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THOUGHTS WORDS ACTION

Samiam European Tour 2024

Californian melodic punk rockers Samiam will be touring Europe this winter. You can check out the tour dates below.

Tour dates:

January 19th @ Baroeg (Rotterdam, NL) January 20th @ Gebäude 9 (Cologne, DE) January 22nd @ Im Wizemann (Stuttgart, DE) January 23rd @ Kulturzentrum S. (Wiesbaden, DE) January 24th @ LOGO (Hamburg, DE) January 25th @ Gleis 22 (Münster, DE) January 26th @ Cafe Glocksee (Hanover, DE) January 27th @ Hole44 (Berlin, DE) January 28th @ Strom (Munich, DE) January 30th @ OldCapitol (Langenthal, CH) January 31st @ Rock n’Eat (Lyon, FR) February 2nd @ Sala Nazca (Madrid, ES) February 3th @ Estraperlo Club del Ritme (Badalona, ES)

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Alternative News

Samiam European Tour 2024

Californian melodic punk rockers Samiam will be touring Europe this winter. You can check out the tour dates below. Tour dates: January 19th @ Baroeg (Rotterdam, NL)January 20th @ Gebäude 9 (Cologne, DE)January 22nd @ Im Wizemann (Stuttgart, DE)January 23rd @ Kulturzentrum S. (Wiesbaden, DE)January 24th @ LOGO (Hamburg, DE)January 25th @ Gleis 22 (Münster, […]

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Photo by Austin Rhodes

Californian melodic punk rockers Samiam will be touring Europe this winter. You can check out the tour dates below.

Tour dates:

January 19th @ Baroeg (Rotterdam, NL) January 20th @ Gebäude 9 (Cologne, DE) January 22nd @ Im Wizemann (Stuttgart, DE) January 23rd @ Kulturzentrum S. (Wiesbaden, DE) January 24th @ LOGO (Hamburg, DE) January 25th @ Gleis 22 (Münster, DE) January 26th @ Cafe Glocksee (Hanover, DE) January 27th @ Hole44 (Berlin, DE) January 28th @ Strom (Munich, DE) January 30th @ OldCapitol (Langenthal, CH) January 31st @ Rock n’Eat (Lyon, FR) February 2nd @ Sala Nazca (Madrid, ES) February 3th @ Estraperlo Club del Ritme (Badalona, ES)

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About Samiam

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Samiam are an post punk/indie rock institution. Forming in Berkeley, California, almost three decades ago, the group molded their unique style playing early on with bands like Jawbreaker, Seaweed, Green Day and Bad Religion. Over the years, they had mainstream radio play with songs like “Capsized” and “She Found You”, released eight full-length albums and continue to play to passionate fans all over the world. Started by Jason Beebout (vocals) and Sergie Loobkoff (guitar) in 1988, the band’s current lineup also features longtime guitarist/vocalist Sean Kennerly as well as more recent additions of bassist Chad Darby and drummer Colin Brooks. They have refined their brand of post- hardcore/alternative/emo/indie rock over the years and are just as powerful now as they were during their heyday in the late nineties. If anything, they sound more relevant than ever before.

Samiam’s story starts at 924 Gilman Street immediately following the breakup of Beebout’s band, Maximum Rocknroll magazine poster brats, Isocracy. “It seemed like a lot of bands broke up around the same time and there were all these people at Gilman with ideas of starting new bands with each other,” Beebout recalls. “Operation Ivy had broken up around that time and started Rancid and I started talking to Sergie and about what I wanted to do.” The duo shared a love of bands Short Dogs Grow, Hüsker Dü, Sonic Youth and The Doughboys, however Samiam didn’t end up sounding quite like any of those groups…or anyone else for that matter. Pop melodies and punk riffing were the perfect backdrop for Beebout’s instantly recognizable voice, belted over dramatic dueling guitars and urgent drumbeats that soon made them a local club favorite. With the release of 1990’s Samiam, 1991’s Soar and 1992’s Billy on New Red Archives the group soon became international sensations. In 1994 when East Bay Punk was exploding into the mainstream, Samiam caught the attention of Atlantic Records and signed a multi-record deal.

“The whole experience of being on a major label during that era was bewildering then and it’s bewildering now,” Beebout admits, adding that the group never really felt like they fit in with the label’s roster — a recurring situation for Samiam. “It was a cool experience being in nice recording studios and being the focus of attention but I don’t think we ever really felt comfortable with the industry side of things.” Despite their misgivings the group released Clumsy in 1994 (featuring the song “Capsized” which was heavily played on MTV) followed by You Are Freaking Me Out in 1997 (the latter of which featured the radio favorite “She Found You”). The tours supporting these albums saw the band playing everywhere from Whisky A Go Go to CBGB to sports arenas and national television shows. After getting out of the major-label world, Samiam released fan favorite Astray on Hopeless Records and Burning Heart/Epitaph Records in 2000 and then went on a recording hiatus for a few years, though they never stopped performing live. “We’ve only released three albums over the past seventeen years – 2000’s Astray, 2006’s Whatev- er’s Got You Down and 2011’s Trips – but we’ve toured Europe almost every year and played in North and South America as well as Australia consistently,” Loobkoff, who also plays guitar in the celebrated emo act Knapsack, explains. “Since 2001 we haven’t had a manager and rarely have booking agents, we’ve just been doing it all on our own like a garage band.” However while the band has downsized their operation, interest in Samiam has continued to rise and the band has garnered rapturous responses at festivals such as Groezrock, Riot Fest and The Fest from both seasoned fans as well as the previously uninitiated. “There are a lot of places in the world where we are a lot bigger now than we were when we were touring full-time and I feel very fortunate that we can be in Melbourne, Sao Paulo, Berlin or New York and there will be a good crowd,” Loobkoff adds.

The band’s level of activity may have fluctuated over the years and their sound has broadened a bit, but there is no question that you can hear bits of Samiam in countless bands that have walked the line between pop and punk. “We could have been lumped in with all these other bands when punk was super popular but we didn’t ever want that and looking back I’m proud of the fact that we wanted to be individuals instead of saying ‘fuck it’ and just trying to do what everyone else was doing,” Loobkoff says. Writing a song about mortality as dark and poignant as “Dull” may not be a recipe for a hit single but it has an emotional resonance that’s one reason why Samiam have remained relevant long after most acts reach their expiration date. “I think that end of the day being in anything for over 25 years is impressive,” summarizes Beebout. “We’ve never given up, we’ve always followed our own path and we’ve found an unorthodox situation with this band that works for all of us… so there’s no point in stopping.” – Jonah Bayer

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Samiam on february 3, 2024.

EUROPE 2024

Estraperlo Club del Ritme, Badalona, Spain

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Samiam formed in Berkeley, California in 1988.

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Past Events

Here are the most recent UK tour dates we had listed for Samiam. Were you there?

• Jan 18 Thu London, New Cross Inn Samiam
• Oct 04 2022 London, Electric Ballroom Hot Water Music Boysetsfire, Samiam
• Oct 02 2022 Leeds University Union Hot Water Music Samiam, Be Well
• Oct 01 2022 Glasgow, Slay Hot Water Music Samiam
• Apr 22 2019 London, The Underworld Samiam
• Apr 20 2019 Glasgow, Nice N Sleazy Samiam
• Jul 23 2013 Exeter, The Cavern Samiam
• Oct 02 2011 London, The Garage Samiam
• Oct 01 2011 Bristol, The Crofters Rights Samiam, Off With Their Heads, Apologies I Have None
• Sep 30 2011 Leeds, The Well Samiam, Off With Their Heads, Apologies I Have None

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Samiam announce Europe & UK tour

Samiam have announced tour dates for the UK and Europe. The shows were originally booked for 2019 but were postponed until now. Boysetsfire , Hot Water Music , and Be Well will be joining them on all dates. Samiam released their first new song in over ten years "Lights Out Little Hustler" earlier this month and released Trips in 2011. Check out the dates below.

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Samiam wouldn’t be the same without a little bit of chaos. Over their three decades together, the Oakland, CA-based band have specialized in energetic hard luck songs that are as hooky as they are relatable, so perhaps it’s fitting that the creation of Stowaway, the band’s first new album in 12 years and their ninth full-length overall, wasn’t the easiest. But there are very few bands better at capturing the feeling of stumbling only to get up again, and on Stowaway, Samiam prove exactly why they remain one of the most endearing and enduring punk bands of their generation.

Forming in 1988, Samiam–whose current lineup includes longtime members Jason Beebout (vocals), Sean Kennerly (guitar), and Sergie Loobkoff (guitar), as well as newer additions Colin Brooks (drums) and Chad Darby (bass)–grew out of the DIY punk scene of 924 Gilman Street, experienced the major label alt rock feeding frenzy firsthand in the 1990s, and eventually slowed down in the 2000s. After the release of 2011’s Trips, the band didn’t quite break up and they continued to sporadically play shows, but the demands of life (not to mention all the members living in different parts of the country) put their songwriting process on quasi-hiatus. The years ticked by and it began to seem like there wouldn’t be new Samiam material–but it wasn’t for lack of trying.

“A very slow accretion of pressure over many years led to the decision to make a new record,” explains Kennerly. “We had been lazily working on a few new songs here and there for years–as far back as 2014, when we tried and failed to record a little demo after Riot Fest. But Sergie and I just kept writing the beginnings of songs and sending them around to everyone, and suddenly one day about four years ago we were like, ‘This is enough for an album!’” After joining up with Pure Noise Records, the band began to get more serious about polishing their material, booking time at Billie Joe Armstrong’s Otis Studio in Oakland and beginning to hammer out the initial recordings in February 2020. A month later the pandemic turned the world upside down, and like everyone, Samiam’s plans were once again on hold.

“We didn’t have any idea then what was happening, when it was going to be over or whether it was going to just kill everyone and destroy the world,” remembers Kennerly. “It made the recording process take a ridiculously long time, even longer than the ridiculously long time that it was already taking.” Over many months, the group chipped away at the instrumentals, recording sporadically in various studios in various locations: Brooks found his way to Savaria Studios in Brooklyn, NY, where he recorded the drums with Jon Markson (Drug Church, Koyo, Soul Blind); Darby, Loobkoff, and Kennerly flew down to Gainesville, FL, to keep working on the song skeletons they’d started back in Oakland; eventually, it Beebout and Kennerly headed back to Otis to record vocals. “It was just Jason and I,” says Kennerly, “I was doing background vocals and Jason was doing main vocals, but he didn’t have any material. We were stuck. We’d gone through all of these hoops and hurdles, and there was nothing to record. We spent a week there and came back with nothing.” It was another discouraging false start, but Beebout was not deterred. “Maybe people over 50 in bands should admit that they’re probably too old to be in this business,” he says. “Most of them are–I’m not. I never worried whether or not I could sing. I just wasn’t sure if I wanted to.”

Kennerly and Beebout regrouped with engineer Scott Evans (Thrice, American Steel, Floor) at Antisleep Studios and began coaxing out vocal takes. “Everyone in the band was worried whether or not Jason would still be able to do it,” admits Kennerly, “because we hadn’t recorded anything in a decade. Like, did Jason still have the pipes for it? After our experience at Otis, we wondered whether he was nervous because he couldn’t sing anymore, but on the first day at Antisleep we recorded the first song ‘Lake Speed,’ and he did it all in one take and it was blisteringly great.” Loobkoff adds, “A lot of this band rests on Jason’s shoulders. Musically, for the other four of us, it’s easier than it is for him because it’s not coming out of our lungs and our hearts and our throats and our bodies like vocals are. He really has to pour his soul out.”After seemingly endless starts and stops, the arduous writing and recording process was finally done. “There were a lot of times when it seemed like it was just going to completely fall apart, and we wouldn’t actually get everything done,” says Kennerly. “It would have probably been the end of the band if we hadn’t pulled it together by the skin of our teeth, but we finally did and I think everyone was a little bit surprised.”

Perhaps even more surprising is the undeniably confidence of the final result. Stowaway seamlessly picks up where Samiam left off, with just as much energy, melody, and pathos as their classic works. From the bristling kineticism of opener “Lake Speed,” to the impassioned melancholy of the closing title track, the band sounds just as vital as ever. Kennerly and Loobkoff weave their dual guitar attack over Darby and Brooks’ taut rhythm section, while Beebout’s voice soars from one anthemic chorus to the next, his trademark tuneful grit still intact. But Stowaway isn’t about recapturing the past: the album is informed by the accumulation of experiences–good and bad–that comes from living full lives, especially if over 30 of those years were spent as working musicians. “From the biggest band to the smallest band, anyone that’s done this–toured and gone through the grief that a band brings–knows that it’s not fun all the time,” says Loobkoff. “It’s very unfun a lot of the time, and we don’t make enough money to make it worthwhile from a financial standpoint. Samiam is the most pure kind of band, where we do it because we have a love for the music and, for lack of a better term, the worldwide scene that we participate in. And it’s sometimes still super fun, especially if we haven’t played for a while, because it’s great to see all four of the other guys.”

This tension between doing something that enriches your life and all of the roadblocks that get in the way is palpable throughout the lyrics on Stowaway. Kennerly describes the album’s themes bluntly: “Failure for sure. Tenacity in the face of continuing failure; failure to communicate, failure to succeed, failure to find meaning. Which is weird because it’s actually kind of an uplifting album as far as Samiam goes.” The record tracks the bluster of youth as it evolves into frustration, and eventually, the clarity that comes with age. “Crystalized” is a jittery surge of memories both sad and hopeful that reflects the band’s own experience, while the crunchy hooks of “Stanley” and “Shoulda Stayed” pack an extra dose of the wistful longing at which Samiam excels. On “Lights Out Little Hustler,” Beebout bellows “there’s always something in the way,” a line that mirrors the difficult path to making Stowaway. But once again Samiam pull off their magic trick of creating a defeated refrain that’s sure to be life affirming when shouted back at a show. “There’s some relief or release that lets you find happiness inside of the sadness,” says Kennerly. “I think that’s actually more generally what Samiam is about or why some people are drawn to our music.”

Loobkoff seems to echo this sentiment: that despite all the challenges of life, and certainly all the headaches of being in a band, connecting with people through music still supersedes all of the frustrations. “If you’re lucky, you get this sort of sense when you’re in a band that you’re participating in something that’s important to other people,” he says. “And I still get that with Samiam.”

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Samiam Release First New Album in 12 Years Stowaway Out Today

Samiam are back! Today the beloved Bay Area punk legends have released Stowaway, their fir.

Publicity: US: James Goodson UK: Hayley Connelly Europe: Denise Pedicillo AUS: Janine Morcos

Booking: North America: Samiam Europe: Phillip Styra

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Samiam Concert Setlists & Tour Dates

Samiam at estraperlo club del ritme, badalona, spain.

• Clean Up the Mess
• Monterey Canyon
• She Found You
• Crystallized
• Lights Out Little Hustler
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Samiam at Sala Nazca, Madrid, Spain

• Ordinary Life

Samiam at Rock N Eat, Lyon, France

Samiam at strøm, munich, germany, samiam at hole 44, berlin, germany, samiam at indiego glocksee, hanover, germany, samiam at gleis 22, münster, germany, samiam at logo, hamburg, germany, samiam at kesselhaus, wiesbaden, germany, samiam at club @ im wizemann, stuttgart, germany.

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• Capsized ( 101 )
• Factory ( 95 )
• Sunshine ( 94 )
• Dull ( 92 )
• Full On ( 88 )

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A little while back, No Idea Records dropped “Orphan Works”, an album filled with songs that didn’t find a home on any of the other Samiam albums. Seeing as I’m always a sucker for a good cause, I gave it a good review. Of course this had nothing to do with the fact that pretty much everything Samiam released is friggin’ amazing. No, this was just me and my big heart talking. But it didn’t feel like I was doing enough. So here’s an email interview with guitarist Sergie Loobkoff to top it all off. Enjoy!

PRT: You guys broke up in 2000 and then returned a couple years later, even releasing a new album in 2006. Since then you’ve been playing shows on and off. How does that work exactly? Sergie: After doing several tours in 2000 in support of the 'Astray' album, our former guitarist, James, quit and Jason (singer) decided to bail on a few tours that were booked and advertised…so I, Serge, got a bit discouraged and quit…which effectively folded the band. The thing was that we had been going at it for over 10 years at that point and our popularity was sort of waning, particularly in America. So yeah, we broke up, I started another band and got focused on that, despite the fact that it went nowhere except for really fun trips to Japan and Europe. But, Samiam still got offers for tours and the very next year we toured Europe and in 2002 we went again and to South America…then pretty much a handful of US shows and a tour abroad every year since. The interesting thing was that every year our European tours got stronger and stronger…and in the last 5 years we've seen our US shows get better too. So, when we are on tour we are a band…and when we are at home it's like we don't exist…which is much different than most bands: who live and breathe their careers and work very hard to stay on people's minds. We were super shitty at that in the 90s but we tried very hard. Now in the 2000s, we try very slightly, if at all….so I consider us to barely be a band. In 2006, we wrote what I think are some good songs and recorded them very poorly…it was sort of a disastrous experience, resulting in the album, 'Whatever’s got you down'. I think it gave a mixed-message that we 'reformed' or something, but truthfully, we were just into trying to make a record…not a 'comeback' or something. We are doing it again this year…but no…we are not thinking that it is the 'rebirth' of the band. Making music is a creative outlet for us and we can sometimes have quite a lot of fun doing it. I think we learned a lot about the band and each other in 2006 and will be able to avoid the mistakes that led that endeavor down the old toilet. Hopefully, ha.

PRT: It seems like Samiam now is just a fun thing to do for you guys, whereas before it must’ve been a full-time job. How do the two compare and would you like to go back to how it was before? Sergie: Yeah, in the mid to late 90s, Samiam was definitely a full-time job. we had management, corporate record labels, booking agents, business managers, the whole schtick. I look back fondly at it as much as I can…we had some crazy times…but depending on what you love for a living is only cool if you are successful. I think to be 'successful' at something you love is like winning the lottery…you support yourself without really working, right? But, Samiam only had modest successes….so it was really stressful to be in a position where we depended on music to pay the bills. Truthfully, even at our peak, I still worked when I was home…but Jason and James, for example, lived of the band for a good 6 years. As much as I could say that in itself is a success story, the reality was just a lot of stress and anxiety when thinking about the band and bills. I haven't used the word 'success' this much in one sitting ever, yuk. We were so out of control of our destinys then…which wasn't the greatest feeling. All that said, If I was in a time machine, I would definitely do it again..fuck it. But at my age, where I am at now, no. I'd have to put a Benjamin Button thing into effect. Really, rock music is for handsome guys in their teens or twenties…it would be silly of me to want behave like that now in my old age, ha.

PRT: Looking back, are there things you would've done differently? Sergie: I think I would have nixed some of the tours we did…and thought more about how we were perceived…but we are so uncalculated and clueless at positioning ourselves amongst the cooler bands. We fucked up at things and we did some things right, what can I say? If I read into your question, perhaps what you are getting at is: would we still sign to major labels and shit. I got to be honest, I had a great time with that and we got to do a lot that I never dreamed of. Now it's all a moot point because the industry is dead and major labels are probably shittier than bigger indies, but yeah, I have no regrets with 'signing with the devil' or whatever. Perhaps if we had the option to go with Epitaph or Sub Pop but decided on Atlantic, I'd have regrets…but that wasn't the case.

PRT: You recently released "Orphan Works". How did that one come together? Sergie: We had a great show at the Fest in Gainesville the year before last and reconnected with Var and Tony from No Idea…whom we've known for years. A discussion of rereleasing 'Clumsy' and 'You Are Freaking Me Out', our major label albums that are basically out of print for the last decade, came up and we underwent the ordeal of trying to rerelease those records. We knew that it was going to be a long drawn-out task, so we decided to put out that compilation of songs that delivered the outtakes and stuff from that era. Which was a good idea because as it stands now in spring 2011, 'Clumsy' is finally going to be put on itunes and the usual online retailers with the possibility of No Idea doing the physical release…but we still have not gotten ahold of the rights holders to "YAFMO'. So at least we got something out in 2010...

PRT: Why a compilation of B-sides rather than a new album? Or is that not an option at the moment? Sergie: Like I said, we are recording a new recording the upcoming months…we have narrowed it down to 15 songs and we are just getting together every few months for the last year to shape them up to be as good as they can be. Two of us live in California and 3 in New York…so these things take time. It's not like we can rehearse twice a week or something.

PRT: I read somewhere that you’re not too fond of your first albums. While I agree that they are not your best, I do think they definitely have their merits and a couple of strong songs. How come you don’t like them that much? Sergie: Well, first of all, I have to admit, I don't listen to Samiam…so my opinion doesn't really matter, but it's not like I hate those records. To be honest, although I consider Hot Water, Alkaline Trio or Jawbreaker to be some of my favorite bands, I'll go a year without listening them either, ha. Anyway, to your point…I think I would say the same thing as you about our first 3 albums: each has a couple of good songs and they have their moments. I think, though, we learned so much while making the next album "clumsy'. Suddenly we were aware of playing for the 'song' and thinking about 'songwriting' in general…whereas on those first 3 records, we were more interested in spitting out whatever we were feeling at the moment. We really didn't edit ourselves…if we made up a song, it was written and we recorded it as is…no editing or rethinking it and definitely no judging it and dumping bad ideas. We sort of felt like musical ideas were valid just because we thought them up…no matter how lame they ended up being. So yeah, there were some good ideas… but there were a lot of shitty ones and all of them were executed pretty poorly.

PRT: With you guys being spread out over both coasts, how hard is it to get things going when you’re writing songs or planning a tour? Sergie: Besides making a record, we are doing Krazyfest, playing shows here and there on each coast and will probably do Europe in the fall. There are a few other things we want to do, like the midwest and the fest but we are sort of ramshackle…we aren't the smartest guys at mapping out the band. Plus this is supposed to be fun, not a career, so we try to take it as it comes rather than being so mercenary about plans.

PRT: What can people expect from Samiam in 2011? Sergie: A record that we worked hard at and did our best…you'll be the judge as to whether our best is shitty I guess. I'm pretty confident that it will be something that I'm personally proud of.

PRT: Any last words for our readers? Sergie: If you haven't stolen any music lately, I commend you….I haven't done that in years either….pretty much after the novelty of downloading was over and I realized it was fucking up a lot of people's livelihoods. But if you were going to do some thieving electronically…I would suggest picking up "You Are Freaking Me Out" by Samiam, ha. At least until you see that No Idea finally re-released it…if that ever happens. Also, we finally made a Facebook page…maybe you could say hello…. facebook.com/samiamband .

Lacking the talent to actually play in a band, Tom decided he would write about bands instead. Turns out his writing skills are mediocre at best as well.

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I'm planning to spend $5,000 to see Taylor Swift in Europe with my kids. Our floor tickets, hotel, and flights are set to cost less than our nosebleed seats in the US did.

• I saw Taylor Swift on the US leg of The Eras Tour, and two nosebleed seats cost us $5,000.
• My daughter and I loved the show, so I scored us floor seats for one of Swift's Poland shows.
• Our European trip includes three VIP Swift tickets and is set to be cheaper than our seats in the US.

When Taylor Swift first announced her Eras Tour , I laughed when I heard colleagues had cleared their work schedules to buy tickets.

I couldn't understand why they were looking for tickets for shows hours away. I liked a few of Swift's songs, but I wasn't a "Swiftie" and didn't understand the frenzy.

That all changed when my daughter started asking intensely for tickets . And once The Eras Tour started, it became clear that it was the concert of the century. It was also nearly impossible to get tickets.

Seeing the US tour was difficult and expensive, but the show turned me into a full-on Swiftie

I didn't want my kid to miss out on this generation-defining event, but I couldn't stomach spending $4,000 or more on the resale market for two nosebleed seats on top of travel costs to another city.

Fortunately, five cousins chipped in to buy my daughter tickets for her birthday.

My daughter, a devoted Swiftie, predictably loved every second of The Eras Tour. At first, I wasn't sure how I would get through a 3 ½-hour show by an artist I barely knew — but I left in awe of Swift's talent.

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In the weeks that followed, I listened exclusively to Swift. On a trip to Nashville, I sang my heart out to Swift's songs at the Country Music Hall of Fame. I wondered whether I would be able to see her perform again, this time going all in.

Getting tickets to see Swift in Poland was easier than I expected

As soon as Swift announced international dates on her tour in June, I took the first of many steps to get tickets to one of her shows abroad. I set my sights on a show in Warsaw, Poland, for several reasons.

My children and I are Polish citizens but have never set foot in the country. I've wanted to go for years, and snagging Swift tickets would allow me to finally make the trip. I reasoned that Warsaw was unlikely to be as popular as marquee destinations like Paris. It's also a less expensive city than many other international stops on The Eras Tour.

Also, tickets for the Warsaw show were not being sold through Ticketmaster. I found the idea of not having to deal with the company that botched sales to the US leg of the tour very appealing.

A few days before tickets went on sale, I got a code for the chance to buy tickets before they became available to the rest of the public. Based on how popular presales were in the US , I knew I was unlikely to get tickets, but I set an alarm for 5 a.m. anyway.

Much to my surprise, I was able to enter the ticket-buying portal right away. I scored three VIP floor seats for the first night of Swift's Eras Tour in Warsaw for less than $1,000. My daughter, my son, and I started making friendship bracelets immediately to exchange with other concert-goers, an Eras Tour tradition.

Our trip hasn't happened yet, but I already know it'll be worth it

Although tickets to the Warsaw show were not cheap, the total cost plus our European trip is set to be about the same as or less than the two nosebleed seats I got when I saw Swift in the US.

I hope to use credit-card points to book our flights, but even if I don't, I estimate the total cost of the trip could be from $4,000 to $5,000. This isn't significantly more than my family usually spends on our annual family vacation, and I have more than a year to save.

However, unlike other family vacations, this one comes with the chance to explore our roots and see a new part of the world. I never would have guessed that Swift would be what finally got me to Poland, but it's just one more reason for me to love her.

This story was originally published on July 24, 2023, and most recently updated on April 10, 2024.

Watch: All the Easter eggs in Taylor Swift's 'Willow' music video

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Holmes Chapel, English village of Harry Styles' youth, needs fans to be tour guides

Many tourists visit sites such as a bakery where Styles once worked and a Chinese restaurant where he once dined with Taylor Swift. Tourism has been great for local businesses.

STEVE INSKEEP, HOST:

Good morning. I'm Steve Inskeep.

Holmes Chapel, the English village of Harry Styles' youth, is looking for superfans to work as tour guides. The village gets a lot of tourists, Harries visiting sites like a bakery where Styles once worked and a Chinese restaurant where he once dined with Taylor Swift. The not-for-profit calling for tour guides says tourism has been great for local business, and now it wants to elevate its offerings.

(Singing) Why don't we leave it at that?

It's MORNING EDITION.

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• Datum 27.01.2024
• Start 20:00
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• Artist Website http://samiamband.com/
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Samiam are an post punk/indie rock institution. Forming in Berkeley, California, almost three decades ago, the group molded their unique style playing early on with bands like Jawbreaker, Seaweed, Green Day and Bad Religion. Over the years, they had mainstream radio play with songs like “Capsized” and “She Found You”, released eight full-length albums and continue to play to passionate fans all over the world. Started by Jason Beebout (vocals) and Sergie Loobkoff (guitar) in 1988, the band’s current lineup also features longtime guitarist/vocalist Sean Kennerly as well as more recent additions of bassist Chad Darby and drummer Colin Brooks. They have refined their brand of post- hardcore/alternative/emo/indie rock over the years and are just as powerful now as they were during their heyday in the late nineties. If anything, they sound more relevant than ever before.

Samiam’s story starts at 924 Gilman Street immediately following the breakup of Beebout’s band, Maximum Rocknroll magazine poster brats, Isocracy. “It seemed like a lot of bands broke up around the same time and there were all these people at Gilman with ideas of starting new bands with each other,” Beebout recalls. “Operation Ivy had broken up around that time and started Rancid and I started talking to Sergie and about what I wanted to do.” The duo shared a love of bands Short Dogs Grow, Hüsker Dü, Sonic Youth and The Doughboys, however Samiam didn’t end up sounding quite like any of those groups…or anyone else for that matter. Pop melodies and punk riffing were the perfect backdrop for Beebout’s instantly recognizable voice, belted over dramatic dueling guitars and urgent drumbeats that soon made them a local club favorite. With the release of 1990’s Samiam, 1991’s Soar and 1992’s Billy on New Red Archives the group soon became international sensations. In 1994 when East Bay Punk was exploding into the mainstream, Samiam caught the attention of Atlantic Records and signed a multi-record deal.

“The whole experience of being on a major label during that era was bewildering then and it’s bewildering now,” Beebout admits, adding that the group never really felt like they fit in with the label’s roster — a recurring situation for Samiam. “It was a cool experience being in nice recording studios and being the focus of attention but I don’t think we ever really felt comfortable with the industry side of things.” Despite their misgivings the group released Clumsy in 1994 (featuring the song “Capsized” which was heavily played on MTV) followed by You Are Freaking Me Out in 1997 (the latter of which featured the radio favorite “She Found You”). The tours supporting these albums saw the band playing everywhere from Whisky A Go Go to CBGB to sports arenas and national television shows. After getting out of the major-label world, Samiam released fan favorite Astray on Hopeless Records and Burning Heart/Epitaph Records in 2000 and then went on a recording hiatus for a few years, though they never stopped performing live. “We’ve only released three albums over the past seventeen years – 2000’s Astray, 2006’s Whatev- er’s Got You Down and 2011’s Trips – but we’ve toured Europe almost every year and played in North and South America as well as Australia consistently,” Loobkoff, who also plays guitar in the celebrated emo act Knapsack, explains. “Since 2001 we haven’t had a manager and rarely have booking agents, we’ve just been doing it all on our own like a garage band.” However while the band has downsized their operation, interest in Samiam has continued to rise and the band has garnered rapturous responses at festivals such as Groezrock, Riot Fest and The Fest from both seasoned fans as well as the previously uninitiated. “There are a lot of places in the world where we are a lot bigger now than we were when we were touring full-time and I feel very fortunate that we can be in Melbourne, Sao Paulo, Berlin or New York and there will be a good crowd,” Loobkoff adds.

The band’s level of activity may have fluctuated over the years and their sound has broadened a bit, but there is no question that you can hear bits of Samiam in countless bands that have walked the line between pop and punk. “We could have been lumped in with all these other bands when punk was super popular but we didn’t ever want that and looking back I’m proud of the fact that we wanted to be individuals instead of saying ‘fuck it’ and just trying to do what everyone else was doing,” Loobkoff says. Writing a song about mortality as dark and poignant as “Dull” may not be a recipe for a hit single but it has an emotional resonance that’s one reason why Samiam have remained relevant long after most acts reach their expiration date. “I think that end of the day being in anything for over 25 years is impressive,” summarizes Beebout. “We’ve never given up, we’ve always followed our own path and we’ve found an unorthodox situation with this band that works for all of us… so there’s no point in stopping.” – Jonah Bayer

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The Jonas Brothers Are Facing Fan Backlash After Rescheduling Their European Tour Dates

The internet is currently filled with disappointed Jonas Brothers fans.

On Wednesday, April 10, the band announced via X that they are rescheduling the European leg of their tour , noting that upcoming shows are being shifted to later this year. “We appreciate your love and support so much,” the trio wrote. “We know this is a bit inconvenient but we can’t wait to share more about what’s coming.”

The bandmates added that previously purchased tickets will be honored for the new tour dates. A note on the Jonas Brothers’ website says that European concerts are being postponed due to “scheduling conflicts.”

Fans of Joe Jonas , Kevin Jonas and Nick Jonas took to social media to share their grievances about the scheduling change. “I love the jonas brothers but the way they and their team are doing things is not okay,” X user @heyitsjobros wrote . “@jonasbrothers you can’t just reschedule tour dates without giving an explanation. people [are] traveling from different sites to see you and you just postponed shows for MONTHS later? “

Related: Joe Jonas’ Inner Circle: Jonas Brothers and More Celeb Pals

X user @Yassmine_ehb added , “I had 9 tickets in 6 countries, You cancel the tour bc you have more exciting projects.Did you think of all of us who put so much money for this ? Hotels and plane are not refundable.”

The band is currently globe-trotting across Latin America , with upcoming shows in Chile, Peru and Colombia. Dubbed The Tour , the concerts showcase the brothers as they perform five albums throughout the evening: 2007’s Jonas Brothers, 2008’s A Little Bit Longer, 2009’s Lines, Vines and Trying Times and 2019’s Happiness Begins. There are also select songs from 2023’s The Album.

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While speaking to the Associated Press in May 2023, Joe, 33, revealed that the trio are looking out for their mental health as they got ready to embark on a lengthy tour.

Related: Who Is Stormi Bree? 5 Things to Know About the Model Spotted With Joe Jonas in M...

“We’ve been burnt out before and then you’re like, ‘I still got 20 more shows on this tour,” he explained. “So we all have our own perspective ways of going about that, and we just make sure that that’s prioritized and also that we think the three of us are communicating as best as we can.”

The singer added that performing “doesn’t feel like work” when it’s in front of the band’s fans. “We’re treating this like the best tour we’ve ever done,” he said. “And I think we intend to make it that experience for fans as well.”

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The Masters 2024: Danny Willett impresses on comeback from shoulder surgery

By Mathieu Wood

With no expectations, you’re open to possibility. At least, that’s what Danny Willett told himself ahead of his first competitive round of golf for almost seven months at the 88th Masters Tournament .

His mindset, entirely understandable for a player who is returning to action six months ahead of schedule following shoulder surgery, was rewarded with an impressive four-under-par 68 in Thursday's first round at Augusta National. 

Willett, the Masters champion of 2016, arrived at the first men’s Major Championship of the year still unsure whether he would be able to play.

But the opportunity to play at the scene of his greatest triumph was one that had fuelled his motivation during his rehabilitation over recent months - a process he discussed earlier this week with the DP World Tour - since he went under the knife following last year's BMW PGA Championship in September.

To birdie three of his closing four holes as the winds picked up, and with it hold the clubhouse lead before being overtaken by Bryson DeChambeau, was a bonus he was only too grateful to accept.

Sep 2023: Undergoes intense shoulder surgery, expecting to be out 12-18 months. Apr 2024: Makes first competitive start since operation at the Masters with a 68. Take a bow, @Danny_Willett 👏 #themasters pic.twitter.com/UfE5ACDFCM — DP World Tour (@DPWorldTour) April 11, 2024

"I think in terms of expectation, no one really knew," he told reporters after his fine opening-day performance. "I didn't really know. I haven't been under the gun since Wentworth, under pressure, having to hit certain shots at certain times when there actually are consequences.

"It's nice to come and prove that if you've done the work and you do the right things that you can hit the shots still when you need to.

"Everything is just a building block. This was a completely neutral week. Whether I played or not I was still going to come here and enjoy being here.

"I might go out tomorrow and shoot 80, I don't know. But it's just the fact that we're here and pain-free, it's just a nice way to be."

It's just the fact that we're here and pain-free, it's just a nice way to be

As a past champion, Willett was always planning to be at Augusta this week – even if just to attend the Champions Dinner – but as the weeks and days drew nearer, his hopes of reaching a level sufficient to enable him to tee it up became an ever more realistic reality.

But it was still a late call. In fact, Willett only made the decision to play after feeling no ill effects from playing 27 holes in practice on Sunday.

“Even if you play bad I think it's still worthwhile taking the risk and at least pegging it up and feed off people's energy around here and hopefully have a few good days,” he explained. 

He added: "Again, because it was playing tough, probably really made us concentrate that little bit more. Nice finish there with them last four holes to come back, and instead of posting an all right score of level-ish, which would, again, for me have been an amazing achievement, but to shoot 68 I am really happy."

Teeing off in the third group of the day, one delayed by two and a half hours following early morning rain and storms, Willett made the first birdie of the tournament as he quickly got to two under through his opening three holes.

Despite a bogey at the fifth, he responded well with back-to-back birdies at the seventh and eighth to reach the turn at three under.

And while, he dropped shots at the tenth and 14th, his fast finish – capped by a closing birdie at the tough 18th ensured the dream start to his tenth Masters appearance.

“I think I might take the next six months off,” he joked. “No, it's completely unexpected.

“Sometimes that happens… You make a couple of birdies and your mind starts thinking, all right, I can do it. It was nice to keep chilled out.”

From the hospital ward to Augusta National... @Danny_Willett 's incredible six-month recovery to tee it up at the Masters. #themasters — DP World Tour (@DPWorldTour) April 10, 2024

His performance was full reward for the efforts he and his support team have put in to build up the strength in his shoulder, with his biggest pre-event concern being an inability to produce the shots required on a tough layout.

“It was never an issue of whether or not the shoulder was strong enough, it was whether or not I could hit the shots I wanted to,” he explained.

“I had some great people around me, and we did some great work and put the hours in, and again, I could have shot 80 but it was still nice to have the ability to peg up and not be in pain.

“From where I was seven, eight, nine months ago and previous, to be able to play pain-free is a pretty nice thing.”

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Nicolai Højgaard leaning on advice from Masters champions ahead of debut

Nicolai Højgaard is ready to test his game on the Masters stage after leaning on Masters champions Jon Rahm, Adam Scott and José María Olazabal for advice.

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The Masters 2024: Danny Willett making injury comeback six months earlier than expected

The doctors told Danny Willett he would be out for 12-18 months after undergoing surgery on his left shoulder. Instead, he’s making his comeback at The Masters this week after just six months away from the game.

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