on 22 April 2011 at Penang, 24 April 2011 at Kuala Lumpur and 30 April 2011 at Kuantan in Malaysia. The Summer tour commenced on 11 August 2011 with the band playing in Skanderborg, and later on 12 August 2011 at Aarhus and on 13 August at Aabenraa. The band played on 19 November 2011 for the first time ever in Kathmandu, Nepal at the Tudikhel Ground, as the headliners of Nepal Rocks. The band were only the second internationally acclaimed band to play in Nepal, after the Canadian artist Bryan Adams did so earlier in the year. They also performed in Dhaka, Bangladesh on 22 June 2012 and in Ulaanbaatar, Mongolia on 7 and 8 December 2012. The band is the first to stream their 25th anniversary concert live to a global audience, using the Subcell smartphone app. The concert was broadcast live in sound and video from the Skanderborg Smukfest festival in Denmark on 11 August 2013. In Asia, their MLTR 25 Tour was staged in the Philippines on 19 September 2015. On 13 December 2015, MLTR performed live for the first time in North East India's prehistoric ancient city of Guwahati (earlier known as Pragjyotishpur) in Assam in front of a 75,000 strong audience at the huge Sarusajai Stadium, in company of multiple award-winning popular Assamese-Indian singer-composer Jim Ankan Deka. The musical night was inaugurated with multilingual performances by Jim Ankan Deka and his music band VooDoo Child, wherein they sang their own compositions of Assamese and English songs. The attendance in the show was unprecedented in the city of Guwahati so far. On 31 August 2017, MLTR's first stop in their Eternal Asia Tour was staged at the Kia Theatre in Manila to a sold-out crowd. In October 2022, the band played in the cities of Manila, Cebu, and Davao as part of their Back on The Road Tour 2022 in the Philippines. Musical style and influences Michael Learns to Rock infuses soft rock with ballad and follows a basic verse-chorus song-form (which is typical of most pop songs) with lyrics comprising straight forward and short-length phrasing incorporating very basic sentence constructions. The verses consist of either one or two couplets and the chorus often contrasts the verse melodically, rhythmically, and harmonically, assuming a higher level of dynamics and activity. The essence of this style followed invariably by MLTR is evident from Jascha Richter's dead-pan response