Rapper Jack Harlow has announced the inaugural Gazebo Festival in his hometown of Louisville, Kentucky. Over the course of two days (May 25 & 26), fans will be able to see performances from 26 acts on two different stages at Louisville’s Waterfront Park. On the bill are SZA, Omar Apollo, Vince Staples, PinkPantheress, Harlow himself, and more.
“We are beyond excited to support our city’s hometown hero, Jack Harlow, as he launches a new music festival at Louisville’s Waterfront Park,” said Cleo Battle, President and CEO of Louisville Tourism, in a statement. “In addition to great music, festival goers will get a taste of this city’s iconic attractions, renowned heritage and global culinary scene.”
As tickets are set to go on sale soon, we’ve put together a nifty price guide for fans hoping to get their hands on passes for this hotly-anticipated festival.
How much are tickets for the 2024 Gazebo Festival?
Tickets for Gazebo Festival go on sale Wednesday, March 6, 2024, at 10 a.m. EST as part of a special fan pre-sale. General on-sale will begin Friday, March 8, 2024, at 10 a.m. EST. Fans will be able to purchase tickets via the festival’s website.
According to a press release, general admission tickets for the entire weekend will begin at $255. Prices for VIP passes have not yet been listed.
You can see the full line-up below.
Some of the artists mentioned here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Jack Harlow announced that he’s giving back to his hometown of Louisville, Kentucky in another very special way. Today (February 28), the rapper announced that he will be hosting the first-ever Gazebo Festival there on May 25 and 26. And for the festival’s debut year, Harlow is bringing a killer lineup of performers along with him.
Harlow and SZA are set as the headliners. They will also be joined by James Blake (DJ set), Omar Apollo, PinkPantheress, Vince Staples, Amaarae, Channel Tres, Majid Jordan, Slum Village, Veeze, Dahi, Jordan Ward, Ravyn Lenae, Rich Homie Quan, BNYX, James Savage, Karrahbooo, and Malcolm Todd.
For those looking to go to Gazebo Festival, here’s what to know about securing tickets.
How To Buy Tickets For Gazebo Festival 2024
Right now, there is a presale sign-up open for Gazebo Festival, with the sale taking place on Wednesday, March 6 at 10 a.m. ET. Passes will then open to the public for the general sale on Friday, March 8 at the same time. The two-day General Admission pass is $255, with a portion of the proceeds from each ticket sale going to the Jack Harlow Foundation.
Additional information about Gazebo Festival 2024, including about the presale registration, can be found on their website.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Some artist-led festivals have made big names for themselves, like Pharrell’s Something In The Water, The Roots’ Roots Picnic, and most notably, Lollapalooza, originally launched by Perry Farrell of Jane’s Addiction. Now, Jack Harlow is getting into the festival game, too: Today (February 28), he announced Gazebo Festival, a two-day event that runs from May 25 to 26 at Louisville, Kentucky’s Waterfront Park.
This first edition of the fest, which shares its name with Harlow’s 2017 mixtape Gazebo and will feature two stages, will be headlined by SZA and Harlow himself. Beyond them, the full lineup features James Blake (doing a DJ set), Omar Apollo, PinkPantheress, Vince Staples, Amaarae, Channel Tres, Majid Jordan, Slum Village, Veeze, Dahi, Jordan Ward, Ravyn Lenae, Rich Homie Quan, BNYX, James Savage, Karrahbooo, and Malcolm Todd.
Tickets go on sale on March 8 at 10 a.m. ET, with general admission tickets starting at $255. There’s also a pre-sale starting March 6 at 10 a.m. ET. More information about tickets can be found on the festival website. A portion of proceeds from every ticket will benefit the Jack Harlow Foundation.
Louisville Mayor Craig Greenberg says of the event, “Jack Harlow is an extraordinary Louisvillian who continues to give back to his hometown. This is yet another way Jack is showing up for our city and I can’t wait to see the excitement this festival creates. I am so grateful for his commitment to making first class things happen for Louisville and our people.”
Gazebo Festival 2024 Lineup Poster
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
PinkPantheress recently kicked off The Capable Of Love Tour, performing the first show at Dublin, Ireland’s 3Olympia Theatre on Tuesday, February 20. Tomorrow night, she’s set to continue the European leg of her tour in Manchester, England before eventually heading to London, Amsterdam, Paris, and more.
For those who have tickets to see PinkPantheress at an upcoming performance, there might be questions about which songs one can expect to see performed. According to Setlist.FM, most of the setlist from her Dublin show were selections from her recent album, Heaven Knows. (Yes, “Boy’s A Liar Pt. 2” does get played.)
Fans familiar with her earlier work are also in luck, as she included tracks like “Break It Off” and more from her 2022 record, To Hell With It.
More information about getting tickets can be found on her website. Continue scrolling to view her setlist from opening night.
PinkPantheress’ The Capable Of Love Tour 2024 Setlist
1. “Break It Off”
2. “I Must Apologise”
3. “Mosquito”
4. “Pain”
5. “Passion”
6. “Just For Me”
7. “Where You Are”
8. “Capable Of Love”
9. “The Aisle”
10. “Take Me Home”
11. “Attracted To You”
12. “Bury Me”
13. “Feel Complete”
14. “Angel”
15. “Another Life”
16. “True Romance”
17. “Reason”
18. “Blue”
19. “Picture In My Mind”
20. “Boy’s A Liar Pt. 2”
21. “Internet Baby (Interlude)”
22. “Nice To Meet You”
PinkPantheress is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
The more things change, the more they stay the same. The last time Tyler, The Creator and his Odd Future family took over Dodger Stadium for Camp Flog Gnaw Carnival was four years ago and I wrote at the time that while the “mystery headliner” gamble didn’t pay off, “Camp Flog Gnaw is still one of the best festival experiences for your money.” Since then, the festival was derailed by a global pandemic and put on ice for another three years, during which the pop culture landscape shifted in all kinds of unexpected ways.
Yet, in its return to the fabled stadium overlooking Los Angeles, the festival not only lived up to that assessment but surpassed it; despite being gone from the public eye for nearly four years, Camp Flog Gnaw has become the best festival in America. There are myriad reasons for this, but we’ve listed the strongest ones below.
Dodger Stadium: The Ideal Venue For Camp Flog Gnaw
As the old saying goes, “Location, location, location.” You don’t get very many better locations than the famed Blue Heaven On Earth. Situated on its unnamed hill overlooking scenic Elysian Park and the sparse but dazzling LA skyline, the view is unmatched, aided by the famed West Coast weather that draws transplants — some enthusiastically, others reluctantly — from all around the world.
This year’s festival made incredibly effective use of its footprint in the sprawling lots surrounding the stadium. Where the previous iterations scattered the stages around the stadium itself, this year, they were lined up parallel to each other facing toward home plate. While the side-by-side arrangement created some slight sound bleed and the need to walk past the Camp stage to get from Flog to Gnaw and vice versa, it was an easy walk, affording the opportunity to check out the main stage between the intermediate and small stage sets.
The Crowd: Kids Who Grew Up In An Odd Future
Bless the Rolling Loud kids, but they are just a little too exuberant for me. Flog Gnaw is similar in age and diversity, but remarkably chiller — more “golden retriever” energy when compared to RL’s labradors. It’s definitely the best fest for people-watching, with attendees decked out in their best Tyler, The Creator cosplay, from Doug sweater vests to Igor suits. I even spotted a few Tyler Baudelaire ushankas — the 80-degree LA weather notwithstanding.
And going back to that intro line, there was something comforting about seeing the shaggy looks of my millennial youth being so lovingly recreated by that generation’s descendants (did you know jorts are back, along with whale tails?). They’re a friendly bunch too; I found myself roped into an affable group made up of a tall white kid, a Filipino/Latino guy, a Persian Iranian, and a black rocker and felt like one of the gang.
The Lineup, From Kendrick Lamar and Baby Keem To Ice Spice and PinkPantheress
I mean, duh, right? But there’s something to the level of effort Tyler devotes to curating the lineup each year. While most other fests seemingly recycle the same buzzy names based on social engagement and streaming numbers, T selects friends and artists he’s genuinely a fan of. Witness his going absolutely ballistic in the photo pit for Sunday night’s Clipse set, rhyming “We Got It For Cheap” word for word.
The mutual appreciation that the artists display for each other radiates from stage to stage. Whether it’s the more left-field or underground acts on the Gnaw stage like AG Club, BADBADNOTGOOD, Redveil, and Toro Y Moi, or the nascent rockers like Kevin Abstract and Teezo Touchdown, these artists all genuinely love Tyler, and they love playing Flog Gnaw. This isn’t just “show up and collect a check” stuff. Headliners like Kendrick Lamar and Baby Keem showed out as well, even if they weren’t mainstays like Syd, Domo Genesis, or Earl Sweatshirt.
It’s also affirming to see how the crowd responds to these acts that mainstream observers overlook or sneer down their noses at. During Teezo’s set, his rapport with the crowd was ironclad and they sang every song from his album — only a few months old — at top volume. Ice Spice, for all the hand-wringing being done by folks my age and older (I’m getting sick of talking about it too, by the way, maybe y’all should chill out), delivered a blazing set that displayed real technical proficiency (her breath control is underrated) and had white boys in the crowd declaring their undying love.
Tyler, The Creator, The Brains Behind The Operation
But really, the main thing that makes Flog Gnaw what it is, is its … ahem … creator. 10 years on from the formation and explosion of Odd Future, Tyler Okonma has found the balance between the angry, aggressive kid he was at the outset and the cheeky genius he showed flashes of until 2017 when he flourished with Flower Boy.
During his set, he joked with fans about his lack of new music, ribbed them gleefully about the last time we all gathered at this spot and they booed his beloved headliner, Drake, and offered moments of both humility and unhinged excess. Going from earnestly thanking his most loyal fans for returning from the uncertainly of pandemic living to flexing a literal flamethrower takes panache and a certain immodesty, and fortunately for all of us, Tyler has both in spades. Watching the “campers” depart at the end of the fest felt a lot like the end of summer — nostalgic for the recently made memories and already looking forward to next year.
Check out an exclusive photo gallery from Camp Flog Gnaw 2023 below
Tyler, The Creator
The Hillbillies (Kendrick Lamar and Baby Keem)
Willow
Camp Flog Gnaw
PinkPantheress
Lil Yachty
Dominic Fike
Clipse
Kevin Abstract
Ravyn Lenae
Turnstile
Teezo Touchdown
Beabadoobee
Syd
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
PinkPantheress checked a “false narrative” about her when a comment she made in an interview went viral, mischaracterizing her opinion on her fan-favorite breakout hit, “Boy’s A Liar,” and its remix with Ice Spice. In the interview with The Guardian, PinkPantheress is quoted saying, “They’re crap,” but after the comments went viral on Twitter, she had to step in and make her own correction.
“lord help us,” she wrote, adding a laughing emoji to show it wasn’t that serious. “I told the journalist I thought the OG was crap at first but the remix made me love it, I’ve said this openly before too.”
lord help us. I told the journalist I thought the OG was crap at first but the remix made me love it, I’ve said this openly before too false narratives be like https://t.co/m7SnDojUKk
Perhaps she was worried that the comment would be received similar to Doja Cat’s comments. Ahead of the release of her new album Scarlet, the “Paint The Town Red” rapper called her two previous albums “cash-grabs” that fans “fell for.” Fans angrily responded by unfollowing her in droves on Instagram — although that didn’t stop her Scarlet Tour from selling out. (During a recent stop on the tour, she delivered a well-timed callback as she performed “Say So,” the breakout hit from her second album .)
However, perhaps PinkPantheress needn’t worry; after all, Billie Eilish also said something similar and her fans agreed when she said one of her biggest hits, “Bad Guy,” is “the stupidest song in the world.”
The mid-way point of November is already near, meaning Christmas spirit is ripe in the air. At this time of year, many prefer to take a break from their hip-hop-heavy playlists in favour of slow jams and holiday hits. Thankfully, you can count on our weekly R&B Season update to recap some of the hottest releases for you. Unsurprisingly, Chris Brown’s 11th studio album, 11:11 is at the top of today’s list – specifically his “No One Else” collaboration with Fridayy.
More heat from Breezy comes later on, but before that, we hear from two UK superstars on “Nice to meet you.” Central Cee is just one of the recording artists who joined forces with PinkPantheress on her debut LP, Heaven knows. Rema and Kelela are the others, along with Ice Spice on “Boy’s a liar Pt. 2.” The viral remix is one of Pink’s biggest hits to date, though she recently shared that she thinks the song is “crap,” even with all its numeric success.
Holding it down for Canada this weekend is Roy Woods, who’s soundtracking your late nights with his “4am” single. Chris Brown and Maeta’s joint effort “Best Ever” comes afterward, though its worth noting his new album has some solo titles that are worth a stream as well. Back on the topic of collaborations we have Rosemarie and Roddy Ricch’s “Is It Real?” marking our final tandem release today. Yaya Bey and AUDRE close things out with their work, respectively. The former shared “the evidence,” while the latter shines on “Cp Time,” concluding yet another impressive week of new music coming our way.
Tune into all our new R&B Season playlist additions, along with last Sunday’s titles from names like Giveon, Lucky Daye, and Majid Jordan, exclusively on Spotify. Which of this weekend’s arrivals is your favourite? Let us know in the comments, and click the link below to find more HNHH release recommendations on our weekly Fire Emoji update.
The 2024 Grammy Awards nominations have been announced, and as usual, there are plenty of surprises and snubs to discuss. Although the Recording Academy added some new categories this year to accommodate the emergence of Afropop as a global force, it looks like another growing genre was left out in the cold. Meanwhile, as country music experiences a resurgence, some of the genre’s most dominant stars missed out on the biggest looks of the year. And even though the Grammys have taken huge steps in addressing the awards’ shortcomings in rap and R&B, they appear to have overlooked some of the year’s most talked-about projects and artists.
Here are the biggest surprises and snubs of the 2024 Grammy nominations.
PinkPantheress Wasn’t Nominated Despite A Breakout Year
“Boy’s A Liar” was one of the biggest hits of the past year, sticking its index finger directly on the pulse of the zeitgeist. From predicting the resurgence of the 2-step/garage sounds that shaped huge hits like “Seven” and “Super Shy” (more on them later) to introducing the non-rap-fan population to the pop culture juggernaut that is Ice Spice, “Boy’s A Liar” was an inescapable phenomenon and the fact that PinkPantheress couldn’t get a record, song, or Best New Artist nomination speaks to both how competitive the field was this year and how much further the Academy has to go in bridging that pesky generation gap.
Barbie Took Over
Here’s how dominant the Barbie soundtrack was this year: the Best Song Written For Visual Media category only features ONE non-Barbie song (Rihanna’s “Lift Me Up” from Wakanda Forever) and a Barbie song is nominated in both eligible Big Four categories, as well as for Rap Song of the Year. The doll who does it all is practically guaranteed at least one win at this year’s awards — even at the cost of me and my editor’s bet about “Peaches” from Mario and “Dear Alien” from Asteroid City. And Across The Spider-Verse deserved more.
Foo Fighters Weren’t Nominated For Album Of The Year
In somewhat of a break from Grammy tradition, Foo Fighters’ But Here We Are wasn’t nominated for Album Of The Year, despite the recent death of drummer Taylor Hawkins and the album’s emotional material. It’s grim to think about, but in past years, you could reliably expect a consolation posthumous nomination. It’s downright disheartening to think that this time the Grammys ignored the macabre tradition.
Country Dominated The Charts But Got (Mostly) Shut Out Of The Big Four
The general awards are always controversial but there’s an argument to be made here. While the Big Four are almost never actually tied to commercial achievement — hello Esperanza Spalding — Zach Bryan, Luke Combs, and Morgan Wallen all utterly dominated the charts this year, yet it appears that if this was taken into consideration, it wasn’t enough to lift them out of their respective niches. Perhaps the ideological fractures in that fanbase had an effect. At least there is Jelly Roll.
Where Are The K-Pop Stars?
During the eligibility period this past year, a bunch of songs from K-pop acts took over the American charts. Fifty Fifty’s “Cupid” has been impossible to get away from (I may or may not have tried), New Jeans’ “Super Shy” became a mall P.A. mainstay, and Jung Kook’s solo hit “Seven” peaked at No. 1 on the Hot 100. What makes K-pop’s absence from this year’s nominations stranger is how ubiquitous K-pop has been at the Grammys for the past handful of years, with BTS performing “Dynamite” in 2021 and “Yet To Come” earning a history-making nomination in 2022.
Reggaeton And Latin Trap Were Locked Out Too
Take everything said about K-pop above and translate it into Spanish. Sure, there’s a Latin Grammys, but that smells suspiciously of “separate but equal,” you know? You’d think Bad Bunny or Karol G would warrant a nod, even if Grammys voters could hardly be expected to tunnel all the way down to discover newer breakout artists like Myke Towers or Rauw Alejandro. Again, with the Latin Grammys coming just a few weeks after the “standard issue” ceremony, perhaps interested voters were just too distracted to manage both sets of ballots. Still, it’s a black mark for sure.
Gunna Didn’t Make The Cut For Best Rap Album
Yes, awards nominations are subjective, but there’s a general consensus among rap fans online — corroborated by chart performance — that Gunna had one of the standout albums of the year, if not the only one with any real staying power. Yet, it seems Grammy voters went for the lowest-hanging fruit: Killer Mike and Nas are obvious “prestige” picks for the Gen X hip-hop heads that mostly make up the part of the Academy most well-versed in rap (heyo), while Drake and Travis Scott are brand-friendly pop mainstays. However Utopia only spent four weeks on the Billboard 200 — a massive drop off from his last two projects, and reception was largely lukewarm. Metro Boomin is a nice addition, but again, for the wrong album (Across The Spider-Verse getting snubbed is going to give me heartburn for the rest of the year).
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
The 2024 Grammy Awards nominations have been announced, and as usual, there are plenty of surprises and snubs to discuss. Although the Recording Academy added some new categories this year to accommodate the emergence of Afropop as a global force, it looks like another growing genre was left out in the cold. Meanwhile, as country music experiences a resurgence, some of the genre’s most dominant stars missed out on the biggest looks of the year. And even though the Grammys have taken huge steps in addressing the awards’ shortcomings in rap and R&B, they appear to have overlooked some of the year’s most talked-about projects and artists.
Here are the biggest surprises and snubs of the 2024 Grammy nominations.
PinkPantheress Wasn’t Nominated Despite A Breakout Year
“Boy’s A Liar” was one of the biggest hits of the past year, sticking its index finger directly on the pulse of the zeitgeist. From predicting the resurgence of the 2-step/garage sounds that shaped huge hits like “Seven” and “Super Shy” (more on them later) to introducing the non-rap-fan population to the pop culture juggernaut that is Ice Spice, “Boy’s A Liar” was an inescapable phenomenon and the fact that PinkPantheress couldn’t get a record, song, or Best New Artist nomination speaks to both how competitive the field was this year and how much further the Academy has to go in bridging that pesky generation gap.
Barbie Took Over
Here’s how dominant the Barbie soundtrack was this year: the Best Song Written For Visual Media category only features ONE non-Barbie song (Rihanna’s “Lift Me Up” from Wakanda Forever) and a Barbie song is nominated in both eligible Big Four categories, as well as for Rap Song of the Year. The doll who does it all is practically guaranteed at least one win at this year’s awards — even at the cost of me and my editor’s bet about “Peaches” from Mario and “Dear Alien” from Asteroid City. And Across The Spider-Verse deserved more.
Foo Fighters Weren’t Nominated For Album Of The Year
In somewhat of a break from Grammy tradition, Foo Fighters’ But Here We Are wasn’t nominated for Album Of The Year, despite the recent death of drummer Taylor Hawkins and the album’s emotional material. It’s grim to think about, but in past years, you could reliably expect a consolation posthumous nomination. It’s downright disheartening to think that this time the Grammys ignored the macabre tradition.
Country Dominated The Charts But Got (Mostly) Shut Out Of The Big Four
The general awards are always controversial but there’s an argument to be made here. While the Big Four are almost never actually tied to commercial achievement — hello Esperanza Spalding — Zach Bryan, Luke Combs, and Morgan Wallen all utterly dominated the charts this year, yet it appears that if this was taken into consideration, it wasn’t enough to lift them out of their respective niches. Perhaps the ideological fractures in that fanbase had an effect. At least there is Jelly Roll.
Where Are The K-Pop Stars?
During the eligibility period this past year, a bunch of songs from K-pop acts took over the American charts. Fifty Fifty’s “Cupid” has been impossible to get away from (I may or may not have tried), New Jeans’ “Super Shy” became a mall P.A. mainstay, and Jung Kook’s solo hit “Seven” peaked at No. 1 on the Hot 100. What makes K-pop’s absence from this year’s nominations stranger is how ubiquitous K-pop has been at the Grammys for the past handful of years, with BTS performing “Dynamite” in 2021 and “Yet To Come” earning a history-making nomination in 2022.
Reggaeton And Latin Trap Were Locked Out Of The Big Awards, Too
Take everything said about K-pop above and translate it into Spanish. Sure, there’s a Latin Grammys, but that smells suspiciously of “separate but equal,” you know? You’d think Peso Pluma or Karol G would warrant a nod, even if Grammys voters could hardly be expected to tunnel all the way down to discover newer breakout artists like Myke Towers or Rauw Alejandro. Again, with the Latin Grammys coming just a few weeks after the “standard issue” ceremony, perhaps interested voters were just too distracted to manage both sets of ballots. Still, it’s a black mark for sure.
Gunna Didn’t Make The Cut For Best Rap Album
Yes, awards nominations are subjective, but there’s a general consensus among rap fans online — corroborated by chart performance — that Gunna had one of the standout albums of the year, if not the only one with any real staying power. Yet, it seems Grammy voters went for the lowest-hanging fruit: Killer Mike and Nas are obvious “prestige” picks for the Gen X hip-hop heads that mostly make up the part of the Academy most well-versed in rap (heyo), while Drake and Travis Scott are brand-friendly pop mainstays. However, Utopia only spent four weeks on the Billboard 200 — a massive drop off from his last two projects, and reception was largely lukewarm. Metro Boomin is a nice addition, but again, for the wrong album (Across The Spider-Verse getting snubbed is going to give me heartburn for the rest of the year).
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.