julien baker tour 2023

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Julien Baker  

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stickykiss says:

"the amount of middle aged white men belting out her lyrics at this show was unreal. i'm like, how can you even relate to the problems of a twenty-something queer girl? and yet, there they were. very distracting."

But the twenty-something girls singing along didn't distract you as well? Wouldn't all the voices mix together? Why would singing from specific genders / age groups / races be distracting, and others not?

If the men singing along were people of color rather than "white men", would that have been more to your liking?

Does the subject matter of Sprained Ankle only concern twenty-something queerness, or are the themes more universal than that? Would the record have attracted universal critical acclaim if her lyrics were as narrow as you suggest?

Would Julien herself approve of such ugly identity politics as you've displayed here?

Wait, this is supposed to be a show review. The show was amazing. But I wasn't worried about who was there.

Report as inappropriate

Paradiso, Amsterdam.

Great venue. Lovely people...

Appreciative audience waiting expectantly were not to be disappointed. Early start - she was the first of 4 acts across the Paradiso that evening.

Starting with an amazingly clear and cutting Sprained Ankle, Julien took us through her catalogue including some good new songs.

At times haunting, frail, powerful and wounded she held everyone captivated for the whole set. Lovely, deceptively simple arrangements and guitar playing.

Diminutive in stature, self deprecating on stage, she performed with confidence and class.

A great performance.

Well worth the trip from the North East of England!

Seriously if you have the opportunity to see Julien Baker, go for it. She's an amazing, honest songwriter and her music is absolutely chilling and beautiful.

When you get down to it, all musicians are human, but this is no more evident than with Julien Baker; she's amazingly friendly (we got to talk to her after the show, and she seemed more than happy to chat with fans) and funny. Also something that was rlly neat was her support for the opening artists. She sat in the audience and cheered them on and idk i just think that was awesome. Yeah. Great person, great music. Go see her. She deserves all the success coming to her :)

Actually stickykiss (supergenius), considering Julien Baker covers exactly four songs by Jawbreaker, Elliott Smith, DCFC and The Postal Service... I'd say it's fairly obvious that it is the twenty-something queer girl who's been relating to the problems of middle aged white cis males for some time now (and btw doing them all incredible justice).

Now please graduate from your college and knock off the vapid "mehmeh-weh-wehh".

It's tired everywhere else.

Unlike Julien Baker shows which are fresh to death!! Especially if there happens to be a piano that someone just left on the stage.

To add to Brian what about 20 year old queer girls who go to concerts and sing along to songs men wrote? Does that disgust you as well? Your logic is honestly one of the stupidest things I've ever had the displeasure of reading. Good luck getting through life with that mentality.

I had the privilege of attending two Julien Baker concerts this week, in Brussels and Amsterdam. Her attitude towards music is very inspiring. She gives her all in every song, never taking the easy way out. She is fully present for every note she sings or plays, and lets go of her ego and caring about her physical appearance in order to surrender to the music. It was a very genuine, vulnerable and brave show. A healing experience. Go see her!

This is the second time I've seen Julien Baker open for another band - first time Decemberists, this time Belle and Sebastian. I find it amazing that the audience just goes silent when she plays. She's magnetic - you just *have* to listen to her. Most of the shows I go to are giant sing-alongs and I hope that when she's headlining, we can all sing along. JB is a defining musician of our time and I am along for the ride.

the amount of middle aged white men belting out her lyrics at this show was unreal. i'm like, how can you even relate to the problems of a twenty-something queer girl? and yet, there they were. very distracting. julien's great though; her voice is very moving live. and she sounds pretty much exactly as she does on her album (which could be good or bad depending on your viewpoint, for me it was a plus.)

So lovely. Saw her back in May in Atlanta at a festival show. She had a few sound problems, but laughed her way through it - I love hte tension between the humor and the tragedy in the songs. She played a new one I hadn't heard, and of course played the ones we all came to hear.

She took time out to talk to me sidestage as she was setting up. Such a great artist and wonderful human being.

This was such a special night. Very intimate performance and ultimate vulnerability. It was amazing how silent/respectful the crowd was, so intent on giving Julien their full attention. Thankful for the venue as well, they made a Q&A available after the show to give the crowd a chance to engage and interact with the artist after the show. Wonderful and precious night.

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Julien Baker tour dates and tickets 2024-2025 near you

Want to see Julien Baker in concert? Find information on all of Julien Baker’s upcoming concerts, tour dates and ticket information for 2024-2025.

Julien Baker is not due to play near your location currently - but they are scheduled to play 3 concerts across 1 country in 2024-2025. View all concerts.

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• March 20, 2023 Setlist

Julien Baker Setlist at Bridgestone Arena, Nashville, TN, USA

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Julien baker gig timeline.

• Aug 21 2022 Central Park SummerStage New York, NY, USA Add time Add time
• Nov 18 2022 The Stuffing 2022 Atlanta, GA, USA Add time Add time
• Mar 20 2023 Love Rising This Setlist Nashville, TN, USA Add time Add time
• May 23 2024 Largo at the Coronet Los Angeles, CA, USA Add time Add time
• Jun 14 2024 John F. Kennedy Center for the Performing Arts Washington, DC, USA Add time Add time

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Julien Baker

Upcoming julien baker festivals appearances, upcoming julien baker concerts near me.

boygenius Cover Shania Twain's "You're Still the One": Watch

The trio performed their take on the smash hit during a visit to BBC Radio 1.

December 18, 2023

Julien Baker Joins Touché Amoré for Performance of "Reminders": Watch

The boygenius member made a surprise appearance during the band's performance in Los Angeles.

December 11, 2023

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October 31, 2023

boygenius Share the rest EP, Featuring Four New Songs: Stream

Arriving on the heels of their full-length debut, the record.

October 13, 2023

Paramore Release Re: This Is Why, Featuring Wet Leg, Julien Baker, Foals & More: Stream

An all-star reimagining of their latest album, This Is Why.

October 6, 2023

boygenius Perform "Cool About It" on Colbert: Watch

Phoebe Bridgers, Julien Baker, and Lucy Dacus brought late night back in style.

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boygenius Announce New EP the rest

The four-track effort arrives on October 13th.

September 25, 2023

boygenius Share New Animated Video for "Cool About It": Watch

Phoebe Bridgers, Julien Baker, and Lucy Dacus have shared an accompanying visual for the highlight track off their debut album.

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The supergroup have added new 2023 dates to supplement their upcoming festival dates. Find ticket info here.

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Julien Baker announces UK, European and North America tour

It follows the release of newest album ‘little oblivions’.

9th April 2021

Julien Baker , News

Following the release of third album ‘Little Oblivions’ back in February, Julien Baker has announced that she’ll be heading off on the road, announcing a UK, European and North America tour!

Revisit our chat with Julien all about her new record , and check out the full list of dates below…

AUGUST 03 - Birmingham, AL @ Saturn + 04 - Atlanta, GA @ Variety Playhouse + 05 - Manchester, TN @ Bonnaroo Festival 07 - Asheville, NC @ Orange Peel + 08 - Saxapahaw, NC @ Haw River Ballroom + 13 - Washington, DC @ 9:30 Club + 14 - New York, NY @ Beacon Theatre + 15 - Philadelphia, PA @ Franklin Music Hall + 17 - Boston, MA @ House of Blues + 18 - Northampton, MA @ Calvin Theatre + 20 - Toronto, ON @ Phoenix Concert Theatre + 22 - Chicago, IL @ Metro + 23 - Chicago, IL @ Metro + 24 - Minneapolis, MN @ First Avenue + 25 - Madison, WI @ Majestic Theatre + 27 - Detroit, MI @ Majestic Theatre + 28 - Columbus, OH @ Newport Music Hall + 29 - Pittsburgh, PA @ Mr Smalls Theatre +

OCTOBER 27 - Austin, TX @ Stubb’s # 28 - Dallas, TX @ Granada Theater # 29 - Houston, TX @ Heights Theater # 30 - San Antonio, TX @ Paper Tiger #

NOVEMBER 01 - Phoenix, AZ @ Van Buren # 02 - San Diego, CA @ The Observatory # 04 - Los Angeles, CA @ The Wiltern # 06 - Oakland, CA @ Fox Theater # 08 - Portland, OR @ Aladdin Theater # 09 - Vancouver, BC @ Hollywood Theatre # 10 - Seattle, WA @ Moore Theatre # 12 - Salt Lake City, UT @ The Complex # 15 - Lawrence, KS @ The Granada # 16 - St. Louis, MO @ Delmar Hall #

APRIL 2022 15 - Utrecht, NL @ Tivoli * 16 - Groningen, NL @ Vera * 17 - Hamburg, DE @ Fabrik * 19 - Copenhagen, DK @ Vega * 20 - Gothenburg, SE @ Pustervik * 21 - Oslo, NO @ Parkteatret * 23 - Stockholm, SE @ Nalen * 25 - Lund, SE @ Mejeriet * 28 - Berlin, DE @ Festsaal Kreuzberg * 29 - Prague, CZ @ Rock Cafe * 30 - Vienna, AT @ Arena *

MAY 01 - Salzburg, AT @ Rockhouse * 04 - Padova, IT @ Padova Hall * 06 - Zurich, CH @ Bogen F * 07 - Schorndorf, DE @ Manufaktur * 08 - Munich, DE @ Technikum * 10 - Cologne, DE @ Kulturkirche * 13 - Paris, FR @ Le Trabendo * 14 - Brussels, BE @ Ancienne Belgique * 18 - London, UK @ Electric Ballroom * 19 - Leeds, UK @ Leeds Irish Centre * 21 - Dublin, IE @ Whelan’s * 22 - Dublin, IE @ Whelan’s * 24 - Glasgow, UK @ St Luke’s * 25 - Manchester, UK @ Gorilla * 29 - Madrid, ES @ Teatro Kapital 30 - Valencia, ES @ La Rambleta 31 - Barcelona, ES @ Sala Apolo

+ with special guest Thao and Katie Malco # with special guest Dehd and Katie Malco * with Ratboys

Tags: Julien Baker , News

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Records, etc at.

Julien Baker - Sprained Ankle (Cd)

£11.99

Julien Baker - Little Oblivions (Cd)

Julien Baker - Turn Out the Lights (Vinyl LP)

£22.99

Live Review

A hedonistic whirlwind of empathetic tears and unrivalled joy engulfs boygenius ’ giant Gunnersbury Park show

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22nd August 2023, 11:19am

Jesu remixes Julien Baker ’s ‘Favor’

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24th August 2021, 12:00am

Julien Baker announces ‘Little Oblivions Remixes’ EP

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10th August 2021, 12:00am

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Lifted from their forthcoming new album 'Crocus'.

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National Symphony Orchestra DECLASSIFIED ® : Ben Folds Presents BANKS & Julien Baker

Concert Hall

DECLASSIFIED host and NSO Artistic Advisor Ben Folds welcomes dynamic pop artist BANKS and indie rock star Julien Baker for the next concert in his popular late-night series! This Kennedy Center-exclusive “part concert, part party” event defies the traditional symphony presentation by offering great live music—both classical and contemporary—in a laid-back, casual setting. Special appearance by Cafritz Young Artist Tiffany Choe. Come early and stay late for a live  Drag Salute to Divas , drink specials, and more!

Production Information

National Symphony Orchestra

Price Range

$29.00 – $119.00

Part of a Series

DECLASSIFIED ®

Come early and stay late for a live  Drag Salute to Divas , drink specials, and more!

DECLASSIFIED ® host and NSO Artistic Advisor Ben Folds welcomes dynamic pop artist BANKS , indie rock star Julien Baker , and acclaimed soprano Tiffany Choe  for the next concert in his popular late-night series!

Led by Principal Pops Conductor Steven Reineke , this Pride-themed “part concert, part party” defies the traditional symphony presentation by offering great live music—both classical and contemporary—in a laid-back, casual setting.

Britten : Theme from The Young Person’s Guide to the Orchestra Britten : “Storm” from Four Sea Interludes Bernstein : “Somewhere” from West Side Story                   (featuring Tiffany Choe , vocals) Higdon : Blue Cathedral Julien Baker :           “Ziptie” (arr. for orchestra by Rob Moose)           “Sprained Ankle” (arr. Alex Jacobsen)           “Claws in Your Back” (arr. Eric Allen) Tchaikovsky : Theme and Waltz from Swan Lake Banks :           “Misunderstood”           “Waiting Game”           “I Still Love You”           “Gemini Feed” (arr. Alex Turley)

Explore BANKS on  Instagram

BANKS is an American singer, songwriter, producer, poet and director. Her highly anticipated fourth album SERPENTINA , released April 2022, sees the musician enter previously uncharted territory in every sense—from sound to lyrics to visuals, and everything in-between. Releasing her debut album Goddess in September 2014 to critical acclaim and commercial success (the record charted in the top 20 in seven countries including North America) firmly established her sonic signatures: alternative pop inflected with touches of the off- kilter R&B she grew up with.

BANKS returned in 2016 with The Altar , a darker and more intense refraction of the themes she explored on Goddess , also released to widespread praise and multiple top 20 placings in both the U.S. and abroad. For her third album in 2019, she unveiled the exhilarating, synth-heavy lead single “Gimme,” produced by Hudson Mohawke, as the lead single for the aptly titled III , marking yet another step in her progression as an artist with its more experimental production flourishes and more mature lyrical themes.

Following the success of III , she embarked on her biggest tour yet in support of the record, spanning 33 sold-out dates in nine countries. A muse for fashion houses such as Chanel and Dior, she has graced front-row seats at fashion shows and the covers of multiple high-end publications around the world. She has performed at many of the world’s biggest festivals (Coachella, Lollapalooza), at the prestigious Guggenheim in NYC, as well as on multiple late night television shows over the years ( Colbert , Kimmel , Meyers ).

JULIEN BAKER >

Explore Julien Baker on  Instagram

Julien Baker released her third studio album Little Oblivions —featuring the single “Faith Healer” —on February 26. She says, “Put most simply, I think that ‘Faith Healer’ is a song about vices, both the obvious and the more insidious ways that they show up in the human experience. I started writing this song two years ago and it began as a very literal examination of addiction. For a while, I only had the first verse, which is just a really candid confrontation of the cognitive dissonance a person who struggles with substance abuse can feel—the overwhelming evidence that this substance is harming you, and the counterintuitive but very real craving for the relief it provides. When I revisited the song, I started thinking about the parallels between the escapism of substance abuse and the other various means of escapism that had occupied a similar, if less easily identifiable, space in my psyche.”

“There are so many channels and behaviors that we use to placate discomfort unhealthily which exist outside the formal definition of addiction. I (and so many other people) are willing to believe whomever—a political pundit, a preacher, a drug dealer, an energy healer—when they promise healing, and how that willingness, however genuine, might actually impede healing.”

“Faith Healer” introduces the exhilarating, widescreen musical palette and infectious spirit of risk-taking found on Little Oblivions , a transformative sonic shift from Baker’s more spare and intimate previous work.  Baker’s tactile guitar and piano playing are enriched with newfound textures encompassing bass, drums, synthesizers, banjo and mandolin, with nearly all of the instruments performed by Baker. The album weaves unflinching autobiography with assimilated experience and often hard-won observations from the past few years, taking Baker’s capacity for starkly galvanizing storytelling to breathtaking new heights.

TIFFANY CHOE >

Korean-American soprano Tiffany Choe was born and raised in Southern California. A 2023–2024 Cafritz Young Artist has most recently been seen in the American Opera Initiative as Esther in Hairpiece. Earlier in the season she was also seen as The Flamingo in The Lion Unicorn and Me and Juliet in the Young Artist performance of Romeo and Juliet . In 2022–2023, she was an Arizona Opera Pullin Studio Artist. With Arizona Opera she sang Pamina in The Magic Flute and has performed the roles of Najad ( Ariadne auf Naxos ) and Sister Margaretta ( The Sound of Music ). Choe was also seen with Indiana University (IU) Opera Theater as Mimì ( La bohème ) and Magda ( La rondine ).

PRESHOW! A Drag Salute to Divas  

Shi-Queeta-Lee Delila B. Lee Kabuki B. Lee Capri Bloomingdale Dorselle Phinn

A Drag Salute to Divas  is a revue showcasing the impersonations of the world’s top musical legends including Tina Turner, Whitney Houston, Jill Scott, Taylor Swift, and Dolly Parton. The company also produces lip sync stage plays and movie short films to include “The Wiz Twisted,” “Eba- Queeta Scrooge,” Dreamgirls,” and "Waiting To Exhale.”  Salute to Divas  celebrates diversity and individuality in hopes of inspiring millions to embrace their differences.

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Boygenius Announce 2023 Summer Tour

By Tomás Mier

If you purchase an independently reviewed product or service through a link on our website, Rolling Stone may receive an affiliate commission.

Boygenius is bringing their indie rock glory on the road. On Tuesday, the supergroup comprising Phoebe Bridgers , Lucy Dacus , and Julien Baker announced that it will be heading on a U.S. tour to perform their new album The Record .

After performing at Coachella in April, the trio will commence their journey in San Diego, making their way through cities such as Houston, New Orleans, New York City, Chicago, and Nashville.

Boygenius are also bringing some stellar openers on the road. Several of the tour dates include a Re:SET Concert series that includes performances from Clairo, Dijon, and Bartees Strange. Some shows will see opening performances from Claud, Carly Rae Jepsen, and the Illuminati Hotties as well.

Tickets for the trio’s tour dates are set to go on sale on Friday at 12 p.m. local time.

View this post on Instagram A post shared by boygenius (@xboygeniusx)

“I title this piece of art: @xboygeniusx plays w Girl idiot,” Jepsen captioned the post. “In all seriousness very thrilled to share the stage w these artists I love.”

This is Boygenius’ second tour after heading on the road in November 2018 following the release of their Boygenius EP. All three musicians opened up to Rolling Stone in a wide-ranging cover story about how much better touring will be for them together.

View this post on Instagram A post shared by Carly Rae Jepsen (@carlyraejepsen)

“I play to thousands of people a night, and sometimes I’m mentally in a really bad place,” Bridgers said. “It’s so hard to relate to people. Except for those guys. ​​Being with them makes it so much less dark.” 

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With the short film that Kristen Stewart directed for you, what are the songs that are part of it, and do you think of it as conjoined music videos or something more deeply connected than that?

Bridgers: It’s “20 Bucks,” “Emily, I’m Sorry” and “True Blue,” which are the first three songs we put out (from the album), so I feel like people already associate those songs together. They are all different moods, which was cool to represent. I don’t know if it’s clear cut, but they’re connected in a way that is maybe like a little bit more than what a music video usually asks for. It does feel more like a film than a music video. They’re all interrelated in some of the details that they share.

Bridgers: Yeah, she was incredible. She was insanely hardworking. I don’t wanna make it sound like we had any lower expectations. I just fucking have worked with so many people, and she’s 100% the hardest working person I’ve ever made anything with — very, very, very committed to it being as good as it was in her head.

Baker: Her genuine interest and investment in these songs was evident. She would text us ideas, like non-sequitur ideas, over the period of weeks (beforehand), and then even at night after we had just been on a long shoot day, she would text us. It was clear that as a creative person, she really is capable of giving a lot of focused attention to whatever is inspiring her at any point. And it was neat to see somebody be inspired by something we made and then use their expertise in a different medium to construct three universes around songs that exist, in the same universe in the world of the record. To see her excited, it made me understand the songs in a different way.

Dacus: She was really concerned about making us happy and making sure that we would love this for our whole lives, but also she was making her art, and I see so much of her in the final product. She also got performances out of us that are a little more like acting than some of us have done before.

Bridgers: Yeah, just straight-up acting, which I personally have never done before.

Dacus: She modeled it for us. Before a take, she would be like, “Now do this,” and then we’d see an incredible actor do our blocking for us.

Bridgers: It was so wild to see her do that. It’d be like, the ghost of Julien would pass over her … and then be, like, barking at a truck.

Baker: It was really sweet. Especially when we were shooting “20 Bucks” — because that was like the most involved that we were with my individual direction — when I saw her talking to the kids, giving direction, I was like, “Oh, you’re actually very patient and this is your craft. You’re good at explaining it. And you understand this is uncomfortable for me.” It felt like a encouraging environment for something that was outside my whole lane.

Speaking of videos, there was another video that came out for a song on the album, “Not Strong Enough,” that is less ambitious and has the three of you clowning around in SoCal locations. People love watching it and seeing how different you are in the roller-coaster scenes — specifically, Julien’s matter-of-factness.

Baker: I thought we were all gonna make straight-face. And then I was committing so hard to it that I (kept it up) while everybody else was having fun.

Dacus (to Baker): You’re doing Cool Guy. Like, “I’m too cool for this.”

Julien: Yeah, I am really, but it’s funny because I’m so not.

Some people were wondering whether you just had your mind on business at that moments.

Baker: [Jokingly.] Always on business.

Baker : I’m thinking about rehearsal.

Bridgers: Which Lucy and I never think about. I haven’t picked up my guitar for Boygenius (rehearsing since the record was made).

Baker: I’ve been playing the songs a little bit, but playing them in the way that I used to teach myself other bands’ songs. Relearning a song that came together as a studio experiment, for me, is just like learning the songs of a band I like, and it’s really neat.

Man, I got really excited. I went on a run and I was like, “This is a great record to run to” — I was jamming.

Don’t you have to vary the pace of your run, between the extremes of the bangers and the ballads?

Baker: Look, I thought I might have to skip “Emily, I’m Sorry,” because the BPM is so low. But it’s weirdly, perfectly timed for like a slow, heavy jog downhill. I also love to act like I’m in a movie when I’m running, so that song is really (suitable).

Bridgers: Yeah, no choice but to act like you’re in a movie, is how I feel about that. [Bridgers was effectively the sole writer of “Emily, I’m Sorry.”]

Of course you had some experience writing together for the EP about five years ago. Coming back into the co-writing process for this album, did you have a philosophy in mind about balancing the songs that are dominated by one person and the ones where the singing and songwriting are more equal?

Dacus: I think yes, but it might have even just been unspoken that we want to be equally represented on the record. That’s kind of just true in general for all the stuff we do together. There’s no lead singer of the band. We’re all doing everything together. We all have equal input. Even on the songs that are led by somebody, we think through them together. I think that it ended up with a nice balance. We had a bunch more songs that we were working on that didn’t make the record. And I think part of deciding which songs to keep on is like, “Oh, well, we can’t have seven songs that are all Julien.”

Baker: Totally, yeah.

Wherever the lyrics are represented — whether it’s in lyric videos or lyric booklets — there is handwriting or color-coding to indicate who wrote what. In “$20,” you can see the verse-by-verse tradeoff, whereas in other songs, there will be as little as a single word here or there that someone changed or suggested. Did you basically do light edits on each other’s more solo-oriented songs?

Bridgers: For sure.

Dacus: Yeah. I thought of it less like we’re presenting a draft and then we collect edits from the others, and more like we’re all building up raw material and assembling together. I don’t know why that feels different than just editing.

Bridgers: Yeah, and I don’t remember a single moment of an ego about somebody wanting a lyric to go or stay. It felt like very unanimous-brain, to improve with small changes each other’s work. It felt like for the greater good of the song, not just differing opinions on lyrics. I feel like we got lucky and we’re very in line with that shit.

Baker: I was thinking about this yesterday. It’s important that the ego isn’t there and it doesn’t go straight to defensiveness when someone is like, “Maybe this line could change.” My immediate reaction is not defensiveness and protectiveness of the art, because I’ve already surrendered it to being a communal endeavor. So I know that people are gonna have a hand in it, and I wouldn’t have surrendered it if I didn’t fully trust y’all. We would be sitting in the control room making a decision, maybe not even about a lyric, but also about, “Should we do this riff twice? Should we take out a piano here?” And if at the end of it someone is (emphatically) like, “I don’t know, I really like it and I want it there,” that’s like, “Yeah, so then put it in.” There was never a point where I was holding some sort of weird, empirical, artistic preciousness higher as a value, or my own ego and putting my name on this, over the process of making something that gratified myself and my bandmates.

Can you put in the words how you think your voices work together in harmony? Because they are so different. Sometimes I’ve talked with sibling acts about blood harmony and that kind of thing, but non-blood harmony is just as interesting, in the not-so-perfectly matched complementarity of voices.

Baker: When we were doing the thing where we had to sing just a cappella (the album’s opening track, “Without You Without Them”), I was like, “Oh, this is it…” I don’t sing very much by myself these days —like, just in my house, or performing alone. So singing with others and having the instrument literally be your body is a really embodying experience. And then to have that be kind of like the entire agency of your expression (in a non-instrumental number)… It’s really nice to have it sit in a complementary way with y’all. It feels easier to access.

Dacus: Yeah, I feel like the effortlessness of it makes me want to work at it. Even though we’re saying that it’s easy, we’ve put so much work into this record, but that is appealing to me because of like all the ways in which it’s easy and makes sense.

Bridgers: Exactly. It just makes it more fun to work.

If you’re willing to indulge an exercise, could each of you sort of speak to what you feel like the other two are really great at — like, strengths that may not be the very foremost part of your wheelhouse, that you recognize in them?

Dacus: Mine is that Julien and Phoebe are way more willing to be discontent than me (and express that). Like, in the studio, they’ll be like, ”That’s not right.” Whereas when I’m recording, I’ll have a little bit of that, but then I’ll really quickly jump to: “Eh, it functions, and it’s good, and you know, it’s gonna be somebody’s taste.” Phoebe and Julien will be more meticulous and more serving of their own tastes and will spend the time. Whereas if I spend too much time on something, I start to worry I’m being selfish…

Bridgers: Yeah, I have no fears about that.

Dacus: And you come up with stuff and end up at conclusions that you don’t regret and that you can stand by.

Baker: I was going to say about you, Lucy, what you said about me and Phoebe! Because I don’t think of myself as a person who’s willing to sit in discontent very much. I would sacrifice this for not wanting to (create tension)… I find myself managing other people’s expectations of the project, no matter what it is. And I feel like that’s something y’all have helped me not do, and to be more present, too — each of you really showing up and not being like, “I’ll fix it later,” squirrelled away. Y’all are better at open processing. Y’all will process creatively with each other in a way that I can’t, or…

Dacus: Yeah, Julien needs to go away.

Bridgers: I would say that Lucy and Julien are way better in their writing at documenting what’s currently going on. I think I always write from the past — I’m looking back at something. I’ve written, like, one song in my life that was an active situation.

It also takes me forever to write. This process was really cool just because we realized the other day that we’ve been making this record for longer than we haven’t been, as friends. And that (period of time) is documented in the music because of Lucy and Julien — and a little bit in my contributions, but mostly because of their writing. And I just think that really adds a super interesting layer to this album. At a certain point, it starts talking to itself.

A couple of quick questions about your upcoming touring. Will you be doing solo material as part of those shows or keeping it focused on what you’ve done as a band?

Baker: Yeah, no solo material for those sets. They’re shorter because they’re festival sets. But that’s not a bad idea.

You’ve added some dates around the festival dates, including a warmup show in Pomona, but basically, Coachella will be the first time a massive amount of people have seen you, live or at home, on this album project or at all. Does it excite you that you’re going to come out of the gate with a show as big as Coachella?

Baker: Uh, excited, terrified. Who’s to say?

Bridgers: Yeah, both. But our band rips .

Baker: Yeah. It’s like I have nightmares about it, and it’s a dream come true.

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Julien Baker Announces 2021-2022 Tour

By Noah Yoo

Julien Baker has announced new tour dates for North America and Europe. The singer-songwriter’s next run of shows kicks off in Birmingham, Alabama on September 3 and continues through November. She’ll pick back up with performances in the Netherlands, Germany, and other European countries beginning in April 2022. Thao , Dehd , Katie Malco, and Ratboys are set to join Baker for select dates. Find ticketing information and her full itinerary below.

Baker’s most recent solo album Little Oblivions was released earlier this year. She performed a cover of Radiohead’s “ Everything In Its Right Place ” for a SiriusXMU Live Session shortly before the album’s release.

Read the features, “ boygenius Are the Egoless Supergroup of Your Indie Rock Dreams ” and “ 36 of America’s Best Independent Music Venues on Surviving and What’s Next .”

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By Matthew Strauss

By Jazz Monroe

By Nina Corcoran

Here Is Boygenius’ Setlist For ‘The Tour’ In 2023

Boygenius’ North American tour — conveniently named “ The Tour ,” in reference to their album, The Record — is well underway, and after the first few shows in California including Re:SET , fans now have a pretty good idea what songs to expect from the supergroup. Phoebe Bridgers, Julien Baker, and Lucy Dacus all get solo turns during their encore, but accoring to Setlist.fm, they stick mainly to the group outings. You can check out the setlist, and the dates for their remaining gigs, below.

Tour Setlist

01. “Without You Without Them” (Performed backstage, shown via video feed) 02. “$20” 03. “Satanist” 04. “Emily I’m Sorry” 05. “True Blue” 06. “Cool About It” 07. “Souvenir” 08. “Bite the Hand” 09. “Revolution 0” 10. “Stay Down” 11. “Leonard Cohen” 12. “Me & My Dog” 13. “We’re in Love” 14. “Anti‐Curse” 15. “Letter to an Old Poet” 16. “Not Strong Enough” 17. “Salt in the Wound” 18. “Ketchum, ID” 19. “Please Stay” (Lucy Dacus song) 20. “Favor” (Julien Baker song) 21. “Graceland Too” (Phoebe Bridgers song)

06/08 — Houston, TX @ White Oak Music Hall * 06/09 — Dallas, TX @ Texas Trust CU Theater Grounds ! 06/10 — New Orleans, LA @ City Park ! 06/11 — Atlanta, GA @ Central Park ! 06/13 — Asheville, NC @ ExploreAsheville.com Arena * 06/14 — Wilmington, NC @ Live Oak Bank Pavilion * 06/16 — Columbia, MD @ Merriweather Post Pavilion ! 06/17 — New York, NY @ Forest Hills Stadium ! 06/18 — Boston, MA @ The Stage at Suffolk Downs ! 06/20 — Pittsburgh, PA @ Stage AE + 06/21 — Toronto, ON @ Budweiser Stage ^+ 06/23 — Columbus, OH @ Kemba Live! Festival ! 06/24 — Chicago, IL @ Riis Park ! 06/25 — Nashville, TN @ Centennial Park ! 07/28 — Vancouver, BC @ PNE Amphitheater % = 07/29 — George, WA @ The Gorge Amphitheatre % = 07/30 — Bend, OR @ Hayden Homes Amphitheater % = 08/01 — Bonner, MT @ Kettlehouse Amphitheater = 08/02 — Boise, ID @ Outlaw Field at the Idaho Botanical Garden = 08/03 — Salt Lake City, UT @ Library Square = 08/05 — Morrison, CO @ Red Rocks Amphitheatre =

* with Bartees Strange ^ with Broken Social Scene % with Carly Rae Jepsen + with Claud = with Illuminati Hotties

‘Sex, friends, rock ’n’ roll’: Boygenius rewrites the rules of rock stardom

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Phoebe Bridgers, Lucy Dacus and Julien Baker grimaced as they thought about their time together ending. “I hate that,” Dacus, 28, declared. “That’s so dumb.”

On Oct. 31 at the Hollywood Bowl, the trio, who perform as Boygenius , will play the final show of a tour that began in April. For most, it would be a triumphant end to months of highs, but these three women would prefer lower stakes for their last hurrah. “If we were ending in Nowheresville, it could be more loose and we could emotionally connect with the last shows,” Bridgers, 29, explained. “But we’re going to black out from playing MSG [Madison Square Garden] and the Bowl for the first time.”

They’re gathered in the control room of Studio B at Sound City Studios in Van Nuys, a historic setting where Lindsey Buckingham and Stevie Nicks recorded their “Buckingham Nicks” album in 1973 and joined Fleetwood Mac in the process. Boygenius is also here to record music, presumably, but the band won’t confirm it. “It’s fair to say that we do inhabit the studio a lot,” Baker offered, a polite obfuscation. Dressed in varying combinations of black and white, with Bridgers’ Black pug, Maxine, snorting gently in her lap, the trio thought back on some of the major events of 2023.

The threesome’s debut album, “The Record,” released on March 31, reached No. 4 on the Billboard 200. Like its 2018 self-titled debut EP, the album garnered near-unanimous praise; Taylor Swift called it “genuinely a masterpiece” in an Instagram Story. On Friday, Boygenius will release a new EP, “The Rest,” described as an “expansion” of that full-length debut.

Hozier joined Boygenius onstage in Boston on Sept. 25 to sing the trio’s “Salt in the Wound,” a feelings-forward rock ballad that explodes in a cacophony of noise. In London, Billie Eilish brought Boygenius onstage to sing with her during an intimate gig in August. “There were fireworks!” Dacus said, gleefully, of the group’s own debut headlining show there, where 25,000 people, mostly women, gathered in a park in West London.

The three singer-songwriters, who all identify as queer, joined together in 2018 and quickly became best friends. Their band name is an inside joke about toxic male ego but also an implicit challenge to gender norms, patriarchy and what a rock band historically affords. Along with Swift and acts like Big Thief, Boygenius advocates the power of friendship with a verve that cues safe spaces for fans, an antidote to drunken bro aggression at concerts.

“I just want 16-year-olds from Memphis to see me and do the thing where they think I’m interchangeable with them, because I am,” Baker, 27, said, citing her hometown. “I want them to know they can be happy … They don’t have to be hardened or jaded or broken or tied up in addiction.”

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Oct. 10, 2023

During performances, the members of Boygenius make out with one another — kissing, hugging and otherwise canoodling — as if to normalize the singular intimacy of female bonding. Big sapphic energy reverberates from the stage to the crowd and back again in an infinite loop. “Sex, friends, rock ’n’ roll,” Bridgers said of their mission, prompting a fit of laughter among the trio.

The members of Boygenius use their platform for activism, but not because they think it’s an artist’s duty. “It’s every person’s job to recognize the resources that they have, and to be a channel through which good can pass,” Dacus explained. Bridgers often speaks out against anti-choice laws in America, using her medication abortion in 2021 as a fulcrum. The trio dressed in drag during a July concert in Nashville as Tennessee’s Gov. Bill Lee attempted to ban public drag shows through legislation that a U.S. district judge eventually struck down. They performed at Philip Glass’ annual Tibet House benefit concert and have helped raise money for causes in their hometowns, including the Downtown Women’s Center of Los Angeles, OUTMemphis and Mutual Aid Distribution Richmond.

In July, former President Barack Obama shared his 2023 summer playlist on Twitter, which included Boygenius’ “Not Strong Enough.” “War criminal,” Dacus tweeted in response.

Bridgers, Dacus and Baker come from DIY origins. Each posted her early music in near anonymity online, and played house shows and tiny club gigs before eventually signing with bigger indie labels Dead Oceans (Bridgers) and Matador (Dacus and Baker).

For Boygenius, they wanted to honor those roots and the skills they’ve honed along the way — confessional lyrics sung in a tight-knit cadence, diaphanous vocals, textural guitar work — but remove the gatekeep-y coolness factor of indie-rock. “We made every effort to make this a f— rock band, but to sub out all of those superficial countercultural things,” Baker said. “It’s Guitar Center-core,” Dacus added.

Also antithetical to the rock-star archetype is that the trio prefers to live quiet, healthy lives. On this day, each sips on a drink from Erewhon. “We’re all eating adaptogens,” Baker said with a laugh. “Sex, longevity, rock ’n’ roll,” Bridgers added without skipping a beat.

When it comes to their feelings about the Grammys, they immediately point to MusiCares, the nonprofit arm of the National Academy of Recording Arts and Sciences that provides emergency financial assistance, medical care and other services for any musician regardless of status. “I had therapy for years paid by MusiCares,” Bridgers said. “Them being connected is already a thumbs up because that’s a legitimately good charity,” Dacus added.

Bridgers was nominated for four Grammy Awards for “Punisher,” her 2020 breakout album: best new artist, alternative music album, rock performance and rock song. She says her part of the ceremony took place over Zoom that year, amid the height of the COVID-19 pandemic. “It sucked to not be [able to commiserate] with the other people who lost,” she explained. “I was just in a room with my managers.”

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Oct. 9, 2023

This time around, if nominated, Boygenius say they’ll walk the red carpet. Dacus is “kind of a bitch for spectacle,” she says. “It’s not the goal. But it seems like a fun glitzy way … to celebrate what we’re already proud of.”

Bridgers joked that it would be “kind of based for us to not get any. They didn’t give Bob Dylan one until 1998, I think.” (In fact, Dylan won the first Grammy for his solo work in 1979.) “I do wonder how the emperor’s clothes are made,” Baker said.

The women of Boygenius say they’d be glad to earn a nomination and win a Grammy on the strength of their artistry. The band cites female musicians they admire who, in their view, won in a similar way, like Fiona Apple and Brittany Howard.

And if they’re nominated and don’t win?

“If we lose,” Dacus said, “we’ll go on Instagram Live and pretend that we won.”

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