Beastie Boys' Mike D Curates Art and Music Festival in Los Angeles

Mike Diamond of The Beastie Boys attends the Announcement of the Artist Line-Up For "Transmission LA: AV CLUB" At The Geffen Contemporary at MOCA at Chateau Marmont in Los Angeles.

As a member of the Beastie Boys, Mike Diamond has been an honorary member of the visual arts community for years. "As somebody who's been making music most of their life, I've always been interested and I've had the good fortune of meeting a fair number of visual artists," Diamond tells Rolling Stone. "And if you look at what my band has done, visuals have always been almost an equally important presentation for us as music was." Now, Diamond can add 'curator' to his list of artistic roles: he's assembled a group of artists – including Tom Sachs, Mike Mills and Benjamin Jones – for the Transmission L.A.: AV Club show at Los Angeles' Museum of Contemporary Art, which runs from April 20th to May 6th.

The Beastie Boys have a history of classic music videos, from "Sabotage" and "Shadrach" to "Hey Ladies" and last year's short film revisiting of "(You Gotta) Fight For Your Right (To Party)." However, when Diamond was approached to curate Mercedes Benz' Avant/Garde Diaries festival in Los Angeles, he was very surprised. "They had done one show like this before, with the fashion designer Raf Simons, that took place in Berlin," he says. "That was the first part of this Transmission series and so at first, I thought, ‘Why me? I have no visual art pedigree.'"

Diamond eventually warmed to the idea, though. "I think a lot of times, when we're kind of looking for inspiration, we sometimes turn to visual arts and it's not necessarily a direct thing, but we sometimes get charged or recharged by that," he says. "So I was interested in this dialogue that exists between music and visual art and one informs the other and then the other informed the first thing."

Fittingly, music will play a major part of the festival, starting April 19th with a preview concert by Santigold. The exhibit opens during the second week of Coachella, so Diamond may have a lot of famous guests to draw from. He is excited to get other artists involved. "The date was actually a bit of a coincidence," he says of the Coachella tie-in. "But part of what I look forward to is bringing multi-talented musician types into the project and having them stretch out beyond what they're totally known for doing. It's gonna involve not only DJs but also live performance."

As a musician with an interest in the visual arts, as opposed to being an artist in that medium, Diamond views art shows differently than his artist friends might. "I'm a big fan of visual art, but I'm not always a fan of the museums or even art gallery experience 'cause I feel sometimes it's stiff or static," he says. "One of my goals with this was just to try to really change it and infuse this event with a lot of music. There's gonna be DJs on certain nights and food. The goal is to have it be a full sensory overload, if you will. It's almost more like an art festival in the sense that we're trying to get together some live music nights as well."

in creating his festival for the senses, Diamond hopes to open the art world up to more than typical art fans. "I hope to get people through the doors that maybe wouldn't ordinarily go through the doors of that or any other museum," he says. "And then I hope – maybe this is pretty ambitious – to change the idea of what's possible within that museum or what people think is possible."

Now that he's taken on this role, Diamond would like to see what others from the various arts would do with their own festivals. "Spike Jonze would be very interesting because of his list of collaborators and how he works in a bunch of different areas," he says. "From the visual arts I'd pick Olafur Eliasson – he lives in Berlin. He's as good as anybody out there; what he does, to me, is so inspiring. I'd like to see what would happen if he brought other people into something."

And what other musician would he like to see participate? "Kanye West," he says. "He is someone to me who is always trying to do something interesting visually and that's obviously important to him. That would definitely be somebody I'd like."

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Beastie Boys' Mike D Curates Art and Music Festival in Los Angeles

Mike Diamond of The Beastie Boys attends the Announcement of the Artist Line-Up For "Transmission LA: AV CLUB" At The Geffen Contemporary at MOCA at Chateau Marmont in Los Angeles.

As a member of the Beastie Boys, Mike Diamond has been an honorary member of the visual arts community for years. "As somebody who's been making music most of their life, I've always been interested and I've had the good fortune of meeting a fair number of visual artists," Diamond tells Rolling Stone. "And if you look at what my band has done, visuals have always been almost an equally important presentation for us as music was." Now, Diamond can add 'curator' to his list of artistic roles: he's assembled a group of artists – including Tom Sachs, Mike Mills and Benjamin Jones – for the Transmission L.A.: AV Club show at Los Angeles' Museum of Contemporary Art, which runs from April 20th to May 6th.

The Beastie Boys have a history of classic music videos, from "Sabotage" and "Shadrach" to "Hey Ladies" and last year's short film revisiting of "(You Gotta) Fight For Your Right (To Party)." However, when Diamond was approached to curate Mercedes Benz' Avant/Garde Diaries festival in Los Angeles, he was very surprised. "They had done one show like this before, with the fashion designer Raf Simons, that took place in Berlin," he says. "That was the first part of this Transmission series and so at first, I thought, ‘Why me? I have no visual art pedigree.'"

Diamond eventually warmed to the idea, though. "I think a lot of times, when we're kind of looking for inspiration, we sometimes turn to visual arts and it's not necessarily a direct thing, but we sometimes get charged or recharged by that," he says. "So I was interested in this dialogue that exists between music and visual art and one informs the other and then the other informed the first thing."

Fittingly, music will play a major part of the festival, starting April 19th with a preview concert by Santigold. The exhibit opens during the second week of Coachella, so Diamond may have a lot of famous guests to draw from. He is excited to get other artists involved. "The date was actually a bit of a coincidence," he says of the Coachella tie-in. "But part of what I look forward to is bringing multi-talented musician types into the project and having them stretch out beyond what they're totally known for doing. It's gonna involve not only DJs but also live performance."

As a musician with an interest in the visual arts, as opposed to being an artist in that medium, Diamond views art shows differently than his artist friends might. "I'm a big fan of visual art, but I'm not always a fan of the museums or even art gallery experience 'cause I feel sometimes it's stiff or static," he says. "One of my goals with this was just to try to really change it and infuse this event with a lot of music. There's gonna be DJs on certain nights and food. The goal is to have it be a full sensory overload, if you will. It's almost more like an art festival in the sense that we're trying to get together some live music nights as well."

in creating his festival for the senses, Diamond hopes to open the art world up to more than typical art fans. "I hope to get people through the doors that maybe wouldn't ordinarily go through the doors of that or any other museum," he says. "And then I hope – maybe this is pretty ambitious – to change the idea of what's possible within that museum or what people think is possible."

Now that he's taken on this role, Diamond would like to see what others from the various arts would do with their own festivals. "Spike Jonze would be very interesting because of his list of collaborators and how he works in a bunch of different areas," he says. "From the visual arts I'd pick Olafur Eliasson – he lives in Berlin. He's as good as anybody out there; what he does, to me, is so inspiring. I'd like to see what would happen if he brought other people into something."

And what other musician would he like to see participate? "Kanye West," he says. "He is someone to me who is always trying to do something interesting visually and that's obviously important to him. That would definitely be somebody I'd like."

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Kelly Clarkson Brings Out Famous Friends in Los Angeles

Kelly Clarkson performs during her Stronger Tour at the Nokia Theatre L.A. in Los Angeles.

"I feel so popular right now!" said Kelly Clarkson last night at the Nokia Theatre in Los Angeles – and beyond the capacity crowd, it wasn't hard to see why. Playing one of the final dates of her current North American tour, Clarkson peppered the nearly two-hour show with surprise cameos by several high-wattage pals, including Reba McEntire and Blake Shelton, the latter of whom joined her for a rendition of Clarkson and Jason Aldean's pop-country power ballad, "Don't You Wanna Stay." Michelle Branch and fellow American Idol alum Tamyra Gray also appeared. "It's L.A., y'all," Clarkson explained at one point. "I got a lot of friends here."

The guest stars inspired big audience reactions, but Clarkson hardly needed the help as she ran through hit after hit from her five studio albums: "Since U Been Gone," remade as a sleek dance-punk jam; "Already Gone," with close-harmony backing vocals from her eight-piece band; a fiercely propulsive "My Life Would Suck Without You"; "Mr. Know It All," which she introduced by asking if anyone in the house had ever "dated a tool" before. ("I dated maybe the biggest douche in L.A.," she added.) After a stripped-down "Never Again," from 2007's gloomy My December, the singer offered a warning to all future boyfriends: "Never piss me off – I'll write some shit."  

In addition to "Mr. Know It All," Clarkson sang a handful of tunes from last year's Stronger, which she called her favorite of all her records. "Einstein" was a laidback folk-soul tune, while "You Love Me" had an appealing Eighties-R&B vibe; later, the album's chart-topping title track blasted the room with strobing disco synths. Clarkson did several covers as well, including "Heavy in Your Arms" by Florence and the Machine and a gospel-fired take on Britney Spears' "Till the World Ends." She and Gray revived "When You Believe," the 1998 Mariah Carey-Whitney Houston duet from The Prince of Egypt, and Clarkson summoned more dueling-divas energy with McEntire during "Because of You."  

Toward the end of the show she reached back to the Disney-princess pop of her first big solo smash, "Breakaway," telling the crowd the song was "where people started really getting behind me and supporting my career." Nearly a decade later, as last night's parade of stars demonstrated, that career has grown exponentially. But somehow Clarkson retains an essential one-of-us quality. She still can't believe she's the popular girl.

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Kelly Clarkson Brings Out Famous Friends in Los Angeles

Kelly Clarkson performs during her Stronger Tour at the Nokia Theatre L.A. in Los Angeles.

"I feel so popular right now!" said Kelly Clarkson last night at the Nokia Theatre in Los Angeles – and beyond the capacity crowd, it wasn't hard to see why. Playing one of the final dates of her current North American tour, Clarkson peppered the nearly two-hour show with surprise cameos by several high-wattage pals, including Reba McEntire and Blake Shelton, the latter of whom joined her for a rendition of Clarkson and Jason Aldean's pop-country power ballad, "Don't You Wanna Stay." Michelle Branch and fellow American Idol alum Tamyra Gray also appeared. "It's L.A., y'all," Clarkson explained at one point. "I got a lot of friends here."

The guest stars inspired big audience reactions, but Clarkson hardly needed the help as she ran through hit after hit from her five studio albums: "Since U Been Gone," remade as a sleek dance-punk jam; "Already Gone," with close-harmony backing vocals from her eight-piece band; a fiercely propulsive "My Life Would Suck Without You"; "Mr. Know It All," which she introduced by asking if anyone in the house had ever "dated a tool" before. ("I dated maybe the biggest douche in L.A.," she added.) After a stripped-down "Never Again," from 2007's gloomy My December, the singer offered a warning to all future boyfriends: "Never piss me off – I'll write some shit."  

In addition to "Mr. Know It All," Clarkson sang a handful of tunes from last year's Stronger, which she called her favorite of all her records. "Einstein" was a laidback folk-soul tune, while "You Love Me" had an appealing Eighties-R&B vibe; later, the album's chart-topping title track blasted the room with strobing disco synths. Clarkson did several covers as well, including "Heavy in Your Arms" by Florence and the Machine and a gospel-fired take on Britney Spears' "Till the World Ends." She and Gray revived "When You Believe," the 1998 Mariah Carey-Whitney Houston duet from The Prince of Egypt, and Clarkson summoned more dueling-divas energy with McEntire during "Because of You."  

Toward the end of the show she reached back to the Disney-princess pop of her first big solo smash, "Breakaway," telling the crowd the song was "where people started really getting behind me and supporting my career." Nearly a decade later, as last night's parade of stars demonstrated, that career has grown exponentially. But somehow Clarkson retains an essential one-of-us quality. She still can't believe she's the popular girl.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

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Phish's Trey Anastasio Performs With The Los Angeles Philharmonic

Anastasio goes 'new classical' with old classics from the Phish canon.

When Phish’s Trey Anastasio took the stage at the Walt Disney Concert Hall in Los Angeles on Saturday night, he faced a crowd that was significantly better dressed – and behaved – than the typical Phish crowd. That's because Anastasio was performing with the Los Angeles Philharmonic, conducted by Scott Dunn (Associate Conductor of the Hollywood Bowl Orchestra). While the performance was a one-time-only affair, Anastasio is no stranger to playing with orchestras, having experimented with classical music since 2000. Most recently, he performed with three other philharmonic orchestras – in Atlanta, Pittsburgh and Denver – earlier this year.

As with those nights, Saturday's program called upon nuggets from Phish's vast catalog, as well as a selection from Anastasio's solo works, all rearranged symphonically by his longtime classical arranger, Don Hart. Hart's other clients include Martina McBride, Collective Soul and Lyle Lovett, but none of that work is remotely similar to his dynamic collaborations with Anastasio, which can swing from hushed balladry to John Williams–style tours de force, sometimes within the same piece.

Before a single note was plucked, the crowd at the Frank Gehry-designed Walt Disney Concert Hall gave the house musicians perhaps their most rousing reception yet, bestowing them with a standing ovation before Anastasio even appeared onstage. And they frequently rose to their feet between the compositions – no doubt, unusual behavior for a night at the symphony.

But it's important to note that this wasn't just a case of a rock star who wanted a string section to augment his slow songs or horns to punctuate his anthems. The rearrangements actually transformed popular Phish standards like "First Tube" and "Water in the Sky" into entirely new entities, which leaned far more towards "new classical" territory than the jazz and rock tendencies they usually exhibit.

In "Divided Sky," violins covered for Phish keyboardist Page McConnell, while bass notes were handled by the cellos. But the orchestra didn't merely replace or replicate Anastasio's three Phish bandmates; the symphonic parts were frequently exclusive to these new arrangements, including some lively interplay between Anastasio and the first chair.

Anastasio's singing voice, which cut through the concert hall, never sounded so strong – or, for that matter, so sincere – as it did during such numbers as the now-rare Phish ballad "Brian and Robert." And he nailed his difficult guitar solos in "Guyute" with greater accuracy than he's been able to achieve for years during Phish's renditions of the complex composition.

"It's impossible to describe what an honor it is to be playing on this stage," Anastasio told the audience, in obvious awe of the Los Angeles Philharmonic. "This is the greatest sounding room I've ever been in."

But as much as the evening differed from a night out with Phish, the discrepancy between the two was sometimes almost comical. Fans clapped on cue during a percussive part of "Stash" and erupted in cheers during a particularly victorious climax in the middle of "You Enjoy Myself."

The oft-misunderstood "Time Turns Elastic" – which has received a less-than-enthusiastic response during Phish sets – made a lot more sense in this format, performed the way it was initially envisioned: as a majestic, sweeping epic with distinct movements, hair-raising flourishes and even symphonic bombast.

The symphonic rendition of "If I Could" that Anastasio performed with the Philharmonic transformed the ballad into a new panoramic soundscape so much grander than the sound that is produced when a four-piece rock band attempts it – even one as versatile as Phish.

Anastasio has always maintained that he's just as influenced by Igor Stravinsky as he is by Carlos Santana, and on Saturday he proved that his forays into classical music are just as innovative and exciting as his groundbreaking work in a rock band. Of course, nobody would recommend that he quit his day job in Phish, but if that doesn't work out for him, he's sure got a great plan B. In the meantime, these rare nights when he links up with a local philharmonic are genuine treats not to be missed.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

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Read more »

Phish's Trey Anastasio Performs With The Los Angeles Philharmonic

Anastasio goes 'new classical' with old classics from the Phish canon.

When Phish’s Trey Anastasio took the stage at the Walt Disney Concert Hall in Los Angeles on Saturday night, he faced a crowd that was significantly better dressed – and behaved – than the typical Phish crowd. That's because Anastasio was performing with the Los Angeles Philharmonic, conducted by Scott Dunn (Associate Conductor of the Hollywood Bowl Orchestra). While the performance was a one-time-only affair, Anastasio is no stranger to playing with orchestras, having experimented with classical music since 2000. Most recently, he performed with three other philharmonic orchestras – in Atlanta, Pittsburgh and Denver – earlier this year.

As with those nights, Saturday's program called upon nuggets from Phish's vast catalog, as well as a selection from Anastasio's solo works, all rearranged symphonically by his longtime classical arranger, Don Hart. Hart's other clients include Martina McBride, Collective Soul and Lyle Lovett, but none of that work is remotely similar to his dynamic collaborations with Anastasio, which can swing from hushed balladry to John Williams–style tours de force, sometimes within the same piece.

Before a single note was plucked, the crowd at the Frank Gehry-designed Walt Disney Concert Hall gave the house musicians perhaps their most rousing reception yet, bestowing them with a standing ovation before Anastasio even appeared onstage. And they frequently rose to their feet between the compositions – no doubt, unusual behavior for a night at the symphony.

But it's important to note that this wasn't just a case of a rock star who wanted a string section to augment his slow songs or horns to punctuate his anthems. The rearrangements actually transformed popular Phish standards like "First Tube" and "Water in the Sky" into entirely new entities, which leaned far more towards "new classical" territory than the jazz and rock tendencies they usually exhibit.

In "Divided Sky," violins covered for Phish keyboardist Page McConnell, while bass notes were handled by the cellos. But the orchestra didn't merely replace or replicate Anastasio's three Phish bandmates; the symphonic parts were frequently exclusive to these new arrangements, including some lively interplay between Anastasio and the first chair.

Anastasio's singing voice, which cut through the concert hall, never sounded so strong – or, for that matter, so sincere – as it did during such numbers as the now-rare Phish ballad "Brian and Robert." And he nailed his difficult guitar solos in "Guyute" with greater accuracy than he's been able to achieve for years during Phish's renditions of the complex composition.

"It's impossible to describe what an honor it is to be playing on this stage," Anastasio told the audience, in obvious awe of the Los Angeles Philharmonic. "This is the greatest sounding room I've ever been in."

But as much as the evening differed from a night out with Phish, the discrepancy between the two was sometimes almost comical. Fans clapped on cue during a percussive part of "Stash" and erupted in cheers during a particularly victorious climax in the middle of "You Enjoy Myself."

The oft-misunderstood "Time Turns Elastic" – which has received a less-than-enthusiastic response during Phish sets – made a lot more sense in this format, performed the way it was initially envisioned: as a majestic, sweeping epic with distinct movements, hair-raising flourishes and even symphonic bombast.

The symphonic rendition of "If I Could" that Anastasio performed with the Philharmonic transformed the ballad into a new panoramic soundscape so much grander than the sound that is produced when a four-piece rock band attempts it – even one as versatile as Phish.

Anastasio has always maintained that he's just as influenced by Igor Stravinsky as he is by Carlos Santana, and on Saturday he proved that his forays into classical music are just as innovative and exciting as his groundbreaking work in a rock band. Of course, nobody would recommend that he quit his day job in Phish, but if that doesn't work out for him, he's sure got a great plan B. In the meantime, these rare nights when he links up with a local philharmonic are genuine treats not to be missed.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

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Aziz Ansari Hosts Benefit for LGBT Kids in Los Angeles

Michael Buckner/Getty Images for Bing

Aziz Ansari will headline a special night of comedy to benefit Justin's Gift, an organization that works to create safe zones where LGBTQ kids can be themselves in a bully-free environment. Ansari was inspired to put together this benefit – his second for the cause so far – by Rolling Stone's recent story about gay teens in Minnesota, written by Sabrina Rubin Erdely.

"Aziz read the article, was moved enough to want to help, and asked me if there was an Anoka-Hennepin LGBT organization he could do a comedy benefit for," says Erdely. "I suggested Justin's Gift, a teen outreach organization recently started by Tammy Aaberg, Justin's mom from the article. Days later Aziz held a sold-out impromptu benefit, and it left him so psyched that he decided to do a second one with a bigger lineup."

Ansari's show, which will be held tomorrow night at Largo in Los Angeles, will feature performances by Hannibal Buress, Nick Kroll, Chelsea Peretti and a secret special guest.

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Joss Stone and Dave Stewart Share 'More Love' in Los Angeles

Joss Stone and Dave Stewart perform together.

Joss Stone and Dave Stewart are having a moment. Last year the English soul singer hired the former Eurythmics member to produce her latest solo disc, LP1. Then Stewart drafted Stone into SuperHeavy, the globe-tripping all-star outfit that also includes Mick Jagger of the Rolling Stones, reggae scion Damian Marley and Bollywood film-music giant A.R. Rahman. And last night at the Troubadour in Los Angeles the pair unveiled yet another project, the More Love tour. “We wrote a film, and we wrote a soundtrack,” Stone told the capacity crowd by way of explanation. “But we never made the film.”
The duo’s new show – which hits California’s Fantasy Springs Resort Casino on Saturday before a Valentine’s Day appearance on The Late Late Show with Craig Ferguson – does indeed contain some fresh material: bluesy acoustic tunes like “What Are We Fighting For,” “Who Are We” and “Nowhere But Your Arms,” more than one of which seemed to make a rhyme last night of “together” and “forever.” (These two are serious about increasing the peace.) But More Love also draws from both artists’ back catalogs, including Stone’s 2004 hit “You Had Me,” stuff from LP1 and – perhaps most excitingly – a handful of Eurythmics’ ’80s-pop classics.
Like all singers not named Annie Lennox, Stone didn’t quite conjure the deep mystery of Stewart’s former partner, even as she nailed the yodel-y bit in “Sweet Dreams (Are Made of This).” But the young singer did tap a convincing melancholy for “Here Comes the Rain Again” and sounded great in an appealingly stripped-down version of “Who’s That Girl?” At the end of the 70-minute gig Stewart revved up the unmistakable punk-gospel guitar riff of “Missionary Man,” for which they were joined by Michael Jackson’s former guitarist Orianthi. (Hey, it’s Grammy Week in L.A.– what do you expect?)

Stone cut loose during the closer, working her melisma and flailing her long blonde hair like some kind of post-hippie love child. Behind his signature sunglasses-at-night, Stewart looked pleased as punch.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

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Joss Stone and Dave Stewart Share 'More Love' in Los Angeles

Joss Stone and Dave Stewart perform together.

Joss Stone and Dave Stewart are having a moment. Last year the English soul singer hired the former Eurythmics member to produce her latest solo disc, LP1. Then Stewart drafted Stone into SuperHeavy, the globe-tripping all-star outfit that also includes Mick Jagger of the Rolling Stones, reggae scion Damian Marley and Bollywood film-music giant A.R. Rahman. And last night at the Troubadour in Los Angeles the pair unveiled yet another project, the More Love tour. “We wrote a film, and we wrote a soundtrack,” Stone told the capacity crowd by way of explanation. “But we never made the film.”
The duo’s new show – which hits California’s Fantasy Springs Resort Casino on Saturday before a Valentine’s Day appearance on The Late Late Show with Craig Ferguson – does indeed contain some fresh material: bluesy acoustic tunes like “What Are We Fighting For,” “Who Are We” and “Nowhere But Your Arms,” more than one of which seemed to make a rhyme last night of “together” and “forever.” (These two are serious about increasing the peace.) But More Love also draws from both artists’ back catalogs, including Stone’s 2004 hit “You Had Me,” stuff from LP1 and – perhaps most excitingly – a handful of Eurythmics’ ’80s-pop classics.
Like all singers not named Annie Lennox, Stone didn’t quite conjure the deep mystery of Stewart’s former partner, even as she nailed the yodel-y bit in “Sweet Dreams (Are Made of This).” But the young singer did tap a convincing melancholy for “Here Comes the Rain Again” and sounded great in an appealingly stripped-down version of “Who’s That Girl?” At the end of the 70-minute gig Stewart revved up the unmistakable punk-gospel guitar riff of “Missionary Man,” for which they were joined by Michael Jackson’s former guitarist Orianthi. (Hey, it’s Grammy Week in L.A.– what do you expect?)

Stone cut loose during the closer, working her melisma and flailing her long blonde hair like some kind of post-hippie love child. Behind his signature sunglasses-at-night, Stewart looked pleased as punch.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

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Rihanna and Deadmau5 Headline Charity Gig in Los Angeles

Samir Hussein/Paul Zimmerman/Getty Images

Roc Nation and Three Six Zero Group are teaming up to present a charity concert featuring performances from Rihanna, Deadmau5, Calvin Harris and Sebastian Ingrosso of Swedish House Mafia at the House of Blues in Los Angeles. The one-off gig, which will take place on February 12th, will benefit the Children’s Orthopaedic Center and The Mark Taper–Johnny Mercer Artists Program at Children’s Hospital Los Angeles.

Tickets for the event will go for $1000 each, and will go on sale today at 5 p.m. PT. The bill will also include sets by Chris Lake and Michael Woods,  but given that this show will be taking place on the same night as the 54th Annual Grammy Awards, there's some possibility that other stars may turn up, either on stage or in the audience.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

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Rihanna and Deadmau5 Headline Charity Gig in Los Angeles

Samir Hussein/Paul Zimmerman/Getty Images

Roc Nation and Three Six Zero Group are teaming up to present a charity concert featuring performances from Rihanna, Deadmau5, Calvin Harris and Sebastian Ingrosso of Swedish House Mafia at the House of Blues in Los Angeles. The one-off gig, which will take place on February 12th, will benefit the Children’s Orthopaedic Center and The Mark Taper–Johnny Mercer Artists Program at Children’s Hospital Los Angeles.

Tickets for the event will go for $1000 each, and will go on sale today at 5 p.m. PT. The bill will also include sets by Chris Lake and Michael Woods,  but given that this show will be taking place on the same night as the 54th Annual Grammy Awards, there's some possibility that other stars may turn up, either on stage or in the audience.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

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Read more »