Latest news with #AlanisMorissette
Irish Times
4 hours ago
- Entertainment
- Irish Times
Ireland event guide: Lana Del Rey, Alanis Morissette and the other best things to do this week
Event of the week Lana Del Rey Monday, June 30th, Aviva Stadium, Dublin, 5pm, €176.75/€126.25/€106.25/€89.50 (sold out) The queen of noir romance and melancholia returns for her biggest headline appearance in Ireland. It's perhaps a risk to bring her predominantly languid, low-key style to as enormous a setting as the Aviva Stadium, which is better suited to banger-oriented pop and rock. But Del Rey is used to big venues: when she played at the 3Arena in Dublin in 2023, it became a full-throttle love-in, the crowd belting out the lyrics to every song she performed. That show, which she announced only 10 days in advance, also featured a swirl of vocalists and backing dancers, there to make it more of a spectacle. So expect something similar on this short tour of Ireland and Britain, plus, with luck, some of the tracks from Del Rey's upcoming album. Gigs Alanis Morissette Sunday, June 29th, Malahide Castle, Co Dublin, 4pm, €69.90/€59.90; Monday, June 30th, Belsonic, Belfast, 4pm, £81/£71, Thirty years ago this month the Canadian singer-songwriter Alanis Morissette released her game-changing third album, Jagged Little Pill. Its explicit confessional thrust is viewed not only as a landmark moment for the music industry but also as a significant influence on emerging female acts, inspiring them to more forcefully voice their opinions. There is still a lot to be angry about, Morissette recently told Elle magazine, 'except now we're conscientious as fuck.' Support comes from the US songwriter Liz Phair (one of Morissette's pivotal early influences) and the ensemble group Irish Women in Harmony. Joe Bonamassa plays Rory Gallagher From Tuesday, July 1st, until Thursday, July 3rd, Live at the Marquee, Cork, 8pm, €82.55/€77.55, Arriving shortly after the 30th anniversary of Rory Gallagher 's death, these three shows pay tribute to one of Ireland's earliest internationally successful rock stars. Gallagher's influence on future generations of guitarists runs from Brian May of Queen and the Edge of U2 to Johnny Marr of The Smiths and James Dean Bradfield of Manic Street Preachers. Joe Bonamassa – 'arguably the world's biggest blues guitarist,' according to Guitar World – also fell under the spell of Gallagher's artistry, and these shows will see the US musician rip through selections from the guitarist's back catalogue. Special guests include Gallagher's long-standing bandmate Gerry McEvoy. Stage The Pillowman From Friday, July 4th (previews until Wednesday, July 9th), until Sunday, September 7th, Gate Theatre, Dublin, 7.30pm, €26.50, Martin McDonagh's Tony-nominated play from 2003 was revived in 2023 for a 12-week run in the West End of London, and the following year at the Lyric Theatre in Belfast. Now it's the turn of the Gate, in Dublin, to tell the sometimes unsavoury story of two brothers, Katurian (Fra Fee) and Michal (Ryan Dylan), and their dysfunctional family background. The Olivier Award winner Lyndsey Turner directs. Aidan McArdle, Julian Moore-Cook and Jade O'Connor also feature. READ MORE Festival Kaleidoscope From Friday, July 4th, until Sunday, July 6th, Russborough House, Blessington, Co Wicklow, 1pm, €97.55/€72.55/€56.25, Jerry Fish Ireland's largest family-friendly summer festival returns with a mix of UK bands (Texas, Ocean Colour Scene), Irish acts (The Coronas, Riptide Movement, Hermitage Green, Jerry Fish), DJs (the Line of Duty actor Vicky McClure, Kelly-Anne Byrne, Calum Kieran) and an abundance of kids-oriented activities. These include a mini disco, children's yoga, movie time, interactive workshops, circus, a reptile zoo, science and design. Literature Happy Ever After: Falling in Love with Irish Romance Fiction From Friday, July 4th, until November, Museum of Literature Ireland, Dublin, Happy Ever After: Falling in Love with Irish Romance Fiction The forgotten history of (and regular snide commentary on) Irish romance fiction is explored in this exhibition, which features work by pioneering writers (including Lady Morgan, Rosa Mulholland, Maeve Binchy and Edna O'Brien) and contemporary authors (including Deirdre Purcell, Kate Kerrigan, Patricia Scanlan, Marian Keyes, Sally Rooney and Cecelia Ahern). The exhibition is curated by Paige Reynolds, professor of English at Holy Cross College, in Massachusetts, and author of Modernism in Irish Women's Contemporary Writing: The Stubborn Mode. Exhibition From Dickie to Richard: Richard Harris – Role of a Lifetime From Friday, July 4th, until Sunday, November 16th, Hunt Museum, Limerick, €12.50/€10 (under 16s free), Drawing on the extraordinary family archive that was donated to University College Cork in 2022, this exhibition celebrates the formidable life and career of the Limerick actor Richard Harris. All key points are covered, from his Oscar-nominated breakthrough performance, in the 1963 kitchen sink drama This Sporting Life, and his roles in Camelot (1967), The Field (1990), Unforgiven (1992), the first two Harry Potter films (2001-2002), to his Grammy-winning career as a different kind of pop singer in the late 1960s. The actor's son, Jared Harris, will take part in a public interview nearby (at Belltable Arts Centre on Friday, July 4th, 6pm, €20) that will be followed by a screening of the documentary The Ghost of Richard Harris . Musical Only Fools and Horses From Tuesday, July 1st, until Saturday, July 5th, Bord Gáis Energy Theatre, 7.30pm, €63.40/€52.30/€24.50, Only Fools and Horses: Paul Whitehouse Del Boy, Rodders and Grandad: one of the most beloved of UK sitcoms of the past 40 years arrives in Ireland from a four-year run in the West End of London. Based on John Sullivan's television series (and featuring a script and original music by Sullivan's son, Jim, and the highly regarded comic actor Paul Whitehouse), it promises to offer Trotter fans a celebratory knees-up and a lovely-jubbly feelgood factor. Still running Hibernacle at Orlagh House From Friday, July 4th, until Sunday, July 6th, Orlagh House, Rathfarnham, Dublin, 5pm, €65, Lisa Hannigan, from Tony Clayton-Lea for The Guide, Saturday, June 28, 2025. This three-day event at Orlagh House, an 18th-century Georgian mansion in the foothills of the Dublin Mountains, is a byword for quality. An outdoor stage and various nooks and crannies will host music acts such as Villagers, Pillow Queens, Lisa Hannigan, Ye Vagabonds, Wallis Bird and Ailbhe Reddy. Over-18s only. Book it this week New Ross Piano Festival, New Ross, Co Wexford, September 24th-28th, Write by the Sea, Kilmore Quay, Co Wexford, September 26th-28th, David McSavage, 3Olympia Theatre, Dublin, October 2nd, Beverly Glenn-Copeland, Vicar Street, Dublin, October 7th,
The Guardian
9 hours ago
- Entertainment
- The Guardian
Alanis Morissette at Glastonbury review – spectacular sundown set by a unique feminist artist
Alanis Morissette has landed the coveted pre-headliner 'sundowner slot' on the Pyramid stage on Friday, and without any significant clashes, setting her up for a healthy crowd. Just in case you're not familiar with who she is, her set opens with a helpful explanatory video emphasising her cultural impact with testimonials from Kelly Clarkson, Halsey and (actual Glastonbury headliner) Olivia Rodrigo, as well as clips from interviews giving a brief overview on her views (anti-war; 'naturearchy' over patriarchy). This brazen American narration letting you know that you're about to see a seven-time Grammy award-winner and a Very Influential Artist strikes a slightly odd note (or maybe just an un-English one). The spirit of Glastonbury, after all, is one where even the biggest star in the world must profess earnest and heartfelt gratitude for having been permitted to so much as cross the threshold of this holy ground; Morissette's video intro, emphasising her importance – under-acknowledged as it may be – risks setting expectations unattainably high. However, when Morissette takes the stage, she is very quick to show that she deserves them. After a little trill on her harmonica, she introduces One Hand in My Pocket, one of her best-known songs. It's a smart move, not only inviting the audience to join in with its built-in choreography (one hand making a peace sign, one hand holding a cigarette – good luck hailing that taxi cab!) but also signalling that she's setting out to play a crowd-pleasing set, and not planning to hold back on the hits. For anyone who has cared to see beyond her reputation as the Canadian singer of Ironic and/or an angry man-hating feminist – as she was persistently dismissed, even at her career peak – Morissette has always been defined by her voice. It's both incredibly powerful, capable of the octave-jumping acrobatics that define pop's most lauded singers, but also – more unusually – idiosyncratic: you don't have to be very familiar with her back catalogue to be able to do a quickly guessable impression. Thirty years on from her album Jagged Little Pill, no one would fault Morissette if she wasn't able to summon the raw power that made that album so enduring. It's defined of course by You Oughta Know, a song that makes every other song subsequently described as having been 'inspired by female rage' (and there have been many!) sound as if they were written by ChatGPT. But if there were any doubts about her voice among the crowd, Morissette dispels them instantly, really putting some welly into her trademark warble, even for One Hand in My Pocket – one of her lower-intensity hit songs. 'Got some pipes on her, eh,' my sister messages me from elsewhere in the field and I can only agree. The focus of this set is on Morissette as a singer, as much as a songwriter, and it's refreshing – after a decade now of whisperpop, and even the angriest young feminists in pop seemingly struggling to actually raise their voices – to hear what a well-trained diaphragm is capable of. Perhaps relatedly, Morissette keeps the chat between songs to a minimum, thanking the crowd with an ear-to-ear smile then launching into Right Through You. On the screen behind her, a series of stats scroll through highlighting the multi-faceted grim reality for women today, still – from higher rates of depression and anxiety than men, to a tiny share of the world's total wealth, to dismal stats of partner violence. It makes explicit the sexism and disrespect that has dogged Morissette through her career and brings it into the anniversary set, concluding the song with the question: 'Why are we afraid of the divine feminine?' Morissette lets the question hang, or lets her songs speak for her. She introduces her band one member at the time, saving the crowd from the typically long list of names, but otherwise keeps focused on the set. When she launches into Hands Clean, another belter, you may be starting to realise she's got more great songs than you remember. The sheer proliferation of hits, many from Jagged Little Pill alone, keeps the set pacy. Head Over Feet, featuring a harmonica solo, lifts the energy after the earlier sobering messaging. Her charm as a songwriter lies in this duality of perspective, with Morissette being equally capable of razor-sharp clarity and also the feminine right to set it every aside once in a while. A rhythm emerges to the set where, along with the member-by-member introduction to her band, Morissette showcases her vocal skills before launching into the song itself. The life-affirming energy of You Learn is lost to Smiling, a dirge-y ballad most reminiscent of Evanescence, which only Morissette seems to enjoy, twirling around on the stage as though entirely alone. But Ironic is triumphant, a big singalong that gets everyone up and on their feet, even at the very crest of the hill – and You Oughta Know is ironclad, as powerful and shockingly direct as on your-ever listen. When Morissette concludes her set with Thank You – after of course thanking us, the audience, for the 'bucket list' show – she seems to mean it and the feeling is mutual.
The Guardian
11 hours ago
- Entertainment
- The Guardian
Alanis Morissette at Glastonbury review – spectacular sundown set by a unique feminist artist
Alanis Morissette has landed the coveted pre-headliner 'sundowner slot' on the Pyramid stage on Friday, and without any significant clashes, setting her up for a healthy crowd. Just in case you're not familiar with who she is, her set opens with a helpful explanatory video emphasising her cultural impact with testimonials from Kelly Clarkson, Halsey and (actual Glastonbury headliner) Olivia Rodrigo, as well as clips from interviews giving a brief overview on her views (anti-war: 'naturearchy' over patriarchy). This brazen American narration letting you know that you're about to see a seven-time Grammy award-winner and a Very Influential Artist strikes a slightly odd note (or maybe just an un-English one). The spirit of Glastonbury, after all, is one where even the biggest star in the world must profess earnest and heartfelt gratitude for having been permitted to so much as cross the threshold of this holy ground; Morissette's video intro, emphasising her importance – under-acknowledged as it may be – risks setting expectations unattainably high. However, when Morissette takes the stage, she is very quick to show that she deserves them. After a little trill on her harmonica, she introduces One Hand in My Pocket, one of her best-known songs. It's a smart move, not only inviting the audience to join in with its built-in choreography (one hand making a peace sign, one hand holding a cigarette – good luck hailing that taxi cab!) but also signalling that she's setting out to play a crowd-pleasing set, and not planning to hold back on the hits. For anyone who has cared to see beyond her reputation as the Canadian singer of Ironic and/or an angry man-hating feminist – as she was persistently dismissed, even at her career peak – Morissette has always been defined by her voice. It's both incredibly powerful, capable of the octave-jumping acrobatics that define pop's most lauded singers, but also – more unusually – idiosyncratic: you don't have to be very familiar with her back catalogue to be able to do a quickly guessable impression. Thirty years on from her album Jagged Little Pill, no one would fault Morissette if she wasn't able to summon the raw power that made that album so enduring. It's defined of course by You Oughta Know, a song that makes every other song subsequently described as having been 'inspired by female rage' (and there have been many!) sound as if they were written by ChatGPT. But if there were any doubts about her voice among the crowd, Morissette dispels them instantly, really putting some welly into her trademark warble, even for One Hand in My Pocket – one of her lower-intensity hit songs. 'Got some pipes on her, eh,' my sister messages me from elsewhere in the field and I can only agree. The focus of this set is on Morissette as a singer, as much as a songwriter, and it's refreshing – after a decade now of whisperpop, and even the angriest young feminists in pop seemingly struggling to actually raise their voices – to hear what a well-trained diaphragm is capable of. Perhaps relatedly, Morissette keeps the chat between songs to a minimum, thanking the crowd with an ear-to-ear smile then launching into Right Through You. On the screen behind her, a series of stats scroll through highlighting the multi-faceted grim reality for women today, still – from higher rates of depression and anxiety than men, to a tiny share of the world's total wealth, to dismal stats of partner violence. It makes explicit the sexism and disrespect that has dogged Morissette through her career and brings it into the anniversary set, concluding the song with the question: 'Why are we afraid of the divine feminine?' Morissette lets the question hang, or lets her songs speak for her. She introduces her band one member at the time, saving the crowd from the typically long list of names, but otherwise keeps focused on the set. When she launches into Hands Clean, another belter, you may be starting to realise she's got more great songs than you remember. The sheer proliferation of hits, many from Jagged Little Pill alone, keeps the set pacy. Head Over Feet, featuring a harmonica solo, lifts the energy after the earlier sobering messaging. Her charm as a songwriter lies in this duality of perspective, with Morissette being equally capable of razor-sharp clarity and also the feminine right to set it every aside once in a while. A rhythm emerges to the set where, along with the member-by-member introduction to her band, Morissette showcases her vocal skills before launching into the song itself. The life-affirming energy of You Learn is lost to Smiling, a dirge-y ballad most reminiscent of Evanescence, which only Morissette seems to enjoy, twirling around on the stage as though entirely alone. But Ironic is triumphant, a big singalong that gets everyone up and on their feet, even at the very crest of the hill – and You Oughta Know is ironclad, as powerful and shockingly direct as on your-ever listen. When Morissette concludes her set with Thank You – after of course thanking us, the audience, for the 'bucket list' show – she seems to mean it and the feeling is mutual.
Sky News
14 hours ago
- Entertainment
- Sky News
Lewis Capaldi plays emotional not-so-secret comeback set at Glastonbury
Lewis Capaldi has made an emotional comeback with a "secret" performance at Glastonbury - two years after announcing a break from the spotlight, where he struggled on stage at the festival. After revealing his new song Survive earlier in the day, Capaldi took to the Pyramid Stage and surveyed the huge crowd before him, before launching straight into his 2019 hit, Before You Go. Glastonbury, how you doing?" was the simple introduction after the first chorus, and then came his second song, Grace. Before the next one, the Scottish singer took it all in again and told the audience: "Glastonbury, it's so good to be back... I'm not going to say much up here today because if I do, I'll probably start crying." But, he added, he wanted to thank his fans, and "finish what I couldn't the first time round". Along with the headliners and the Sunday afternoon "legends slots", secret sets from the likes of Foo Fighters, The Killers, and Radiohead have become some of the most talked-about performances at Glastonbury in recent years. This time round, there had been much speculation about some of the big unannounced slots on the bill - in particular the TBA act scheduled to appear on the festival's main stage, the Pyramid Stage, just before Alanis Morissette on Friday afternoon. With various clues trailed on social media and in Glasgow, where Capaldi was born, and Castle Cary, near Glastonbury, by the time Capaldi walked on stage, it was in reality no secret to all but a few of the huge crowd that had turned out for the "surprise". The 28-year-old acknowledged the absurdity of his set being "TBA", describing it as the "worst kept secret" and joking: "I don't know who's been f*****g telling people." There were chants of "Oh, Lewis Capaldi!" from the crowd before he began his next songs, including Hold Me While You Wait, Bruises, Forget Me, and Someone You Loved. His performance was more than just a surprise set. A few months before his last appearance at Glastonbury, again on the Pyramid Stage, in 2023, Capaldi had released the all-access documentary, How I'm Feeling Now. It showed his rise from viral hit-maker to a star whose debut album, Divinely Uninspired To A Hellish Extent, became the biggest-selling in the UK in its year of release - and the year after, too. No mean feat when you consider his competition - Ed Sheeran was second in 2019 and Harry Styles in 2020. Fans have always loved Capaldi not just for his talent as a singer and songwriter, but for his class-clown humour and his unfiltered, indifferent style. But his sense of humour and anti-celebrity attitude masked struggles with his mental health and Tourette's, which he spoke about candidly in the film. At Glastonbury in 2023, the strain was clear. Prior to the performance, he had cancelled several shows to rest and recover. On stage, he apologised as he prepared to belt out his hit song Someone You Loved. "I'm going to be honest, everybody, but I'm starting to lose my voice up here, but we're going to keep going and we're going to go until the end," he told the crowd. "I just need you all to sing with me as loud as you can, if that's okay?" And of course they did, the voices of tens of thousands of people carrying him through. In a statement afterwards, the star said the sentiment had meant "the world", before announcing a break for "the foreseeable future". "I used to be able to enjoy every second of shows like this, and I'd hoped three weeks away would sort me out," he said. "But the truth is I'm still learning to adjust to the impact of my Tourette's and on Saturday it became obvious that I need to spend much more time getting my mental and physical health in order, so I can keep doing everything I love for a long time to come." In May, Capaldi performed his first show in two years - a charity gig in Edinburgh to raise funds for the Campaign Against Living Miserably (Calm), a mental health charity he has supported over the years. For most artists, playing the Pyramid Stage at Glastonbury is a dream. Now, Capaldi has achieved it once again - this time, fans didn't need to help him with the sing-along, but of course they joined him anyway. The love from the audience was clear. "How far will you go to get back to the place you belong?" is one of the lines from Survive. With this performance, Capaldi showed that this, one of the world's most famous stages, is still that place for him.
Yahoo
17 hours ago
- Entertainment
- Yahoo
Lorde opens Glastonbury festival with surprise set
Pop star Lorde has launched the 2025 Glastonbury Festival with a surprise pre-lunchtime set to a packed crowd on the Woodsies stage. There was an almighty roar as she took to the stage, washed in strobe lights, and launched into her recent single Hammer. Just before her set, Glastonbury announced it had closed the Woodsies field due to overcrowding - after rumours about her appearance spread around the site. The New Zealander, whose hits include Royals, Green Light and Solar Power, previously played on the main Pyramid Stage in 2022. Her secret set coincided with the release of her highly-anticipated fourth album, Virgin, which came out at midnight. The festival's first full day of music will also see performances from CMAT, Lola Young, Alanis Morissette, Loyle Carner, Busta Rhymes, PinkPantheress, Wet Leg and Biffy Clyro. Indie band The 1975 will top the bill. There will be another "surprise" guest on the Pyramid Stage at 16:55 BST, with Lewis Capaldi heavily rumoured to be making his comeback two years after an emotional performance during which he struggled to finish his set. The Scottish singer released his new single Survive at midnight. Follow live updates from Glastonbury Lewis Capaldi releases rousing comeback amid Glastonbury rumours Glastonbury gears up for The 1975, Alanis Morissette and more Lorde's appearance was the culmination of a promotional campaign for her album, which has featured a series of impromptu fan gatherings and pop-ups - including a guerilla video shoot in New York's Washington Square Park that attracted the attention of anti-terror police. The record itself is revelatory in its candour. Lorde sings sensitively about eating disorders, body dysmorphia, the end of a long-term relationship and her shifting gender identity. "Going into this album, I had the sense that something very raw and close to the bone was wanting to come out of me," she told the Sydney Morning Herald earlier this week. "I basically felt uncomfortable the whole time. "When you're pushing yourself to the bone, or [pushing] to only tell the truth... the only way I can think to describe it is that it makes you feel very alive." In a separate interview on Stephen Colbert's US chat show, the 28-year-old also revealed she had practised MDMA therapy to overcome the stage fright that had plagued her "since I was five [years old] doing community theatre". The controlled use of MDMA, also commonly known as ecstasy or molly, has been advocated by some experts in psychedelics, as a way of tackling post-traumatic stress disorder and other mental health conditions in a therapeutic setting. It is currently legal in Australia, and permitted in limited cases in Canada and Switzerland. Lorde said the six-hour experience was particularly peaceful. "You lay on a bed, you've got an eye mask on... there's some talking," she told Colbert, adding that the effects were instant. "I tried everything for my stage fright. I did this therapy and woke up the next morning like, 'Oh, it's over. I know it's over'." Lorde's fans are now hoping she'll stick around for Charli XCX's set on Saturday night, to duet on their headline-making collaboration Girl, So Confusing. On Friday, The 1975's first Glastonbury headline performance kicks off at 22:15 on the Pyramid Stage. The band, fronted by Matty Healy, have reportedly spent four times their festival fee on a "specially designed set" for the show. Tickets for the festival sold out in just 40 minutes last November, before the line-up had even been announced. The BBC will provide full coverage across the weekend, with live and on-demand sets available on television, radio, BBC Sounds and BBC iPlayer. One exception is Saturday night's headliner Neil Young. The BBC has confirmed it will not broadcast his set live "at the artist's request". A statement added: "Our plans, including those for our TV highlights shows and on-demand coverage, continue to be finalised right up to and during the festival." Glastonbury 2025: Full line-up and stage times for the weekend Glastonbury Festival could be one of the warmest on record Rod Stewart on Glastonbury: 'I wish they wouldn't call it the tea time slot' Glastonbury Festival: Five newcomers you don't want to miss Secret Glastonbury: The mystery of the festival's surprise stars
