#QUARTET NIGHT LIVE Evolution

[yumekai-artz]

🌸Welcome 🌸

Is playing...

Hello there! Welcome to my Profile

If you're new here, please read the lists!

I'm just a random mulitfandom artist..

My name is Yumeko (you can call me Yume for short), my english name is Sharon

About my sona: Coming soon

Please read before interact with me!

DNI!

- DSMP/MCYT, Dream Stans, DNF fans

- NSFW/P*rn account (I'm fucking uncomfortable sorry.)

- Sent death threats to me (I have panic attack if you send death threat to me)

- Yarichin B Club, Boku No Pico fans

- Trolls, Attention seeker

- Homophobic, Transphobic (unless you're being respectful is definitely fine)

- Racism, Ableism

- P*dophilia

- Proshippers (include p*do/age gap, incest, unhealthy relationship)

- L*licon or Sh*tacon

- Haters

- Tracers

- Art thiefs

- Toxic fans from any fandom

- If you support problematic persons like (KaiW*i, Ajkiel89/Citytoon, Am*raltra etc)

- Fetish artists

- Fujoshi, Fudanshi

Int!

- Eddsworld

- Cookie Run

- The Amazing Digital Circus

- Poppy Playtime

- Hazbin Hotel, Helluva Boss fans

- Super Mario fans

- Spy X Family

- Oshi No Ko

- MHA

- Genshin Impact, Honkai Impact fan

- Demon Slayer

- Pretty Cure fan

- Garfield fan

Extra!

1. I'm bad on English because it's not my first language. My native language is Chinese。大家好。

2. I'm Southeast Asian live at Malaysia

3. I could have panic attack, anxiety if you send death threats to me.

4. I have autism, I'm low support needs :)

5. Please don't ask me something suggestive theme relate, it's make me feels uncomfortable

6. I do request and art trade. Request it's only mutuals.

7. This account is sfw, not nsfw. It will contain swearing, if you don't like swearing that's okay remember please let peoples swearing as long it's not slurs

8. If you want to do art trade with me, please read this

Here's my comfort characters, mainly

Husk, Charlie Morningstar, Alastor (Hazbin Hotel)

Anya Forger (Spy X Family)

Yanfei, Furina, Klee, Kaehara Kazuha (Genshin Impact)

Pomni, Ragatha (The Amazing Digital Circus)

Catnap, Dogday, Craftycorn, Bunzo Bunny (Poppy Playtime)

Yuki/Cure Nyammy, Komugi/Cure Wonderful (Wonderful Precure)

Garfield, Vic

That's it.

Have a great/day, night. (ʘᴗʘ✿)

From,

- Yumeko

For more social media, here！

🎶Fav songs🎶

Ending song playing...

Bye~

[pidge-poetry]

Foals

12th July 2019 The Town Hall, Auckland, New Zealand.

Review by Sarah Kidd | Photography by Chris Zwaagdyk | ambientlightblog.com

For the first night of two of the most hotly anticipated shows of the dreary winter season, Aucklanders braved the intermittent heavy showers to make their way to the warm welcoming arms of the Town Hall.

With both performances sold out, there was an undeniable electricity in the air, fans bristling with energy as they jostled for position down on the floor. Admittedly for many there was also the bittersweet pangs of disappointment that due to scheduling conflicts only Saturday nights attendees would be granted the privilege of seeing the stupendous Californian indie rock band Warpaint open proceedings; Auckland based Daffodils however once again delivering an outstanding performance that helped ease the pain just a little.

The quartet of Foals, the indie math rock darlings of Oxford, England have just recently delivered their latest album Everything Not Saved Will Be Lost – Part 1, an album whose first two singles hands down proved that they are indeed currently at the top of their game. Having formed fourteen years ago, for many it has been like watching a beloved child grow, mature and step forth into the world as an independent entity, full of bravado and hope for the future.

Ensconced on a stage bordered with lush green palm fronds that mimicked the cover of their latest album, a black and white backdrop of a pair of terracotta lions overlooked the four piece whose numbers were bolstered by additional touring members; the stage itself bathed in a heady mix of orange and rose stage lights and plumes of wispy smoke.

Bursting to life as the crowd bellowed with joy, ‘On The Luna’ was the first song to grace the stage, it’s higher octave stance lamenting the fact that Trump is clogging up their computer all day, the bouncy notes seeing the audience dance in time. Following it straight up with a double header from their fourth album What Went Down, it was clear that Foals were going to be playing mixologist with their set list.

Bearded vocalist Yannis Philippakis, his navy and white patterned shirt somehow perfectly complimenting the backdrop drew the fans eyes, as he stood across from guitarist Jimmy Smith, sharing a passing look or two as they fed off both each other and the crowd, Philippakis vocals sounding on point throughout the night.

One of the most noticeable highlights of the evening however was how seamlessly at some points the concert flowed. On paper – due to the continual evolution of both the bands character and sound – the set list may not have looked to have blended that well; but live the pieces connected together, the band often not allowing for the standard stop and start to each piece, but instead allowing the tail end of a song to stretch out and curl itself around the intro of the next.

Old favourites such as ‘Olympic Airways’ segued into new, both ‘Syrups’ and ‘Sunday’ giving the Auckland crowd a taste of how Foals latest work transcribes to the stage; all was embraced, but of course songs such as the epic ‘Spanish Sahara’ were rejoiced, the magnificent stage lighting reflecting the heat of both the track itself and the audience as they gave themselves over.

Delving back into their math rock roots ‘Red Sox Pugie’ set the venue on fire before ‘Exits’ – a song that is almost impossible not to love – forewarned of a world where there will be no birds left to fly thanks to humanity’s destruction of the planet. This urgency to pay attention to the downfall of the climate around us seemed to coarse through Philippakis veins; throughout the evening he had teased the audience as he had stepped down into the pit to get closer, at one point getting them to hold his legs as he walked out onto the first few rows and played guitar above their heads.

But now it was bursting out of him, taking off at speed with his guitar, he ran down the length of the barrier and into the crowd, before returning to the stage, ditching his instrument and walking across a sea of hands to ferociously sing while being held above the adoring fans. The encore bringing everything to a head as the evening’s euphoria spilled over the edges, Foals bringing it home with the fiercely contagious ‘Two Steps Twice’.

And to think, they are releasing Part 2 in just a few months. Heart be still.

[lokuhapuarachchi]

The Rhythm of Sri Lankan Music Heard in Liverpool City Centre

Liverpool, a vibrant city on England's northwest coast, has a rich and influential musical history that has left an indelible mark on the world. Renowned for its maritime heritage and dynamic cultural scene, Liverpool's music landscape boasts a diverse range of genres and groundbreaking talent.

On Saturday, May 18th, Liverpool's Britannia Adelphi Hotel hosted the city's most successful concert of the year, "The Invitation." Organized to raise funds for the Liverpool Buddhist Temple, the event provided an engaging evening for Liverpool's Sri Lankan community. The concert featured stunning performances by Falan Andrea, Annesley Malewana, and Gayan Gunawardana, with music by Britain's most popular Sri Lankan band, Exceed.

Despite some attempts to disrupt the show, the strong bond between the organizing committee, the three artists, and the band ensured that the event went ahead as planned. Their efforts brought the concert to life, creating unforgettable memories and marking it as a successful event in Liverpool's vibrant cultural calendar.

Liverpool's musical revival is not limited to its past with The Beatles and the Merseybeat movement. The life of the city is intertwined with a bustling live music scene. Venues such as the Echo Arena, O2 Academy, and Philharmonic Hall host a wide range of concerts, from contemporary pop and rock to classical and orchestral. Grassroots venues such as Zanzibar Club and The Jacaranda provide platforms for emerging artists, ensuring the continued evolution of Liverpool's musical identity.

The Beatles, formed in 1960, are perhaps the most notable contribution to music from Liverpool. The legendary quartet—John Lennon, Paul McCartney, George Harrison, and Ringo Starr—rose to global fame with their innovative sound and timeless hits. Places like The Cavern Club, where the Beatles honed their craft, remain pilgrimage sites for fans around the world. The band's success not only put Liverpool on the map but also inspired countless musicians and bands around the world.

The early 1960s saw the rise of the Merseybeat movement, named after the River Mersey. The genre, characterized by its upbeat sound and catchy melodies, was pioneered by Liverpool bands such as Gerry and the Pacemakers, The Searchers, and The Merseybeats. Merseybeat helped define the British Invasion in the United States, a period in which British music dominated the American charts.

Liverpool's commitment to celebrating music is also evident in its various festivals, including the Liverpool International Music Festival (LIMF) and Africa Oye.

"Aardhana" added a uniquely Sri Lankan note to Liverpool's rich musical background, showcasing the city's embrace of global musical influences and its thriving multicultural community. Taking these personal photographs was unofficial, but I aimed to capture the essence of a night where music strengthened cultural bonds as a gesture of support to the dear organizers.

Photographs and Notes - Anuruddha Lokuhapuarachchi

[chrisryanspeaks]

Steve Miller Steve Miller to release deluxe 50th anniversary Joker album; shares unreleased "Joker Suite"

STEVE MILLER CELEBRATES 50TH ANNIVERSARY OF THE JOKER J50: THE EVOLUTION OF THE JOKER BOX SET RELEASED BY SAILOR/CAPITOL/UME SEPTEMBER 15, 2023 MILLER’S CREATIVE JOURNEY TOWARDS LANDMARK EIGHTH STUDIO ALBUM CHRONICLED WITH 27 NEVER-BEFORE-HEARD RECORDINGS INCLUDING EIGHT PREVIOUSLY UNRELEASED SONGS AND COMMENTARY FROM MILLER HIMSELF “THE JOKER SUITE,” SHOWCASING THE 5X RIAA PLATINUM-CERTIFIED, #1 HIT TITLE TRACK, WITH THE PREVIOUSLY UNRELEASED “LIDI” AND “TRAVELIN’,” PREMIERES TODAY – LISTEN J50: THE EVOLUTION OF THE JOKER  ALBUM TRAILER STREAMING NOW - WATCH PRE-ORDERS AVAILABLE NOW Steve Miller is honoring the 50th anniversary of his chart-topping, Platinum eighth studio album, The Joker, with a new box set chronicling the artistic journey that led to its creation. J50: The Evolution of The Joker showcases Miller’s process as he expands and reimagines his craft, ultimately finding a strikingly original new sound that brought him to a wider audience than ever before and set the stage for even greater successes to come. Curated by Miller himself, J50 dives deep into the creative process of writing and assembling The Jokerand amplifies its enduring magic by chronologically placing the original album tracks alongside 27 previously unreleased recordings from Miller’s personal archive – including songwriting tapes made by Miller on his TEAC 4-track in hotel rooms on the road and at live performances, plus studio outtakes and rehearsals – as well as six audio commentary tracks from Miller and exclusive liner notes from both Miller and legendary journalist Anthony DeCurtis.  J50: The Evolution of The Joker arrives via Universal on 2xCD, 3xLP + 7”, as well as digital download and all DSPs and streaming services on Friday, September 15. The vinyl version includes a reproduction of a vintage The Joker iron-on and a limited-edition lithograph. Pre-orders are available now. J50: The Evolution of The Joker is highlighted by “The Joker Suite,” an extended piece showcasing the musical path to the album’s 5x RIAA Platinum-certified (5 million sales in the US alone), worldwide #1 hit title track, “The Joker,” with the previously unreleased “Lidi” and “Travelin’,” available today at all DSPs and streaming services. Read More: The Joker was originally released worldwide in October 1973 and quickly became a hit in the United States crossing over from FM underground radio to the AM pop radio of the day. Shortly thereafter, the song went to number 1, first in the States and the rest of the world followed. This mainstream breakthrough success was certainly fueled by dramatic shifts in both the lineup and Miller’s own approach to songcraft. J50: The Evolution of The Joker brings together the original album alongside unreleased recordings, thereby illustrating Miller’s creative process. The collection kicks off with beautiful acoustic live renditions of “Children of the Future,” “Brave New World,” and “Space Cowboy,” recorded while on the road in 1972. Miller had long nurtured his still-growing audience with constant touring, routinely visiting hundreds of cities each year. Backed by Dickie Thompson on keyboards, Gerald Johnson on bass, and John King on drums, the lineup marked Steve Miller Band’s first iteration as a quartet. Fueled in part by Thompson’s B3 organ and electric Hohner clavinet, the band developed a distinctive new sound, blending Miller’s signature psychedelic blues with a focused songcraft that expertly merged his many inspirations and influences into something wholly original and all his own. Their lengthy sets were highlighted by covers of R&B gems like Young Jessie’s “Mary Lou” and The Clovers’ “Your Cash Ain’t Nothin’ But Trash,” both of which would be featured on The Joker. Energized by his band’s nightly workouts, Miller spent his late-night hours recording on a TEAC 4-track tape machine in hotel rooms across the nation, working on new songs largely on 12-string guitar. In July 1973, the band hit Capitol Record’s Studio B in Los Angeles and quickly got to work, recording, mixing, and mastering the album in just 17 days with Miller producing. “The most important rule that every kid out there who wants to make a record should remember is: When you go into the studio, be ready to do the whole performance the first time you do it, because that’s going to be the best time you do it,” Miller says. “The whole thing is to capture the first performance. That’s a lot of what The Joker’s about. It was all first takes, and first takes are always better than perfect takes. “To make a hit record, I thought it was best to have five hooks,” he continues. “Not one, not two, not three, not four, but five, if you really wanted to deliver a hit. Like if you take ‘The Joker.’ ‘Some people call me the Space Cowboy.’ What the hell was that? Then it continues and it gets your attention again: the slide guitar, the chorus, the harmony, the wolf whistle. It all adds up. All of these things are just elements of writing. You learn those elements, and you’re always playing with them.” Miller’s new songs, from the album-opening “Sugar Babe” and longtime live favorite “Shu Ba Da Du Ma Ma Ma Ma,” to the easygoing blues shuffle, “The Lovin’ Cup” (extended by a driving, live acoustic version of Robert Johnson’s “Come On In My Kitchen,” with foot-stomping percussive accompaniment) and the devastating, slow-burn “Evil,” the latter recorded on stage at Boston, MA’s Aquarius Theater. “Something To Believe In” closes The Joker on a warm, reassuring romantic pop lullaby. “Like clear water in a mountain stream,” he sings, “l will come to you in your dreams/Like pictures reflected in a mountain lake/I will be with you when you wake.” Released as a single in October 1973, “The Joker” proved, in Miller’s words, “a real, no kidding, non-stop hit,” played on virtually every radio station around the world. “The Joker” rose to #1 on Billboard’s “Hot 100” while also reaching the top 20 in many countries around the world. In September 1990, more than a decade later, "The Joker" made history by returning to the US, UK, and European charts after being featured in a popular TV commercial for Levi’s – the longest-ever gap between transatlantic chart-toppers. With its title track seemingly everywhere (as well as its indelible masked album cover by famed photographer Norman Seeff), The Joker album was quickly certified platinum by the RIAA – Miller’s first up to that time. Not only was The Joker significant in its own artistic right, but it also positioned Miller for the next, vitally important stage of his career, when he would become one of the biggest hitmakers and most definitive artists of the 70s. Today, Steve Miller’s releases combine for more than 75 million in sales as well as five billion streams. He has multiple #1s and five Top 10 Billboard Hot 100 songs which have spent 226 weeks collectively on the chart. Miller also has four Top 10 albums on the Billboard 200, which have collectively spent 528 weeks on that chart. Read the full article

[audiofuzz]

Steve Miller Steve Miller to release deluxe 50th anniversary Joker album; shares unreleased "Joker Suite"

STEVE MILLER CELEBRATES 50TH ANNIVERSARY OF THE JOKER J50: THE EVOLUTION OF THE JOKER BOX SET RELEASED BY SAILOR/CAPITOL/UME SEPTEMBER 15, 2023 MILLER’S CREATIVE JOURNEY TOWARDS LANDMARK EIGHTH STUDIO ALBUM CHRONICLED WITH 27 NEVER-BEFORE-HEARD RECORDINGS INCLUDING EIGHT PREVIOUSLY UNRELEASED SONGS AND COMMENTARY FROM MILLER HIMSELF “THE JOKER SUITE,” SHOWCASING THE 5X RIAA PLATINUM-CERTIFIED, #1 HIT TITLE TRACK, WITH THE PREVIOUSLY UNRELEASED “LIDI” AND “TRAVELIN’,” PREMIERES TODAY – LISTEN J50: THE EVOLUTION OF THE JOKER  ALBUM TRAILER STREAMING NOW - WATCH PRE-ORDERS AVAILABLE NOW Steve Miller is honoring the 50th anniversary of his chart-topping, Platinum eighth studio album, The Joker, with a new box set chronicling the artistic journey that led to its creation. J50: The Evolution of The Joker showcases Miller’s process as he expands and reimagines his craft, ultimately finding a strikingly original new sound that brought him to a wider audience than ever before and set the stage for even greater successes to come. Curated by Miller himself, J50 dives deep into the creative process of writing and assembling The Jokerand amplifies its enduring magic by chronologically placing the original album tracks alongside 27 previously unreleased recordings from Miller’s personal archive – including songwriting tapes made by Miller on his TEAC 4-track in hotel rooms on the road and at live performances, plus studio outtakes and rehearsals – as well as six audio commentary tracks from Miller and exclusive liner notes from both Miller and legendary journalist Anthony DeCurtis.  J50: The Evolution of The Joker arrives via Universal on 2xCD, 3xLP + 7”, as well as digital download and all DSPs and streaming services on Friday, September 15. The vinyl version includes a reproduction of a vintage The Joker iron-on and a limited-edition lithograph. Pre-orders are available now. J50: The Evolution of The Joker is highlighted by “The Joker Suite,” an extended piece showcasing the musical path to the album’s 5x RIAA Platinum-certified (5 million sales in the US alone), worldwide #1 hit title track, “The Joker,” with the previously unreleased “Lidi” and “Travelin’,” available today at all DSPs and streaming services. Read More: The Joker was originally released worldwide in October 1973 and quickly became a hit in the United States crossing over from FM underground radio to the AM pop radio of the day. Shortly thereafter, the song went to number 1, first in the States and the rest of the world followed. This mainstream breakthrough success was certainly fueled by dramatic shifts in both the lineup and Miller’s own approach to songcraft. J50: The Evolution of The Joker brings together the original album alongside unreleased recordings, thereby illustrating Miller’s creative process. The collection kicks off with beautiful acoustic live renditions of “Children of the Future,” “Brave New World,” and “Space Cowboy,” recorded while on the road in 1972. Miller had long nurtured his still-growing audience with constant touring, routinely visiting hundreds of cities each year. Backed by Dickie Thompson on keyboards, Gerald Johnson on bass, and John King on drums, the lineup marked Steve Miller Band’s first iteration as a quartet. Fueled in part by Thompson’s B3 organ and electric Hohner clavinet, the band developed a distinctive new sound, blending Miller’s signature psychedelic blues with a focused songcraft that expertly merged his many inspirations and influences into something wholly original and all his own. Their lengthy sets were highlighted by covers of R&B gems like Young Jessie’s “Mary Lou” and The Clovers’ “Your Cash Ain’t Nothin’ But Trash,” both of which would be featured on The Joker. Energized by his band’s nightly workouts, Miller spent his late-night hours recording on a TEAC 4-track tape machine in hotel rooms across the nation, working on new songs largely on 12-string guitar. In July 1973, the band hit Capitol Record’s Studio B in Los Angeles and quickly got to work, recording, mixing, and mastering the album in just 17 days with Miller producing. “The most important rule that every kid out there who wants to make a record should remember is: When you go into the studio, be ready to do the whole performance the first time you do it, because that’s going to be the best time you do it,” Miller says. “The whole thing is to capture the first performance. That’s a lot of what The Joker’s about. It was all first takes, and first takes are always better than perfect takes. “To make a hit record, I thought it was best to have five hooks,” he continues. “Not one, not two, not three, not four, but five, if you really wanted to deliver a hit. Like if you take ‘The Joker.’ ‘Some people call me the Space Cowboy.’ What the hell was that? Then it continues and it gets your attention again: the slide guitar, the chorus, the harmony, the wolf whistle. It all adds up. All of these things are just elements of writing. You learn those elements, and you’re always playing with them.” Miller’s new songs, from the album-opening “Sugar Babe” and longtime live favorite “Shu Ba Da Du Ma Ma Ma Ma,” to the easygoing blues shuffle, “The Lovin’ Cup” (extended by a driving, live acoustic version of Robert Johnson’s “Come On In My Kitchen,” with foot-stomping percussive accompaniment) and the devastating, slow-burn “Evil,” the latter recorded on stage at Boston, MA’s Aquarius Theater. “Something To Believe In” closes The Joker on a warm, reassuring romantic pop lullaby. “Like clear water in a mountain stream,” he sings, “l will come to you in your dreams/Like pictures reflected in a mountain lake/I will be with you when you wake.” Released as a single in October 1973, “The Joker” proved, in Miller’s words, “a real, no kidding, non-stop hit,” played on virtually every radio station around the world. “The Joker” rose to #1 on Billboard’s “Hot 100” while also reaching the top 20 in many countries around the world. In September 1990, more than a decade later, "The Joker" made history by returning to the US, UK, and European charts after being featured in a popular TV commercial for Levi’s – the longest-ever gap between transatlantic chart-toppers. With its title track seemingly everywhere (as well as its indelible masked album cover by famed photographer Norman Seeff), The Joker album was quickly certified platinum by the RIAA – Miller’s first up to that time. Not only was The Joker significant in its own artistic right, but it also positioned Miller for the next, vitally important stage of his career, when he would become one of the biggest hitmakers and most definitive artists of the 70s. Today, Steve Miller’s releases combine for more than 75 million in sales as well as five billion streams. He has multiple #1s and five Top 10 Billboard Hot 100 songs which have spent 226 weeks collectively on the chart. Miller also has four Top 10 albums on the Billboard 200, which have collectively spent 528 weeks on that chart. Read the full article

[s-o-n-de-r]

REVIEW: The Academic

Review by Travis Boyer

Photo by: Wolff

Chances are, you’re not entirely the same as you were a number of years ago. Rock bands are no exception, especially after reaching incredible heights at the beginning of your career. Five years after their debut album, “Tales From The Backseat,” topped the Irish music charts, indie rock band The Academic have returned with their follow-up record, “Sitting Pretty.” In addition, the band is set to embark on a 14 stop, North American tour, kicking off on April 9 in Toronto. During a recent 1824 press conference, The Academic talked in-depth about their new album and how they’ve progressed as a group.  

After their 2018 debut, the quartet from Mullingar, Ireland signed with Capitol Records in 2020. However, the journey towards a second album, much like the rest of the world, was put on pause by the COVID-19 pandemic. In the meantime, The Academic produced a pair of EPs, “Acting My Age” and “Community Spirit,” because they, as lead singer Craig Fitzgerald described it, “respect the album process so much that they didn’t want to do something from home.” However, the lockdown served as a “blessing in disguise,” according to guitarist Matthew Murtagh, because the band was able to become “better at getting ideas across to each other.”

In turn, the band approached the creative process for “Sitting Pretty” as if it were an “open kind of field where we could take the songs in loads of different directions,” Fitzgerald said. Murtagh echoed this, saying that the new album exhibits “not too many frills and excesses," adding that “it’s a good bit more raw.” While in the studio, bass player Stephen Murtagh said that the band “embraced the live element” and, by doing so, stumbled upon “happy accidents” and bits of “magic” in the process, leading to a shared philosophy of following their “intuition.”

To Stephen, prior to “Sitting Pretty,” The Academic could be described as “energetic, boisterous, youthful.” Now, given the passage of time, he defined the band as “mature, pensive, neurotic.” Both of the Murtagh brothers pointed to “Homesick” as emblematic of their new sound with Matthew defining the track as displaying “the most development in our songwriting.” While Stephen noted how the “vulnerable” song being “drenched in reverb” represented a style that they “weren’t quite bold enough to go with” before. In addition, Fitzgerald described “Homesick” as being about “surroundings weighing in on you…making you not exactly present as you want to be in a situation.”

Also, Stephen deemed “My Very Best” the “emotional epicenter of the album.” Coincidentally, the portion of the chorus, “I got the fear,” has a unique meaning in Ireland. According to Stephen, it can refer to the “fear of everything” that may arise in the morning as you sober up from a night of drinking.

With the release of “Sitting Pretty,” The Academic hopes to show that they have matured in the intervening years since bursting onto the scene. What does shine through is a band that sought out ways to grow as a unit. As a result, they have taken a giant step forward in their evolution.

Where you can find The Academic: Instagram | Twitter | TikTok

[casualpastelgay]

Today on ‘Shoutan GIFs nobody asked for’

[romanasharien]

Happy birthday Aoi Shouta (31) and Taniyama Kishou (43)

[raindrop-writes]

Maji Love Live/Quartet Night Evo

I was asked about my opinion on all the lives so far/that I’ve seen (Maji Love 1-6 and Quartet Night Live Evolution). I was asked a series of questions and decided to compile them here.Your favourite live so far: Either 5th stage or QN Evolution Your favourite costume: QN 5th stage Favourite part of a live: In 6th stage when they had someone hold this random cat but then they did smoke machines and Cecil’s VA (Toriumi Kousuke) popped out. I didnt get why there was a cat at first and I found it amazing and well thought out when I managed to link it (when Cecil appeared) Song most anticipated for: Hurrayx2 Dreamers (QN Evolution) or Synchronism and Grown Empathy (6th stage) Song that was good in one live but not in another: This isnt the song but more of the dance. Innocent Wind. As much as Shouta is my favourite VA and he did amazingly, the dance in 5th stage was better than in the evolution. I only think this because it changed. I dont like when they change dance moves, especially when people use them as a reference to learn. Other than that I think Tsukiakari no Dearest was also better in 5th stage. This is only my personal opinion. Both VAs did an amazing job. Similarly I think that God’s S.T.A.R was better in 6th stage simply because of the atmosphere and how attractive the dance/visual aspects were. (And QN is my bias so I’m not criticising them because I dont like them because I’ve never loved a group more. These songs just came straight to my mind) Song that was better than expected: Subete wo Uta ni!

[ayakashisama]

Evolution of Maeno Tomoaki in UtaPri (2nd stage → 6th stage).

Maenu is trully becoming more and more Camus from one stage to another.

[shoutatsun]

TATSUN DANCING ON BACKSTAGE

Never forget the dance movements Tatsun showed to Shoutan on Backstage~ wwww ♡

-love this ramdom moment-

[tattsunsan]

QUARTET NIGHT intro sequence!

[arellethram]

QUARTET NIGHT Live Evolution 2017 fansub download

It’s done! Go thank these wonderful people for sharing their time and talents with the fandom.

Translators: @janiesj, @kuroorchidnobass

Timers: @elie-df, me

QC: @ryota-kunstranslations, me

Lyrics: Moonlit Sanctuary, Llama Like Sarah

Please support Uta no Prince-sama and Quartet Night by buying the DVD! Purchase links: CDJapan, Animate

Details and download links (Please DO NOT Repost) under Read More:

SOFT SUB (text only) [DOWNLOAD] (aegisub file)

Subtitles are in aegisub (.ass) format to maintain formatting/karaoke effects. Please leave the original team member credits intact if you decide to re-translate (and tag us so we can share).  Thank you!

Note: If there are issues, contact me and I’ll fix/reupload asap.

[freyja-veens]

Tatsu as a noble lol

[fangirls-existencial-problems]

Tatsu I love you!♥o♥

His dancers kills me xD