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Sad Songs for Dirty Lovers

The National

A love letter to The National at the start of its world tour

If you are looking for a review, this isn’t it. This is an appreciation for a band that helped one of your best friends get through his divorce by listening to “Boxer” on repeat; a band whose music made your new city feel like home; a band whose songs helped you through one of the toughest times in your own life.

On Thursday, The National launched its tour with a four-night run at the Auditorium Theatre in Chicago, opening with the quiet and gorgeous “Once Upon a Poolside” from its newest and ninth album “First Two Pages of Frankenstein.” You still saw the playful and charismatic lead singer Matt Berninger joking with the band, a powerful performance of "England" and a set that felt loose and comfortable, like you were just invited over to listen. But 20 years after they first hit the road, The National felt like it had grown up.

You don’t go see The National for stage theatrics or choreography, though you will enjoy the mesmerizing grainy video accompanying the show and Berninger’s dance moves that remind you he is a writer.

You go see The National because you love the band. If BTS has its Army, The National has its “sad dads,” a nod to its middle-aged band members and melancholy songs about angst and loss. And there were plenty of middle-aged men in their “Sad Dad” sweatshirts before the show, lining up to buy more band merch, but if you think that the grown-up hipster is the band’s only fanbase, you missed almost half the people at the show.

You go because even though you’ve seen The National play to much bigger crowds, and you know guitarist/writer/ frequent Taylor Swift collaborator Aaron Dessner played an acoustic version of “The Great War” in front of 66,000 people on her tour in Tampa , the band is at its best in a smaller venue. The Auditorium holds about 3,800 people.

Need a break? Play the USA TODAY Daily Crossword Puzzle.

You go because even though you heard a rumor that the band would play in its hometown of Cincinnati – and now your home – sometime this fall, you didn’t want to wait.

See photos from The National's Tour opener on its Instagram account

You go because Berninger is equally good with the lyrical “About Today” as he is at screaming “Graceless.”

You go because they make you feel young again. The band, who met in Cincinnati, formed in Brooklyn in the late 1990s. Now they feel like grown-up hipsters and you, too, have grown up, even if you were never hip. After 20 songs, the crowd still feels energetic and excited on its feet as they cheer for an encore just before 10 p.m., but most of them sit down for it, perhaps realizing we still need to get up for work tomorrow.

You go because while you had liked the band for almost a decade, you didn’t see them live until your second summer in Cincinnati, a place where I had moved with my then husband and four kids. That July night, before The National came on stage during the Bunbury Music Festival, a storm rolled and rain came down so hard, I thought they’d never play. Everyone was soaked.

And then there on the banks of the Ohio River, along with that friend who credits “Boxer” with surviving his divorce and his then new girlfriend, the skies cleared, the band took the stage. And somewhere between “Bloodbuzz Ohio” and “Mr. November,” I felt like I was home.

You go because these five guys, including two sets of brothers (Bryan and Scott Devendorf, Bryce and Aaron Dessner, and Berninger), have stayed together for two decades, through marriages, moves, and eight children. You go because somehow reading about Berninger’s depression in a beautiful piece in The New Yorker and the struggle to create the newest album is inspiring in the way you feel when you see people get through difficult things.

You go because three years ago you were writing a memoir about the hardest time in your life, including your mom’s suicide, and somehow listening to The National each night as you wrote, helped you hit your publisher’s deadline. “It takes an ocean not to break,” lyric from “Terrible Love” became a sort of mantra, and somehow writing about the worst part of your life helped make you better.

You go because sometimes you need to experience art to be inspired, because work is both exciting and complicated and maybe even weird right now, and life can feel heavy even in the best of times.

You go because you learned during the pandemic that there is nothing like hearing your favorite band with people who love them as much as you do. You go because hearing the songs that you wrote a book listening to, songs that helped your friend through the hardest of times, remind you of how much art matters. And that music can inspire and change you, too.

New Additions

The National Add 2023 Tour Dates: Tickets On Sale

by Francesco Marano

Published may 5, 2023.

The National have added 2023 tour dates in conjunction with their new album, First Two Pages of Frankenstein .

The newly planned concerts are set in November at large-scale venues in California and Texas. The National return to the road later this month with a North American leg extending into August, and a European leg from September into October. The opening acts on select dates will be Patti Smith, Soccer Mommy, The Beths, or Bartees Strange. The National also have a number of festival performances lined up in the coming year.

The National Tour Dates and Tickets Near You

The national all tour dates and tickets, when do the national 2023 tour tickets go on sale and what is the presale code.

Tickets for all shows are now on sale. Keep in mind, each date is different and details are subject to change. Click through the individual concert links for more information about the show you're interested in.

For the most up-to-date information, follow The National on social media and sign up for the mailing list , in addition to checking your local venue's social media and email subscription service.

For more, check out The National Zumic artist page .

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The National lead singer Matt Berninger pours his heart out onstage.

We’re only a few weeks into 2023, and The National have already laid out exciting plans for their entire year.

First, the group will release their new album, “First Two Pages of Frankenstein,” on April 28. Next, they’ll embark on their 19-concert arena tour with special guests Soccer Mommy, The Beths and Bartees Strange.

And, in the middle of all this madness, Matt Berninger and the band will headline at Napa Valley’s BottleRock and Boston’s Boston Calling Festival . Both multi-day Memorial Day weekend extravaganzas will take place on May 26-28.

They’ll close their busy year closes with a massive blow-out show at New York City’s Madison Square Garden on Aug. 18 with special guest Patti Smith.

Although tickets don’t go on sale on Ticketmaster until Friday, Jan. 27, fans who want to ensure they have tickets ahead of time can purchase on sites like Vivid Seats before seats are officially on sale.

Vivid Seats is a secondary market ticketing platform, and prices may be higher or lower than face value, depending on demand.

They have a 100% buyer guarantee that states your transaction will be safe and secure and will be delivered before the event.

The National 2023 tour schedule

A complete calendar featuring all upcoming tour dates, venues and links to buy tickets can be found below.

The National new album

On April 28, The National will release its ninth studio album, “First Two Pages of Frankenstein.”

The 11-track record will feature big-name special guests like Sufjan Stevens, Phoebe Bridgers and Taylor Swift and is now available for pre-order.

Want to hear the lead single “Tropic Morning News?”

You can below.

And, of course, here is the complete track listing, including special guests.

1. Once Upon A Poolside (feat. Sufjan Stevens) 2. Eucalyptus 3. New Order T-Shirt 4. This Isn’t Helping (feat. Phoebe Bridgers) 5. Tropic Morning News 6. Alien 7. The Alcott (feat. Taylor Swift) 8. Grease In Your Hair 9. Ice Machines 10. Your Mind Is Not Your Friend (feat. Phoebe Bridgers) 11. Send For Me

As a bonus, The National’s Instagram account shared that “NTL Cherry Tree members who pre-order First Two Pages of Frankenstein via the member store will also receive a Flexidisc single of “Weird Goodbyes (feat. Bon Iver.), which was previously only released digitally.”

The National opening acts

Matt Berninger, Aaron Dessner, Bryce Dessner, Bryan Devendorf and Scott Devendorf will take a handful of up-and-coming indie acts along with them to select shows.

Here’s a snapshot of who you might see opening for the group when you see them live.

Soccer Mommy is led by 25-year-old singer-songwriter Sophie Allison. The group has been steadily releasing music since 2016, and just last year, they dropped their fifth album, “Sometimes, Forever,” which Rolling Stone awarded four stars .

The Beths are darlings of the indie scene. Originally from New Zealand, the four-member group (only one is named Beth) employs disaffected, dream-like vocals from lead singer Elizabeth Stokes and powerful instrumentals to create a unique sound that lends itself well to Christmas music, as heard here .

Bartees Strange will fire you up. The 33-year-old English indie star straddles the line between rap and rock with a sound reminiscent of TV On The Radio. Asking us to pick a favorite track is no easy feat, but we’re partial to his soaring single “Boomer,” but you can’t go wrong with any track on his 2022 album “Farm To Table.”

Patti Smith and Her Band have done it all. For the uninitiated (where have you been?!), Smith is a Rock and Roll Hall of Fame inductee, a New York icon, and brought the world the seminal tracks “Because The Night,” “Dancing Barefoot,” and “People Have The Power.”

The National 2023 festival appearances

As noted before, The National will headline a pair of festivals in 2023.

We compiled all the details — dates, venues and fellow headliners — for you below.

Huge concert tours in 2023

The National is going on a national tour this year, and so many other huge groups are too.

Here are just five of our favorite can’t-miss artists you’ll want to see live in the next few months.

• Bruce Springsteen and the E Street Band

• John Mellencamp

• Dead and Company with John Mayer

• Taylor Swift

• Arctic Monkeys

Still looking for more shows to see? Check out our list of the 52 biggest concert tours in 2023 here .

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Who Are The Openers For The National’s 2023 North American And European Tour?

The National announced their anticipated new album, First Two Pages Of Frankenstein , today. The band also had some other surprises in store, including a brand new tour across North America and Europe this year. For those who are looking to get a head start of familiarizing themselves with the opening acts, you’ve come to the right spot.

Soccer Mommy, The Beths, and Bartees Strange will be opening for The National’s upcoming 2023 tour that starts this spring. The Beths will appear alongside the band for a handful of East Coast dates, while Bartees Strange will appear in Europe. (Soccer Mommy is joining for a number of shows across both continents.)

As for The National’s Madison Square Garden concert, they will be joined by Patti Smith and her band for a special performance. Tickets go on sale on January 27 at 10 a.m. local time. More information is available here .

Continue scrolling for The National’s complete list of 2023 tour dates.

05/20 — Chicago, IL @ Auditorium Theatre * 05/21 — Chicago, IL @ Auditorium Theatre * 05/24 — Washington, DC @ The Anthem * 05/26 — Boston, MA @ Boston Calling Festival 05/28 — Napa, CA @ Bottlerock Festival 05/30 — Los Angeles, CA @ Greek Theatre * 06/02 — Troutdale, OR @ McMenamins Edgefield * 06/03 — Troutdale, OR @ McMenamins Edgefield * 06/04 — Redmond, WA @ Marymoor Park * 06/05 — Burnaby, BC, Canada @ Festival Lawn at Deer Lake Park * 08/01 — Philadelphia, PA @ The Met Philadelphia ~ 08/03 — New Haven, CT @ Westville Music Bowl ~ 08/07 — Detroit, MI @ The Fillmore Detroit ~ 08/08 — Madison, WI @ The Sylvee ~ 08/09 — Minneapolis, MN @ The Armory ~ 08/11 — Denver, CO @ Mission Ballroom ~ 08/15 — Nashville, TN @ Ascend Amphitheater ~ 08/16 — Atlanta, GA @ Cadence Bank Amphitheatre at Chastain Park ~ 08/18 — New York, NY @ Madison Square Garden (with very special guest Patti Smith and her band) 09/21 — Dublin, IRE @ 3 Arena * 09/23 — Leeds, UK @ First Direct Arena * 09/24 — Glasgow, UK @ OVO Hydro Arena * 09/26 — London, UK @ Alexandra Palace * 09/29 — Amsterdam, NL @ Ziggo Dome ^ 09/30 — Berlin, DE @ Max-Schmeling-Halle ^ 10/01 — Munich, DE @ Zenith ^ 10/04 — Madrid, ES @ WiZink Center ^ 10/05 — Porto, PT @ Super Bock Arena ^ 10/06 — Lisbon, PT @ Campo Pequeno ^

* with Soccer Mommy ~ with The Beths ^ with Bartees Strange

First Two Pages Of Frankenstein is out 4/28 via 4AD. Pre-order it here .

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The National are probably the biggest band to come out of Cincinnati, Ohio. The indie-rock group is made up of 5 band members, including two sets of brothers, who play alongside lead singer Matt Beringer.

The band were formed in 1999, and they’ve been touring pretty much ever since. Most of their time as a group has been spent in Brooklyn, New York, where they’ve had a slow burning career that’s seen them grow from being a hardworking but relatively unknown band, to a group who headline festivals around the world and sell out 20,000 capacity arenas.

The full line up consists of lead vocalist Matt Beringer, twin brothers Aaron (guitar, bass, keys) and Bryce Dessner (guitar), and another set of brothers Scott (bass, guitar) and Bryan Devendorf (drums).

Matt Beringer’s distinctive baritone voice, alongside his self-penned discerning lyrics gives the band a unique sound, often described as erring on the sombre-side. They are said to have taken influence from the likes of Tom Waits and Nick Cave, but believe strongly in being innovative and continuing to grow independently as an act.

Interesting fact: one of their biggest breakthrough moments came from their track "Fake Empire" featuring on the 2008 Obama campaign. This, alongside successful support tours with artists like R.E.M., set them on the path to their current popularity. The release of "High Violet" in 2010 saw them reach the biggest achievements of their career - hitting the top 5 across the UK, US and Canada.

Their most recent album "Trouble Will Find Me", was the record that really cemented them into the mainstream. Just before the release of this sixth EP, they premiered a documentary called "Mistaken For Strangers" which followed the band on their "High Violet" tour, focusing mainly on the relationship between singer Matt Beringer and his brother, who took on the role of assistant tour manager.

The National are true strivers, they’ve gradually warmed their way into many a record collection, and with each release prove themselves to be more accomplished than before. Despite their more recent successes, they are not to be considered as having reached a peak: it’s in their nature to continue to improve on themselves.

Live reviews

I suppose any music lover feels a personal connection with what they are listening too, no matter how trite. For fans of The National, the deeply personal, cathartic nature of their songs always seem to express a deep sense of longing. It’s become emblematic of their songs: that somewhat mournful tone in the Dessner production, the halted and deep baritone of Berninger voice, the stark delivery of the rhythm by the Devendorfs.

Few bands know how to manage the mediums which they use as effectively as The National. Their studio sound is immaculate but their live shows are just as perfectly constructed to give the sense of a magical connection between band and crowd night after night. To these talents we can now add short film with Mike Mills’ oeuvre.

Although I personally felt that they had relied too much on their emblematic character over content on their previous album: Sleep Well Beast and I was relieved and delighted by the novelty of an overtly feminin nature on I am Easy to Find. It is a truly excellent LP to add to their already impressive catalogue of outstanding albums but it is easier to achieve intimacy in a studio. The Dessners are expert producers, lending their latents to many other musicians in the Indie world. Harnessing The National’s inimitable vibe in the controlled environment of a studio is easier than expressing deep and personal feeling during a rock concert.

This is where Matt Berninger shines. While the other members of the band play fantastically and even with some theatricality; occasionally trading places and instruments throughout. Berninger’s stage presence is what truly makes a The National concert an experience.

He doesn’t have a good singing voice and he doesn’t have expressive of diverting stage banter (On this occasion he shared the fact that their tour bus has truck a moose on route to Montreal) but what he does have is the ability to give the impression he is reaching out to us, the audience members.

Unlike most musicians who regularly appear in the news for kicking cameras or knocking peoples’ phones out of their hands, Berninger encourages cell phone filming in his shows through his antics. Granted, there is pro forma pre-recorded warning prior to the show that all venues play which warns that filming the show is forbidden, but when the modern audience inevitably pull out their devices to “capture the moment”, the National frontman gives them something to remember. During one song he took a phone out of a front row audience member’s hand and carried it on-stage alternating between filming himself in extreme confessional close-up or capturing guitar work by one Dessner or another.

In another case, he took the phone on a wild ride during one of his legendary walkabouts through the audience. If you’ve been to a The National show, you will recognize this characteristic move by Berninger. He will suddenly become compelled to leave the stage and plow into the crowd. He enters into what appears to be some kind of fugue state, moving back and forth, carving a path through the throngs of the audience members who reach out to touch him, hug him or, more often than not, film him. His interactions are impetuous, short and frenetic, almost brusque as though he is desperate to find what he is looking for and that search is always a physical manifestation of intimacy.

Even when he is on stage, this personae of the desperation and frustration as he strives to connect with us on a personal level is made manifest by the way he wrestled his mike from its stand, flinging the inanimate object violently when it refuses to cooperate. He climbs onto lights and monitors or paces back and forth with nervous hands as though he is trapped and desperate to get out, to connect, with us. Sometimes he seems to almost manage a personal moment, a passing high five or sharing the rest of his bottle of cold red wine with the front row.

It’s an act. The moves are just as rehearsed as a pop diva’s choreographed dance sequence, if less overt. The roadies are always at hand to pick up that recalcitrant mic stand and somehow, empathically, know when Berninger will suddenly be compelled to plunge into the crowd and have an improbable 200 feet of mic cord at the ready. We know the moves, we wait for the sudden yet inevitable breakdown of Mr. November, we sing along with Vanderlyle, yet they still affect us.

I know it’s a conceit, but it’s great showmanship which make us believe we have shared something special and it’s what keeps me coming back show after show.

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I have been introduced to The National by my husband in 2002 when we moved to Vancouver. I was automatically drawn to their music. Being in a new city, and without knowing anyone, I often spend my free time going for long walks and exploring. Their music provided me with a lot of comfort as I strolled through streets full of people, yet feeling alone. Their dark, full of melancholy music fills me up with longing for more. In times where I need a good cry, when I do chores around the house, when I sit down with a glass of wine, it is my go to music. I love all their albums, but High Violet, Trouble will find me, and Boxer are definitely albums that are on the constant repeat. My husband, a music fanatic, is always on the lookout for the new and greatest bands. He keeps introducing me to new artists, yet after listening to one or two songs from their album, I switch the ITunes to play The National. If someone asked me what my favourite song is it would go like this: "I should live in salt" , "Fireproof", "Graceless", "I need my girl", "This is the last time", "Terrible love", "Sorrow", "Lemonworld" "Mistaken for Strangers", "Fake Empire" "Abel" "Trouble will find me"... the list can go on and on.. I don't think they have ever written a bad song. What I love about their songs is not only the melodies are superbly written but the lyrics are full of meaning (and that is hard to find in music today). The National are bringing back music that matters, music that fills your heart and soul. I had a pleasure of attending one of their concerts here in Vancouver in 2013 at the PNE. It was the most amazing show ever. I am about to turn 40, yet I was screaming like a teenager! Did I mention, I love Matt! I recently watched the documentary "Mistaken for Strangers" and loved this new expose of the band... The National, unique sound, amazing vocals, beautiful melodies, dark lyrics, talented musicians and song writers... I would do anything to see them in concert again!

I had such a great evening seeing The National! Matt's interaction with the crowd was second to none. On multiple occasions throughout the evening he descended into the standing area, and sometimes the audience lost sight of him for what felt like minutes (but probably was seconds, thanks to security).

Irish singer Lisa Hannigan, who provided backing vocals on Sleep Well Beast, joined the National at multiple points during the night. Her enchanting vocals were sadly lost at first, but after a few adjustments she provided a haunting accompaniment to Matt's iconic baritone voice.

Matt's voice often reached new levels of emotion when it transcended into a guttural scream on certain songs.

As the night drew to a close, Matt announced that they were to sing 'the most depressing song we've ever written' - About Today. Hailing from their 2004 EP Cherry Tree, this was a particularly special moment. The crowd fell silent and eyes were drawn once again to the incredible light show behind the musicians.

Having performed a cover of Talking Heads' Heaven, support act This Is the Kit and Lisa Hannigan joined the stage for a beautiful, bittersweet rendition of Born to Beg.

The icing on the cake of a beautiful two hour concert was the final song - Terrible Love. Matt walked through the crowd as we all sang in unison 'it takes an ocean not to break'.

My only regret is that we didn't get to hear Mr November, my favourite song.

The National can be depressing, and there's no denying I felt slightly melancholy this morning, but in today's world it's impossible - at least for me at least - to pretend that everything is going swimmingly.

We need music that examines our deepest emotions to prevent us burying our heads in the sand. And with that, we need the National.

Morrissey’s voice made introductions by way of lyric as The Smiths’ “Please, Please, Please Let Me Get What I What” was piped over the PA while the band took their position on stage. Berninger and the brothers were joined by a pair of multi-instrumentalists who dabbled in various sounds throughout the night, but whose main contribution came in the form of horns. As Morrissey’s pleas faded behind the three split-screens that acted as backdrops, Berninger was pacing like a caged beast; his neck bent, his head facing the ground, and his long blonde hair obscuring not only his glasses, but most of his facial features as well. “Thank you,” he said curtly, before following the brothers into “Don’t Swallow the Cap”. Everyone was on their feet, with their arms overhead, when the LSD-inspired rainbow light-show was washed out in bubbling crimson waves as the night transitioned into “Bloodbuzz Ohio”. Then we were treated to the first preview of the evening…

“Checking Out” started out with simple synth, then Berninger came in with his deep, introspective, stream-of-consciousness vocals about fucking things up, before a light backbeat and simple chord progression met him somewhere in the middle. The song continued to be very synth and vocal driven from beginning to end. Multiple members of the band have spoken about a new direction forward, and if “Checking Out” is any indication of where the new road leads, I’m certainly along for the ride.

See more http://ilistensoyoudonthaveto.com/2016/08/01/the-national-red-rocks-07-31-16/

This show was labeled "A Special Night with The National" and was a limited 6 city engagement that included a viewing of a short film directed by Mike Mills (not THAT one) and scored by special arrangements of tracks from IAETF and Q&A with Mike and one of the Dessner's and Matt.

The short film was good, very moving about a woman's (Alicia Vikander) journey from childhood through life and including all the experiences one would imagine a woman has/goes through. To this end the female collaboration on the new album lends itself very well.

The main set was comprised of the new tracks from IAETF and featured appearances by Julien Baker for a couple of songs, as well as the Brooklyn something Chorus/Choir. The live arrangements were complete with string trio and brass duo. The songs were good but most (all but 2 or 3) lacked the energy that one is accustomed to seeing from The National (this is neither a good thing nor a bad thing, I get it, this was a toned down show, to be seen more like an art show). The encore consisted of 3 or 4 songs from the back catalog and Not in Kansas, which packed so many political and societal issues into one song it will make your head spin. They played Fake Empire, Bloodbuzz and The System Only Dreams in Total Darkness which demonstrated the regular energy of a 'The National' show.

Overall a good show, definitely different from the 8 or 9 times I've seen them previously.

I saw The National at the Shaky Knees Festival in Atlanta this May. I have always liked their music but did not have a strong desire to see them live because their music is so mellow. However, they were awesome! I was pretty close to the stage in a general admission area. The sound was great and their energy was great too. I was shocked at how bad ass the lead singer is. He was smashing things on stage and even came out into the audience and crowd "walked" around. I was so close I could almost touch his hand. At the end of the show, they were so thankful of the audience, and it seems like they genuinely care about their fans and want to make sure that they give the best performance possible. I really enjoy their current album, Trouble Will Find Me. "Graceless" and "I Need my Girl" are my favorite songs. They have been around for awhile (I think about 10 years), and their music just keeps getting better, and they stay current. Seeing them live made me more interested in them as a band. I would definitely see them again if they came back into town.

Some people of my age (82) want to try Parachuting, Bungee Jumping or some other daring pursuit while still on this planet but my greatest wish was to go to a live concert of that amazing band, The National!

I was so lucky to be in Brighton last Saturday (7th Dec) to have my wish granted and the whole experience was fantastic - they even played my very favourite song, ‘Light Years’. The song list was well chosen, full of contrast in mood and tempo and the audience responded happily to singing Vanderlyle Crybaby Geeks!

Our group included three generations, myself, two daughters and a granddaughter, all National fans.

The Brighton Centre is an excellent venue and the audience was so receptive and enthusiastic. I think Matt himself must have realised that, considering his many ventures down to the front row. At one point, he stumbled and my younger daughter held out her hands to steady him - unfortunately he stood on her toes but all is forgiven, Matt!

I had heard they were a life changing show prior to going, but I was skeptical due to how hyperbolic people tend to be about that kind of thing, but HOLY SHIT.

They had a bit of a rocky start, but once they got their groove on (and Beringer got sufficiently drunk) 2-3 songs in, it was one of the most surreal shows I've ever had the pleasure of attending.

their music is often noted for being a bit mellow, but this show couldn't be less so. when it they weren't reaching swans-level volumes with songs like Mr November, they were delivering some satisfyingly visceral takes on classics like "Don't Swallow the Cap" or "Fake Empire"

seriously, though, this show was insane & I highly recommend seeing them to anyone if they're in your area.

An incredible live performance. Matt and the band bring to life songs from the album with such passion and grit in ways that can't fully be explained. They make you fall in love again with music and songs that you may have listened to hundreds of times and thought you understood. They emotionally charge into anthems and b sides alike and have a great time interacting with the crowd, with Matt often stepping off stage or singing with the crowd around him. The stage presence, comments between songs, goofy dancing by Matt, band mate banter and red solo cups handed out or flung into the crowd all add to the incredible musical performance. I can't recommend seeing them enough. If you're a fan this is a must see show.

They are absolutely incredible live. Between Matt's shrieking during The Pull of You and the intensity of Bryce and Aaron during rockers like Day I Die (during which Matt waded deep into the crowd) and System, this was certainly not a boring affair! Even the quieter numbers (Vanderlyle Crybaby Geeks, Light Years, etc) had a coiled intensity. Matt is super funny on stage, telling clever anecdotes and giving away the mic stand at the end of the concert. The only caveat to the performance was that the whole field reeked of weed, so strong it was making me and my SO sick. Most of the fans just stood there smoking instead of actually having fun and dancing. The band itself was awesome though!

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The National is not due to play near your location currently - but they are scheduled to play 34 concerts across 10 countries in 2024-2025. View all concerts.

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Good mythical morning is going on tour for the first time ever.

Join Rhett & Link and the Mythical Crew live and in-person for a night that will bring the show you love to life like you’ve never experienced it before. Featuring your favorite segments, classic games, music, mayhem, Mythicality, and more. You may even become part of the show.

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If you want to beat the queues or represent The Future Past before you even get to the venue, we’ve got selected 2023 tour merch available to pre-order exclusively from the Maiden store . Take advantage of flat-rate shipping and don’t forget, Fan Club members save 10%

Want more designs? You’ll have to wait until after the first show, Eddie needs to keep some secrets ;-)

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Dodge Brothers Classic Cars Visit EROS

Dodge Brothers Club members drove a dozen century-old vehicles to Sioux Falls, South Dakota, this week to visit the USGS Earth Resources Observation and Science (EROS) Center.

As the group strolled inside to learn about Landsat and the EROS science mission, EROS staff trekked outside to admire the row of classic autos built between 1914 and 1936.

The visitors were impressed by the spacious atrium and the gorgeous Earth As Art satellite imagery on display, along with the Landsat 8 model suspended above them. But they were especially struck by the scientific insights gained by observing land change over time via remote sensing satellites. One mentioned the monitoring of coal mines as they expanded across the landscape. Another, a retired farmer, noted that he had previously been unaware of how remote sensing benefited agriculture, for instance by tracking potential drought.

The club’s trip to EROS was pre-selected by Ed and Deanne Weninger of Brookings, South Dakota, who hosted the 2024 Dodge Brothers Club Mid-America Tour, June 10-14, 2024. The couple had been planning for a year and visited EROS as a prospective stop in August 2023. “We were just blown away” by the science center, Deanne said, and decided to add it to the tour. She predicted group members would especially like seeing the mosaic maps of each of their home states. Club members on the tour hailed from 17 states, from as far west as California and Oregon, as far east as Connecticut, New Jersey and New York, and many states closer to South Dakota. One even came down from Alberta, Canada!

After the tour of the Center and lunch, club members returned outside to tell EROS staff more about the vehicles. They opened hoods to show off restored engines and fielded questions covering everything from balancing wheels to finding parts.

With cars this old, each one has a story to tell. As a child, Ed Weninger played with his 10 siblings on the rust-covered 1929 Dodge that sat near a dugout on his grandfather’s farm near Strasburg, North Dakota. Ten years ago, Ed started restoring it, and the 95-year-old vehicle now sports a beautiful butter-yellow paint job and has a top speed of 35 mph.

Because of a predicted storm with potential hail, some vehicles remained in Brookings and others were tucked safely in trailers en route to EROS. The group left the Center earlier than planned when dark clouds threatened around 1 p.m. The well-cared-for engines started with a purr, many quieter than modern vehicles, and drove off or were loaded back into trailers.

This glance into the past inspired EROS Chief of Staff Tim Glynn, a self-described car guy. “They’re coming here to learn about Landsat, which is a 50-year-old repository of data, and they’ve got cars that are 100 years old. Isn’t that a wild paradigm?” he said. “I don’t know whether to say that’s the old meeting the new, or the old meeting the old. It was neat to have them here.”

Groups like the car club are requested to schedule a tour ahead of time, but the EROS Center also has walk-in tours at 10 a.m. and 2 p.m. weekdays. Click here for more information about visiting EROS, or go to the EROS homepage to learn more about our mission and read the latest news. You’ll also find links to our Eyes on Earth podcasts, Image of the Week and other interactive features.

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THE SUN WILL COME OUT.

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Holding onto hope when times are tough can take an awful lot of determination, and sometimes, an awful lot of determination comes in a surprisingly small package. Little Orphan Annie has reminded generations of theatergoers that sunshine is always right around the corner, and now the best-loved musical of all time returns in a new production – just as you remember it and just when we need it most.

ANNIE, directed by Jenn Thompson , features the iconic book and score, written by Tony Award®–winners Thomas Meehan, Charles Strouse and Martin Charnin . This celebration of family, optimism and the American spirit remains the ultimate cure for all the hard knocks life throws your way.

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Chicago music scene is rocking again, and it's getting national attention

Bands like brigitte calls me baby, friko, lifeguard, horsegirl and dehd are taking the music industry by storm and all eyes are on chicago’s rock scene in a very big way..

Brigitte Calls Me Baby — Jeremy Benshish (from left), Wes Leavins, Devin Wessels, Trevor Lynch and Jack Fluegel. They are among the bands that helping to put a national spotlight on Chicago’s music scene.

Scarlet Page

In August 1993, Billboard published a cover story declaring Chicago the “Cutting Edge’s New Capital.” At the time, all eyes were on the city’s growing rock scene, positioning it to be the next to break out after Seattle’s grunge revolution.

Artists like the Smashing Pumpkins, Veruca Salt, Urge Overkill, Liz Phair, Material Issue, Fig Dish, Triple Fast Action and Local H led A&R label reps to basically set up a basecamp in Wicker Park. The bands were booking major tours, becoming the darlings of rock radio and the faces of MTV.

Now, 30 years later, could it be happening all over again?

While rock may sound different in 2024, the feeling is back. If you tune into WKQX (101.1 FM) or WXRT (93.1 FM) today, you’re likely to hear new Chicago acts like Brigitte Calls Me Baby, Friko, Sincere Engineer and Dehd taking the airwaves in regular rotations alongside national movers and shakers. Respected tastemaker labels have also been signing them in a feeding frenzy. Friko and Brigitte Calls Me Baby are the latest to join ATO Records (just behind another local talent, Neal Francis) and Lifeguard and Horsegirl are now part of the roster at Matador Records. Not to mention Dehd on Fat Possum and Beach Bunny on Mom + Pop (and countless others climbing the ranks).

Emily Kempf with Dehd performs at the T-Mobile stage, during Lollapalooza at Grant Park in 2023. The band is among the latest wave of local artists putting a new spotlight on Chicago’s music scene.

Tyler Pasciak LaRiviere/Sun-Times

The uprising is also evident in this summer’s festival lineups. Friko and Brigitte are both playing Lollapalooza, Lifeguard has a spot at Pitchfork and Sincere Engineer is playing Riot Fest. Some acts will also grace stages at Newport Folk Festival, Summerfest and even as far as Japan’s Fuji Rock this year. And all of it has Chicago industry insiders — and beyond — excited.

“That’s what it was like back in the day with the Pumpkins, Liz Phair, Material Issue — when Chicago exploded onto the national scene,” says Metro founder and owner Joe Shanahan, a key player in the ‘90s rock movement here. He not only sees the similarities — young, artsy twentysomethings working in tandem to build a scene — but also the potential. As Shanahan adds, “I hope this [becomes] the same.”

“[The scene] is absolutely having a boom,” confirms Molly Mobley, lead talent buyer at Empty Bottle since 2019. The club has long been ground zero for many emerging Chicago artists to cut their teeth, and Mobley has had a front row seat to see it all unfold. She theorizes that the growing national pull of Chicago’s scene is coming from “labels hungry to find new bands and help foster this new generation of music. … And, if we have the eye on us, it’s not hard to find a lot of bands here who are really talented.”

Joe Shanahan, owner of Metro, stands near the Metro Store in this 2022 file photo.

One person who has had that tunnel vision is Matador president Patrick Amory.

“The particular Chicago youth scene … is definitely having a moment,” he says. Though he and the New York-based label’s other executives live on the East Coast, Amory says they all “have a deep affection for [Chicago] and its music going back decades” (the label is also home to Liz Phair).

Through their scouting, Matador quickly signed the young fuzz post-punk act Lifeguard (“they’re one of the greatest live bands on the planet” right now, Amory staunchly declares) and also vied for indie rocker Horsegirl after being impressed by its “complex song structures, mysterious lyrics and vocal harmonies.” To his point, Lifeguard will soon embark on their first-ever European tour, while Horsegirl is still riding high off the acclaim of its 2022 debut, “Versions of Modern Performance” that features members of Sonic Youth and has been gushed over by the likes of The New York Times.

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The same ascent has been seen with Brigitte Calls Me Baby, one of the biggest standouts in the new rock league whose retro-meets-modern swagger sounds like The Smiths, Roy Orbison, Elvis and Interpol mingling together. Before forming the band, frontman Wes Leavins (a Texas native) was cast in a “Million Dollar Quartet” run and worked with Baz Luhrmann on the “Elvis” biopic thanks to his dead-ringer vocal style. The quintet made their national TV debut on “CBS Saturday Morning” in February, have enjoyed international press in rock bibles like NME, and logged tour dates with the Strokes and the Yeah Yeah Yeahs.

But back in 2023, Brigitte Calls Me Baby (named for Leavins’ teenage pen pal connection with actress Brigitte Bardot) was booked for one of Empty Bottle’s long-standing Free Mondays, the series that features free shows by Chicago bands every week. One of the people at that showcase was Chicago native Tom Schmall, director of marketing and promotion at ATO Records and Red Light Management. A SXSW showcase that month inked the deal and ATO soon signed the band.

Tom Schmall stands next to a brown brick wall wearing a black shirt.

Tom Schmall, Red Light Management/ATO Records.

Anthony Vazquez/Sun-Times

Schmall says the New York-based label, started in 2000 by Dave Matthews and his manager Coran Capshaw, has widened its mindset in recent years, after seeing signees Alabama Shakes take off, believing that there was merit in “looking at [artists] that aren’t the most commercial but have potential to be” and setting their eyes on the Chicago buzz acts. While Friko released its ATO debut, “Where we go from here” to a maelstrom of press in February ( see our previous conversation with them here ), Brigitte will release its own album, “The Future Is Our Way Out,” on Aug. 2, during Lollapalooza weekend. Ahead of that, it has two sold-out shows at Lincoln Hall June 21 and 22.

There’s no denying radio has been a huge part of their rise. In November 2023, Brigitte’s lauded EP, “This House Is Made of Corners” garnered them a Top 10 radio hit with the crooner track, “Impressively Average.”

Two of the local stations that have been playing that song regularly have been XRT and Q101. In March, the latter was at Brigitte Calls Me Baby’s first sell-out show at Schubas, posting on social media, “The Chicago music scene is alive and well.” The band was added to the station’s regular daily rotation, which was a bit of a change of the guard. But, says Program Director James Kurdziel, a Minnesota transplant who credits longtime DJs like Lauren O’Neil and Brian Phillips for bringing the band to his attention, “They’re objectively good. … Chicago right now has so many bands that fit Q101, and we thought, rather than just play them on Sunday night when we support as much local music as we can, let’s play them for real.” He’s also booked several bands to play Q101’s annual Piqniq summer fest (this year at Taste of Randolph June 14-16).

Friko features Drummer Bailey Minzenberger (left) and singer-guitarist Niko Kapetan.

Pooneh Ghana

Long-time XRT evening DJ Ryan Arnold, who has hosted and produced new music and local music programs for the station over the last 11 years, says it’s long been “in the DNA, the fabric of [XRT] … to embrace local music,” though he believes the reason many of the bands are now elevating beyond the city is not just because the music is good, but you can chalk of it up to Chicago’s innate work ethic.

“There’s something to be said about people from Chicago. We work. … And for these bands, these aren’t hobbies. You’re never going to outwork someone from Chicago with the determination like some of these young bands have.”

Amory sees it, too: “They’re playing locally every week, promoting all-ages shows in unusual venues or private parties in people’s living rooms and attics; they’re publishing print fanzines; they’re releasing cassettes; and designing artwork.”

“[The Chicago scene] is absolutely having a boom. … And, if we have the eye on us, it’s not hard to find a lot of bands here who are really talented.”

Lifeguard, who formed in 2019, says the pandemic pause was paramount in bringing back that DIY aesthetic, long rooted in the Chicago arts.

“It felt like there was a need for young people to start pushing their art and Chicago succeeded in a lot of ways because of the culture … and supportive environment. It allowed us to push ourselves more,” says guitarist/vocalist Kai Slater.

The lockdown also made Chicago artists settle in, rather than leave for the coasts, says Lifeguard’s bassist/vocalist Asher Case, whose father is Chicago musician Brian Case (The Ponys, 90 Day Men, Facs). “That’s the nice thing, it’s not like people are trying to leave once they’ve found their thing,” says Asher. “I think more people are moving here actually.”

And some of those people who are staying in the city are a highly influential pack who are spreading the gospel of these new acts far and wide. Shanahan first heard about Friko from local musician Matt Walker, the venerable drummer who’s been a part of the Smashing Pumpkins, Morrissey and Garbage. Shanahan then booked the band for Gman Tavern, and a sold-out record release show in February followed. Kurdziel also notes seeing Rise Against come out to support fellow local punk rockers Sincere Engineer at a recent show.

“That’s the scene again,” Kurdziel says. “With the digital world, the first thing that died w

ere scenes. And it seems like now it’s coming back.”

Molly Mobley is lead talent buyer of the Empty Bottle at 1035 N. Western Ave. in Ukrainian Village. Peg is the bar cat.

Peyton Reich/Sun-Times

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Of course, another huge contributor to the scene’s strength is the investment of the “deeply independent venue-owned” spirit of the city, says Mobley.

“There’s so many spaces for people to really grow as musicians and have the space to spread their wings without feeling like they’re being clipped by competition,” she says. Plus, the difference of having in-house buyers and promoters, prominent in Chicago, is that “we are real people, we see our friends doing real things and we couldn’t be prouder and want to put a spotlight on them more.”

It’s this kind of infrastructure and support that has been key to the rise of Chicago’s rock scene we’re seeing now, says Schmall.

“There seems to be an ecosystem once again. You have the clubs that are extremely active … Agencies have offices here now like Wasserman and Rival Artists (which used to be part of Paradigm), even Ten Atoms Management,” he shares, also a prime example as a local rep for ATO.

“This wasn’t the case before. A lot of times these bands had to go outside to find it or do it on their own. It just feels like all the gaps are starting to fill in.”

For many of these reasons, says Leavins, “Chicago has been the most important place in my life and I don’t know that I could’ve made [Brigitte Calls Me Baby] happen anywhere else.” Hailing from a smaller town in Texas, he didn’t know too many musicians. But he did connect with several in Chicago over social media and soon realized, “There’s something happening and I want to be a part of it.” He adds, “As much as I love L.A. and New York, there’s a lot of boxing in there. Like, okay here’s this trend, and now that we’ve signed you, try following it. But, I think in Chicago, we’re the ones starting trends now.”

July 20 – Pitchfork Music Festival
July 21 – Empty Bottle
June 21-22 – Lincoln Hall
August 3 – Lollapalooza
June 14 – Q101 Piqniq @ Taste of Randolph
July 9 – SPACE
August 4 – Lincoln Hall
June 15 – Q101 Piqniq @ Taste of Randolph
September 20 – Riot Fest

Taylor Swift says 'Eras Tour' is officially ending in December

Taylor Swift performs on stage during during "Taylor Swift | The Eras Tour" at Anfield on June 13, 2024, in Liverpool, England. (Photo by Gareth Cattermole/TAS24/Getty Images for TAS Rights Management)

It’s the end of an era for Taylor Swift.

While playing her 100th show in Liverpool, England, the entertainer announced that "The Eras Tour" will officially end in December.

Swift’s record-breaking world tour began in March 2023, in Glendale, Arizona, and has since hit multiple cities across the U.S. and around the world – becoming the first tour in history to surpass $1 billion in revenue and the highest-grossing tour of all time, according to Forbes.

Here’s what to know about the end of ‘The Eras Tour’:

‘The Eras Tour’ end date

Mysterious taylor swift dancer has fans going wild with theories.

Video shows a mysterious silhouette swaying along to Swift’s "Delicate" at her concert in Madrid. The dancer appears to be near the stadium’s roof, leading many to believe it was someone who had access to restricted areas.

Swift, 34, made the announcement on Thursday night to the concert crowd before singing "All Too Well."

"A lot of you are like, 'How are you going to celebrate the 100th show?'" Swift can be heard saying in fan footage . "The celebration of the 100th show for me means this is the very first time I've acknowledged to myself and admitted that this tour is going to end in December."

"That feels so far away from now, but then again, it feels like we just played our first show on this tour because you have made this so fun for us," Swift added.

Remaining Taylor Swift ‘Eras Tour’ North American dates

Oct. 18, 2024: Miami, Hard Rock Stadium
Oct. 19, 2024: Miami, Hard Rock Stadium
Oct. 20, 2024: Miami, Hard Rock Stadium
Oct. 25, 2024: New Orleans, Caesars Superdome
Oct. 26, 2024: New Orleans, Caesars Superdome
Oct. 27, 2024: New Orleans, Caesars Superdome
Nov. 1, 2024: Indianapolis, Lucas Oil Stadium
Nov. 2, 2024: Indianapolis, Lucas Oil Stadium
Nov. 3, 2024: Indianapolis, Lucas Oil Stadium
Nov. 14, 2024: Toronto, Rogers Centre
Nov. 15, 2024: Toronto, Rogers Centre
Nov. 16, 2024: Toronto, Rogers Centre
Nov. 21, 2024: Toronto, Rogers Centre
Nov. 22, 2024: Toronto, Rogers Centre
Nov. 23, 2024: Toronto, Rogers Centre
Dec. 6, 2024: Vancouver, BC Place
Dec. 7, 2024: Vancouver, BC Place
Dec. 8, 2024: Vancouver, BC Place

This story was reported from Cincinnati.

Entertainment | Miley Cyrus feels ‘vindicated’ by Billy Ray’s…

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Entertainment | supreme court strikes down trump-era ban on gun ‘bump stocks’, entertainment, entertainment | miley cyrus feels ‘vindicated’ by billy ray’s split from ‘no good’ firerose: report, the australian singer is ‘one of the reasons’ miley cyrus stopped talking to her father, a source has said in a new report.

MADRID, SPAIN - APRIL 22: Miley Cyrus and Billy Ray Cyrus attend 'Hannah Montana:The Movie' photocall at the Villamagna Hotel on April 22, 2009 in Madrid, Spain (Photo by Carlos Alvarez/Getty Images)

“Miley is vindicated knowing that she was right about Firerose the whole time and she used to tell everyone that every rose has its thorn,” a source has told the Daily Mail . The Grammy winner, who has reportedly been estranged from her father for several years, knew that Firerose was “was no good and she was right.”

“Everyone warned him of this, and he was adamant that they were in love,” the source continued.

NASHVILLE, TENNESSEE - AUGUST 23: (L-R) FIREROSE and Billy Ray Cyrus attend the 16th Annual Academy of Country Music Honors at Ryman Auditorium on August 23, 2023 in Nashville, Tennessee. (Photo by Jason Kempin/Getty Images for ACM)

News broke this week that the 62-year-old “Achy Breaky Heart” singer had filed for divorce from his much-younger wife after just seven months of marriage. The divorce filing contains some pretty loaded language regarding his failed marriage to Firerose, 37, whose real name is Johanna Rose Hodges.

In addition to citing the usual “irreconcilable differences” as reasons for the divorce, Billy Ray Cyrus also alleges “inappropriate marital conduct,” People magazine reported. Moreover, Billy Ray is seeking an annulment “on the grounds of fraud.”

Billy Ray Cyrus and Firerose revealed in September 2022 that they were engaged, just five months after he and Miley’s mother, Tish Cyrus, announced their divorce after 28 years of marriage. Miley has sided with her mother in what’s become a known as a messy Cyrus family feud.

However, the timeline of Firerose’s romance with Billy Ray was always unclear, according to The Sun and the Daily Mail.

According to People magazine, Billy Ray Cyrus and Firerose had been “friends for years.” But perhaps of concern to Miley: Her father and Firerose met on the set of “Hannah Montana” around 2012. That’s the Disney Channel sitcom in which a teenaged Miley Cyrus and her father played a fictional daughter-father duo.

Fast forward about eight years: Billy Ray Cyrus and Firehose began writing songs together during the COVID-19 pandemic, and romance soon followed. People magazine said they began dating sometime in 2022 and got engaged “later that year.”

After Firerose and Billy Ray Cyrus made their red carpet debut as a couple in August 2023 at the Academy of Country Music Awards, she gushed about him in a joint interview on Good Morning America, Us Weekly reported. “It has been a beautiful whirlwind and I am so grateful that I get to live my dreams every day with the love of my life,” she said. She and Billy Ray tied the knot in October 2023.

But the source told the Daily Mail that Firerose is “one of the reasons (Miley) stopped talking to her dad.”

With his divorce filing, Billy Ray Cyrus gave Firerose just two days to leave their marital home, agreeing to give her $500 a night for 10 days for temporary housing, Us Weekly reported. He will continue to give her $5,000 a month for housing in Tennessee for 90 days or until their divorce is finalized.

Even with Billy Ray Cyrus’ seemingly decisive move to end his marriage, his daughter has no intention of contacting him, the source told the Daily Mail reported. But she would not be averse to one day repairing their relationship.

“This does not mean that Miley will be back in communication with Billy,” the source said. “She has no communication with her dad right now.”

But even if daughter and father are still estranged, she spoke fondly of him in a recent interview with David Letterman for his Netflix series, “My Next Guest Needs No Introduction,” according to The Hollywood Reporter.

Miley Cyrus gave both her parents credit for her success in “different” ways. She said her father “has a relationship and a foot on the ground to the real and to nature and he always did, even when he was super famous.”

“I’m grateful for being able to watch him ahead of me,” Miley Cyrus said. ‘He’s almost given me this map. And there’s a map of what to do and what not to do, and he’s guided me on both.”

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U.S. Publishing Revenue Grew Nearly 11% to $6.2B in 2023, NMPA Reveals at Annual Meeting

The New York event honored songwriters including Lana Del Rey, featured a fireside chat with WMG CEO Robert Kyncl and revealed the organization's latest moves against Spotify.

By Kristin Robinson

Kristin Robinson

Music Publishing Reporter

During the National Music Publishers’ Association (NMPA) annual meeting on Wednesday (June 12), the trade organization said it had calculated total U.S. publishing revenue at $6.2 billion in 2023, up 10.74% from the previous year.

The event, held at Alice Tully Hall at Lincoln Center in New York, is thought of as a state of the union for the U.S. music publishing business. During the presentation, it’s also common for NMPA president/CEO David Israelite to announce major actions it’s taking against tech companies on behalf of publishers. This year, he targeted Spotify , sending an official complaint to the Federal Trade Commission (FTC) as well as letters to the attorneys general of nine states and a list of consumer groups — urging them to stop Spotify’s efforts to bundle music and audiobooks into its premium tiers. It’s the first time the NMPA has involved the FTC in its fight with a tech company.

NMPA Fires New Volley in Spotify Fight by Filing FTC Complaint, Letters to State Attorneys General…

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In Wednesday’s FTC complaint, the NMPA says Spotify “has deceived consumers by converting millions of its subscribers without their consent from music-only subscriptions into ‘bundled’ audiobook-and-music subscriptions, publicly announcing increased prices for those subscriptions, failing to offer an option for subscribers to revert to a music-only subscription, and thwarting attempts to cancel through dark patterns and confusing website interfaces.” (For more on this, check out Billboard ‘s full coverage of the FTC complaint here .)

Aside from Israelite’s big announcement, the event also honored top songwriters for their contributions to the music business — including an opening tribute to songwriter and outgoing NMPA board member Ross Golan . The NMPA also issued awards to Lana Del Rey , this year’s Songwriter Icon recipient, and Savan Kotecha , winner of the Non-Performing Songwriter Icon award. Elsewhere, “Can’t Help Falling in Love” was honored with NMPA’s Iconic Song award, featuring a performance of the song by Ingrid Michaelson .

The event additionally featured fireside chats with Robert Kyncl , CEO of Warner Music Group, and Shira Perlmutter , register of copyrights and director of the U.S. Copyright Office.

NMPA’s annual meeting comes amidst a busy year in the music publishing business. At the start of 2024, the MLC, which collects and distributes U.S. mechanicals, began its first-ever redesignation process — a routine five-year review of its operations to determine if any changes need to be made to the organization.

The same month, UMG pulled its music catalog from TikTok, including its publishing interests, alleging that the short-form app did not pay the “fair value” of music while also raising concerns regarding AI and artist safety. The NMPA showed its support for UMG regarding the move and even joined the music giant by letting the NMPA’s model license with TikTok, used by a number of indie publishers, lapse at the end of April. (UMG and TikTok eventually made a deal .)

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Kevin McCarthy's 'revenge tour' suffers embarrassment in its first outing

By Ja'han Jones

Former House Speaker Kevin McCarthy's “revenge tour” suffered a flat tire in its first showing. McCarthy and his well-heeled allies are seeking retribution against the Republicans who voted to remove him as speaker last year, and one way he’s tried to get back at them — aside from savaging them in the media — is by backing their challengers in primary races .

The former speaker saw his first shot at retribution go up in flames Tuesday , as his nominee to oust Rep. Nancy Mace, R-S.C., in the District 1 primary failed mightily.

NBC News reports McCarthy-linked groups spent more than $4 million hoping to boost attorney Catherine Templeton, and all that amounted to was a 27-point drubbing. McCarthy and Co.’s support for Templeton placed them at odds with Donald Trump , whose endorsement of Mace, she said, “means more today than it has ever meant.”

According to some reports, Mace and Virginia Rep. Bob Good were considered the most vulnerable targets in the group McCarthy has called the “crazy eight led by Matt Gaetz.”

Good, who endorsed Ron DeSantis in the Republican presidential primary, is the only member of that group who’s received a full-on condemnation from Trump this year. Trump endorsed John McGuire, the McCarthy-aligned opponent, in the primary. So there's potential for a McCarthy "win" — if you want to call it that, since it's drafting in the wake of Trump's involvement. There’s a McCarthy-aligned opponent running in the primary against Gaetz, too; ousting him is likely an uphill climb, given that Gaetz received nearly 70% of the vote in his last primary.

As Politico notes , McCarthy has limited opportunities to exact his revenge going forward:

Rep. Eli Crane (Ariz.) also voted to oust McCarthy and faces a primary later this summer. Two of McCarthy’s other detractors — Rep. Matt Rosendale (Mont.) and former Rep. Ken Buck (Colo.) — aren’t running for reelection, while two others — [Tennessee Rep. Tim] Burchett and Rep. Andy Biggs (Ariz.) — don’t have a primary opponent.

This “revenge tour” by McCarthy was supposed to show his power as an independent force in Republican politics. So far, it’s shaping up to be a reflection of his weakness and political irrelevance .

Ja'han Jones is The ReidOut Blog writer. He's a futurist and multimedia producer focused on culture and politics. His previous projects include "Black Hair Defined" and the "Black Obituary Project."

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U.S. Publishing Revenue Grew Nearly 11% to $6.2B in 2023, NMPA Reveals at Annual Meeting

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