At the beginning of the pandemic, I became mildly obsessed with a video of Limp Bizkit playing a Moscow venue in February 2020. I wasn’t drawn to the performance so much as to the sight of front man Fred Durst, who’d been an emblem of white male millennials’ bottomless teenage angst at the turn of the century—like a nu-metal Santa Claus, he wore a gray-and-white beard radiating from his chin. Nothing else has quite crystallized for me how much time has passed since Limp Bizkit could compete with blockbuster boy bands and sell albums by the millions. As Durst barked lyrics about the indescribable anger specific to youth, he looked like an authority figure out to ruin a teenager’s day—except that he was wearing what appeared to be an oversize blue-jean jumpsuit. From a distance it looked a little like pajamas, which did more than Limp Bizkit’s most infantile outbursts to underline the unintentional goofiness running through their rap-rock.
When it comes time to explain pop-music phenomena to future generations, Limp Bizkit provide one of the more confounding challenges. Among the late-90s nu-metal acts to emerge following the pioneering work of KoRn, Limp Bizkit weren’t the most novel (Deftones), the most charismatic (Incubus), or the most worldly (System of a Down). They haven’t left nearly the imprint on pop culture as Linkin Park, and their guttural grooves may be the only popular product of that era that sounds dumber than Kid Rock. But wasn’t that part of the point? Limp Bizkit’s focus on polishing up lowest-common-denominator aggro rock gave them their own lane, where few others did so well—and that, I suppose, is something. When the Jacksonville group issued their breakthrough (and “best”) album, 1999’s Significant Other, most mainstream “alternative rock” was about as daring as white bread, and their sludgy mix of funk, metal, and hip-hop could at least make parents blush. At their height, Limp Bizkit savvily retooled their grimy sound into something catchy that could commingle with lighter radio rock, and Durst relentlessly exploited pop music’s tolerance of puerile lyrics: never forget that in their first big single (“Nookie”), he rhymes the title with “cookie.” (It works . . . for Limp Bizkit.) Their omnipresence now far behind them, Limp Bizkit have followed an odd path over the past decade, yielding one forgettable album (2011’s Gold Cobra), a brief flirtation with Cash Money Records (which begat a Lil Wayne collaboration, 2013’s “Ready to Go”), and rumors of a forthcoming sixth album, Stampede of the Disco Elephants. Given the inevitable fan attrition over the years, Limp Bizkit’s apparently robust legacy is baffling, as is their prominent spot on the Lollapalooza lineup—and that’s perhaps the nicest thing I can say about a group led by a famous Florida man known for his red baseball cap. v
Time to put another big concert date on your calendar: Elvis Costello is returning to Phoenix.
Costello and his band The Imposters are bringing their “Hello Again” show to Arizona Federal Theatre in downtown Phoenix on Wednesday, November 10, as part of a nationwide tour.
He hasn’t performed with a full band in the Valley since 2008, when he opened for the The Police.
The Imposters are Steve Nieve, piano and organ; drummer, Pete Thomas; and bassist and vocalist, Davey Faragher.
A press release for the show promises the “first stage performances of songs from the future, as the band time-travel in all directions.”
Tickets for the Arizona Federal show go on sale at 10 a.m. Arizona time on Friday, July 23, on elviscostello.com.
The rest of the concert dates are:
10/13 – Memphis, TN @ The Soundstage at Graceland
10/16 – New Orleans, LA @ New Orleans Jazz & Heritage Festival
10/19 – Atlanta, GA @ Coca-Cola Roxy
10/20 – Charlotte, NC @ Belk Theater
10/22 – Red Bank, NJ @ Count Basie Center for the Arts
10/24 – Philadelphia, PA @ The Met
10/25 – Port Chester, NY @ The Capitol Theatre
10/26 – Port Chester, NY @ The Capitol Theatre
10/28 – Providence, RI @ Providence Performing Arts Center
10/29 – Portsmouth, NH @ The Music Hall
10/30 – Brookville, NY @ Tilles Center
11/2 – Ann Arbor, MI @ Michigan Theater
11/3 – Chicago, IL @ Chicago Theatre
11/4 – Prior Lake, MN @ Mystic Lake Casino
11/6 – Madison, WI @ The Sylvee
11/7 – Indianapolis, IN @ Murat Theatre at Old National Centre
11/10 – Phoenix, AZ @ Arizona Federal Theatre
11/11 – San Diego, CA @ The Magnolia
11/13 – Los Angeles, CA @ YouTube Theater
11/14 – Oakland, CA @ Fox Theater
Egyptian actress and singer Ruby clarified that women may wear the veil at her upcoming concert on Friday evening in Egypt’s North Coast, after receiving extensive criticism for the list of conditions for attending the event.
According to the list of conditions, wearing a “turban” is allowed, which some considered an indirect ban on the attendance of veiled women.
In a story that she posted on her official Instagram account, Ruby explained the misunderstanding regarding the conditions announced by the party’s organizers. According to her, the entry of veiled women is allowed as well as women wearing turbans.
She said that the person who wrote the rules “used the word “turban” as a reference to hijab in English. She added that short shorts are also allowed, just like the hijab.
She called on those wishing to attend to check with the organizers over the phone, and stressed that “it is not possible to prevent a veiled woman from entering,” and if this happened, she would not agree and she would refrain from singing at the concert.
Ruby had previously shared, through her official account on Instagram, the conditions for attending her concert.
The concert has a minimum age requirement of 25 and only couples are allowed. Hot shorts, sports clothing, and violence are not permitting, while wearing the veil is. Finally, one must adhere to wearing white clothing.
Ruby achieved great success in her last two songs, “Heta Tania” (Somewhere Else) and “Alby Plastic” (My Heart is Plastic) in addition to a series of mass concerts that she recently performed.
Her audience is waiting for her return to drama under director Mahmoud Kamel, in the horror series “Shaa 6” (Apartment 6) which will launch soon on streaming servies.
Following relaxation of lockdown, Ganabharathi has organised a vocal concert in memory of Vid. Chakraodi Narayana Shastri on July 16 at 6 pm at its premises in Kuvempunagar. Vid. Manasa Nayana will be performing on vocal accompanied by Dr. Veena Suresh on violin, Dr. H. L. Shivashankaraswamy on mridanga and Vid. T.A. Ramanuja on morching.
The concert will also be available on Ganabharathi Facebook page and Ganabharathi YouTube channel, according to a press release from A. Radhesh, EC Member, Ganabharathi [Mob: 94480-51564].