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Def Leppard and Mötley Crüe are teaming up for a hard rock destination festival in Riviera Maya, Mexico this winter. The legendary hard rock groups will set up shop from November 7-9 for the Rock the Tides fest, which will also include sets from Poison singer and solo performer Bret Michaels, Extreme, the Struts, Buckcherry, […]
The New Pornographers have “immediately” severed ties with drummer Joe Seiders after the longtime member of the rock collective was arrested in Palm Desert, CA for possession of child pornography.
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According to a press release from the Riverside Sheriff’s office, Seiders was arrested after officers were dispatched to investigate a report of suspicious activity on April 7 at a Chick-Fil-A restaurant, where an 11-year-old boy told officers that an unknown man had recorded him on a cell phone while he was using the bathroom. Two days later, police said an employee at the same restaurant reported that the man was seen entering and exiting the restroom with juvenile males.
“Believing the male was the suspect from the previous incident, law enforcement was contacted. Upon arrival, deputies located the suspect, identified as 44-year-old Joseph Seiders of Palm Desert, and took him into custody,” read the release. After an investigation, officers served search warrants on Seiders’ residence, vehicle and cell phone, where they reportedly found evidence implicating Seiders in both incidents and “additional crimes,” which they said included possessing child pornography.
Seiders was booked into the John Benoit Detention Center in Indio, CA for possession of child pornography, annoying/molesting a child, invasion of privacy, and attempted invasion of privacy. At press time a spokesperson for the band had not returned Billboard‘s request for additional information on the incident.
In a statement on Instagram, the band wrote, “Everyone in the band is absolutely shocked, horrified and devastated by the news of the charges against Joe Seiders — and we have immediately severed all ties with him. Our hearts go out to everyone who has been impacted by his actions.”
Seiders joined the Canadian indie power pop supergroup — which formed in Vancouver in 1997 — in 2014, joining charter members singer Neko Case, singer/guitarist Carl Newman and bassist John Collins. He appeared on their 2017 album Whiteout Conditions, as well as 2019’s In the Morse Code of Brake Lights and 2023’s Continue as a Guest, as well as their recent single “Ballad of the Last Payphone.” The drummer is being held at the Larry D. Smith Correctional Facility with bail set at $1 million and is scheduled to make his first appearance in court on Tuesday (April 22).
Stories about sexual assault allegations can be traumatizing for survivors of sexual assault. If you or anyone you know needs support, you can reach out to the Rape, Abuse & Incest National Network (RAINN). The organization provides free, confidential support to sexual assault victims. Call RAINN’s National Sexual Assault Hotline (800.656.HOPE) or visit the anti-sexual violence organization’s website for more information.
Lady Gaga is seeing renewed success on Australia’s charts this week, as her latest album Mayhem rockets back into the ARIA Top 10 following her much-talked-about Coachella appearance and the ongoing rollout of her Australian stadium tour.
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Mayhem climbs from No. 14 to No. 6 on the ARIA Albums Chart, boosted by the pop icon’s high-energy set at Coachella and a surge in demand tied to her recently announced Aussie tour dates. The album originally debuted at No. 1 last month, and this latest jump marks its fourth week in the chart’s upper echelon.
Earlier this month, Gaga announced her return to Australia with The Mayhem Ball, her first tour of the country in more than a decade—and her first stadium dates Down Under. After quickly selling out her initial shows in Melbourne, Brisbane and Sydney, a second Melbourne and Sydney date was added on April 16 due to overwhelming demand. The five-date run kicks off Dec. 5 at Marvel Stadium in Melbourne and wraps Dec. 13 at Accor Stadium in Sydney.
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The tour promotion, paired with Gaga’s Coachella performance and social media buzz, has sparked renewed interest in the Mayhem project. The album, led by the global No. 1 single “Die With a Smile” (with Bruno Mars), has spent multiple weeks in the Top 10 worldwide, including a 15-week reign atop the Billboard Global 200.
Gaga’s resurgence on the ARIA chart comes amid a strong week for Aussie acts: hip-hop trio Bliss n Eso debut at No. 1 with The Moon (The Light Side)—their fourth chart-topper—while Australian Idol winner Marshall Hamburger lands at No. 50 with The Idol Collection, marking the first time since 2009 that an Idol champ has entered the Top 50 upon season close.
Meanwhile, on the ARIA Singles Chart, Alex Warren notches a fourth consecutive week at No. 1 with viral hit “Ordinary,” and Gaga and Mars’ “Die With a Smile” rebounds into the Top 5, climbing from No. 9 to No. 4.
With Mayhem back in the Top 10 and her Australian stadium shows selling fast, Gaga’s momentum in the region is only continuing to build, with a final tour date added to Sydney earlier this week.
Lana Del Rey fans have received a fresh taste of her new era, with “Bluebird” arriving as the latest preview of her forthcoming record.
Dropping just a week after “Henry, Come On” gave fans their first insight of what to expect from Del Rey’s self-described “country” record, “Bluebird” has ostensibly further confirmed that her sonic shift won’t be one steeped in the standard trappings of a country record.
Much like its predecessor, “Bluebird” is another soaring piece of emotional introspection from Del Rey, as she pairs softly-plucked acoustic guitars with stirring strings and her trademark reverb-laden vocals. Written alongside Luke Laird, and featuring production from Drew Erickson, it’s a dream team of country and folk at play, and provides further indication that Del Rey’s upcoming record is set to be another high point of her career.
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Currently, however, it’s unclear just when that new record will arrive – or what fans will be specifically asking for at record stores. Initially teased under the name Lasso in early 2024 and given a September release date, the 13-track record was later given a fresh moniker by way of The Right Person Will Stay and an updated release date of May 10.
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Following the release of “Henry, Come On,” Del Rey has since told fans her forthcoming 10th album is once again subject to a sense of mystery. “You know it’s not going to come on time, right?” she explained on April 11. “Should I even tell you that the name changed again? Should I tell you that now, while you’re so happy that you even have a song? Yeah, maybe I’ll wait.”
A late album is nothing new for the beloved singer, as her three most recent projects — Did You Know That There’s a Tunnel Under Ocean Blvd, Chemtrails Over the Country Club and Blue Banisters — were all delayed for various reasons.
Del Rey is currently scheduled to perform at Stagecoach on April 25, with a series of dates slated to follow across the U.K. throughout June and July. She’ll return to the U.S. in the summer for a performance at Iowa’s Hinterland Music Festival on Aug. 3.
Listen to “Bluebird” below:
Morgan Wallen and Post Malone are teaming up again, with their just-released second collaboration, “I Ain’t Comin’ Back.” The two artists previously earned a towering hit last year with “I Had Some Help,” which topped charts in both pop and country formats, spending six weeks atop the Billboard Hot 100 and four weeks atop Country […]
Tommy Richman and Sexyy Red are “Actin Up” together on the new remix that dropped on Friday (April 18).
“Bend it over, shake that a–, show that print/ Clean a– bi—, smell good, I ain’t got no scent/ Everybody lookin’, I’m the baddest in this b—h/ Got some booty shorts on, coochie fat, I’m feelin’ thick,” she raps on her verse.
Richman originally released “Actin Up” in February via Brent Faiyaz‘s ISO Supremacy and Pulse Records. “Actin Up,” which employs a steel drum pattern similar to that of Soulja Boy’s 2007 pop-rap smash “Crank That,” arrived months after his debut studio album, COYOTE. The 11-track project included the Billboard Hot 100 No. 2 hit “Million Dollar Baby” and “Devil Is a Lie,” which hit No. 2 on Rhythmic Airplay.
“This is a big record, but this s–t doesn’t define me,” he told Billboard about “Million Dollar Baby” in his Chartbreaker interview last June. “I’m using this as ‘We’re here. We arrived.’ Not as ‘We made it!’ This is the start of a run.”
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The Woodbridge-based artist is currently on the Coyote Tour, with a handful of upcoming international stops left in Berlin, Amsterdam, Brussels, Paris and London.
On the other hand, Redd has released a handful of singles this year, from “Fat Juicy & Wet” with Bruno Mars, “YN” with PlaqueBoyMax, BabyChiefDoit, LAZER DIM 700 and Baby Kia, and “Hoochie Coochie.” The St. Louis rapper rang in her 27th birthday earlier this week with Justin Bieber, her “WHATCHU KNO ABOUT ME” collaborator GloRilla and more at The Players Club.
Listen to “Actin Up” remix below.
Davido released his fifth studio album, 5ive, on Friday (April 18) via Davido Music Worldwide, RCA Records and Sony Music UK. The 17-track project includes previously released singles “Awuke” with YG Marley, “Funds,” featuring Odumodublvck and Chike, and “Be There Still,” and it includes more collaborations with Victoria Monét (“Offa Me”), Shenseea and 450 (“R&B”), […]
Close to two decades on from his exit from New Order, bassist Peter Hook hasn’t wavered in his animosity toward his former bandmates, labeling the group a “bad cover version” of themselves.
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Hook was one of the founding members of New Order, who formed in 1980 following the death of Joy Division’s Ian Curtis. Hook, along with Joy Division bandmates Bernard Sumner and Stephen Morris, completed their initial lineup with the addition of keyboardist Gillian Gilbert. New Order would go on to receive widespread acclaim in the ensuing decades, with their biggest success in the U.S. arriving by way of 1993’s Republic, which hit No. 11 on the Billboard 200.
In 2007, New Order would split, though Hook would not return for their 2011 reformation, instead choosing to continue with his new band Peter Hook & The Light. A long-running legal battle related to the reunion would eventually be settled in 2017.
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However, in a new interview with British publication The i Paper, Hook says he retains a sense of animosity towards his former band, noting he hasn’t spoken to vocalist and guitarist Sumner in 17 years. “As most reconciliations do, once you get over the euphoric honeymoon, you soon realise why you couldn’t f–king stick them – and they, you,” he explains. “I’m not saying I’m Mr. Perfect.”
“I don’t think they’re New Order. They don’t sound like anything like them,” he continued. “I’ve watched them play songs [online] recently, and they’ve dropped the basslines and play it like some weird, bad cover version of a New Order track. So the animosity is obviously still there now.”
Hook also claimed that his thoughts are shared by audience members of contemporary New Order shows, with fans reportedly contacting him to complain about current gigs. “They’re like, ‘You can’t hear the bass!’” he noted. “Obviously, there is a certain smugness one could adopt. But I’m, obviously, way above all that.”
Hook’s comments come as he launches a series of shows with The Light in which they perform New Order’s 2001 album Get Ready in full alongside a selection of hits from both Joy Division and New Order. Launched in the U.K. this week, Hook will bring his tour to North America in May.
As it draws closer to the tenth anniversary of Faith No More’s most recent shows with vocalist Mike Patton, drummer Mike Bordin has claimed the singer is “unwilling” to perform with the band again.
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While Faith No More last performed two dates in 2016 with Chuck Mosley, Patton hasn’t fronted the group since the conclusion of their Sol Invictus Tour the year prior. However, while a global live return was slated to take place in 2020, the COVID-19 pandemic forced the band to cancel these dates.
The band were again scheduled to take to the stage in 2021, though Patton’s mental health issues (which he later explained was a diagnosis of agoraphobia) necessitated their cancellation also.
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In a new interview with the Let There Be Talk podcast, Bordin has expanded on the situation, discussing how their 2021 shows saw six months of instrumental rehearsing before Patton was set to join the band ahead of their live return.
“It came to pass that when the gear was in the truck, when it was rolling to Chicago, 36 hours before we were supposed to be on stage, and our guy [Patton] doesn’t show for the rehearsal, the one rehearsal that we’re gonna do,” Bordin recalled. “And we go to go see him and see what’s going on. ‘What the hell’s going on here? Our gear’s rolling already to the gig.’ And it was very clear that he was unable at that point to physically do it.
“We made the decision that, ‘Look, we’ve gotta support our guy,’” he adds. “It’s gonna be a s–t storm canceling f–king 75 shows, but none of us wants to be the guy that breaks his back and forces him to do something that he’s not in the position to be able to do. It wasn’t even an argument. The only argument was, ‘How the f–k did we logistically do this? Because we have to.’ I mean, we did support him in our way, and whether that’s perceived or not is beyond — I can’t control it.”
Since the cancellation of the dates, little positive information about a live return for Faith No More has been revealed. While Patton has been performing with Mr. Bungle regularly since their large-scale return to the live stage in 2022, Faith No More’s Roddy Bottum describing the band’s current status as being on a “semi permanent hiatus” in October 2024.
“So it’s my take, my position, my statement on it is that he’s gone from being unable to do the shows to clearly being unwilling to do shows with us,” Bordin continued. “And that’s heavy. That’s a big difference. That’s a big difference. And we haven’t really had much dialogue on it. … It doesn’t feel great to me. It honestly kind of hurts my feelings a little bit, but that’s personal. That’s a private thing. It’s business.
“We were never gonna force somebody to do something that they weren’t able to do,” he adds. “And now, as I say, it looks like it’s more really about being willing to do it.”
Dominic “Mick” Mazzone OAM, a revered Australian music industry veteran, has passed away, his family has confirmed.
“The family of Mick Mazzone would like to announce the sudden and sad passing of our beloved dad, brother and uncle,” a statement issued on the afternoon of Thursday, April 17 read. “A stalwart of his family, he was surrounded by his loved ones in his last days.
“He will be remembered by many in the Australian music industry, which he worked in and loved for over four decades and deeply missed by his countless friends,” it continued. “We appreciate all the love and support shown to us. His legacy will live on.”
Mazzone grew up in Torrensville, a suburb of the South Australian capital of Adelaide, where he learnt to play the guitar as a young teenager. Performing in a number of local bands, he relocated to Sydney to embark on a career in the music business. Initially working with the Brenton Roberts Band (who were under the managerial guidance of veteran promoter Michael Chugg), Mazzone soon became regarded as an “industry all-rounder” for his versatility in the fields of sound engineering, production, and tour management.
Mighty Management was established by Mazzone where he oversaw names such as Cold Chisel guitarist Ian Moss and Sydney rockers The Radiators. Mazzone also extended his focus into the world of labels, with M Records featuring The Radiators alongside hard rock outfit De Mont, who were also part of the Mighty roster.
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Working on tours for the likes of Madonna, Billy Joel, Bon Jovi, and R.E.M during their time in Australia, Mazzone later served as founding member of the Music Managers Forum, and would become a founder and trustee of the industry charity the Golden Stave Foundation. In 2018, Mazzone received a Medal of the Order of Australia (OAM) in recognition of his contributions to the industry and his charitable endeavors.
In February 2024, Mazzone adopted the role of manager for ARIA Hall of Famers the Hoodoo Gurus, who topped the Alternative Airplay chart in 1989 with “Come Anytime,” and hit No. 3 in 1991 with “Miss Freelove ’69.” Mazzone’s promotion to the top job came after longtime manager Michael McMartin stepped down from the role, ultimately passing the following month.
In the wake of his passing, the Hoodoo Gurus shared a statement remembering Mazzone, noting they were “utterly devastated at the sudden loss of our dear friend.”
“It is impossible to convey the shock and grief we are feeling right now,” they wrote. “We have already shed many tears, and there will be many more to come, but our loss is nothing compared to the one that has been dealt to Mick’s close family and friends and, in particular, to his beloved kids, Frank, Antonia and Alex. Our hearts go out to them at this dreadful time.”
The Radiators also offered their condolences to Mazzone and his family, naming him one of their “great friends” and noting his “fantastic ear” and sharp managerial mindset.
“Mick holds a special place in our hearts, and we will forever be grateful for his time spent guiding and mentoring the Rads when we were at a low point in our career,” the band wrote. “His management helped lift us up, and without his strong, sure and steady hand, we as a band may not have been able to navigate the ‘90s.
“He will be sadly missed by so many people in the industry,” they concluded. “He was an incredible human. A quiet genius. Gone way way too soon. The world is a poorer place today, for the loss of one Mick Mazzone.”
For the past 25 years, Mazzone also served as the Technical Director and Production Manager for the annual APRA, Art and Screen Music Awards, held by copyright management organizations APRA AMCOS (Australasian Performing Right Association and Australasian Mechanical Copyright Owners Society).
“Mick’s warmth and sense of humour were legendary among those who had the pleasure of knowing him, like we did,” said APRA Chair Jenny Morris in a statement. “His genuine kindness made everyone feel welcome and valued, creating lasting memories for all who crossed his path. His contributions to the music industry and community will be deeply missed.”