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Ohana Festival - Sunday (P!NK, St. Vincent, Dermot Kennedy) tickets at Doheny State Beach in Dana Point
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Sun Oct 2, 2022

Ohana Festival - Sunday (P!NK, St. Vincent, Dermot Kennedy)

Doheny State Beach, Dana Point, CA
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Ohana Festival - Sunday (P!NK, St. Vincent, Dermot Kennedy)

Doheny State Beach
25300 Dana Point Harbor Drive
Dana Point, CA 92629
Sun Oct 2, 2022
Onsale: Thu Apr 14, 2022 - 10:00 AM
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Bio: P!NK

P!nk is known around the world as one of the most captivating live performers of her generation. Across her Funhouse and Summer Carnival tours in 2009 and 2010 respectively, P!nk performed to 2.9 million people over 194 dates. This global superstar has confirmed 26 European dates following on from her announcement last week of 25 dates across the US and Canada. The Truth About Love Tour supports the release of her new album, The Truth About Love, which entered the iTunes charts at #1 globally upon its release.
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Bio: St. Vincent

Hailed in a 4-star Rolling Stone review as "a mutant strain of retro pop steeped in New York lore,” Daddy’s Home, the sixth album from Annie Clark a/k/a St. Vincent, is the latest facet of an ever-evolving artist widely regarded as the most consistently innovative and intriguing presence in modern music. In the winter of 2019, as her 2017 masterpiece MASSEDUCTION's title track won the GRAMMY for Best Rock Song and the album won Best Recording Package, St. Vincent’s father was released from prison. She began writing the songs that would become Daddy’s Home, closing the loop on a journey that began with his incarceration in 2010, and ultimately led her back to the vinyl her dad introduced her to during her childhood.  The records she has probably listened to more than any others. Music made in sepia-toned downtown New York from 1971-1975.  Gritty.   Grimy. Sleazy.  The first full broadcast from St. Vincent’s synthesis of this came in the form of “Pay Your Way In Pain” and “The Melting Of The Sun” played live before a crowd for the first time during her recent return to Saturday Night Live—highlighting Clark’s ability to shred both vocally and on the debut appearance of the newest model of her signature Ernie Ball Music Man guitar. In the weeks since, the grit of 1970s vinyl would meet the grain of 1970s celluloid with “Down,” the infectious third and final offering in advance of Daddy’s Home’s May 14 release. The reaction to the full album was immediate and ecstatic, with raves including "In an industry crowded with artists who claim singularity, there is perhaps no musician more deserving of the label than St. Vincent” (INTERVIEW), “St. Vincent’s sound is more electric than ever” (LOS ANGELES), "St. Vincent has gotten to the point where we can’t look away, because there’s just nobody in indie pop quite like Annie Clark” (PASTE) and so many more. St. Vincent is now taking 2021’s most talked-about record on the road—don’t miss out on the invitation to spend a night with Candy Darling in the world of Daddy’s Home.
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Bio: Dermot Kennedy

There’s a sign on the house Dermot Kennedy has called home for 25 years. “Cois Coille,” it reads: Irish for “beside the forest,” a nod to the vast mountains and huge sprawl of trees not far from his front door. “Whenever I’ve been away, eventually I need to come back and reset,” admits the fast-rising star, who grew up here in Rathcoole, a village nestled between the wilderness of County Kildare and the frantic bustle of Dublin. It’s a contrast that also exists at the heart of his music: rustic, tender singer-songwriter laments full of scenic beauty, set to urban, electronic beats. “I really like that clash,” he explains of his acclaimed mix of intimate, guitar-led storytelling and hip-hop-inspired production. “Making those two worlds collide is really exciting to me.”

 He’s not the only one who’s excited. Since the release of his stunning April 2017 EP, Doves and Ravens, and follow-up single ‘Moments Passed’, Kennedy has shot to over 80m plays on streaming platforms, been hailed as a “big, beautiful and bold” new voice by Beats 1’s Zane Lowe, won praise from everyone from TIME Magazine to Wonderland. He’s also supported Lana Del Rey and worked his way on the radar of rap super producer Mike Dean, best known for his work with Kanye West and Travis Scott, with whom he’s currently cooking up a mixtape.

 Regularly compared to Bon Iver – whose For Emma Forever Ago album was a turning point in Kennedy’s musical adolescence (“he just blew my mind”) – the 25-year-old describes his songs as struggles between two extremes: light and dark, love and loss, life and death, happiness and sorrow. “All my tracks sort of toggle between two themes, even within the same song: it can go back and forth from line to line,” he says. The deeply personal ‘Moments Passed’, for example, was dragged from the rubble of a time of simultaneous pain and blossoming romance for the young Irishman, who was both mourning the death of a friend and falling in love when he wrote it. “Sometimes it’s hard to pin a song down. More often it’s a battle between two opposites like that.”

 Kennedy got his first guitar aged 11, and “got serious” aged six years later, before a chance encounter with another of his musical heroes gave him his first big break. Beloved Irish songwriter Glen Hansard had been walking through Dublin when Kennedy spotted him one day in the street, around the time of his first recordings. “I invited him to the studio,” Kennedy recalls. "He couldn't make it, but he called back and offered me ten minutes onstage at his sold-out Christmas show.” The youngster performed his 2016 single ‘After Rain’ and the response was immediate: the track went on to rack up a staggering 33m million streams on Spotify. ‘Moments Passed’ – now with a spectacular video directed by Frank Ocean and Kendrick Lamar collaborator Nabil – won’t be far behind.

 With new music set for release in early 2018 and bigger, better live shows around the corner, momentum is building quickly behind Kennedy. Not that he’s really noticed: the 25-year-old is too focused on pushing his artistic boundaries on his upcoming debut album to pay attention to any hype. “Having spent a lot of time in the acoustic world, it felt really good to do something new and push myself out of my comfort zone on these recent tracks,” he says of his increasing electronic experimentation. “I’d be letting myself down if I didn’t chase that, if I just did what came easy to me.”

 Just don’t expect him to abandon his roots entirely. “I don’t want to go too far. The trick is to be able to strip a song of all its production and for it to still tell a good story that makes you feel something. Certain things run through all sorts of music that appeal to me, whether that’s a hip-hop artist or a singer-songwriter: honesty and a good story.” Dermot Kennedy’s story, you get the feeling, is just beginning.

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