Light rail stations, public transit stops, and highways experienced hours of significant traffic as the pop phenom transported her highly anticipated production to Northern California. Tour exclusive merchandise booths saw exponential wait times, almost as much demand as Swift herself, opening the day prior to the event. Trading of friendship bracelets as an homage to the Midnights-penned track "You're On Your Own, Kid" could be seen inside and outside the venue. Swift brought along openers Gracie Abrams and HAIM for this set of dates to get the party started.

Taylor Swift performs during her first of two nights at Levi's Stadium in Santa Clara, California. Photos by Curtis Vadnais.

The Eras Tour is truly unlike any other tour to date for a few reasons. The first being that the ticket fiasco that was caused by Ticketmaster last fall shattered records with the sheer number of people attempting to secure seats versus the allocated inventory available. If you weren't fortunate enough to be selected to participate in the presale, you were more than likely out of luck (unless you were able to secure a ticket secondhand, which still yields thousands of dollars just for a seat in the nosebleeds). That said, demand is so significant, that hopefuls ultimately unable to obtain tickets have resorted to "Taygating" — a practice in which fans gather outside the stadium just to hear the "Cruel Summer" songstress. Some have gone so far as to find vantage points directly into each stadium, with the upper level of the parking garage adjacent to Levi's being the case for Friday night.

Throughout its country-wide trek, the tour has established itself as Swift's highest-grossing tour to date, surpassing that of her previous expedition in support of 2017's reputation. It is on track to gross an astonishing billion dollars, becoming the highest-grossing tour from any artist of all time. But Swift is no stranger to giving back, going so far as to bless each touring crew member with a fairly generous bonus for her appreciation. She has also played a massive part in the success of local economies, including donations to food banks and bringing unimaginable revenue to each city. In a post-pandemic world, it's almost unprecedented that society would ever see anything of this magnitude.

The whole place was dressed to the nines as the "Starlight" crooner acknowledged her long-awaited return to the city by the Golden Gate. "Santa Clara, it is so good to be back with you! I've had some of the best memories [on this tour] and I'm making some more right now!" Swift proclaimed during the Evermore portion of her set, followed by a long-standing ovation. "I told myself, if I can't play shows and connect with you, I'm going to make and release as many albums as humanly possible," she continued, reflecting on the pandemic. She then addressed what many surmised she would do during this run, such as performing double the number of songs due to the inability to tour her last four projects. "Yes, that is exactly what I'm going to do," she beamed.

With that statement, she absolutely fulfilled. Throughout her effortless 45-song setlist, she packed in a plethora of hits such as "The Man," "Fearless," "...Ready For It?" "Long Live," "22," "Blank Space" and so much more. The stadium itself has a very strict curfew, but that didn't hinder Swift from giving every lucky attendee a full-scale show, ending just shy of 11:30 pm. The Grammy-award-winning hitmaker also surprised concert-goers with a HAIM-accompanied performance of "no body, no crime" and brought along collaborator Aaron Dessner to accompany her for the first surprise song of the evening, "right where you left me." Santa Clara was also treated to the very first live performance of "Castles Crumbling," a vault track off the re-released Speak Now (Taylor's Version), and the second surprise song which also garnered an exuberant response.

Swift is set to wrap the first U.S. leg on August 9 after a sold-out six-night stay at SoFi Stadium in Los Angeles, California. The world-renowned tour will resume in Mexico City later in the same month and will make its way through Australia, Europe, and Asia next year. It is currently set to conclude in Toronto, Canada next November.

Keep up with Taylor Swift on Facebook, Instagram, and Twitter.

For more information on Taylor Swift, visit www.taylorswift.com.

For more information on The Eras Tour, visit www.taylorswift.com/events.

To date, Swift has released a total of ten studio albums, three of which never received tour support due to the ongoing COVID-19 pandemic. It’s safe to say that fans were in store for something spectacular, with many participants traveling from other states and even abroad. Swift brought along a few friends to help launch the occasion, including alternative band Paramore and pop-rock singer Gayle.

GLENDALE, ARIZONA - MARCH 17: Taylor Swift performs onstage at State Farm Stadium on March 17, 2023, in Glendale, Arizona. (Photo by Kevin Winter/Getty Images for TAS Rights Management )

There was much speculation as to how the tour would kick off. One of Swift’s best assets is her ability to remain accessible to her fans. Social media has always been a staple within the Swiftie community as a means for Swift to interact. A more recent example of this is how she connected with them through fan-inspired videos on the social media platform TikTok (aptly nicknamed SwiftTok). A quick search could pull thousands of videos and sounds inspired by Swift’s recent effort, Midnights. “It’s me… *crowd cheers*… hi!” and “Meet me at midnight” were two very strong contenders. But Swift, ever the mastermind, had something else up her sleeve. While she did confirm and hint at what might be included in the show’s setlist, the majority of it was kept under lock and key.

Following the opening acts, fans had a mere eighteen minutes for any snacks, bathroom breaks, and/or merchandise grabs before racing back to their seats as the two-minute countdown to 8 p.m. appeared on the screens. Since this was five minutes prior to Swift’s scheduled start, the scrambling was chaotic to witness, to say the least. As the stadium darkened, the opening interlude featured a picturesque montage accompanied by famous Swift quotes, reminiscent of the opening to her previous stadium tour for reputation. Dancers lined the massive stage, making their way down the catwalk. Swift materialized in a glistening bodysuit on the elevated platform built into center stage. “It’s been a long time coming, but…” she sang as she broke out in the much-anticipated opener “Miss Americana & the Heartbreak Prince,” off 2019’s Lover before proceeding into “Cruel Summer.” The crowd released a near-deafening roar, sending them into a spiral of emotions that only persisted throughout the night.

GLENDALE, ARIZONA - MARCH 17: Taylor Swift performs onstage at State Farm Stadium on March 17, 2023, in Glendale, Arizona. (Photo by John Shearer/Getty Images for TAS Rights Management )

It's clear that emotion was reciprocated. “I don’t know how to process all of this and the way it’s making me feel right now,” Swift beamed. “If you’re here tonight, there’s a pretty good chance you went to a considerable amount of effort to be here. On behalf of me and every single performer on this stage, thank you from the bottom of our hearts for wanting to be here on night one,” she continued, not-so-subtly addressing the Ticketmaster chaos that sunk the internet and the hearts of Swifties nationwide.

Over the course of three hours and fifteen minutes, Swift delivered a colossal 44-song setlist, spanning all the way from her debut to Midnights. “Tonight, we’re gonna be going on an adventure — one era at a time. We’re gonna be exploring the last 17 years of music that I’ve been lucky enough to make and you’ve been kind enough to care about,” she mentioned earlier on in the set. The setlist hit the mark for all the well-known favorites such as “Love Story,” “We Are Never Ever Getting Back Together,” “Shake It Off,” "Look What You Made Me Do," and more.

It’s worth noting that one era seemed to get preferential treatment over the others, that being 2020’s Folklore. A product of the pandemic and stripped-back production and songwriting, this album was clearly important to Swift and received critical acclaim upon release. In total, there were 9 songs from this era performed while most eras received between 3-4 (with the exception of Midnights, which still received just 7). This contributed to the omission of several era highlights including 2010’s Speak Now and 2006’s debut, which appeared to dishearten fans. That said, Swift’s discography reaches well over 200 songs to date, including her re-recordings. It’s understandable that including every fan-favorite and deep-cut into a nearly three-and-a-half-hour setlist is unrealistic. Especially after not being able to perform any of that material for five years.

GLENDALE, ARIZONA - MARCH 17: Taylor Swift performs onstage at State Farm Stadium on March 17, 2023, in Glendale, Arizona. (Photo by Kevin Mazur/Getty Images for TAS Rights Management )

In true Swift fashion, rarely ever is one show identical to the next. Keeping with the theme that mirrored that of 2018’s reputation Stadium Tour, each show will feature a “surprise song.” But there’s a caveat: should the song be performed, it would likely never be performed again. Swift City (temporarily renamed by the Mayor of Glendale in honor of Swift) patrons were treated to a special performance of “mirrorball” and very first single “Tim McGraw.” Another honorable mention was the 10-minute version of “All Too Well,” which resonated heavily with those in attendance.

Swift closed the night’s festivities out with a pyro-filled encore for “Mastermind” and “Karma,” before retreating up the confetti-laden catwalk for a heartfelt goodbye. The Eras Tour will continue on throughout the U.S. across 52 dates, currently set to conclude in Los Angeles, California in August. Those that are fortunate enough to attend the coveted extravaganza will be more than catered to during those nearly five hours. It’s a spectacle to be witnessed, and if given the opportunity, not to be missed.

A special thanks to Swift’s team at Premium PR for allowing me to come out for the festivities. As an initially unsuccessful ticket obtainer myself, I couldn’t be more appreciative to be able to witness one of the most monumental nights in music history.

Keep up with Taylor Swift on Facebook, Instagram, and Twitter.

For more information on Taylor Swift, visit www.taylorswift.com.

For more information on The Eras Tour, visit www.taylorswift.com/events.

Kicking off the festivities was Jaden Smith, who came out with a bang accompanied by a Tesla-inspired stage setup. With non-stop energy and a plethora of pyrotechnics, Smith dove into hits such as “P,” “I,” and “GHOST.” The energy only heightened as Chance the Rapper took the stage, who got the crowd especially roaring with “No Problem,” before proceeding into “Blessings,” “The Heart & the Tongue,” and a stripped-down cover of DJ Khaled’s “I’m the One.” 

In between sets, event host Jason Kennedy greeted the crowd and continuously thanked the volunteers and those in attendance for helping put on such an extraordinary event. “It’s been a rough year, but how great is it to be back to live music? Tonight is all about community. It’s about humanity. We couldn’t have done this without you, so thank you.” Kennedy expressed before introducing singing/songwriting extraordinaire Tori Kelly. 

Kelly’s performance, while definitely the shortest out of all the sets that night, did not miss a beat. Over the two songs that she performed, her vocal and stage presence was captivating enough that not a single seat was empty in the stadium. It’s no secret that Kelly is very connected to her faith, which made the perfect addition to the lineup. Her riffs and runs soared as she performed her Unbreakable Smile deluxe hit “Hollow” and unorthodox selection “Help Us to Love” — off her 2018 Gospel album, The Hiding Place. 

As the lengthy intermission concluded amidst a few sponsored videos, the stadium lights went down, with the only illumination on display being two cross symbols on both sides of one giant marquee that read “Freedom.” Headliner and pop sensation Justin Bieber took the stage, breaking out into “Somebody.” Quality over quantity was definitely the rule in regards to his performance, which featured 14 songs that covered all the bases for new material, fan-favorites, radio-friendly singles, and throwbacks. “Who’s feeling fly tonight? Who’s ready to have a good time? I am so, so grateful to be here,” Bieber professed. The “Anyone” crooner put on quite the extravaganza, bringing out multiple special guests in between numbers such as The Kid LAROI for “STAY,” Jaden Smith for “Never Say Never,” and of course “HOLY” with Chance the Rapper. With a few of these artists already featured on the lineup, it made sense that some form of an appearance was likely to occur. However, seeing it all come to fruition was nothing short of exhilarating. 

The pinnacle of the night was Bieber’s friend and pastor, Judah Smith, who made an appearance during the latter part of this set and led attendees through a spiritual experience. While not exclusively a religious gathering, 1DayLA didn’t shy away from its faith-based notion. Smith has previously accompanied Bieber on his Purpose Tour back in 2016 and has been credited as a significant figure in Bieber’s journey as an artist and individual, even officiating his wedding. Bieber took multiple occasions to address his struggle with mental health, addiction, depression, and most importantly, his faith. “If you ever feel like you aren’t worthy enough or that you aren’t qualified… Let me tell you, you guys are most definitely qualified,” he stated. 

Closing out on an extremely inspirational high, Contemporary artist Kari Jobe made her way to the stage for the curtain call and “The Blessing” — the commercially successful hit penned by Jobe & husband Cody Carnes, made arguably renown by Elevation Worship. 1DayLA, as well as The Freedom Experience, was something of a phenomenon — the first of its inception, without a doubt, and one that will set the precedent for similar future gatherings. If this year’s success was any indication, we can’t wait to see what’s in store for the coming years. 

For more information on 1DayLA, visit www.1dayla.com. You can also follow 1DayLA on Instagram and Facebook.

Photos courtesy of 1DayLA, used with permission.

This year's tree was a Norway Spruce from Florida (Orange County), New York, standing at 77 ft. tall. It weighed about 12 tons and was around 70-75 years old. In keeping with tradition, it was garbed with 50,000 multi-colored LEDs and topped with a radiant Swarovski crystal star. The spruce was lit by New York City Mayor Bill De Blasio, respectively. Those who wish to see the tree lit in all its glory can do so until Jan. 17, 2020.

For more information on NBC and the annual 'Christmas In Rockefeller Center' special, visit www.nbcuniversal.com.

Check out the gallery below for photos from the event!

The tour itself is a reflection of change not just in MARINA’s stage name, but ultimately her identity as an artist as well. Her weighted and unique mezzo-soprano vocals are reason enough to understand why she has such a dedicated and passionate fanbase, garnering attention from nationwide festivals over the years such as Lollapalooza and Coachella. Still, it’s understandable that artists may need to find their creative direction again, and MARINA is no exception, who even contemplated quitting the industry altogether. The Love + Fear Tour is a perfect representation of rediscovering one’s self.

MARINA appeared under the spotlight amidst a slanted, starry backdrop, breaking out into her newer release, “Handmade Heaven.” The tour was split into two parts, aptly titled “Love” and “Fear,” which is also representative of the separation of the double album itself. "Love" showcased a few of MARINA’s earlier works, such as “I Am Not a Robot” and “Primadonna,” which materialized into one giant dance number for the pop songstress and her accompaniment. "Fear," which in comparison to the bubbly, high energy of the prior segment, stripped things down a bit, namely during the performance of unreleased number “I’m Not Hungry Anymore,” which was well received among fans. Boasting interchanging multi-colored visuals, the entire production was practically eye candy, primarily for numbers like “Orange Trees” and signature hit, “Bubblegum Bitch.” 

“Until the next album, thank you so much for having us, San Francisco!” MARINA exclaimed before closing out her set on a high note with “End of the Earth” and “How to Be a Heartbreaker." MARINA’s Love + Fear Tour continues on through mid-November, concluding in Madrid, Spain. Tickets can be purchased via MARINA’s website here. 

Kicking off the nearly three-hour extravaganza with “Bennie and the Jets,” John made his way to his iconic Yamaha “million-dollar piano.” The award-winning performer sported a white coat emblazoned with combinations of white jewels and pearls paired with emerald green Gucci specs in true John fashion. He managed to pack in as many hits as possible, with only one short costume break throughout his entire set that still kept your attention. Seriously, you'd almost have to glance away to miss it. It’s pretty remarkable for any entertainer, after being on the road for half a century, to produce a stage presence that feels not only authentically connected but also possesses unparalleled energy well into their golden years. The production value and precise attention to detail truly shone in the stunning stage elements and massive visual montages paired with each song that reflected on John’s legacy. Some of these included “Levon,” “Candle in the Wind,” “Daniel,” and “Rocket Man (I Think It’s Going to Be a Long, Long Time),” which transported the entire arena into a galactic phenomenon.

Elton John performs on his Farewell Yellow Brick Road Tour in San Francisco, California on Sept. 13. Photo by Curtis Vadnais.

In addition to John’s incredible artistry, he’s also known for his philanthropic work including the Elton John AIDS Foundation, which he established after his decision to become sober in the early '90s. “Never in my wildest dreams did I know how far we would come in the treatment of HIV/AIDS,” he spoke on the matter towards the final part of his set. “In 1992, it was a death sentence for everybody. Now in 2019, there is no need for anyone to die of this disease. We need to give people hope. If there’s one thing I’ve learned in my life, it’s the extraordinary healing power of love and compassion. If we start getting rid of the stigma that still surrounds this disease, it will end it that much quicker,” he continued before heading into one of the pinnacles of the night—an empowering performance of his 1995 hit “Believe.” 

It’s rare to see a show and experience collective energy from the entire audience, but that wasn’t true for those in attendance that special night. No matter where you were sitting or standing, each patron could be witnessed rejoicing and cherishing every second of the entire experience. There was something so refreshing about seeing baby boomers and Gen Xers frolicking out of their seats to bum rush the stage during the latter performances of “I’m Still Standing,” “Crocodile Rock,” and “Saturday Night’s Alright for Fighting.” In a calculated move that’s typical of a younger demographic, it was a thrill to observe. If that isn’t any indication as to how powerful John’s influence is at 72 years of age, we don’t know what is. 

It was a bittersweet adieu, to say the least. John addressed the audience to express his gratitude for their never-ending support throughout his career, and he meant every word of it. “I’ve been so blessed and fortunate to do this for a living. There’s been one constant throughout this entire journey and that’s you. Let’s face it—without you, I wouldn’t be here. You bought the 45s, the albums, the 8-tracks, the cassettes, the CDs, the DVDs, the merchandise—but most of all, you bought the ticket to the show,” the “Border Song” crooner stated, reciprocated by thunderous applause. “As you may well know, this journey is coming to an end now,” he continued, followed by a collective unison of boos. “10 years ago, I never thought I would have a family of my own and now I do. My family needs me and I need them. So, I’ve come to say goodbye and thank you,” he expressed sincerely, garnering a staggering number of hoots, hollers, and cheers. 

John closed out his 25-song setlist with “Your Song” and the respective ode-to-tour “Goodbye Yellow Brick Road,” which concluded with John departing on a platform that gradually brought him into an opening in the stage’s backdrop. A grandiose farewell to the Bay Area, indeed. 

John’s ongoing Farewell Yellow Brick Road Tour is currently scheduled through December 2020 in London, England. Tickets can be purchased via John’s official website at eltonjohn.com. Don’t miss the opportunity to witness the music legend when he rolls through your town for one final hurrah, because it’s an exhibition not to be missed. 

True to its name, fans were treated to a 360-degree “in the round” stage design, which Underwood utilized every inch of throughout the show's duration. Performing in the round can be tedious because it’s functionally supposed to give each audience member a unique view without sacrificing any part of the experience. This concept was executed fairly well for the most part, as several numbers took place on lifts stationed throughout the stage design. Among these included "Last Name," "Flat On the Floor," "Two Black Cadillacs," and "Something in the Water." The caveat to the design (and less due to the in the round setup), however, comes at the expense of those on the general admission floor due to the stage's overall height. Though this effectively put Underwood at eye level with those in the upper sections, it left something to be desired for those in the surrounding standing areas.

From the opening number, “Southbound,” off the tour’s supported release Cry Pretty, there’s no question that fans were about to be treated to an enthralling experience over the next two hours. The crowd released a near-deafening roar as Underwood materialized in a dazzling, purple-sequined ensemble on a hydraulic lift equipped with pyrotechnics. "It's good to be back on the road, San Diego. Thank you for having us!" the "Good Girl" songstress expressed before launching into "Backsliding."

Underwood took a few moments to address her audience and reminisce on her journey to musical stardom, balancing the wildly successful country superstar with the down-to-earth, small-town girl that grew up in Checotah, Oklahoma. It somewhat was reflected in Underwood's stage presence when she would banter between songs. “It’s hard to believe it’s been 15 years since I auditioned for American Idol. Every single day of my life, I have people come up to me saying they voted for me or they watched me. [For that,] thank you—because I am not the type of person to go out and do something like that. I have no idea what I thought was going to happen, and because of it, we’ve gotten to go travel to the some of the coolest places, meet some of the nicest people and play the music that we love,” she explained.

Underwood’s discography spans nearly 15 years of content, so it’s evident that fitting every successful single into one setlist is unattainable. Enter the medleys, which Underwood described herself as “a walk down memory lane,” that showcased earlier gems like “Temporary Home,” “I Know You Won’t,” “See You Again,” and “Just a Dream.” Underwood's breakthrough single, “Jesus, Take the Wheel,” remains a staple in her long-standing catalog and live performances and was given a “Stairway to Heaven”-inspired treatment. Given the tour's purpose to highlight Underwood's most recent effort, she nearly managed to perform the album in its entirety. To the surprise of many, was the omission of "Spinning Bottles"—a powerful, well-received ballad that Underwood has only performed once in the past year at an award ceremony, which fans were sure would make it. Among those that did, the bongo-infused "End Up With You" and the sultry "Drinking Alone" put a spotlight on Underwood's impressive instrumental expertise.

Perhaps the most interactive moment ensued with “The Champion,” a song that Underwood chose to include due to its significant impact on those who identified with it through their struggles. "This song has sort of taken on a life of its own. We were just writing a song for football and had no idea how this would take off," she spoke of the Super Bowl penned track. Before the tour, Underwood released a video contest for those who could deliver Ludacris' rapping portion effortlessly. One lucky fan from each city would be selected to join her onstage to perform the verse. For the San Diego stop, Underwood chose a cancer survivor from Livermore, California, who, for lack of a better term, nailed it. Another highlight included Underwood’s tribute to the pioneering women of country music, where she was joined by supporting acts Runaway June and Maddie & Tae towards the latter half of the show. After breezing through a few more fan favorites ("Undo It," "Before He Cheats"), Underwood graced the crowd one last time to perform the album's title track, just before closing out with a rainbow confetti-filled encore for "Love Wins."

While she made her rounds through each performance, it should be noted that Underwood spent an immense amount of time in the center and on the side of the stage where her band members were posted, usually facing the adjacent audience. We could understand some attendees feeling disconnected and frustrated due to having her back turned from their perspective. If you're attending, research to make sure your view isn’t as obstructed as some others. Regardless of which seat you choose, you’re going to miss a few things—but that’s where the multiple video screens along the perimeter of the stage come into play.

In some cases, artists who deliver on production are often compensating for other aspects, such as the vocal or musical ability. That’s not the condition here, as you’re instantly immersed into an audibly and visually-pleasing experience. Underwood is known for her exceptional and consistent vocal performance, a feat that landed her the winning spot on the fourth season of American Idol back in 2005. After 15 years on the music scene, she still managed to produce effortless belts and high notes in a captivating way only she can.

Underwood’s Cry Pretty Tour 360 runs through the end of October, concluding in Detroit, Michigan. Tickets can be purchased via Underwood’s website carrieunderwoodofficial.com and their respective ticketing partners.

Keep up with Carrie Underwood on Facebook, Instagram, and Twitter.

Check out Carrie's video recap from San Diego!

Puth's progression has happened at a seemingly rapid pace. He first graced the charts back in 2015 with "See You Again," featured alongside rapper Wiz Khalifa for the motion picture soundtrack for Furious 7. The song, a tribute to the late Paul Walker, skyrocketed and remained on top for several consecutive weeks, putting Puth officially on the map. Since that time, Puth's released two incredibly successful studio albums, the most recent being Voicenotes, which should be noted was produced in its entirety by him. Puth kicked off his set with numerous jams off his latest release, in addition to some earlier catalogue fan favorites. Accompanied by a full on-stage band and mirrored LED screens, he breezed his way through hits such as tour opener "The Way I Am," "How Long," "Marvin Gaye," "We Don't Talk Anymore" and "One Call Away." Highlight performances included "Patient," "Done For Me" and "BOY."

It wasn't all upbeat moments, though. "I almost let the Hollywood mentality get to my head moving here from the East Coast. I am so glad it didn't," he stated mid-set. "When I wrote this next song, I truly thought I was in love," he continued before proceeding into "Attention." Puth closed out his set with encore number "See You Again," at which time several fans crowded the centered orchestra section, leaving their seats for a better glimpse of the now-shirtless pop crooner.

Puth's 'Voicenotes Tour' is set to wrap in Chiba, Japan on Nov. 21. Tickets, along with VIP packages can be purchased directly from Puth's official website at charlieputh.com/tour. Puth's album, Voicenotes, is available now.

As massive LED screens were lowered on each side of the side stage, several smoke machines went off simultaneously followed by a synchronized crowd chant that echoed the opening lyrics for “Pray For Me.” “Talk to the man upstairs, hoping he answers my prayers,” G-Eazy sung in-sync with the crowd as he appeared in silhouette center stage. This may have been a co-headlining tour, but it’s clear who the audience was here for within sheer minutes of his opening set. Not missing a beat, G-Eazy continued through a catalog of his most well-known hits, including “Legend,” “Sober,” “Me, Myself & I,” and of course “No Limit.”

If there’s one thing that’s clear, it’s that G-Eazy knows how to bring a unique set to each city, and Irvine was no exception. “You know I can’t come through Orange County without making it special for y’all. Do I have any day ones in the house?” he inquired before bringing out his first surprise guest of the night, YG, among many others that made an appearance including P-Lo, Blac Youngsta, and Tyga.

“OC, I fuckin’ love you. You could have been anywhere in the world tonight and you came to fuck with us. Thank you for the bottom of my heart, we’ll see you soon,” G-Eazy concluded following his set.

G-Eazy’s Endless Summer Tour is set to wrap on September 8 at Coral Sky Amphitheatre in West Palm Beach, FL. Tickets and VIP bundles can be purchased via G-Eazy’s official website here. G-Eazy’s latest album, The Beautiful and Damned, is available now.