logo
Mohegan Sun unveils summer 2025 outdoor entertainment lineup

Mohegan Sun unveils summer 2025 outdoor entertainment lineup

Yahoo25-03-2025
UNCASVILLE, Conn. (WTNH) — Mohegan Sun announced its outdoor entertainment lineup for summer 2025 on Tuesday.
Patti LaBelle coming to Mohegan Sun Arena in April
Concert-goers can enjoy top local tribute bands at the Party on the Sun Patio, free and available to guests ages 21+ (valid ID required). Doors open at 6:30 p.m. and the bands light up the stage at 8 p.m.
June 13: B Street Band, a tribute to Bruce Springsteen
June 20: Captain Fantastic, a tribute to Elton John
June 27: Raise Your Hands, a tribute to Bon Jovi
July 4: Vegas McGraw, a tribute to Tim McGraw
July 11: The Journey Tribute Show
July 18: Beatlemania Again, a tribute to The Beatles
July 25: Soul Sound Revue, a tribute to Motown
Aug. 1: Fleetwood Macked, the Ultimate Tribute to Fleetwood Mac
Aug. 8: 52nd Street Band, a tribute to Billy Joel
Aug. 15: Forever Tina, a tribute to Tina Turner
Aug. 22: Queen Flash, a tribute to Queen
Aug.29: Red Neck Castaway, a tribute to Kenny Chesney
Sept. 5: Refugee, a tribute to Tom Petty
Sept. 12: Zac N' Fried, a tribute to Zac Brown Band
Guitar legend Eric Clapton coming to Mohegan Sun this fall
This year's series at the Sun Patio Concert Series is open to guests of all ages.
Saturday, June 14: Buckcherry
Saturday, July 12: The Village People
Saturday, July 19: Lupe Fiasco
Saturday, Aug. 2: The Roots
Saturday, Aug. 9: HANSON
Sunday, Aug.17: Dasha
Saturday, Aug. 30: Extreme
Saturday, Sept. 6: Sully Erna – The Voice of Godsmack Unplugged
Tickets to every show in the Sun Patio Concert Series go on sale at 10 a.m. on Friday, April 11 via Ticketmaster.com and the Mohegan Sun Box Office, subject to availability.
These shows will take place rain or shine. This event is standing room only. However, picnic tables will be available on a first-come, first-served basis. Outside chairs, coolers, food and beverages are prohibited at the Sun Patio Concert Series.
Both lineups are subject to change
Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Let the Games Begin: Michael Bublé Gears Up For Upcoming Season 28 of ‘The Voice' By Showing Off His Reba McEntire Socks
Let the Games Begin: Michael Bublé Gears Up For Upcoming Season 28 of ‘The Voice' By Showing Off His Reba McEntire Socks

Yahoo

time13 hours ago

  • Yahoo

Let the Games Begin: Michael Bublé Gears Up For Upcoming Season 28 of ‘The Voice' By Showing Off His Reba McEntire Socks

What would The Voice be without the incessant friendly trash-talking and mind games among the coaches? Two months before the two-hour season 28 premiere on Sept. 22, the gang were back on set for a preview of the upcoming go-round in a one-minute video that dropped on Monday (July 28). 'We're so excited!' Reba McEntire sang as she moseyed her way to set in the clip while last season's winner, Michael Bublé, complimented her baby blue outfit and whispered 'it's so good to be back. I'm so happy to be here with you' into a boom mike. The energy was palpable as the coaches hugged staffers, and each other, with McEntire gushing, 'got the band back!,' and announcing that 'now the party can start' when Snoop Dogg brought her in for a warm squeeze. More from Billboard 'The Voice' Names Season 27 Winner In Star-Studded Finale Pete Davidson Announces 2025 Australian Stand-Up Tour Before You Get Back to a Paul McCartney Show, Find The Beatles' Best T-Shirts, Coffee Mugs, Books & More Merch 'My ears are anxious to hear what they have to bring,' Snoop said of the upcoming season's contestants. Before they hear a note, though, Bublé got in some light teasing on McEntire, pulling up his pant leg to reveal what he described as 'the finest socks ever. Look at how beautiful they're smiling at me,' he said while showing off the stockings printed with McEntire's face. ''Hey Mike, I'm gonna beat you,'' he added in his approximation of the country superstar's Southern accent. 'She'll eat you alive!' Horan promised of the claws-bearing McEntire, who bragged that she gets to 'tell them what to do, like a big sister.' The clip ends with Bublé realizing his 'dream come true,' with the Canadian crooner pulling out his hockey stick on the set and volleying around with a tennis ball. New episodes of The Voice will air on Monday and Tuesday nights at 8 p.m. ET on NBC and stream the next day on Peacock. Watch The Voice season 28 preview clip below. Best of Billboard Kelly Clarkson, Michael Buble, Pentatonix & Train Will Bring Their Holiday Hits to iHeart Christmas Concert Fox Plans NFT Debut With $20 'Masked Singer' Collectibles 14 Things That Changed (or Didn't) at Farm Aid 2021 Solve the daily Crossword

NY Film Festival Adds Bruce Springsteen Biopic ‘Deliver Me From Nowhere' as Spotlight Gala
NY Film Festival Adds Bruce Springsteen Biopic ‘Deliver Me From Nowhere' as Spotlight Gala

Yahoo

time2 days ago

  • Yahoo

NY Film Festival Adds Bruce Springsteen Biopic ‘Deliver Me From Nowhere' as Spotlight Gala

The 2025 New York Film Festival has added the premiere of Scott Cooper's Bruce Springsteen biopic, Deliver Me From Nowhere, starring Jeremy Allen White as the iconic musician, as its Spotlight Gala selection. The film, adapted from Warren Zanes' 2023 best-selling book of the same name, is set in the early '80s at a key time in Springsteen's career as he was recording the personal, acoustic songs that would make up his Nebraska album while also working on demos for Born in the U.S.A. and navigating his growing fame. Cooper directs from his own script. In addition to White, Deliver Me From Nowhere stars Jeremy Strong as Springsteen's longtime manager Jon Landau as well as Marc Maron, Stephen Graham, Gaby Hoffman, Paul Walter Hauser, David Krumholtz and Odessa Young. Cooper, Ellen Goldsmith-Vein, Eric Robinson and Scott Stuber produce, with Tracey London and Zanes executive producing. 20th Century Studios is set to release Deliver Me From Nowhere in theaters Oct. 24. More from The Hollywood Reporter Mark Ronson's Latest High Note How a K-Pop Veteran Made Five Figures in a Weekend on a New Music Merch Startup Rupert Grint Returns as Ed Sheeran's Obsessed Fan in "A Little More" Music Video Springsteen: Deliver Me From Nowhere will have its New York Film Festival premiere Sunday, Sept. 28, with Cooper, White, Strong, Young and Springsteen, himself, all expected to be in attendance. 'The New York Film Festival has always felt like a spiritual home for the kind of cinema I believe in,' Cooper said in a statement. 'To now arrive with a film about Bruce Springsteen — an artist whose music shaped not just a country but my own sense of storytelling — is something I could never have imagined. Getting to know Bruce, to explore his world and his spirit, has been one of the most profound creative experiences of my life. To share that experience with New York audiences, in a city that defines artistic possibility, is both an honor and a responsibility I hold with deep gratitude.' NYFF artistic director Dennis Lim added, 'Taking its cue from the stark majesty of Bruce Springsteen's classic album Nebraska, Scott Cooper's Springsteen: Deliver Me from Nowhere has an intimacy and immediacy that eludes most film biographies. Anchored by Jeremy Allen White's revelatory performance, this year's Spotlight Gala selection is a fitting tribute to a living legend.' The NYFF previously announced its currents lineup and main slate, including its opening-night film, Luca Guadagnino's Julia Roberts starrer After the Hunt, which also features Ayo Edebiri and Andrew Garfield; centerpiece film Jim Jarmusch's Father Mother Sister Brother; and closing night film Bradley Cooper's Is This Thing On? Additional highlights from the 34-film main slate include Jafar Panahi's Cannes' Palme d'Or winner It Was Just an Accident, Kathryn Bigelow's A House of Dynamite, Noah Baumbach's George Clooney and Adam Sandler starrer Jay Kelly, Kelly Reichardt's The Mastermind, the Laura Poitras- and Mark Obenhaus-directed Seymour Hersh documentary Cover-Up, and Mary Bronstein's Rose Byrne and Conan O'Brien starrer If I Had Legs I'd Kick You. The 63rd New York Film Festival, presented by Film at Lincoln Center, is set to run Sept. 26 to Oct. 13. Best of The Hollywood Reporter The 25 Best U.S. Film Schools in 2025 The 40 Greatest Needle Drops in Film History The 40 Best Films About the Immigrant Experience Solve the daily Crossword

The Science of Why Humans are Obsessed with Stadium Concerts
The Science of Why Humans are Obsessed with Stadium Concerts

Time​ Magazine

time3 days ago

  • Time​ Magazine

The Science of Why Humans are Obsessed with Stadium Concerts

August 15, 2025 marks the 60th anniversary of a pivotal moment in live music history: The Beatles' infamous performance at Shea Stadium. What began as an unprecedented attempt to accommodate the Fab Four's overwhelming popularity has evolved into a touchstone of pop culture—the modern stadium tour. Today's stadium concerts are more than just supersized live shows; they have become cultural phenomena and socio-economic markers. Perhaps most intriguingly—at least to me—they are also neuroscientific experiments in mass synchronization. In 1965, pop music's demographic was dominated by teenagers with disposable income and a desire to break the self-imposed boundaries of their post-Depression-era parents. The Beatles' audience at Shea was overwhelmingly young, predominantly female, and distinctly American. In the decades since, stadium audiences have expanded in every conceivable way. Through the '80s and '90s artists like U2, Madonna, and Michael Jackson drew increasingly global, multi-generational crowds. Today, truly global music acts like BLACKPINK and Bad Bunny play to stadium audiences worldwide, reflecting the increasing multicultural appeal of contemporary music. And touring artists like Bruce Springsteen, Paul McCartney, Cyndi Lauper, and The Rolling Stones now draw in new followers aside lifelong fans, with three generations of family members often attending together. Fandom itself has transformed. Where fans once relied on the vagaries of radio play and magazine spreads to engage with their favorite artists, today's fans form tightknit communities on social media platforms like TikTok and Discord. Through these digital spaces, enthusiasts exchange theories, share memes, decode Easter eggs, and coordinate elaborate travel plans and ticket-buying strategies months in advance. The shift from passive consumption to active participation has transformed how fans engage with pop music, turning concerts into global events that have expanded well beyond geography and generations. Yet this evolution has created new challenges, chief among them, the skyrocketing cost of being part of the experience. We've gone from $5.10 to see the Beatles at Shea Stadium to Eras Tour tickets with face values ranging from $49 to $449 reselling for up to $20,000 on StubHub and SeatGeek. When my mother wanted to surprise me with tickets to Bryan Adams' Waking Up The Neighbours Tour in 1992, she lined up at the physical box office hours before opening with other eager fans. She forked over $42.50 for two, side-view seats in the lower bowl. Compare that to last year when I battled bots and refreshed my browser every few milliseconds in the hope of scoring four tickets to Olivia Rodrigo's GUTS World Tour before they soared to mortgage-level proportions. By some miracle, I was able to take my three teenage daughters to their first arena show for a relatively low $600. They're now saving their babysitting money and diligently tracking price trends for Benson Boone's American Heart Tour while I'm (half) considering dipping into their college fund to see Bryan Adams again this fall. At what point does the price of admission outweigh the joy of participation? When it came to the Eras Tour, like many other disappointed Swifties, we had to settle for movie screenings and grainy live feeds. Swift didn't stop in our hometown of Montreal. We considered travelling to Toronto, Boston, New York, or Philadelphia. When calculating the costs—tickets, travel, accommodations, meals—our cheapest option turned out to be Lisbon, Portugal. That three-day excursion would have set us back about $6,000 CAD. While that was substantially less than the resale tickets in any nearby city, the financial cost and complicated logistics of participation were too great. Economists often argue that high ticket prices are simply a reflection of market forces—artists, and resellers, can charge more because demand far outstrips supply. Sociologists counter that this trend deepens cultural divides, turning concerts into exclusive experiences for the financially privileged. Despite the costs, stadiums continue to sell out at record speed, raising the question: what is it about live music that makes us willing to pay such a premium? Is it the music itself, the sense of community, or something even more basic? For 30 years, our lab has been exploring why music moves us—literally and figuratively. Many of our studies focus on memory for music, demonstrating that people have a remarkable ability to recall melodies, pitch, tempo, and loudness with surprising accuracy, even without formal music training, suggesting that musical memory operates differently from other forms of memory. We conducted some of the first neuroimaging studies to map the brain's response to music—showing how it lights up the brain, engaging areas responsible for hearing, memory, movement, and emotion all at once. This is why a song can transport you back to a specific moment in time, evoking vivid memories and emotions. Our studies show that when people listen to music they love, it activates brain regions associated with pleasure and reward, helping to explain why a favorite song can feel as satisfying as a good meal or a warm hug. Music's ability to give you chills and make you feel euphoric is tied to the release of natural opioids in the brain, the same chemicals that help relieve pain. Years ago, our lab showed in brain scans that listening to the same piece of music caused people's brain waves to synchronize. Recent studies conducted in real-time, in concert halls, demonstrate that people enjoy music more when the performance is live and experienced as part of a group. Live music triggers stronger emotional responses than recorded music due to the dynamic relationship between the audience and the performers. The visual cues, collective energy, and real-time responsiveness of live music engage more sensory and emotional systems than listening alone, deepening our visceral connection to the experience. Attending a concert is associated with increases in oxytocin, a bonding hormone, enhancing our sense of social connection. When we move together to music—clapping, swaying, or singing in sync—we engage neural circuits involved in motor coordination, empathy, and social prediction, reinforcing our sense of being part of a group. We're literally on the same brainwave! What ties all this together is the simple but profound idea that music is more than just entertainment. From the joy of discovering a new banger to the comfort of an old, familiar tune, music may well be a biological necessity, a fundamental part of being human, wired into our brains and bodies in ways that shape how we think, feel, and connect with one another. Our innate desire for connection might also, in part, explain why a friendship bracelet exchange (inspired by Swift's You're On Your Own Kid) is trending at modern stadium shows: the simple act of swapping beaded bracelets cultivates a microcosm of human connection within a macro-scale experience. It's a ritual that transforms a crowd of thousands into an intimate community, where strangers become momentary friends, bound by shared enthusiasm and a tangible token of group membership. It's a small, tactile gesture that taps into our deep-seated need to bond, to feel seen, and to belong. In a world where digital interactions often replace physical ones, these trinkets are a reminder of the power of touch, of giving, and of creating memories that extend beyond the concert itself. Music has always been a social glue, a way for humans to synchronize their emotions and movements, whether around a Neanderthal campfire or in a packed stadium. And in an era of increasing isolation, these moments of connection feel more vital than ever. Making friendship bracelets to share with your fellow Swifties may be part of the solution. But today's stadium shows aren't just about emotional connection or even entirely about the music—it's also a masterclass in sensory stimulation. The Beatles may have pioneered the stadium format, but their setup was quaint by today's standards. Early stadium shows featured little more than musicians standing in front of a static backdrop, struggling to project their sound through subpar sound systems designed for sports announcers, not music. By the 1980s, technological advancements had changed the game. Pink Floyd's The Wall Tour in 1980 set a new standard for large-scale stage production, with elaborate sets, visual projections, and theatrical storytelling. U2's Zoo TV Tour in 1992 introduced multimedia screens that transformed the stage into a digital playground. More recently, Taylor Swift's Eras Tour involved 70,000 wristbands pulsing in unison, and stage sets transforming from slithering snakes to whimsical fairy-tale forests to cinematic cityscapes. And Beyoncé's 2023 Renaissance Tour incorporated cutting-edge robotics and high-fashion couture, proving that stadium concerts can be as much about visual effects as they are about the music. While many fans view these advances as improvements, others argue that the intimacy and simplicity of early stadium shows have faded, and been replaced by a commercialized, high-stakes industry. The Outlaws Roadshow stadium tour in 2012 left me feeling as though I had overpaid for a lights and lasers show that happened to include the Counting Crows phoning it in somewhere in the background. In the pursuit of grandeur, has some of the raw, unfiltered magic of live music been diluted? And what does all this mean for the future of live music? If the past 60 years of stadium shows (and tens of thousands of years of human music-making) have taught us anything, it's that music, at its core, is about shared experience. We crave the pulse of the bass beneath our feet, the collective chant of a catchy chorus or killer bridge, the unspoken understanding between strangers who, for just one night, are part of something bigger than themselves. As technology continues to evolve and fan communities grow more interconnected, one thing is certain: the stadium concert will remain a space where we come together, not just to listen, but to belong.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store