{"id":64075,"date":"2026-05-07T15:32:27","date_gmt":"2026-05-07T15:32:27","guid":{"rendered":"https:\/\/musicianvoice.com\/index.php\/2026\/05\/07\/the-tour-live-in-3d\/"},"modified":"2026-05-07T15:32:27","modified_gmt":"2026-05-07T15:32:27","slug":"the-tour-live-in-3d","status":"publish","type":"post","link":"https:\/\/musicianvoice.com\/index.php\/2026\/05\/07\/the-tour-live-in-3d\/","title":{"rendered":"The Tour Live in 3D\u2019"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<a href=\"https:\/\/www.rollingstone.com\/t\/billie-eilish\/\" id=\"auto-tag_billie-eilish\" data-tag=\"billie-eilish\">Billie Eilish<\/a>\u2019s excellent new concert movie <em><a href=\"https:\/\/www.rollingstone.co.uk\/music\/news\/billie-eilish-james-cameron-interview-hit-me-hard-and-soft-the-tour-concert-film-60889\/\" rel=\"nofollow\" target=\"_blank\">Hit Me Hard and Soft: The Tour (Live in 3D) i<\/a><\/em>s the rare film that\u2019s directed by two Oscar winners: <a href=\"https:\/\/www.rollingstone.com\/t\/james-cameron\/\" id=\"auto-tag_james-cameron\" data-tag=\"james-cameron\">James Cameron<\/a> and <a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/billie-eilish-what-was-i-made-for-best-song-2024-oscars-1234982377\/\">Eilish herself<\/a>. These two make an unusual pair, coming from two totally different worlds \u2014 the man who directed <em>Titanic<\/em> and the woman who wrote \u201cLunch.\u201d (She\u2019s won Best Song twice, for the <em>Barbie<\/em> song you remember and a James Bond theme you don\u2019t.) It\u2019s a 3D film, for that extra-immersive experience. But onscreen, as onstage, there\u2019s nobody else on earth like Billie Eilish.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<em><em><a rel=\"nofollow\" href=\"https:\/\/www.rollingstone.co.uk\/music\/news\/billie-eilish-james-cameron-interview-hit-me-hard-and-soft-the-tour-concert-film-60889\/\" target=\"_blank\">Hit Me Hard and Soft: The Tour (Live in 3D)<\/a><\/em><\/em> is her third concert film, after the animation-heavy 2021 <a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/billie-eilish-announces-happier-than-ever-los-angeles-concert-film-1200684\/\"><em>Happier Than Ever: A Love Letter to Los Angeles<\/em> <\/a>and the 2023 <em>Live at the O2<\/em>. But despite the 3D effects, it ends up as a straight-ahead presentation of a no-frills stage show. Like the tour, it all comes down to Eilish and the power of her deeply personal songs. It\u2019s no behind-the-scenes doc of wacky backstage shenanigans. Nothing distracts from the emotional intimacy of Eilish onstage, belting \u201cThe Greatest\u201d or \u201cHappier Than Ever,\u201d on an artistic peak.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe show opens strong with \u201cChihiro\u201d and \u201cLunch,\u201d which set the tone for the whole concert\u2014no dancers, no costume changes, no glitz, just Eilish bringing her songs to life. She works hard to make it feel like one woman alone with her audience. At one point she shows the camera the scrapes on her hands from running through the crowd high-fiving fans.\u00a0<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"BILLIE EILISH - HIT ME HARD AND SOFT: THE TOUR (LIVE IN 3D) | Official Trailer #2\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/GN20L_LfG5g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe <a href=\"https:\/\/www.rollingstone.com\/music\/music-album-reviews\/billie-eilish-hit-me-hard-and-soft-review-1235022854\/\">Hit Me Hard and Soft <\/a>tour was her most ambitious live venture yet. It was also the first one without her brother and musical collaborator <a href=\"https:\/\/www.rollingstone.com\/t\/finneas\/\" id=\"auto-tag_finneas\" data-tag=\"finneas\">Finneas<\/a> O\u2019Connell\u2014the first time she\u2019d faced audiences without him there by her side. There\u2019s a poignant scene where she recalls getting flowers from him on the opening night in Quebec, as she reads the note he sent her.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe film is full of interview footage of Eilish perched on a couch backstage talking to Cameron, who\u2019s hoisting a giant camera on his shoulder. (Somewhat awkwardly, to comic effect.) Cameron has always been a technical wizard who\u2019s not necessarily known for the human touch, but he labors valiantly to speak the language of pop music on her terms. For most of the movie, he\u2019s the only human who interacts with her.\u00a0<\/p>\n<section class=\"brands-most-popular \/\/ editors-pick-module lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tEditor\u2019s picks<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tBut the focus is all on Eilish, who makes it practically a solo show. \u201cIt\u2019s kind of all on me,\u201d she tells Cameron. \u201cEvery time I\u2019ve toured, it\u2019s basically just me running around and jumping. And that comes from my love for rap and hip hop and how those were my favorite performers when I was younger. I just wanted the freedom of being a guy on stage, shirtless, running around, jumping. And the whole crowd is just in awe of this one person on stage able to make the entire room jump and watch.\u201d That\u2019s the kind of performer she always aspired to be. \u201cI had never seen a girl do that,\u201d she says. \u201cThats\u2019s part of why I don\u2019t want a bunch of people on my stage \u2014 because I want to feel like it\u2019s me and them.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tIn one of the best moments, she takes Cameron to her backstage sanctum, the Puppy Room, where she snuggles with dogs from a local shelter. \u201cTour is so brutal and so like taxing,\u201d she says. \u201cI like to have a puppy room for the guys to kind of go chill.\u201d She makes this a regular part of her touring regimen, saying, \u201cEveryone needs some dog love.\u201d Cameron replies, \u201cI\u2019m doing this on my next movie for sure.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe film reveals how she achieved some of her onstage effects, as in a scene where she gets launched out of a giant cube into the audience. A note taped to the inside of the cube helpfully reads, \u201cWe are in Manchester, England.\u201d Everyone is self-consciously aware that the cameras are there \u2014 before taking the stage, the back-up band chants, \u201cone, two, three \u2014 3D!\u201d We briefly see her getting her sprained ankle taped up, and waving out a window at fans camped in the parking lot.\u00a0<\/p>\n<section class=\"brands-most-popular \/\/ recirculation-modules lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tRelated Content<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tShe isn\u2019t seen dealing with any other people besides Cameron and her brother, so there\u2019s no attempt to discuss her offstage life or her inner thoughts. Her larger-than-life personality is muted for the most part, as she talks about her creative process with regard to the live show (\u201cI\u2019m my own hair and makeup person\u201d) and her clothes, but not her music-making or songwriting. Her back-up musicians might as well be coffee machines. She\u2019s all business.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tShe revisits her classic 2018 debut for a rowdy \u201c<a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/billie-eilish-bad-guy-finneas-song-breakdown-video-882603\/\">Bad Guy<\/a>\u201d and a fantastically creepy version of \u201cBury A Friend.\u201d This the original Billie Eilish that the world first fell in love with, the zany bedroom-pop conceptual mastermind of <em><a href=\"https:\/\/www.rollingstone.com\/music\/music-album-reviews\/review-billie-eilish-when-we-all-fall-asleep-where-do-we-go-814754\/\">When We All Fall Asleep, Where Do We Go?<\/a><\/em> But the show focuses mainly on the confessional tunes from her next two albums, <em><a href=\"https:\/\/www.rollingstone.com\/music\/music-album-reviews\/billie-eilish-happier-than-ever-1206060\/\">Happier Than Ever<\/a><\/em> and <em><a href=\"https:\/\/www.rollingstone.com\/music\/music-album-reviews\/billie-eilish-hit-me-hard-and-soft-review-1235022854\/\">Hit Me Hard and Soft<\/a><\/em>, which elevated her artistic game even though the whole world would have been perfectly happy if she\u2019d stayed in the same zone as her debut.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe most powerful sequence in the film comes late in the show when Billie gets down to business, guitar in hand, to do a trio of her most touching songs, \u201cYour Power,\u201d \u201cSkinny,\u201d and \u201cTV.\u201d It\u2019s a stunning showcase for her as a songwriter, a performer, and as a pure vocalist, hitting high notes of raw emotion as she reflects, \u201c21 took a lifetime.\u201d \u201c<a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/billie-eilish-barbie-what-was-i-made-for-lollapalooza-1234800633\/\">What Was I Made For<\/a>\u201d feels both inevitable and irresistible, a deeply private lament that turns into a whole different song when Eilish turns it over to the crowd to sing.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe film\u2019s biggest weakness is that it\u2019s marred by way too many cheesy-close-ups of audience members crying and mugging \u2014 a standard cliche of manipulative concert-movie shtick, but not one that should be getting in the way of a performance this original and powerful. There\u2019s also too many close-ups of the audience\u2019s hands clutching phones, which doesn\u2019t work so well in 3D \u2014 it keeps giving the sensation that some rando just held up a phone in front of your face.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tEilish keeps her playful side under wraps, for the most part. At the end, there\u2019s a brief glimpse of her air-humping a human skeleton, and while there\u2019s probably a funny story in there, that\u2019s not the kind of thing she was keen to put on display in this movie. But she does \u201cGuess,\u201d her awesomely salacious remix duet with Charli XCX \u2014 unfortunately, Charli doesn\u2019t show up, which is a shame since it might have been a more fruitful cinematic move for her than <em>The Moment<\/em>.<\/p>\n<section class=\"brands-most-popular \/\/ recirculation-modules trending-in-article lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tTrending Stories<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tToward the end, Finneas makes an unexpected appearance onstage, sitting down at the piano to join her for \u201cLovely.\u201d (\u201c<em>Surpriiiise!<\/em>\u201d Billie tells the audience.) He visibly lifts her mood quite a few notches. So many of Eilish\u2019s innovations have transformed pop music, yet it\u2019s easy to overlook what an unprecedented thing it is to see her bond with Finneas, simple as it may seem in retrospect. Seeing two siblings who casually and un-neurotically adore each other onstage is not something we\u2019ve ever been used to getting from pop music, at any point in its history.\u00a0<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThat\u2019s always been an undeniable key to the music\u2019s impact. So it\u2019s a delight when Finneas returns to help out on guitar for \u201cHappier Than Ever\u201d and \u201cBirds of a Feather\u201d (even singing a line), ending the show and the film on a high note. But make no mistake: the movie, like the show, is all Billie Eilish standing on her own. She\u2019s the only bird of her feather, and it\u2019s a better world for having her and all her plumage on display.<\/p>\n<\/div>\n<p><br \/>\n<br \/><a href=\"https:\/\/www.rollingstone.com\/music\/music-features\/billie-eilish-james-cameron-hit-me-hard-soft-concert-doc-3d-1235559046\/\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Billie Eilish\u2019s excellent new concert movie Hit Me Hard and Soft: The Tour (Live in 3D) is the rare film that\u2019s directed by two&#8230;<\/p>\n","protected":false},"author":5,"featured_media":64076,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-64075","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop","article","has-excerpt","has-avatar","has-author","has-date","has-comment-count","has-category-meta","has-read-more","thumbnail-"],"_links":{"self":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/64075","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/comments?post=64075"}],"version-history":[{"count":0,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/64075\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media\/64076"}],"wp:attachment":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media?parent=64075"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/categories?post=64075"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/tags?post=64075"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}