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Ozzy Osbourne is going to make it to the stage for Black Sabbath’s final show no matter what it takes. As the metal icon gears up for his first full concert since 2018, he sat down with Billy Morrison on the latest episode of their SiriusXM “Ozzy Speaks” show to break down what he’s doing to gear up for the July 5 Back to the Beginning show in his hometown of Birmingham, England.
“I haven’t done any physical work for the last seven, six and a half, seven years,” Ozzy said, promising that “by hook or by crook, I’m gonna make it [to the stage at Villa Park],” where Black Sabbath’s final gig will find them joined by an all-star roster that will also include Metallica, Mastodon, Anthrax, Pantera, Alice in Chains, Gojira, Slayer and a supergroup featuring members of Guns N’ Roses, the Smashing Pumpkins, Limp Bizkit, Judas Priest, Rage Against the Machine and many more.
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“I’ve got this trainer guy who helps people get back to normal,” he said of the intense training he’s undergoing following a rough several years that included spinal surgery and a Parkinson’s disease diagnosis. “It’s hard going, but he’s convinced that he can pull it off for me. I’m giving it everything I’ve got.”
Ozzy, 76, said he’s definitely waking up and stressing about the show at times, but he knows that getting worked up is not what will get him through his first show with Sabbath bandmates guitarist Tony Iommi, bassist Geezer Butler and drummer Bill Ward in more than 20 years. “Sometimes [I stress], but what I do, if I start obsessing all the time, I’ll be insane by Friday, you know?” he said. “So, I’m just taking it one day at a time and when I do it one day at a time. You know, when we were talking about this [obsessive-compulsive disorder], whatever. I have that badly. All I can say is I’m giving 120%. If my God wants me to do the show, I’ll do it.”
Speaking to the Guardian recently, Ozzy said “I’ll be there, and I’ll do the best I can. So all I can do is turn up,” a hedge that was in keeping with comments from Tool singer Maynard James Keenan, who said it will take need “modern miracles” for the rocker to perform one of his legendary high-energy shows given his health struggles.
Though he hasn’t played a full show since Dec. 31, 2018 — two months before revealing his Parkinson’s diagnosis — Ozzy has set a reasonable bar for the July show, saying in February that he isn’t “planning on doing a set with Black Sabbath,” but rather “little bits and pieces” with the group. “I am doing what I can, where I feel comfortable,” he promised.
Listen to Ozzy talk about his training for the show below.
Lorde has never been afraid of catharsis. The singer, literally, strips it down in the new video for her entrancing single “Man of the Year,” offering an unadorned version of herself as revealing as the song’s lyrics. In the striking visual directed by Grant Singer that dropped on Thursday morning (May 29), the 28-year-old vocalist is caught in close up, before the camera pans out to show her sitting on a stool in an empty loft while wearing jeans and a white T-shirt.
“Glidin’ through on my bike, glidin’ through/ Like new from my recent ego death/ Sirens sing overnight, violent, sweet music/ You met me at a really strange time in my life/ Take my knife and I cut the cord,” she sings in a loud whisper over a gently plucked bass guitar. As she describes becoming “someone else,” someone she says is “more like myself,” Lorde strips off her shirt and covers her breasts with electrical tape in the prelude to a thrashing dance routine on a pile of sand spread out in a corner of the loft.
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The song co-produced by Lorde and Jim-E Stack — her main collaborator on the upcoming Virgin album due out on June 27 — builds from the alluring, subtle bass accompaniment to a noisy rumble as burbling keyboards and distant drums bubble up alongside cello from Blood Orange’s Dev Hynes.
“Who’s gon’ love me like this?/ Oh-oh, oh, who could give me lightness?/ Way he flow down through me/ Love me like this/ Now I’m broken open/ Let’s hear it for the man of the year,” she sings on the chorus of second song released so far from the LP. “Man of the Year” follows April’s “What Was That,” which debuted at No. 36 on the Billboard Hot 100. In an Instagram post previewing the second single last week, Lorde wrote that it was an “offering from really deep inside me,” calling it the “song I’m proudest of on Virgin.”
In a recent Rolling Stone cover story, Lorde discussed writing “Man of the Year” after stopping her birth control for the first time since she was a teenager and realizing that her gender felt more fluid than she’d previously realized. Just before writing the song, she said she taped her own chest with duct tape — as in the video — in an effort to reach a vision of herself “that was fully representative of how [her] gender felt in that moment,” she told RS.
“I felt like stopping taking my birth control, I had cut some sort of cord between myself and this regulated femininity,” she added. “It sounds crazy, but I felt that all of a sudden, I was off the map of femininity. And I totally believed that that allowed things to open up.” The unadorned “Man of the Year” look was previewed at this year’s Met Gala, where Lorde wore a strapless, slate-colored strip of fabric across her chest that she told Vogue was an “Easter egg” that “really represents where I’m at gender-wise. I feel like a man and a woman kind of vibe.”
In addition to the song and video, Lorde also revealed the track list for her anticipated follow-up to 2021’s Solar Power. Among the songs on the album are: “Hammer,” “Shapeshifter,” “Favourite Daughter,” “Current Affairs,” “Clearblue,” “GRWM,” “Broken Glass,” “If She Could See Me Now” and “David.”
Lorce will launch the Ultrasound world tour on September 17 at the Moody Center in Austin, TX on an outing that will feature special guests Blood Orange, The Japanese House, Nilüfer Yanya, Chanel Beads, Empress Of, co-producer Jim-E Stack and Oklou on select dates.
Watch the “Man of the Year” video and check out the Virgin tracklist reveal below.
The saga around Zak Starkey’s departure from The Who continues to rumble on. In a new Instagram post on Wednesday (May 28), the band’s former drummer called reports that he “retired” from his position in iconic group as “f-kin total bollox” while insisting that he was, indeed, “fired” from the group.
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Starkey’s position as the band’s drummer has been uncertain since a show at London’s Royal Albert Hall in March. Reports suggested that Daltrey was unhappy with Starkey’s playing on the night, and a number of songs were cut short. Starkey – Ringo Starr’s son and a prolific session drummer – has been a part of the live lineup since 1996. In a statement, the band said, “The band made a collective decision to part ways with Zak after this round of shows at the Royal Albert Hall. They have nothing but admiration for him and wish him the very best for his future.”
His position was reinstated briefly after “communication issues” were resolved, but following the announcement of The Who’s farewell tour dates in North America, guitarist Pete Townshend confirmed that time had “come for a change” in relation to their drummer, and that Scott Devours would be taking on the role.
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On Monday (May 26) the drummer shared an Instagram post stating that Daltrey had said that Starkey had not been “fired,” but “retired” to work on his project with supergroup Mantra Of The Cosmos, which includes Starkey and members of Happy Mondays. The group’s upcoming debut LP features a song written by Oasis’ Noel Gallagher; Starkey was Oasis’ drummer from 2004-2008.
Two days later, on Wednesday (May 28), Starkey shared a new update with a screengrab of a news story that again indicated that he “retired” from the group. He called the report “f-kin total bollox,” insisted that “I was fired” and that Daltrey’s “new word for it is ‘retired’ to complete my other musical projects.”
He continued, “I called Roger last week and told him in person I had spent nearly 2 months at my studio in Jamaica completing my studio projects. That I had a mantra of the cosmos single out next week and then I was completely available for the foreseeable future… he was a little surprised but understood. It’s true – I have no plan’s whatsoever for the fall as I thought I was touring with The Who and my mantra band mates are v busy in oasis and happy Mondays until the new year . So this is simply a load of bollox … Am I fired , retired, deffo not tired as I’m 20 years younger than these guys as they keep saying.
Starkey added, “Dropping two beats on our second show is not a firing offence – I’ve watched the show on tv I can’t see where I dropped them – I looked everywhere- it’s the who ffs if it was perfect it would be so f–king boring …”
A spokesperson for The Who offered no comment on the latest update when approached by Billboard U.K.
The Who will kick off the U.S. leg of their farewell tour on August 16 at the Amerant Bank Arena in Sunrise, FL.
Lorde returned to the spotlight in New Zealand this week, appearing at the 2025 Aotearoa Music Awards in Auckland on Thursday night (May 29), just hours after hosting an intimate, invite-only performance inside a YMCA bathroom.
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The rare public appearance comes as Lorde ramps up promo for her upcoming album Virgin, due out June 27. Her attendance at the AMAs — New Zealand’s biggest night in music — marks her first red carpet appearance in the country in several years.
The day prior, Lorde teased a cryptic Instagram post showing a cracked iPhone tucked into the waistband of a pair of jeans, tagged “Auckland.” The post included a link to a WhatsApp group, where she invited fans to meet her in the city that night.
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“Auckland I wanna play you something .. Meet me in the city tonight? Message me if you’re keen,” she wrote.
More than 300 fans gathered outside the YMCA venue, with small groups of 30 admitted every 15 minutes to witness the pop-up performance.
The performance came one day before the release of Lorde’s new single “Man of the Year,” which follows previous track “What Was That.” Both songs will appear on Virgin, her first album since 2021’s Solar Power.
Lorde’s innovative approach to album promotion has included surprise concerts, fan text blasts, and spontaneous performances in public spaces. In April, she debuted “What Was That” in New York City’s Washington Square Park, drawing such a large crowd that the police shut it down. She performed again in the same location just a few hours later.
Several early winners were announced at the 2025 Aotearoa Music Awards ahead of the main ceremony, including MOKOTRON (Best Electronic Artist), Cassie Henderson (Best Pop Artist), and Holly Arrowsmith (Best Folk Artist).
Lorde’s debut album Pure Heroine peaked at No. 3 on the Billboard 200, with lead single “Royals” spending nine weeks at No. 1 on the Billboard Hot 100. Her 2017 LP Melodrama debuted at No. 1 on the Billboard 200 and earned a Grammy nomination for album of the year. Solar Power, released in 2021, debuted at No. 5 on the Billboard 200.
Virgin arrives June 27 via Universal Music New Zealand.
Bone Thugs-N-Harmony made an unexpected return to late-night television this week, appearing on Netflix’s Everybody’s Live With John Mulaney for a surprise performance of their 1996 hit “Tha Crossroads.” Explore Explore See latest videos, charts and news See latest videos, charts and news The group’s appearance came months after Mulaney revealed on-air that he had […]
John Fogerty has announced a new album titled Legacy: The Creedence Clearwater Revival Years, due out Aug. 22 via Concord.
To celebrate, Fogerty has released three newly recorded versions of CCR classics: “Up Around the Bend,” “Have You Ever Seen the Rain,” and “Porterville,” the latter originally released in 1967 under the band’s earlier name, The Golliwogs.
The new recordings are labeled “John’s Version,” a nod to Taylor Swift’s “Taylor’s Version” project, though Fogerty now owns his masters. He won control over his publishing rights in early 2023, ending a legal battle that spanned five decades.
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“For most of my life I did not own the songs I had written,” Fogerty said in a statement. “Getting them back changes everything. Legacy is my way of celebrating that — of playing these songs on my terms, with the people I love.”
The sessions feature Fogerty’s sons Shane and Tyler on guitars, with Matt Chamberlain on drums, Bob Malone on keys, Bob Glaub on bass, and Rob Stone on saxophone. Shane Fogerty also co-produced the album with his father, while Julie Fogerty, John’s wife, served as executive producer.
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“I knew firsthand how much it meant for John to get his publishing back,” said Julie. “It has been so joyful and beautiful since this happened for him. This is a celebration of his life’s work. It is the biggest party for the good guy/artist winning.”
Legacy features 20 tracks, including CCR staples like “Proud Mary,” “Bad Moon Rising,” “Fortunate Son,” and “Down on the Corner.” The project arrives as Fogerty celebrates his 80th birthday with a pair of shows at New York’s Beacon Theatre, ahead of a European summer tour and a performance at Glastonbury Festival.
Fogerty co-founded Creedence Clearwater Revival in the late 1960s and went on to write and perform some of the most enduring hits of the era. The band scored nine Top 10 hits on the Billboard Hot 100 between 1969 and 1971, including “Proud Mary,” “Bad Moon Rising,” “Green River,” and “Lookin’ Out My Back Door.”
Legacy: The Creedence Clearwater Revival Years is available for pre-order now.
CISAC, the international trade organization for copyright collecting societies, has a new Chair, with APRA AMCOS CEO Dean Ormston elected into the role.
Announced on Thursday (May 29), Ormston is only the second Australian to hold the title in CISAC’s 99-year history, with his APRA AMCOS predecessor Brett Cottle having previously served in the role from 2006 until 2010.
Ormston brings more than two decades of experience in the fields of music rights management, policy and advocacy to his new appointment. Since 2018, he’s served as the CEO of Australia and New Zealand’s music rights management organization APRA AMCOS, which represents more than 124,000 songwriters, composers and publishers.
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“Being elected Chair of the CISAC Board at such a pivotal moment for creators worldwide is an honour,” Ormston said in a statement. “As the creative economy enters a new era shaped by AI and global digitalisation, the opportunity to secure a fair and thriving future for creators has never been greater.
“Creators are central to the cultural, social and economic fabric of every nation. Each country has a responsibility to nurture its own cultural voices by ensuring a strong copyright framework and enabling creators to share in the value generated by innovations such as Generative AI.”
Ormston’s noted focus on ensuring a fairer future for creatives in the current AI-focused climate comes just over a year after he was named as one of the 20 leaders from the creative industries and academia invited to join the Steering Committee of the Attorney-General’s Copyright and Artificial Intelligence Reference Group (CAIRG).
APRA AMCOS have themselves been noted voices in the Generative AI debate, releasing their AI and Music report in August 2024 which focused on the benefits and concerns facing creators in Australia and New Zealand. Meanwhile, CISAC performed their own global study in December which re-iterated international calls for credit, consent and fair remuneration for songwriters and composers.
As newly-elected Chair of CISAC, Ormston takes over from Marcelo Castello Branco, the CEO of Brazil’s UBC, who has occupied the role for six years. Ormston is joined by Jennifer Brown, CEO of Canada’s SOCAN, who has been re-elected for a second term as Vice-Chair, and VG Bild-Kunst director general Urban Pappi, who has been elected as Vice-Chair for the first time.
Founded in France in 1926, CISAC has been presided over by Swedish singer, songwriter, and ABBA co-founder Björn Ulvaeus since 2020, taking over from French composer Jean Michel Jarre after he had spent a seven-year stint in the top job.
“CISAC’s global network is uniquely positioned to amplify the voice of these creators to decision-makers across the world,” Ormston added. “I look forward to working with the new Board and the entire CISAC community to champion creators’ rights, further develop our services, and empower societies and their members to lead in this rapidly changing global market.”
SESAC Latina celebrated the global success of its songwriters and publishers at its annual SESAC Latina Music Awards, which took place at the Beverly Hills Hotel in Beverly Hills, Calif., on Wednesday (May 28).
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Two years after taking home the award, Latin urban star Lenny Tavárez was named pop/Latin rhythm songwriter of the year once more, this time for hits including “Piscina,” “Tu Feo,” and “La Ranger.”
Meanwhile, the pop/Latin rhythm song of the year award went to “Bellakeo,” a reggaetón banger written by Ángel Sandoval and recorded by Peso Pluma and Anitta. Released in December 2023, the track peaked at No. 3 on the Billboard Hot Latin Songs chart a week later.
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Alex Hernández received the regional Mexican songwriter of the year, honored for songs including Xavi’s “La Diabla,” which also took the regional Mexican song of the year award. The song gave the young Mexican singer his first No. 1 on the Billboard charts in January 2024, when it reached the summit of Hot Latin Songs.
Sony Music Publishing was named publisher of the year.
“For more than three decades, we’ve come together to celebrate the dedication and creativity that go into the music that inspires us,” Celeste Zendejas, svp, SESAC Latina, said. “I couldn’t be prouder of our incredible songwriters and publishers for making this another outstanding year in music.”
Guests at Wednesday’s ceremony were treated to performances by Lenny Tavárez and Banda Carnaval, which brought a taste of the Carnaval de Mazatlán to the event.
See the main winners of the 2025 SESAC Latina Music Awards list below:
Regional Mexican Songwriter of the Year
Alex Hernández
Pop/Latin Rhythm Songwriter of the Year
Lenny Tavárez
Regional Mexican Song of the Year
“La Diabla,” written by Alex Hernández
Pop/Latin Rhythm Song of the Year
“Bellakeo,” written by Ángel Sandoval
Publisher of the Year
Sony Music Publishing
Radiohead frontman Thom Yorke has unveiled a new song, with “Dialing In” serving as the theme to Apple TV+’s forthcoming series Smoke.
Released on Wednesday (May 28), and recorded with Sam Petts-Davies, the haunting track presents a dark and brooding atmosphere as Yorke’s trademark vocals warmly accompany a tender and eclectic musical bed.
The song also soundtracks the recently-released trailer for Smoke, which – according to a descriptor – follows Taron Egerton and Jurnee Smollett as they “attempt to get as close to the truth as possible—without getting burned.”
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For diehard fans, “Dialing In” won’t be an entirely new experience, with its origins being found in Yorke’s unreleased track “Gawpers,” which had been performed during a run of European dates in 2019, but has since evolved before its 2025 release date.
Yorke announced the release of “Dialing In” by noting on social media that the track is “now available to stream on your least crap streaming service.” According to the song’s credits on Tidal, Yorke’s daughter Agnes is also featured as a backing vocalist.
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“Working with Thom Yorke was as much an honour for me as working with Clint Eastwood, Martin Scorsese or Richard Price,” said Dennis Lehane, Smoke creator and executive producer. “I’ve somehow been blessed with collaborating with living legends who were also formative influences on my own creative life. Thom is definitely that.
“In addition, he took a basic concept I gave him and delivered a song that perfectly embodies the show and absolutely crushes.”
“Dialing In” is the latest release from Yorke this month, who also released the album Tall Tales, created alongside Mark Pritchard, on May 9.
“Mark sent me a large file of MP3s of ideas during lockdown,” Yorke explained of their long-distance collaboration. “There were so many great ones, I knew straight away that I had to drop what I was doing. It felt very much that I had not been anywhere like this before — both as soon as I put my headphones on and started trying to find the vocals, words and sounds, but also, as it progressed, watching Jonathan [Zawada] respond so freely and spontaneously with all his video and artwork ideas.
“It was mental, and I feel lucky to have been involved,” he added. “Tall Tales is very important to me. I hope people get it, and get to hear it!”
Listen to “Dialing In” below:
Source: The Washington Post / Getty / Elon Musk / Donald Trump
Was it worth it? X is asking the billion-dollar question after Elon Musk, aka Phony Stark, announced he is leaving the Trump administration.
Musk announced on the platform he allegedly sold to xAI that his time leading DOGE has come to an end. He also wrote in the same post that he was thankful to Donald Trump for allowing him to run the “cost-cutting” agency, which, however, didn’t achieve significant cost-cutting results.
The Tesla chief was appointed as a “special government employee,” which allowed him to work for the federal government for 130 days. Musk came on board on January 20, Felon 47’s inauguration, which means his tenure would be coming to an end at the end of May.
Elon Musk’s announcement comes after the billionaire criticized his former boss’s legislative centerpiece of his Trump’s political agenda, his “big beautiful” budget bill.
“As my scheduled time as a Special Government Employee comes to an end, I would like to thank President @realDonaldTrump for the opportunity to reduce wasteful spending,” Musk wrote on X.
“The @DOGE mission will only strengthen over time as it becomes a way of life throughout the government.”
Speaking with the BBC, Musk explained why he was not feeling Trump’s “big beautiful bill.”
Per BBC:
The BBC understands that the White House will begin “offboarding” Musk as a special government employee on Wednesday night.
Musk’s exit comes after he said he was “disappointed” with Trump’s budget, which proposes multi-trillion dollar tax breaks and a boost to defence spending.
The SpaceX and Tesla boss said in an interview with BBC’s US partner CBS that the bill would increase the federal deficit, adding that he thought it “undermines the work” being done at Doge.
Musk’s association with the MAGA movement has also not been beneficial for his business, which has been struggling since he invested in Trump and the Make America Great Again initiative.
Tesla is currently experiencing a slump in Europe, with sales plummeting by nearly 50 percent, which many believe is also the reason Musk decided to step back from politics.
Social media has been using the moment to take shots at Musk, as well as point out that he used his time as a donor to Trump to ensure he stays wealthy despite his business taking a hit.
You can see those reactions in the gallery below.
2. Mmmmhmmmm
3. Basically
4. Damn shame
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