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Linktr.ee/WaltHaleigh Best Vegas Breakout Should another shutdown happen, Walt Haleigh will keep harmonious company. A temporarily stymied career, a delayed move to Los Angeles, and a breakup fueled his writing spree, but as the final, seven-song survey of guitar-forward indie rock demonstrates, none of that frustration prevents Smith from projecting exuberance, poise, verve, and a charming earnestness. The local singer-songwriter even challenged himself to pen 100 songs. Like many local artists, Adam Christopher Smith - aka Walt Haleigh - used the isolation of COVID as an excuse to freely create. Spinning vinyl slices of everything from New Order dance-floor classics to deeper cuts from current darkwave artists such as Boy Harsher and Light Asylum, Night Weapons’ notoriously intense DJ sets please ’80s throwback fans and contemporary synthpop addicts alike.
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Night Weapons is quickly becoming a household name among the regulars at certified cool-kid bars such as Berlin, Oddfellows, and The Griffin - and for good reason. Keep your eye (and ear) on this talented local band Morosis is just getting started. GR The must-listen track is “Open Hands,” with its gorgeous waves of shimmering darkness and ethereal vocals. On its latest EP, Saturnine, Morosis is moving toward a more serious sound. Morosis calls its sound “nu-gaze,” a twist on the subgenre of shoegaze: Droning riffs, dreamy vocals, and distorted tones blend together in a harmony of epic, crafted noise. Now it nestles right in with the Comic-Con and Game of Thrones crowd that it just had to wait for.
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KÀ has a heartbeat beneath the spectacle, and has outlasted what was both a proud point and a liability - that it’s an original story not based on a movie or whatnot - to unlock a new tier: inspiring its own dedicated fandom. It helped that artistic director Robert Lepage brought a unifying vision and a pioneering use of video-mapping.
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But that seems unlikely in this new phase of concert stars, so KÀ stands as a monument to that high-flying Vegas 2005 era of derivatives and subprime mortgages - when neither Cirque or the Strip could be held back, and all it took was money to free the very stage from gravity. KÀ It would probably be a good thing if KÀ is one day stripped of bragging rights as the biggest-budget production show on the Strip ($165 million, and that’s just what Cirque du Soleil owned up to). It’s a lively stew that makes previous AGT Live attempts in 20 seem modular and halfhearted by comparison. MW But the production design is sumptuous and unifying: Taiko drums in the aisles punch up the power-couple acrobats of Duo Transcend Jimmie Herrod sings to the shadow dancing of The Silhouettes. True to the purest definition of “variety show,” the mix of nine acts jammed into 90 minutes at Luxor can be jarring - Knife-throwing! Mentalism! Spoken-word poetry! - and the talent is uneven. MWĪt the Mat Franco Theater in The Linq, Best Variety ShowĪfter 15 years of codependency, NBC’s talent show and Las Vegas got serious just when it seems like the Strip could use something that’s both new yet familiar. But for now, being 33 years old, likable and relatable to younger magic converts is enough. There will come a day when Franco needs to push his magic forward to hold his ground in a city flush with magicians. The 2014 America’s Got Talent winner prefers a minimalist stage decorated mostly with videos panels, to display his more skillful feats of sleight-of-hand and playing-card manipulation. “I feel bad you missed that helicopter,” Mat Franco jokes to latecomers, playing off the absence of what he calls “hokey boxes” and “contraptions” from his six-year magic showcase at The Linq. MWĪt Dolby Live in Park MGM, Best Strip Show That lets us focus on the throwback funk and Apollo Theater barnstorming, with Mars’ familiar pop hits taking on a rough edge and a loose, in-the-moment exuberance that would make James Brown smile. Mars and his band The Hooligans spend their whole Dolby Live set in front of one giant prop, the letters spelling out his name. Bruno Mars counterbalances them by mining a different side of old Vegas: the big-personality headliners who didn’t need big productions. New-Vegas residencies by the likes of Gwen Stefani and Christina Aguilera call back to the era of overstuffed showgirl spectaculars.