The Music As A Weapon 5 with Distrubed and Korn pre-sale password has just been listed: Anyone with this presale password will have the opportunity to get pre-sale tickets before anyone else. 
If you don’t aquire your tickets to Music As A Weapon 5 with Distrubed and Korn’s show in Toronto, ON during the pre-sale you might not be able to buy them before they sell-out!!
Here are all the Music As A Weapon 5 with Distrubed and Korn concert details:
Music As A Weapon 5 with Distrubed and Korn
Air Canada Centre
Toronto, ON
Thu, Mar 31, 2011 07:00 PM
Onsale to General Public
The presale begins at: Sat, 02/12/11 02:00 PM EST
Live Nation and MLSE Presales
The presale begins at: Fri, 02/11/11 10:00 AM EST
End: Fri, 02/11/11 10:00 PM EST
Front Of The Line:AMEX
The presale begins at: Fri, 02/11/11 10:00 AM EST
End: Fri, 02/11/11 10:00 PM EST
You can use the following pre-sale codes and information to order your tickets:
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Party Over For ‘Guitar Hero,’ But Not Music Games
New York, NY — Though it got ordinary people feeling like rock stars, the demise of “Guitar Hero” hardly marks the end of music games.
Video game publisher Activision Blizzard Inc. said on Wednesday it is axing the iconic game because of lackluster sales. The first “Guitar Hero” launched in 2005.
The video game genre remains popular; it has just evolved. Many people these days play music-inspired games on the iPhone, such as “Tap Tap Revenge,” and dance games designed for Microsoft’s Kinect motion-sensing controller, which hit stores just last fall.
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Editorial: Music games are dead, long live music games
- by Dave Rudden
- February 11, 2011 21:00 PM PT
Activision Blizzard may have pulled the plug on Guitar Hero this week, but the music genre can still survive. Music game aficionado Dave Rudden pontificates on how Rock Band–with the help of a few other arms of the gaming and music industries–can save it.
While Activision Blizzard’s shedding of the Guitar Hero franchise earlier this week was monumental, in some ways, I wasn’t surprised. Acitivision Blizzard is the most ‘business-first’ publisher in the video game industry, and as NPD reports month after month have attested to, music games are no longer big business. So Guitar Hero is gone, and Rock Band, given its recent publishing shifts made by the franchise, is not quite as stable as it was in recent years. While some say this crash was unavoidable, I vehemently disagree. Lack of innovation and focus got the genre into this mess, and a surplus will be needed to save it.
Before I move onto my backseat analyst mode, let me harp on how broken the business model for music games is at this point. Think about all of the dozens of new music games that have released over the last few years–how many brought new gameplay mechanics to the table? Precious few-I’d say Guitar Hero, Rock Band, and Rock Band 3 were the only ones. How many came with plastic instruments that barely innovated over previous iterations? Almost all of them. Rock Band 3 pretty much perfected the hardware and software elements of music games-the key now is to follow it up with properly marketed DLC.
Rock Band Network is a nice start, producing a decent flow of music from lesser-known artist, but there’s still tons of room for growth. Granted, putting a song in Rock Band is not as simple as uploading it to Apple’s music service, but I still have hope that one day bands will be able to sell their songs almost as easily as they do CDs and t-shirts. I think the key to making music games popular is going more granular than throwing together a disc of random tracks. The install base for plastic guitars is massive. The key is to present the right music to the right people as well as the proper tools to musicians and labels.
Right now, even die-hard Rock Band fans have to put in a tremendous amount of legwork to find out what new tracks have come out on Rock Band Network-that shouldn’t have to be the case. Given RBN’s infancy and potential to grow, I could see it evolving into an iTunes-like service that disseminates the content across multiple platforms, allowing fans to access it whether they’re in the office, at home, or on a mobile device. The latter two formats have already been cracked by Rock Band-figuring out the PC and tying the three together is the key move.
As for giving musicians the means to get their wares into music games, I will say that Rock Band Network has provided a tremendous first step. However, it has plenty of room to grow to become a platform in which artists can hand their music over and receive a sellable product from the middleman in the same way that they can put an album on iTunes. We’ve already seen games like Beats and Vib Ribbon that allow players to turn their music collections into playable stages-I have the utmost confidence that Harmonix can iterate Rock Band Network to a point where musicians can take their tracks and turn them into playable game tracks without having to sacrifice much in the way of time or energy.
Record labels certainly aren’t immune from responsibility for leaving music games at this nadir or pulling them out of it. The companies were slow to find an online model that properly presented its products before Apple created it for them-the distinct lack of promotion of music games from labels is very unfortunate, given the fact that it could have been mutually beneficial. Record labels, gaming press, and music press have just as much to do to get the word out. If a song you like is available to play in a video game, all parties need to make sure that you’re absolutely aware of it.
I know a lot of these hopes and predictions are pie-in-the-sky, but the music genre itself is something I never would have envisioned back in the day when I was putting together abominations against music in Mario Paint. Now we have games that let us experience songs in a new way, and can teach us to play them in a format that’s entertaining. One IPs death needn’t kill the genre whole–there’s still so much left to experience.
Dave Rudden first got into music games after noticing the original on store shelves as a clerk at GameStop in 2005. Less than a half-decade later, he was among the first media members to play a video game song with a real guitar. So that’s where the optimism comes from. You can follow him on Twitter at twitter.com/daverudden.
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When I need something else to do I look through “mosh pit” photos on the Internet.
I hope that you enjoy Little Rocker Media’s photo of mosh pit as much as I did.
Little Rocker Media describes it best:January 29, 2011
Club Firestone
Orlando, FL
Photos by Christine Gunn for Little Rocker Media
Click to visit the location of the original mosh pit picture on the small chance that you might want it!
I can’t wait to read other opinions regarding this photograph, or about mosh pit in general.
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Sunday’s Grammys favor music over awards
BURBANK, Calif. ? Viewers tuning in to the 3½-hour Grammy Awards will be spared endless podium speeches and shout-outs to Mom. About 10 of the 108 trophies will be dispensed on the telecast Sunday (CBS, 8 p.m. ET/tape delay PT).
-
By Robert Hanashiro, USA TODAY
Grammys show producer Ken Ehrlich, left, Martina McBride, Jennifer Hudson, Yolanda Adams and Florence Welch rehearse a salute to Aretha Franklin.
By Robert Hanashiro, USA TODAY
Grammys show producer Ken Ehrlich, left, Martina McBride, Jennifer Hudson, Yolanda Adams and Florence Welch rehearse a salute to Aretha Franklin.
Instead, expect wall-to-wall performances in a revue that spans genres and generations.
- GALLERY: See more photos from the rehearsal
- GRAMMY BALLOT: Who should win, and who will
- BEST ALBUM: Five musicians champion their faves
- JAY-Z VS. EMINEM: Who will it be?
- NEW ARTISTS: Meet the nominees
- STREISAND: Talking to the star
Legends Mick Jagger, Barbra Streisand and Bob Dylan are on tap, along with contemporary hitmakers Katy Perry, Lady Gaga, Muse, Arcade Fire and Lady Antebellum. They could all be upstaged by the long-awaited return of Dr. Dre, making his Grammy stage debut to premiere I Need a Doctor with Eminem.
Forming one of the traditional magical combos are Cee Lo Green, Gwyneth Paltrow and, no joke, the Jim Henson puppets.
The show that annually honors music is far more obsessed with showcasing talent than applauding it.
“I really believe this is the only place left where it’s about career-building, not just about your sales the next week, though for the labels it is,” says co-executive producer Ken Ehrlich, mastermind behind the show’s collaborative “moments.”
He promises a night steeped in melody and musicality, anchored in the sounds of the day but without the modern tendency toward too much tinsel.
“Some of the younger acts making noise now seem more interesting musically,” says Ehrlich, who has produced the show since 1980. “In Arcade Fire, Mumford & Sons and the Avett Brothers, I see a return to acoustic music. Maybe I’m wishing it’s so, but I talk to 15-year-olds who know the whole Mumford album. I’m really energized by that.
“On the other side, Bruno Mars, B.o.B and Janelle Monáe have an old-school, old-soul feel, an appreciation of where music came from, and they add some layers to it. Eminem’s always been musical. And Lady Gaga’s extremely musical.”
‘Valentine’ to Aretha
Oh, there will be flash and glitz and dancers. After all, Gaga is coming to the party. But even the frothiest hits are steered toward more substantial arrangements, and pop stars are urged to test less obvious material.
Ehrlich persuaded Perry, who ruled summer with California Gurls, to tackle her poignant Not Like the Movies.
“She will do a good chunk of Teenage Dream as well, but people will see there’s more to her. I’m sure most producers would say, ‘Just jump around and have fun; we don’t want the ballad.’ We’re never going to say, ‘Do the hit, thank you very much.’ Artists can be more adventurous here.”
Ehrlich chats while overseeing an ambitious rehearsal Wednesday night at CenterStaging studios, where a hug-fest ensues when Yolanda Adams, late after battling traffic from the airport, finally arrives to meet singing partners Jennifer Hudson, Martina McBride and Florence Welch of Florence + The Machine. (Fifth member Christina Aguilera has begged off until Thursday.)
They’re prepping a show-opening “valentine” medley to Aretha Franklin, winner of 18 Grammys. She’s recovering from surgery in Detroit.
“Aretha’s the original Grammy girl,” Ehrlich tells the assembled singers and musicians, noting that the musical montage has Franklin’s blessing and that a message she taped at a neighbor’s home will air on the telecast. “She lost 100 pounds, and she’s feeling great.”
All ‘attitude and sass’
The vocal quintet’s salute opens with Natural Woman and culminates in a rousing Sisters Are Doing It for Themselves, with solo turns on Aretha signatures in between.
Adams tears into Spirit in the Dark. Welch wraps up a soulful Think before dancing blissfully as Hudson belts out Respect.
“It’s one of Aretha’s most popular songs, and I feel extra special to be able to do it for her,” Hudson says later, adding playfully, “It fits me all around, vocally and the attitude and sass.”
Joining a throng of divas is fun, stressful, a little intimidating, “but the honor of the Grammys outweighs everything else,” Hudson says.
Is it daunting to undertake the Queen of Soul’s catalog?
“Yes!” Welch blurts. “But it’s a privilege. I have to give it all the feeling I have. I grew up with these songs, and I love singing with other singers, especially such accomplished women.”
McBride appears unflappable but anticipates an attack of nerves before Sunday.
“I’m very flattered to be a part of this,” she says, “but I have to shut out the voice that says, ‘Millions of people are watching on TV!’ We all want to do these songs justice.”
Such an ensemble venture may be riskier than reprising your own tunes, “but it adds an interesting, different dimension,” McBride says. “It’s one reason I love watching the Grammys.”
Dylan’s influence
When the women finish a clean run, band leader Greg Phillinganes cracks, “Well, I believe we’ve all passed the audition!”
Ehrlich is beaming.
He’s also proud of luring Dylan into a three-part acoustic tribute with Mumford & Sons and the Avett Brothers, two acts that reject synthetic pop and embrace folk-rock and singer/songwriter traditions of the ’60s and ’70s.
“I started thinking how all this came from Bob Dylan,” Ehrlich says. “He agreed to do it and suggested Maggie’s Farm, but that could change. Obviously, you won’t see this anywhere else.”
Mumford will perform The Cave, followed by Avett’s Head Full of Doubt, Road Full of Promise and Dylan’s contribution.
Other highlights:
•Jagger, strutting on Grammy’s stage for the first time, and Raphael Saadiq sing Everybody Needs Somebody to Love in a tribute to soul great Solomon Burke, who died in October.
•Lady Gaga’s live debut of new single Born This Way. Secrecy shrouds her staging, wardrobe and Grammy arrival. “It will be pretty cool,” Ehrlich says. “The saga of Gaga continues.”
•Kris Kristofferson, Streisand’s co-star in A Star Is Born, will introduce the diva, a dead giveaway that she’ll sing theme song Evergreen.
•Rihanna and Drake reprise their hit, What’s My Name, and she’ll join Eminem on his Love the Way You Lie.
•Justin Bieber and Usher perform medleys, separately and together. Watch for a reference to their first meeting in a parking lot of the studio where Usher was recording. Plus, an appearance by Jaden Smith.
•Cee Lo, a Muppets fan, cooked up the highly anticipated number with Paltrow and the band of Henson puppets, plucked from the New York theater show Stuffed and Unstrung. They’ll do a newly retooled and sanitized version of F—- You with a spaceship motif and “little tinkly piano,” Ehrlich says.
•Bruno Mars, B.o.B and Janelle Monáe link voices for Nothin’ on You, before Mars’ solo turn on Grenade and a group effort on Monáe’s Cold War.
•Miranda Lambert sings The House That Built Me.
•Buddy Guy, Mavis Staples, Trombone Shorty, ChocQuib Town, Kenny Wayne Shepherd, Kirk Whalum, Maria Muldaur and Betty Wright will perform on the pre-telecast, which doles out about 98 awards. It streams live 4-7 p.m. ET/1-4 p.m. PT on grammy.com/live and youtube.com/thegrammys.
Generating sales and buzz
A performance slot on the Grammys ranked No. 1 on Billboard‘s 2010 Maximum Exposure list of the 100 best ways to generate sales and buzz.
Industry experts placed the show’s spotlight ahead of a song placed in a hit movie’s opening credits, a slot at a huge sporting event, a tune covered on American Idol or Glee, a headlining arena tour or an Apple TV ad.
After her airborne rendition of Glitter in the Air last year, Pink saw sales of her Funhouse album jump 1,100% in one week, according to Nielsen SoundScan. Other performers saw similar gains.
The show drew 25.8 million viewers, up 35% from 2009, its largest audience since 2004.
Confirmation and cachet
The breadth, depth and caliber of Grammy’s lineup is unmatched in the industry, says Gail Mitchell, senior editor at Billboard.
“It’s a great cross section of acts that people are listening to and buying, and I can’t believe how packed it is this year,” she says. “There’s a lot of excitement behind this show.
“For artists, this is the show you want to be on. Not to take away from the American Music Awards, but the performances on the Grammys mean more. It’s a confirmation. There’s that cachet.”
Ehrlich is unfazed by competing shows.
“There are more outlets for artists to be on, but fewer places for them to be on in an important way,” he says. “Other shows have become about spectacle and the red carpet and the post-show. MTV is about Jersey Shore. We still stand for something. It’s an honor to be on the Grammys.”
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AEG joins with Canadian tech firm to enter ticketing market
Live music giant AEG Live has gone into business with a tech start up called Outbox Technology to launch its own ticketing service.
The move, which will ultimately enable AEG to become independent from ticketing giant Ticketmaster, isn’t a surprise. The live firm has been expected to find an alternative ticketing solution ever since market leader Ticketmaster merged with AEG rivals Live Nation.
According to the Wall Street Journal, AEG hopes to have the Outbox system operational across its US venues within six months, with a global roll out over the next two years. Meanwhile Outbox Enterprises, a JV between the live and tech firms, will look to sell ticketing services to other US companies, going head to head with Ticketmaster in the ticketing market.
AEG Live CEO Tim Leiweke told the Journal that he hoped his company’s new ticketing venture would win market share not by building a strong consumer-facing brand and an Outbox hub online, but by offering a better service to promoter and customer alike. He said: “This isn’t about trying to go out there and build a whole new brand around the name Outbox. This is about service”.
If you wonder what Canada-based Outbox knows about ticketing, well, it’s CEO is Fredric Rosen, who led Ticketmaster from 1982 to 1998, and oversaw the ticketing giant’s fastest period of growth. When he joined Outbox last year he too stressed that the Canadian firm wasn’t interested in becoming a ticketing hub in its own right, but in better helping event promoters to sell tickets directly to customers. He told the WSJ: “The middle man model is dead, you have to evolve”.
Tags: AEG Live, Fredric Rosen, Live Nation, Outbox Technology, Ticketmaster
Sections: Music Business – Top Stories | No Comments
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Jackson Family Granted Permission to Sue AEG Live
Michael Jackson’s mother has been given permission to proceed in her wrongful death lawsuit against concert promoter AEG Live. She claims AEG is responsible for the decisions of Dr. Conrad Murray that resulted in the death of her son, because Jackson was rehearsing for a series of concerts in London that were to be promoted by AEG just before he died in 2009.
Photos: Michael Jackson Remembered
Los Angeles Superior Court Judge Yvette Palazuelos denied AEG’s attempt to dismiss Katherine Jackson’s case in court yesterday, though it was decided that her lawyers would need to show evidence of fraud, negligence and conspiracy to move forward. Palazuelos said that she had doubts about Jackson’s conspiracy charges, noting that AEG’s desire to have the singer show up for his rehearsals was not inherently wrong or illegal.
Photos: Michael Jackson Immortalized
Katherine Jackson’s civil case, which was filed in September along with the King of Pop’s three children as co-plaintiffs, will have its next hearing on March 22, just days before Dr. Murray stands trial for involuntary manslaughter.
Jackson family lawsuit can proceed against AEG Reuters
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‘Glee’ Tour Coming Back This Spring
If you weren’t one of the nearly 27 million Gleeks who tuned in to the post-Super Bowl episode of the hit Fox musical comedy “Glee” on Sunday, don’t worry, you’ll get your chance this spring to latch onto the runaway phenomenon.
The show’s cast is taking to the road again for a 16-city North American tour that is slated to kick off on May 21 with a concert at the Mandalay Bay Event Center in Las Vegas. The “Glee Live! In Concert!” tour will star 13 members of the TV series’ cast, including Lea Michele (Rachel), Cory Monteith (Finn), Amber Riley (Mercedes), Chris Colfer (Kurt), Kevin McHale (Artie), Jenna Ushkowitz (Tina), Mark Salling (Puck), Dianna Agron (Quinn), Naya Rivera (Santana), Heather Morris (Brittany), Harry Shum Jr. (Mike), Chord Overstreet (Sam) and Darren Criss (Blaine).
“Glee” gang will be performing in all-new production based on the Emmy- and Golden Globe-winning show. “The cast and I were so moved by the love and enthusiasm of our fans at last year’s concerts that we knew we had to do it again,” said series co-creator Ryan Murphy.
“There is something magical about thousands of ‘Gleeks’ coming together to share a special night with our cast, and this tour is one way we can thank them for their unbelievable support from the beginning.”
The concerts will feature live performances of some of the most beloved moments from seasons one and two, including: “Empire State of Mind,” “Toxic,” “My Life Would Suck Without You,” “It’s My Life” and the show’s anthem, “Don’t Stop Believin’.”
“Joining the cast this year has been like hopping on a fast-moving train,” Overstreet said in a statement announcing the tour. “I have already had so many incredible experiences, but the chance to perform live on stages across the U.S., Canada and Europe takes the cake. This is too cool.”
2011 Glee Live! In Concert! Dates:
»5/21 – Las Vegas, NV @ Mandalay Bay Event Center
»5/22 – Sacramento, CA @ Arco Arena
»5/24 – San Jose, CA @ HP Pavilion
»5/27 – Anaheim, CA @ Honda Center
»5/28 – Los Angeles, CA @ Staples Center
»5/29 – San Diego, CA @ Valley View Casino Center
»6/1 – Minneapolis, MN @ Target Center
»6/2 – Indianapolis, IN @ Conseco Fieldhouse
»6/3 – Chicago, IL @ Allstate Arena
»6/6 – Boston, MA @ TD Garden
»6/8 – Philadelphia, PA @ Wells Fargo Center
»6/11 – Toronto, Canada @ Air Canada Centre
»6/13 – Detroit, MI @ Palace of Auburn Hills
»6/14 – Cleveland, OH @ Quicken Loans Arena
»6/16 – East Rutherford, NJ @ Izod Center
»6/18 – Uniondale, NY @ Nassau Coliseum
Are you planning to see the “Glee” cast on tour this year? Tell us in the comments.
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Windows Phone 7 three months on: a retrospective
When I reviewed Windows Phone 7, I’d been using it for a little over a week. At the time, I concluded:
Microsoft doesn’t often get version one releases right, but this time, it has got the release very right indeed. Windows Phone 7 looks great, works well, and is a treat to use. Market success isn’t assured, but judged on its merits alone, this is a platform that absolutely deserves to succeed, and I really, really hope it does.
As of today, the smartphone platform has been on sale for exactly three months—long enough for things that felt like minor flaws at the time to develop into fatal, infuriating, carbuncles. I’ve been using it since launch on a range of handsets: how does it stack up now that the new gadget glow has worn off? Is it still a platform with promise, able to hold its own against the competition? Or are its widely publicized flaws and omissions crippling in longer-term use?
I stand by my original assessment. This is a great platform that fundamentally works well. The Metro user interface is fast and elegant, the applications that are most important to me—e-mail, Bing, and the browser—work well, and the hardware is generally pretty decent. It remains a release that Microsoft should be proud of.
However, not every early impression was accurate. Some things that seemed like problems at the time turned out to be not such a big deal. Other things that I thought I would use often have for one reason or another fallen by the wayside.
Happy surprises and annoyances
Day to day, the smooth animations, transitions, and clean graphics continue to delight. There is often a danger with animations to make them excessive. HTC is a repeat offender in this regard; its applications (for both Android and Windows Phone 7) contain all sorts of cutesy animations (such as windscreen wipers wiping the screen when the weather app says it’s raining) that look fun and amusing the first time you see them—they make great demo apps—but are just downright annoying the 900th time, when all you want to do is look at what the weather is.
Even three months in, I’m finding the Windows Phone 7 animations to fall firmly on the side of “good.” There’s no point at which I’m waiting for the animation to complete just so I can do something useful. The transitions and animations just serve to make the different parts of the software feel integrated and joined up. Microsoft has struck a good balance here.
A few things have surprised me. I use the Bing application a lot more than I thought I would. I didn’t really think I’d need instant access to a search engine all that often. But because the Bing application is smart and “knows” that if, for example, I’m searching for a restaurant, it should find places that are nearby and show them on a map—and not just do a dumb Web search—it is invaluable when out and about. It provides quick access to relevant information—Microsoft’s essential mantra for the platform. It makes the iPhone’s built-in Spotlight and Web search seem extremely primitive and unhelpful in comparison.
I’ve also found that I don’t really care that the Bing application doesn’t search the phone itself. This was flagged by many as an omission at launch time—after all, the iPhone does search the phone—but while I do search my mail and contacts on a regular basis, these things are conceptually different enough that I don’t really want them in the Bing application. So while I suspect that some kind of unified search will materialize in the future, it might not be as desirable as I once thought.
Indeed, the one place where local and remote content is searched in parallel, the Zune application, annoys me most of the time. When I’m searching for a song, I don’t actually give a damn about stuff in Marketplace. Sure, I could buy it. But I ain’t gonna. I just want to listen to what I already have. The Zune application hides local search hits behind an arrow, encouraging me to buy new songs instead, making it optimized for the wrong thing. I suppose I might think differently if I had a Zune subscription, but I don’t, and so searching for music to buy is for me logically distinct from searching for local music. The two shouldn’t be conflated.
What’s worse is that if the phone has no network connection—and hence can’t search Marketplace at all—it also loses the ability to search local music. This is clearly asinine.
In fact, if one weak spot has emerged in using the phone for a prolonged period, it’s Marketplace. It suffers the same conflation problem as searching Zune—if I drill down into “applications” and then search for “Twitter,” it’ll still show me songs and music that contain the word “Twitter.” Who wants that? Nobody, that’s who.
Apps are surprisingly good
Which is a pity, because I’ve been generally pleased with the third-party development on the phone. OK, it’s still got a long way to go to rival iOS or Android, but growth has been steady, with around 6,500 applications currently available. Some are idiotic fart applications, unfortunately, but I have, for example, a good Facebook application, a good Twitter application, Yelp, and a useful travel application (Wipolo). I’ve been consistently impressed that developers have really made an effort to create applications that leverage Windows Phone 7 user interface concepts like panoramas and pivots, and they do so to good effect. This is heartening to see: it makes the applications feel like they’re really part of the platform, that they belong there.
I’ve also found myself gaming on the phone much more than I thought. It’s clear that Microsoft has spent quite a bit of money in this area, to encourage third parties (notably EA) to develop for the platform. The result is a range of games (Tetris, Rocket Riot, Need For Speed: Undercover, Crackdown 2: Project Sunburst, Bejweled, The Harvest and others) that are pleasingly diverting or even downright entertaining. I’m not going to give up PC gaming anytime soon, but equally, I know I’m not going to be bored on the bus; there are plenty of high-quality games to choose from. The development may not be entirely “organic”—without financial incentives from Microsoft I’m sure game availability would be worse—but that doesn’t detract from the enjoyability of what’s on offer.
The trial option (optional in all third-party software, but mandatory for games that want to achieve the more stringent Xbox Live designation) is excellent. Not everything has a trial, but I’ve been glad to see that many developers have gone for the option. I only hope their conversion rates are good, and that they continue to do so. Trials make purchasing essentially risk-free, and the contrast with Apple’s App Store is stark.
Perhaps it’s because I don’t own an Xbox, but I haven’t found the Xbox Live integration to offer much value. OK, I collect gamer scores and achievements from the games I play, but I honestly couldn’t care less about that.
I still want multitasking
One area that third-party software seems to have done less well is tombstoning. Windows Phone 7 doesn’t offer any true multitasking of third-party applications, but it does have a suspend/resume model that allows applications to save their state to ensure that switching back to an application after, say, replying to a text message is speedy. I’m not sure what the difficulty is, but it seems to be awfully haphazard. When it works, it seems to work pretty well, with an experience that’s almost as good as multitasking. But I find that is the exception rather than the rule. Most of the time, resuming applications seems to make you essentially wait for them to restart.
I’m not sure where the fault lies here, but I do know that it detracts from the phone experience, and it appears to be a pretty consistent issue in third-party applications. It’s better than pre-multitasking versions of iOS—especially when it works well—but it’s still not what it should be.
The problem is compounded by some extraordinarily long load-times in third-party applications. Restarting programs each time would be tolerable if only it were quick; often, it isn’t.
When I first reviewed it, I found the back button behavior annoying, particularly in conjunction with the browser. Sometimes I want to go back to the previous application, but the browser just wants to take me back to the previous webpage. I felt at the time that if anything about the phone would drive me to abandon it, it would be this.
It still annoys me, but much less than it did—but that’s only because I found a way to kind of work around the behavior. The main problem situation: I click a link from an e-mail (or other program, but typically e-mail), and then navigate beyond the linked page. I then want to go back to the e-mail, but without backing out of the navigation I performed. The workaround is simple and inelegant, but it works: create a new, empty tab in the browser, and then hit back from there. This backs out to the e-mail application directly. It’s still not perfect, because it means that I can no longer visit history items for the e-mail originated browsing, but that’s normally a trade-off I’m happy to make. Well—not happy, but it makes the phone more livable. My worry is that nothing better will ever materialize, because this dual usage of the back button is so baked into the OS.
Some great ideas are undermined by sloppy execution. The camera button, which instantly opens the camera application when you press it, is a great concept. I find myself not using it as much as I would like, however, because of what’s really a very basic oversight: the camera application doesn’t remember its settings, so my preferences for the flash (off), and anti-shake (on), get reset to their defaults (automatic and off, respectively) every single time I press the button to take a photo. I’ve grown tired of flash reflections ruining the pictures after the automatic flash decided to fire, so now I just don’t bother. The entire point of the (well-intentioned) feature is to allow instant no-hassle photography, and if it can’t do that, well, what’s the use of it?
It’s worth using
Three months on, there’s no doubt that Windows Phone 7 works well on a day-to-day basis. The interface and design aren’t just eye-catching razzamatazz. They’re well-thought-out, functional, sensible pieces of design, marrying form with function. The platform’s beauty is more than skin deep.
It’s not all plain sailing, and there are problems. The biggest problem could essentially be phrased as, “the software today is identical to the software three months ago.” In other words, Microsoft has yet to ship a single update, a single new feature, a single bug fix. And we still don’t know when an update will ship: we know that copy-and-paste and faster application launching are coming, but the company hasn’t seen fit to tell us when they will materialize.
If I wanted that kind of update situation, I would have bought an Android phone. With Windows Phone 7, part of the promise of the platform was that it would get better over time. So far, it hasn’t. The early adopters, the people most likely to champion the phone and show it off to their friends, family, and colleagues, the ones who will build grassroots support for the platform, have been left wanting. Apple managed to get its first bug fix release out within a month, and its first feature release out within two months. That’s the standard Microsoft should be aspiring to—but hasn’t.
Book Mark it-> del.icio.us | Reddit | Slashdot | Digg | Facebook | Technorati | Google | StumbleUpon | Window Live | Tailrank | Furl | Netscape | Yahoo | BlinkListI’ve been searching the web for weeks now trying to find a sheet music version of How You Remind Me by Nickelback for the piano. With no luck so far, I finally tried piano-sheets.net and BAM, instantly, there it was on the front page. How You Remind Me is a pretty simple song, for me at least, but some of you might have trouble learning to play How You Remind Me by Nickelback on the piano. Start slow, maybe with the chorus, and practice, practice, practice!
My father was visiting me a few days ago. You’d like him if you get to meet. He always seems like he is sitting down to play my piano. So, I asked him if he knew how to play How You Remind Me. How You Remind Me by Nickelback is a hard song. He started to play it by ear, then suggested that I download some sheet music. I searched on google for a bit, and managed to find it at Piano-Sheets!
get free sheet music for How You Remind Me by Nickelback
Something to chew on:
“People think about what they don’t want and attract more of the same.”
I feel like it’s my birthday – I know that a few people have been sending me email asking if I knew where they could find a piano version of Amaranth by Nightwish – Well, the search ended a few minutes ago when I found a FREE version of Amaranth for the piano or keyboard. Now you can all start practicing Amaranth on the piano, and hopefully you’ll all end up as good as me!
I have to tell you that my uncle was visiting me recently. You’d like him if you get to meet. He teaches piano lessons. I wanted to know if he knew how to play Amaranth. Amaranth by Nightwish is a difficult piece. He started to improvise, then wanted me to print some sheet music. After I did a little snooping around OI discovered Amaranth had just been added at Piano-Sheets!
Amaranth by Nightwish sheet music
“”Whatever the mind of man can conceive, it can achieve” W. Clement Stone.”
I’ve been searching the web for weeks now trying to find a sheet music version of Hosanna by Hillsong Music for the piano. With no luck so far, I finally tried piano-sheets.net and BAM, instantly, there it was on the front page. Hosanna is a pretty simple song, for me at least, but some of you might have trouble learning to play Hosanna by Hillsong Music on the piano. Start slow, maybe with the chorus, and practice, practice, practice!
SWEET I feel like a brand new man, and I’ll tell you why – PianoSheets has just released a new piece of FREE sheet music: Hosanna. Hosanna by Hillsong Music is a catchy melody – Hosanna, or to be very clear: Hosanna by Hillsong Music is great, and the sheet music ir really well done. Now I can finally learn how to play Hosanna on the piano – by learning using the free Hosanna sheet music I linked to below.
download piano sheets for Hosanna by Hillsong Music
“Every thought has a frequency. Thoughts send out a magnetic energy.”
Zune HD syncing fully with Macs through mild WP7 app hack
Owners discovered this weekend that Microsoft’s Windows Phone 7 Connector app for the Mac can recognize the Zune HD with a simple hack. A simple command line flag change in Terminal, given out by Zuneboards member nate8nate, lets the Zune HD sync as if it were a WP7 phone. Electronista tested the trick and successfully synced music, photos and videos.
The approach works as both the WP7 and Zune platforms sync through the same format and have similar software foundations. It’s unclear why Microsoft chose to disable support by default for the Zune HD. Speculation has maintained that Microsoft may have only tested against WP7 and is concerned that syncing the older players may trigger bugs. However, it included full-screen graphics and fonts reflecting the Zune, implying that the device was at least considered.
As with most such hacks, Microsoft isn’t providing any support. It also hasn’t said whether it will provide more official support in the future, though most of its attention has focused on WP7 and not its year-old MP3 player.
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Web-based Android Market Looks Good
Millions of Android smartphone owners can now browse and shop online for apps instead of being restricted to only accessing the Android Market on their phone. Google’s browser-based Android Market is now live after being announced at a press event at the company’s Mountain View, Calif. campus this morning. The new Android Market allows you to browse, share, and download apps directly to your Android phone or tablet without having to snake a cord from your PC to your phone.
I gave the site a quick spin and am impressed by how easy it is to find the app you’re looking for or discover apps you might like, and then share them with friends. The store functions similarly to Apple iTunes, but there’s a big difference: the Android Market is cloud-based so you can buy or download apps via your Web browser. Next, Google sends a message to your device of choice and bingo! – The app is installed. Apple, on the other hand, requires you to download the iTunes software to your PC.
Search and Navigation
Unlike the mobile version of the Android Market, the browser store lets you refine your search options to show apps based on price, device compatibility, and popularity, helping you better find an app instead of digging through piles of irrelevant ones. When you find an app you want to download, you are taken to a page giving you more information about that particular app. Here you’ll find user reviews, screenshots, and even videos related to the app.
For example, when I searched for the Pulse News Reader app, I was presented with a page dedicated to the Pulse News Reader app which includes ratings, application size, price, as well as related applications. Essentially it is the same information you would get from browsing the Market on your phone only in a much nicer-looking package.
Because your Android device is tied to your Google account, all you need to do is sign in to the browser store with the same account you use on your phone and you are set to go. There is no need to enter your phone model or number as Google already has that information. Once you sign in, just hit the big “Install” button of the app you wish to download. If you have never bought an app off of the Android Market place before, you will be asked to provide a valid credit card and billing information before downloading.
Once you have that information down, you will be shown a screen asking you which device you would like to install the app on as well as the app permissions. After selecting your device and looking over the permissions, hitting “Install” one more time will send the app to your device. In my hands-on tests, the Pulse News Reader app installed in seconds.
The website also allows you to look through past purchases and re-download them (in case you change phones).
I downloaded the Pulse News Reader app to my HTC Droid Incredible running Android 2.2 (Froyo). Google doesn’t list any system requirements, though I suspect that you’ll need to have a device sporting Android 2.2 or higher in order to be able to download and install apps from the browser-based Market.
Sharing Apps
If you want to share an app with your friends, you can tweet a link via a small Twitter button on the right side of every app page. Those on mobile devices can click on the link and it will directly open up to the app page in the Market. Those on PCs will be taken to the app’s page on the browser-based Market.
You currently cannot buy apps for friends like you can in iTunes, but you can buy an app once and install it on another device by going through your purchase history and re-downloading the app.
Final Impressions
After my hands-on, I now prefer using the browser version of the the Android Market to the mobile version. I can find applications much faster and don’t have to do all of my typing on a tiny keyboard. I also like that there isn’t any extra software you have to download. Because your Gmail account is tied to the browser, you can pretty much find and download apps wherever you have an Internet connection.
If Google could apply the same idea to a music service, Apple would definitely have some competition in the music market.
The one thing that worries me about the Market being accessible on the web as opposed to just mobile devices is that it might become a bigger target for hackers and scammers. But overall, I think this is a step in the right direction for Android.
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New Android Market Trumps Apple’s iTunes Store
It’s the little things that go a long way. One tiny feature that can make a piece of software or a gadget infinitely better. Maybe it’s the way a Twitter app refreshes by tapping the top banner. Or how a music app automatically starts when you plug your earbuds in. It’s the subtlest attention to a small UI detail that causes a user to say, “Ah, that’s cool,” and other developers to say, “Ah, of course!”
And in moving its rough-around-the-edges Android Market to the web, Google nailed a big one. One so big, that it’s now arguably better than Apple’s iTunes Store.
Launching yesterday, the web-based Android Market frees the user from browsing apps on their phone. The third-market site AppBrain had done a commendable job before, but there wasn’t an officially Google-sanctioned site until yesterday. And not a moment too soon.
Similar to the iTunes Store in almost every way, the Android Market sorts free and paid apps into categories. Each app comes with its own linkable page and description as well as a user rating, version requirements, price, and developer information. So far, so familiar.
But what separates the Android Market on the web with the iTunes Store is the total lack of an extra program or wired syncing.
After a user logs in, the Android Market recognized the device and account of every Android user. Downloading and installing an simply requires selecting the appropriate device and clicking “Install.” From there, the app is automatically downloaded directly to your device and begins installing. Couldn’t be easier.
Compare that to browsing for an iPhone or iPad app from your computer. Accessing it requires iTunes to open up — which leads to a lengthy load time and many complaints about bloatware. Once it’s finished loading, download the app to your computer. Afterwards, you have to actually pull out the iPhone wire, physically connect it to your computer, and sync it to your device.
For a company heralded for its ease and sleekness, wireless syncing is a feature that’s way overdue.
Apple may hold claim to 100,000 more apps than Android’s 200,000, but with this recent update, it’s trailing the competition in a big way. Expect Cupertino to introduce wireless syncing shortly.
Here’s Lifehacker’s video of Google’s demonstration of the new Android Market:
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Live Nation Entertainment Acquires Leading Spanish Ticketing Company ServiCaixa
LOS ANGELES, Feb. 4, 2011 /PRNewswire/ – Live Nation Entertainment, Inc. (NYSE: LYV) today announced that Ticketmaster, the Company’s ticketing division, has entered into an agreement to acquire ServiCaixa, the largest ticket retailer in Spain from “la Caixa”, the leading Spanish savings bank and financial services group. The transaction, which is subject to Spanish antitrust approval, will create the leading ticketing company in Spain through the combination of Ticketmaster Spain, formerly known as TickTackTicket, and ServiCaixa, legally named Serviticket SA.
By joining these two complementary ticketing companies, Ticketmaster will provide the foremost ticketing services across Spain and the wider Iberian peninsula for all genres, including cinema, music, sports, performing arts, museums and attractions.
As part of the transaction, Ticketmaster will enter into a multi-year marketing and ticket distribution partnership with “la Caixa”, which will allow Ticketmaster to offer tickets through the bank’s 8,100 ATM’s located across Spain. The new Ticketmaster Spain will provide expanded service to existing “la Caixa” customers by offering a greater diversity of ticket inventory through multiple distribution channels, including online, shopping outlet and “la Caixa” ATM’s.
“Expanding internationally in attractive markets where we can replicate our integrated model and grow profitably represents one of our key growth initiatives,” said Michael Rapino, President and CEO of Live Nation. “This acquisition and our recent expansion in France put us on track in executing our plan and further strengthen Ticketmaster as the world’s leading ticketing company.”
“Through this transaction, we will significantly enhance our distribution footprint and growth potential in Spain,” said Alan Ridgeway, CEO of Live Nation International. ”In particular, this combined range of assets will now enable us to grow our presence in the online advertising and sponsorship markets.”
“We are very pleased to have a multi-year agreement with the world’s leading ticketing company,” said Benjami Puigdevall Esteve, Managing Director of e-la Caixa. “We believe that the new Ticketmaster Spain will provide la Caixa with continued access to a broad range of ticketing services and cross-promotion opportunities for the benefit of la Caixa and its customers.”
About Live Nation Entertainment:
Live Nation Entertainment (NYSE-LYV) is the largest live entertainment company in the world: connecting 200 million fans to 100,000 events in over 40 countries which has made Ticketmaster.com the #3 eCommerce website in the world. For additional information, visit www.livenation.com/investors.
About la Caixa:
“la Caixa” is Spain’s third largest financial institution, with a network of over 5,400 branches, more than 8,100 ATM’s, a workforce in excess of 28,000 and more than 10.5 million customers. “la Caixa” Group has assets worth 285,724 million euros and recorded a net profit of 1,307 million euros at 2010. e-la Caixa is responsible for carrying out the multi-channel management strategy developed by “la Caixa”. For further information, visit www.lacaixa.com.
About ServiCaixa:
ServiCaixa leads the Spanish ticketing market, both in terms of volume and the range of tickets available. In 2010 ServiCaixa processed over 43 million tickets, sold 9.7 million advance ticket sales, and had 1.8 million Club ServiCaixa members, thereby consolidating its position as one of Spain’s leading cultural clubs.
SOURCE Live Nation Entertainment, Inc.
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RELATED LINKS
http://www.livenation.com/investors
http://www.lacaixa.com
Concerts and shows currently on sale
Posted: February 3
Updated: Today at 8:09 PM
Got Tix?
Concerts and shows currently on sale
The latest
Tickets to Steve Martin’s May 18 appearance with the Steep Canyon Rangers at Merrill Auditorium go on sale Monday.
Courtesy photo
BUY TICKETS ONLINE
Androscoggin Bank Colisee, Lewiston: www.thecolisee.com
Asylum: www.Portlandasylum.com
Camden Opera House: www.camdenoperahouse.com
Citi Performing Arts Center, Boston: www.citicenter.org
Cumberland County Civic Center, Portland: www.theciviccenter.com
DCU Center, Worcester, Mass.: www.dcucenter.com
Front Gate Tickets: frontgatetickets.com
House of Blues, Boston: www.houseofblues.com
Jonathan’s, Ogunquit: www.jonathansrestaurant.com
The Landing at Pine Point, Scarborough: www.thelandingatpinepoint.com
Live Nation: www.livenation.com
Meadowbrook U.S. Cellular Pavilion, Manchester, N.H.: www.meadowbrook.net
The Music Hall, Portsmouth, N.H.: www.themusichall.org
One Longfellow Square: www.onelongfellowsquare.com
The Opera House, Boothbay Harbor: boothbayoperahouse.com
Port City Music Hall: www.portcitymusichall.com
Portland Ovations:
www.portlandovations.org
PortTix: www.porttix.com
State Theatre, Portland: www.statetheatreportland.com
Stone Mountain Arts Center: www.stonemountainartscenter.com
Strand Theatre, Rockland: www.rocklandstrand.com
Ticketmaster: www.ticketmaster.com
VENUE Music Bar: www.venuemusicbar.com
Waterfront Concerts: waterfrontconcerts.com
On sale 10 a.m. Friday — Jeff Tweedy, 8 p.m. March 26, State Theatre, Portland. $35. All ages. statetheatreportland.com; (800) 745-3000; Cumberland County Civic Center box office
On sale 10 a.m. Friday — Chris Cornell, 8 p.m. April 9, Berklee Performance Center, Boston. $39.50 to $48.35. Ticketmaster.com; (800) 745-3000
On sale 10 a.m. Saturday — New Kids on the Block and Backstreet Boys, 6:30 p.m. June 11, Fenway Park, Boston. $34.50 to $135.00. LiveNation.com; (800) 745-3000
On sale 10 a.m. Saturday — Kenny Chesney and the Zac Brown Band, 5 p.m. Aug. 28, Gillette Stadium, Foxborough, Mass. $56.40 to $112.60. Ticketmaster.com; (800) 745-3000
On sale noon Monday — Steve Martin and The Steep Canyon Rangers, 7:30 p.m. May 18, Merrill Auditorium, Portland. $45 to $65. 842-0800; Portlandovations.org
The locals
Feb. 10-13 — Disney on Ice, Cumberland County Civic Center, Portland. $12.50 to $55. www.theciviccenter.com; (800) 745-3000
Feb. 11 — Mason Jennings, 8 p.m., Port City Music Hall, Portland. $15 to $30. Portcitymusichall.com or Bull Moose Music stores; 899-4990
Feb. 11 — Johnny A, 8 p.m., One Longfellow Square, Portland. $18/$20. Onelongfellowsquare.com; 761-1757
Feb. 12 — Mindy Smith, 8 p.m., One Longfellow Square, Portland. $25. Onelongfellowsquare.com; 761-1757
Feb. 13-14 — Carolina Chocolate Drops, 8 p.m., Stone Mountain Arts Center, Brownfield. $20 and $25. Stonemountainartscenter.com; 935-7292
Feb. 17 — Great Big Sea, 8 p.m., Stone Mountain Arts Center, Brownfield. $60. Stonemountainartscenter.com; 935-7292
Feb. 17 — Conspirator, 8 p.m., Port City Music Hall, Portland. $17 to $35. Portcitymusichall.com or Bull Moose Music stores; 899-4990
Feb. 18 — Los Straitjackets, 8 p.m., Stone Mountain Arts Center, Brownfield. $25. Stonemountainartscenter.com; 935-7292
Feb. 18 — Trey Anastasio, 8 p.m., State Theatre, Portland. $39.50. All ages. state theatreportland.com; (800) 745-3000.
Feb. 19 — Brendan James and Matt White, 8 p.m., One Longfellow Square, Portland. $12/$15. Onelongfellowsquare.com; 761-1757
Feb. 19 — Catie Curtis, 8 p.m., Stone Mountain Arts Center, Brownfield. $20. Stonemountainartscenter.com; 935-7292
Feb. 19 — Robert Randolph and the Family Band, 8 p.m., Port City Music Hall, Portland. $20 to $35. Portcitymusichall.com or Bull Moose stores; 899-4990
Feb. 20 — Robin and Linda Williams, 8 p.m., Stone Mountain Arts Center, Brownfield. $20. Stonemountainartscenter.com; 935-7292
Feb. 20 — Buckcherry, Hellyeah, All That Remains and The Damned Things, 7 p.m., State Theatre, Portland. $30/$32. All ages. www.statetheatre portland.com; (800) 745-3000; Cumberland County Civic Center box office
Feb. 24 — Nicole Atkins and The Black Sea, 8 p.m., Port City Music Hall, Portland. $10 to $20. Portcitymusichall.com or Bull Moose Music stores; 899-4990
Get outta town
Today — Chromeo, 7 p.m., House of Blues, Boston. $30 to $43.25. (800) 745-3000
Today — John Mellencamp, 8:20 p.m., Lowell Memorial Auditorium, Lowell, Mass. $46.50 to $255. Lowellauditorium.com; (978) 454-2299
Friday — Robyn, 7 p.m., House of Blues, Boston. $30.10 to $45.80. Livenation.com; (800) 745-3000
Friday — Justin Townes Earle, 8 p.m., The Music Hall, Portsmouth, N.H. $17 to $22. Themusichall.org; (603) 436-2400
Friday — Ozomatli, 5:30 p.m., Royale Boston, Boston. $30.10. Ticketmaster.com; (800) 745-3000
Feb. 11 — Jane Monheit, 8 p.m., The Music Hall, Portsmouth, N.H. $36 to $42. Themusichall.org; (603) 436-2400
Feb. 12 — Soja, 9 p.m., Paradise Rock Club, Boston. $23. Ticketmaster.com; (800) 745-3000
Feb. 12 — Joshua Radin, 7 p.m., House of Blues, Boston. $27.60 to $38.10. Livenation.com; (800) 745-3000
Feb. 17 — James Hunter, 7:30 p.m., The Music Hall, Portsmouth, N.H. $20 to $29. Themusichall.org; (603) 436-2400
Feb. 19 — The Wailers, 8 p.m., The Music Hall, Portsmouth, N.H. $29/$42. Themusichall.org; (603) 436-2400
Feb. 20 — Trey Anastasio, 8 p.m., House of Blues, Boston. $39.50 to $55. Livenation.com; (800) 745-3000
Feb. 23 — Wanda Jackson, 7 p.m., Royale Boston, Boston. $26.75. Ticketmaster.com; (800) 745-3000
Feb. 24 — White Rabbits, 9 p.m., Paradise Rock Club, Boston. $20. Ticketmaster.com; (800) 745-3000
Feb. 26 — Rascal Flatts with Luke Bryan and Chris Young, 7:30 p.m., Verizon Wireless Arena, Manchester. $34.15 to $70. Ticketmaster.com; (800) 745-3000
March 1 — Motorhead, 8 p.m., House of Blues, Boston. $29.50 and $39.50. LiveNation.com; (800) 745-3000
March 4-6 — Furthur featuring Phil Lesh and Bob Weir, 7:30 p.m., Orpheum Theatre, Boston. $59.50. LiveNation.com; (800) 745-3000
March 1 — Robert Cray and Shemekia Copeland, 7:30 p.m., The Music Hall, Portsmouth, N.H. $34 to $45. Themusichall.org; (603) 436-2400
March 4 — Ladysmith Black Mambazo, 8 p.m., The Music Hall, Portsmouth, N.H. $26 to $38. Themusichall.org; (603) 436-2400
March 4 — The Saw Doctors, 7 p.m., House of Blues, Boston. $35.55. Livenation.com; (800) 745-3000
March 7 — Michael Bolton, 7 p.m., Mass Mutual Center, Springfield. $51.10 to 70.60. Ticketmaster.com; (800) 639-8602
March 7 — OMD, 8 p.m., Paradise Rock Club, Boston. $26.50. Ticketmaster.com; (800) 745-3000
March 8 — Lady Gaga, 8 p.m., TD Garden, Boston. $52 to $177.50. Livenation.com; (866) 448-7849
March 8 — Lucinda Williams, 7:30 p.m., The Music Hall, Portsmouth, N.H. $29.50 to $49.50. Themusichall.org; (603) 436-2400
March 9 — Lucinda Willliams, 8 p.m., House of Blues, Boston. $29.50 and $39.50. LiveNation.com; (800) 745-3000
March 12 — Elton John, 8 p.m., DCU Center, Worcester, Mass. $29 to $139. Ticketmaster.com; (800) 745-3000
March 12 — Pogues, 7 p.m., House of Blues, Boston. $59.70 to $84.30. Livenation.com; (800) 745-3000
March 16 — Dropkick Murphys, 6 p.m., House of Blues, Boston. $40.70 to $61.20. Livenation.com; (800) 745-3000
March 19 — Crystal Castles, 6 p.m., House of Blues, Boston. $32.50 to $43.25. Ticketmaster.com; (800) 745-3000
March 25 — Mavis Staples and Billy Bragg, 8 p.m., The Music Hall, Portsmouth, N.H. $38 to $50. Themusichall.org; (603) 436-2400
March 25 — Grace Potter and The Nocturnals, 7 p.m., House of Blues, Boston. $32.70 to $47.90. Livenation.com; (800) 745-3000
March 27 — Gaelic Storm, 7 p.m., The Music Hall, Portsmouth, N.H. $23 to $34. Themusichall.org; (603) 436-2400
March 27 — Ronan Tynan, 3 p.m., Wilbur Theatre, Boston. $38.55 to $64.10. Ticketmaster.com; (800) 745-3000
March 27 — Todd Rundgren, 7:30 p.m., Berklee Performance Center, Boston. $35 to $95.. Ticketmaster.com; (800) 745-3000
March 30 — Rod Stewart and Stevie Nicks, 7:30 p.m., TD Garden, Boston. $95 to $149.50. Ticketmaster.com; (800) 745-3000
April 2 — Brian Regan, 9:45 p.m., Wilbur Theatre, Boston. $51.85 to $68.20. Ticketmaster.com; (800) 745-3000
April 3 — Amos Lee, 8 p.m., Wilbur Theatre, Boston. $30.35 to $41.60. Ticketmaster.com; (800) 745-3000
April 8 — Rebirth Brass Band, 8 p.m., The Music Hall, Portsmouth, N.H. $20 to $32. Themusichall.org; (603) 436-2400
April 8 — Old 97s, 5:30 p.m., Royale Boston, Boston. $24.70. Ticketmaster.com; (800) 745-3000
April 10 — House of Pain, 8 p.m., Paradise Rock Club, Boston. $22.50 to $30.50. Ticketmaster.com; (800) 745-3000
April 12 — Ke$ha, 7 p.m., House of Blues, Boston. $39.50 to $49.50. Livenation.com; (800) 745-3000
April 13 — Black Veil Brides, Destroy Rebuild and Until God Shows, 6 p.m. Paradise Rock Club, Boston. $20. Ticketmaster.com; (800) 745-3000
April 20 — James Blunt, 7 p.m., House of Blues, Boston. $42.50 to $50.95. Livenation.com; (800) 745-3000
April 23 — Imagination Movers Live, 7:30 p.m., Orpheum Theatre, Boston. $32.70 to $43.25. Livenation.com; (866) 448-7849
April 25 — Coheed and Cambria, 8 p.m., House of Blues, Boston. $26 and $36. LiveNation.com; (800) 745-3000
April 29 — Further Seems Forever, 7:30 p.m., Paradise Rock Club, Boston. $25 to $33. Livenation.com; (800) 745-3000
April 29 — Kylie Minogue, 8 p.m., Agganis Arena, Boston. $96.60 to $137.45. Ticketmaster.com; (800) 745-3000
May 4 — Reverend Horton Heat, 7 p.m., Paradise Rock Club, Boston. $26.50. Ticketmaster.com; (800) 745-3000
May 5 — Deftones with Dillinger Escape Plan, 8 p.m., Casino Ballroom, Hampton Beach, N.H. $28/$31. Casinoballroom.com; (603) 929-4100.
May 9 — Echo & The Bunnymen, 8 p.m., Paradise Rock Club, Boston. $29.50 to $41. Ticketmaster.com; (800) 745-3000
May 14 — Bruce Cockburn, 8 p.m., Berklee Performance Center, Boston. $43.75 to $46.75. Ticketmaster.com; (800) 745-3000
June 4 — New Kids on the Block and Backstreet Boys, 7:30 p.m., TD Garden, Boston. $44.20 to $105.55. Ticketmaster.com; (800) 745-3000
June 10 — Robin Trower, 8 p.m., Wilbur Theatre, Boston. $43.65 to $66.15. Ticketmaster.com; (800) 745-3000
June 24 — Dispatch, 7 p.m., TD Garden, Boston. $37.50 to $53.40. Ticketmaster.com; (800) 745-3000
June 25-26 — Taylor Swift, 6 p.m., Gillette Stadium, Foxborough, Mass. $50.50 to $99.50. www.ticketmaster.com; (800) 745-3000
July 6 — Sade, 7:30 p.m., TD Garden, Boston. $64.65 to $166.90 Ticketmaster.com; (800) 745-3000
Aug. 27 — Kenny Chesney, 5 p.m., Gillette Stadium, Foxborough, Mass. $56.40 to $112.60. Ticketmaster.com; (800) 745-3000
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