Latest Arcade Fire Articles
Arcade Fire will headline the 2020 Kanaval Ball, marking the band’s first confirmed performance since 2018.
Arcade Fire has recorded a new version of “Baby Mine” for Tim Burton’s upcoming live remake of the Disney classic ‘Dumbo.’
Arcade Fire surprised their fans last night at The Greek Theatre in Los Angeles with a full performance of their debut album.
Watch the “Lo-Fi Teenage Dancehall Fairytale” remix video by Jamaican director Storm Saulter for Arcade Fire’s “Peter Pan.”
Canadian rockers Arcade Fire confirmed a second night in Berkeley and a visit to Los Angeles as part of the September leg of their tour in support of ‘Everything Now.’
Watch the video for “Chemistry,” a song on the latest Arcade Fire album ‘Everything Now.’
Latest Arcade Fire Setlist
Arcade Fire at Downtown Las Vegas Fremont Street
- Everything Now (Continued)
- Everything Now
- Rebellion (Lies)
- Neighborhood #2 (Laika)
- No Cars Go
- Electric Blue
- Put Your Money on Me
- Neighborhood #1 (Tunnels)
- The Suburbs
- The Suburbs (Continued)
- Ready to Start
- Sprawl II (Mountains Beyond Mountains)
- Creature Comfort
- Neighborhood #3 (Power Out)
- Everything Now (Continued)
- Wake Up
- Walk on the Wild Side
About Arcade Fire
The novelist Thomas Wolfe coined the famous adage “you can’t go home again.” The members of Arcade Fire know thisbecause they tried. But when memories of youth stem from suburbs constructed for convenience, not permanence, those childhood memories become that much harder to trace.
Montreal’s Arcade Fire explored the theme of neighborhoods on their 2004 breakthrough album Funeral (chosen by Rolling Stone as the #1 album of the ’00s). In 2009, during a year off after a world tour for 2007’s Neon Bible, frontman Win Butler received an email from an old friend he grew up with in the suburbs of Houston, Texas. “He sent us a picture of him with his daughter on his shoulders at the mall around the corner from where we lived,” says Win, “and the combination of seeing this familiar place and seeing my friend with his child brought back a lot of feeling from that time. I found myself trying to remember the town that we grew up in and trying to retrace as much as I could remember.”
At the same time, other band members of a similarly suburban origin across Canada had revisited their childhood environs and, in some cases, found there was not much left: buildings were boarded up, if they still existed at all; new roads and rivers had magically appeared, altering the landscape that now only existed in faded photographs. When they reconvened, the first song they wrote was The Suburbs’ title track.
“We started working on the song, and once that started to sound like music, it felt like we were making an album,” says Win. As the songs of The Suburbs started to take shape, a cohesive group of songs emerged, drawing on themes of loss and renewal, of drawing inspiration from scarcity, of generations past and future, of responsibility and maturity, of hoping that something pure can last.
These aren’t unusual themes for the bandsome of these songs would fit in easily on their debut 2003 EP, Us Kids Know. But if Funeral was driven by youthful exuberance and Neon Bible absorbed the weight of the world, The Suburbs, like its namesake, revels in open space, reflections on long drives, and contemplating possibilities. There is more breadth and beauty than on any previous Arcade Fire recording, featuring sparse pop (“Modern Man”), icy new wave epics (“No Celebration”), anthemic punk (“Month of May”), and lush balladry (“Suburban War”). Yet, they still sound hungry on hard-driving tracks like “Empty Room” and “Ready to Start,” and with lyrics decrying wasted time, arms folded tight, and cities with no children.
The seven-piece band still believes that it takes a village to perform a song, but there is plenty of room to breathe on any given track; tiny details are doled out bit by bit. That attention to detail, that refusal to accept easy answers, embodies much of what the Arcade Fire does. This fiercely independent band has faced pressure from every corner of the music industry but carved out something beyond the grasps of the major-label system with great success, a combination of Internet word-of-mouth and old-fashioned live show impressions.
“We were lucky to be left to our own devices,” says Win. “That afforded us a lot of control over our own destiny, which a lot of bands that are my heroes either never got or only got late in their careers. We’ve felt fortunate becausewhat else do you want? We’re making records the way we want, and it’s a great position to be in.”
Saturday’s Trey Anastasio Band concert at The Wiltern in Los Angeles included the debut of a new original entitled “All Pretending” and a cover of “Over The Rainbow” from ‘The Wizard Of Oz.’
Umphrey’s McGee concluded a two-night stand at the Beacon Theatre in New York City with a show that included a debut cover of “Limelight” by Rush, guest spots from NYC scene fixtures Mike Stern and Leni Stern and much more.
Billy Strings paid tribute to Jerry Garcia at one of the Grateful Dead guitarist’s favorite haunts, The Capitol Theatre in Port Chester, New York.
Wilco finally changed up their ‘Ode To Joy’-heavy setlist plan for the first night of their inaugural Sky Blue Sky destination event in Mexico on Saturday.
Dead & Company resumed their three-night Playing In The Sand 2020 run at the Moon Palace in Cancun, Mexico, which included a monster second set.