Marcus Mumford Chicago

Marcus Mumford состоится 24 октября 2022 г. в 20:00, Chicago Theatre. На нашем сайте вы можете найти всю информацию об этом событии: описание, дата проведения, фотографии. Добавьте Marcus Mumford в календарь, чтобы не потерять важное событие.As the frontman of Mumford & Sons, Marcus Mumford has seen massive success with the folk-rock band, going from playing intimate clubs to headlining the iconic Glastonbury Festival in just a few years. Now, Mumford is leaving the rest of the band at home and heading out on his first solo tour in support of his debut solo record (Self-Titled). This is an independent website not affiliated with the venue. ‘The Chicago Theatre’ as well as all associated graphics, logos, and/or other trademarks, tradenames or copyrights are the property of MSG CHICAGO, LLC and are used herein for factual descriptive purposes only. This website is in no way associated with or authorized by MSG CHICAGO, LLC and neither that entity nor any of its affiliates have licensed or endorsed us to sell tickets, goods and or services in conjunction with their events. The term Marcus Mumford as well as all associated graphics, logos, and/or other trademarks, tradenames or copyrights are the property of Marcus Mumford and are used herein for factual descriptive purposes only. We are in no way associated with or authorized by Marcus Mumford and neither that entity nor any of its affiliates have licensed or endorsed us to sell tickets, goods and or services in conjunction with their events. An independent show guide not a venue or show. All tickets 100% guaranteed, some are resale, prices may be above face value. We’re an independent show guide not a venue or show. We sell primary, discount and resale tickets, all 100% guaranteed prices may be above face value. We are an independent show guide not a venue or show. We sell primary, discount and resale tickets, all 100% guaranteed and they may be priced above or below face value.

From their humble beginnings in the UK folk scene which also birthed Laura Marling, Mumford & Sons have become one of the biggest bands in the world. Led by Marcus Mumford, their big-hearted, anthemic indie-folk debut was single-handedly responsible for sparking off a fascination with all things banjo-ey and upbeat.Chicago-Theater.com is part of the Theatreland Ltd Collection. Established in 2003, Theatreland offers the largest individual collection of websites providing complete, impartial guides to all the theatrical, musical and performance arts events and venues in the world’s greatest theatre cities, from New York’s Broadway to London’s West End and from the showrooms of Las Vegas to Shakespeare’s Globe Theatre.

Including his mother, though somehow, in his head, he’d skipped over that fact when he played her “Cannibal.” “The power of the mind, man,” Mumford said ruefully. Anyway, she listened thoughtfully and left. “Couple days later,” Mumford said, she came back: “ ‘Can I ask what that song’s about?’ I was like, ‘Yeah, it’s about the abuse thing.’ She was like, ‘What are you talking about?’ So once we get through the trauma of that moment for her, as a mother, hearing that and her wanting to protect and help and all that stuff, it’s objectively fucking hilarious to tell your mom about your abuse in a fucking song, of all things.”Mumford was visibly uncomfortable when I asked about Marshall’s departure. “I actually really begged him not to leave,” he told me. He said he didn’t share many of Marshall’s beliefs. “But I think you can disagree and work together.” That morning, I’d looked at Marshall’s Twitter account, where he’d been commenting on various social and political issues, often skeptically; “this trans activism has gone way too far,” he wrote in one tweet. I asked if Mumford was surprised at his friend’s turn toward this type of thinking. “I just don’t think it’s the job of musicians to have all those thoughts,” Mumford said, wearily. “And I think Win probably agrees. I don’t know. But I should think he probably agrees. Which is part of the reason why he wanted to quit. Because he felt like his priorities couldn’t align in the way he wanted to speak about things and live life. He wanted to do a different thing. And that’s why I support him doing a different thing. Even though we disagree on a lot. A lot. And more now.”

Over 10 songs, the record moves from anger toward something like acceptance—circling forgiveness, if never actually quite arriving at it. On “Cannibal,” Mumford asks: “Help me know how to begin again.” He said that during the last bit of mixing for the record, he and Mills were looping the song, checking the levels of the vocal, when Mumford burst into tears. Mills “walked around behind me, he put his hands on my shoulders, and he leant his head, his forehead on my back. And didn’t try and stop me crying, didn’t do that annoying thing people do where they try and wipe your tears or whatever. He just let it happen. And it felt really symbolic of the process of making this record, because it was, like: No one’s going to do it for you. But we’re all going to be here and support you through it.”Mumford & Sons would go on, Mumford said, as a trio: He was excited to see what the change might unlock for them. But first, Mumford left his family in Devon and flew to Los Angeles to make the solo record his bandmates had encouraged him to make. He enlisted the veteran producer Blake Mills and some of the greatest session musicians of all time—Jim Keltner, Steve Ferrone, Pino Palladino—and together they set up at Sound City, the legendary studio in the Valley where Tom Petty and Nirvana used to record. Lots of people came by, some of whom never ended up on the record, like Finneas and Ezra Koenig and Cass McCombs, and many of whom did: Phoebe Bridgers, Brandi Carlile, Clairo, Monica Martin.

Mumford & Sons’ most recent record was 2018’s Delta, and it marked the end of a 10-year stretch that Mumford remembers both fondly and a little warily. “At times we treated it like a constant party,” he said. “You’re in this role of hosting, wanting everyone to feel good, people-pleasing for me. And I leant pretty heavily into booze and picked up some probably addictive behaviors around booze that I think are totally natural given the opportunity there that I needed to address. And, fuck, I’m so glad I have; I don’t have any regrets around that stuff. I’m not into sort of even judging past behaviors. But I leant into it pretty heavy. I think everyone did, really.”And this is the nature of trauma, of childhood itself, of that moment when your life veers suddenly toward something scary or sad or indescribable—it shapes you forever, but it can also be generative, funny, random, a thing to write a song about. Grist for an artist who was already an artist. A story about nothing being a tidy story. Eventually, Mumford decided to make “Cannibal” the first song on the record. “I felt like it had to go first,” he told me. “I started sort of apologizing for it, in my head. But it’s like: That’s not right, either.” And so “Grace,” the song he ended up writing about the conversation he had with his mother about track one? That would become track two. Last year, ​​Marcus Mumford was at the home in Devon, England, he shares with his wife, the actor Carey Mulligan, and their two children, recording a new song. It was a time, or just after a time, during which “my life was slightly falling apart,” Mumford told me recently. There was the obvious stuff: a pandemic; a change in management for his band, Mumford & Sons; the impending departure from the group of one of his oldest friends, banjoist and guitarist Winston Marshall. And then there was the less obvious stuff, which is what he was in his home studio trying to work through. “My parents live next door,” Mumford said. “They moved in with us at the beginning of COVID and can hear through the wall, like, basically rhythm and melody.” “With a lot of it, yeah. And the way of interacting. This is why I love Bryan Stevenson. And this is why I don’t like Jordan Peterson. One of the reasons. It’s the way of interacting with the world. I think grace matters in the way that you talk with people. I think if you present like a cunt and you are an angry man, particularly at this time, an angry, older, white man—I’m just fucking bored of it, man. We need grace. So, I, you know, I don’t want to get into an argument with these guys at all. It just feels like a zero-sum game. A race to the bottom. Boring. Mostly it’s boring. And mostly it’s not my job.”

One warm morning in June, Mumford drove us up the Pacific Coast Highway in an SUV big enough to fit a longboard, which he tries to ride most mornings when he’s in Los Angeles. “You’re quite a trusting passenger,” he said. “Some people get freaked out, being driven by a Brit.” Like his band, Mumford has the earnest, attentive vibe of a people pleaser, and he maintained an almost meditative commentary on how he was feeling about my presence at various times. “I don’t really feel the need to try and impress you,” he said. There was a time, he continued, when an interaction like this would’ve consumed him: “Probably overthinking, replaying conversations, spending a lot of time and energy thinking about what you thought of me. And now, with the greatest respect in the world, I just don’t care as much.”So he went to figure it out. He found a therapist who specialized in trauma, and in their second conversation he found himself talking about what happened to him as a kid for the first time since it happened, and as soon as he did that he began to throw up. “Apparently, it’s very common,” Mumford said, “once you basically unhook the denial and start the process of removing some suppression, then it’s very natural for that stuff to come out. I’d had problems breathing all my life. Not asthma but just, like, catching my breath.” All of a sudden, he knew why. He started connecting other dots too: “That thing that happened when I was six, that was the first of a string of really unusual, unhealthy sexual experiences at a really early age. And for some reason, and I can’t really understand why, I didn’t become a perpetrator of sexual abuse—although I’ve done my fair share of cuntish behavior.” He now thought that maybe he could see how it all fit together: “String of really unhealthy shit when I was under the age of 12, which set my brain up in a way to deal with stuff later on in life in an imbalanced way. And so the last three years has just been trying to look at that and correct some balance.”

Mumford began writing songs in earnest during his first and only year at the University of Edinburgh, where he was lonely, studied classics, and spent his weekends commuting into London to watch other neo-folk artists like Laura Marling and Noah and the Whale perform. Soon he was playing drums for and touring with Marling, which gave him the courage to quit school; not long after, he formed Mumford & Sons with Marshall (who Mumford met in church), Ben Lovett (a childhood friend), and Ted Dwane (an upright bass player). They had unfashionable influences, like the O Brother Where Art Thou? soundtrack, and Mumford threaded his lyrics with references to Shakespeare and Steinbeck and the books he’d studied in school. “I remember I was obsessed with T.S. Eliot,” he told me. “Man, that was some really shameful lyrical behavior from me.” But they had an easy way with melody; 100-foot-tall choruses; and a dynamic, effortful live show; and they quickly built a giant and diffuse audience.

COVID hit, and he found himself at home in Devon with an opportunity to “reset, reprioritize, take responsibility, and be still. I hadn’t had a sense of place around home since I left high school.” He worked on the farm he and his wife maintain: lambing, tractor work, stacking bales of hay. Getting used to whatever life was going to be like now. Accepting a kind of indeterminacy around it all. “Nothing’s tied up in a bow,” he told me.

This may be your experience of Mumford & Sons, too, one of the last remaining commercial juggernauts of the past decade: propulsive, anthemic, overtly sincere folk music overheard, if not deliberately listened to, in too many places to name or recollect. Mumford, the group’s principal songwriter, is aware of the sometimes skeptical popular conception of his very popular band, which he wearily summarizes as “banjos and waistcoats.” (They used to employ a lot of both.) But he’s also clear-eyed about what has brought Mumford & Sons so much success, which is a counterintuitively simple idea: They aim to show people a good time. “Mumford & Sons is supposed to be fun,” he told me. “We might take you to church—but we’ll also take you to the fair.”

The song is called “Cannibal,” and it would become the first single from what would become Mumford’s first solo record. It’s about something awful that happened to Mumford, a thing he’s still trying to figure out how to talk about with other people. But the song is so direct, so pointed, so explicitly about what it’s about—“I can still taste you and I hate it / That wasn’t a choice in the mind of a child and you knew it,” is how it begins—that there is no other place to start. “Like lots of people—and I’m learning more and more about this as we go and as I play it to people—I was sexually abused as a child,” Mumford told me during the first few minutes of the first real conversation we ever had. He was six years old at the time. “Not by family and not in the church, which might be some people’s assumption. But I hadn’t told anyone about it for 30 years.”It was a strange and polarizing phenomenon, four guys with old-timey instruments and vaguely period dress having a zeitgeist moment. “I think we weren’t particularly trying to be a cool band,” Mumford told me. “We were trying to be a band that connected with people.” But many people, especially music critics and journalists, listen to music to feel vaguely oppositional, or to define a particular subculture they’d like to be part of; Mumford & Sons were trying to appeal to literally everyone, which is paradoxically one of the most alienating things a band can do. “We were somewhat responding to the ’90s Brit-pop tribalism that happened, that we all grew up with,” Mumford said. “It was what the cool kids were doing, which was hating on each other. And saying how shit the other person was, really publicly. And I think we were probably the generation on from that. We were interested in the way that people came together in seemingly quite random places and situations.”

Sigh No More, the band’s 2009 debut, released two years after they’d first formed, was a significant hit, selling more than 1 million copies in the U.K. and over 3 million in the U.S. Most of this success came while the band was on the road: “We just said yes to every gig we got offered.” Mumford said he struggles to recall much of this time. “I don’t think I was hugely present in those really intense years of the band’s touring. I was always thinking about the next thing.” In 2013, the band headlined Glastonbury and won Album of the Year at the Grammys for its second studio record, Babel; Mumford has little to no memory of either event. “I remember we mocked Justin Bieber in the elevator at the Grammys,” he said. “We were quite cunty, and not massively present.”His parents soon moved back to England to build a Vineyard chapter, and Mumford grew up in the middle of a fast-growing church outside London that would eventually reach more than 15,000 members across the U.K. and Ireland. “Lots of people around all the time,” he said. “I was watching my folks at the center of attention and, I think, dealing with that really well. But it did provide some element of training for what I chose to do.”

Not long after his first conversations with the trauma specialist, Mumford began writing songs for, well, something—he didn’t know what. When he played the first two for his bandmates, they gently told him: maybe a solo record. Mumford & Sons was in a period of transition anyway: “The band was in the middle of changing management,” Mumford said. And in June 2021, Marshall theatrically quit. Marshall, who explained the reasons for his departure in a Medium post, had been steadily getting into conservative provocateurs like Jordan Peterson—with whom he and the other members of Mumford & Sons, minus Mumford, had been photographed in 2018—and Andy Ngo, whom Marshall praised on Twitter. Marshall later apologized for the latter, but it was too late, he wrote: “Another viral mob came after me, this time for the sin of apologising. Then followed libellous articles calling me ‘right-wing’ and such.” Quitting the band would allow Marshall to protect his old friends while still speaking his mind. “I could remain and continue to self-censor but it will erode my sense of integrity,” he wrote.“No, more like…existing with that feeling at a level of normality which is not right.” Holding himself to an impossible standard. “Having unreasonable expectations and getting used to hiding things, which is certainly a behavior I picked up as a young kid. And that just being kind of normal. And, in a strange way, comfortable. But I also really believe in and strive for honesty. So that creates a conflict in itself. It’s where I’ve spent a lot of my adult life. Until recently. And I think that’s part of the reason why, like, I’m not second-guessing my conversation with you. I haven’t got anything to hide from you.”

Mumford is still a believer, in a universal kind of way—“It’s pretty much a cornerstone in my life,” he told me—though he left the church when he was a teenager: “My dad said to me, ‘You shouldn’t come to this church anymore. You should go to a different place. You don’t want to be the pastors’ kid everywhere.’ ” But the church blueprint—winning converts, building a community—would help provide the model for Mumford & Sons. “I like the social aspect of music, and how it brings people together,” Mumford said. “And the congregational aspect of it.”So they were stuck at home, on Zoom every day. “And I said, ‘Look, let’s just make this interesting. At this point, if you don’t get nominated for an Oscar, you have to be punished. You have to get an Oscar tattoo.’ And so the agreement was if she did get nominated, then I would get the Oscar tattoo. And she did get nominated. And I got myself an Oscar, which I’m thrilled with.” But this song that he was working on at home was not that, exactly, even though, through the wall, it might’ve sounded that way to his mother, who soon came by. “I know the chords she likes,” Mumford said. “So she hears it through the walls, like, ‘That sounds nice. Can I come hear it?’ ” Also on his arm is the word “grace,” written in Greek. The concept of grace is a constant in Mumford’s lyrics: seeking it, falling short of it. “Yeah, I think that’s right,” he said. “And I think a lot of that was a product of being kind of addicted to shame and being stuck in that. And now I’m able to see that comes from some early shit that no one knew about and I had never looked at. So I could now, because when you say that, of course I’m able to go, like, ‘Oh, yeah. I recognize that I’ve sung about those things for a long time.’ I hadn’t really thought about that. But now I kind of know why. And, uh, fuck! What am I gonna write about now?”Eventually, we pulled over and found a picnic table with a view of the ocean. Mumford, who is 35, slid off his shoes and walked barefoot through the rocky parking lot. Mumford grew up in England, near Wimbledon, but he’s technically from California. “I always felt like I had this kind of slightly other life, because I was born here and had family here,” he said. His parents, who are English, came to Southern California in the 1980s to work with Vineyard Churches, an evangelical congregation with musical ties (it’s where Bob Dylan went in the late 1970s, after he found Jesus). Mumford describes it as “nondenominational. Fairly biblical, I should think. They get called lots of other things. But that’s how they describe themselves.”

He pulled up both sleeves to show me some of the other tattoos he already has, images borrowed from Rembrandt and Botticelli, above his elbows. Inked on his right shoulder was a sketch of an Academy Award, in tribute to his wife. He and Mulligan first met at Bible camp when they were 12. “There’s a photo of us that first summer we met, and I’ve got bleached blond hair.” They reconnected as adults, and married in 2012. “Early on in our marriage, we said to each other, Let’s make our marriage the priority in our lives. Because the odds are stacked against us. Let’s make that our great work, and everything else can come from that, right?”“We had a tattoo bet in COVID,” Mumford said. Mulligan’s last film, Promising Young Woman, was supposed to come out in early 2020. But the film’s release date was postponed on account of the pandemic. “So they just kept doing press,” Mumford said, “but it kept getting pushed, and the more press she did, more people saw it, were like, ‘This is fucking dope, this might get nominated for an Oscar.’ ”

The record is dedicated to her: There is a photo of the two of them, leaning up against each other, in the album’s liner notes. But he also said they’d found that marriage wasn’t always easy. “I don’t think it’s like, you reach a destination and then you celebrate. I was brought up in a fairly conservative Christian home, and in that culture—and I hope you don’t hear me blaming anything or anyone for this, because I really am not—but in that culture, marriage is seen as the destination that you’re aiming for. If you can get there—if you can basically spend your teenage years not wanking too much and your 20s not fucking too much—you get to marriage and everything will be cool. And that’s just totally not my experience. The reason I think people don’t stay married is because they don’t realize how much work it takes.”

One of Mumford’s bandmates, Ben Lovett, described Delta as being about “the four D’s: death, divorce, drugs, and depression.” When I mentioned this to Mumford, he recoiled: “I fucking hate that.” He grimaced again. “That’s a terrible description for a record. Who wants to fucking listen to that?” But Mumford was struggling—with alcohol, with certain eating habits, with “trying to find connection in the wrong places”—and in the summer of 2019, some of the people around him intervened. “I was at the point where, basically, I’d hit enough of a rock bottom that I was ready to surrender,” Mumford said. “I’d had the people closest to me hold up a mirror and say, like, ‘Dude, something’s not right here and it’s your responsibility to go figure it out.’ ”We’ve detected that JavaScript is disabled in this browser. Please enable JavaScript or switch to a supported browser to continue using twitter.com. You can see a list of supported browsers in our Help Center.

In 2009 Mumford & Sons signed with Island Records. The single “Little Lion Man,” released that fall, shot up the charts, and the band’s first studio album, Sigh No More, which contained that track, debuted at number 11 on British charts and climbed upward. Sigh No More was released in the United States in 2010 and was equally well received there. The album won the prize for British album of the year at the BRIT Awards in 2011, and later that year the band received a Grammy Award nomination for best new artist.Mumford & Sons, British folk-rock band noted for its raucous, fast-paced, sonically dense instrumentation and for lyrics that had a spiritual focus subtly grounded in Christianity. The group’s members were Marcus Mumford (b. January 31, 1987, Anaheim, California, U.S.), Ben Lovett (b. September 30, 1986, London, England), Winston Marshall (b. December 20, 1987, London, England), and Ted Dwane (b. August 15, 1984, London, England).In 2012 Mumford & Sons released their second album, Babel, and it was an immediate hit in both England and the United States. Babel and the track “I Will Wait” earned numerous Grammy nominations, with Babel winning album of the year. “Lover of the Light” was also a hit song. In addition, the one-hour film Big Easy Express, documenting part of a 2011 American tour Mumford & Sons made with two other bands, won the Grammy for best long-form music video. Later in 2013 the group had a scare when Dwane had to undergo emergency surgery for a blood clot in his brain. Although he returned to performing in time for the band’s appearance at Glastonbury, in September 2013, after ending a lengthy world tour, the band announced that it was going on hiatus. The following year Mumford & Sons returned to the recording studio, and the single “Believe” was released in March 2015. It and the album Wilder Mind, which was released two months later, signaled a new direction for the group, which largely eschewed folk for a more classic rock sound.Delta (2018) continued in that vein but was more experimental.The band had its beginnings in 2006 in a small bar and music venue in London called Bosun’s Locker, where a number of musicians who had an affinity for earthy acoustic music hung out and played with each other in fluid lineups. The band members came from varied musical backgrounds: Mumford had founded a free-form jazz band; Lovett played in an indie rock band; and Dwane was a member of a punk band. At Bosun’s Locker, Marshall, Dwane, and Mumford (on drums) sometimes played backup to singer-songwriter Laura Marling and, with Lovett, occasionally performed under the name Marcus Mumford & His Merry Men. By late 2007 Mumford & Sons had coalesced, with Mumford as lead vocalist and guitarist, Lovett on keyboards, Marshall on banjo, and Dwane playing the upright bass. The band released an eponymous EP in July 2008, about the same time it made its first appearance at the Glastonbury Festival in Pilton, England, and later that year a second EP, Love Your Ground, came out.Government mandates, venue protocols and event requirements are subject to change, so be sure to check back here for the latest information prior to your event.By clicking the ‘sign up’ button, you agree that each of MSG Sports, MSG Entertainment, Sphere Entertainment and their promotional partners may send you emails at the address provided above from time to time on behalf of themselves and their affiliates and partners that may be of interest to you, including about events, promotions, activities and brands.

Mumford was included in the Forbes 30 Under 30 list of music stars in December 2012 for his achievements with his band. Forbes commented of the list, which also included acts such as Adele and Rihanna: “In sum they represent the entrepreneurial, creative and intellectual best of their generation. Individually, they are engaging, surprising and incredibly hardworking.”Mumford sang a cover of “Dink’s Song” with Oscar Isaac for the 2013 Coen brothers film Inside Llewyn Davis. Although he is not seen in the film, Mumford voices the protagonist’s musical partner, Mike, who dies by suicide before the beginning of the film.

In April 2012, he married Carey Mulligan in Somerset. They were childhood pen pals who reconnected as adults. They married a few weeks after working together on the Coen brothers film Inside Llewyn Davis. They have two children.

Mumford was born on 31 January 1987 in Yorba Linda, California, to English parents, John and Eleanor (née Weir-Breen) Mumford, international leaders of the Vineyard Churches. As a result, he has held both UK and US citizenship from birth. Mumford has an older brother, James. Mumford’s family moved back to the UK when Marcus was six months old. He grew up on Chatsworth Avenue in Wimbledon Chase, southwest London, and was educated at King’s College School in Wimbledon, where he met future band member Ben Lovett. He returned to London to focus on his music career after his first year of study at the University of Edinburgh, where he collaborated on Mumford & Sons’ debut album, Sigh No More.On 12 July 2022, Mumford announced his debut solo album Self-Titled would be released in September of that year. Produced by Blake Mills, it features guests Brandi Carlile, Phoebe Bridgers, Clairo and Monica Martin and includes “Cannibal”, a song Mumford wrote in January 2021 about his personal struggles. Steven Spielberg directed the music video for the song, which was shot on 3 July in a high school gym in New York.Mumford began his musical career playing drums for Laura Marling on tour, along with the other current members of Mumford & Sons. It was through touring with Marling and gaining experience playing gigs as well as experimenting with his early writing that they decided to form the band in 2007.

In 2014 Mumford produced Hold Fast by Christian Letts (Edward Sharpe and the Magnetic Zeros), released February 2015. Mumford co-wrote four tracks from the record – “Copper Bells”, “La Mer”, “Emeralds” and “Matches”.Mumford has revealed that he was sexually abused as a child: “Not by family and not in the church, which might be some people’s assumption. But I hadn’t told anyone about it for 30 years”.

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Sure enough, Dave Grohl and co have continued adding to their list of live shows this year, with dates that will see them visit more locations in the United States.

It has been confirmed that Josh Freese will play drums with the Foos. On Sunday 21st May, Foo Fighters revealed during their special livestream event Josh Freese would be the band’s new drummer in a sitcom-style skit, which saw the likes of Red Hot Chili Peppers drummer Chad Smith and Motley Crue sticksman Tommy Lee take part.The band confirmed their plans to carry on as a five piece after the tragic death of their drummer on 25th March 2022 and began to share a string of dates for 2023.

Yes. Foo Fighters shared a statement vowing to continue on as a band after the death of Taylor Hawkins and they have since begun to plot dates in 2023.

Who: If you’re at all a part of or an ally to the queer community, then you’ll know girl in red (real name Marie Ulven), whose lovesick songs have become the unofficial anthems for queer girls everywhere — to the tune of 12 million followers on Spotify.

Who: In the past few years, the Haim sisters overcame meme status to become bonafide rock stars. They’re starring in movies, working on The White Lotus, and collaborating frequently with Taylor Swift herself, with cameos in the “Bejeweled” music video and features on evermore’s “no body, no crime.”Who: It’s hard to imagine anyone at this tour not knowing Phoebe Bridgers. But if you’ve been without internet for the past three years, then you should really get to know the Grammy-nominated singer-songwriter who has performed on SNL, owns her own record label, toured with Bright Eyes’ Connor Oberst, and is one-third of the beloved rock supergroup, boygenius.

For her upcoming Eras Tour, the guests this time won’t be surprises — but she is bringing a lot of them. Nine different artists were tapped to open for the superstar in various combinations, on various nights during the nearly five-month run: Paramore, Haim, Phoebe Bridgers, MUNA, Gayle, Gracie Abrams, beabadoobee, girl in red, and OWENN — all spectacular artists in their own right, many of whom Swift collaborated with in the past.Who: Katie Gavin, Naomi McPhearson, and Josette Maskin are trio that make up Muna — the real-life version of Freaky Friday’s Pink Slip (and NYLON’s It Band). The band came up making upbeat, happy-sad pop songs and exploded in popularity last year with the release of their self-titled album that turned the dial up on their sound. Muna is signed to Phoebe Bridgers’ label Saddest Factory Records, and has found a fervent fanbase in the queer community.

Taylor Swift loves a surprise guest. On her 1989 tour, she famously toted out a different surprise artist for virtually every night of the tour. Any given night, fans would be treated to an appearance from Charli XCX, or Tove Lo, or Fifth Harmony, or even Ricky Martin (so they could deliver their iconic duet to “Livin La Vida Loca”).

Who: 23-year-old Gracie Abrams is the biggest rising star of the moment. The daughter of J. J. Abrams and Katie McGrath, Gracie got her start posting clips of her singing on Instagram. After skyrocketing in popularity, she opened for Olivia Rodrigo on her Sour tour — as the story goes, it was Abrams who inspired Rodrigo to write “Driver’s License” the way she did.Who: Beabadoobee is the project of U.K. musician Beatrice Kristi Laus, whose sweet voice you might recognize from one of the first viral TikTok songs: Powfu’s “death bed (coffee for your head).” It heavily sampled “coffee,” Laus’ first-ever song release, a crackly bedroom pop song. It’s an ocean away from the stuff the Dirty Hit signee is making now, full and alive guitar tracks that rip and rumble.What: Bridgers, arguably, is the prototype of the “depressed songwriter singing about family, love, and life” renaissance we’ve been living through. Her songs often breach hard and dark topics with a touch of acerbic wit and self-awareness. “You said when you met me you were bored, and you, you were in a band when I was born,” goes one iconic lyric.What: Owenn’s latest release, an 3-track EP titled Luv, is of the acoustic pop singer-songwriter sort, but he’s also dabbled in dark, clubby EDM, streaked-out synth mall anthems, and delicate folk as sonic palettes for his swoony songs.

Who: The Plano, Texas native and NYLON It Girl experienced a monumental 2021 when her cheeky track wishing ill will to an ex, “abcdefu,” suddenly surged to the top of the Billboard Global 200 chart and peaked at no. 3 on the Hot 100. “It’s being unapologetically angry about something,” she told NYLON about the hit in 2022. Since then, you might’ve spotted her signature split-dyed hair at the 2023 Grammys, where “abcedfu” was nominated for Song of the Year.

What: The 18-year-old’s soulful voice is the center of her songs, which span frizzled pop to grimy, bass-busted punk, and lo-fi pop-punk. You can expect the teen themes of heartbreak, feeling like an outsider, and acerbic cynicism, but they’re always explored with a heartfelt, generous tenderness.What: If you haven’t heard Haim’s very excellent 2021 record, Women In Music Pt. III, you’re missing out on a 10/10 collection of breezy, West Coast rock made for strutting on sun-dappled sidewalks and getting loose to at a party.

What: Beyond her love songs, girl in red has gained leaned into her honest lyricism and continues to write songs about mental health, death, and more. Her 2021 debut album, if i could make it go quiet, was a tremendous effort in breaking apart her own inner demons with a more glossy, mature sound.What: Gracie’s known for her smoked out, evocative vocals which she pairs with frank songwriting and minimal pop soundscapes. Her debut album, Good Riddance, shows a level up in her craft and features production by The National’s Aaron Dessner.

While Mumford & Sons may not be performing elsewhere in the UK this year, it has already confirmed a handful of other dates around the world for this summer. They will also deliver sets at the likes of New Orleans Jazz Fest in May, Lollapalooza Stockholm, Ontario’s Rock The Park Festival, and Ottawa’s Bluesfest in July, plus Beach Road Weekend in Martha’s Vineyard in August.The 10th-anniversary edition of Babel was released on very special, limited edition 180g colored vinyl and featured a variation of the photography released on the original record, shot on location in West London by long-standing collaborator, the photographer Marcus Haney.

It joins the likes of Ellie Goulding, Sigrid, Sea Girls, Dylan, Pale Waves, Crawlers, and many more on the line-up. Tickets for Victorious 2023 are on sale now and can be purchased here.

Late last year, the British band celebrated the 10th anniversary of its acclaimed second album Babel. The album was released in Autumn of 2012, topping the charts on both sides of the Atlantic in September 2012 for the first time, as the band’s profile soared right across the globe. It was first introduced on the 7 August of that year with the first single, “I Will Wait,” as the band continued a sold-out headline tour of the US.While he’s more commonly known as the frontman of Mumford & Sons, Marcus Mumford recently found healing from childhood trauma through his first solo effort, Self-titled. About halfway through the show, during the performance of “Only Child,” several members of the audience began to sit due to the pacing of the song. This turned into a bit of a disruption causing Mumford to stop and joke about the audience having a difference of opinion. The British-American musician stopped in Chicago Monday, Oct. 24, at the Chicago Theatre for a sold-out show as part of his tour across the United States and the U.K. in support of the debut album.“For some people, it’s completely unnatural for them to go to a show and not sit down,” he said. “And for some people, it’s completely unnatural to be in a theater and have a seat and stand up. After a short break, Mumford returned to the stage to close out the show, opting to play “I Will Wait” which morphed into a cover of “I’m on Fire” by Bruce Springsteen with no electricity – meaning he played it without a mic and completely unplugged. Check out photos from Marcus Mumford’s Chicago performance below and click here to pick-up tickets to future tour dates. More information about upcoming shows at the Chicago Theatre can be found at Msg.com.

The tour dates consist mostly of gigs at historic theaters like New York’s Beacon (Nov. 7), L.A.’s Wiltern (Sept. 30), Nashville’s Ryman Auditorium (Oct. 30), the Chicago Theatre (Oct. 24) and Seattle’s Paramount (Sept. 26), along with a few dates at super-sized clubs of note like Cain’s Ballroom in Tulsa (Oct. 17). He’ll join the bill at two festivals along the way — the iHeartRadio Music Festival in Las Vegas will be one of his first stops (Sept. 24), followed by the Austin City Limits Festival (Oct. 9).

Danielle Ponder will be the opening act for the first half of the tour, Sept. 19-Oct. 14, with the A’s as support on the second half, Oct. 17-Nov. 10. (See the full itinerary below.)The tour is in support of his forthcoming debut solo album, “(Self-titled),” which comes out Sept. 16 on Capitol. The collection was produced by Blake Mills and includes Brandi Carlile, Clairo and Phoebe Bridgers as guest vocalists.

For the regular tour dates, a presale for fan club members will begin Tuesday at 10 a.m. local time, to be followed by a general on-sale July 29 at 10 local time.A single, “Cannibal,” has already been released, with a one-take smartphone music video directed by Steven Spielberg (the filmmaker’s first) having come out this week. See that video here. The singer-songwriter also premiered another track from the video, which he co-wrote with Carlile, at her L.A. Greek shows in June; watch that performance here.

The cost of Marcus Mumford tickets can vary based on a host of factors. Please see below for a look at how Marcus Mumford ticket prices vary by city, and scroll up on this page to see Marcus Mumford tour dates and ticket prices for upcoming concerts in your city. On average, the expected price of Marcus Mumford Chicago tickets is $88. Keep in mind that when you’re looking for tickets, certain factors determine their prices. If you’re lucky, you might even get to book tickets for $22. However, these tickets might allow you to be seated in the balcony section of the arena. The fact that the Cannibal hitmaker has only one show in Chicago at The Chicago Theatre, tickets are bound to fly out the window! Therefore, make plans with your friends as soon as you can, and keep yourself free for an exciting concert at this arena on Monday, October 24, at 8 PM!