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Harm's Way tour dates 2024

Harm's Way is currently touring across 6 countries and has 34 upcoming concerts.

Their next tour date is at The Underground in Charlotte, after that they'll be at Iron City in Birmingham.

Currently touring across

🇳🇱 Netherlands

Upcoming concerts (34) See nearest concert

The Underground

Joy Theater

Baltimore Soundstage

Brooklyn Bowl - Nashville

White Oak Music Hall - Downstairs

Empire Control Room & Garage

Jera On Air

OUTBREAK FEST

The Underworld

State Theatre

House of Blues - Boston

Agora Theatre & Ballroom

Royal Oak Music Theatre

Bogart's

Vibes Event Center

The Van Buren

The Wiltern

Riverside Municipal Auditorium

Showbox SoDo

The Complex

Fillmore Auditorium

Uptown Theater

Marathon Music Works

Piedmont Hall

Past concerts

Bluebird Theater

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Recent tour reviews

So heavy and tight! Definitely an experience I'll never forget. I hung by the pit for their set & Acacia Strain and man did it bring back memories of the old 2000's. I'm going on 40 now and its great to see the scene alive and well. The energy was electric and the crowd was insane. Played a lot of songs from Posthuman including Last Man early on and Become A Machine to close. Everyone lost their shit!! James Pligge is an absolute unit and has an uncanny ability of generating adrenaline in other human beings. That night, we were all machines.

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Harm's Way are an Astonishing juggernaut of a hardcore band. Seeing them live is like being dropped into a warzone with the U.S.M.C. The songs are as lean and powerful as singer James pligges physique there is no excess fat in the set just dangerous brooding gut punching power song after song.

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Harm’s Way Announce Fall 2023 Tour, Unleash New Song “Devour”: Stream

The post Harm’s Way Announce Fall 2023 Tour, Unleash New Song “Devour”: Stream appeared first on Consequence .

Harm’s Way have announced a Fall 2023 North American tour. They’ve also shared a new song called “Devour.”

The Chicago hardcore act will be on the road supporting their upcoming album, Common Suffering , which arrives September 29th. The outing kicks off October 18th in Milwaukee and runs through November 16th in Kansas City, Missouri. Support acts include Fleshwater, Ingrown, and Jivebomb.

A Live Nation ticket pre-sale for select dates begins Thursday (August 17th) at 10 a.m. local time via Ticketmaster using the code TRACK . General ticket sales start Friday (August 18th) at 10 a.m. local time. Alternatively, fans can pick up tickets via StubHub , where your purchase is 100% guaranteed through StubHub’s Fan Protect program.

“Devour” is the second single we’ve heard from the forthcoming LP following the excellent “Silent Wolf,” which earned our Heavy Song of the Week honor upon release. Like that song, “Devour” is a densely composed bruiser that melds the angular riffs of metalcore with the gruff and pointed delivery of classic hardcore.

“‘Devour’ is an expression of self-reflection following the realization that everything that was once there to give has been spent,” the band stated in a press release. “Led down a path of deception and manipulation, one’s sense of self has been lost along the way. ‘Devour’ is the process of waking up to your isolation, with actions and purpose that are somehow no longer your own. It’s a crossroads that can lead you either the rest of the way down, or back to where whatever’s lost may be found again.”

Pre-order Common Suffering on vinyl here . Stream the video for “Devour” and see the full list of tour dates below, and pick up tickets to their upcoming shows here .

Harm’s Way’s 2023 Tour Dates with Fleshwater, Ingrown, and Jivebomb: 09/22 – Mississauga, ON @ Hold Your Ground Fest * 10/18 – Milwaukee, WI @ X@Ray Arcade 10/19 – St. Louis, MO @ Blueberry Hill 10/20 – Louisville, KY @ Portal 10/21 – Columbus, OH @ Ace of Cups 10/22 – Detroit, MI @ Magic Stick 10/24 – Pittsburgh, PA @ Preserving Underground 10/25 – Toronto, ON @ Lee’s Palace 10/27 – Brooklyn, NY @ Monarch 10/28 – Boston, MA @ Paradise Rock Club 10/29 – Philadelphia, PA @ First Unitarian Church 10/30 – Baltimore, MD @ Baltimore Soundstage 10/31 – Richmond, VA @ Canal Club 11/01 – Atlanta, GA @ Masquerade @ Hell 11/03 – Dallas, TX @ Studio at The Factory 11/04 – Austin, TX @ Mohawk 11/05 – Houston, TX @ Warehouse Live Studio 11/07 – Phoenix, AZ @ The Nile 11/08 – Las Vegas, NV @ Eagle Aerie Hall 11/09 – Los Angeles, CA @ 1720 11/10 – San Diego, CA @ Brick by Brick 11/11 – Berkeley, CA @ 924 Gilman Street 11/12 – Sacramento, CA @ Goldfield Trading Post 11/14 – Salt Lake City, UT @ Metro Music Hall 11/15 – Denver, CO @ Bluebird Theater 11/16 – Kansas City, MO @ RecordBar

* = festival appearance, Harm’s Way only

Harm’s Way Announce Fall 2023 Tour, Unleash New Song “Devour”: Stream Jon Hadusek

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Harm's Way

All upcoming events.

The Underground | Charlotte, NC

Kublai khan tx.

VIP Club Access - Kublai Khan TX - Not a Concert Ticket**
Fast Lane Access - Kublai Khan TX - Not a Concert Ticket
Pre-Show Pass - Kublai Khan TX - Not a Concert Ticket
Underground Meal Package - Kublai Khan TX - NOT A CONCERT TICKET

Iron City | Birmingham, AL

The joy theater | new orleans, la.

Historic Crew Stadium | Columbus, OH

Sonic temple art + music festival, baltimore soundstage | baltimore, md, music farm | charleston, sc, brooklyn bowl nashville | nashville, tn, white oak music hall - downstairs | houston, tx.

State Theatre | Portland, ME

Hatebreed - 30th anniversary tour, citizens house of blues boston | boston, ma.

Foundation Room Access: Hatebreed (NOT A CONCERT TICKET) 21+

MTELUS | Montreal, QC

Hatebreed - tournée 30e anniversaire, rebel | toronto, on, hatebreed: 30th anniversary tour, bogart's | cincinnati, oh.

Bogart's Preshow Bar Access - Hatebreed - Not A Concert Ticket
Bogart's - Fast Lane - Hatebreed - NOT A CONCERT TICKET

The Van Buren | Phoenix, AZ

The wiltern | los angeles, ca, full metal jackie presents hatebreed: 30th anniversary.

VIP Club Access - 5PM - Hatebreed - Not A Concert Ticket
Premier Parking + Club Access - Hatebreed - Not A Concert Ticket

Riverside Municipal Auditorium | Riverside, CA

VIP Club Access - Hatebreed - Not a Concert Ticket
Fast Lane Access - Hatebreed - Not a Concert Ticket
Patio Pre-Party Access - Hatebreed - Not a Concert Ticket

The Complex | Salt Lake City, UT

Fillmore auditorium (denver) | denver, co.

Premier Parking - Hatebreed - Not a Concert Ticket
Parking at Morey Middle School - 13th and Emerson - Hatebreed
VIP Club Access - Hatebreed - Not a Concert Ticket**

Uptown Theater | Kansas City, MO

Marathon music works | nashville, tn, piedmont hall | greensboro, nc, latest setlist, harm’s way on march 22, 2024.

Triple Crown Pavilion, Louisville, Kentucky

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December 17, 2022 Setlist

Harm’s Way Setlist at The Belasco, Los Angeles, CA, USA

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Song played from tape Intro
Become a Machine Play Video
Song played from tape Interlude
Breeding Grounds Play Video
Law of the Land ( Intro only; > ) Play Video
Infestation Play Video
Temptation Play Video
Human Carrying Capacity Play Video
Last Man Play Video
Scrambled Play Video

Edits and Comments

12 activities (last edit by Fawx300 , 2 Oct 2023, 04:35 Etc/UTC )

Songs on Albums

Become a Machine
Human Carrying Capacity
Breeding Grounds
Infestation
Law of the Land

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For the Children 2022 setlists

Harm’s Way Gig Timeline

Dec 19 2021 Subterranean Chicago, IL, USA Add time Add time
Dec 16 2022 Homestead Bowl & The X Bar Cupertino, CA, USA Add time Add time
Dec 17 2022 For the Children 2022 This Setlist Los Angeles, CA, USA Start time: 8:00 PM 8:00 PM
Feb 19 2023 HeartSupport Fest 2023 Orlando, FL, USA Add time Add time
Oct 18 2023 X-Ray Arcade Cudahy, WI, USA Add time Add time

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By Andy O'Connor

Metal Blade

February 10, 2018

The philosophy of Harm’s Way is the best offense is as much offense as possible. The Chicago band began as a hardcore group with some powerviolence thrown in, but soon juiced it all up with beefcake breakdowns and got ready to brawl. Isolation in 2011 and Blinded in 2013 injected that hardcore with Swedish death metal while never abandoning their roots. With 2015’s Rust , they swapped the death metal for more industrial and ’90s groove metal influences, essentially creating a hardcore version of Roadrunner Records’ heyday roster like Fear Factory and Roots -era Sepultura , and they continue on that path on their fourth record, Posthuman .

There’s a beauty to how Harm’s Way throw around such weight like boulders are pillows. It’s difficult to not be in awe of how “Human Carrying Capacity” and “Sink” dispatch punches with efficiency and brawn, where asserting might is the same as breathing, effortless and necessary. Vocalist James Pligge is an imposing figure on stage—he’s a weightlifter who could easily pass for a younger, bulked up John Joseph of the Cro-Mags —and he sounds even tougher and more assured here than before. Even if you have a distaste for competition, the band’s dedication to pure athleticism really pays off. “Become a Machine” is a string of pummeling breakdowns, an especially muscular performance from a band who defines swole. Even when there’s a lot of reexamining masculinity in hardcore, in music, and across all of culture and politics broadly, there still is value in raw strength.

While still a hardcore record, Posthuman does tip the balance towards Rust ’s industrial flirtations. “Temptation” takes Godflesh ’s rumbling, mechanical bass and sets it to a slinking Jesus Lizard groove, then charts a course that resembles if Deftones went further in on their dream pop influences. There’s a running joke that post-punk is something you get into once you age out of hardcore, ditching your Youth of Today crewneck for an ill-fitting Unknown Pleasures shirt. By “Temptation”’s end, though, Harm’s Way avoid falling into that trap by unleashing a blistering final attack, going harder than ever.

”Last Man” asks, “What if you made Hatebreed into a trip-hop band?” which sounds like it shouldn’t work, but sandwiches their usual thrashing between hallucinatory dirges. Harm’s Way still consider themselves a straight-edge band, yet they’ve crafted a tune that captures going the feeling of going and out of consciousness. “Call My Name” has all their natural tough-guy posture, yet it broods like Posthuman ’s more industrial tendencies. There are bouncy riffs that recall some of Rust ’s nu-metal forays, yet their gravity is brought down by a slight depression. This shows their growth as songwriters by seamlessly merging their two sides, even if the intro is Hollywood Male War Movie ambient until the drums come in.

For all of their positive qualities and evolution, Harm’s Way still grows in increments. Sure, tracks like “Last Man” and “Temptation,” skew expectations, yet they don’t feel like super radical departures. “Unreality,” an undisciplined track with a noisy intro dead on impact, hints at a bigger issue: The final edge of this sound might be closer than they think. Normally, a mere refinement wouldn't be a cause for concern. Code Orange , however, took a similar formula and got a Grammy nomination out of it, and they might open the floodgates for even paler imitators. Harm’s Way know how to play to their strengths, yet Posthuman may be a sign they might need more of a drastic shakeup.

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Consequence

Upcoming Harm's Way Festivals Appearances

Upcoming harm's way concerts near me.

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Harm's Way Announce Fall 2023 Tour, Unleash New Song "Devour": Stream

In support of their new album Common Suffering.

August 16, 2023

Heavy Song of the Week: Harm's Way Go Aggro on the Politically Charged "Silent Wolf"

The Chicago hardcore band's first song in five years is an absolute ripper.

July 21, 2023

Harm's Way Announce New Album, Unleash Lead Single "Silent Wolf": Stream

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Hardcore/Punk

Harm’s way: “there’s always a way out, right and sometimes the best medicine for that is writing about it or talking about it.”.

In our latest Cover Story, Harm’s Way drummer and licensed therapist Chris Mills speaks about catharsis, touring for the first time in four years, and inspiration behind their album ‘Common Suffering.’

As the first haunting chord of the new Harm’s Way album, Common Suffering , reverberates, one thing is clear: this is not a band content with a status quo. But then again, the Chicago-based outfit has never been one to languish or rest on laurels. With visceral sonic landscapes that claw their way into your soul, the group has not only elevated the genre but has managed to capture a collective disquiet—a mirror reflecting our own internal and societal turmoil.

The record is a departure from their earlier work, notably Posthuman , which was awash in minimalistic trappings. Common Suffering is neither minimal nor maximal—it’s elemental. Its tectonic riffs and deafening silences are the band’s primal scream against a world teetering on the brink of despair.

Chris Mills , the drummer, is also a licensed therapist, which may not be immediately apparent as you listen to the skull-crushing intensity of their music. Yet the album is undeniably therapeutic—a purgation of toxic relationships and existential dread. This therapeutic angle comes to life in our intimate conversation with Mills, where he delves into the psychology of relationships, the therapeutic values of heavy music, and the communal resonance that allows fans to find solace in such an abrasive form of expression.

Perhaps what makes Common Suffering so affecting is the synchronicity of its artwork with its music. The woodcut-style cover art, a striking piece by Canadian artist Corran Brownlee , amplifies the album’s thematic arcs. Brownlee’s artwork invokes a visceral reaction, echoing the themes and tones suffused throughout the record. Mills reveals that the artwork was not crafted specifically for them, but its rawness, panic, and distress were perfectly aligned with the music’s ethos. It’s not just a collaboration; it’s a cosmic alignment of artistic vision.

And it’s not just the band members who feel this alignment. Fans see themselves in the gut-wrenching lyrics and deafening instrumentals, in the stark artwork and in the eyes of other lost souls in the mosh pit. With songs like “ Devour ,” a brutally honest look into toxic relationships, the band provides a roadmap for navigating the labyrinthine complexities of modern life. Chris opens up about the personal experiences that inspired the song, emphasizing that sometimes the best medicine for a toxic situation is writing about it or talking about it. For many, it’s the cathartic release that serves as a lifejacket in the choppy waters of life.

Mills offers a perspective for those on the outskirts of the hardcore, punk, and metal scenes: they offer an outlet for the negative emotions we all struggle with. They create a space for coping, a sanctuary for those who feel alienated or unseen by larger society; ecstasy in the maelstrom, bliss in the macabre.

As you dive deeper into our conversation with Chris Mills, you’ll find yourself wrestling not just with the music but with the existential questions the album provokes. Questions that don’t offer easy answers but lead us down a path of self-discovery. This is what makes Common Suffering more than just an album—it’s an experience, a shared catharsis for all of us caught in the spiralling whirlpool of existence. And if that’s not groundbreaking, what is?

Read on for the full transcript of the interview, where Chris Mills navigates us through the intricacies of personal and collective suffering, the curative potential of heavy music, and the making of an album that is anything but common.

You can watch (on YouTube ) and/or listen ( on SoundCloud ) to the full interview as you read our full write-up below.

V13 Cover Story 033 – Harm’s Way – September 25, 2023

Harm’s Way is an American hardcore band that has gained recognition over nearly two decades for its contributions to heavy music. Originating as an underground favourite, the band has evolved into a notable force within the hardcore punk and metal genres. Known for their continuous reinvention and absorption of diverse musical influences, they’ve crafted songs that have shaped the trajectory of heavy music.

Their latest album, Common Suffering , slated for a September 29th release via Metal Blade, represents a significant milestone featuring an ambitious sound in collaboration with prominent producer Will Yip at Studio 4 in Pennsylvania. The album explores themes such as chaos, misanthropy, and many others. With the release of this album, Harm’s Way continues to challenge the conventions of hardcore music, pushing into uncharted territories and exemplifying a commitment to creative growth and innovation. With me today is Chris Mills. Thank you for speaking with me today, Chris.

Chris Mills: “Thanks, man. Thanks for having me.”

Appreciate it. So, right off the bat, you guys have changed so much since the beginning. What sparked this transformation, this shift in common suffering? How’s working with Nick Godier been for you?

“Yeah, I mean, Nick is an incredible human being, incredible songwriter. You know, Nick and I kind of go back you know, to like the early 2010s, I would say.

“I knew Nick before that, but I moved to Milwaukee for a little bit doing some grad school stuff. Nick and I ended up getting together doing a band called Iron Cages . It was just kind of like a crust punk band. And it was like, from then on, I was just like, ‘Holy shit, I love writing music and working with this guy.’ A year or so after Rust came out and we were looking for someone to tour with us on guitar. And it was kind of like a no-brainer for me, Nick was the first name that popped to mind.

“I kind of like pitched him to the band and ended up linking up with us and it worked quite well, just personality-wise: great fit; obviously, creatively: amazing fit. And slowly he went from touring member to someone who took a pivotal role in our band.

“And we saw that with Posthuman , he was a huge contributor on that record and between Posthuman to Common Suffering took a pretty heavy hand in the songwriting process and really helped us continue to fully realize our sound and take it to places that we always wanted it to go, but didn’t necessarily have kind of the… collaborative kind of partners to really make that happen.

“And Nick really helped take it to that place, especially with Common Suffering . It was awesome working with Nick. And Casey too, he’s our bass player and does a lot of like our programming and samples and stuff like that.

“But the two of them just took the ball and ran with it with Common Suffering and really helped bring a lot of really cool and fresh ideas to the table. Really made for a really cool songwriting and creative process that spanned across a lot of time from the early parts of the pandemic over Zoom to finally getting able to be together and write together again towards the mid to latter parts of it, and then continuing on to the pre-production phase with William [Yip] at Studio 4 . So yeah, overall it’s been awesome.

“Philosophically as a band, we’ve never wanted to stay stagnant. We never want to write the same record over and over and over again. If that was the case, we probably would have broken up a long time ago, but Harm’s Way is a huge creative outlet for us, and a big vehicle for us in terms of self exploration and connection with each other and our fan base and the DIY community as a whole.

“So, we never wanted to stay stagnant. We always wanted to grow. And it’s kind of just been our approach, always, since like day one of doing the band. And the minute that ends, we probably end, but you know, we feel like we’re in a really healthy place and in a good spot with that.”

You mentioned that it’s a large creative output for yourselves. “Cyanide” dives deep into media madness; how would you say music’s been helping you navigate this mess and what’s the big takeaway you ideally want fans to take away from that?

“‘Cyanide’ kind of looks at the current cultural climate and how media plays a big role in shaping that climate, and kind of living in this age of disinformation and feeling more polarized than ever as a society. I think music can kind of live and- I take that back, there’s like the Kid Rock ‘s of the world that suck, but like, music that is kind of of independent to some of that noise, right? In its truest and purest form, and can be something that is way more objective.

“In terms of self expression and, you know, even analyzing themes like we analyzed in “Cyanide” and just saying, ‘Hey, this is what’s fucking happening. And this is the impact it’s having on you and us and communities around the world. What are we really going to do about that?’

“You know, it can feel so obviously debilitating and so demoralizing at times, but I think like, especially in spaces like punk and hardcore, metal and other, more DIY spaces, I think we can take a more objective view at that and be far more analytical in terms of recognizing the impact that it has on us and the community at large.

“And I think ‘Cyanide’ is really trying trying to do that. Obviously in some bleak ways, but also in some ways of trying to challenge listeners to take a closer look at what they are consuming and how it’s affecting them as a whole.”

It’s an interesting theme because I think one of the biggest things that faces people in punk and hardcore underneath that lid, there’s this meeting up of misanthropy, nihilism, cynicism. Is it more potent or most potent in that scene? What is the result on the people that are in that scene?

“I think punk and hardcore are spaces where people hopefully feel safe and vulnerable enough to take those emotions and take those feelings and voice them, and maybe even find community around them, right?

“Like, it’s a subculture for a reason right, because look, like if- you know, I might not be able to say the things that I want to say and feel in mainstream society or even in my family or at my job or whatever, right? And I think punk and hardcore – and obviously this is idealistic, but – they can provide a space where you can take some of this misanthropy, you can take some of this nihilism, you could take your existential crises and put that out there for others to see.

“And look, there might be a lot of people that feel the same way as you, and there can be this shared experience, right? And in that, I think there is some kind of beauty, right? Because in a lot of ways – and I guess if I’m speaking from my own experience – those communities gave me a place to call home and find commonalities and in a lot of ways, start to reframe my view on the world and actually undo some of these misanthropic feelings or the sense of fatalism or like this existential crisis I found myself in as a late teen. Because society as a whole – or at least mainstream societies – I felt pretty ostracized, and I guess estranged from, so I think those themes are quite common.

“Because obviously the groundwork has been laid from like the founding folks who started this whole thing, right? And then it’s just been obviously like saying, ‘Hey, it’s okay to bring that stuff here and to explore that stuff here and the process that stuff here.’

“And like I said, from my own experience, I was able to find a lot of peace and community through that and actually a lot more hope than I ever thought.”

You’re gonna be embarking on a tour again, and that must be beyond exciting because now that things are properly opening up, you guys get to branch out and explode from the stasis that we’ve all been in.

Are there any particular people, places, communities you’re looking forward to visiting? Obviously ‘all of them’ is a totally acceptable answer, but are there any ones that you wanted to specifically shout out or mention?

“Yeah. I mean, look, this is our first tour in like four years, which is crazy to think about, right? And in a lot of ways, we’re just super grateful and excited just to have the opportunity after all the time that has passed to be able to share this record that we feel really happy with and proud of with the rest of the world, you know, and particularly North America here, we’ve done a handful of shows over the last… I should say over the course of the pandemic: we did the Chicago record release for the Isolation re-release; we did For The Children in LA; we did a fest in Orlando; but it’s been really scarce.

“But I think I’m just really excited to get back to Middle America again. That might sound crazy for some of my bandmates to hear, ’cause we’ve had, and this is no dig at Middle America, we’ve been a band for a long time and we’ve definitely played some shot shows in Middle America. But also as we’ve grown, we’ve had some of the most amazing shows we’ve played there, just because of the [level of] appreciation. Thinking like, ‘Shit, what am I gonna be in Kansas City again playing a show?’ like I can’t imagine being in Salt Lake City again playing a show, you know. But we get those opportunities.

“And that’s really cool and we’re really excited for that. Super stoked to get back to Toronto, get back to Canada and play some shows because that’s always been almost like a second or third hometown for us. We’ve always done really well there and always felt really appreciated and loved, so really excited to be able to go north of the border again, play some shows- again, during the pandemic, it’s like, are we ever going to be able to play Canada again? Like, you know, I’m going to go overseas. So, as a whole, it’s like, I think we’re so excited to just be able to play again and travel. And I feel like we’re getting a second chance at this experience.

“Second chance at the ability to kind of share our work with others. Cause I’ll say, over the pandemic, there was so much uncertainty, even for us as a band, cause we were obviously like forced to make pretty tough decisions about work and profession and careers and stuff like that to obviously keep our heads above water, you know?

“And in some ways it felt like music and Harm’s Way was almost kind of becoming secondary, which was really weird because it was such an integral part of our lives for so long, but obviously over time and writing and creating this record, recording this record and kind of seeing it through, we felt like we had to, you know? And the opportunity to still be able to do it and that there’s still excitement across the country for people to see us just feels amazing.”

Matty Matheson rocked a Harm’s Way in the first episode of The Bear and immediately rocked a Power Trip one in episode two like — justin (@justinhxc) June 24, 2022

I literally cannot count the amount of people that would be very excited as well for you to revisit north of the border as well. And I know there’s at least one other guy that would be. So I noticed a subtle shout out to you guys: I was watching The Bear, season one, Matty Matheson, his character’s wearing a Harm’s Way shirt, and I thought that was just… I don’t know, the coolest meeting of things that I appreciate and first of all, I wanted to ask, do you know Matty personally or have you ever met?

“Yeah, so I’ve never met Matty, but if we’re going back in time, we played Parts and Labour , we played his venue, we may have met then.

“At that time, he was always so gracious with bands coming through and cook for them, hang out with them, do all that. I don’t think I ever met Matty, but I think he does know our guitar player, Bo [ Lueders ]. Bo interviewed him with his co-host Colin [ Young ] ( Twitching Tongues , God’s Hate ) for a podcast they do called Hard Lore , so there’s always been like a relationship with Matty sometimes indirectly, but now more directly I would say but the whole thing with like the shirt, it kind of like came out of, came out of nowhere.

“I think, you know, obviously Matty is a fan of hardcore and punk and I think you know, from, from my understanding, you know, he was like, “Oh, I’m going to be in Chicago or I’m going to be on a show that, you know, is in Chicago, I need to wear a Harm’s Way shirt.” One of our good friends saw the tweet and just delivered the shirt to him.

“I was like, ‘Oh, here, you can have one of my old ones.’ And that’s what ended up making it on the show. It was so fucking cool. And it was funny because after season one began to air, I was just getting screenshots left and right, or like texts left and right.

“It’s all these people I know are just like, ‘Hey, is this your band?’ so it was like a crazy full circle moment. Like when I’m hearing from people from my school or like, you know family, friends about them seeing my band’s, shirt in a show, it was really cool, but obviously shout out to Matty for doing that. And it’s such a cool nod to us and obviously the city of Chicago.

I’m really heartened to hear that you guys have been just exploring what you needed to and, moving back to the album for a second here, I, I wanted to know what it was like basically I’m wondering how, I think, I feel as though the album really captures the last three years perfectly.

Do you agree, first of all, and can you put your finger on why that is?

“It’s interesting because that wasn’t necessarily- and, you know, James could probably speak a little bit more on this, but hey, he’s my best friend, I’ll speak for him. [laughs]

“The intention wasn’t to be like, ‘Okay, we’re going to make a record that encapsulates everything we’ve gone through individually, collectively, on a societal level.’ If anything, James typically writes from a very introspective, intrapersonal sort of level, you know?

“And, it was kind of like, upon seeing the lyrical themes, upon seeing the collection of songs, and listening to the record and the textures on it that it was almost like… In research, they talk about inductive stuff and deductive stuff or in terms of like theory or hypotheses, it was something that we deducted almost from the finished piece, right?

“And we’re like, ‘Holy shit, this gets at so, so much,’ you know? This gets at the individual experience over the last three years, this gets at the collective experience, like it kind of happened over the past few years, and again, it was something we were able to deduct thematically and be like, ‘Holy shit, it kind of came together on its own.’ It was just really interesting to come to that conclusion, or come to that point with the album, so yeah, I mean, I think it really does.

“And it was accidental in some ways, but overall, it really helped us come to that title, Common Suffering, right? Because, obviously, like, it’s James’ individual experiences and personal experiences across the lyrics, but it felt so universal in some ways, too, right?”

Common Suffering Cover Art by Corran Brownlee

I wanted to ask about the artwork because I feel like it’s so beautifully emblematic and representative of the music, but also where we’re all sort of at, where we’ve come from. That woodcut-style image, there’s lots to unpack there, but I’m wondering what your involvement was in the process of the development of that artwork, your feeling on it, and your reaction to it.

“So the cover art and back piece on Common Suffering actually were- they were pre-existing pieces by this artist Corran Brownlee , who is also a fellow Canadian, but yeah, amazing, amazing human being.

“It was work that I had come across and just felt like this visceral kind of reaction to when I first saw it… and yeah, I had this emotional reaction to it and it’s something I’d shared with our group and our team. And I was like, ‘Hey, I really, really like this, and I’m kind of having these feelings, and in some ways, I feel like it encapsulates and kind of captures a lot of the themes found on this record, you know?’ And we kind of sat with it for a while and thought about it, and I said, ‘Fuck it,’ one day. I was like, ‘I’m just gonna reach out to him and just say what’s up and just let him know how much I admire his work and how cool it would be to consider working together,’ like kind of shoot my shot, so to speak. [laughs]

“And Corran was so cool and so open and it just felt like there was this like, alignment, in terms of just vision and mutual respect – he was kind of like ‘Oh yeah, hey, heard your band too, you guys are fucking awesome, it’d be an honor to work together,’ and stuff and it it just felt great, you know. There’s like a kind of harmony between the two of us and for me personally I love working with people who are philosophically aligned with us, dynamically aligned with us. Like if i’m gonna bring you on or if you’re gonna bring us on, I want to be able to ride for each other and have this, this shared mutual respect, which is kind of how I try to operate at this point with my work.

“So yeah, sorry, I’m getting off track there, but, just the work as a whole, and his work as a whole, it felt so aligned with lyrical themes and the collective kind of nature of the work itself and it creating anxiety and panic and fear and distress, it felt like it just lined up so well. I would listen to our songs and look at the art, I would do that to just see how it felt, and again, I felt that alignment. I felt like it just worked so well.

“And now I look at those pieces and I hear our songs, right? I look at those pieces and it just lines up in such a beautiful, beautiful way. And I think that just kind of speaks volumes to the synchronicity between our work and his work, so to speak.

“So yeah, we’re really excited about it, it’s a bit of a departure from, from like Posthuman , which was kind of minimalistic and clean, but Posthuman was the way it was for a reason. And Common Suffering is the way it is for a reason. And Corran was just such an amazing partner in helping bring our vision- I shouldn’t say bring our vision to light, but aligning with our vision for us to create this shared piece.”

So “Devour,” hits on toxic relationships. How much of that is from personal experience and what do you want to say to others that are stuck in those situations?

“You know, knowing James and kind of knowing more of the context behind that song, I would say it’s- and he’d be okay with me sharing this, but- it’s definitely from personal experiences, or a personal experience for him.

“And I would say in a lot of ways personal experiences for all of us, right? I think many of us have probably found ourselves in places where we were in these relationships that were really tough to navigate and kind of soul-sucking in a sense and disproportionately weighted in one direction or the other, you know?

“And I actually like this question because, look, I’m a therapist. I have opinions on relationships, I guess. And I guess what I would want to share is, is that there’s always a way out, right? And sometimes the best medicine for that is writing about it or talking about it.

“I mean, ‘Devour’ was written as a means for probably like processing for James, and catharsis, right, to work through that experience for him. And look, boundaries are awesome. Boundaries exist for a reason in relationships. And sometimes you got to learn the hard way, how to set those and how to define those for yourself, you know.

“But yeah, I love that song, obviously on a music level, but on a lyrical level, just because I think it is obviously so relatable to so many people.

I actually wanted to unpack just a little bit: it’s the same tired observation that people always offer us, people that are outsiders from hardcore and punk and metal and any other heavy genre and others that are sort of adjacent, What would you say, wearing your therapist’s hat, or not, whichever you prefer, I’d be really curious to see your take on that where people can gain that benefit.

“I guess what I hear you asking me is how might outsiders – “outsiders,” I’ll put that in quotes – kind of view this subculture, view metal, hardcore, heavy music in general, and what, what I want to say to those people in terms of like, what, what do people get from this, you know?

“Yeah, I mean, I think this kind of goes back to one of the earlier questions you asked me, when we were kind of exploring concepts of misanthropy and nihilism and kind of all this, all this darkness, so to speak, quote unquote.

“I would say, look, this music, these scenes, are an outlet for that, right?

“Because we all have negative emotion. We all struggle, right? And we got to find somewhere to process that and put that and cope with that, right? And I think this music, our music, these scenes create a space for that to happen in a healthy and productive way. Hopefully. Obviously that’s idealistic, right? But the hope is that it creates an outlet for people to to explore and process that stuff and hopefully let it go, too. And in addition to that, it’s community, right? It’s relationships. It’s feeling seen, right?

“It’s like all these things that maybe many struggle to find in larger society.

Thank you so much for speaking with me. And it’s been such a pleasure and just getting to understand a little bit more about the process behind the album and hearing that you will in fact be coming up to Toronto is very exciting not just for me, but for many people I know again, thank you so much for taking the time with us and yeah all the best and you can get Common Suffering when it comes out on September 29th via Metal Blade.

“Absolutely. Yeah. Thank you, man. Appreciate the time and space to kind of talk today and hope to provide more context and there’s, you know, our thinking and and just the album as a whole.”

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Director of Communications @ V13. Lance Marwood is a music and entertainment writer who has been featured in both digital and print publications, including a foreword for the book "Toronto DIY: (2008-2013)" and The Continuist. He has been creating and coordinating content for V13 since 2015 (back when it was PureGrainAudio); before that he wrote and hosted a radio and online series called The Hard Stuff , featuring interviews with bands and insight into the Toronto DIY and wider hardcore punk scene. He has performed in bands and played shows alongside acts such as Expectorated Sequence, S.H.I.T., and Full of Hell.

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Common Suffering Record Release Tour Harm’s Way Fleshwater, Ingrown, Jivebomb, Erode

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The best reviews of the best new music, album review: harms way – ‘common suffering’.

by thesoundboardreviews
Posted on September 27, 2023 September 27, 2023

Artwork for Harms Way’s ‘Common Suffering’

It feels like an eternity since we’ve been graced with the arrival of a brand new album from hardcore heavyweights Harms Way, and that’s because it has been an eternity. The band’s monstrous previous effort Posthuman , which was quickly deemed by listeners as some of their best material to date, came out in February of 2018, just over five and a half years ago. Year after year, Harms Way has remained near the top of my personal most anticipated albums of the year, and yet, every year we were left without a new LP. However, now five years on, the drought has finally been lifted, and the arrival of the band’s fifth album, Common Suffering , is imminent. So, herein lies the question; how will Harms Way fair against the insurmountable expectations now that the incredible Posthuman is five years in the past? Well, if this album doesn’t far exceed the expectations of every listener, then I’d say they need to invest in a brand new set of ears.

Alright, I’ll say it; Common Suffering is the best Harms Way album. This record is abrasively unrelenting, punishing in every sense of the word, and unapologetically outside-of-the-box. Every facet, from the riffs, to the songwriting, to the boisterous production of Will Yip, is executed flawlessly. There isn’t a single second of wasted space; every measure is packed tightly with fire and brimstone. Listening to Common Suffering for the first time feels like being locked inside of a box full of lit dynamite. There is a blazing energy that pulsates at every corner of this record, never allowing you a second to breathe—and it’s fucking awesome .

The album opens with the tight, intense riff-fest that is Silent Wolf , which immediately punches you straight in the gut with some of the catchiest guitar work Harms Way have ever produced. This track was the album’s lead single for good reason; it’s an instant earworm that slowly ingrains itself into the back of your brain, leaving you tapping that chug pattern on every flat surface your fingers can locate.

Things don’t slow down from there, either. Denial serves as one of the best cuts from the album, showcasing fuzz-laden, overblown guitar chugs and pounding drum work that will leave you guessing how many drum sticks were harmed in the process of recording. The drumming on this track is particularly impressive, featuring fills and patterns that feel almost too good for a hardcore album. Hollow Cry is a bit less straightforward, almost carrying a doom-metal-esque tinge in sections. The wailing siren guitar leads and roomy open strums are almost reminiscent of some of The Acacia Strain’s doomier cuts, however, don’t get it twisted; this is still very much a hardcore song, with its balls-heavy chorus and gargantuan breakdown finale.

It’s from here that we enter the best three-song stretch that Harms Way has ever had on an album. Devour was a heavy hitter as a single, and is even more enormous in the context of the album. Showcasing fiery, steamrolling guitar licks, and a break-neck pacing, it’s easy to see why this song has been a popular pick for best single. Undertow , which features doom-metal heavy-hitters King Woman, switches up the pacing of Common Suffering at just the right moment. This song swaps fight riffs and breakdowns for ominous, lingering swells and booming drum fills, all culminating into a gargantuan finale that feels a bit more familiar for the band. The song’s title is fitting, as the tone of the track truly does make you feel like you are helplessly treading water in open ocean, miles from the safety of the shoreline. However, what follows is easily Harms Way’s best song to date, with the crushing Heaven’s Call . This track in particular is absolute hardcore perfection, featuring just about everything you could want in a Harms Way song. This cut showcases some of the heaviest riffs on the entire record, an addictive, surging chorus section that repeats just enough times to keep you satisfied, and an ending, cacophonous breakdown section that is nothing short of absolute debauchery, being easily the single hardest hitting moment on the entire record. No doubt, Heaven’s Call will be one of my favorite songs of all of 2023.

What is especially brilliant about Common Suffering is its willingness to be more than just a run-of-the-mill metalcore-leaning hardcore record, with Harms Way taking clear risks throughout, stepping into seemingly uncomfortable waters at times; and yet, it all works. Songs such as the aforementioned Undertow , the booming, bass groove-laden Terrorizer , and the drone-y, almost sorrowful Wanderer all stand as clear examples that Harms Way aren’t afraid to stand out from the pack, showcasing a unique blend of sounds that you just won’t find elsewhere in the genre.

Terrorizer in particular is an incredibly well-written and well-produced track that easily stands up as one of the band’s best ‘weirder’ songs, if not the single best. The clipping baritone synths in the song’s verses seamlessly intertwine with the ugly, distorted, in-your-face bass grooves that carry that song to its slow burn breakdown conclusion. Every time I listen to this song, I find something new to admire hidden in the buzzing soundscape that leaves you feeling like you are being swarmed by a cloud of angry wasps.

This brings me to my next massive highlight of Common Suffering , which is the album’s absolutely masterful production, straight from the laboratory of the critically-acclaimed Will Yip. This album is methodically spread out in such a way where you can clearly hear each and every instrument in the mix, and they all sound fantastic in both tone and production quality. The production style is also a breath of fresh air in an era of overly-polished, quiet mixes; feeling significantly more raw, and much louder than recent efforts by some of the band’s peers. Will Yip doesn’t step into the world of heavy music as often as other producers, but it’s always a blessing when he does. Yip also produced Code Orange’s massive 2017 LP Forever , which Common Suffering shares a lot of similar qualities to. It seems that Yip is rather selective in which heavy albums he takes on, as whenever he does produce a heavier record, it’s always a great one; and this album is no different.

Another quality which deserves mentioning is the album’s composition and flow, which couldn’t have been executed any better. The record is fast and heavy in all of the places where it needs to be, but also takes a moment to breathe and change the pace when needed, always keeping the listener on their toes. Just when you’re getting used to the Denial s and Cyanide s, the band throws you something unexpected and pleasantly surprising, never lingering in the same spot for too long of overstaying any welcomes. The tracklisting is perfectly crafted to keep you hooked from the opening chugs of Silent Wolf to the ending swells of Wanderer , twisting and turning at just the right moments.

Common Suffering is yet another truly great album by Harms Way, and serves as one of the better albums to come out of the hardcore scene in the past few years. Not only did Harms Way meet the expectations following a monumentally good previous record; they exceeded them in every way, somehow managing to improve upon a sound that was already golden. This album takes every factor of the band that you love and turns it up to one hundred, firing on every cylinder possible. I truly believe this to be the band’s best work to date.

For fans of: Code Orange, Incendiary, Jesus Piece

‘Common Suffering’ by Harms Way is released on 29th September on Metal Blade Records.

Words by Hunter Hewgley

Jon Bon Jovi Reveals the Surprising Way How 'Spirit Sister' Shania Twain Helped Him Through Vocal Surgery (Exclusive)

The Bon Jovi rocker underwent vocal cord surgery in the summer of 2022, he reveals in his new Hulu docuseries, ‘Thank You, Goodnight: The Bon Jovi Story,’ streaming now

When Jon Bon Jovi was struggling with vocal cord issues, he turned to a famous friend for advice: Shania Twain .

“She’s been my spirit sister in this,” Bon Jovi, 62, tells PEOPLE exclusively of the “Any Man of Mine” singer, 58, whom he reveals had the “same doctor” and “same surgery” a few years before his own.

In his new Hulu docuseries , Thank You, Goodnight: The Bon Jovi Story , the legendary rocker says he began experiencing issues with his vocal cords around 2015. But he didn’t finally address them until he had a “devastating” conversation with his wife Dorothea while on tour in 2022, and he realized he had two options: seek medical help or retire.

Kevin Mazur/Getty

Bon Jovi turned to Twain — who had a vocal fold medialization procedure in 2018 — because “she's the only other one I've known that's ever had this surgery, with this doctor, and the only reason I found that out is because she reported it in the press,” he says of finding out they had the same doctor, Robert Sataloff.

Adds Bon Jovi: “Not only did she reassure me that it would be OK, but I think she also pulled my leg a little bit because she told me I'd be out there a lot sooner than I have been. She says, ‘Well, I told you that because I knew that you might back out otherwise.' And so, I couldn't wait to get the operation.”

Jake Chessum

Bon Jovi had the surgery — which alleviated the loose vocal cords that were stealing his voice — in June of 2022. And this past February, he and Twain celebrated his post-op progress at the MusiCares Person of the Year Gala, where Bon Jovi was the 2024 honoree (and Twain sang a cover of the Bon Jovi hit "Bed of Roses").

Now almost two years after he underwent the procedure, Bon Jovi works with vocal coaches and does daily voice exercises: “Every day is the recovery process,” he says.

The band will drop its 16th album, Forever , on June 7. Recorded after the surgery, Bon Jovi’s vocals may sound smokier and huskier but are no doubt his. However, his future as a live performer remains up in the air.

“I’m capable of singing. What I’m not necessarily capable of is two and a half hours a night, four nights a week,” Bon Jovi says, “but I’m aspiring to get that back.”

For more on Jon Bon Jovi, pick up the new issue of PEOPLE, available on newsstands everywhere now.

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The 10 best hotels in sedona, where to buy tickets to the “+–=÷×” tour.

You might usually turn to Ticketmaster for concert tickets, but that’s not the best source for tickets to Sheeran’s shows. For one thing, his entire series of show dates isn’t offered on this platform, and some of his dates that are offered on TicketMaster are totally sold out. Here are your options:

Ticket reseller StubHub has seats for shows like the fast-approaching Seminole Hard Rock Hotel & Casino in Hollywood, Florida. There, prices start at a little over $200.
SeatGeek also has tickets to some U.S. shows, the cheapest going for just under $200.
Both StubHub and SeatGeek have tickets to many of Sheeran’s international concerts as well.
Many of Sheeran’s shows take place at music festivals that often sell tickets directly on their websites. There are often different options, such as a day pass or a 3-day VIP package. For example, the Boston Calling Musical Festival , where Sheeran will play on May 24, currently has eight ticket options still available, with prices ranging from $194 to nearly $3,000.
Meanwhile, the BottleRock Napa Valley festival only has single-day general admission tickets left, going for $233 apiece; the four other ticketing options are sold out.

When Do Ed Sheeran Tickets Go On Sale?

Tickets are on sale now and some of the shows—including July 12 in Poland, July 27 in the Czech Republic, and August 3 in Lithuania—have already sold out. Check out reseller sites like StubHub and SeetGeek to try to snag tickets to sold-out shows.

How Much Are Ed Sheeran Tickets?

Sheeran’s three American concerts start around $200 a ticket. For the international stops on his tour, ticket prices vary and use different currencies, based on location. For the Lucca Summer Festival in Italy, there are three different ticket options, ranging from €78 ($83) to €130 ($138). Other festivals have just one ticket option, such as Euro Fan Fest , which starts pricing at €69 ($73).

The cost can also vary depending on whether you buy a standing-only ticket or a seated one. For the Hipodrome show in Croatia , you can stand for €90 ($96) or sit starting at €100 ($106).

Some of Sheeran’s concert tickets are for sale in currencies besides the EUR or USD, including the Stavernfestivalen in Norway. Tickets on the Stavern festival’s website start at 190 NOK, which is the equivalent of about $17. Meanwhile, tickets to the Polsat Plus Arena in Poland cost 344 PLN, or $84. Prices for Sheeran’s Puskas Arena show in Hungary begin at 24,900 HUF, equating to $67.

Of course, currency rates change often, so make sure to check them before you buy your ticket to avoid any unwanted surprises. A good place to do that is using a Euros to Dollar converter or, for other European currency, a converter with rates for over 200 countries.

Ed Sheeran 2024 Tour Dates

Sheeran has over two dozen tour dates this summer and fall, with a handful in the U.S. before heading for Europe and then to South America.

May 3 : Hollywood, Florida at the Seminole Hard Rock Hotel & Casino
May 24 : Boston, Massachusetts at Boston Calling Music Festival
May 26 : Napa Valley, California at BottleRock Napa Valley
June 8 : Lucca, Italy at Lucca Summer Festival
June 9 : Lucca, Italy at Lucca Summer Festival
June 12 : Munich, Germany at Euro Fan Fest 2024
June 16 : Lisbon, Portugal at Rock In Rio Lisbon 2024
June 21 : Scheessel, Germany at Hurricane Festival
June 22 : Neuhausen ob Eck, Germany at Southside Festival
June 23 : Landgraaf, Netherlands at Pinkpop Festival
June 26 : Attard, Malta at Ta’ Qali National Park
June 29 : Santa Cruz de Tenerife, Tenerife at Estadio Heliodoro Rodríguez López
July 4 : Stavern, Norway at Stavernfestivalen
July 6 : Santiago de Compostela, Spain at Gozo Festival
July 12 : Gdansk, Poland at Polsat Plus Arena
July 13 : Gdansk, Poland at Polsat Plus Arena
July 20 : Budapest, Hungary at Puská Aréna
July 27 : Hradec Kralove, Czech Republic at Park 360
July 28 : Hradec Kralove, Czech Republic at Park 360
August 3 : Kaunas, Lithuania at Darius and Girėnas Stadium
August 4 : Kaunas, Lithuania at Darius and Girėnas Stadium
August 10 : Zagreb, Croatia at Hipodrom
August 17 : Belgrade, Serbia at Ušće Park
August 24 : Bucharest, Romania at the National Arena
August 31 : Sofia, Bulgaria at Vasil Levski Stadium
September 7 : Cyprus at Larnaca Marina
September 8 : Cyprus at Larnaca Marina
September 19 : Rio de Janeiro, Brazil at Rock in Rio

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Amy Grant on the 2022 bike wreck that 'changed everything' and her return to touring

It was a beautiful summer day in July of 2022 when Amy Grant and a friend went on a bicycle ride through Percy Warner Park. She was in the best shape she'd been in since before she had kids.

The singer and friend Mel Cox stopped to take in an overlook when she confided to her friend that she needed to make change in her life.

"I feel spread so thin," she told Cox that day. "I feel like I'm not giving the most energy to my family."

Cox responded, "If you were hit by a bus today, what would matter to you?"

She responded, "My family."

Ten minutes after that conversation, Grant's front bicycle wheel dropped hard into a four-inch deep pothole, sending her catapulting over her handlebars and into an unconscious state that would result in a traumatic brain injury and memory loss. Had it not been for her helmet, the outcome could have been worse.

The only reason Grant remembers any of the pre-wreck conversation is because Cox took the time to write down all the details of the day for Grant when she was ready to read it. It was nine pages of text that Grant didn't read until much later.

Another detail Cox shared with Grant (who still has no memory of that day) was what she said in her hospital room shortly after the wreck.

Cox told Grant that she kept saying over and over in the hospital, "I can't believe I still have all my teeth." Grant had landed on her face and was badly bruised. Then she said something unbelievable.

"I needed this."

The accident, as Grant said during our interview at her home earlier this month, "changed everything."

'I had to re-learn the words to my songs.'

Grant had to relearn how to sing. She had to relearn lyrics to songs she's been singing effortlessly for decades.

"The very first thing I did was I had the Christmas shows with Michael W. Smith," she said. "I couldn't remember... I had to re-learn the words for my songs. I had a teleprompter. My balance was messed up. I was scared to death. I tried to sing a song in soundcheck and it triggered tears and I couldn't stop them. I felt so vulnerable."

She didn't get much more recovery time before having to appear on a national stage as she was being inducted as a Kennedy Center honoree — just five months after her accident.

"I couldn't have done it if I'd had to sing," she remembers. "I'd done a handful of shows and each one felt better, but I did feel like I had worked my way on a treadmill up to about a 3.5-mile walk and I was merging onto the interstate."

It was the understanding of Grant and her longtime manager Jennifer Cooke that there would be no singing or speeches at any of the events. Then at the medallion dinner at the state department the night before the ceremony, each honoree got up with notes to speak.

"Jen is looking at me like, 'dear God, you've got to say something," Grant said, laughing.

"They told us no written speeches," Cooke remembered. "I'm like, she has a freaking brain injury and she has to get up and speak. She has nothing prepared."

What happened next would set the trajectory for Grant's continued healing and recovery. She stood in front of the crowd with no notes and no preparation and spoke just like she would have before her accident.

"She couldn't have written something in advance better than what she said," Cooke said. "It was beautiful and powerful and I remember thinking 'It's ultimately going to be OK.' That makes me cry to this day because during those few Christmas shows, it felt a little different and then that happened and I was like, 'OK. She's still there."

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'Wiggle your toes and speak your truth'

Grant credits Cooke and fellow musician Sheryl Crow with some sage advice that helped her get through the nerves of that impromptu speaking engagement. Remember, among her fellow honorees in the room were George Clooney, Gladys Knight and U2.

Cooke said to Grant before her speech, "Wiggle your toes and speak your truth."

Grant, who can't remember what she said that night, said years ago when she was preparing to speak at her mother's funeral, she told Crow she was afraid she would get choked up while speaking. Crow's response was this: "I'm going to tell you what my mom told me. Wiggle your toes. Just wiggle your toes and it will ground you in the moment that you're in."

Cooke reminded Grant of this before her speech at the Kennedy Center dinner. It worked.

"I did that that day and I tell people all the time, 'if you have to present, whatever it is, if you start getting overwhelmed, just wiggle your toes.' I give the credit to Sheryl."

Trauma can manifest change and recovery takes time

The bicycle accident isn't the only thing Grant has had to overcome in the last four years. During COVID she discovered a birth defect in her heart that required open-heart surgery. In 2022, the bike accident required her to have a shoulder surgery. Then while re-training her voice, her vocal coach noticed a lump on her throat that would ultimately also require surgery right after the Kennedy Center Honors in January of 2023.

The cyst turned out to be non-cancerous, but was growing and affecting her vocal chords. She considers this just another blessing that came from the bike accident, which sent the cyst into "hyper growth" mode so it was discovered and remedied early.

"That cyst was keeping company with my vocal cords and was slowly making it impossible for me to hold pitch to sing. It felt like too much work. Singing wasn't fun anymore. I was trying, but I hated the way I sounded. The sound my vocal cords would make when they rubbed together was the same, but my ability to control it was awful."

After the wreck brought the cyst to her attention and it was removed, Grant said, "It gave me my voice back. How amazing. I'm so grateful for that."

Grant's husband Vince Gill said of Amy, "It didn't matter if it was a heart surgery or a bike wreck, you can't faze her. She's fearless every step of the way. It's pretty inspiring to watch. She's always had that aura around her that's contagious. It's remarkable."

Today Grant is learning to embrace the process of healing and recovery, which she has learned doesn't happen overnight. Both take time and she's taking life a little slower to make sure she creates space to heal. After all, isn't this exactly what she needed when she confided in her friend before the wreck?

"I'm going to enjoy the process of regaining balance. I'm going to enjoy the process of healing. And like for me with singing, my vocal coach Laura said you've got to strengthen the little tiny muscles in your vocal folds. And she said, pick any low note and see how long you can hold it. I went from getting to 'three Mississippi' and now I've got 'eight Mississippi.' The human body is incredible in response to attention."

'The View from Here'

In February of 2024, just two years after her accident, Grant embarked on a 33-city tour that will hit Nashville's Ryman Auditorium for two shows just in time for Mother's Day on May 10-11. It will be the first time in 25 years Grant has headlined a Nashville show outside of her annual Christmas residency at The Ryman.

The show has been billed as a walk down memory lane through her remarkable career. Contemporary Christian music's female pioneer's proverbial mantle of awards boats a whopping six Grammy Awards and 26 Dove Awards (including four Artist of the Year Awards). She was the first CCM artist to have a platinum record, the first to hit No. 1 on the pop charts and the first to perform at the Grammys.

She has total career album sales in excess of 30 million and over 1 billion global streams. And she isn't done yet.

She has released two new songs “Trees We’ll Never See,” and “What You Heard” that she says will ultimately be part of an entire album she will call "A View From Here" even though its title track has yet to be written. It's her first new music in 10 years.

"So much of my touring life is singing old songs. That's what people want to hear. You can't recreate your musical past. And I love that people still are willing to buy a ticket, and they want to come and join us, and they know the words. But the view from 63 is a lot more in-depth. At this stage of the game, to me it's so much more meaningful to fall in love with the process. You know, if I fall in love with the process of cooking, it doesn't matter who is at the table."

Melonee Hurt covers music and music business at The Tennessean, part of the USA TODAY NETWORK — Tennessee. Reach Melonee at [email protected] , on X @HurtMelonee or Instagram at @MelHurtWrites.

What : Amy Grant

When : May 10-11

Where : The Ryman Auditorium

Tickets : www.ryman.com/event/2024-amy-grant

Former pirate Johnny Depp returns to the screen as King Louis XV. But will audiences care?

It’s a long way from “Pirates of the Caribbean” to the Palace of Versailles.

But that’s the journey of Johnny Depp , who goes from playing an 18th-century pirate scoundrel to an 18th-century monarch, France’s King Louis XV, in the French-language film “Jeanne du Barry” ( in theaters Thursday ). The movie officially marks Depp's acting comeback from Hollywood limbo.

Think of "Jeanne du Barry" as a subtitled combination of “Napoleon” and “Pretty Woman," a stunningly costumed and photographed exploration of how a dynamic modern woman turns stereotypes and preconceptions upside down.

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The film opened the Cannes Film Festival last May, where a tense Depp told journalists , "I don't have much further need for Hollywood."

The star will no doubt prefer the publicity surrounding his screen return to the glaring spotlight ignited by his 2022 defamation case against his ex-wife, actress and model Amber Heard. Though a civil jury ultimately awarded Depp $10 million and Heard $2 million , the trial exposed shocking claims of mutual physical and emotional abuse.

Depp, 60, started out targeting a career in rock 'n' roll, and over the decades, he has played with icons ranging from Joe Perry to Jeff Beck. But his switch to acting, turbocharged by his ‘80s TV series “21 Jump Street,” led to three best actor Oscar nominations (no wins) and an iconic role in the “Pirates" franchise.

Here's what we know about Depp’s latest star turn.

Where is 'Jeanne du Barry' streaming?

"Jeanne du Barry" is in theaters only for five days (May 2-6). The movie will stream on Apple TV+ at a later date.

Does Johnny Depp speak French in his new movie 'Jeanne du Barry'?

Yes, Depp delivers all his lines in French in this French movie with English subtitles. His accent is excellent, although his lines are kept concise – more short statements than rambling speeches – to best keep the illusion that he's a native speaker.

Why does Depp, who is from Kentucky, speak French? From 1998 to 2012, he was in a relationship with French actress and singer Vanessa Paradis. The couple share two children and spent their time together shuttling between the U.S. and France.

What is Johnny Depp’s new movie 'Jeanne du Barry' about?

“Jeanne du Barry” is based on true events. The title character was a French commoner turned courtesan (a polite term for high-class prostitute) who lived from 1743 to 1793. She was eventually introduced to King Louis XV, who not only took her as a mistress but also grew deeply fond of the spirited, intelligent woman.

The relationship between the king and the courtesan gathered steam after the king’s wife died, but their love affair scandalized high society. As the French Revolution neared, upending the rule of monarchs, du Barry’s fate took an unexpected turn.

Who else is the cast of 'Jeanne du Barry'?

The true force behind “Jeanne du Barry” is Depp’s co-star, Maïwenn Aurélia Nedjma Le Besco, 48, known simply as Maïwenn. She plays du Barry, but also co-wrote and directed the film. Maïwenn, whose professional incarnations have included stand-up comedian, actress and filmmaker, has had a complex personal life.

She met French director Luc Besson (“The Fifth Element”) when she was just 12 (he was 29), married him at 16, and immediately had a daughter with him, Shanna. When she was 20 in 1996, Besson left her for his “Fifth Element” star Milla Jovovich.

Maïwenn stirred controversy when she was quoted in Britain's The Independent as saying Depp was "scary" and difficult to work with on the set. She later clarified those comments , saying she was simply referring to the actor's inherent star status.

Is Johnny Depp planning to make another ‘Pirates of the Caribbean’ movie?

Speculation and rumors continue to swirl around whether Depp will ever return to his role as Captain Jack Sparrow, a perpetually drunk and exceedingly crafty pirate who pilots his Black Pearl while plundering treasure around the Caribbean. The movie series, based on a Disney theme park ride of the same name, ran from 2003 to 2017 and has grossed $4.5 billion worldwide.

But while another installment would provide a lucrative payday for Depp, fans should temper expectations. Producer Jerry Bruckheimer cryptically told ComicBook.com in March that “we're gonna reboot ‘Pirates.’ ” But whether Depp will be a part of such a comeback remains unclear.

During the Depp v. Heard trial, the actor was asked by Heard's lawyer Ben Rottenborn : "The fact is, Mr. Depp, if Disney came to you with $300 million and a million alpacas, nothing on this earth would get you to go back and work with Disney on a 'Pirates of the Caribbean' film? Correct?"

Depp's curt response: “That is true.”

This article originally appeared on USA TODAY: Former pirate Johnny Depp returns to the screen as King Louis XV. But will audiences care?

Johnny Depp plays France's (real) King Louis XV, whose affair with Jeanne du Barry scandalized Paris society. "Jeanne du Barry" finds Depp, who was once partnered with French singer Vanessa Paradis, acting exclusively in French.

Moscow Metro Underground Small-Group Tour - With Reviews & Ratings

Moscow metro underground small-group tour.

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Tour Information

Key Details

Mobile Voucher Accepted
Free Cancellation
Duration: 3 Hrs
Language: English
Departure Time : 10:00 AM
Departure Details : Karl Marks Monument on Revolution Square, metro stop: Square of Revolution
Return Details : Metro Smolenskaya
If you cancel at least 4 day(s) in advance of the scheduled departure, there is no cancellation fee.
If you cancel within 3 day(s) of the scheduled departure, there is a 100 percent cancellation fee.
Tours booked using discount coupon codes will be non refundable.

Go beneath the streets on this tour of the spectacular, mind-bending Moscow Metro! Be awed by architecture and spot the Propaganda , then hear soviet stories from a local in the know. Finish it all up above ground, looking up to Stalins skyscrapers, and get the inside scoop on whats gone on behind those walls.

Know More about this tour

We begin our Moscow tour beneath the city, exploring the underground palace of the Moscow Metro. From the Square of Revolution station, famous for its huge statues of soviet people (an armed soldier, a farmer with a rooster, a warrior, and more), we’ll move onto some of the most significant stations, where impressive mosaics, columns, and chandeliers will boggle your eyes! Moreover, these stations reveal a big part of soviet reality — the walls depict plenty of Propaganda , with party leaders looking down from images on the walls. Your local guide will share personal stories of his/her family from USSR times, giving you insight into Russia’s complicated past and present. Then we’re coming back up to street level, where we’ll take a break and refuel with some Russian fast food: traditional pancakes, called bliny. And then, stomachs satiated, we are ready to move forward! We’ll take the eco-friendly electric trolleybus, with a route along the Moscow Garden Ring. Used mainly by Russian babushkas(grannies) during the day, the trolleybus hits peak hours in the mornings and evenings, when many locals use it going to and from their days. Our first stop will be the Aviator’s House, one of Stalin’s Seven Sisters, followed by the Ministry of Foreign Affairs — and you’ll hear the legends of what has gone on inside the walls. Throughout your Moscow tour, you’ll learn curious facts from soviet history while seeing how Russia exists now, 25 years after the USSR.

Local English-speaking guide

Pancake snack and drink

Additional food and drinks

Tickets for public transport

Souvenirs and items of a personal nature

Tips and gratuities for the guide

Additional Info

Confirmation will be received at time of booking

Dress standard: Please wear comfortable shoes for walking. For your Urban Adventure you will be in a small group of a maximum of 12 people

Traveler Reviews

This tour exceeded our expectations. Nikolai (Nick), our tour guide, was very knowledgeable, thorough, and has a great personality. He didn't take shortcuts and really covered everything that was on the agenda in great detail. We saw beautiful metro stations and learned the history behind them, including many of the murals and designs.

We did the tour with Anna her knowledge and understanding of the History surrounding the metro brought the tour alive. Well done Anna!

This tour was amazing!

Anna was a great tour guide. She gave us heaps of interesting information, was very friendly, and very kindly showed us how to get to our next tour.

Amazing beauty and history.

An excellent tour helped by an absolutely amazing guide. Anna gave a great insight into the history of the metro helped by additional material she had prepared.

great tour and guide - thanks again

great will do it again, Miriam ke was very good as a guide she has lived here all here life so knew every interesting detail.a good day

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