for a break, a chance to catch his breath and reignite his passion, stemmed from his need to regain control over his life. The exhaustion he felt wasn't solely physical—it permeated his emotional and mental well-being. He longed for a space where he could delve into new roles without the suffocating weight of expectations. A space to rejuvenate his creativity and rediscover the joy that acting had once brought him.

Jensen's internal struggle was further exacerbated by his perfectionism. He held himself to incredibly high standards, consistently striving for excellence in his performances. This self-imposed pressure made it difficult for him to strike a balance between his career and self-care, ultimately leading to periods of burnout and frustration.

Currently, Jensen lounged on the plush couch in his comfortable Austin residence. His fingers tapped idly against the armrest as he gazed out the window. Beyond the glass, the muffled hum of the city provided a stark contrast to the tranquility he desperately sought. He ran a hand through his tousled hair, emitting a sigh as he glanced at the blinking notification light on his phone. He knew what lay in wait—a stern message from his manager, Darren Wright.

With a resigned expression, Jensen unlocked his phone and opened the message. The text stared back at him, sharp and unyielding:

“Jensen, we need to talk. Your recent absences from events and interviews are causing a stir. This is not the time to vanish, give me a call asap.” he had underlined asap and even bold-capped the words, that Jensen felt it was yelling.

Jensen bit his lip, the words hanging heavily in the air. He couldn't evade this conversation any longer. With a sigh, he dialed Darren's number, his thumb hovering over the call button. Each ring of the phone felt like a countdown to the impending confrontation.

"Jensen, finally decided to answer, huh?" Darren's voice crackled through the line, a blend of irritation and concern.

"Hey, Darren," Jensen greeted, aiming for casual despite the unease churning in his stomach.

"Skip the small talk, Jensen," Darren shot back. "We have a problem. Your recent absence from interviews, events, and that charity appearance last week—is causing a stir. Do you grasp the implications?"

Jensen reclined further, his gaze fixed on the ceiling. "I understand, Darren. I've been... overwhelmed."

"Overwhelmed?" Darren's voice sharpened. "Jensen, you're a top-tier actor. People count on you, and your disappearing act damages your image and our contracts."

"I get it, Darren. But you need to comprehend," Jensen's frustration bled into his words, "the ceaseless demands, the unending travel—it's draining. I need a breather."

"In this industry, you're not the sole one grappling with pressure, Jensen," Darren remarked. "But they don't vanish like you do. You hold responsibilities, commitments."

"I'm not seeking sympathy, Darren," Jensen's tone deepened. "I just need some time to recharge. To recollect why I embarked on this acting journey."

A tense silence settled over the line, the unspoken tension between artist and manager palpable. "Jensen," Darren's tone softened marginally, "I recognize the challenges. But you can't permit exhaustion to dictate your choices. We can adjust your schedule, and give you some leeway. But you must show up."

Jensen shut his eyes, weariness evident in the way he sank into the couch. "I don't want to lose sight of who I am, Darren. I refuse to metamorphose into a mere performance machine."

"Jensen, I understand. Truly," Darren's voice carried a hint of empathy. "We'll find a solution, alright? Yet, you must communicate. Vanishing in this manner won't solve anything."

Jensen nodded, even though Darren couldn't witness the gesture. "Yeah, you're right. I should have spoken to you before things escalated."

"Good. We'll address this," Darren's tone mellowed. "And remember, your public image is vital. People admire you."

As the conversation concluded, Jensen experienced a mixture of relief and residual tension. He acknowledged that Darren's perspective was valid; he couldn't permit exhaustion and frustration to steer his decisions. He needed to locate an equilibrium between his demanding career and personal well-being.

After ending the call, Jensen reclined further, his gaze fixated on the outside world passing by. Amidst the vortex of fame, he recognized he had misplaced his true self. He yearned for a reminder of the passion that had ignited his journey.

A couple of days later, Jensen's phone buzzed, displaying Darren's name on the screen. Sighing, he answered the call, his apprehension evident in his voice. "Hey, Darren."

"Jensen, good to catch you," Darren's tone was businesslike yet tinged with a hint of friendliness. "Listen, we've got an important photo shoot scheduled in New York."

Jensen's eyebrows furrowed. "Another one? Can't we reschedule it?"

Darren's sigh crackled through the phone. "Jensen, you know how crucial this is for your image. We've already rearranged the dates twice to accommodate your previous requests. It's time to show up."

Jensen's fingers tightened around the phone. "I understand, but I've been feeling really drained lately. I could use some time off."

"Jensen, I get that you're tired," Darren's voice softened, "but this is a big opportunity. It's for a prominent magazine cover, and the theme aligns perfectly with your upcoming project. It's a chance to showcase a different side of you."

Jensen leaned back, his eyes narrowing as he considered the proposition. "I know, but I just feel like I'm running on fumes here. I need a break."

Darren's patience seemed to wane slightly. "Jensen, we've discussed this. You're not the only one dealing with exhaustion. Everyone in this industry faces pressure. What sets you apart is how you handle it."

Jensen rubbed his temples, torn between his desire for a respite and the awareness of his professional responsibilities. "I'm worried about burning out, Darren. I don't want to reach a point where I can't even enjoy what I do."

“I hear you, we went over this ready the other day remember? I am truly working on it for you, just do this, then we will talk more.," Darren's voice carried understanding. "But think about why you started acting in the first place. Remember the passion, the thrill? This photo shoot could be a reminder of that."

Jensen let out a sigh, his resistance slowly giving way. "Fine, I'll do it. But can we keep it as concise as possible? I need some time to recharge afterward."

Darren's tone lightened. "Absolutely, We'll ensure the shoot is efficient, and then you can have a breather. Just remember, you're not alone in this. We're here to support you."

Jensen nodded, even though Darren couldn't see him. "Thanks, Darren. I appreciate your understanding."

"Get some rest before the trip, Jay.," Darren advised. "And remember, this shoot could be a turning point. Take it one step at a time."

As the call ended, Jensen leaned back, conflicted emotions swirling within him. He knew that relenting to the demands of his career was necessary, but he also realized that he needed to find a way to preserve his own well-being amidst the storm of fame. With a deep breath, he picked up his script and glanced at it, a reminder of the artistic passion that had driven him. He was determined to strike that balance—no matter how challenging it might be.

If you want to be tagged please let me know

@deans-baby-momma

#jensen ackles x reader #jensen ackles #reader insert #jensen ackles fanfiction #jared padalecki #supernatural rpf #dean winchester #reader fanfiction #photography #photography and reader #love story

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daily-broco · 10 months

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A Box Full of Sharp Objects live at Toronto.

#i just realized that they are both kelly osbourne's ex-boyfriends #maybe that's why they get along so well #don broco #rob damiani #the used #bert mccracken #rock music #music #a box full of sharp objects #toronto #canada #the creative control tour 2023

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lmjupdates · 1 year

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TOUR DIARY: AN EVENING WITH LAUREN JAUREGUI

The singer spoke with V exclusively about her pre-show rituals, taking control over her music, and latest release, "Trust Issues" March 31, 2023

TEXT: KALA HERH

Sitting backstage at a historic amphitheater in Mexico, Lauren Jauregui beams with excitement. As soothing meditation music softly plays in the background, the musician puts the final touches on her makeup. This is Lauren’s sacred space, and there’s nothing but high vibrations and good vibes. Tonight marks the last show of her Latin American tour, “Una Noche Con Lauren Jauregui,” which saw the artist visit Brazil and Chile before arriving in Mexico City. And while there’s been plenty of peaks in Lauren’s career thus far–there's been nothing quite like this, which celebrated her first solo EP, “Prelude.”

“I kind of treat each one of these concerts like a meditation, like a mass meditation,” Lauren says on zoom, a week after her tour wrapped. “There's so much energy in the room, and it's an opportunity to channel all that energy toward positive things.”

Throughout the night, she zigzagged between high-octane hits from her discography, lavishing in the crowd’s energy and, in turn, giving it back to them. She opened the show with “Slow” and moved on to more electric hits like “While I’m Alive” and “50 FT,” which were sung by all the attendees. After her hit “Colors,” the stage went dark, revving up the crowd’s anticipation. When the lights came back on, she performed “Expectations” and ended the night with the showstopper, “Piña.” And just before Lauren left the stage for the night, red roses descended upon her from the crowd, showering Lauren with love.

“It’s so special to be able to write music that really resonates with my soul and spirit and then be able to go into rooms with thousands of people who are singing those songs back to me,” Lauren gushes. “That is such a special thing to me, such a special energy exchange.”

Today, the artist continues on her path of producing new music, releasing “Trust Issues.” The personal ballad retells the story of Lauren’s emotional journey–trying to navigate new love while working through old heartbreak. It’s an incredibly raw and intimate look into the musician’s psyche, an experience many can relate to. The accompanying music video, directed by Farah Idress, sees Lauren coming off a performance and immediately in the studio recording. For someone who we’re used to seeing on the stage in maximalist jumpsuits, it strikes an especially sensitive note. Here, Lauren is stripped down to just her vocals.

“I wrote 'Trust Issues' actually after a breakup–kind of at the same time I wrote, ‘Always Love,’” Lauren shares. “I went to Bali, and I worked with a few different songwriters and producers. The song is pretty straightforward. It's about having trust issues and how we all have trust issues. But also how you can feel reserved but also want to explore more romantic connections when you’re unhealed and have that conversation with a potential lover.”

A week before the musician dropped her latest track, she sat down with V to talk about its inspiration, creative process, and of course, touring. For more on Lauren, read below.

V MAGAZINE: Congrats on a beautiful tour! From what I saw on social media, it looked like so much fun!

LAUREN JAUREGUI: Thank you! It was a lot of fun.

V: Do you have a favorite memory from the tour?

LJ: The whole thing was so magical. I went to seven different countries, and each night was special in its own right. So it's hard for me to pick a favorite. But I will say one of the shows that I really loved was my show in Peru. Peru wasn't originally on the list of places I was supposed to tour, but I loved it because it was in an amphitheater, and it ended up being one of the largest venues that I got to perform at. That night there was also a full moon, and I was wearing red. I was able to connect with the music and fans that night really intimately.

V: That sounds like a magical experience. I also wanted to ask you about your tour outfits. What makes a good outfit? And how do you select them?

LJ: It just depends on how I'm feeling. My stylist Raz Martinez helped me curate my tour looks, and we picked from a few different designers that I really love and really connect with. And I had a different color for every night of the tour.

V: They looked incredible. Do you have any specific pre-show rituals to help you get ready for a show?

LJ: I'm pretty lowkey, actually. I do my meet and greet, and then after, I take some time to decompress and listen to some music.

V: Any artists in particular?

LJ: I listen to either some R&B or meditation music.

V: Yeah, help you get into the mindset.

LJ: Those help me a lot. They help calm me and relax the system. And then, I pray with my team. I think prayer is what I tap into the most. Right before I go on, I grab hands with the dancers that are around me and just thank God for the opportunity to be able to do what I love to do.

V: I love that. And how would you describe a typical concert of yours?

LJ: Well, there's a lot of singing going on. The crowds are usually so invested and present. It's so beautiful. And I think it’s a lot of empowerment and connection too. I treat each one of these concerts like a meditation, like a mass meditation. There's so much energy in the room, and it's an opportunity to channel all that energy toward positive things.

V: I can imagine it’s a very high vibrational space.

LJ: Yeah, we need as much light in this world as we can get at this point.

V: Totally. And as an artist and musician, what do you like most about performing?

LJ: I've always loved being able to embody the songs that I've written. When I was younger, I used to choreograph dances and put performances on just getting to do that is so surreal. I had a moment on the plane to the first show in Argentina where I cried because I was like, "Wow, my little me is living her dream across the world.” It’s so special to be able to write music that really resonates with my soul and spirit and then be able to go into rooms with thousands of people who are singing those songs back to me. That is such a special thing to me, such a special energy exchange.

V: I’m sure it is. And as you’re about to drop “Trust Issues” next week, how did this release come about?

LJ: I wrote “Trust Issues” actually after a breakup–kind of at the same time I wrote, “Always Love.” I went to Bali, and I worked with a few different songwriters and producers. The song is pretty straightforward. It's about having trust issues and how we all have trust issues. But also how you can feel reserved but want to explore more romantic connections when you’re unhealed and have that conversation with a potential lover.

V: Yeah, I feel like it’s something many people can relate to. So personally, how do you go about overcoming those obstacles?

LJ: I'm a pretty open person, and I really love until I'm given a reason not to love-type person. I've learned over time to protect myself a lot more. I’ve learned to keep pieces that are more vulnerable to myself until someone proves that they're worthy of trust. Also, I feel like sometimes people deserve second chances depending on the infraction against your energy. Sometimes people don't, and then there's a distance that's created and safe space that's created. But I feel like most people are really just learning how to love and learning how to love themselves authentically and learning how to love others authentically. We all kind of come from a lot of–the world that we live in is filled with capitalism, white supremacy, all of these different structures that really play a deep ingrained role. I have a lot of grace because a lot of people are healing and on their journey of healing.

V: I feel like that's a healthy point of view–to give people grace while still protecting your own energy. I hope a lot of people also resonate with that sentiment.

LJ: A lot of people give people like a million chances, expecting people to change but blaming themselves for the reason why someone won't change. And being like, "Oh, if I love harder, if I do this more–if I give more, then this person will learn to love me." And sometimes, when people break your trust, you must honor yourself too. You have to give yourself grace and be like, "You know what? This person doesn't resonate with who I want to be, and that's okay. It’s also not my fault."

V: So true.

LJ: I feel like people test their trust boundaries often because they think it's their fault, you know?

V: Totally. It’s a tough thing to learn–the sweet spot between protecting yourself and being considerate of others’ journeys. A couple of more questions for you before I let you go. I also watched the music video for “Trust Issues,” can you talk about its creative direction? What made you want to pursue a music video where we see you in the studio?

LJ: Yeah, I wanted it to be very raw and in the process. We go from the live performance of “Always Love” that I last dropped, and we see the stripping back of all the gimmicks–all of the glitz and glamor. You see me in the studio creating, which is a very raw space. And I feel like that's what “Trust Issues” is about–the rawness of being alive and vulnerable with somebody.

#lauren jauregui #interview #postedbymarina

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cherokeecharles · 9 months

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What U Watchin’ #8: The Idol (2023) (lol it sucks)

While on my hiatus from posting, I’ve had some time to catch up with things in pop culture whether that be music, TV shows, or the recent gossip. The TV shows I’ve caught up on range from children’s shows that I forgot existed and current tv shows that are being heavily talked about on Twitter. The one show that was heavily anticipated by everyone whether they liked it or not was The Idol. The Idol follows the life of Jocelyn, who is recovering from a nervous breakdown that led to the cancellation of her tour. The show follows her life while she tries to reclaim her stardom and become the public’s IT girl. Along the way, she catches the eye of what seems to be a cult leader, and they just can’t seem to be away from each other.

Sounds interesting, right? I thought so too until I watched the first five minutes of the first episode. I often think of all the things that The Idol could’ve been had it been written properly and not by two porn-obsessed freaks. The idol presented an opportunity to accurately represent idols who have been exploited from their childhood, and confront the feelings of their ever-changing image as they grow up from childhood starts, and now adulthood. Jocelyn was introduced to us as she was making an album cover for her, comeback after having a mental breakdown for the public to see. The first episode progresses with seeing a glimpse into the glamour and some of the darkness that resides in the industry. We are introduced to most characters who play a pivotal role in the storyline and as the show progresses we see why Jocelyn is in this predicament.

From what I understood from the series, Jocelyn had a breakdown because of her mother's death where she spiral out of control. It seemed like her team comprised of Destiny, Xander, and Leia wanted her to succeed and get her back to the ‘People’s Princess’ they once knew and loved before the breakdown. While that seemed to be the case initially, The Weeknd’s character, Tedros, seemed to upstage Jocelyn’s storyline, and not in a good way. The show progressed and we see Jocelyn’s character slowly unravel upon keeping Tedros in her circle. Things suddenly go wrong, sudden creative direction changes, her team who are closest to her doesn’t even recognize her, opportunities vanish before her eyes, and inconsistencies in her life story. Jocelyn was a victim at the beginning of the series, but then she turns into a villain, in the most unsurprising way possible.

Without going further into the storyline in case you guys want to watch it yourselves (lol) the show was awful, to say the least. The time when the show was bearable to watch was when The Weeknd’s character wasn’t on screen, anytime his character would appear it would almost immediately decrease the quality of the show. The Weeknd’s character, Tedros, was supposed to be a cult leader and have the ability to command anyone’s attention and use his charm to get you to do anything he wants, frankly, whenever he had my attention I cringed at whatever he had to say or his physical gestures. I watched this show with my friend (brave souls, I know) and we both agreed that The Weeknd lacked the charisma to be a cult leader and relied upon his poor judgment of what a cult leader is in an attempt to pull off the character. When I first heard of the show I thought it’d be easy for him to tap into being someone charming, charismatic, and somewhat sexy due to the music he releases but I found myself looking at The Weeknd differently as an artist. He came off as sleazy, unattractive, and corny for the most part. His portrayal of Tedros kind of reminds me of what Wattpad was like back in 2013, a 16-year-old girl, writing her fantasy about what a dominant man is while not knowing or having experience with a dominant man. He was initially introduced to us as a villain, and at the end of the series, he ended up being somewhat of a victim. It was hard to like him as a villain or a victim because that’s how poorly written his character was.

It wouldn’t be a Sam Levinson original if you didn’t sprinkle in misogyny. At the beginning of the show, I stated that Jocelyn was being photographed for her new comeback album after having a mental breakdown. The album featured her with just a robe on and she has an intimacy coach on sat with her to make sure she doesn’t push any boundaries that she doesn’t want to. As this episode progresses, the intimacy coach is trying his best to get Jocelyn to cover up and not possibly ruin her image by making her album cover trashy, she was just a child star, and now to possibly see her naked on an album cover may not be the right move for her. In response to that they hide the intimacy coach in the closet and proceed to make Jocelyn take her clothes off in front of everyone. I would’ve just written that off as weird, but knowing the history of Sam Levinson, and how everyone is naked on euphoria unprovoked, it didn’t sit well with me. In the same episode, a picture of Jocelyn has been leaked of her with cum on her face during an intimate moment with whoever. They’re panicked and they don’t necessarily know what to do or how to stop his picture from going viral. This again showed the reoccurring theme with Sam Levinson with the unnecessary lewdness of his writing. While I know, children aren’t watching the show, it was unnecessary to put a cum shot of a woman where it didn’t necessarily need to be. He could’ve leaned into how revenge porn can affect a female celebrity but of course, he wouldn’t go that far, because this picture becomes a reoccurring theme in the show where they want to use a picture where Jocelyn is vulnerable as her album cover. Between wanting to use the picture of Her having a cum shot on her and her naked it was a bit careless, to say the least, especially knowing how much power men have over women in this industry. I don’t expect much from Sam Levinson, but I immediately need him away from portraying women's stories.

The biggest misconception about the show was the fact that it was labeled a r*pe fantasy. I remember the reviews coming out before the show came out and the biggest story was the cum shot. Picture of Lily Rose Depp. While I found the show tacky and distasteful. It was not a r*pe fantasy. The show is not too far off from the storylines and concept of Euphoria, poorly written with some glimpses of hope due to side characters. The sex scenes were non-consensual, just unnecessary. Whenever it was initiated, it will automatically be an eye roll as the sex scenes had no place in that particular storyline. It led me to believe that Sam Levinson doesn’t know how to write a proper drama without including unnecessary sex scenes that make everyone uncomfortable. I kind of imagine it like a weird teenage boy, who just discovered sex, and now is looking at life through an over-sexualized lens. And because of this, this is why The Idol and even Euphoria will never reach their true potential.

The Idol is a direct result when you let men take over to tell women stories. The idol had amazing potential to portray the actual behind-the-scenes story of a child star navigating her way through adulthood and the obstacles that come with changing your image and finding yourself after being told who you were for your entire life. A positive thing I can say about the series was the characters that I was introduced to aside from Tedros. Jocelyn, Xander, Leia, Chloe, etc. we’re all redeeming characters that could have possibly been an amazing showcase of the support system that you have in Hollywood how ever their characters were reduced due to poor writing. The shining light that was supposed to be the idol dimmed as soon as the Weeknd and Sam Levinson fired the original writer. Looking at the behind-the-scenes pictures of the original plot of the show you could tell it was supposed to be so much more, but was unfortunately, reduced to a six-episode series without direction or a proper end. Take this as a lesson to not speak over women and tell them what their experiences are, or you’ll end up with the failure that is now known as The Idol.

The Idol is available for streaming on Max!

What do you guys think? Was The Idol worth the watch? Are you interested in watching? What could have been done to make the show better? What direction could the show have gone if the direction was still under Amy Seimetz?

Ugh I’m finally back to my roots (writing) I needed to get this off my chest and what better way to break my hiatus! So excited to be back and writing about pop culture! More coming soon💓

I’ll see you guys next post✨

Cherokee🩵

#whatuwatchin #pop culture #black feminism #black femininity #The Weeknd #lily rose depp #lily rose melody depp #the idol #summer watch list #troye sivan #Jennie

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lsdunesarchive · 1 year

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L.S. Dunes: “For a lot of us in this band it’s a second chance”

L.S. Dunes' Frank Iero and Tucker Rule discuss the emo revival, almost starting life as the ultimate covers band and why they’re so much more than a supergroup

Words by Ali Shutler

7th February 2023

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Frank Iero was always adamant that he didn’t want his new band L.S. Dunes “to be supported by the past.” Despite the legacy of its members and the renewed interest in emo as a genre, L.S. Dunes had to “survive on its own merits.”

Featuring Thursday’s rhythm section Tucker Rule and Tim Payne alongside Circa Survive vocalist Anthony Green, Coheed And Cambria guitarist Travis Stever and My Chemical Romance guitarist Iero, L.S Dunes started life as a group chat between the long-term friends. During the pandemic, they’d be texting each other and figured: “we might as well be sending music back and forth,” says Iero. “There were no egos” when it came to writing together. “We were just out to impress our friends and make great songs,” Iero explains.

To start with, L.S. Dunes existed to fill the gap left by the absence of live music but it quickly became so much more.”We didn’t know how much we needed this band until we started doing it. I don’t know what the fuck I would have done without these people,” says Rule. “Making this record fed all our souls.” As soon as that first demo was finished, Iero realised “this is a real band [and] this is my favourite band.”

Following their first ever live show at Riot Festival, last year saw L.S. Dunes release their brilliant debut album ‘Past Lives’. Creating a record during a pandemic meant that “every step of the way, it felt like the universe was putting an obstacle in the way; but I love this band so much that nothing was going to stop us,” Iero reflects.

“Obviously we were worried that what we had written might not translate,” admits Rule, “but the first time we got together at Frank’s house and [played that first] note, we became obsessed with playing these songs [as a band]. Taking it in front of people, it’s just something we had to do.”

Sitting down with NME backstage at London’s Electric Ballroom at the start of their first ever headline tour of UK and Europe, L.S. Dunes discuss the emo revival, almost starting life as the ultimate covers band and why they’re so much more than a supergroup. Here’s what we learned.

L.S. Dunes is a rebirth for its members

Frank Iero might laugh about “starting a new band, in the middle of a pandemic, [while] being on the wrong side of 40,” but for L.S. Dunes the decision to answer the hopelessness of that period with something creative was a no brainer. “We come from punk and hardcore [which has always been] against all the rules,” explains Rule.

“Thursday and My Chemical Romance stopped playing for a long time, so did Circa Survive. For a lot of us in this band, it’s a second chance,” continues Rule. Sure, he could probably make a comfortable living as a drummer-for-hire “but I’d rather make decisions on t-shirt designs and stuff like that. I want to be able to fully follow [an idea] I have in my head and see it through.”

“It’s a rebirth, for all of us collectively,” adds Iero, who feels that the world at large is “resetting” at the moment. “When everything’s so out of control and you feel like you don’t have the ability to make a difference, you have control over [anything] you create.”

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One early idea for L.S. Dunes was the ultimate emo covers band

Even before the pandemic, Tucker Rule was already considering bringing his friends together to form the ultimate emo covers band.

“[I thought] what if I got my friends together and we just played those [classic emo] songs on a Friday night, once a month,” Rule explains. “There wouldn’t be the pressure of writing songs or anything like that, you’d just have to learn a Taking Back Sunday song and have the best time playing it.”

Iero “loved” everything about the idea, including the “fucking genius” original name of the band, which they refuse to divulge. He compares the project to the rumoured Lost Weekend tape, which saw John Lennon and Paul McCartney reunite in 1974 to jam alongside the likes of Stevie Wonder and Henry Nillson. “Just getting together in the studio and jamming, that shit is so rad. I don’t think our generation does that [enough], at least not in our world.”

Credit: Zachary Spangler

Just don’t call L.S. Dunes a supergroup

The first time Frank Iero realised he was in a supergroup, was when someone outside the band called it one. “It’s so stupid,” he says. “I’ve always had a problem [with how] people love to label things. That always feels so lazy to me.”

“It is silly,” adds Rule. “A supergroup implies that this is something that just [happens] every once in a while. We’re trying to prove to everyone that this is a real thing.”

“Because we’ve all been doing [music] for so long, you get to the point where you feel like you’ve got nothing to prove anymore,” finishes Iero. “but again, there’s [now] something else to prove.”

L.S. Dunes are already working on new music

L.S. Dunes only released their debut album ‘Past Lives’ in November but they’re already thinking about what comes next.

“The biggest hurdle of this band so far is our schedules, because we are all busy. We’re all fathers and we all have other bands,” explains Rule, who also believes the band’s biggest strength is “being able to write [when we’re] not together.” It doesn’t matter if Iero has an Australian tour with My Chemical Romance in March while the rest of L.S. Dunes are back home in America, “we can still create a song. I think creating is going to be a huge part of our year.”

“We’re writing currently,” continues Iero. It’s just a matter of finding time for shows and actually getting those song ideas down in a studio. “It’s just about creating and trying to get these songs to as many people as possible, within our time constraints.”

The emo resurgence is just proof that the music is good

L.S. Dunes features members of some of the most influential emo bands of all time, and their own music doesn’t exactly shy away from that genre either. “I like a specific part about the way everybody plays, and if that part isn’t in the songs, then why would we have that person in the band,” asks Rule, who first brought everyone together.

But in recent years, the emo scene has undergone something of a resurgence with acts like My Chemical Romance and Paramore playing bigger venues than they ever have before, and entire festivals like When We Were Young are now dedicated to the scene. “With MyChem touring and Thursday touring, we keep seeing these younger kids coming out [with] their older siblings or their parents. And that’s how I got into punk rock,” says Iero, who discovered all his favourite bands via mixtapes given to him by older siblings or the cool kids at school. “It feels like that is happening with our bands now. Is it a resurgence? I don’t know,” he continues. “Does it just mean it’s really good music that gets passed down? I hope so.”

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