iHeartRadio Music Festival
It will take a small something for a second night of this year’s sixth iHEARTRADIO MUSIC FESTIVAL during a T-MOBILE ARENA in LAS VEGAS to surpass a spectacular of 24 hours ago, with U2 and a argumentative set by DRAKE heading a approach for performances by SIA, TWENTY ONE PILOTS, SAM HUNT, ONE REPUBLIC and a warn coming by MILEY CYRUS fasten BILLY IDOL for a rousing “Rebel Yell.” Like final night, a livestream can be noticed during www.cwtv.com (#iheartfestival), though it will be engaging to see how prolonged a coverage will last. The highlights will be telecast on THE CW TV over dual nights, OCTOBER 6th and 7th, so maybe they’re saving headliners STING and USHER for that.
JOHN STAMOS and TAYLOR LAUTNER assimilated horde RYAN SEACREST to deliver BRITNEY SPEARS, who brought a small of her VEGAS shine with opening series “Work Bitch,” display off her muscles, followed by a pretension “Womanizer,” that put her well-oiled dancers to work holding her aloft. A dramatic, dry-ice-infused “I’m a Slave 4 U” was next, heading into “Do You Wanna Come Over?” a recently expelled strain from her new album, “Glory.” “Nobody should be alone if they don’t have to be,” she chanted, surrounded by her enterprising troupe. A brief dash of MISSY ELLIOTT’s “Get Ur Freak On” led into an undulating, coquettish “Toxic,” an anthemic “Stronger,” that doubled as a curtsy to her highway to liberation and a pony-tail-tossing, writhing “(You Drive Me) Crazy,” The new single, “Make Me…” was a suitable conclusion, with SPEARS assimilated by co-operator G-EAZY, only as he did during a new MTV VIDEO MUSIC AWARDS, delivering his swat from a song, riled adult a throng and left arm-in-arm with BRITNEY to a showering of confetti.
DAVID SPADE done a few fatuous stabs during BRANGELINA amusement before bringing on FLORIDA GEORGIA LINE, who convincingly presented their rapabilly code of country-rock with their bro-friendly hit,”This Is How We Roll” and a tailgate-ready “Round Here,” urging, “Dance in a dust/Turn a radio up.” TYLER HUBBARD and BRIAN KELLEY afterwards dedicated a midtempo ballad, “H.O.L.Y. (High On Loving You),” to their wives, “without whom we wouldn’t be here,” before rising into a reverence to one of their primary influences, BACKSTREET BOYS, bringing a rope on-stage for a crowd-pleasing, flame-spouting “Everybody (BACKSTREET’s Back).” They built on that appetite for a hick-hop-flavored “Cruise,” an loyalty to a joys of pushing with a windows down, trade a verses like a span of seasoned MCs.
KATHY GRIFFIN afterwards summoned a BACKSTREET BOYS to come behind for their possess set, that enclosed hits like “I Want It That Way,” “As Long As You Love Me” and “Larger Than Life” that served as a block for their just-announced, likewise patrician 18-date SIN CITY residency during a AXIS during PLANET HOLLYWOOD RESORT CASINO.
CAGE THE ELEPHANT brought some good old-fasioned stone ‘n’ hurl strut to a record with lead thespian MATT SHULTZ doing his best MICK JAGGER jumping jack peep sense on a garage rope psychedelia of “Mess Around,” a sing-song rap/slide guitar DELTA blues of “Ain’t No Rest For The Wicked,” a whooping outspoken “ooh-woos” and agreeable riffs fueling “Trouble” and a emotion-charged acoustic strum und drang of “Cigarette Daydreams.” The rope continued a parsimonious set with soft-and-loud dynamics of “Shake Me Down,” as SHULTZ worked a crowd, holding their impulse in a spotlight and creation a many of it. “Even on a pale day….” Next adult was “Come A Little Closer,” an obsequious teenager pivotal brooder that sealed with a formally anthemic catharsis, and a rattling “Teeth,” as SHULTZ asked/answered a house: “Are we into a beat? I can feel it in my teeth,” before disintegrating into a audience.
ARIANA GRANDE wowed a throng with a enthralling five-song set that total glow and icy precision, starting with a winning “Into You,” that featured a pony-tail ingenue clad in a yellow sleet slicker/poncho, operative a throng like an aged pro. She invited ZEDD on for their collaboration, “Break Free,” EDM’s initial coming during a two-night affair, and followed with a aptly named “Dangerous Woman,” that valid she good on her approach to brecoming a subsequent triple-threat crossover cocktail ingénue to follow in a footsteps of BEYONCE and TAYLOR SWIFT.
ZEDD was adult next, charity an eye-popping miscellany of his biggest hits opposite a vital joining light show, featuring such dance-floor staples as “Stay a Night” (his partnership with HAYLEY WILLIAMS), “Clarity,” “IWant You to Know” and a pound “Rude,” assimilated by MAGIC!, ALOE BLACC for their corner smash, “Candyman” and HAILEE STEINFELD for her latest singular with him and GREY, “Starving.”
The ’80s new call was well-represented by a coming of TEARS FOR FEARS, introduced by a doubtful span of one-time MTV VJ MARTHA QUINN and “Wicked” star IDINA MENZEL. They started with — what else? — a note-perfect delivery of a prophetic “Everybody Wants To Rule The World,” into a extended, BEATLES-que “Sowing The Seeds Of Love,” a now-recurrent, much-covered “Mad World,” “Head Over Heels,” and a primal scream-influenced “Shout,” any of which, remarkably enough, would fit right in during today’s Top 40 with, say, a ZEDD remix. ROLAND ORZABEL and CURT SMITH afterwards basked in what was arguably a night’s many romantic station ovation.
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