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Jimmy Edgar

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Performing from the age of 15 and inspired by jazz, funk and R&B, the technical wizard and electronic artist Jimmy Edgar has slowly experimented with various sounds and continually pushing boundaries. With an abundance of ideas and droves of creativity combined with his innate ability to learn various instruments, it wasn’t long before Edgar began playing in local Detroit raves and strip clubs, gaining lots of exposure and created a buzz. At the age of 18 he was signed to Warp Records and taking his music from the underground soon spent the next few years touring relentlessly across the world perfecting his live experience. His unique approach to transforming sound and incorporating peripheral influences has been met with great success and acclaim. With Edgar it’s all about the experience and the expression which the music creates. Through employing multi-sensory through use of colour vibrations and incredible visuals he takes audiences on a journey. With his dynamic stage presence and an incredible ear, Edgar has full control of the room as the crowd as he builds them up as they dance around the room, feeling the motion and rhythm pulsate through them. The overall experience which Edgar provides is intense and incredible, making it simply unforgettable.

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Most played:

• London (29)
• Los Angeles (LA) (23)
• New York (NYC) (21)
• SF Bay Area (12)

Appears most with:

• Machinedrum (22)
• Danny Daze (14)
• Daniel Avery (12)
• Brodinski (11)
• JETS [Machinedrum + Jimmy E... (11)

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Jimmy Edgar

Latest setlist, jimmy edgar on september 12, 2020.

Private Venue, Unknown City

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Jimmy Edgar

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• TECHNO / ELECTRONIC

So far there haven't been any big Jimmy Edgar concerts or tours booked for cities in North America. Sign up for our Concert Tracker to get notified when Jimmy Edgar events have been announced to the lineup. For recent announcements of Jimmy Edgar concerts, take a look at our Facebook page . In the meantime, check out other Techno / Electronic performances coming up by MK - Mark Kinchen , Artbat , and Chai - Band .

Jimmy Edgar Concert Schedule

No events =(, about jimmy edgar tour albums.

Jimmy Edgar showed up on to the Techno / Electronic scene with the release of tour album "Color Strip", released on N/A. The song instantly became a hit and made Jimmy Edgar one of the top emerging great shows to go to. Following the introduction of "Color Strip", Jimmy Edgar announced "XXX" on N/A. The album "XXX" is still one of the more beloved tour albums from Jimmy Edgar. The Tour Albums three top tracks included , , and and are a crowd favorite at every show. Jimmy Edgar has released 8 more tour albums since "XXX". After 0 years of albums, Jimmy Edgar top tour album has been "Color Strip" and some of the best concert songs have been , , and .

Jimmy Edgar Tour Albums and Songs

Jimmy Edgar: Color Strip

• Pret-A-Porter
• I Wanna Be Your STD
• LBLB Detroit
• Personal Information
• Hold It Attach It Co...
• Jefferson Interception
• Of The Silent Valley
• Semierotiic
• Color Strip (Warren)
• Heart Beat Sexual

Jimmy Edgar: CHEETAH BEND

Jimmy Edgar: DREAMZ COME TRUE

Jimmy Edgar: XXX

• Function of your Love
• Hot, Raw, Sex
• Turn You Inside Out
• One Twenty Detail
• Rewind, Stop that Tape
• Physical Motion
• In My Color
• Midnite Fone Call
• Sleep Connexion (Dat...

Jimmy Edgar: Majenta

• This One's for the C...
• Attempt to Make It Last
• Let Yrself Be
• Hrt Real Good

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Jimmy Edgar Concert Tickets

Purchase Jimmy Edgar tickets to experience a musician influenced by Detroit techno, Rap, and R&B. Jimmy is just his stage name, but his actual name is James. Jimmy developed an interest in music at a young age where he learned to play saxophone, guitar, and drums. Through members of his Church in Detroit, he learned how to write songs and play the piano. Edgar began to experiment with electronic music at the age of ten and was playing for the Detroit Raves by the age of fifteen. In 2004, he released his first four-track EP, Access Rhythm , on Warp Records which had more of a hip-hop sound than his previous work. Shortly after this album was released, Edgar released a six-track EP, Bounce Make Model , that eventually became what Jimmy was well-known for.  

Jimmy Edgar had a vision in mind to “capture the essence of Detroit” through his recordings. He made his own software that he customized himself then he recorded it to an analog tape. In 2006, he released his first full-length album, Color Strip , which received a lot of popularity and praise. AllMusic claimed the album had a “sleezy urban feel that combined techno, electro, R&B, glitch, and hip-hop influences.” In 2010, Edgar released a solo album with K7 Records named XXX . Around this same time, Jimmy took a tour in notable cities such as Tokyo, Athens, Moscow, and London. Not only did he just tour across the country, but he also appeared at festivals as well. In 2014, he appeared at the Bang Face and I Love Techno Festival. Jimmy also participated in two Movement Festivals. Secure Jimmy Edgar tickets to listen to the funk, street beat, and R&B music that Edgar produces.

Jimmy Edgar Ticket Prices

Costs can rely on an array of influential factors. Taking in a live concert from the front row of a venue will reflect higher prices than a seat in the bleachers or lawn. Jimmy Edgar ticket prices will also vary depending on the popularity of the venue and whether you choose to select a premium seating package. 

How much are Jimmy Edgar tickets?

Generally, you can take a seat in the audience for around $26 - $235 on average. Jimmy Edgar ticket prices will tend to run higher if the artist is performing at a major music festival. Admission to the Electric Daisy Carnival in Las Vegas, Nevada can start from $287 and a spot at Electric Zoo in New York City typically goes for $379 - $399. Easily secure Jimmy Edgar concert tickets in the price range of your choice.

Jimmy Edgar Tour Dates & Concert Schedule

EDM events are usually held at large and mid-sized venues as well as in nightclub settings. Jimmy Edgar tour dates can showcase appearances at electronic dance music festivals like Ultra Music Festival in Miami, Florida and Electric Forest in Rothbury, Michigan. The genre is known for its international acclaim and live performances can be enjoyed from events like Belgium's Tomorrowland Festival and the UK’s Creamfields.

The Jimmy Edgar concert schedule can typically list a string of live shows at popular techno venues like Webster Hall in New York City and Believe Music Hall in Atlanta, Georgia. There’s a good chance that the genre and the artist will make their way to one of your favorite venues.

When do Jimmy Edgar tickets go on sale?

Jimmy Edgar tickets are a hot commodity with the EDM concert-going generation. Admission will typically go on sale once a show date or tour schedule is made public. You can usually buy tickets from us in advance. Buy early without a pre-sale code and make your way to the next live show.

Jimmy Edgar Seating Chart

You can find a great place to sit with the help of our interactive seating chart. A venue like Webster Hall can welcome a crowd of 1,500 with options to take in a live show from the balcony or main floor. There are also more expensive places to catch a concert. When the artist plays at a festival like Electric Zoo , there is ample seating with attendance boasting over 80,000. Check out our site’s filtering tools and easily narrow your preferred selections by date time and venue.

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All TicketSmarter techno/electronic concert tickets are 100% guaranteed. Order your Jimmy Edgar concert tour tickets today knowing that verified customers rate TicketSmarter 4.6/5.0 stars. Get in on the EDM excitement! We stand behind you throughout your ticket-buying experience.

Songs from the Jimmy Edgar Tour Setlist

Jimmy Edgar's setlist while performing in Unknown City , at “Private Venue” included the following songs:

Source: Setlist.fm

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Most played songs

• Cheetah ( 1 )
• Hey Mali ( 1 )
• Hot Inside ( 1 )
• Intro ( 1 )
• Shout ( 1 )

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Jimmy Edgar

In a breakout year highlighted by two EPs and an exhaustive global tour, the most significant shift in techno wizard Jimmy Edgar’s life was the launch of his new enterprise, Ultramajic. Part record label, design house, and metaphysical portal, Ultramajic (created in 2013 and managed by Edgar and creative partner Pilar Zeta), alchemically melds music, design, objects, and installations into a holistic multi-sensory experience. “We are exploring ideas about musical shamanism, digital altars, and meditation through color and vibration,” Edgar entices. Edgar’s fascination with other worlds has never been a secret and Ultramajic marks a milestone in Edgar’s independence as an artist and his emergence as an impresario. “Ultramajic is simply our venture to solidify what we do. The art of collaboration has been lost. In the ‘Age of the Internet,’

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Jimmy Edgar: “I almost never used compression on my music up until my new album”

The producer, DJ, and photographer tells us about his long history with recording, why he redlines in Ableton Live, and what’s motivated him in the time of Covid

Detroit Native Jimmy Edgar has been a rule-breaker since day one. From starting on a home studio setup first centred around FL Studio and then a plethora of hardware being sequenced by Logic, Edgar has always followed his own ears as opposed to seeking answers from those around him. Choosing to purposely redline his mixes and record with as little volume as possible to maximise noise would be things most producers would avoid.

But Edgar has applied both techniques to his rhythmic exercises, and what he’s doing clearly works, as his debut full-length was released by the venerable Warp Records when Edgar was just 18. Since then, his discography has exploded, with multi-hued productions in both the club and rap genres, and while he has worked solo with a variety of setups, the last few years have seen Edgar team up with a number of vocalists as well.

Following a move to Berlin that saw the producer dive deep into a modular-based setup, Edgar returned to the States and released an almost never-ending amount of music via his own label and multimedia platform Ultramajic. 

His most recent full-length, Cheetah Bend, released in a somewhat piecemeal fashion over the course of early 2021 by LA label Innovative Leisure, finds Edgar in both collaborative and solitary modes. The 14-track record not only features guests including Danny Brown, Matt Ox, Rochelle Jordan, Hudson Mohawke and the late Sophie, but also sees Edgar demonstrating some of the finest songwriting and sound design chops of his career.

While Edgar has always dipped his toes in various modes - as also evidenced in his time as JETS with collaborator Travis Stewart, aka Machinedrum - Cheetah Bend is his most synthesised effort yet, though not quite in the way you’d expect. 

Where previous albums have found Edgar’s programming focused on classic Detroit machines like the Oberheim Matrix 1000 and the Moog Voyager, his new record instead sees Edgar exploring what he described as ‘Slipstick Synthesis’. These types of sounds tend to explore the more angular side of FM synthesis, no doubt partially inspired by Sophie’s collaboration. 

So let’s start with location - are you currently in LA? 

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“I’m often in LA but not at the moment! I’m currently working on new productions and building a new studio in Atlanta. But I also have a studio where I am now in Portland. I love the trees here.”

Tell us a bit about how you got into producing and what inspired you early on. We know you’ve been doing it for quite a while now. Do you remember what your first setup was?

“I was three years old and I remember my father playing drums with his hands. I was fascinated with rhythm ever since, so I played drums very early for years.

“When I was about eight, I had some RCA cables, a mic and a double deck cassette recorder. I would make experiments with the tape - bouncing, recording, changing speeds. These were my first recordings. I was able to get some equipment when I was an early teenager and this got me into producing music. Some of my early equipment was ASRX, MC303, Alesis Reverb, SP202.”

What were you recording to when you had that early setup? Were you doing full multi-tracking or just live jams?

“Still using tape and actually did a lot of recording onto VHS. I was also very into making videos so producing music was a means for me to have music in my visuals.”

Did the interest in music come before the interest in video?

“I was very into the idea of multi tracking, but I wasn’t set up for it yet. I eventually got into it when I started using Fruity Loops. The interest was there for both music and visual, however - I’ve always been a visually inclined person. The two are interrelated. I just felt more limited with music since I was young and didn’t have the equipment I needed. Eventually, that changed when I got into computers.”

When I first discovered FruityLoops, I felt like I could finally make full-fledged compositions.

So how old were you when you started using computers? And how did you find out about FruityLoops?

“I got my first computer when I was 15. I started using trackers, Rebirth, Cool Edit. Then, when I first discovered FruityLoops, I felt like I could finally make full-fledged compositions. This is how I made my first works for Warp Records. With FL and Reaktor. I was around 17 or 18 at the time.” 

Were you integrating the more analogue stuff into FL as well or were they two separate worlds at the time? We know when a lot of people start out in the box, they keep things ITB for lack of knowledge... 

“I didn’t integrate analogue into FL early on. This was my opportunity to learn all computer techniques, so I put away the external equipment for a while. This was great to learn but eventually I found inspiration in making my own samples and sound files.”

Were you working with anyone else in the studio for mixing/final mixdowns or were you doing it all yourself back then?

“No, this was completely just me in my bedroom! I just had a passion for making music. I wanted to make what I wanted to hear.” 

How geeky were you getting with the mixing and EQing stuff back then? Did you have a good grasp of those things or were you just going by ear? Did you read about that aspect of production too?

“I didn’t know anything! I didn’t research anything. I honestly didn’t even know where to look or read. I was just going by ear. I felt like nothing applied to my situation. Since I was just using FL, I was kind of anti-information as, at that time, I felt like it would lead me astray. I don’t agree with that now, but that was me as a teenager. I felt as though following my highest excitement was the key, so I just did that.” 

I didn’t know anything! I didn’t research anything. I honestly didn’t even know where to look or read. I was just going by ear.

Now, with the internet, it’s almost like there is too much information to get and it can stop you from being productive. How much of that do you do now? Learning about new production stuff and new gear, etc?

“I recently learned a lot about mixing, especially for my album. I usually just research subjects that I feel I could use more knowledge in. Recently I learned about subtractive EQing, which has been amazing. I also finally understand the parameters on compressors, which is probably why I almost never used compression on my music up until Cheetah Bend. 

“My tendency for compression was to do saturation, which is a technique I also like. And I’d always red-line everything. It’s been part of my sound. Which is actually clipping… the difference now is that I know how to control it.”

That’s surprising given how clean your mixdowns sound…

“Yes! My mixes are very clean because it’s highly organised and I always leave room for silence. But I red-line everywhere… in the mix, in the track, in the sample, in the mastering. It’s a technique I use to sculpt the sound. I red-line on my Burl Vancouver ADC but also ITB in Ableton . I use it creatively; I just always loved the way it sounded.” 

Tell us about your new album. Where was work done on it? 

“Most of this new album Cheetah Bend was created in Los Angeles, Atlanta and Detroit. At the tail end I did the mixes in Portland. But yes, I bounced around a lot to make it all happen.”

What is currently the basis of your ‘home’ studio setup in Portland (both DAW and hardware)? And what sort of gear did you bring with you when traveling and collaborating?

“My studio is based around an Apple desktop with various arrays of analogue synths both new and vintage. Lots of ’90s digital racks. 500 series preamps and EQs, compressors, mastering bus. It’s all connected via TTS patch. Various modular equipment.

“For travelling, I don’t bring any equipment as I love to work in nice studios that have engineers. When I work in any other studio it’s almost exclusively to record vocals, so it’s essential there is my favourite kind of equipment. Great mics, Pultec compressors, Neve preamps... stuff like this. Standard high quality recording. As long as it’s recorded with a great fundamental and a solid foundation, then I can take it back to my studio for further processing.”

When you are recording vocals at a studio with a vocalist, are you typically just working to a stereo bounce or do you have stems there that you can make adjustments to?

“It’s literally a stereo bounce. I like to be in my own zone when producing music. There are often times when I don’t have any music available and I am making music in the studio for rappers. For this, I pull up Ableton and use samples that I have created in my studio. This feels more akin to DJing though, as production needs the mind space to create something amazing.”

Your discography is quite broad and varied. One of the first records that brought you acclaim was Color Strip. Can you tell us about your setup around that time. How old were you? 

“I was 22-23? That album was created with an Arp, Matrix 1000, TR-808, Moog Voyager, MS-10. I was recording on a crappy-sounding MBox and I often recorded tracks super low volume so I could get more noise in the signal. 

“It was a great little studio setup. I could get the TR-808 going, play chords on the Matrix1000 and have a couple of choices for other sounds. Then when I had a song I felt worthy of recording, then I would track it in. While tracking I would start to embellish a bit and then I would have a full song. I still have 100s of songs from that album process. I was using computer speakers for the monitors. It was amazing because it’s easy for a novice to mix on. You have to be super good at mixing to use high-end monitors.”

What was inspiring you musically at around that time? 

“I was really into the sound of Detroit at that time. Drexciya, Juan Atkins, etc. This setup and musicality was a bit of a response to it. It was like my contribution.”

And then you moved to Berlin, correct? 

“In Berlin I had discovered modular synthesis. However, I did start acquiring a lot of equipment in Berlin and this is where I got into Eurorack and made Majenta. It’s a different album. It was made in the moment in Berlin, which is where I finished it. Tracks were originally started in NYC and Detroit. I made it on a mono speaker, not sure why, I just happened to.”

So getting into modular stuff in Berlin, was that at all because you hadn’t brought any other gear with you? Or was that sort of a coincidence? Why did you get into modular then? Were you bored of other analogue synths at the time?

“No, I was just resetting my knowledge. The thing I love about music is that I feel like I wanna do my sound on lots of different kinds of equipment. So, I just built a new studio from scratch. Modular was the most exciting thing at that time, not many artists were using it yet.”

At what point in your career did you start collaborating with other artists? Why did that change come about after being pretty solo for a while? Cheetah Bend seems like it has the most guests of all your releases, right?

“My early music experimented with a lot of vocal stuff, mostly me and my friends. I really wanted to work with incredible vocalists. I saw a distinct connection between rap and dance music that I was interested in.”

Electronic producer vs rap producer - does it feel like wearing different hats? Do you distinguish where ideas go at the beginning of working on them?

“So, I wanted to try this sound of rap-club music. It’s pretty much the same, just depends on how you arrange the song and produce it. Club music and rap is the same thing for me. Club music might be a bit of a different arrangement. But with rap music, I want it to bounce like club music so that’s important for me. They have to really bump.”

How do you decide what to work on in the studio? Do you write with any particular vocalist in mind? 

“No, I always go into the studio with whatever excites me the most... If I “try” to do something, it doesn’t work very well unless I have an intention with a collaborator in the room. Some days I write compositions, chords. Some days I make samples... some days I make beats... etc.

“I have a whole ritual I do to get the best out of my time, and be happy with the results.”

Let’s talk about Cheetah Bend a bit given that that’s your upcoming release. This record came out in a rollout fashion. What was the idea behind that as opposed to just a standard LP release?

“I wanted to build the story of Cheetah Bend over time, it just felt right rather than the typical way albums come out. Each song has a story in that way. I don’t even know what the story is, but it feels like something unique in the sound.”

Tell us a bit about working with Sophie. Did you work together in person? What did you learn from working with her and what do you think she learned from working with you? 

“We met around 2010, I believe. We immediately became friends and yes, we would always meet in the studio if we weren’t going out to the club. We both use the Elektron equipment very heavily so we were sharing techniques for that and exchanging SysEx. Sophie really started to explore Karplus-Strong string synthesis in the Elektron world and it inspired me to get into that, too, mostly to emulate sounds of real life or sounds of things we liked.

“It led me to do a lot of reading about synthesis, namely a technique called slipstick. This is the synthesis that you use for physical objects that bend and resonate different materials. ”

Which Elektron machines were you using? Do you have any favourites? 

“The Monomachine is my favourite thing. Octatrack is also great. I really love that the Monomachine parameters can really stretch out the possibilities.”

Since we are diving a bit more into gear specifically, can you tell us if there were any other things that were crucial to Cheetah Bend? Other synths, plugins, hardware?

“A few other things that were used a lot were the Kyma, API2500, API512C, Maselec MPL, Eventide H8000, Serge Modular, Overstayer Saturator. The Korg Mono/Poly was also used a lot, as were the MPC60 and S900, Nord Wave and Nord Modular.”

So earlier we talked a bit about mixing but we wanted to return to that because the mixes on this record manage to be both incredibly clean but still bump incredibly hard. Where did you do the mixing and what monitors do you rely on these days? Are you mixing ITB?

“I did all the mixing at home on Barefoot Monitors. I mixed most of the tracks through the BURL summing and ADC. I had an API2500 and Maselec MPL2 for tracking. I used a lot of subtractive EQing. This helped a lot of my mixes and tied the vocals together since those resonant notches are what can ruin a mix.” 

How much are you still using the modular these days?

“Not much at all! I’m very interested in the Kyma and Nord Modular at the current moment. Eurorack quality is missing something for me at the moment.”

How has quarantine and Covid times changed your working methods? Has it put things in perspective? And what do you have planned for when touring resumes?

“Yes! Right, it’s been a challenge we can all relate to. I think my biggest takeaway is that despite what’s going on around you, you can always make your immediate vicinity and surroundings a better place. It’s that choice in the moment. I also learned more self care and how to properly take breaks.”

What has been inspiring you to make music recently with no live shows? Do you feel inspiration come and go?

“I have thought a lot about that because I still love to make exciting music, club music, dance music. I think despite not having big parties to DJ or even attend, there will be a time when they come back. And, otherwise, people still want to hear this energy, even if it’s while we are all still at home.” 

Cheetah Bend is out now. For more info, head to Jimmy Edgar’s SoundCloud profile .

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Music + concerts, music + concerts | jimmy buffett tribute brings paul mccartney, jane fonda and more to hollywood bowl, the keep the party going: a tribute to jimmy buffett concert included eagles, harrison ford, brandi carlile, snoop dogg, dave grohl and more..

Rarely in the Hollywood Bowl’s 100-plus years has the storied venue hosted the sheer star wattage from different fields that filled its stage Thursday night, April 11.

The occasion was Keep the Party Going: A Tribute to Jimmy Buffett, a chance for the late singer’s friends in the music and movie worlds (plus a couple of Hall of Fame athletes) to show their love for the tropical troubadour, who died last year of skin cancer at 76. It was the kind of night where you see and hear things you don’t usually see or hear.

“I want to set the record straight — I was the one who smoked a bowl with Jimmy on the roof of the Vatican,” actress Jane Fonda told the sold-out crowd, jokingly correcting a tall tale Woody Harrelson had spun earlier. Tennis legend John McEnroe kept the gag going later by claiming he and Buffett had sparked up on Wimbledon’s Centre Court.

From left, Brandi Carlile, Angelique Kidjo, Sheryl Crow and Jon Bon Jovi share a microphone while performing “Margaritaville” during the finale of Keep the Party Going: A Tribute to Jimmy Buffett on April 11 at the Hollywood Bowl. (Photo by Randall Michelson, Hewitt Silva-Live Nation)

Dave Grohl sits in with the Coral Reefer Band on “Brown-Eyed Girl” during Keep the Party Going: A Tribute to Jimmy Buffett at the Hollywood Bowl on Thursday, April 11. (Photo by Randall Michelson, Hewitt Silva-Live Nation)

Brandi Carlile performs during Keep the Party Going: A Tribute to Jimmy Buffett at the Hollywood Bowl on Thursday, April 11. (Photo by Randall Michelson, Hewitt Silva-Live Nation)

Paul McCartney performs “Let It Be” during Keep the Party Going: A Tribute to Jimmy Buffett on April 11 at the Hollywood Bowl. (Photo by Randall Michelson, Hewitt Silva-Live Nation)

Zac Brown performs with the Coral Reefer Band during Keep the Party Going: A Tribute to Jimmy Buffett on April 11 at the Hollywood Bowl. (Photo by Randall Michelson, Hewitt Silva-Live Nation)

Eagles bassist Timothy B. Schmit performs “Volcano” during Keep the Party Going: A Tribute to Jimmy Buffett on April 11 at the Hollywood Bowl. (Photo by Randall Michelson, Hewitt Silva-Live Nation)

Snoop Dogg leads the crowd in a rendition of “Gin & Juice” during Keep the Party Going: A Tribute to Jimmy Buffett on April 11 at the Hollywood Bowl. (Photo by Randall Michelson, Hewitt Silva-Live Nation)

Pitbull, left, and Jon Bon Jovi perform Pitbull’s song “Thank God & Jimmy Buffett” at the Hollywood Bowl on April 11. (Photo by Randall Michelson, Hewitt Silva-Live Nation)

Jake Shimabukuro performs during Keep the Party Going: A Tribute to Jimmy Buffett on April 11 at the Hollywood Bowl. (Photo by Randall Michelson, Hewitt Silva-Live Nation)

Paul McCartney stands with members of Jimmy Buffett’s Coral Reefer Band at the Hollywood Bowl on Thursday, April 11. (Photo by Randall Michelson, Hewitt Silva-Live Nation)

The evening’s performers sing “Margaritaville” at the end of Keep the Party Going: A Tribute to Jimmy Buffett at the Hollywood Bowl on Thursday, April 11. (Photo by Randall Michelson, Hewitt Silva-Live Nation)

Keep the Party Going: A Tribute to Jimmy Buffett brought out stars of music, movies and sports to honor the late singer-songwriter. (Photo by Randall Michelson, Hewitt Silva-Live Nation)

Paul McCartney, center raises a margarita glass to the sky during the finale of Keep the Party Going: A Tribute to Jimmy Buffett on April 11 at the Hollywood Bowl. (Photo by Randall Michelson, Hewitt Silva-Live Nation)

While tales of the Pirate Laureate’s prodigious partying — both real and embellished — were a regular source of laugh lines, the evening’s emotional touchstone was Buffett’s humanity and generosity of spirit.

“Jimmy Buffett was a cool guy,” actor Harrison Ford said. “There will never be another like Jimmy. Usually, cool guys aren’t that nice. Jimmy was more than nice. He was kind.”

Jon Bon Jovi compared the life lessons he learned from Buffett to being “at the knee of the Jedi.” Added pro surfer Kelly Slater: “He was keenly aware that life is fleeting and we have to make memories while we’re here.”

Paul McCartney, the night’s final individual performer, summed it up this way: “Like everyone else on the bill has said, this was a great man.”

The night was also a celebration of the bond between Buffett and his legions of festively festooned fans, affectionately known as “Parrot Heads,” forged over countless bacchanalian summer tours. “Jimmy liked it best when everybody had a good time,” James Taylor told the crowd in a video he sent from Perth, Australia. “That was his gift.”

But what about the music, you ask? Stunning. Highlight followed highlight over nearly three and a half hours. Again, things you don’t normally see or hear.

• Brandi Carlile pouring her full passion into “Tin Cup Chalice” and “Come Monday,” two of Buffett’s most introspective ballads.
• Jackson Browne delivering a tender reading of “He Went to Paris,” which actor Will Arnett introduced as “Bob Dylan’s favorite Jimmy Buffett song.”
• Ukulele virtuoso Jake Shimabukuro shredding through a medley of “We Will Rock You” and “My Guitar Gently Weeps,” using distortion and delay to great effect.
• Dave Grohl climbing behind the drum kit to power a Zac Brown-led version of Van Morrison’s “Brown-Eyed Girl,” a staple cover in Buffett’s set lists.
• Snoop Dogg getting a largely AARP-aged audience on its feet and singing along with “Gin & Juice.”
• McCartney teaming up with the Eagles for an elegiac version of “Let It Be,” a song the Beatle said he personally sang to Buffett days before his death.

Those weren’t the only strong turns. Kenny Chesney, whose “no shoes” vibe is a direct descendent of Buffett’s Caribbean country style, tore through “Changes in Latitude, Changes in Attitude.” Eagles bassist Timothy B. Schmit — credited with coining the term “Parrot Head” during his stint with Buffett’s Coral Reefer Band — did a cheeky rendition of “Volcano,” changing a lyric to add political commentary. J.D. Souther’s scorching take on “Southern Cross” had the entire venue standing.

Sheryl Crow, who was a back-up singer for Buffett early in her career, had fun with “Fins,” leading fans in the well-known choreography.

Through it all, the Coral Reefer Band provided tight backing, playing with purpose. The band’s singer-guitarist Mac McAnally served as the evening’s amiable MC and kicked things off by singing “It’s 5 O’Clock Somewhere.”

The show cooked along through most of its first three hours until the Coral Reefer Band left the stage. After a video played of an absent Dave Matthews singing “Lonely Cruise,” the Eagles came on to do “Boys of Summer,” “Take It to the Limit” and “In the City” — a polished performance that seemed disconnected from the rest of the show and its intent. The transition time to set up for the Eagles’ mini-set also sapped the night’s brisk pace.

The tribute ended with the expected group sing-along of the Parrot Heads’ national anthem,”Margaritaville,” which sent fans out in an upbeat spirit.

Earlier in the show, before he sang “Son of a Son of a Sailor,” country singer Eric Church recalled a conversation with Buffett where the topic turned to mortality and legacy.

“He said, ‘You know, Eric, guys like us never really die. Because the songs live forever.’”

Keep the Party Going: A Tribute to Jimmy Buffett

Where: Hollywood Bowl

When: April 11

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Inside Jimmy Buffett’s Tribute Concert: McCartney, Margaritas, and One Hell of a Parrothead Party

By John Lonsdale

John Lonsdale

“Good evening, Hollywood-fucking-Bowl!” Paul McCartney exclaimed to the flock of Parrotheads gathered before him. A sold-out crowd had assembled in the famed Los Angeles venue on Thursday to celebrate the legacy of Jimmy Buffett at “Keep the Party Going,” a laid-back, one-night-only tribute show full of eclectic guests.

“I had the great pleasure of knowing Jimmy , and like everyone else on the bill tonight, I said, ‘This is one great man.’ He was generous. He was funny. He’d done just about everything in his life,” McCartney said, before launching into “Let It Be .” It was a song that McCartney said he’d played for Buffett at his home during the final week of his life. Buffett died in Sept. 1, 2023, at 76 after a battle with Merkel cell skin cancer.

Along with the stacked musical lineup, “Keep the Party Going: A Tribute to Jimmy Buffett” featured introductions — some via video, some in person —  from Dolly Parton, James Taylor, Woody Harrelson, Pat Riley, and Dave Matthews. Harrison Ford was there in the flesh.

“There is no other way to say it: There will never be another like Jimmy,” Ford told the crowd, before introducing the Zac Brown Band as “one of Jimmy’s favorite and most-frequent collaborators.” The group jammed through the new track “Pirates & Parrots,” out April 19, and their collab with Buffett “Knee Deep,” with Brown literally taking off his pants to play the song in shorts and a tee backed by Buffett’s Coral Reefer Band.

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“Jimmy enjoyed living life more than any person enjoyed living life,” the country star said. “I can remember we were hiking one day and we were heading up this vista and we started talking about music and songwriting and our careers and his life and my life, and death. And, ‘You know, Eric,’ [Jimmy] said, ‘Guys like us, we don’t really die.’ He said, ‘because the songs live forever.'”

“And this one will,” Church said, as the opening chords to “Son of a Son of a Sailor” rang out over the Bowl and an image of a sailboat drifting along the water was projected on a screen behind the musicians. Later, a projection of the Arc de Triopmhe appeared behind Jackson Browne as he sang his stirring rendition of “He Went to Paris,” one of Buffett’s greatest cuts from 1973’s A White Sport Coat and a Pink Crustacean .

In the latter half, the set list shifted to songs that Buffett wasn’t exactly known for: Snoop Dogg took the stage for a performance of “Gin and Juice,” alongside psychedelic visuals of Buffett in the 2019 Matthew McConaughey film The Beach Bum . And Pitbull appeared to perform his own “Don’t Stop the Party” before being joined by Jon Bon Jovi for “Thank God & Jimmy Buffett.”

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For the home stretch, Don Johnson — no stranger to pastels and warm-weather vibes from his Miami Vice days — called to the stage “a bunch of guys [they] used to hang out with back in the day” and introduced the Eagles . Led by Don Henley and Joe Walsh, the California icons played their own miniature set featuring Henley’s “The Boys of Summer” and the band’s “Take It to the Limit” and “In the City.” The Eagles hung around to back up McCartney on the Beatles’ “Let It Be.”

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“Jimmy Buffett, get a big kick out of this,” McAnally said. “Raise a glass, show ’em how to do it.”

Jimmy Buffett Tribute Show Set List

“It’s Five O’Clock Somewhere” – Coral Reefer Band “Grapefruit – Juicy Fruit” – Jake Owen “Pencil Thin Moustache” – Coral Reefer Band “Changes in Latitudes, Changes in Attitudes” – Kenny Chesney “Back Where I Come From” – Kenny Chesney “One Particular Harbour” – Angelique Kidjo “Pirates & Parrots” – Zac Brown “Knee Deep” – Zac Brown “Son of a Son of a Sailor” – Eric Church “Volcano” – Timothy B. Schmit “Tin Cup Chalice” – Brandi Carlile “Come Monday” – Brandi Carlile “Cheeseburger in Paradise” – Coral Reefer Band “He Went to Paris” – Jackson Browne “Bubbles Up” – Coral Reefer Band “Southern Cross” – JD Souther “Why Don’t We Get Drunk” – Coral Reefer Band “Gin and Juice” – Snoop Dogg “While My Guitar Gently Weeps” – Jake Shimabukuro “Don’t Stop the Party” – Pitbull “Thank God & Jimmy Buffett” – Pitbull and Jon Bon Jovi “Fins” – Sheryl Crow “A Pirate Looks at Forty” – Jack Johnson “Brown Eyed Girl” – Zac Brown and Dave Grohl “The Boys of Summer” – Eagles “Take It to the Limit” – Eagles “In the City” – Eagles “Let It Be” – Paul McCartney , Eagles “Margaritaville” – Coral Reefer Band and Company

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Shakira 2024 tour: dates, presale, ticket sales, and concert venues in the United States

T he moment Shakira’s fans have been waiting for has arrived. The Colombian superstar finally announced the first dates for her Las Mujeres Ya No Lloran World Tour ( Women no longer cry). The news was released this Tuesday, just days after thrilling her fans with the announcement of her upcoming tour on stage at Coachella , where she arrived as a surprise special guest of Argentine producer Bizarrap.

The singer of Pies Descalzos revealed the first 14 dates of the tour, which will kick off in the United States and Canada. The first show will be on November 2nd in Palm Desert, California, and will close on December 15th in Detroit, Michigan.

One of the most anticipated comebacks to the stage in 2024 was Shakira’s. Since the release of her new album , her fans around the world have placed tracks like “Shakira: Bzrp Music Sessions, Vol. 53″ and “TQG,” featuring Karol G, in Spotify’s global Top 50. Last year, this music streaming platform noted that her collaboration with the Argentine Bizarrap became the Spanish song with the most streams in a single day in history.

Shakira’s concerts in the United States and Canada

The new tour of the singer from Barranquilla has been marked by moments full of surprises, such as her appearance on The Tonight Show Starring Jimmy Fallon , the free concert she offered in Times Square, and the revelation at Coachella.

The series of concerts in the United States will begin in November, and Shakira’s tour will include the states of California, Arizona, Texas, Florida, North Carolina, Washington, Ontario, Quebec, New York, Massachusetts, Illinois, and Michigan.

• November 2: Palm Desert (Acrisure Arena)
• November 7: Phoenix (Footprint Center)
• November 9: Los Angeles (Kia Forum)
• November 16: San Antonio (Frost Bank Center)
• November 17: Dallas (American Airlines Center)
• November 20: Miami (Kaseya Center)
• November 23: Charlotte (Spectrum Center)
• November 25: Washington, DC (Capital One Arena)
• November 30: Toronto (Scotiabank Arena)
• December 5: Brooklyn (Barclays Center)
• December 8: Boston (TD Garden)
• December 10: Montreal (Bell Centre)
• December 14: Chicago (United Center)
• December 15: Detroit (Little Caesars Arena)

How can I buy tickets for the tour in the United States?

Through social media, Shakira announced that official tickets for the Las Mujeres Ya No Lloran World Tour will be available starting today, Wednesday, April 17th, on Ticketmaster . On this occasion, tickets can be purchased through a presale for Citi cardholders and are limited to a maximum of six per user.

The regular presale will take place on Friday, April 19th, at 10 a.m., and to gain access, it’s necessary to pre-register for the Wolfpack at Shakira.com . General sale will be on Monday, April 22nd.

How much do tickets cost?

In the United States, the ticket prices vary in each state. During the Citi presale tickets, the most exclusive areas range from $530 to $1,019 plus taxes. These tickets include benefits such as reserved front-row seats, exclusive merchandise, a meet-and-greet, and a photo opportunity with Shakira. For general tickets, prices range from $100 in some cities to $350 plus taxes.

On social media, the singer shared that, in less than two hours, the presale tickets for Citi members are almost sold out in Brooklyn, Miami, San Antonio, Chicago, Dallas, and Washington.

Siga toda la información de El PAÍS América en Facebook y X , o en nuestra newsletter semanal .

Paul McCartney toasts Jimmy Buffett with margarita at tribute concert with all-star lineup

LOS ANGELES − In a night filled with wildly eclectic musicians honoring Jimmy Buffett at the Hollywood Bowl Thursday, Paul McCartney captured the range of the "Margaritaville" bard's impossibly wide web of global friendships and joy of living.

Entering the stage late in the "Keep The Party Going" tribute concert, McCartney, 81, spoke about being invited to Buffett's home a week before the party-loving singer/songwriter died of skin cancer in September at age 76.

"He was in a pretty bad way, but he still had a twinkle in his eye," said McCartney, who sat behind the piano to perform the song he had played for his dying friend − the classic ballad "Let It Be." In Thursday's performance, McCartney jammed along with the Eagles and Don Henley .

For the next and final song, McCartney joined music stars − as diverse as Sheryl Crow and Pitbull − for Buffett's signature "Margaritaville," with Sir Paul proudly hoisting a Las Vegas-sized margarita onstage.

"This is a man with a margarita right here," said Mac McAnally, the longtime guitarist from Buffett's Coral Reefer Band, who served as "musical captain" for the evening.

Here's who else kept the Buffett party going in the star-studded concert attended by fans including Al Pacino, Courteney Cox, Larry David and Sean Penn.

Honorary Coral Reefer Sheryl Crow and Brandi Carlile rocked

Crow said she was "an absolute nobody" when Buffett hired her in 1989 to join his Coral Reefer Band.

"I know Jimmy is laughing his ass off," the singer said before breaking into "Fins."

"I need to see some fins!" Crow said, instructing the crowd to put up their “land shark” fins during the song. There were fins on stage, fins to the left and fins to the right.

Carlile spoke of bonding with Buffett over their mutual love of fishing ("that was our language") before belting soulful versions of two classics, "Tin Cup Chalice" and "Come Monday."

Snoop Dogg blows smoke at 'My main man Jimmy B' with 'Doggystyle' classic

Stage presenter Judd Apatow thought it might have been the suspicious smoking going on backstage that was making him hallucinate what he had seen on stage.

"I swear to God I just saw Snoop Dogg sing 'Gin and Juice' with the Coral Reefer Band," Apatow said.

It's true. The rapper and Buffett friend Snoop Dogg performed the classic song from his 1993 "Doggystyle" album in tribute to "my main man Jimmy B," singing the familiar words with the audience in between onstage puffs.

"Last time I saw you we smoked like there was no tomorrow," Snoop Dogg said from the stage before clearing out, leaving a cloud of smoke.

During the wide-ranging musical section that followed, ukulele virtuoso Jake Shimabukuro wowed with a solo version of "While My Guitar Gently Weeps" and rapper Pitbull performed his classic "Don't Stop the Party" with four backup dancers.

"He’s the definition of what it means to unite, not divide," Pitbull said of his friend before belting the song he wrote, "Thank God & Jimmy Buffett," along with Jon Bon Jovi.

"He gave me fashion advice and hair tips," Bon Jovi said. “We all think we’re rock stars, but he flew his own plane to his own show. That’s a rock star.”

Harrison Ford revealed his ear-piercing origin story courtesy of Jimmy Buffett

Friends who were not able to make the concert paid tribute over video, including Dolly Parton, Alan Jackson, James Taylor and surfer Kelly Slater. NBA coaching legend Pat Riley laughingly recalled when Buffett was ejected from a Miami Heat game for calling a referee "a Parrothead."

Many friends spoke in person from the stage, including tennis legend John McEnroe, who talked about Buffett watching him play during his hotheaded prime.

"He told me, 'Relax, man,'" McEnroe said. "Of course he was right."

Harrison Ford spoke about "long boozy lunch" with Buffett and "60 Minutes" newsman Ed Bradley.

"I saw both of them had earrings, so right after lunch I got my ear pierced," Ford said. "That's how infectious Jimmy's coolness was. Enough for a then 40-year-old man to get his ear pierced spontaneously and infectious enough to create this world around his music. There's no other way to say it, there will never be another Jimmy."

Of course, the Jimmy Buffett tribute ended with 'Margaritaville'

Naturally, the night's final song brought the entire cast onstage to sing Buffett's national anthem of "Margaritaville."

"Jimmy Buffett would get a big kick out of this deal," McAnally said as the sprawling crew of musicians, friends and Hollywood stars took spots at various microphones. It was like a superstar karaoke, with Crow, Bon Jovi and Henley sharing the microphone for one of the signature "wasted away again in Margaritaville" verses.

By the end of the song, McCartney's margarita was nearly drained. But he was in no hurry to put down the glass as he walked offstage with a smile.

Edgar Allan Poe Speakeasy haunting Carmel is nearly sold out. How to get tickets

Nevermore have Hoosiers thirsty for both macabre literature and chilling cocktails had an event perhaps suited to their interests. The Edgar Allan Poe Traveling Speakeasy is making a stop in Carmel this weekend. Tickets for the show are limited. Here's what we know about it.

What is the Edgar Allan Poe Traveling Speakeasy?

The lights turn low as four of Edgar Allan Poe's most famous stories are retold then remixed into four cocktails. The performance lasts 90 minutes, according to the group's website, which states reservations are limited to a small number of guests.

Poe historians, or "Poestorians" as they're called, "mix history with humor to provide a bit of comedic relief as you journey into Poe’s beautifully twisted and dark mind," said Julia Tirinnanzi in a recent article by IndyStar sister publication DelawareOnline.

"There are also several intermissions where guests get to unwind a bit during the cocktail service and have some fun socializing with other attendees," Tirinnanzi said.

The speakeasy is the product of  Midnight Creative Events , based in Orlando, Florida, which runs similar themed cocktail shows, such as The Boozy Cauldron and The Haunted Tavern .

What cocktails will be served?

The event features four signature drinks . They are:

• Pale Blue Eye - "A refreshing light blue cocktail made with blueberry vodka, fresh lemon juice, rose syrup and topped with La Croix."
• Cocktail of Red Death - "A bright vibrant cocktail made with 100-proof vodka, cherry herring, Benedictine liquor, lime juice, pineapple juice, and bitters."
• Edgar's Twisted Brandy Milk Punch - "Equal parts Kentucky Bourbon meets with French Brandy and is mixed with vanilla cream, milk syrup, and half and half. Topped with star anise."
• The Nevermore - "A black and gold cocktail fueled by orange peach blossom vodka,, lime juice, and secret spices."

Where and when is the event happening in Carmel?

The Edgar Allan Poe Traveling Speakeasy is scheduled for Saturday, April 20, at BASH , an event space in Carmel at 1235 Keystone Way . The group's other Indiana performances include later stops in Fort Wayne and Muncie .

How much are tickets?

Tickets for the show were listed at $45 each and include the price of four cocktails. Tickets can be purchased online through eventbrite.com , but you'll need to hurry. Seating is limited and as of Thursday, many of Saturday's performances were already sold out.

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Delaware News Journal reporter Andre Lamar contributed to this article .

John Tufts covers trending news for the Indianapolis Star. Send him a news tip at  [email protected] . Follow him on X at  @JTuftsReports .

Chris Stapleton to Perform at First ‘Jimmy Kimmel Live’ Outdoor Stage Concert in Four Years (EXCLUSIVE)

By Michael Schneider

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“ Jimmy Kimmel Live!” is finally resurrecting its outdoor concert stage, starting on Wednesday, April 17, with musical guest Chris Stapleton . The singer-songwriter will appear on the show to relaunch the space and perform his song ““It Takes A Woman.”

Up until the pandemic, the “ Jimmy Kimmel Live! ” outdoor stage, located in the parking lot behind the show’s Hollywood studio, was a staple for the late-night talker. But it hasn’t been in use since February 2020, right before the COVID-19 pandemic. And then last year, “Jimmy Kimmel Live,” like all of the talk shows, went dark during the Hollywood strikes.

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This stage, which can hold more than 1,000 fans, has included acts over the years including Prince, Lady Gaga, Elton John, Green Day, Cardi B, Coldplay, No Doubt, Garth Brooks, Usher, Dua Lipa, Blink-182, Snoop Dogg and more.

“Jimmy Kimmel Live” broadcasts from the El Capitan Entertainment Centre on Hollywood Boulevard; Kimmel, Erin Irwin, Molly McNearney, Jennifer Sharron and David Craig are executive producers. The show, which airs at 11:35 p.m. ET weeknights on ABC (and streaming next day on Hulu), comes from 12:05 AM Productions, LLC, Kimmelot and ABC Signature.

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Jimmy Edgar plots North American tour

• Published Wed, Sep 12, 2012, 18:00
• Words Brian Kolada
• Share Facebook X (Formerly Twitter) WhatsApp
• The Hotflush artists will play live and DJ at 12 shows across the US and Canada this month.

• Jimmy Edgar will head out on a tour of North America this month. A Detroit-born artist now based in Berlin, Edgar will be back stateside to play 12 shows over the course of just two weeks in support of his album Majenta , which was released in May on Hotflush Recordings. The tour is made up mostly of DJ gigs, with a handful of Majenta live performances are also confirmed along the way. One of those is in Toronto next weekend, where Edgar will share the bill with one of the UK's most acclaimed leftfield producers, Actress . Later, he'll head to Seattle for two sets during Decibel (one live, one DJ), and another live set in San Francisco. The trip winds down in Brooklyn on Sunday the 30th with a party at Le Bain where Edgar—a former New York resident—will make his first local appearance in years. That one's hosted by Nouveau York and The Dog & Pony Show , and entrance is free with an RSVP . Tickets to the party at Los Globos in LA on Thursday the 27th are available here on RA . For more on what Edgar has been up to these days, check our recent interview with him right here . Artist: Jimmy Edgar

Jimmy Edgar (Detroit) with Ali Berger, Doctor Jeep and John Barera

Jimmy edgar, visions ii // jimmy edgar live set x actress x xi, jimmy edgar, sombionx, chris gin, church feat jimmy edgar, decibel: warp showcase, decibel + dimensions boat party, futra x so simple presents jimmy edgar, soundpieces, the dog & pony show x été d'amour feat. jimmy edgar (live), james friedman.

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