Concert Reviews
Showing posts with label Concert Reviews. Show all posts

Wednesday, June 8, 2016

How Beautiful Tour | Florence + the Machine with Of Monsters and Men

There are a multitude of terms that can be used to describe Florence Welch: Maximalist, loud, genius, the queen of the music festival circuit... But based on what she did on stage at Cleveland's Blossom Music Center on Saturday, I'm going to go ahead and say she's just damn near perfect.

Although her voice is a good chunk of what makes her so great, do I really need to talk about it? If you're here to read a review of her show, chances are that you probably already know that the human vocal powerhouse that is Florence Welch can be matched by so few. I had joked for months leading up to the gig that I expected to be deafened by her projection. Long story made short: I was... or at the very least, I sustained a bit of hearing damage. And I'm 100% okay with that. Her highest belts were awarded by screams loud enough to drown her out, which probably didn't help out the eardrum damage. Still worth it.

But don't think she's all vocals and no fun: she's top festival billing for a reason. She galloped from end to end of that stage more times than I could count, at one point bolting from the main stage to a small platform mid-amphitheater (and still nailing the vocals after running a small marathon to get there, mind you). On the cinematic, medieval-chic instrumental sprawls of some tracks, she hung up the microphone and threw herself around like a rag doll with contemporary choreography from The Odyssey film. And per tradition, she asked fans to climb on shoulders of others for "Rabbit Heart" (it didn't work so hot in the tight confinements of a seated venue, as opposed to her typical standing festival setting) and insisted we each take off an article of clothing and wave it like a flag in the heart of "Dog Days Are Over" (this direction, meanwhile, was listened to quite obediently). 

It rained through most of the show, quite fittingly for Florence -- we all know how much she fancies water -- but that didn't stop the folks on the grass slopes from watching in awe; most of them watched the entirety of the show from underneath a field of umbrellas. After all, a good majority of us were well committed, having followed Florence since the Lungs days. (After she inquired how many people were three albums deep in fandom, she ensured the newcomers that most everything is nearly the same: "I'm a little more drunk and shouty.") Those of us under the pavilion roof whose hands were free, though, spent most of our time with our hands in the air, returning Florence's welcoming reaches towards the crowd and clapping as long and as hard as possible.

While opening act Of Monsters & Men's set list seemed to drag on for ages (buried in their 11 tracks were only two tracks of real note, one being the band's breakthrough hit "Little Talks"), Florence's 16-track set seemed as if it went by in a flash. In that flash, however, a lot of memories were made: singing back-up with the rest of the audience for "Shake It Off," watching a guy get tackled by security as he ran on stage to dance with Florence during "Spectrum," and channeling her rage in the midst of "What Kind of Man." I left the premises that night tired and sweaty, but those facts were overshadowed by my beaming happiness from the show. She put her all into this performance, resulting in something quite stunning. How beautiful, indeed.

The How Beautiful Tour makes stops across North America until the beginning of July.

Saturday, May 28, 2016

2016 North American Tour | Haim with Clubhouse

A tee-shirt pinned to the wall at Haim's merchandise stand in the venue lobby on Friday night read "GO HAIM OR GO HOME." Thinking it was funny, I bought it and got in place on the second tier of the standing pit. What I learned in that pit, though, is that the tee-shirt does not lie. In the audience of a Haim show, you can either go Haim or see yourself out.

Haim's Columbus show is solid evidence that a crowd's disposition can make or break a show. Packed inside the Express Live! indoor music hall, fans jumped, clapped, sang, screamed, and raised their hands for nearly 90 minutes without rest. Between each of the 11 songs on the set list, one of the three Haim sisters would emerge from the darkness for some banter -- each of them usually ending her respective chats with "I FUCKING LOVE YOU, COLUMBUS!" They said that exact phrase no less than twice a piece. They fed off our energy as much as we were fueled off theirs; as Este would say, we were all quite lit.

An unannounced opening act, a local band called Clubhouse composed of guys who looked like they had all just crawled out of the common room of a college residence hall, was pulled together, but they were no match for what was to come. These three young women were electric. Danielle may have found herself center stage and carrying most of the lead vocal and sprawling guitar solo work, but all three shined in their own ways. Este and Alana each took vocals on one song each (the former on a Prince cover and the latter on "Running If You Call My Name") and attracted attention as instrumentalists and backing vocalists elsewhere.

This concert failed to deliver its proposed purpose to preview new work (they premiered only two new tracks: "Give Me Just a Little of Your Love" and "Nothing's Wrong"), but if it had fulfilled that vision, I doubt it would have been as successful as it was. While Danielle taught us some of the words to "Give Me Just a Little of Your Love" to sing along with, the magic was really sparked by the crowd's extensive knowledge of the band's debut album; we knew when to scream, when to two-step, and when to stick our hands in the air to clap along until our arms got sore. And even when my arms were tired and wanted no more than to lay at my sides, I couldn't stop myself from offering the vigorous applause these ladies worked so hard to deserve.

Oh, and by the way: you haven't lived life to its fullest until you have watched Alana Haim beat every last ounce of life out of a drum while Danielle and Este shred the hell out of their guitars during the breakdown of "My Song 5." It's everything.

Haim's North American tour runs through June 11 and makes stops at the Boston Calling, Bunbury, Governor's Ball, and Bonnaroo music festivals.

Sunday, May 8, 2016

Delirium World Tour | Ellie Goulding with Years & Years and Bebe Rexha

Just prior to the release of her latest album, Ellie Goulding was all but promised that the world would soon bow at her feet as it does for Rihanna or Katy Perry. "Love Me Like You Do" sucker-punched the globe, and Delirium lead single "On My Mind" was a considerable success; word lingered of a longstanding crossover, from Britain's favorite little secret (and America's well-loved but inconspicuous electronic dance featured artist) to worldwide superstardom of unbelievable rank. Ultimately, where she stalled is at a strange corner that allows her to boast moderate mainstream success while continuing to headline music festivals around the world -- at Coachella's Friday night festivities this year, she was second-row billing.

Her music, in turn, was tickled by the thought of it all. Delirium found our Ellie, once just a girl with her acoustic guitar and a helping hand in production from Starsmith, clad in the shiniest Max Martin armor, geared up and ready to dominate. With all of this in mind, it was only natural for Goulding to dream big for this tour -- her first headlining arena tour in the States. She has thrown out most of the old material in favor of the new, sprinkled in some choreography and costume changes, and plastered her backdrop with wall-to-wall LCD screens, utilized for flashy video interludes of Ellie looking more badass than ever before. It's a show fit for a true queen.

And in the middle of it all stands our musical shero, Ellie Goulding. She's a changed woman from her earliest shows. In live renditions of her older material that has been cut from this tour's set (probably in part from performer's fatigue, after she had been touring her first two albums' material for what seemed like an eternity), she seemed restrained -- a bit timid, if you will -- but never unhappy or ungrateful. She played theaters and festivals in one outfit, without dancers or any pop show production pizzazz. She was just Ellie, playing some tunes and having a good time doing so.

In translation, not much has changed. In natural arena show form, it ran on a strict blueprint and left little time for personable chit-chat, minus some small talk about the temperature when the good ol' Lake Erie breeze started to blow through the venue. But she's still Ellie, still playing some tunes and still having a good time doing so, this time in a bit of a varied format; the show weaved between choreographed dance explosions, video interludes, and stripped-back acoustic bits. While her ultra-muscular back-up dancers bore the brunt of the choreographed workload, I'm glad to report that random spurs of energy (the bounces, the leaps, the twirls, the jumps -- everything we're used to from her) are still in her wheelhouse; they were the physical promises that she's still having a good time on stage, despite performing high-energy, upbeat songs inspired by Dougie Poynter, now her ex-boyfriend.

Some critics from big-name papers have slammed Goulding with not having the overbearing presence to command such an elaborate show. Maybe they have a point, but I'd argue it's because nothing about the Ellie we all have come to know and love has changed; she has yet to comprehend the magnitude of her success. Though she never formally addressed it, she was clearly taken back by an entire crowd that knew every word to deep album cuts like "Codes" and "Aftertaste" in addition to the radio hits (including "Lights," of course, which has been transferred to an acoustic ballad style for this concert run. "You guys here in the States know a song -- you know it quite well, actually -- that... if I played it back home, nobody would know it. That's what makes you guys awesome," she said before rolling into the song.)

So with all of this success talk, was this a sold-out tour run? Not quite. In fact, for my date of the tour in Cleveland, the show was quietly downgraded from Cleveland State University's Wolstein Center to the open-air Jacobs Pavilion amphitheater a few months before the show. But having such a large show compacted for a more intimate crowd was no problem; the stage lost only its large Ellie-laden curtains and all but one LCD screen. But I think I quite preferred it that way. In a bigger crowd, we fans would have been stuck in a crowd of people who only know the songs they've played on the radio and refer to her as "E-lee Gewlding." As the great Cher Horowitz once said, "as if!"

Even on the smaller stage, though, Goulding treated the show as if she were in an arena. She galloped from end to end to address every angle of that theater, cued some blasts of smoke at climaxes of her heaviest electronic collaborations, and disappeared at the close of the show in clouds of confetti. It was an affair meant to outdo, not merely match, the heights of Delirium as an album. All the while, her voice was not once compromised (after all, it was those angelic pipes that we really came to hear), proving that she really is the full package. For if a recording artist isn't built on a solid foundation -- the lyrics, the voice, the good intentions -- every other element of her artistry is dull, meaningless. But Ellie Goulding has a foundation -- a sturdy one, at that -- so the additional bombastic of this show did nothing but sparkle.

The Delirium World Tour runs through October 12. Tour stops will be made at Radio 1's Big Weekend, Lollapalooza, Glastonbury, and other music festivals.

Side note: Along for the ride was Bebe Rexha, who came prepared for the crowd she was given; she broke out a few old tracks (you know, prior to the recent Rita Ora 2.0 physical and sonic makeover), but won the crowd over twerking to a set packed with the hits she has written or been featured on. Additional supporting act Years & Years, well aware that they haven't broken through here like they have back home ("You guys probably don't know any of these songs, but you've been such a great crowd," Olly Alexander said towards the end of their set.), still pulled out all of the stops; Alexander had the pipes and the stage appeal to carry the act to success. Even those around me who initially referred to Rexha as "queen" and Years & Years as "who?" were, at the very least, toe-tapping by the end of the trio's upbeat set.

Sunday, November 15, 2015

Misfit Toys Tour | Ryn Weaver with Holychild and ASTR

"You're so cute," Ryn Weaver told me in the lobby of the Newport Music Hall after her gig on Friday. "Are you in college? What do you study?"

Off stage, Weaver carries herself as a warm, outgoing friend. As I stepped towards her for my meet and greet session, she dived in for an embrace before the photographer ushered us against a marble staircase for a photo opportunity. Five more hugs, a kiss, and two dozen selfies later, I was on my way out of the venue, surprised that the girl I had just met was the same girl who effortlessly captured attention from hundreds of audience members just an hour before.

She took her spot on the stage three hours after the doors opened, allowing time for sets from two opening acts: Holychild, a purposely gaudy pair of musicians who performed a stripped set with a keyboard, drum set, and vocal sampler after some equipment was lost in the transfer from Chicago to Columbus, and ASTR, a New York-based duo who relied heavily on vocal playback but piqued attention with some impressive production. The two acts were no match, however, for Weaver, who caused massive outcries as she appeared in the haze of synthetic fog that was being blown through the venue by a dingy, old box fan back stage.

While singing, Weaver is a category five hurricane. Her body spasms with energy and her voice rattles with vibrato in full-force, keeping audiences entertained and the energy alive for the entirety of her hour-long set. There weren't any flashy outfits or gimmicks; just Ryn Weaver in a vintage black pantsuit, a resonating voice, and more energy than can be provided by a dose of Five Hour Energy. During many songs, she sacrificed a bit of vocal stability in favor of spastic dance moves, but the trade-off was justifiable; the crowd's electricity was fueled on her stage presence as she whipped her hair around her head and threw herself around the stage like a rag doll.

Her part-pop, part-folk, part-rock productions were intensified into venue-shaking backdrops by touring band members with the implementation of a real drum kit, live bass, and live guitar. In the cases of "Pierre" and "OctaHate," it's almost impossible to imagine bigger climaxes, but they sure did happen on Friday. In fact, my ears are still ringing in the aftermath of that last one... but it was completely worth it. The party gave way for sentiment only once, during a dedication to Weaver's late grandfather in the form of "Traveling Song" -- and even then, the audience stared in awe and sang every word.

The music on Weaver's debut album, The Fool, bears equal importance to the story it tells; the 11 track album has a clear story arc of her time spent traveling and living out of her car. The set list of this show was a lively retelling of the album's tale -- still opening the "Runaway" and closing with "New Constellations," with the other nine tracks given a new order in between. Her album and the story it tells pose the question, "Are you a fool for settling for something you've always wanted, or are you a fool for running away and looking for more?" By the end of her Columbus concert, the answer became clear: "You can run if you want to / If you want to, you know you can run." Every song, minus "Traveling Song," transformed into separate jubilant celebrations of exploration, justifying her days of open-ended journeys. After all, none of this -- the music, the story, the tour -- would have ever transpired if she weren't a runaway, a misfit, a fool.

The Misfit Toys Tour runs in the United States through the rest of November.

Tuesday, August 4, 2015

MTrain Tour | Meghan Trainor with Life of Dillon & Charlie Puth

"Ohio, I heard if you say a certain phrase... O-H?" asked 21-year-old singer-songwriter Meghan Trainor, who was amazed by her sold-out crowd of over 10,000 fans in the Ohio State Fairgrounds' Celeste Center. "I-O," the audience shouted in reply. "That is sick," she laughed. 

Her audience of fervent Ohioans wasn't much different from those of most female pop powerhouses: tons of children in homemade t-shirts with their parents, teenage girls and young women who pulled their boyfriends by their hair into the venue, drunken middle-aged women who get down to every song, and - my demographic - gay men. And like most pop stars, Trainor's fans are intense. They paid modest attention to opener Life of Dillon and unsurprisingly offered a warm welcome to Charlie Puth (of "See You Again" fame), but they really let loose for Trainor as she entered the stage for "Dear Future Husband." She led sing-a-longs for portions of nearly every upbeat song, and her fans knew every single phrase they were expected to sing - even for filler tracks that were only included on the deluxe pressing of Title, like "No Good For You" and "Mr. Almost."

Perhaps one thing that Trainor didn't gauge is her dense population of young fans. I saw parents' eyes widen as she sang, "We all make mistakes in the drunk world / Everyone here's done the walk of shame," to her audience that was composed hugely of children under 12 years old. The most awkward moment arrived when Charlie Puth returned to the stage to duet on "Marvin Gaye." Many kids - my young sister included - looked in the opposite direction when Trainor and Puth wailed, "Let's Marvin Gaye and get it on," in front of the giant electronic backdrop that played clips of couples following the lyrics' instructions.

Any uncomfortable moments were quickly glossed over with Trainor's pitch-perfect vocals, bubbly stage presence, and carefree catalog, though. The innocence that those parents expected shined through on new tracks "Good to Be Alive" and "Feels Better When I'm Dancing." The latter track pulled her from her '50s doo-wop safety zone into steel drum-fueled, summery territory with ample dance breaks. And for any of those who doubted her core musical ability, she wowed the crowd with a performance of "Like I'm Going to Lose You" and pulled out her trusty ukulele twice during the show for stripped renditions of "Title" and a mash-up of her own "3am" and Jason Mraz's "I'm Yours." Last month's vocal cord hemorrhage didn't set her back one bit; her vocals still gleamed.

Spare a few inappropriately-placed shouts of "hey" and "c'mon," she never missed a beat for the 90 minutes she was on stage. She proved entertaining for die-hard fans and casual listeners alike; even the unhappy young man who sat in front of me, presumably forced to be there by his parents who were having a grand ole time, found moments of interest in her biggest hits, "Lips are Movin'" and "All About That Bass." At a ticket price of roughly $35 each (which included fair admission for the day, as well), the MTrain Tour offered a lot of bang for the buck. Thinking about catching another stop on the tour? Do it; it's worth it. Hop aboard and enjoy the ride.

The MTrain Tour runs through September 13, 2015 and will make stops at multiple state fairs. Tickets for remaining dates can be found on Ticketmaster.

EDIT: Unfortunately, Trainor hemorrhaged her vocal cord once again after a bronchitis infection and announced on August 11 that the MTrain Tour must come to a halt. It is unknown if remaining dates will be rescheduled.

Monday, June 1, 2015

The Endless Summer Tour | Lana Del Rey with Grimes

The thermometer read 48 degrees in Clarkson, Michigan on Monday; nevertheless, the outdoor DTE Energy Music Theatre was packed with nearly 15,000 people, all waiting for Lana Del Rey to take the stage as part of her (ironically titled) Endless Summer Tour.

Canadian synthpop artist Grimes took the torch from Courtney Love, who opened for the few handful of dates for the tour, as the supporting act for the remaining dates. Her high-energy set was well-received by some (including a set of girls that lost their shit to "Oblivion" and "REALiTi") and completely ignored by others (including another set of girls that took selfies through the entirety of one song before stomping back out of the venue for refreshments). She garnered the most attention during "Genesis," one of her most popular tracks among mainstream audiences.

Grimes hunched over her control boards to mark cues of individual song elements, looking like an unconventional disc jockey in a plaid skirt and over-sized jacket. While her reverberated microphone rendered her voice nearly inaudible underneath her heavy production, she and her backup dancers were still filled with energy. She growled and shouted with excitement, as if a demon had possessed the jittery young woman, at the core of each song.

After Grimes' set, most of the empty seats were taken by their respective ticket holders. As Del Rey walked on stage in a sheer, fluorescent green dress, she sent a spark of energy into the crowd. The first verse of he first number, "Cruel World," sent all of us spectators to our feet, and we remained standing for the remainder of her 13-song set. (The set list seemed short, but quality trumped quantity here; minus the absence of "Ride" and "National Anthem," it was a perfect combination of her catalog.) Her stage was adorned with building facades and a city skyline, giving the jumbo screens the appearance of a Lana-filled sky. On certain cues, the building windows and an incandescent sign (simply reading "Del Rey") would flash as a subtle light-show.

The cold temperatures did not deter fans from making the show seem like any other summer festival show. Underneath layers of coats and blankets, we still donned flower crowns, flannels, and Chuck Taylor sneakers. As time passed, artificial fog and the smell of marijuana (and the smell of cigarettes, after Del Rey lit up a quick smoke while covering Lenord Cohen's "Chelsea Hotel No. 2") drifted through the cold air. Most importantly, we were all well-connected with the sultry songstress; from newer material ("Shades of Cool," "West Coast") to the LDR classics ("Video Games," "Born To Die"), not one song passed by without us fans singing right along with her.

Del Rey's stage manner has transformed from awkward, twirling mumbler to a soft-spoken yet radiant songstress. Her gawky Saturday Night Live performance is now a insignificant dot in the rear-view mirror, and she is able to soar her way through her sets with ease nowadays. She is still a woman of few words aside from her music, which gives her an enigmatic presence, but her face lights up when she comes near her loving audience members; partway through the show, she stopped the show to take selfies with fans in the VIP standing pit in front of the stage. As someone who has followed her since 2011, I couldn't be happier (or prouder) to see her live performance metamorphosis.

The Endless Summer Tour will continue through June 16, 2015. Tickets for the remaining dates can be found at Ticketmaster.

Tuesday, March 10, 2015

Little Machines Tour | Lights with X Ambassadors


I spent my Monday afternoon on a sidewalk in Cleveland outside the House of Blues. I arrived at 4 p.m. to find myself fifth in line at the venue's door, behind people that I would soon befriend. For three hours, we watched the growing line of anxious fans sprawl across the side of the building and waited for the doors to open just before 7 p.m. for the Cleveland stop of the Little Machines Tour, starring Canadian synthpop star Lights in support of her third studio album.

Lights's set was preceded by an opening performance from alt-rock group X Ambassadors. On stage, the band experimented with guitars, keyboards, and saxophone solos. Lead singer Sam Harris proudly announced the June 23 release date of their full-length debut album, and the band plugged two new tracks from the LP: "Lowlife" and "Naked." Only a few devoted Ambassador fans were speckled in the masses anxiously awaiting Lights, and for the most part, the band as a whole failed to garner much attention. The keyboard player, however, captured some glances; his limbs and head spasmed as if they were tied to string and controlled by a hyperactive puppeteer.

Lights's show was crafted for us fans. The entire audience block came alive as she opened the show with fan-favorite "Muscle Memory," and that energy didn't decay until the spotlights dimmed black after her encore performance of "Oil & Water." In between those two songs, the audience bounced along to songs from Little Machines, select highlights from Siberia, and a cover of the Cardigans's "Lovefool." She electrified the venue as she bounced from one end of the stage to the other with a reverberated microphone in hand. The connection between Lights and her audience intensified as we all sang every word to the likes of "Siberia" and "Up We Go."

In between songs, her bubbly personality shone through as she connected with audience through stories of her time in Cleveland; she befriended an Uber taxi driver, enjoyed some time at Westlake's Crocker Park shopping center, and appreciated Cleveland's... tap water. "Uh, your water is nice. Not the lake, obviously, but the tap water!" she joked, as she dug for compliments for city. Cleveland showed Lights nothing but love, and she promised to return for another show in good time. Does this mean that a follow-up to Little Machines (or an acoustic companion album à la Siberia Acoustic) will come sooner rather than later? Hopefully.

After the curtain closed on the main stage, fifty lucky fans donning yellow wristbands lined up in a hallway. With CD and vinyl copies of Little Machines in hand, we each took our turn meeting Lights one-on-one in a smaller ballroom intricately adorned with paintings and flashy light fixtures. One fan welled up as she walked towards Lights, receiving three hugs and lengthy chat. For some, this meet and greet was the fifth or sixth encounter with the songstress. For others, meeting her made the drive from Kentucky to Cleveland worthwhile. From my perspective, however, the concert and meet-up proved the immense talent and humble personality of Lights; she has officially earned herself a new super-fan.

Lights will be performing on select dates in Ontario, Canada through March 15. After a short break, she will hit the road again in April. Tickets and dates can be found at

Friday, March 6, 2015

The Honeymoon Tour | Ariana Grande with Cashmere Cat


"C'mon, Cleveland, lemme hear you!" she screamed. Ariana Grande had not even faced her audience in the Quicken Loans Arena as she prepared to sing her opening number, yet she had captured the attention of every soul in the building. Her audience of loving Arianators, many of which have been by her side since her days at Nickelodeon, had spent the past 90 minutes in suspense for this moment.

Before Grande's grand debut, we were offered a 30-minute set from disc jockey and producer Cashmere Cat. While he could have caught the attention of the entire arena with his club mix, the shaggy-haired feline failed to market himself appropriately; six dim spotlights shone down on him as he swayed and stared down at his equipment. No fancy light shows, no audience interaction, no stage presence. He delivered some intriguing beats, but most audience members found their phones to be more interesting. 

Another opening time slot was originally set to be filled by boy band Rixton, who never showed up. To fill the void, the venue opted to play a combination of today's biggest pop hits through the loudspeakers. In the mix was Nicki Minaj's "Anaconda," to which one middle-aged woman gave a lap dance in the audience. At the end of her impromptu routine, the entire audience had fixated on her and granted her a monstrous round of applause. Yes, the audience deemed the risqué lap dance lady more worthy of our praise than Cashmere Cat.

However, Cashmere Cat and the "Anaconda" lap-dancer were not who the audience came to see. As Ariana turned to face her audience for the first time with a solo rendition of her hit with Jessie J and Nicki Minaj, "Bang Bang," the crowd went berserk. For the next 90 minutes, they would scream with delight at her every move; nothing that Grande did that night went unnoticed. Even as she mindlessly toyed around on stage with the Imogen Heap-created Mi.Mu gloves, which shove a user's voice through a vocoder and change pitch based on hand movements, her fans cried with joy.

From the fan-favorite "Honeymoon Avenue" to the colossal hit "Break Free," Grande chose the set list with a wise hand. Her time on stage was supplemented with a three-tiered stage that illuminated with visuals, recorded cameos from featured rappers, and majestic entrances to the stage atop clouds and chandeliers. Yet, her most intimate performances of the night spared the gimmicks; she sat teary-eyed on a white grand piano when she sang "My Everything" as a tribute to her late grandfather, and her voice truly shined as she stood solo on stage during "Tattooed Heart."

Grande's vocal power is undeniable; she hit each and every jaw-dropping high note with ease, ad-libbing over half of her tracks to save herself from dreaded lip-syncing rumors. While not completely comfortable in such a large venue, Grande has clearly become less vulnerable on her pedestal. While she and her gaggle of back-up dancers electrified the arena, the thousands of fans that roared with excitement seemed to hold the morale of our tiny songstress high through the show. The pinnacle of Grande's recent success, "Problem," caused outcries that drowned out the song itself as she pushed out the highest squeals of the song.

With some growth as a performer and maintenance of that four-octave voice, The Honeymoon Tour surely will not be the last that we see of Ariana Grande. As the name of the tour suggests, it's only the beginning of the road for Grande, with a lifetime supply of show-stopping performances just waiting to happen.

The Honeymoon Tour will continue in North America through April. The tour's European leg will kick off in May. Tickets for remaining shows can be found via Ticketmaster.

© Aural Fixation
Maira Gall