Alice in Chains have just announced a series of new US tour dates set for this spring.
Said tour kicks off in Tulsa, Oklahoma on April 25th and will see the grunge heroes make stops in Atlantic City, Cincinnati, Cleveland and Davenport, Ohio, among other places, before wrapping up on May 24th in Council Bluffs, Iowa.
Before they embark on the American tour, Alice in Chains travel to Australia for several Soundwave Festival shows. They’ll also play their first ever show in Singapore at the Singapore Rock Festival on March 6th.
Afterwards, they’re due to play a selection of European festivals this summer, some of which will be with Metallica, including Rock in Roma (Rome, Italy), Aerodrome (Prague, Czech Republic) and Krieau Rocks (Vienna, Austria).
Alice in Chains are touring in support of their 2013 album The Devil Put Dinosaurs Here, which debuted at No. 2 on the Billboard 200 album chart when it was released in May. It has also spawned two No. 1 singles “Hollow” and “Stone.”
Said album was also nominated for a GRAMMY in the field of Best Engineered Album, Non-Classical, but lost to Daft Punk’s eventual Album of the Year winner Random Access Memories.
Recently, the band showed their soft side, pairing up with nonprofit organization Music For Relief for their 5th annual “Alice In Chains & Friends Fantasy Football League Charity Auction” to raise money for victims of Typhoon Haiyan in the Philippines, which just goes to show that even the angriest bands are sweethearts underneath it all.
The auction, which recently ended, included some seriously one-of-a-kind gems of music memorabilia, including a guitar signed by Green Day‘s Billie Joe Armstrong and the chance to sit with Linkin Park‘s Chester Bennington at a New York Fashion Week runway show, which sounds like a strange way to spend an afternoon.
Soundwave 2014 just got real. The Australian festival has just added Green Day, Korn and Alice in Chains, Avenged Sevenfold and Megadeth to its books.
Festival organizer AJ Maddah, dubbed the most powerful person in the Australian music industry last month, was said to have been in negotiations as late as this morning, but again, pulled out all the stops, and proved his salt as a music mogul, securing a mighty line up indeed.
Maddah himself had said that there was no way in a million years that next year’s line up could’ve topped this years, and to be fair, this year’s was pretty impressive, with 300 million sales amongst the headliners alone. The festival also drew an estimated 270,000 fans across five venues in February. In March, Maddah tweeted: “We’re not going to top [the 2013 lineup]. It was our 10th anniversary, so a 1 off big show [sic].”
That being said, Soundwave 2014 is off to a pretty good start, with at least 240 million album sales between the main acts, which include Green Day, alternative metalheads Korn and grunge pioneers Alice in Chains, as well as Stone Temple Pilots (with Linkin Park vocalist Chester Bennington as frontman, after Scott Weiland was dumped this year) and cult American funk-metal act Living Colour.
Other big names include English alternative act Placebo; Megadeth, considered one of “the four pillars of thrash metal”, filmmaker and sometimes musician Rob Zombie (aka Rob Bartleh Cummings), Newsted (led by former Metallica bass player Jason Newsted) and Scottish rockers Biffy Clyro, named Best British Band at the 2013 NME Awards.
Soundwave started in 2004 as a one-day show in a single city – Perth. Now, the festival regularly sells about 200,000 tickets and sits up there with Big Day Out and the EDM fests Stereosonic and Future Music Festival.
After all these years, Alice in Chains can still make some killer tunes. When they released Black Gives Way to Blue in 2009, their first new album in nearly 14 years, it was met with critical acclaim. In the wake of many flawed alternative and grunge reunions, Alice in Chains had defied the norm by immediately shaking off any rust. The newly polished alt-rock favorites had the potential for greatness yet again — both of the nostalgic variety with perpetual members like Jerry Cantrell, and with the arrival of a new cast. Alice in Chains’ new album, The Devil Put Dinosaurs Here, marks the second with William DuVall on lead vocals, his deeply entrenched murmur of a voice meshing ably with Alice in Chains’ explosive alternative-metal. Cantrell’s guitars and occasional vocals still make Alice in Chains sound precisely like, well, Alice in Chains, but this is an album that works on the strength of old ideas as well as new ones.
“Voices” is the first track on The Devil Put Dinosaurs Here that gravitates from the norm; it features a more acoustic-oriented arrangement and pop-rock formula than the preceding head-bangers. It’s a sound that brought Alice in Chains acclaim throughout the ‘90s, and it re-appears here with “Voices” and “Scalpel”, which is almost sugary sweet for the group’s standards – but in a good way. On “Voices” DuVall and Cantrell harmonize to help lead a relatively straightforward yet wholesomely accessible effort. “Everybody listen, voices in my head / Everybody listen, ’cause you’ll see what mine says,” they sing during a safe yet infectious chorus. The easy-rhyme scheme fits well, as the track almost seems like a breather between “Stone” and the ambitious sprawl of a self-titled track.
Shortly after “The Devil Put Dinosaurs Here” opens with an exotic guitar progression that applies ascending reverb sparingly, the vocals emerge in a melodic haze that is again quite different from Alice in Chains’ usual material. “The Devil Put Dinosaurs Here” is enjoyably submerged in an ominous vibe, the menacing force coming full circle when blasts of guitar distortion lead into the chorus, where soaring and anthemic vocals take over. Plenty of memorable moments occur during this track’s six minutes, a stunning Cantrell guitar solo being perhaps the most unforgettable. Drummer Sean Kinney also features phenomenally throughout, his drumming a continuous backbone to the group’s often intense meshing of multi-layered vocals and guitar progressions.
One of Alice in Chains’ more abrupt efforts, the group takes a route familiar to longtime fans of the group. “Pretty Done” is a slick maneuver that rides dominantly on rigid waves of guitar. “Slap me ‘round for fun,” DuVall murmurs on “Pretty Done”, recalling vintage grunge in his nonchalant and raspy vocal delivery. Eddie Vedder and Kurt Cobain would nod their heads in approval. Yet again, Cantrell steals the show just after the mid-point with a brief yet melodically fervent guitar solo. He has several of these moments throughout the album, and who’s to complain? Cantrell continues to cement his status as one of the greatest guitarists in alternative history. A more technical demonstration can be found in the fleet metal-infused gloom of “Phantom Limb”, a halted form of energy that largely succeeds. After nearly 27 years together, Alice in Chains know their strengths – and utilizing Jerry Cantrell over consistently empowering vocal deliveries, no matter who the singer, is one of them. Fortunately for Alice in Chains, DuVall proves more than capable.
The faults on The Devil Put Dinosaurs Here have nothing to do with performance. A handful of tracks are just on the tedious side. “Breath on a Window” features a very forced chorus that sounds as if it were written separately, the group sticking to an overly predictable structure both here and on “Lab Monkey”, which rides too long on a sliding guitar lead. The wah-wah effects toward the conclusion provide some flair, but enough. While the middle of The Devil Put Dinosaurs Here does tend to drag, the bookends of the album are as fine as anyone could expect from Alice in Chains’ second album as a reformed group. As they continue to grow older, it’s doubtful that Alice in Chains will reclaim their peak standing. Regardless, there aren’t many alternative heroes still churning out some tunes as good as “Voices”, “Phantom Limb”, and the album’s self-titled track.
The mother of late Alice in Chains singer Layne Staley is suing the band, claiming they owe her royalties from the band’s hits.
Nancy McCallum, Staley’s mother, claims in a lawsuit that the group owes her half of the money due to Staley, which is about 16 percent of the group’s income, according to the Seattle Post-Intelligencer. The lawsuit claims the band has attempted to block her from receiving any future payments.
However, the Seattle newspaper also reports that lawyers for the band contend that McCallum has attempted to illegally trademark the name of the band, and already has received more money than she is legally owed. The band also contends that Staley’s heirs will continue to receive royalties on songs he wrote or co-wrote, but that McCallum has no role in the business decisions of the band.
Alice in Chains, of course, is the Seattle band that was successful throughout the 1990s with a string of hit albums, with the most commercially successful being 1992’s Dirt, which contained the hits “Rooster” and “Down in a Hole.” The group is often lumped into the Seattle grunge scene of the early 90s, but shares little in common sonically with many of the other artists in the “genre.”
Staley never performed with the band after 1996, due in large part to drug addiction. He later died from substance abuse related causes in 2002. Alice in Chains reunited in the mid-2000’s with singer William DuVall. They released the album Black Gives Way to Blue in 2009, which was the first full studio album of original material since the group’s 1995 self-titled effort. Later this month the group will release its fifth studio album, The Devil Put the Dinosaurs Here.
The group will be on tour throughout most of the summer, playing at various festivals as well as a headlining tour with Chevelle.
What a difference a year makes. This weekend last year, I was sweating my balls off in Memphis, taking in the bevy of acts at Beale Street Music Festival. Last night, I was freezing my nips off at Charlotte Motor Speedway. I wasn’t watching the stock cars endlessly circle the Nascar track. I was here for Charlotte’s preeminent rock festival, Carolina Rebellion.
In talking to festival goers who were frequent Rebelers, last year the temps boiled over much like they did 620 miles away. Yesterday, the cloud cover rolled in and threatened rain throughout the day. The wind kicked up and pushed those “feel like” temperatures down into the low-50s. The masses, outfitted out in shorts and t-shirts, didn’t quite have this in mind when they penciled Carolina Rebellion on their calendar to start the summer festival season.
Carolina Rebellion is being held not exactly at the Speedway, but rather across the street behind the parking area. They’ve cordoned off the festival grounds and setup two massive stages on each end of the L as well as a smaller Jagermeister side stage. There was an embarrassment of riches packed within this line-up. We started off our day with rising talents of Halestorm, took in some of the last decades favorites with Three Days Grace and Papa Roach and we even got to see Disturbed frontman David Draiman with his side project Device on the lowly side stage. If you love rock music, Carolina Rebellion made this weekend a ‘sell the savings bonds you’re grandma gave you when you were eight’- type event.
While I’d greatly enjoy chronicling the unique stylings of Welch group Bullet for My Valentine or count the ways I loved Halestorm’s frontwoman Lizzy Hale, there is only so much time before we have to get back over to the Speedway for day two of our coverage. That means today we’ll focus our festival review on the three main acts – Alice in Chains, Limp Bizkit, Deftones – and dovetail back around to these other highly deserving bands in our Carolina Rebellion wrap-up review set to publish mid-week.
When I heard Deftones was playing second fiddle to Limp Bizkit, I was a bit baffled. I mean what has Fred Durst and crew done since their 90s heyday besides Durst being a douchebag. We’ll get to Fred and feminine hygiene in a minute. The Deftones were an institution at the festival. Papa Roach’s lead singer Jacoby Shaddix said that when he first started listening to the band as a teen, he knew they were making the kind of music that would become his life. Metal heads Bullet for My Valentine couldn’t believe the Deftones were here, and the Deftones were still three timeslots away. It’s not hard to spot the tattoo the Sacramento group has burned onto all the groups that came after them. Chino Moreno and the boys were quite the elder statesmen as they took the stage.
There was only an hour for the music so they sunk their teeth into the set. Moreno hit the stage with his patented soul patch and leather jacket shortly before unzipping it to revel his Joy Division t-shirt below. No worries. No mopy music followed him onstage. Instead, he brandished his trademarked intensity, mounting the riser and racing about the stage. The wrinkles of age have started to set into his face, but the band’s music sounds as fresh as it did when they put the world on notice of music’s coming change in 1988.
Stephen Carpenter and Sergio Vega anchored each end of the stage. Carpenter’s long mane of hair swirled about his face as he tamed the wild guitar. Vega bounced about the stage with crazy abandon. The best word to define the Deftones set is intensity. You can tell they take this shit seriously. They are channeling the music and through Moreno’s tortured facial expressions the notes are squeezed out into the open air. These boys put on a damn impressive live set.
On to perennial whipping boy Fred Durst and Limp Bizkit. It’s been ten years since he professed to dating Britney Spears and did the unthinkable MTV duet with Christina Aguilera. Talk about wiping your ass with your street cred and flushing down the commode. Soon after, Limp Bizkit went on a welcomed hiatus, and Durst devoted himself to indie films. The Bizkit rounded up the boys in 2009, and here we are.
Well you can’t say Limp Bizkit doesn’t put on an interesting show. Guitarist Wes Borland was covered in black body paint from head to toe with a mask straight out of Eyes Wide Shut (check him out under the photo tab above). The man is the mastermind behind the band’s sonic experimentation so if he wanted to hit the stage in a tutu, I don’t think his mates would exactly put up too much of a protest. Fred and Sam Rivers wore hoodie sweatshirts that looked like they were some kind of workout, Christmas sweaters. Curious attire aside, Limp Bizkit was here to show you why they’ve sold 40 million record around the globe.
Durst launched right into “Rollin’,” and the audience was instantly flung into the beat. Durst’s goal seemed to be to get Carolina Rebellion off. There would be no ebb and flow here. The set was locked in to full throttle to the final note. The band rolled through hits like “Nookie,” “Break Stuff” and “My Generation.” They leaned on the catalogs of their musical heroes serving up The Who’s “Behind Blue Eyes,” Ministry’s “Thieves” as well as Rage Against the Machine’s “Killing in the Name.”
The set was definitely a high energy affair. Durst came down off the stage to mingle with the masses for a while. The audience loved him, and there should be no question that Limp Bizkit is back.
Alice in Chains closed our evening. I have to admit that I haven’t kept up with AIC since they brought on new vocalist William DuVall when the band reformed in 2005. I was a child of grunge so Layne Staley and Alice in Chains was a rotational staple in my formative years. Much to my surprise, DuVall hauntingly similar to Staley. The inflection of his voice definitely betrays your ears, and he more than capable of performing the old staples.
The rest of your AIC favorites were here from Jerry Cantrell and Mike Inez to Sean Kinney. Cantrell’s signature long locks are a thing of the past, and they all look older, but they still rocked Carolina Rebellion like it was a dark, dank club in Seattle during the early-90s. The band is touring behind their upcoming release The Devil Put the Dinosaurs Here that releases May 28. They gave us an advanced taste of the new work, performing tracks “Hollow” and “Stone” for the audience’s enjoyment. From this advanced look, I think the Alice in Chains faithful will be very happy with the direction the band is taking.
The band clearly recognized that a good chunk of the crowd was packing the stage to hear their 90s hits. They didn’t disappoint, performing a trio of favorites – “No Excuses,” “Rooster” and “Man in the Box” – to end the evening. The band sounds sharp, and they are doing the Alice in Chains legacy proud. They’ll never top the legend they were with Layne Staley, but that’s ok. They’re comfortable with who they are, and their place in rock’s landscape.
So that wraps our coverage of Saturday’s music from Carolina Rebellion. Today, we take on rock heavyweights of Bush, Rise Against and Soundgarden assuming the rain doesn’t completely wash us away. Mud here we come. Check back with us tomorrow as we continue our Carolina Rebellion coverage from Charlotte.
Limp Bizkit Carolina Rebellion Setlist
Charlotte, NC : May 4, 2013
1) Rollin’ (Air Raid Vehicle)
2) The Truth
3) Hot Dog
4) My Generation
5) Livin’ It Up
6) My Way
8) Killing in the Name (Rage Against the Machine)
9) Thieves (Ministry)
11) Behind Blue Eyes (The Who)
12) Break Stuff
Alice in Chains Carolina Rebellion Setlist
Charlotte, NC : May 4, 2013
1) Them Bones
2) Dam That River
3) We Die Young
5) Check My Brain
7) Down in a Hole
8) Got Me Wrong
10) No Excuses
12) Man in the Box
This year’s incarnation of the traveling Uproar Festival will feature Jane’s Addiction, Alice in Chains and, Coheed and Cambria.
The fourth annual version of the tour will kick off August 9 at the Toyota Pavilion at Montage Mountain in Scranton, Pennsylvania, and the road party will continue through a September 15 date at the Verizon Wireless Amphitheater in Irvine, California on September 15. In between, all groups in the lineups also will visit Darien Center, New York; Bristow, Virginia; Toronto; Oklahoma City; Denver; Salt Lake City; George, Washington and Chula Vista, California, among others.
Who are the others included in that “all groups in the lineup”? Let me fill you in.
On the main stage, you’ll also have Circa Survive with the other three notable acts. But there’s a second Festival Stage at each stop that will feature a number of other acts including Walking Papers. You may not have heard of that name, but you’ve likely heard of at least a few of the members of the supergroup, which features Duff McKagan (Guns N’ Roses), Barrett Martin (Screaming Trees), Jeff Angell (The Missionary Position) and Benjamin Anderson (The Missionary Position).
But that’s not all. The Festival Stage also will host Danko Jones, New Politics, Middle Class Rut and Chuck Shaffer Picture Show. The latter was the winner of last year’s Uproar battle of the bands.
Alice in Chains will release its fifth studio album between now and the start of the festival. The awesomely (?) titled The Devil Put Dinosaurs Here will be out May 28, and legendary guitarist Jerry Cantrell, who recently cut his trademark flowing blonde mane, spoke about the upcoming tour and how he feels about playing with Jane’s Addiction.
“Like we always do, we make everything up as we go along,” he said. “We wanted to go out with another really great band. Jane’s Addiction is a band we’ve always really admired. I remember during our early days those guys would come through town. They were so f**king bad**s. Those first couple of Jane’s Addiction records are so important to me and even more so to [singer] Sean [Kinney].”
Perhaps it’s the fact that they never had a genuine crossover hit in the shape of “Smells Like Teen Spirit” or “Black Hole Sun,” or maybe it’s because their constant themes of depression, suicide and drug addiction were just too dark and nihilistic for some, likewise Layne Staley’s long-running and eventually fatal battle with heroin, but Alice In Chains are often overlooked when it comes to the influence of the Seattle grunge scene.
Indeed, despite arriving on the scene earlier than most of their peers, scoring two Billboard number one albums and receiving eight Grammy Award nominations during their troubled career, it’s Nirvana, Pearl Jam and Soundgarden who are widely considered to be the genre’s holy trinity.
And yet without guitarist Jerry Cantrell’s punishing riffs, Staley’s brooding vocals and an ability to effortlessly straddle the worlds of metal, alt-rock and punk, a whole generation of guitar bands would cease to exist.
In fact, there are very few alt-metal bands who could deny being indebted to Alice In Chains’ 1990 debut Facelift. A resolutely gloomy affair intended to reflect the brooding atmosphere of their hometown, it became a slow-burning hit after the band courted fans of both mainstream rock acts by supporting Iggy Pop, Poison and Extreme and metalheads Anthrax, Megadeth and Slayer by performing on the Clash Of The Titans tour.
Like Kurt Cobain, Staley never felt particularly comfortable under the spotlight and yet despite the tough subject matter of 1992’s career-defining Dirt, Alice In Chains continued to penetrate the mainstream with an appearance in Cameron Crowe’s rom-com Singles, an MTV Video Music Award for their contribution to its soundtrack, “Would,” and slots on Ozzy Osbourne’s tour and the Lollapalooza festival.
And by the time acoustic E.P., Jar Of Flies, soared to the top of the Billboard charts, spawning a first Mainstream Rock number one in the process (“No Excuses”), the band appeared poised to become one of 90s rock’s biggest success stories. However, although 1995’s self-titled third effort continued their chart-topping streak, it was to be their last ever studio release in their original incarnation.
An MTV Unplugged session and four dates supporting Kiss briefly papered over the cracks but Staley’s drug addiction, which turned him from the frontman of one of America’s biggest bands to a virtual recluse, meant that they never got the chance to truly capitalize on their success.
His increasingly desperate situation even inspired close friend Eddie Vedder to write the 1996 track, “Off He Goes,” an understandably solemn ballad which confessed to the concerns he had over Staley’s well-being. Six years later, his fears came true when the man who helped Alice In Chains sell over 25 million records worldwide was found dead in his apartment from an overdose.
The band’s status may have been on the wane for over half a decade but ironically, at the time of his death, the charts were chocked full of bands who were quite obviously influenced by their bleak metal sound. Creed had just consolidated their status as one of rock’s most popular acts with a more melodic take on Alice In Chains’ style, with No.1 album Weathered, Nickelback were on the verge of conquering the world with a similar watered-down spin on grunge, whilst Staind were in the process of recording 2003’s 14 Shades Of Grey, which featured the tribute song, “Layne.”
Avenged Sevenfold, Hurt and Tantric also helped to continue their legacy, but several more established bands, many of whom arrived on the scene long before AIC, also admitted how much they viewed the group as an inspiration. Metallica recorded an ode to Staley (“Rebel Of Babylon”) on their Beyond Magnetic E.P. after citing the band as a major influence on 2008’s Death Magnetic. Godsmack founder Sully Erna hailed Staley as one of the reasons he became a rock singer, while Opeth, Dream Theater and Grave all regularly covered some of their biggest hits whilst on tour.
Of course, having recruited new vocalist William DuVall in the mid-00s, Alice In Chains are once again a fully-functioning band. But even if they achieve greater commercial heights, they’re unlikely to create the same influential impact as they did in their early 90s heyday.
“Life, Liberty and the Pursuit of Rock!” proclaims the tagline of the 2013 Rocklahoma Festival, and with a lineup including Guns N’ Roses, Alice In Chains, Bush and Korn, it’s safe to say the motto fits.
This year’s incarnation of the annual music festival will take place May 24-26 at the Catch the Fever Festival Grounds near Tulsa in Pryor, Okla. Other notable performers include Cheap Trick, Dokken, Papa Roach, Skillet, Ratt, Halestorm, the Sword and, appropriate for today, Bullet for My Valentine (just kidding).
“We’ve waited seven years, and we’re finally bringing the #1 most requested band by the fans to Rocklahoma, the one and only Guns N’ Roses!” said Joe Litvag, executive producer for AEG Live, according to Pollstar.com. “Couple that with the undisputed legacy of Alice In Chains, the unforgettable live spectacle of Korn and the hits of Bush, and we’re in store for a truly legendary weekend.”
To be fair, waiting seven years for Guns N’ Roses is not really very long considering the history of the band. This is the group’s second announced U.S. date for 2013, alongside an appearance at New York’s Governors Ball this summer. No word yet on whether GNR plans to add more dates.
“Bush is thrilled to be playing Rocklahoma with such great bands. We look forward to seeing you all out there,” said the group’s frontman Gavin Rossdale in a statement that seems much less enthusiastic than Litvag’s.
The festival will contain three total stages, with a Hard Rock Stage and Retrospect Records stage in addition to the main stage. Tickets start at $99 for a three-day pass and go on sale February 22. VIP packages start at $325 a person for the weekend, and ranges up to a $2,899 Rockstar Package (for two) that includes accommodations, shuttle service, premium seats and more.
The event will take place May 4-5 at the Rock City Campgrounds at the Charlotte Motor Speedway, which is located in Concord, North Carolina. This year marks the first time the festival has been held over two days, and in addition to the headliners will also feature tons of other rock acts including Deftones, Rise Against, Papa Roach, Bush, 3 Doors Down, Buckcherry, Limp Bizkit and Halestorm.
The bands will perform on one of three stages that will be set up at the festival: the Monster Energy “Carolina Stage,” the Monster Energy “Rebellion Stage and the Jagermeister Stage. It’s pretty easy to see who the sponsors of the festival are, and the event is presented by AEG Live, known for putting on other huge festivals around the country including Coachella, Stagecoach, New Orleans Jazz Fest, Rock on the Range and many more.
“Holding Carolina Rebellion at Charlotte Motor Speedway gives us the ability to create an even better experience for our fans,” said Joe Litvag, co-executive producer of the festival, in a statement. “We have more space to expand, easier access in and out, upgraded tent and RV camping opportunities, and lots of participating hotels to cater to our crowd.”
Tickets for the event go on sale Friday, February 8, and two-day passes are $99. Single day passes also are available for $59.50, and a special military pass includes a four-ticket bundle (for both days) for $198, and the purchaser must be active military. Access to the VIP Lounge at the festival is a $100 per person upgrade. The lounge includes shaded seating areas, a cash bar, food available for purchase and private restrooms.
Camping for the festival starts at $125 per space and includes a Friday Night Campground Party. RV spaces are available both with and without hookups.
The third annual “Welcome to Rockville” music festival will feature Alice in Chains, Lynryrd Skynyrd and Shinedown, among a slew of other rock acts.
As it has for the past two years, the festival will be held at Metropolitan Park along the St. Johns River in Jacksonville, Fla. For the first time in its history, the event will take place over two days this year, April 27-28.
Other notable acts this year include 3 Doors Down, Limp Bizkit, Stone Sour, Papa Roach, Buckcherry, Halestorm, All That Remains, Steel Panther, Three Days Grace and many more. The festival is presented by Monster Energy drinks.
“After selling out the last two years of Monster Energy’s Welcome to Rockville, I now see that the city is ready to bring a full-fledged two-day rock festival to downtown Jacksonville and make it a staple in North Florida music for years to come,” says Danny Wimmer of Danny Wimmer Presents. “We have great radio partners at ROCK 104.5 and X102.9 providing amazing support to the city and event which will make this year’s festival more massive than ever.”
Tickets for the event are general admission, and two-day passes are $99.50 plus fees. Single-day tickets cost $54.50, and limited number VIP tickets also are available.
The announcement comes less than a week after the Jacksonville City Council voted to withdraw a bill that was set to ban a dozen ticketed events set to be held at Metropolitan Park. Danny Wimmer spoke at the council meeting before the vote.
“I’m here to help grow the city,” he said. “I think the future of Jacksonville involves music… Jacksonville has such a big reach in music and it just makes sense to have festivals here.” Wimmer said he plans on presenting several shows in the park this year, and already has invested over $1 million.