I frantically ran into Delmar Hall, still in my scrubs from clinical, scrambling to find a good place to stand. Where do you even stand for an artist you’ve loved for fourteen years? “Into the Rush” was one of the first CDs I ever bought, and being able to see them live has brought everything full circle. I found a nice table close to the dance floor and felt the bubbling excitement to see Aly & AJ.

Armors, a three-piece alternative rock band, kicked off the show. The lead singer was charming and excited to be playing the first leg of the tour with Aly & AJ. His voice was pretty versatile, ranging from indie pop sounds to emo sounds of the 2000s. “DOA” and “I Don’t Wanna Know” were some of their songs that really stood out to me, accompanied by bounding energy and flashing lights.

The hype to see Aly & AJ comes with their return from a ten-year hiatus. After their premiere on the Disney Channel, they were met with commercial success of their first two albums, “Into the Rush” and “Insomniatic.” Following their albums, they felt a pressure to conform to mainstream music that didn’t fit them at all. They took a break to pursue their acting careers and other creative projects. Last year, the duo released the album “Ten Years” under an independent label, and it was a celebration of their return to music with a fresh, more alternative sound based in synths and dreamy vocals. St. Louis was the second location of their Sanctuary tour, commemorating the release of their new EP, “Sanctuary.”

I excitedly ran toward the stage in anticipation of their set. A low bass line drifted in, accompanied by white mood lighting. Aly & AJ walked on stage in matching trench coats and shorts, with Aly in all-black and AJ in all-white in reference to the contrasting aesthetic that marks their new music videos. AJ’s voice cut through the instrumental as they opened with “Church,” the first of two singles released this year. They clearly maintained their knack for harmonies and stayed true to the new sound they created.

“We’re gonna play a mix of old and new for you today,” Aly said after their first song. They then played “Closure,” from their 2007 album “Insomniatic.” The audience screamed lyrics that tied together the past twelve years. Aly & AJ then talked about their partnership with The Trevor Project, a 24-hour suicide hotline for LGBTQ+ youth and played “Good Love,” accompanied with glowing rainbow lights. Riding off of that energy, they played “Don’t Go Changing,” which built quietly until everyone burst into dancing during the chorus.

The duo played a special performance for St. Louis since they sang unreleased songs that would be on their new album. “Not Ready to Wake Up” was more reminiscent of their early pop songs, energizing the crowd. During “Promises,” the duo showed off breathy stylization, contrasting the smooth, catchy hook with punched staccato phrases. Shortly afterwards, the pulsing guitar riff of “Chemicals React” was met with excited screams from the audience. Flashbacks of old music videos and boomboxes filled my head. Their performance of “Take Me” could only be described as bubbly, where everyone in the audience was beaming and dancing around during the instrumental breaks. Toward the end of the show, they burst into two favorites: “Like Whoa” and “Rush.” It was a spiritual experience to sing with people who had shared the same excitement for Aly & AJ growing up. I felt like I knew everyone in the room.

For their encore, they covered “Slow Burn” by Kacey Musgraves, peeling away from an acoustic set to an a cappella cover of the song that we never knew we needed. With the same soft vibe, they sang one of their first hits, “No One.” Afterwards, they played “Sanctuary,” the title song for their EP, which was really catchy and fun to sing along. And of course, they closed with the heartbreak anthem, “Potential Breakup Song.”

Aly & AJ have evolved their sound from Disney’s pop-rock princesses to alt-pop queens, staying true to their love for harmonies and truthful lyrics. Their concert brought me a mix of nostalgia for my childhood and admiration for growth. Aly & AJ reminded me how far we have all come since our 2005 days, and took us along for the ride over a decade later. They have inspired me to reflect on my own growth in the past ten years compared to who I was when I opened that first CD case. And both pieces of myself continue to love the “Sanctuary” their music has built for me.

I’ve been a Pokémon fan since I watched “Pokémon 3: The Movie” at a birthday party when I was in kindergarten. Instead of being fascinated by sticky blue icing and squeaky balloons, I was enraptured by a colorful television screen as my friend explained what Charizard was doing with Entei. It seemed like gibberish at the time, but was the foundation of my childhood. I pored over the trading cards, then the anime and, finally, the video games. I immersed myself in the world of Pokémon without a second thought.

Fast forward to 2016, when the phone app Pokémon Go was launched. The game united today’s kids with the older generations by playing up nostalgia and utilizing an accessible platform. And with this same model, the film “Detective Pikachu” was born. This year, the Pokémon world has its first live action film. Many fans, including myself, were concerned about the “video game movie curse,” or the notion that movie adaptations of video games are predisposed to be awful.

“Detective Pikachu” reverses this curse.

The film is about the partnership between 21-year-old Tim Goodman (Justice Smith) and Pikachu (Ryan Reynolds), who investigate the disappearance of Tim’s father, Harry Goodman. Tim is very clearly uncomfortable with Pokémon and wants to return to his normal life as quickly as possible. This contrasts heavily to all previous material in the Pokémon world, which emphasizes the bonds that people can build when they train their Pokémon to battle. For a movie in an established universe, it is refreshing to see a different pathway for the main character.

“Detective Pikachu” does a fantastic job of building the world of Pokémon as believable as our own. The creatures resemble animals we are familiar with, possessing highly detailed feathers, fur and scales, but are cartoonish enough to connect to the monsters we know from the series. The animation is striking and connects us immediately to the world they live in. It adds a layer of texture aesthetically and enhances the truth of the story. The setting also pays homage to cyberpunk sci-fi films, utilizing futuristic neon lighting like “Blade Runner.” As Tim Goodman, Smith portrays the confusion and independence of people in their early 20s, unlike the anime that focuses on a 10year old. From the first 15 minutes, it’s already clear that the directors took a more mature angle for the film.

Then, a wild creative decision appears: Reynolds as Pikachu. Reynolds is a bold choice for a PG-rated movie, but he creates a bridge between the young kids and the older fans of Pokémon. There’s a natural charisma that Reynolds showcases in his roles, and Pikachu is no exception. His adaptation of a caffeine-addicted, witty Pikachu sets the tone for “Detective Pikachu” to be more than just a kids’ movie. Reynolds has a lot of fun with the edgier script, which is heavier on clever adult jokes and lighter on the slapstick. It’s a clear progression from movies solely meant for kids.

While I won’t spoil any of the plot, I will say that it was an entertaining journey. I was constantly anticipating what parts of the world they would show, which characters they would introduce and the way they would resolve the questions proposed in the movie. It combines mystery, adventure and fantasy to create an interesting and engaging story. The characters have enough depth to stand on their own and do not depend on the world to make them interesting. It provides new lore for those who are already familiar with the Pokémon world as well. I feel like I could watch it and find something new every time due to the attention to detail from the animators and writers.   

For this new generation, “Detective Pikachu” is their “Pokémon 3,” built with an engaging story and eye-catching animation. It immerses people into the Pokémon world in a way never seen on the big screen. Children are certainly going to be asking about the newest games while their parents search for their own Gameboys.

On Tuesday, LANY gave a taste of California shores and good vibes at the Pageant. Solo artist FLETCHER opened for them, hyping the crowd up with her upbeat songs like “Wasted Youth” and “Undrunk.” Her vocal range was impressive, pulling the audience in.

The stage was set up in two levels: the top level was the instrumentalists and the bottom level had the lead singer, Paul Klein, spearheading the energy by dancing around on stage and playing on the synthesizers to create LANY’s unique synthpop sound. Even their drum set and instrument board were clear so that the audience could experience both visuals and sounds. By using lights and looped videos on the screens, the band set the tone for each song. Their concert was an extremely immersive experience, both aesthetically and musically.

The band walked on stage and opened with “Thick and Thin,” marked by a constant drum beat and dreamy sounds. This song was a strong start since it brought the audience up to their feet to dance and scream their lyrics. After flashing lights, the song ended and cut to black. Sounds of cameras flashing filled the room and screen shots of a text conversation saying “i loved you.” appeared on the screen, referring to their 2015 EP. Audience members threw roses at the stage after the song “4EVER!” Klein seemed genuinely surprised and flattered, thanking them and saying that it was his birthday. “It’s just another day for me,” he said dismissively, then continued to hype up the audience. During “If You See Her,” Klein went into the crowd, sweeping his hands to touch as many people as possible.

LANY focused on being visually striking and contrasting with their background. The band looked like silhouettes in front of the bright screens. A lot of the videos that played during their set had sunsets, skies, or colorful backdrops to bring the audience to the Los Angeles beaches that they came from. In “I Don’t Wanna Love You Anymore,” the background was a simple image of flowing silver silk sheets as Klein played piano. My favorite song, “pink skies” had flashing pink lights paired with a backdrop of a sunset over a busy highway. When singing “Taking Me Back,” the lyrics appeared on the screen so that we could sing karaoke-style. “Malibu Nights” had a backdrop of a night sky and inspired the audience to hold up their phone flashlights to accompany the piano-heavy ballad. Then, the constant pulsing rhythms of “Super Far” had the audience singing at the top of their lungs. They also embraced a throwback to the 90s, using rainbow static from old television screens as a background during “Hurts.”

When they walked offstage, their name repeated on the screen in pixelated font, looking like a broken computer. The audience cheered loudly, bringing back the band onstage for the encore. They closed their show with “Thru These Tears” and “ILYSB,” which are two of their most popular songs. Afterwards, they bowed in front of a screen with the book cover to “Goodnight Moon,” beaming with pride for their performance and love for the audience.

LANY creates music to exude positive energy. Their infectious melodies and 80s-inspired synthpop made the crowd dance and sing at the top of their lungs. Though the lyrics of the album “Malibu Nights” may be focused on heartbreak, LANY channeled that pain into playing upbeat songs for their fans to connect with. For some concerts, you see artists to hear them improvise or provide an acoustic set. LANY’s show was marked by bubbly energy and visually striking staging to complement their upbeat sound. They gave us an exciting artistic performance to remember beyond any Instagram story.

LANY’s music has always brought me joy. I blast their songs in the car during long drives or focus to their albums when writing a paper. Throughout the set, Klein would ask, “Are you happy?” Before cheering loudly, I said to myself, “you know what? I am.”

The arrival of “Waitress” to the Fox is a welcome start to the spring season. The entertaining musical depicts life’s unexpected changes and serendipitous relationships. I’ve been a fan of “Waitress,” both the film and the soundtrack, but this was my first time seeing the musical. Although I’ve heard the soundtrack dozens of times, nothing could have prepared me for the beautiful, emotional journey of the stage adaptation.

“Waitress” is a musical about a woman, Jenna Hutcherson (Christine Dwyer), who becomes pregnant with the baby of her abusive husband, Earl (Matt DeAngelis). She works as a waitress at Joe’s Pie Diner and has a gift for creating pies with inventive ingredients and tongue-in-cheek names, such as “Betrayed by My Eggs Pie.” Her friends, Becky (Maiesha McQueen) and Dawn (Ephie Aardema) have their own struggles with relationships. However, when Jenna meets her new gynecologist, Dr. Pomatter (Steven Good), she grapples with the temptation of a heated affair with him. At its core, “Waitress” is a comedy, evoking laughs at every turn and witty line.

It’s evident that Dwyer had a lot of fun putting her own spin on the smalltown sweetheart. In her portrayal of the central character, she illustrated Jenna’s emotional turmoil beautifully, bringing tears to my eyes on several occasions. As Earl, DeAngelis gave a pointed, realistic image of abusive partner. His portrayal of emotional abuse encouraged audience members to examine the relationships in their own lives. In contrast, Good was delightfully awkward, and visibly charmed both Dwyer’s character and the audience. As Dawn and Ogie, Aardema and Morse played off of each other’s quirkiness, especially while singing “I Love You Like a Table.” McQueen brought energy to Becky’s character, complementing her sass with impressive belting and ad libs during “I Didn’t Plan It.” The cast members breathed life into their characters with great chemistry and I felt like I was watching the truly playful nature of friendship and early love.

The musical was entertaining for both the brilliant acting and catchy music, written by singer-songwriter Sara Bareilles. Bareilles definitely intertwined her upbeat piano pop into the songs, which the cast members performed passionately. Dawn’s solo song, “When He Sees Me,” has captivating variation in rhythm, tempo and intervals that Aardema impressively maintains. “You Matter to Me” is a tear-jerking, standout duet between Jenna and Dr. Pomatter that wraps the audience up in warmth and love. “Bad Idea (Reprise)” is a catchy song sung by six of the main cast members with a hilarious scene that needs to be seen to be believed. Finally, Jenna’s solo song, “She Used to Be Mine,” is an anthem for a lot of women struggling with their circumstances. The strings and piano accompanied Dwyer’s graceful voice, which balanced nostalgia and sadness.

The stage of “Waitress” was extremely eye-catching. The backdrop set the scene by using a clear sky that changed color to reflect the time of day. This backdrop also included telephone poles and fields to perfectly capture the feeling of a small town diner. There were baker’s racks filled with spices, sugar and real utensils that Jenna used to make pies on-stage. She kneaded dough and mixed “sugar, butter and flour,” breaking the fourth wall to instruct the audience how to make her pies. During stage transitions, Jenna typically stayed in the spotlight while the props and scenes move around her. Surprisingly, the accompanying band also played in the background of each scene. They reacted, danced and played their own characters in the diner. The staging was a nice surprise that immersed the audience into the show beyond its plot and music.

“Waitress” blends realistic characters, comedic dialogue and enchanting music to create a delightful musical. This sweet show is a must-see. “Waitress” is at the Fox from March 26 to April 7.

DreamWorks Animation is known for its comedic animated movies, producing both the “Shrek” and “Kung Fu Panda” series. Now, DreamWorks wraps up the “How to Train Your Dragon” trilogy with “How to Train Your Dragon: The Hidden World,” directed and written by Dean DeBlois. The film contains a beautiful balance of jokes, artistry and sentimental moments.

“The Hidden World” takes place a year after the second installment of the series. The colorful cast of characters live in the Viking village of Berk, which previously saw dragons as a presence to be feared. The children were originally trained to hunt and kill dragons, but the main character, Hiccup (Jay Baruchel) actually meets a “dangerous” dragon and befriends him, naming him Toothless. Throughout the series, he convinces the people in his town that they ought to be amicable with dragons. He inherits the role of chief from his father and leads the village to peace. In the new installment, Toothless meets a female dragon, a Light Fury, who he instantly falls in love with. However, the Light Fury is skittish and fearful of humans due to a ruthless dragon hunter, Grimmel (F. Murray Abraham). Hiccup has to walk the line between letting Toothless free to be with another dragon and keeping him in Berk as his best friend.

One thing I always look for in animated movies is content that adults can enjoy. Thankfully, the film moves fairly quickly and doesn’t dwell on filler scenes. It focuses on developing the plot and characters more than extraneous comedic scenes, holding the audience’s attention. “The Hidden World” clocks in at a 104-minute runtime, which is a relief from the 120-minute film trends. When the film does incorporate comedy, it utilizes more intelligent jokes—even referencing flat-earthers, for example—rather than relying on physical comedy and slapstick. I found the movie to be more focused on the story, which catered to the adults watching and, in my opinion, is a refreshing change for children.

For me, the film was remarkable because of the elements outside of the plot that shape the movie. The animation was stunning. You could see the details of every single strand of hair or even a snot bubble in a young child’s nose. The water, clouds and crystals were so realistically animated that I felt like I was watching a live-action film. During the scenes where the characters ride dragons, the sharp camera turns combined with hyperreal imagery made the audience feel like they were in the sky as well.

Each dragon was distinctly designed, with no two dragons looking alike. Some dragons mirrored their human counterparts’ personalities. I found it interesting that the dragons were not all designed to be symmetrical and beautiful like they are in most media. Instead, the artists focused on representing different personalities with varying teeth, colors, shapes and sizes. It draws the eyes of both kids and adults alike. Battle scenes were visually entrancing as well—sharply contrasting a natural, wooden color palette with the bright colors of dragons.

A beautiful score composed by John Powell tied together the breathtaking scenery with the emotional whirlwind of the plot. In a world oversaturated with formulaic scores, Powell creates complex songs that reflect the confusion, fear or triumph of each scene. Aesthetically, the film appeals to all ages and is colorful enough to hold the attention of kids.

Overall, the film was a 7 out of 10—with an enjoyable plot, cinematography and score. “How To Train Your Dragon: The Hidden World” provided a conclusive ending to an exceptional animated trilogy, known for an intricate fantasy world and heartfelt moments.

A mere five months after the release of “Sweetener,” Ariana Grande rides on the pop album’s success with her new album “thank u, next,” sharing the same name as the quietly dropped breakup anthem. Relying more heavily on beats than vocal riffs, “thank u, next” is the darker, more experienced older sister of “Sweetener,” both aesthetically and musically.

The more minimal production of the more emotional tracks draws attention to the lyrics and vocals, namely in the standout song, “ghostin.” People widely speculate that it tells the story of Grande mourning the loss of her former boyfriend, Mac Miller, and its impact on her relationship with ex-fiance Pete Davidson. “Ghostin” has an atmospheric sound, which builds with quiet strings to supplement Grande’s pensive lyrics. It is arguably the most emotionally raw song on the album, and draws you in to listen to candid lines like “though I wish that he were here instead / don’t want that living in your head.” In the song “in my head,” Grande samples a recording of a man saying “you are in love with a person that you’ve created in your head … that you cannot fix. The only thing you can fix is yourself.” It is almost as though she wrote the album as a catharsis to accept her circumstances in love and loss.

In addition to exposing her relationships, Grande sings about her own faults and painful experiences. In “needy,” Grande admits that she has baggage and can “love too hard.” She owns up to her faults and codependence rather than blaming someone else for her own issues, which adds to her vulnerability. “Fake smile” emphasizes how she will be true to herself and not fake a smile following the hardships she has endured.

At her core, however, Grande is a pop artist, and cranks out some earworms that will be on repeat. My favorite track is “NASA,” which draws the analogy that her significant other needs to give her some “space.” While she still loves them, she just wants to have some time alone. I think the idea of boundaries isn’t heavily touched in pop music, teaching a solid lesson while still being catchy and addictive. “Bloodline” cuts through the album with trumpets and a bubbly chorus, reminiscent of a low-key version of her 2014 single “Problem.” And, of course, the single “thank u, next” ties the album together with an understanding of both self-love and gratitude for the lessons she has learned from her exes.

While Grande is often compared to female powerhouses like Mariah Carey or Whitney Houston, the album’s writing is comparable to the bare-bones reflective nature of Kanye West’s “808s and Heartbreak,” which was written following the death of his mother and ended engagement. It is remarkable that Grande was compelled to compose and record this album within five months of the release of “Sweetener,” much in the same vein that West funneled his grief into an experimental album. The two elaborate albums support the effectiveness of artistry as a coping mechanism following traumatic events.

“Thank u, next” reflects emotional intelligence, composed of songs that read like lessons that she was learning throughout the release of “Sweetener,” emphasizing lessons of vulnerability and self-love. Overall, the album functions beautifully as a unit played start-to-finish rather than a collection of singles played on shuffle. “NASA,” “ghostin,” “imagine” and “needy” are some highlights from the album. Most prominently, Grande demonstrates an understanding of dynamic relationships and the human experience of self-discovery.

Jason Mraz, widely known for his 2008 classic “I’m Yours,” performed a laid-back acoustic set accompanied by Toca Rivera and Gregory Page. Mraz told the story of his origins at a coffee shop, Java Joe’s. Throughout the concert, it felt like I was in that very same coffee shop. The trio provided such a organic sound, using only guitars, voice, human hands and a djembe drum. Even the stage was minimalist—the only decorations were hanging lights. Jason Mraz kept the entire show warm and intimate, tying everything together with his songs as stories.

Gregory Page, Toca Rivera and Jason Mraz have been collaborating together for decades. Page opened the show with soothing songs that he wrote from poetry, which is a big part of his creative process. Most notably, he played his song “Heartstrings,” which he stated were all of his dreams in one song. Page’s style was reminiscent of the acoustic-heavy tunes of duos like Simon & Garfunkel as well as Loggins & Messina. He set a very soothing tone for the rest of the night. “You could even take a nap if you want to,” said Mraz to the audience.

When Mraz performs live, he doesn’t simply sing his recorded songs or singles. Mraz sang songs from the beginning of his career, including “Zero Percent / Our House,” from his 2001 acoustic set. His cover of the 1980’s hit “Our House” by Madness is always a crowd favorite because he splits the crowd to sing along with him. Mraz also sang songs about karate, chocolate and climate change, which are a treat to hear since you wouldn’t find them anywhere on his albums. However, fans waiting for his singles were not disappointed. He performed hits from nearly all of his albums, including “I’m Yours,” “Lucky,” “I Won’t Give Up,” “Unlonely,” “You and I Both” and “Have It All.”

One of the big elements of Mraz’s performance is the way that he connects with the audience. He tells so many jokes—backed up by Rivera’s laughter—and stories that frame his songs. Mraz came off as more of a charming friend than a performer. Before performing “Details in the Fabric,” a calming song about moving past difficulties, Mraz said that he had a friend who would give him a weekly word to write a song about. One week, his word was “sewing machine.” When he received a voicemail from a heartbroken friend, he thought that he would write this song to “stitch him back together.”

Later on in the show, he explained that his first single, “The Remedy (I Won’t Worry)” was about his friend Charlie, who was diagnosed with cancer. Charlie had positively accepted his fate, stating that he wouldn’t worry about what was next in his life. Mraz said when he “saw fireworks from the freeway,” he thought about his friend and cried while writing this song in the car. He said that experience taught him that the songs don’t have to be about him, but can be stories he tells for other people.

When I see an artist perform live, their stories remind me how human they really are and can completely reframe the way that I see their music and vision. We’ve heard the lyrics of Mraz’s singles thousands of times on the radio, but in a purely acoustic set, I felt like I was truly listening for the first time. His songs mean something different to each person, finding a way to attach themselves to memories, friends and relationships. Couples in the audience slow-danced to “I Won’t Give Up,” which was an unforgettable moment, filling the venue with warmth and joy.

Before Mraz would sing a song, he would say he’s singing a “new version of an old song.” Each performance was different, with scatting, different drum beats or mixed-up lyrics. And Mraz stays fresh by blending new and old songs, unified by the acoustic sound. With strong vocals, minimal staging and relaxing, wholesome tunes, Mraz focused my attention in such a distracted world, which really inspired me to be more present in my everyday life. His music brought me back to open-mic nights in coffee shops, car rides with my cousins in elementary school, and laying around my old bedroom. It brought me back home.