See Weezer: Voyage to the Blue Planet 2024 tour playing the full Blue Album with Flaming Lips and Dinosaur Jr. at the Moody Center September 27!

Weezer

“The great American rock group Weezer are one of those acts whose reputation grows more secure with each passing year. Always to be relied upon for a memorable melody, a sticky hook and an often witty turn of lyrical phrase the songs of Rivers Cuomo and his accomplices have graduated from power pop, through indie to metal, often within the framework of a single number. They began by making clever and often nostalgic music with a contemporary twist: they were sharp but never too arch.

The classic albums, from the self-titled triple Platinum debut, via Maladroit, Make Believe, Pinkerton and the most recent Everything Will Be Alright in the End, have kept track with prevailing trends and often ambushed them. Brilliant singles like “Buddy Holly, “Undone – The Sweater Song” (both with iconic pop videos directed by Spike Jonze) “Say It Ain’t So” and “Pork and Beans” tend to defy trends and categorization but they have durable appeal meaning that Weezer are just as hip with younger audiences now as say, Nirvana or Ben Folds. On the other hand, they’ve retained a fanatical long term following. We are delighted to have the majority of their studio albums as well as the excellent compilation Death to False Metal (featuring Robert Pitt’s startling cover work). All their discs have charted in the US and UK. Pinkerton has sold in excess of 3,600,000 worldwide: Make Believe slightly more, so while they haven’t always scaled the heights as a singles act – Lord knows why – they have maintained their trajectory. The most recent single is “Go Away”, featuring Best Coast’s Bethany Cosentino and it is an alluring mix of 1960’s pop, grunge chords and doo-wop. Go figure, but don’t think too hard. Weezer is a band to love and cherish; analysis is a side issue.”

– UDiscoverMusic

Dinosaur Jr.

“Dinosaur Jr. were largely responsible for returning lead guitar to indie rock and, along with their peers the Pixies, they injected late-’80s alternative rock with monumental levels of pure guitar noise. As the group’s career progressed, they broke into three distinctive acts: the indie years of the original trio; the ’90s spent on major labels where the band was mostly a solo vehicle for J Mascis’ songwriting and guitar wizardry; and the surprisingly strong reunion of the original lineup beginning in 2006. Each phase produced distinctively monumental work, from the noisy squall of 1987’s SST-released You’re Living All Over Me to the insular slacker rock of 1991’s Green Mind, the distortion-drenched pop of 2009’s Farm, and the seasoned fuzz of 2021’s Sweep It Into Space.”

– Spotify

Flaming Lips

“Even within the eclectic world of alternative rock, few bands are as brave, as frequently brilliant, and as deliciously weird as the Flaming Lips. From their beginnings as Oklahoma outsiders to their mid-’90s pop-culture breakthrough to their status as one of the most respected groups of the 21st century, the Lips rode one of the more surreal career trajectories in pop music. After years in the underground, a major-label deal scored during the early-’90s alt rock craze gave them a bigger platform for their mix of psych, noise-rock, and bubblegum melodies, and their 1993 album Transmissions from the Satellite Heart spawned the unlikely Top 40 hit “She Don’t Use Jelly.” At the turn of the century, they delivered a pair of lush and heartfelt masterpieces with 1999’s The Soft Bulletin and 2002’s Grammy-winning Yoshimi Battles the Pink Robots. Later, they took their experimental and pop impulses in wildly different directions. Whether collaborating with Miley Cyrus, issuing an expression of existential dread with 2013’s The Terror, exploring the loss of innocence on 2020’s American Head, or backing young singer/songwriter Nell Smith on 2021’s Where the Viaduct Looms, their distinctive sound and uncommon emotional depth made them as true originals.”

– Spotify