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Hayley Williams of Paramore performs at the Bonnaroo Music and Arts Festival in Manchester, Tenn. on June 8, 2018.
Amy Harris/Invision/AP/ShutterstockTwo days of the inaugural When We Were Young Festival just wasn’t enough to meet demand, so promoters Live Nation have added a third date. The aptly named 2000s emo-pop festival will now return to Las Vegas for a second weekend on Oct. 29.
The festival was first announced on Jan. 18 as a single-day event on Oct. 22 featuring performances from Paramore, My Chemical Romance, Bright Eyes, AFI, The Used, Bring Me the Horizon, Boys Like Girls, Avril Lavigne and more. The stacked lineup also includes Taking Back Sunday, Dashboard Confessional, We the Kings, Alkaline Trio, Manchester Orchestra, Dance Gavin Dance, the All-American Rejects, Anberlin, 3OH!3, Atreyu, the Ready Set, Jimmy Eat World, La Dispute, the Wonder Years, Hawthorne Heights, Car Seat Headrest and Wolf Alice.
The first date sold out immediately on Friday, prompting Live Nation to add a second date on Oct. 23, stating on social media, “Due to overwhelming demand, we have decided to add a second day. Same lineup each day.”
The festival will feature the same lineup on all three dates, with the exception of Alex G replacing Wolf Alice on Oct. 29 and La Dispute will not perform on the newly added date (Oct. 29).
There will be a presale beginning Jan. 31 at 10 a.m. PT for fans who sign up for early access to passes here. Following the presale, any remaining tickets still available will go on sale to the general public beginning Jan. 31 at 2 p.m. PT. General admission tickets start at $224.99, GA+ tickets start at $399.99 and VIP tickets start at $499.99. VIP cabanas will also be available to purchase for guests 21 years of age and older.
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There is no question that Clipse’s Let God Sort Em Out made a serious impact and continues to hold weight. The project showed that hip hop is not limited by age and proved that a long-awaited return can still land in a major way regardless of the time away.
If you need a reminder, the Virginia duo’s fourth studio album debuted comfortably within the top five of the Hot 200. It secured the number four position and moved an impressive 118,000 units in its first week.
On top of that, it picked up a win at this year’s Grammys, earning Best Rap Performance for “Chains & Whips.” The album also received four additional nominations, including Best Music Video, Rap Album, and Album of the Year.
It is hard to believe the project will officially hit its one year mark this summer on July 11. Even so, Pusha T is making it clear that both supporters and critics should not be overlooking it anytime soon.
While performing at Coachella yesterday, King Push told the crowd that LGSEO still sits at the top, regardless of genre.
He said, “‘Let God Sort Em Out’ is still the album of the motherfckin year. Whole new year, still album of the year,” per Kurrco. “Album of the motherfcking year until we drop again. We don't care who dropping. It don't matter.”
That is a strong statement for obvious reasons, especially considering the recent claims surrounding Push himself.
Over the same weekend, hip hop social media lit up after several alleged reference tracks connected to Quentin Miller and Push began circulating. Three tracks surfaced in total, but one that drew the most attention was an alleged record titled “Real Gon’ Come.” It is said to come from the DAYTONA era, around 2017 to 2018.
The situation gained traction because fans remember the past tension between Drake and Pusha T before Drake’s clash with Kendrick Lamar. During that feud, Pusha accused Drake of using ghostwriters on tracks like “Infrared,” which appears on DAYTONA. On that song, he raps, “The bigger question is how the Russians did it /
It was written like Nas, but it came from Quentin.”
Reactions have been mixed. Some people argue it is not a major issue since Miller’s alleged contributions were limited to hooks. Others point out that the songs were never officially released, so they see no real problem. Meanwhile, critics view it as clear hypocrisy on Pusha T’s part, a perspective that DJ Akademiks has also supported.
