Latest news with #HampdenPark
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.
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.
The Sun
05-07-2025
- Sport
- The Sun
Two-time FA Cup finalists leave world-famous 51,866-seater home to play in tiny stadium holding just 990 fans
QUEENS PARK are swapping one of world football's most iconic stadiums for a pint-sized ground with fewer than 1,000 seats. The Glasgow club - who reached the FA Cup final twice in the 1880s - are moving out of Hampden Park. 3 3 3 Yes, Hampden the home of the Scotland national team and host of Euro 2020 matches with a capacity of 51,866. In its place, Queens Park are moving to a cosy new stadium called Lesser Hampden - now known as the City Stadium - right next door with a capacity of just 990. That's over 50 times smaller than the ground they've called home for over a century. Queens Park were once one of football's biggest names making the FA Cup finals in 1884 and 1885 back when Scottish clubs were allowed to enter. Founded in 1867, they're Scotland's oldest club and helped shape the modern game. For decades they shared Hampden with the national team but the Scottish FA now owns the ground outright. So Queens Park have decided to go their own way building something small but entirely their own. The club says the move is about sustainability, identity, and building for the future even if that future has fewer seats. Gone are the days of tens of thousands roaring from the stands. Now, it'll be hundreds but every voice will count. From a world-famous arena to a hidden gem in its shadow, Queens Park are proving size isn't everything. They may be downsizing the stadium but their ambitions are still sky high.
BBC News
01-07-2025
- Sport
- BBC News
Cup glory will inspire Dons for next season, says Thelin
Manager Jimmy Thelin believes Aberdeen's historic Scottish Cup final triumph will inspire everyone at the club going into next Dons beat Celtic in a dramatic penalty shootout after a 1-1 draw at Hampden Park in May to claim the famous trophy for the first time in 35 memorable victory also guaranteed European league phase football next term."There is a lot of inspiration there and it's nice to be back again," the Swede said from Aberdeen's pre-season training camp in Portugal."We have some new players coming into the team, and we always have to work hard and try to take as many steps as possible in a short time."When you're together 24/7, it's always good to work with the identity, the behaviours, how we treat each other, the principles of the game."It's important now we are clear, what we want to achieve and how we want to play and with what style and identity on the pitch."Recalling the momentous cup celebrations, the 47-year-old added: "The Scottish Cup win was one of the best moments of my life."When you think about it, it's always there in a really good spirit. But I also know we have to keep working and improving. Now we have to look ahead and try to prepare for a new season."That inspires everybody to try again. I know it's really difficult, but we have to try and we have to believe and go and try to be the best we can be."
Yahoo
22-06-2025
- Entertainment
- Yahoo
Chairs among multiple items banned from huge singer's Glasgow gig
Chairs are among several of the items banned from a huge US singer's Glasgow gig. Lana Del Rey will perform at Hampden Park in the Southside on Thursday, June 26. The 39-year-old superstar, from New York, is known for her megatunes, including Summertime Sadness, Young and Beautiful, Cinnamon Girl, and Say Yes To Heaven. READ MORE: Leading musician dismissed from senior role at prestigious Glasgow school READ MORE: Wearing a Celtic top and shopping in Shawlands - Lana Del Rey's love for Glasgow Lana Del Rey (Image: Newsquest) Ahead of her show in the city, the concert's organisers have revealed all the banned items from the event. An email, which was seen by the Glasgow Times, was sent to fans heading to the gig outlining what items are prohibited. Here are all the banned items from the concert: Chairs. Professional cameras. Drugs. Flares/smoke canisters. Glass or metal/hard plastic bottles (including perfume). Flag poles. Selfie sticks. Umbrellas. Weapons. (Image: Newsquest) Additionally, concert-goers are being urged not to take a bag 'unless it is absolutely essential'. Here are the items fans can take to the show: Bags under the size of A4 paper. Bank cards/contactless payment (Hampden is cashless). Blankets. Small cameras. Earplugs. Small hand sanitisers. Hats. Lip balm. Make-up. Sunscreen. Sunglasses. Empty foldable water bottles. Wipes.
