Latest news with #HitMeHardAndSoft
Irish Times
17 hours ago
- Entertainment
- Irish Times
Billie Eilish at 3Arena in Dublin: Stage times, ticket information, support acts and more
Alternative American pop singer Billie Eilish is set to perform two shows in Dublin's 3Arena this weekend. Eilish shot to pop stardom 10 years ago when she uploaded a song to the music sharing platform SoundCloud which went viral and landed her a record deal. Her most recent album, Hit Me Hard and Soft , was released in 2024 and co-written by Eilish and her brother and frequent collaborator Finneas O'Connell , who also produced the album. If you are heading to either of the gigs in the 3Arena, here's everything you need to know. When and where are the concerts? Eilish is performing two shows in Dublin's 3Arena on Saturday, July 26th, and Sunday July, 27th. READ MORE What time should I arrive? Doors for the gig open at 5.30pm with supporting acts expected to start at about 7pm. Eilish will take to the stage at about 8.30pm. Her set is about one hour and 40 minutes long, so the concert should end some time close to 10.15pm. Traffic and entry delays are inevitable, so make sure you give yourself a couple of hours' leeway getting to and from the venue. Who is playing? Eilish will be supported on both nights by Syd, an American alternative R&B singer who gained recognition as a member of the hip-hop collective Odd Future. What songs will Billie Eilish play? This is a set list performed by Eilish at CO-OP Live in Manchester on 20th July. It might give an idea of what to expect in Dublin. Chihiro Lunch NDA Therefore I am Wildeflower When the Party's Over The Diner Imolio bad guy The Greatest Your Power Skinny Halley's Comet Bury a Friend Oxytocin Guess (Charli XCX cover) Everything I Wanted Lovely/Blue/ocean eyes L'Amour De Ma Vie What Was I Made For? Happier Than Ever Birds of a Feather How do I get there? The venue is fairly centrally located by the Point Village on Dublin's northside, so concertgoers are advised to use one of many public transport options to get to the venue. By bus: The closest stop to the venue is Castleforbed Road which is a two-minute walk away and which the 151 Dublin Bus route stops at. It operates every 10 minutes during rush hour. The G1, G2 and N4 bus routes all have stops within a 10-minute walk from the venue. By car: Parking is available in the Point Village car park but spaces are limited. With large numbers gathering on show nights traffic congestion can delay your arrival and departure so leave lots of time. By luas: The Luas Red Line stops right outside the venue and has extra trams on show nights to cater for the large numbers travelling to and from the 3Arena. You can switch from the Green Line to the Red Line in the city centre. By train: If you are coming into Connolly or Heuston station there are luas or bus connections to the 3Arena. Are there any tickets left? Tickets are sold out on Ticketmaster for both nights. However it is possible that some verified resale tickets may become available. Remember to download tickets to your phone in advance, as there may be internet or connectivity issues at the venue on the day. Do not rely on screenshots, as Ticketmaster often use live or dynamic barcodes that update regularly. What about security? Under-16s will require an accompanying adult aged 18 or over for any ticket type and the standing areas are strictly over-14s only. Make sure to bring an official form of identification with you such as a passport, Garda age card or driving licence. Bags size A4 or more will not be permitted entry, and all bags will be subject to a search on arrival. Prohibited items include glass, cans, alcohol, garden furniture, umbrellas, flares, illegal substances or any item that could be used as a weapon. Recording and taking pictures using a camera phone is no problem, but professional recording equipment will not be allowed inside the venue. What does the weather look like? Friday will be rather cloudy in the morning with well scattered showers, becoming drier through the day with sunny spells developing. Highest temperatures of 16-20 degrees in moderate, occasionally fresh, westerly winds.
Yahoo
4 days ago
- Entertainment
- Yahoo
Billie Eilish Teams With James Cameron for 3D Concert Film
Billie Eilish and James Cameron are teaming for some kind of 3D concert film, the singer announced Saturday from the stage during a performance in Manchester, United Kingdom. 'So you may have noticed that there are more cameras than usual in here,' the Grammy-winning singer told the sold-out crowd. 'I can't say much about it, but what I can say is that I'm working on something very, very special with somebody named James Cameron, and it's going to be in 3D. More from TheWrap Billie Eilish Teams With James Cameron for 3D Concert Film 7 Best Romance Movies on Prime Video Right Now Where to Watch the New 'Smurfs' Movie: Is It Streaming? Nick Offerman Explains Why He Wouldn't 'Pick an Argument' With Trump-Supporter Co-Star Dennis Quaid: 'Something I Try to Handle With Nuance' Eilish did not give details about the nature of the finished project, but said the 'Avatar' director was in attendance at the show. Eilish said her four-show run, with performances between Saturday and Wednesday, would be part of the project. 'So, take that as you will and these four shows here in Manchester, you and me are part of a thing that I am making with him. He's in this audience somewhere, just saying. So don't mind that, and also I'll probably be wearing this exact outfit for like four days in a row.' Eilish is in the middle of a global tour for her latest album, 'Hit Me Hard and Soft.' A representative for Eilish told TheWrap that more details would be released in the coming months. As if Cameron won't have enough to do during that time – the director is set to release 'Avatar: Fire and Ash' just in time for Christmas 2025. Eilish already has one (two-dimensional) concert film in the can: 'Happier Than Ever: A Love Letter to Los Angeles' from 2021. That same year, she released the documentary 'Billie Eilish: The World's a Little Blurry.' The post Billie Eilish Teams With James Cameron for 3D Concert Film appeared first on TheWrap.
Spectator
6 days ago
- Entertainment
- Spectator
A theatrical one-woman show: Billie Eilish at the OVO Hydro, Glasgow reviewed
Like spider plants and exotic cats, certain artists are best suited to the great indoors. Lana Del Rey, for instance, proves the point that just because you can sell enough tickets to fill a stadium doesn't mean you should necessarily perform in one. Some music blossoms in the sun, some ripens in the shadows. Billie Eilish belongs in the latter camp. Even though her biggest hit, 'Birds of a Feather', was the most streamed song on Spotify last year and is now approaching three billion listens, and her duet with Charli xcx on 'Guess' was another ubiquitous sound of 2024, her appeal remains slightly subversive. Eilish's songs – composed with her older brother Finneas – are twisty, introspective and somewhat tortured things, while the devotion of her (mostly female) fans feels like the fervour of cult appeal played out on a mass scale. The last time I saw Eilish was in Glasgow in 2019, shortly before the release of her debut album. She played a warehouse down a lane near the railroad tracks, a mile and several leagues from tonight's cavernous venue. Still only 17, she wore oversized sports clothing and protective splints on her legs from all the jumping around. Much has changed since then – though not the oversized sports gear. And although it would have been fascinating to see her in a similarly sized room again, Eilish is so famous these days that even the 14,000-capacity Hydro felt like a concession to keeping things relatively intimate, when she could easily have played Hampden Park or Murrayfield instead. Keeping a roof over her head was a wise move, yet the level of her success presents a dilemma to an artist whose songs are written in and for the bedroom, and which contain the kind of sonic subtleties best investigated through a good pair of headphones. She is touring her third album Hit Me Hard And Soft, and the boom-boom-bash of arena acoustics took much of these more interesting fringe sounds out of play; the spectral qualities of the likes of 'Lunch', 'Wildflower' and 'The Greatest' were mostly lost. The natural register of her music is soft and sad and between the ballads and whispers there was a palpable sense of Eilish having to consciously crank up the show to pop speed. The staging, however, was ingenious. Eilish understands that visual overload and voyeurism are the tenor of the times. In her hands, the Hydro became part boxing arena, part goldfish bowl. Rather than the traditional front-facing arrangement, the stage was a small, stark cube in the middle of the floor. The musicians were buried in two pits. There were no dancers, no sleek choreography. This was all about the star, tracked and projected from every angle via 360 Jumbotron screens and numerous cameras. Yet the effect was not one of distance but sometimes uncomfortable proximity. Such staging was a smart comment on the nature of stardom. At times Eilish appeared like a caged animal, surrounded by her pursuers; there was some inventive play with a handheld camera that turned the focus back on to an audience which clung to her every word and gesture. At other points she was a triumphant sports champ, goading the crowd into celebratory cheers, or a crackling ghost figure, split in two by violent strobe lighting. While the songs came and went, some not quite hitting the mark, her voice was never less than compelling. On 'Happier Than Ever' she moved through the gears to illustrate a mastery of shifting dynamics. Playing 'Your Power' on acoustic guitar gave it an intimate quality that was faintly mesmerising in such a vast space. But still, this was more about what could be seen than heard. With every detail maximised on the screens, the performance sometimes became the equivalent of a theatrical one-woman show. During 'The Diner' her eyes rolled into her head as though she was playing a possessed demon. Sitting cross-legged beneath a single spotlight to sing 'When the Party's Over', she brought the entire place to a hushed standstill. The set ended with 'Birds of a Feather'. Singing her most straightforwardly accessible song beneath a shower of ticker tape was one of the few moments when Eilish seemed to conform to the rules of the standard arena show. Mostly, however, this felt like a creditable attempt to keep the smaller, stranger qualities in her music and herself alive in a bigger, brasher space. If she ever succumbs to the lure of the stadia, I wouldn't bet against her finding a way to make it work.
Yahoo
7 days ago
- Entertainment
- Yahoo
Manchester Co-Op Live announces major change for Billie Eilish gigs affecting all fans
International superstar Billie Eilish is performing in Manchester this week as part of her Hit Me Hard and Soft World Tour. Announced all the way back in April last year, the award-winning singer-songwriter is set to perform a run of four dates at the newly built Co-Op Live Arena on July 19, 20, 22 and 23. Billie Eilish released her first single Ocean Eyes on SoundCloud in 2015 when she was just 13 years old. Her and her brother Finneas recorded the song in her bedroom. READ MORE: "We have waited for the Oasis reunion for years... our £700 was essentially spent on thin air" READ MORE: Noel Gallagher issues five-word message to fans during Oasis Heaton Park gig Ten years on from then, the Wildflower singer has now had a series of number one hits and albums, and has won a multitude of prestigious awards including two Oscars and nine Grammy's. Her latest album, Hit Me Hard and Soft, was released in May 2024, shortly after the announcement of her tour of the same name, and contains hits including Wildflower, Guess, Lunch, The Greatest, among more. Billie Eilish has always used her platform to advocate for climate and environment action, which includes promoting a plant-based diet. In a first for Manchester Co-Op Live, the whole venue will be offering entirely plant-based food for every night that Billie Eilish performs there in July. A statement on the Co-Op Live website reads: "Co-op Live will commit to a fully plant-based food menu, in alignment with Billie Eilish's dedication to environmental action. "This one-off initiative underscores both the artist's and the venue's shared mission to lead the future of sustainable live entertainment. "Across seven kitchens over three levels, you will be treated to a 100% plant-based menu featuring everything from the bespoke Billie Eilish Burrito and plant-based burgers to masala fries and vegan pizza." A full list of the food items on offer can be found on the Co-Op Live website. For Billie Eilish's gigs in London, the O2 also committed to offering fully plant-based food. Ahead of her show, a video played to fans talking about the initiative and encouraging fans to try eating plant-based for 30 days. Her opening night at Co-Op Live is this Saturday, July 19, and there are a limited number of tickets still available for Billie's four gigs in Manchester over on Ticketmaster. Billie Eilish will be supported in Manchester by American singer-songwriter Syd, who will take to the stage at 7pm, following general admission at 6pm. Then, Billie Eilish herself is set to take to the stage at 8:15pm. Full list of Billie Eilish dates in Manchester July 19 - Co-op Live July 20 - Co-op Live July 22 - Co-op Live July 23 - Co-op Live
Spectator
7 days ago
- Entertainment
- Spectator
A theatrical one-woman show: Billy Eilish at the OVO Hydro, Glasgow reviewed
Like spider plants and exotic cats, certain artists are best suited to the great indoors. Lana Del Rey, for instance, proves the point that just because you can sell enough tickets to fill a stadium doesn't mean you should necessarily perform in one. Some music blossoms in the sun, some ripens in the shadows. Billie Eilish belongs in the latter camp. Even though her biggest hit, 'Birds of a Feather', was the most streamed song on Spotify last year and is now approaching three billion listens, and her duet with Charli xcx on 'Guess' was another ubiquitous sound of 2024, her appeal remains slightly subversive. Eilish's songs – composed with her older brother Finneas – are twisty, introspective and somewhat tortured things, while the devotion of her (mostly female) fans feels like the fervour of cult appeal played out on a mass scale. The last time I saw Eilish was in Glasgow in 2019, shortly before the release of her debut album. She played a warehouse down a lane near the railroad tracks, a mile and several leagues from tonight's cavernous venue. Still only 17, she wore oversized sports clothing and protective splints on her legs from all the jumping around. Much has changed since then – though not the oversized sports gear. And although it would have been fascinating to see her in a similarly sized room again, Eilish is so famous these days that even the 14,000-capacity Hydro felt like a concession to keeping things relatively intimate, when she could easily have played Hampden Park or Murrayfield instead. Keeping a roof over her head was a wise move, yet the level of her success presents a dilemma to an artist whose songs are written in and for the bedroom, and which contain the kind of sonic subtleties best investigated through a good pair of headphones. She is touring her third album Hit Me Hard And Soft, and the boom-boom-bash of arena acoustics took much of these more interesting fringe sounds out of play; the spectral qualities of the likes of 'Lunch', 'Wildflower' and 'The Greatest' were mostly lost. The natural register of her music is soft and sad and between the ballads and whispers there was a palpable sense of Eilish having to consciously crank up the show to pop speed. The staging, however, was ingenious. Eilish understands that visual overload and voyeurism are the tenor of the times. In her hands, the Hydro became part boxing arena, part goldfish bowl. Rather than the traditional front-facing arrangement, the stage was a small, stark cube in the middle of the floor. The musicians were buried in two pits. There were no dancers, no sleek choreography. This was all about the star, tracked and projected from every angle via 360 Jumbotron screens and numerous cameras. Yet the effect was not one of distance but sometimes uncomfortable proximity. Such staging was a smart comment on the nature of stardom. At times Eilish appeared like a caged animal, surrounded by her pursuers; there was some inventive play with a handheld camera that turned the focus back on to an audience which clung to her every word and gesture. At other points she was a triumphant sports champ, goading the crowd into celebratory cheers, or a crackling ghost figure, split in two by violent strobe lighting. While the songs came and went, some not quite hitting the mark, her voice was never less than compelling. On 'Happier Than Ever' she moved through the gears to illustrate a mastery of shifting dynamics. Playing 'Your Power' on acoustic guitar gave it an intimate quality that was faintly mesmerising in such a vast space. But still, this was more about what could be seen than heard. With every detail maximised on the screens, the performance sometimes became the equivalent of a theatrical one-woman show. During 'The Diner' her eyes rolled into her head as though she was playing a possessed demon. Sitting cross-legged beneath a single spotlight to sing 'When the Party's Over', she brought the entire place to a hushed standstill. The set ended with 'Birds of a Feather'. Singing her most straightforwardly accessible song beneath a shower of ticker tape was one of the few moments when Eilish seemed to conform to the rules of the standard arena show. Mostly, however, this felt like a creditable attempt to keep the smaller, stranger qualities in her music and herself alive in a bigger, brasher space. If she ever succumbs to the lure of the stadia, I wouldn't bet against her finding a way to make it work.
