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LONDON — Manchester’s Co-op Live Arena has teamed up with Adidas and Abbey Road Studios for the launch of a new recording studio inside its premises.
The Adidas Originals Recording Studio is situated inside the U.K.’s largest music arena and has been designed as “a vibrant hub for emerging musical talent and young creative communities.” The studio has been engineered by Abbey Road’s technicians and sound engineers.
The studio in Manchester, England will be available to local musicians from August onwards. The initiative is launched in conjunction with a number of existing schemes, including Abbey Road’s Amplify and Equalise programmes, which hosts a number of panels, workshops and recording opportunities at the iconic London studios each year.
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Factory’s International’s Factory Sounds initiative, which provides financial support and mentorship to underrepresented groups in the Greater Manchester area, is also involved with the project. Courteeners frontman Liam Fray, who was born and raised in Middleton, Manchester, opened the studio with an acoustic live performance and praised the space and the opportunities it may provide: “To have something of this level up here that is a focal point in Manchester opens up the industry and takes it to a wider audience.”
Despite a rocky, delayed opening, the Co-op Live Arena has become a key venue on the U.K.’s touring circuit, with a number of huge acts set to perform there this summer, including Bruce Springsteen, Olivia Rodrigo, Tyler, the Creator, Massive Attack and more.
Sally Davies, managing director of Abbey Road Studios, said in a statement: “The launch of the adidas Originals Recording Studio is a world-first collaboration creating a new, Abbey Road-engineered recording space beyond the walls of our home in London.”
“We are enormously proud to partner with Adidas, Co-op Live and Factory International to create a new platform for talent in Manchester and the North-West, expanding our mission to enable and empower the global community of music makers and creators, and shape the future of music making.”
LONDON — A new Tube map showcasing the breadth of London’s artists and music venues has been published as part of a campaign championing the capital’s grassroots scene.
The map highlights record shops, nightclubs and historic locations across the city, as well as venues such as XOYO and Electrowerkz to institutions such as the Barbican. London-raised artists including Dua Lipa, Dave and recent Billboard U.K. cover star Loyle Carner also feature.
Each Underground line has been reimagined as a different aspect of the city’s music scene, with the Jubilee line displaying London-made albums, the Metropolitan line showing independent record labels, and the District line listing “25 artists to see in 2025.” The iconic map was designed by Harry Beck and first came into use in 1933.
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London mayor Sir Sadiq Khan and Transport for London (TfL) joined forces with media leaders to devise the map as part of the London Creates campaign. Over the next month, it will be displayed at digital exhibition space Outernet London in Tottenham Court Road.
In a statement, Khan said: “London’s grassroots music scene is renowned around the world. From providing opportunities for talented aspiring artists to develop their trade, to giving Londoners a great night out, our venues are an essential part of our life at night and provide a huge boost to our economy.
“However, they have faced huge challenges in recent years, which is why we’re joining with partners across the capital to champion all parts of London’s grassroots music scene. This special edition Tube map is a great way to highlight what a huge impact the scene has on our capital, as we continue to do all we can to support venues and build a more prosperous London for everyone.”
Mark Davyd, founder and CEO of Music Venue Trust, added: “London is one of the world’s great music cities, constantly reinventing itself with new sounds, new genres, and incredible new artists. The network of grassroots music venues in London are an essential part of what makes the capital’s music thrive, delivering an extraordinary range of music, community and life changing experiences at affordable prices.”
According to City Hall, London is home to 179 grassroots music venues, which in the last year have welcomed more than 4.2m audience members, hosted performances by more than 328,000 artists, employed nearly 7,000 people and contributed £313m ($417m) to the economy.
The map was formally published in the Metro newspaper yesterday (May 13). Further information about the campaign can be found at the newspaper’s official website.
The U.K. government’s plans to allow artificial intelligence firms to use copyrighted work, including music, have been dealt another setback by the House of Lords.
An amendment to the data bill which required AI companies to disclose the copyrighted works their models are trained on was backed by peers in the upper chamber of U.K. Parliament, despite government opposition.
The U.K.’s government has proposed an “opt out” approach for copyrighted material, meaning that the creator or owner must explicitly choose for their work not to be eligible for training AI models. The amendment was tabled by crossbench peer Beeban Kidron and was passed by 272 votes to 125 on Monday (May 12).
The data bill will now return to the House of Commons, though the government could remove Kidron’s amendment and send the bill back to the House of Lords next week.
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Kidron said: “I want to reject the notion that those of us who are against government plans are against technology. Creators do not deny the creative and economic value of AI, but we do deny the assertion that we should have to build AI for free with our work, and then rent it back from those who stole it.
“My lords, it is an assault on the British economy and it is happening at scale to a sector worth £120bn ($158bn) to the UK, an industry that is central to the industrial strategy and of enormous cultural import.”
The “opt out” move has proved unpopular with many in the creative fields, particularly in the music space. Prior to the vote, over 400 British musicians including Elton John, Paul McCartney, Dua Lipa, Coldplay, Kate Bush and more signed an open letter calling on U.K. prime minister Sir Keir Starmer to update copyright laws to protect their work from AI companies.
The letter said that such an approach would threaten “the UK’s position as a creative powerhouse,” and signatories included major players such as Sir Lucian Grainge (Universal Music Group CEO), Jason Iley MBE (Sony Music UK CEO), Tony Harlow (Warner Music UK CEO) and Dickon Stainer (Universal Music UK CEO).
A spokesperson for the government responded to the letter, saying: “We want our creative industries and AI companies to flourish, which is why we’re consulting on a package of measures that we hope will work for both sectors.”
They added: “We’re clear that no changes will be considered unless we are completely satisfied they work for creators.”
Sophie Jones, chief strategist office for the BPI, said: “The House of Lords has once again taken the right decision by voting to establish vital transparency obligations for AI companies. Transparency is crucial in ensuring that the creative industries can retain control over how their works are used, enabling both the licensing and enforcement of rights. If the Government chooses to remove this clause in the House of Commons, it would be preventing progress on a fundamental cornerstone which can help build trust and greater collaboration between the creative and tech sectors, and it would be at odds with its own ambition to build a licensing market in the UK.”
Irish hip hop act Kneecap will still be headlining Wide Awake Festival 2025 as planned, the festival has announced. It will mark the band’s first show since they performed at Coachella last month.
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The news arrives following a period of intense scrutiny on the West Belfast trio in the weeks after Coachella. At the end of their sets, Kneecap displayed messages on the war in Gaza, writing: “Israel is committing genocide against the Palestinian people. It is being enabled by the U.S. government who arm and fund Israel despite their war crimes. F–k Israel; free Palestine.”
The group went on to face criticism from a number of industry figures including Sharon Osbourne, who called for their U.S. visas to be retracted. A group of politicians, meanwhile, called for Kneecap to be removed from a series of U.K. festival line-ups this summer.
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Scrutiny continued when counter-terror police in London announced (May 1) an investigation into videos of band members allegedly calling for the death of elected British MPs and shouting “up Hamas, up Hezbollah.” The group have since gone on to issue a statement to their Instagram account: “Let us be unequivocal: we do not, and have never, supported Hamas or Hezbollah. We condemn all attacks on civilians, always. It is never okay,” it read in part.
Consequently, German headline shows in Hamburg, Cologne and Berlin for this summer have been pulled, alongside previously-announced appearances at Hurricane and Southside Festivals. A night at the Eden Project, Cornwall, was also cancelled last month but has since been replaced with three new dates in the nearby city of Plymouth, south west England.
Wide Awake have now shared a statement across their social media platforms confirming Kneecap’s headline performance is still slated to go ahead next week (May 23). “After positive discussions with key stakeholders, Wide Awake Festival can confirm that, as planned, Kneecap will be performing at this year’s festival on Friday May 23 at Brockwell Park,” it began.
“Wide Awake has a proud history of supporting the alternative music scene, and we look forward to staging another unforgettable event showcasing the very best emerging and established talent.”
The post also featured a lengthy signatory list of artists sharing their support for Kneecap and the “freedom of expression,” featuring names such as Pulp, Fontaines D.C., Primal Scream, Massive Attack, Self Esteem and Amyl and The Sniffers, among others.
Other acts set to perform at Wide Awake, which takes place in Brockwell Park, south London, include English Teacher, CMAT, Peaches, Fat Dog and more. Tickets and the full line-up can be found on the event’s official website.
The full lineup for Olivia Rodrigo’s headline show at London’s BST Hyde Park series has been announced.
The huge outdoor gig will take place in the capital on June 27, two days before the pop phenomenon’s much-anticipated Glastonbury headline slot. She will be joined by special guests Girl In Red and The Last Dinner Party, who were confirmed for the gig last November.
Today (May 13), eight more support acts have been added to the bill: Flowerovlove, Caity Baser, Between Friends, Florence Road, Katie Gregson-Macleod, Ruti, Aziya and Déyyess.
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Irish band Florence Road came to prominence on TikTok last year, where they shared covers of contemporary pop songs including their takes on Rodrigo’s “Obsessed” and “Making The Bed.” In April, the four-piece released an acoustic ballad entitled “Anxiety,” which was produced by Dan Nigro, known for his work with Rodrigo and Chappell Roan.
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Baser has enjoyed a flurry of activity in recent months. Following the release of her single “Watch That Girl (She’s Gonna Say It),” the Southampton-raised musician has completed a tour of intimate venues across the U.K. and dropped another new track, “Running From Myself.”
Singer-songwriter Gregson-Macleod is eyeing up the release of her EP Love Me Too Well, I’ll Retire Early EP in July, which will arrive via Matt Maltese’s Last Recordings On Earth label. Aziya has drip-fed a slew of singles throughout 2025, the most recent being the grungy “Diamonds,” which dropped in April.
The BST Hyde Park shows have a history of supporting emerging acts, platforming newer names in the early stages of their career. Over the past few years, the likes of Sam Fender (Bob Dylan and Neil Young, 2019), The Last Dinner Party (The Rolling Stones, 2022) and Elmiene (SZA, 2024) have performed at the festival before going on to break into the mainstream.
The other headliners for BST Hyde Park 2025 are: Zach Bryan (June 28 and 29) Noah Kahan (July 4), Sabrina Carpenter (July 5, 6), Neil Young and The Chrome Hearts (July 11), Stevie Wonder (July 12) and Jeff Lynne’s ELO (July 13). Remaining tickets can be found here.
Rodrigo unveiled her second LP Guts in 2023, which she has supported with extensive global touring. In April, she performed the largest show of her career to date at a sold-out Estadio GNP Seguros in Mexico City, which holds a capacity of 65,000 fans.
Alex Warren’s “Ordinary” has earned an eighth consecutive week at No. 1 on the U.K. Singles Chart (May 9). The last single to earn this feat was Sabrina Carpenter’s “Taste,” which reigned at the top for nine consecutive weeks beginning in August 2024. Explore See latest videos, charts and news See latest videos, charts and […]
Pink Floyd have scored their first No. 1 LP in over a decade on the U.K.’s Official Albums Chart with live album Pink Floyd at Pompeii – MCMLXXII (May 9).
The collection coincides with a digital 4K remastering of the 1972 concert film Pink Floyd: Live at Pompeii, directed by Adrian Maben, which captures the band’s iconic show at the Roman amphitheatre in the ruins of Pompeii, Italy. The film’s audio was newly mixed by Steven Wilson and released across physical formats and on streaming.
The prog rock icons now have seven chart-toppers on the U.K. charts, Atom Heart Mother (1970), Wish You Were Here (1975), The Final Cut (1983), The Division Bell (1994), Pulse (Live) (1995) and The Endless River (2014). Their magnum opus, Dark Side of the Moon (1973), only hit No. 2. The feat now ties them with Blur, Kasabian, Barbara Streisand, George Michael, Muse, The Prodigy and Paul McCartney (solo) on the all-time list of acts who have landed seven No. 1s.
In its 37th week on the charts, Sabrina Carpenter’s Short n’ Sweet rises back up to No. 2, and Ed Sheeran’s +-=÷× (Tour Collection) lifts to No. 3 following the announcement of an upcoming eighth studio album, Play.
On Thursday (May 8), Sheeran shared the music video to nostalgic single “Old Phone,” which saw him revisit formative moments throughout his career as a musician. He also launched a new Instagram page showcasing never-before-seen pictures with musician pals Taylor Swift, Harry Styles and more.
Greatest hits collections by Fleetwood Mac (Don’t Stop, No. 5) and The Weeknd (The Highlights, No. 4) round out the top five. Alex Warren, whose single “Ordinary” is now in its eighth week at No. 1 on the Singles chart, enters the top 10 of the Albums Chart for the first time with debut LP You’ll Be Alright, Kid (Chapter 1).
In July 2020, on the brink of a major life change, English Teacher’s Lily Fontaine laid down a statement of purpose for the journey that lay ahead. “It is less than three weeks until I move back to Leeds to try and become a rock musician,” she wrote in an edition of indie magazine Come Play With Me. “I hope that if I succeed, a young Black girl might see me and think she can be [successful] too one day.”
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Having recently graduated from Leeds Conservatoire, where the Colne-raised songwriter met her future bandmates, these were the words of a young woman ready to transform the way she envisioned her life. Within four years, she and the rest of English Teacher would go on to experience a watershed moment at the iconic Abbey Road Studios, where the group scooped the prestigious Mercury Prize last September for its richly charismatic debut album This Could Be Texas.
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“We just thought we’d make a band,” said Fontaine during the band’s acceptance speech, lost for words at the magnitude of the accolade. The four-piece thanked the venues and charities that had supported during their early days in Leeds, struggling to find the words to express their gratitude. It was a deeply affecting moment, one that speaks to the tenacity, talent and passion that has fueled them to these heights.
“I can barely think about the [Mercury Prize] night without getting emotional,” says guitarist Lewis Whiting, speaking to Billboard UK via Zoom. “We could barely speak when we won. Maybe we should just keep up our own trend of never having a winners’ speech at the ready!”
Winning the Mercury Prize may have helped English Teacher sail to the forefront of the next wave of British guitar music, but its the uniform strength of their impassioned live show that has made them breakout stars. The band will kick off a summer of touring – including appearances at Glastonbury and Green Man – by topping the bill of Billboard U.K.’s Live experience on May 16. Headlining The Deep End venue, Brighton, as part of The Great Escape 2025, it will be joined by a series of rising artists, including Westside Cowboy, the latter for whom Whiting has recently worked with as a producer.
Following an appearance in the 2021 virtual edition of The Great Escape due to COVID restrictions, English Teacher performed at the weekender the following year in support of its Polyawkward EP. Around this time, the outfit’s quirky, lightly rumbustious songs began to resonate across British press and radio; accessible while containing a marked dose of strangeness, Fontaine’s songwriting – at once emotionally raw and witty – boasted a strong multi-generational appeal.
That EP invited a bigger audience into English Teacher’s world, preceding an inexorable rise. Now, having earned first BRIT Award nomination and bagged Fontaines D.C. support slots this year, Whiting discusses how it feels for the band to be playing to increasingly frenzied crowds while working on “tighter and more focused” new music in the background.
You have a storied history with The Great Escape. Looking back at those earlier gigs, how does it feel to think about the band that you were then?
There wasn’t a single part of me that thought we’d be anywhere near where we are now as a band. Those early gigs feel like a different lifetime, for sure – a lot has changed since those early appearances at The Great Escape. I remember the 2022 edition of the festival felt like quite a significant kind of turning point for us. At the time, it felt like things had started falling together for us, and we were like, “D–n, people are actually coming to our shows, something is happening here!”
What memories do you have of the festival over the years?
When we first went to The Great Escape, I think there was a collective kind of giddiness among the band. At that point, we’d never properly experienced a festival like that, so we were pretty over the moon with the response we got from the crowds there. We made some friends along the way, including [the band] Sprints, who we are still close with now. A lot of my memories from The Great Escape revolve around bumping into people around Brighton; it often feels like you’re walking past you know every two minutes!
Since you won the Mercury Prize, have you been surprised by anything that’s changed in your life?
Last year was absolutely huge for us, which is something I am still adjusting to. So many elements of our lives have changed: there’s been an extra layer of public attention on us, which we obviously have never experienced before. It all still feels quite alien, but 2024 was one of the best years of my life. Looking back, it feels like something new happened for us each week.
Given that it’s been a pretty mental 12 months, I think as a band, we’ve been making more of a conscious effort to check in and see where everyone’s at [mentally]. All our lives are now so different, more chaotic and busy, so it’s been really important to keep tabs on each others’ well-being – especially as we are on the road far more often.
How has touring extensively impacted your sources of inspiration for writing the next album?
This has definitely been a big thing for us. A lot of the first album was about the idea of home and all of the emotions that come entangled with that. There’s still a lot of the second album to still be written but we’ve all been through so many changes – and so many new experiences gained through travelling and touring – that I feel will definitely feed into the music too. We’re in a very different place to where we were at for the debut.
Has the meaning of some of your older material changed for you over time?
100%, which is actually a really nice feeling. It’s interesting — because I’m not the lyricist for the band, but as we’ve been on tour, I’ve found that my personal meanings of some of the songs have changed quite a bit. “Mastermind Specialism” is one that really stands out, as it’s a song about indecision; when we play it, I find that I start thinking about all the little decisions that have led us up to this point as a band. “Nearly Daffodils” is another one, as it’s about a relationship that could have been, and all the changes you can go through in life in quite quick succession.
Which song have you written that still gives you goosebumps?
“Albert Road” has really taken on a new significance, however – it’s become sadder! Sometimes, in a live setting, it gets me good. It makes me think of home and I end up feeling reflective about our journey so far. There’s definitely been a couple of pivotal moments over the last year, where we have all looked at each other on stage and started welling up.
How did it feel to walk your first major red carpet at The BRIT Awards this year?
The whole experience was so ridiculous and surreal that I found it really entertaining. It was an honour to be f-king nominated for a BRIT in the first place, that was crazy and something I never, ever expected. It was mad, too, seeing all these celebrities walking around. We got chatting to JADE, she’s so sound. We very briefly said hi to Louis Theroux, too; I felt really shy in his presence — as he is so cool, I almost felt like I had no business talking to him!
You recently worked with Westside Cowboy, who will be joining us at Billboard U.K.’s Live experience at The Great Escape. What attracted you to working with them?
I love everything about that band. Sonically, they’re very much on my street and I really like the confidence with which they approach their songwriter. I admire how they don’t overcomplicate things. They’re fans of Big Thief, but I also feel as though there are elements of Lou Reed, Pavement and The Velvet Underground in their music; they write really concise, strong songs, which is super refreshing.
I first met them when they were playing a gig at Soup Kitchen in Manchester. I became a fan immediately and just knew I had to find a way to work with them. They have some brilliant material in the pipeline which really shows off the range of what they can do together as a band.
How does production allow you to use your skills differently?
It’s still an ongoing journey but one that I have really enjoyed. I’ve always been in bands, and I’ve engineered plenty of demos, but I have never really dived into being a producer in my own right until now. It’s something I would love to do more of in the future, and it’s also nice to take a step outside [of being in English Teacher] and build the confidence to forge a different creative outlet for myself. It feels like opening a different part of your brain, it’s very rewarding.
With dozens of live dates in the pipeline, what mindset are you approaching the rest of the year with?
The main aim is to start road-testing some new songs at festivals. We’re deep in writing mode at the moment, it has been non-stop for us. The [creative] process has been great, if a little fragmented; we all don’t really live in the same city anymore, and we are still figuring out what we want some of this album to sound like. Overall, however, I am feeling really positive.
Personally, I think I’m going to be more happy with the second album than the first one. They’re still in the early stages, but we’ve had a couple of ideas that we perhaps intended to make work in the past, though they feel a little more refined. For me, that’s what I want to get out of the second album: for the first record, we threw a lot of things at the wall, but I like the idea of these songs being a little tighter and more focused. It’s like a puzzle: when you figure out the way the pieces should fit together, it’s so satisfying. That feeling is what keeps you going.
Sam Fender has teamed up with Adolescence director Phillip Barantini on a video for new single “Little Bit Closer.”
The clip, which was shot in the Lake District in the north west of England, follows Owen Cooper — who played Jamie Miller in the Netflix drama — and a group of friends on a trip to the Lakes, where Cooper’s character contemplates questions of faith.
Lifted from February’s People Watching LP, the track itself sees Fender dive deep into his relationship with religion, depicting the emotional complexities of growing up in the Christian faith.
Fender previously collaborated with Barantini back in 2021, working alongside him and fellow Adolescence star and co-writer Stephen Graham for the video to stirring single “Spit of You.” In a press release, he said, “It’s so great to be working with Phil [Barantini] again, I had no doubt he was the right director for this piece, his video for ‘Spit of You’ was my favorite.
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“Phil called to say he’d asked Owen if he’d like to be in the video, and that Owen was keen,” he continued. “I was elated that he could do it after seeing his incredible performance in Adolescence. Alongside Semera Khan [Creative Director] and the rest of the cast and team, they have created something beautiful.”
Barantini added: “To have the opportunity to direct another video for Sam was an immediate yes — an absolute no-brainer for me! Not only is Sam an incredible artist but he’s a beautiful human and a great friend! Also, the opportunity to direct Owen again so soon after Adolescence was an absolute joy!”
Adolescence took the U.K. by storm when it hit screens earlier this year; upon release in March, episode one pulled the largest ever audience for any streaming TV show in the country in a single week. The four-part series, which explores complex issues such as toxic masculinity and the dangers of online radicalization, is set to be made freely accessible to secondary school pupils through a partnership between Netflix and the Into Film+ streaming service.
Speaking to Billboard U.K. in April, Barantini discussed the show’s ongoing impact and the vital discussions it has encouraged in recent months. “I always wanted [Adolescence] to be a conversation starter, or certainly for people to take different things away from it and have their own experience with it,” he said.
“There was definitely that feeling when we were on set,” he continued. “When we screened it to people, the audience were having the same reaction, but I did not think for one second it would be doing what it’s doing and still continues to do.”
Fender, meanwhile, has had a banner year so far. People Watching took the No. 1 spot on the Official Albums Chart upon release with 107,000 units sold across physicals and streaming. He becomes the first British solo artist to surpass 100,000 sales in an opening week since Harry Styles’ Harry’s House in 2022. He then scooped the alternative/rock act going at the BRIT Awards in March, and is now gearing up for a run of U.K. headline stadium shows this summer with dates in London and Newcastle.
After 61 years, The Song is Over for rock titans The Who. On Thursday (May 8) the band announced they’ll play their final run of shows in North America this coming August and September as part of a farewell tour. The announcement was made by guitarist Pete Townshend at a press conference in London with singer Roger Daltrey appearing via video link.
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The tour – named after their 1971 song “The Song is Over” – kicks off in Newark, N.J. on Aug. 19 and runs through major cities including New York City, Boston, Toronto, Los Angeles and more. See the full run of shows below. The band has not announced any further shows outside of the U.S. and Canada at this time.
Tickets will be available through The Who Fan Club, beginning May 13. Additional presales will run throughout the week ahead of the general sale starting May 16 at 10 a.m. local time. See the full information here.
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“Well, all good things must come to an end,” Townshend said in a statement. “It is a poignant time. For me, playing to American audiences and those in Canada has always been incredible.”
“The warmth and engagement of those audiences began back in 1967 with hippies smoking dope, sitting on their blankets and listening deeply and intensely. Music was everywhere. We all felt equal,” he continued. “Today, Roger and I still carry the banner for the late [drummer] Keith Moon and [bassist] John Entwistle and of course, all of our longtime Who fans.”
Daltrey added, “Every musician’s dream in the early 60’s was to make it big in the U.S. charts. For the Who, that dream came true in 1967 and our lives were changed forever. The warmth of the American audiences over the years have been inspirational to me, and reflect the feeling I remember getting after hearing the first rock records coming across the radio. Musical freedom! Rock gave us a feeling of generational rebellion.”
“To me, America has always been great. The cultural differences had a huge impact on me, this was the land of the possible,” Daltrey continued. “It’s not easy to end the big part of my life that touring with The Who has been. Thanks for being there for us and look forward to seeing you one last time.”
Daltery, Townshend and Entwistle first performed live together as The Detours in 1962, and officially became The Who in 1964, with drummer Moon completing the classic lineup in May of that year. They toured primarily in the U.K. and Europe and first hit the U.S. in 1967 to support their third LP The Who Sell Out.
Their hell-raising tours continued with the releases of rock operas Tommy (1969) and Quadrophenia (1973). Their 1970 live collection Live at Leeds is widely considered one of the defining live rock albums of its era.
This isn’t the first time that The Who have announced a ‘farewell tour.’ In 1982 the band played a final run of shows in the U.K. and North America and immortalised the show with live album Who’s Last. They reunited for short performances at Live Aid in 1985 and 1988, and a year later in 1989, the group reunited for a 50-show tour.
In 2015, The Who’s 50th anniversary tour was dubbed as a “long goodbye” by Daltrey and saw them play 70 shows in Europe, North America and Asia. Between 2019 and 2021, the band toured their 2019 album WHO, their first in 13 years.
The news follows a recent concert at London’s Royal Albert Hall which saw longtime drummer Zak Starkey, son of Ringo Starr, sacked from the group for his performance. After a brief period of uncertainty, Starkey was reinstated with Townshend saying, “There have been some communication issues, personal and private on all sides, that needed to be dealt with, and these have been aired happily.
The Who ‘The Song is Over’ North American Tour Dates
Aug. 19 – Newark, NJ @ Prudential Center
Aug. 21 – Philadelphia, PA @ Wells Fargo Center
Aug. 23 – Atlantic City, NJ @ Jim Whelan Boardwalk Hall
Aug. 26 – Boston, MA @ Fenway Park
Aug. 28 – Wantagh, NY @ Northwell at Jones Beach Theater
Aug. 30 – New York, NY @ Madison Square Garden
Sept. 2 – Toronto, ON @ Budweiser Stage
Sept. 4 – Toronto, ON @ Budweiser Stage
Sept. 7 – Chicago, IL @ United Center
Sept. 17 – Los Angeles, CA @ Hollywood Bowl
Sept. 19 – Los Angeles, CA @ Hollywood Bowl
Sept. 21 – Mountain View, CA @ Shoreline Amphitheatre
Sept. 23 – Vancouver, BC @ Rogers Arena
Sept. 25 – Seattle, WA @ Climate Pledge Arena
Sept. 28 – Las Vegas, NV @ MGM Grand Garden Arena