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The Fillmore | San Francisco, CA

Magdalena bay: the imaginal mystery tour, commodore ballroom | vancouver, bc, neptune theatre | seattle, wa, thalia hall | chicago, il, *sold out* magdalena bay: the imaginal mystery tour with valgur, magdalena bay: the imaginal mystery tour with valgur, brooklyn bowl philadelphia | philadelphia, pa, 9:30 club | washington, dc, brooklyn bowl nashville | nashville, tn.

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Scoot Inn | Austin, TX

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Magdalena bay on august 22, 2024.

Amoeba Music, Los Angeles, California

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Magdalena Bay tour dates 2024

Magdalena Bay is currently touring across 8 countries and has 30 upcoming concerts.

Their next tour date is at The Fillmore in San Francisco, after that they'll be at Wonder Ballroom in Portland.

Currently touring across

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Upcoming concerts (30) See nearest concert

The Fillmore

Wonder Ballroom

Commodore Ballroom

Neptune Theatre

Gothic Theatre

The Waiting Room Lounge

First Avenue

Thalia Hall

Brooklyn Bowl - Philadelphia

Royale Boston

Brooklyn Steel

Cat's Cradle

Variety Playhouse

Brooklyn Bowl - Nashville

Crescent Ballroom

Fonda Theatre

Iceland Airwaves

FRANNZ Club

La Machine du Moulin Rouge

HERE at Outernet

Pink Room, YES

The Button Factory

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Breakaway Music Festival Ohio

The Rooftop at Pier 17

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Magdalena Bay Announce First-Ever U.S. Headline Tour

Tickets will go-on sale Friday, December 10th at 10am local time.

Los Angeles-based electro indie-pop duo Magdalena Bay-a.k.a. Mica Tenenbaum and Matthew Lewin-released their long-awaited debut album, Mercurial World, this Fall to mass critical acclaim.

Now, as the band just wrapped up a largely sold-out support tour with George Clanton, Magdalena Bay announce their first-ever headline tour. See below to find a show near you, and watch a live performance video of "You Lose!" to get a sneak preview of what to expect when you see the duo live and step into their Mercurial World. See below to find a show near you, and get your tickets when the go-on sale Friday, December 10th at 10am local time here .

One of the most irresistible, refreshing and exciting pop records you'll hear this year, Mercurial World was entirely written, produced, performed, mixed and mastered by Magdalena Bay, and the album has just made its debut on the Billboard charts.

The album took the #1 slot in both Top New Artist Albums and Alternative New Artists, made top 20 in Heatseekers, Current Alternative Albums, Independent Current Albums, and Current Rock Albums, and also charted in Internet Albums, Top Current Albums, Current Album Sales and Album Sales.

Few artists are at once artful and savvy enough to transcend the endless scroll, but over the past 18 months, LA-based indie-pop duo Magdalena Bay have used social platforms to dispatch their music, and what you might call their philosophy, in hypnotic, ephemeral bursts. A long trip through their feeds produces music videos in miniature, irreverent pontifications on the state of the music industry delivered via home video VHS aesthetics, and existential meditations on everything from International Women's Day to the clone craze of the early aughts to the indefinite lifespan of plants. To Mica Tenenbaum and Matt Lewin, reality can be unmade, manipulated beyond all recognition; their project is as much musical as it is an experiment in pop persona and visual aesthetics.

On October 8th, Magdalena Bay released their debut full-length LP, Mercurial World, via Luminelle. Entirely written, produced, recorded, mixed and mastered by the duo, Mercurial World proposes an abstract theory of time and explores the staggering "what ifs" that make up the human experience.

12/18 - Los Angeles, CA @ Jingle Bell Roxy @ The Roxy Theatre

12/19 - Pomona, CA @ Viva! Pomona @ The Glasshouse

12/29 - Miami, FL @ Gramps

2/17 - Boston, MA @ The Sinclair

2/18 - Brooklyn, NY @ Elsewhere

2/19 - Washington, DC @ Black Cat

2/21 - Philadelphia, PA @ The Foundry

2/23 - Cleveland, OH @ Grog Shop

2/24 - Chicago, IL @ Lincoln Hall

3/23-3/26 - Boise, ID @ Treefort Music Festival

3/27 - Seattle, WA @ Barboza

3/30 - Portland, OR @ Holocene

4/1 - San Francisco, CA @ Popscene @ Rickshaw Stop

8/27-28 - Pasadena, CA @ This Ain't No Picnic

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Magdalena Bay: The Imaginal Mystery Tour

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Delivery is delayed until 72 hours before the event. Tickets are non-transferable until 72 hours prior to the show time. Any tickets suspected of being purchased for the sole purpose of reselling can be cancelled at the discretion of 9:30 Club / Ticketmaster, and buyers may be denied future ticket purchases for I.M.P. shows. Opening acts, door times, and set times are always subject to change.

Magdalena Bay

Somewhere in the ether/net of our collective social cosmos soup floats the magical, masterful pop music of Magdalena  Bay , the duo from Los Angeles composed of Mica Tenenbaum and Matthew Lewin. While the pair may claim California as its terra firma, its true home is in the clouds, from where the two emit and output the unique yet familiar frequencies of synthesized nostalgia, kitschy catchiness, and bombastically warped neo-hooks for which the group has become celebrated. Transmitting in both the audio and video realms, Magdalena Bay is an entity adroitly suited for these times, caught in a haze of the known and felt while pushing sonic landscapes woven with the now into the next.

Having met as teenagers in a high school music program in their hometown of Miami (Tenebaum having moved to Florida at age 1 from Buenos Aires), each quickly recognized a kismet and kindred spirit in the other, resulting in the formation of a band, the prog outfit Tabula Rasa, as well as a romance. Lewin was a self-styled guitar shredder armed with his dad ’ s prog and concept rock records — The Wall, The Bends, Genesis, Fiona Apple — while Tenenbaum was a pianist and singer dipping toes in indie (Modest Mouse) and emo (My Chemical Romance) rock as well as pop made by princesses (Shakira, Britney). Both could read music and Lewin had even studied music theory, also teaching himself how to produce, record, and mix while making two Tabula Rasa records. The pair took a brief break from dating and headed to different colleges but kept the band together, often trading eight-hour bus rides from Penn to Northeastern and vice versa to rehearse, before eventually realizing two things: one, their relationship was too real to be denied, and two, no one young likes prog.

“ It was like, ‘ No one's listening to our prog music, what a shame,’” Tenebaum says with a laugh. “ We were excited to try something different. So we got into the mechanics of ‘ what does it mean to write a pop song? ’ and ‘ what is this craft? ’ and that was the beginning of Magdalena Bay .”

“ I remember thinking, ‘ Pop music is simple, so we should be able to make it,’” Lewin says. “ And then, of course, there's way more to it, lots of complexities in the writing and production that I wasn't aware of. We had no artistic perspective at that point because we were still figuring out the genre and how to make something that resembled pop music before we could think about how we could make it interesting. So that was our early process.”

Holding tight to that all-encompassing genre descriptor ( “ We make pop, but what really is pop anyway?” Tenenbaum asks, while Lewin counters, “ We're a pop group making pop music; all the rest is implied…I think it's fun to imply that pop music is a wide range of things”), the duo released a grip of EPs and singles before launching its debut album Mercurial World in the fall of 2021. Many outlets, while uniformly praising its melodic hooks, sing-song vocals, and meticulously-crafted production, called it “ synth-pop,” which is probably the most specific subgenre Lewin and Tenenbaum will allow. Regardless, the mark had been made, and Magdalena Bay soon began to gather respect, adulation, and fans in the true currency of the day: streaming numbers, social media followers, support slots, festival appearances, and creative collabs. All the while, aided by its highly stylized online aesthetic and internet presence, the band was inching closer to realizing something of an artistic perspective after all.

“ We love extending the world of our music past sound into videos or a website or graphics or whatever it might be,” Tenenbaum says.

“ We like to think of them as one and the same, but I think it has to start with the music,” Lewin says. “ We're trying to create an atmosphere or an emotional quality with it.”

“ It's the jumping off point that inspires the rest,” Tenenbaum agrees. “ But as the years have gone by, as we ’ ve made more and more videos and such, the process has become more integrated. We were having visual ideas, which was never the case before. I guess people call it ‘ world-building.’”

valgur is a Mexican Experimental/Avant pop and performatic duo; best known for their religious performance that address a social and political though of the contemporary music. The two members are siblings Elizabeth and Hugo Valdivieso

Magdalena Bay, New Album   Imaginal Disk out now

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Magdalena Bay Return with 2024 Tour Dates, New Single “Death & Romance”: Stream

Magdalena bay return with 2024 tour dates, new single “death & romance”: stream.

The post Magdalena Bay Return with 2024 Tour Dates, New Single “Death & Romance”: Stream appeared first on Consequence .

Another new Magdalena Bay era has begun. The pop duo has shared “Death & Romance,” their first single since last year’s mini mix vol. 3 EP. They’ve also revealed a batch of 2024 North American headlining tour dates for a run titled “The Imaginal Mystery Tour.”

Kicking off on September 3rd in San Francisco, “The Imaginal Mystery Tour” will see Magdalena Bay headlining shows in Vancouver, Seattle, Denver, Chicago, Brooklyn, Atlanta, Nashville, Austin, and more. The tour concludes with a show in Los Angeles on October 2nd. Afterwards, they’ll head to Europe for a stretch of shows. See below for the full list of Magdalena Bay’s 2024 tour dates.

Get Magdalena Bay Tickets Here

Tickets for Magdalena Bay will first be available for select dates via a Live Nation pre-sale kicking off on Thursday, May 30th at 10:00 a.m. local time (Use access code SOUNDCHECK ). Pre-sale tickets are also available for individual dates via Magdalena Bay’s website; sign up here to get access. Tickets will go on-sale to the general public on Friday, May 31st at 10:00 a.m. local time via Ticketmaster .

Built atop an oscillating piano line and some restless, dizzying drumming, “Death & Romance” is a psychedelic pop swirl from Magdalena Bay. Singer Mica Tenenbaum’s voice is drenched in atmosphere, lending a hypnotic and hazy air to the song — meanwhile, the track’s five minute run time and spacey bridge suggest a cosmic odyssey. “Death & Romance” is also Magdalena Bay’s first offering since signing to Mom + Pop Music in June 2023. Stream “Death & Romance” below.

Magdalena Bay — comprised of Mica Tenenbaum and multi-instrumentalist Matt Lewin — have been teasing the arrival of new music on social media for the last several weeks in their usually uncanny, absurd visual style. Before their 2023  mini mix EP, Magdalena Bay’s last effort was their 2021 debut  Mercurial World , which they also released a deluxe version of the following year.

Check out Magdalena Bay’s My15 playlist , where the duo selected 15 of their favorite tracks that have been on repeat since 2007 for Consequence’ s 15th anniversary.

Magdalena Bay 2024 Tour Dates: 09/03 — San Francisco, CA @ The Fillmore 09/05 — Portland, OR @ Wonder Ballroom 09/06 — Vancouver, BC @ Commodore Ballroom 09/07 — Seattle, WA @ Neptune Theatre 09/10 — Denver, CO @ Gothic 09/12 — Omaha, NE @ The Waiting Room 09/13 — Minneapolis, MN @ First Avenue 09/14 — Chicago, IL @ Thalia Hall 09/17 — Philadelphia, PA @ Brooklyn Bowl Philly 09/18 — Boston, MA @ Royale 09/20 — New York, NY @ Brooklyn Steel 09/21 — Washington, DC @ 9:30 Club 09/22 — Carrboro, NC @ Cat’s Cradle 09/24 — Atlanta, GA @ Variety Playhouse 09/25 — Nashville, TN @ Brooklyn Bowl 09/27 — Fort Worth, TX @ Tulips 09/28 — Austin, TX @ Scoot Inn 10/01 — Phoenix, AZ @ Crescent Ballroom 10/02 — Los Angeles, CA @ The Fonda Theatre 11/07 – 11/09 — Reykjavík, IS @ Iceland Airwaves 11/09 — Berlin, DE @ FRANNZ Club 11/11 — Amsterdam, NL @ Melkweg OZ 11/12 — Paris, FR @ Café de la Danse 11/13 — London, UK @ Heaven 11/15 — Manchester, UK @ YES Pink Room 11/16 — Dublin, IE @ Button Factory

Magdalena Bay Return with 2024 Tour Dates, New Single “Death & Romance”: Stream Paolo Ragusa

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‘It’s About the Big Questions’: Magdalena Bay’s Brilliant New Album Is Where Pop Meets Prog-Rock

In the current pop landscape, there are few acts as exciting—or as remarkably consistent—as Magdalena Bay . The duo, made up of Matt Lewin and Mica Tenenbaum, high school buddies turned partners in life and work, have spent the best part of a decade quietly churning out slices of synth-pop genius, married with distinctive visuals created by the pair themselves. That journey culminated in their debut album, 2021’s Mercurial World : One of the year’s most inventive pop records, it served as a rollercoaster ride through the band’s eclectic sonic universe, while also boasting some of the catchiest hooks in recent memory. (Seriously: Three years later, I still can’t get “ Hysterical Us ” out of my head.) Why, then, have they remained something of an in-the-know favorite for pop fanatics, when in a more just world their singles would be topping charts?

Their second album, Imaginal Disk —released tomorrow—may change all that. Across 15 all-killer, no-filler tracks, the duo flex their preternatural instincts for writing an irresistible pop melody, while also venturing into uncharted territory. The theatrical sweep of lead single “Death and Romance”—all groovy, ABBA-esque keyboards and thundering drums—flirts with psych-rock, while the delightfully bonkers “Tunnel Vision” builds and builds with Tenenbaum’s cherubic vocals over twinkling piano before it erupts into a epic prog-rock breakdown of guitars and live drums, synths squiggling around them like fireflies. And you’d be hard-pressed to find a catchier, cleverer slice of pop perfection than “Image” on any other record this year.

“It’s conceptual, but I wouldn’t necessarily call it a concept album,” says Lewin when he and Tenenbaum dial in from their Los Angeles studio. (In the background, their walls are covered with guitars and a Memphis Group-inspired sculpture the pair sourced from Facebook Marketplace.) While in the past, their visuals have consisted of a charmingly chaotic mish-mash of the post-Internet and the new-age—their old website was inspired by the Y2K kitsch of GeoCities pages—this time around, there’s a greater focus on the world they’ve constructed around the record, with an overarching narrative following an alien called True (played by Tenenbaum in the videos) who is implanted with, then rejects, an “imaginal disk” and begins her journey towards understanding what it is to be human.

It somehow never feels overwrought, or like the pair are being bogged down by the more outré aspects of what they’re doing. Indeed, when you boil it down, the appeal of Magdalena Bay is actually fairly simple: they’ve got fantastic melodies, immaculate production, and a welcome lack of self-seriousness. Because as any great pop songwriter knows, there’s a genius to simplicity—and Imaginal Disk is nothing if not a window into the minds of two weird and wonderful geniuses at work.

Here, Magdalena Bay talk about their unique take on the classic concept album, why they returned to their high-school roots when it came to the record’s influences, and their plans to bring the Imaginal Disk world to life while on the road.

Vogue: How are you feeling right now, a couple of weeks out from the release of the album?

Matt Lewin: I think we’re just eager to get the whole thing out, because you do the singles and it’s heartbreaking—well, not heartbreaking, but it’s a tough process, because you really just want people to listen to it all the way through. So you give people these little tastes of it, but you feel like you’re not getting the full thing. We’re ready for all of it to be out.

Mica Tenenbaum: Very ready.

I feel like the singles are a nice cross-section of what the album has to offer, though—of all its different flavors.

ML: Totally.

MT: That was definitely the goal.

ML: I think the singles served their purpose. But I feel like for most artists, in an ideal world, you could just forget about the promotional strategy and just put it out. But that’s not…

MT: That’s not the world we live in.

ML: There’s also something nice about the singles and the tease and building the anticipation. That’s fun for us.

MT: It just makes us nervous also. [ Laughs. ]

Given it’s something of a concept album, what came first: the songs or the concept?

MT: At first, the music.

ML: The songs always come first.

MT: But I was entertaining some concepts while we wrote the songs. Because with Mercurial World, it was very much a case of songs first, concept later. So I did want to keep those broader ideas in mind when working on this one, without necessarily forcing anything.

ML: I would say it’s like a loose concept album. It’s not like a Tommy situation where the songs outline the story. I think there are themes throughout the album, but I feel that’s the same with Mercurial World . It’s conceptual but I wouldn’t necessarily call it a concept album. I don’t know if you agree, Mica?

MT: I think I agree. We just started writing the music in between touring gaps, the little time we would have at home in LA. Maybe 60% of it was written that way, and then we had a dedicated chunk of time to finish the rest of it, which was nice.

ML: I think once we had the music and we had the sequencing and we listened through the record, we were like, “Well, we could overlay this story on top of the music”—and that’s the story of the visuals. But it’s not necessarily inextricably tied to the music, it’s just a layer of meaning on top of the record.

Where did the Imaginal Disk title come from, and what does it mean to you both, exactly?

MT: I think we first came across the title because I was just really... Wait, how did we find the stuff about the insects in the first place?

ML: It was almost reverse engineered, because we came up with the album cover concept first, so we had this idea of someone inserting a disk into someone’s forehead. Then I think separately Mica was reading about the caterpillar-butterfly metamorphosis process, and there is a biological term called an imaginal disc, but with a C, which is a genetic code carrier that exists within the caterpillar that basically once the caterpillar completely melts into a goo in the cocoon these imaginal discs are the instructions with how to rebuild it into the butterfly. So then it became this double entendre with the CD disk concept that we had for the cover, and this symbol of metamorphosis that tied into a lot of the themes that Mica was already writing about and had in mind for the record.

MT: The cover came first? I’m not convinced by that.

ML: I swear!

Mica, tell me a little more about your investigations into the imaginal disc —with a C.

MT: Well, I was really interested in these ideas of self. I can’t remember the timeline, or what kicked it off, but this scientific fact that a caterpillar just gets completely melted down into a liquid, but somehow these cells survive, and so do the caterpillar’s memories—they’ve proven it with little experiments where they electric shock them before and after with certain stimuli—I found it very interesting that there’s a blueprint, a code to yourself locked inside.

ML: And the idea of memories surviving that process.

MT: Yeah. It was like, “Okay, what would that look like for humans?” It felt like a fun question. Not that that’s necessarily what the album is about, but these were all questions that led to vague inspirations, and then the “imaginal disk” going into the head re-contextualized it all—it came to represent consciousness, memory, awareness, and all of that.

Those themes of transition and evolution definitely recur throughout the record. Was there anything specific going on in your lives while making it that drew you to those questions?

MT: I had restarted therapy. It’s interesting, because when I was in high school I would go to the same therapist, so I returned to her a bajillion years later—I’m from Argentina, and the therapist I go to is from a Lacanian school of psychoanalysis, which is very hip now. I’m not super educated on those details, it just feels like what I imagine regular therapy is, but with a lot more focus and importance placed on dreams and the subconscious, which I find really inspiring as an artist. When we were talking, there were a lot of big questions coming up—and the record ended up being about the big questions too.

ML: I remember you were asking me all these questions like, “What do you think forms your identity? Are you the same person that you were when you were 10 years old? What really exists and what’s the through-line between your consciousness?” Because you feel like a completely different person, and it feels like almost a different life from a child version of yourself to the adult version of yourself, so what really constitutes you? What’s the ship where eventually every part of the ship was replaced?

MT: I was just reading about that, I forget what it’s called.

ML: It’s still the same ship if at some point every single piece of it was replaced over time. So it led to these questions of what constitutes the self—what is the core of that?

Was the character of True based on yourself in any way, Mica?

MT: She’s based on me, for sure. I feel like the lyrics within themselves have their own logic and story, and they are complete and intact in a way. And then we’ve layered this story over it, which is also informed by the lyrics. So it’s almost like another version of me. It’s the sci-fi interpretation of the personal story the lyrics tell.

Are you both big sci-fi heads?

MT: Oh yeah. [ Laughs. ] I was reading Solaris while writing the lyrics, which definitely fed into everything.

ML: And just before that, you were reading Foundation too, so you were definitely on a big sci-fi wave.

It’s always pretty tough to pin you down in terms of genre, but one of the things that stood out to me was the really epic prog-rock moments on the album. Was there anything specific that led you down that path this time around?

ML: I think it was just a shift in what we were listening to at the time. We reverted to a lot of what we listened to when we were in high school when we first met, which is a lot of classic rock, ’70s prog-rock, Radiohead. I think when we were making Mercurial World we were really tapped into the contemporary pop scene and were really inspired by that, but the wave we were on while we were writing Imaginal Disk was very different and I’m sure that made its way into the music. It also ended up being that a lot of the songs required live drums rather than electronic programming, and I think that helped a lot to shape the sound of the record and push it in a different direction.

It definitely lends the album a very epic quality. Did you set out when writing the record to go bigger and bolder in that sense?

MT: I don’t know if it was conscious.

ML: Yeah. It’s hard to pin down why. I feel like some bands are like, “Okay, we’re going to make our disco record,” and before they even get in the studio they’re like, “I have a vision for how the record is going to sound.” But I feel like our writing style is that we just get into a flow state and then something comes out, and all the little micro-decisions you make while writing are informed by your tastes at the time, and then it ends up formulating into a song.

I wonder if that has something to do with the fact you’ve worked together for so long and are so attuned to each other creatively. For most musicians, when they’re embarking on a new project, they’re bringing in new collaborators and they have to articulate what they want to do with them. Whereas you can just see what happens.

ML: I think so. I feel we’re so aligned where if we come across a sound or something that we like, we could just look at each other and be like, “Oh, yeah. That’s the one. Let’s follow that train of thought there.”

You must have disagreements though sometimes?

MT: Sometimes. [ Laughs. ]

ML: It’s usually more about minutia rather than large-scale creative things. Something like a rhyme scheme or a vocal inflection or a mixing thing, but not so much on the larger creative decisions thankfully. I think we’re pretty locked in by this point.

MT: Sometimes we’ll start writing something and then we just have to stop working on it because it doesn’t feel Magdalena Bay. I don’t know how to put it into words or explain it, but there is definitely some ...

ML: Intrinsic thing. It almost needs to have the right balance of melodrama and a sense of humor. If something feels too serious, it’s not the right thing. Every song has its own personality, and I think we can tell when something feels like it’s the right personality for a Magdalena Bay track. We just know when it’s not. It’s hard to put into words.

That nudge and wink you hear on some of the songs is definitely one of the things that really appeals to me about your music. Is it born out of a shared sense of humor between the two of you?

MT: They’re probably pretty similar, yeah. Why do we need that sense of humor or something in our music?

ML: I think it’s not necessarily humor in a literal sense, because some of the songs are very serious. If you take the opening track of the record, “She Looked Like Me,” I think it’s probably one of the most serious songs we’ve ever written. But I still think there is something there that prevents it from becoming self-serious. I don’t know what it is exactly.

MT: It might just be the specific combination of sounds or the way the chords progress. It’s very intangible, but we still know it’s there.

It's not like you're cracking a joke, per se, but it’s more a kind of playfulness.

MT: Yeah. I wish I could write really funny lyrics, but I don’t think I could.

I remember speaking to you previously about your visuals, which for so much of your career you handled entirely yourself, and you were saying how the process of handing things over to other people can be difficult in that regard. How was that process for you this time around, and how did you find the right collaborators?

ML: We really found one main collaborator for all these visuals, the director Amanda Kramer, who we had a mutual friend with.

MT: We saw her films and we were like, “Oh, we’re on the same wave.”

ML: I think it was also the sense of humor thing we were talking about. It felt like we really shared that specifically with Amanda, which I think is probably the most important thing for a collaborator to understand. That can go so wrong if you're not on the same page, or if one party doesn't understand the joke, or that there is supposed to be a joke—or that there isn’t.

MT: It’s literally impossible to get over that bridge if you don’t share that. But it was also the very cool theatricality that’s built into her work, and just the spirit of it felt aligned with us, so that was awesome. We’re still editing everything ourselves, so it's been very hands-on. We are control freaks, and we still get really nervous around production and need to know everything that’s going on. We want to be involved to a degree that maybe is a lot for other artists.

ML: We’re probably a little more involved than most, but hopefully it wasn’t obstructive.

And as a final thing, when I was listening to the record I was thinking about how it will really go off live. Are you excited to take it out on tour next month?

ML: Definitely. The album has more live instrumentation-focused than anything we’ve done before, so we’re looking to translate that to the stage, which I think means relying less on backing tracks, putting the performance more at the forefront, but also interpreting the visuals in a more abstract way, but we’re going to do some interesting stuff to get the story across. We’re excited. It’s going to be cool.

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See the finished new seating inside the JMA Wireless Dome (photos)

• Updated: Aug. 28, 2024, 7:07 p.m.
• | Published: Aug. 28, 2024, 9:32 a.m.

• Emily Leiker | [email protected]

Syracuse, N.Y. — Here’s a look at the new seats inside the JMA Wireless Dome.

Syracuse University completed the install of its new blue stadium seats ahead of the Orange football team’s season opener against Ohio at 3:30 p.m. Saturday in the JMA Dome.

The current renovation bid adieu to the silver benches that filled the dome for four decades. It is part of a project that also includes the creation of Bob Miron Victory Court, an event space that remains under construction, and the installation of an improved wireless network by JMA Wireless.

“When people came in for the other renovation they didn’t really touch or feel anything that we did other than the air conditioning,” said SU chief facilities officer Pete Sala. “People asked for two things when we did our survey -- air conditioning and seating.”

Sala and director of athletics John Wildhack spoke Wednesday morning inside the Dome to provide updates about the renovation process, new fan experience offerings for the upcoming athletic year and more.

Capacity for full-venue events like football is 42,784, a decrease from 49,262. Basketball capacity will be around 33,000. The school is still determining the exact number, which will depend on how far back it places the roll-out bleachers. Their placement impacts sight lines in the upper levels.

Season-ticket holders for both football and basketball were reseated as part of the process. The school moved the student section. All of the seats in the building blue expect for a small orange seats in a pair of premium ticket sections. They have chairbacks but no cupholders.

There was a 114% ADA seating increase, Sala said. There is now enough room for 500 ADA seats in the facility.

He said the school will be doing “testing” with AT&T customers on Saturday in hopes that they will have improved cell phone service for the opener against Ohio on Saturday . The school finished that process with Verizon customers last year, and they experienced vastly improved service.

In the lower bowl, the seats are 21 inches wide with arm rests. Seats in the upper bowl are 19 inches wide and do not have arm rests.

“This is literally a brand-new building,” Sala said. “As soon as we touched the seats, we had to bring the entire facility up to today’s fire codes and egress codes. The things that we’ve done inside this building, this was way more challenging for me than the roof project and what we did when we replaced the roof in the first phase of the building.”

The reseating was part of Phase 2 in the Dome renovation project. There is no current plan in place publicly for a Phase 3.

Here’s the .5 panorama 📹 pic.twitter.com/pvPYlqGfpT — emily leiker (@emleiker) August 28, 2024

A closer look at the new JMA Dome seating (and the lack of silver) which we’ll all get to enjoy on Saturday. pic.twitter.com/dE7J1aD3Kf — chris carlson (@ccarlsononSU) August 28, 2024

Contact Emily Leiker anytime: Email | Twitter

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Sabrina Carpenter's new album Short n' Sweet leads this week's best new music releases

By Dan Condon

By Al Newstead

Topic: Music (Arts and Entertainment)

Sabrina Carpenter's Short n' Sweet offers emotional depth amongst its raunchy takes. It's one of our picks for the best new albums right now. ( Supplied: Universal Music )

All excited about the Oasis reunion ? Us too! 

Don't forget though, there is excellent new music released every week. We reckon the five albums below are well and truly worth your time.

Sabrina Carpenter – Short n' Sweet

It might be the pint-sized pop singer's sixth studio album, but for many, Short n' Sweet will be their first full Sabrina Carpenter record. And it's a fine introduction to her fun, frothy songwriting.

A former Disney child star, Carpenter's profile exploded after she got the world addicted to her inescapable hit 'Espresso' and its pleasurably moreish follow-up 'Please Please Please'.

Opening up multiple stops of Taylor Swift's Eras tour – including the Australian leg – certainly didn't hurt. But where Swift often offers tortured, sanitised depictions of her heartbreaks, Carpenter skewers bad boyfriends far more playfully.

"What a surprise, your phone just died / Your car dove itself from LA to her thighs," she chides on the charmingly sarcastic 'Coincidence', whose acoustic strumming and "na-na-na"s gently evoke 70s folk music.

"I heard you're back together and if that's true / You'll just have to taste me when he's kissin' you," she teases an ex's new partner on 'Taste', the glossy pop-rock opener groomed to be Carpenter's next big hit (complete with a video starring a chainsaw-wielding Jenna Ortega).

It's more likely fans will flock towards the flirty, lite-R&B of 'Bed Chem' or 'Slim Pickins', which bemoans the shortage of good men to date, set to a countrified arrangement kissed by slide guitar.

However, the Belinda Carlisle-sounding 'Juno', which flips the name of the 2007 teen pregnancy dramedy into a bedroom invitation to test out "some freaky positions" and "fuzzy pink handcuffs", is an overreach in the raunchy lyrical stakes. 

Don't let the saucy couplets and Barbie looks fool you, though. There's some emotional depth to complement the winking sass and bright, catchy tunes: "You don't have to lie to girls / If they like you, they'll just lie to themselves / Don't I know it better than anyone else?" Carpenter sings on Lie to Girls.

Short n' Sweet's title is a play on Carpenter's 1.5m height, but it also reflects the album's appeal – a set of rigorously written and produced songs with wit as sharp as their hooks that'll likely take little time to get under your skin.

For fans of: Olivia Rodrigo, Chappell Roan, Reneé Rapp

 — Al Newstead

Sycco – Zorb

On her debut album, 23-year-old Brisbane artist Sycco gives us versatile takes on pop's various forms. ( Supplied: Future Classic )

Sycco's early single 'Dribble' was one of the great pandemic anthems for me: It became a fixture of playlists to accompany sitting in the living room staring at the wall, and I bent and twisted the lyrics in countless ways to incorporate the names of my pets.

Four years on from that undeniable scorcher of a song, which for many was their astounding introduction to young Brisbane artist Sasha McLeod, we get Zorb, the 23-year-old singer-songwriter's first full-length album. And while her many singles have prepared us for the breadth of her modern pop, few would be expecting her to hit every target with such finesse.

Opening track 'Buttered Up' gives us neo soul enfolded by vintage synths, 'I'd Love to Tell You' throws us into the dazzling world of future-pop, and 'Bad World' pulls together fuzz guitar, autotune and a semi-classical synth breakdown to make for a joyfully psychedelic moment.

Before long, there's a surprising gospel turn in 'I'm Here Now', replete with a verse from American rapper redveil, which somehow fits neatly despite a complete absence of hip hop across the rest of the album.

An album in 2024 without a sadgirl moment feels empty. 'Crossed My Mind' doesn't just tick that box but is one of the sleeper highlights of the album; a quiet moment tucked in towards the back that show McLeod's immense ability when most of the flashy sonic embellishments are stripped away and it's just her voice and her songs.

The album is so deftly executed that it kinda stings to say that 'Ripple', the monstrous hit single produced by future-pop elder statesmen Flume and Chrome Sparks, remains its highlight. That shouldn't take away from the quality of Sycco's other material, it's just that much of a banger.

If you're interested in the future of Australian pop music, you should be very interested in Sycco.

For fans of: Ladyhawke, The Weeknd, Charli xcx

 — Dan Condon

Fontaines D.C. – Romance

Romance sees Fontaines D.C. changing from long-term producer Dan Carey to James Ford, and a label switch from Partisan to XL Recordings.  ( Supplied: XL Recordings / Remote Control Records )

On audacious lead single 'Starburster', Fontaines D.C. rewired their atmospheric post-punk into a startling new configuration. It's a dark, tongue-in-cheek tirade of rapped references – spanning J.D. Salinger, the SAG-AFTRA strike and the Chinese zodiac – punctuated by distressing gasps for air.

It presaged surprising things from the Grammy-nominated Irish rock band on their fourth album. Although Romance isn't quite the radical departure suggested by interviews name-checking Korn and the band's new Y2K wardrobe (think Spice Girls meets nu-metal), it is another bold step forward for their ever-evolving sound.

We hear lush string arrangements, shoegaze-y guitar textures, and even a whiff of Lana Del Rey to the dreamy melancholy of 'In the Modern World'.

Other songs evoke historic alt-rock crossover successes: The Smiths (in the jangling 'Bug'), Nirvana (the grungy 'Death Kink') and The Cure at both their gloomiest (the murky title track) and most loved-up (sunny closer 'Favourite' – the sweetest song Fontaines have ever made).

Following his 2023 solo album Chaos for the Fly, frontman Grian Chatten further pushes his flinty, accented vocals in interesting directions on Romance. He gives some of his greatest melodies and performances yet, while shifting his bar-stool poetry and sly political commentary toward the idea of "falling in love at the end of the world".

"Will someone find out what the word is that makes the world go round?" he begs on bittersweet stand-out 'Horseness Is the Whatness'. ''Cause I thought it was love."

It's a long way from the noisy missives of the band's 2019 debut album Dogrel, which brought Fontaines D.C. instant attention only for them to release a challenging rebuttal follow-up A Hero's Death just 15 months later.

Now — after winning multiple awards and topping the UK charts with 2022's Skinty Fia — Fontaines are at the precipice of becoming a supernova. Rather than retreat from the spotlight again, the band embraces their growing popularity on Romance, without relinquishing the restless creativity and moody artistry that's defined them so far.

They sound like future festival headliners who've achieved mass appeal on their own artistic terms.

For fans of: Yard Act, Arctic Monkeys, The Cure

Magdalena Bay – Imaginal Disk

The LP loosely follows the story of the protagonist, True, whose body rejects a "consciousness upgrade" from the titular "Imaginal Disk".   ( Supplied: Mom + Pop Music )

Mercurial World, the 2021 debut album from Los Angeles duo Mica Tenenbaum and Matthew Lewin, was a word-of-mouth success that put a refreshing spin on genre-bending synth-pop, presented with a nostalgia for early internet aesthetics (think Windows XP and GeoCities webpages).

Their visionary follow-up, Imaginal Disk, is even more ambitious and harder to classify.

It's a conceptually dense, wildly kaleidoscopic listen defined by relentlessly shapeshifting production that seamlessly blends organic and synthetic instrumentation and textures. Every song takes you on an adventure, often starting and ending in completely different sonic worlds and musical eras.

'Killing Time' begins as a lounge-y groove but reaches a crunchy climax via a space-age guitar solo. The fuzzy, addictive stomp of 'That's My Floor' makes one of life's mundanities – an elevator ride – sound like a hallucinogenic trip.

'Cry for Me' takes ABBA as a blueprint and erects a glowing disco pop cathedral of bittersweet melody, while the psychedelic, hooky 'Death & Romance' is what Tame Impala producing Dua Lipa should've sounded like: an effortless fusion of pop and prog instincts.

From the skipping CD effect closing 'Watching T.V.' to the tempo shifts and explosive drum fills of 'Tunnel Vision', the intimidating number of ear-grabbing flourishes can be overwhelming.

But those same details reward multiple listens and for all the music's twists and turns, everything is beautifully sequenced, with plenty of immediate hooks to pull you along, like planets offering temporary solid footing before rocketing off into the cosmos once more.

Tenenbaum's voice – a breathy, bubblegum croon that occasionally breaks into theatrical falsetto – also brings a cohesion to what often sounds like the bizarre love child of Grimes, Regurgitator and The Beatles at their most psychedelic.

Speaking of the Fab Four, the album ends with the self-referential 'The Ballad of Matt & Mica'. Embedded between the fizzing melodies and fantastical sounds is a lyric that amounts to Magdalena Bay's boundary-pushing declaration of intent: "Not ordinary."

For fans of: Caroline Polachek, 100 gecs, Tame Impala

Emily Wurramara – NARA

Emily Wurramara's second album NARA sees her interrogate the best and worst relationships of her life. ( Supplied: ABC Music )

Fans of Warnindhilyagwa woman Emily Wurramara have been waiting a long time for NARA, her recently released second album. Once you hear it, that wait will feel insignificant – this is a comprehensive exploration of the many dimensions of Emily Wurramara's musical powers.

There are plenty of the intimate moments that earned her a place in so many of our hearts over the years, but they sit alongside splashes of pop, rock, soul, reggae and more, as Wurramara generously bares her soul and invites us into some of the best and worst relationships she's faced through her life.

'STFAFM' is a hell of an earworm; its catchy, defiant, vaguely profane and immensely relatable chorus will be a sure-fire crowd favourite. 'It's You' will fill your heart as Wurramara sings, "Every breath is freedom, and freedom is so lovely", before she then smashes that same heart to pieces with the painfully nostalgic 'FRIEND', a tragic lament about insincere friendship.

Wurramara's various collaborations contribute to NARA's generally open-hearted feeling, bringing a warm, familial feel to the album. The sad and slow-moving 'WWGBH' sees her link up with Velvet Trip's Zep Hamilton and the island vibes remain strong on 'See Me There', a gorgeous duet with Lisa Mitchell. While Arringarri might be Wurramara's little brother, he's particularly sage in his spoken word turn on 'STFAFM' and it feels good to know he's on her team.

For all the points mentioned above, there's one far simpler thing that's going to make you fall in love with this record: Emily Wurramara's voice. It's an instrument with the power of a freight train, the beauty of a sunset, and one that can play with your emotions more deftly than just about any rom-com. Hit play on any track here and, when the singing starts, you'll understand.

For fans of: Archie Roach, Julia Jacklin, Jack Johnson

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