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So does Mad!, the title of Sparks’ new and 26th studio album, refer to brothers Ron and Russell Mael’s current temperament? Or is it simply a reference to their legendarily idiosyncratic creative comportment that’s made the pair a cult darling for the past 54 years?
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“Maybe a little of each,” Russell Mael tells Billboard as he travels from Philadelphia, where Sparks performed at NON-COMMvention the previous evening, to New York. “There’s the two general meanings of mad, being either angry or being crazy,” he says. “Just the overall ambience of the whole album seemed to lend itself to that title. But then you can exact from it, too, that it also is reflective of the general zeitgeist now, with what’s going on everywhere — in particular here (in the United States).”
The 12-song set, produced by the Maels and recorded with their regular touring band, comes as part of a particularly prolific period in Sparks’ career. It’s the group’s ninth studio album since the turn of the century and its third of the decade, directly following 2023’s The Girl is Crying in Her Latte. It also comes in the wake of Edgar Wright’s acclaimed 2021 documentary The Sparks Brothers and the 2021 release of the Maels’ long-gestating film musical Annette, which produced not only a soundtrack album but also last year’s Annette — An Opera by Sparks (The Original 2013 Recordings).
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All of that, along with touring, has kept Sparks’ profile high, and there’s an undeniably triumphant — as well as defiant — message conveyed as Sparks kicks into Mad! with the forceful opening track “Do Things My Own Way.”
“You don’t like to be heavy-handed with a message like that,” Russell explains, “but it is kind of that statement, in a way. It kind of applies to how we think — from day one, even when we did our first album [1971’s Halfnelson, also the band’s name at the time] with Todd Rundgren (producing). He always encouraged us to keep the eccentricities that we just naturally had and to not smooth over the edges, don’t lose your character and personality. Even on that first album, he thought we’d created our own universe he’d never heard before. He said it was something from somewhere else, which is a nice thing to say, especially with a band that was just a new group.”
Sparks was celebrated last year with an outstanding contribution to music honor at the AIM Independent Music Awards. And though the group has only intersected with the pop mainstream on rare occasions — “Cool Places” with Jane Wiedlin hit the Billboard Hot 100 in 1983, and “When Do I Get to Sing ‘My Way’” went top 10 on the Dance Club Songs chart in 1995 — the fact Sparks is still with us is proof that being a bit “weird” is not a bad thing.
“Things are on the upswing for Sparks,” Mael says. “I think there’s been this — especially in the last few years, since the Edgar Wright documentary, and since the Annette movie — whole new audience, some of whom didn’t even know the band at all but became aware of it through different channels than just us having our own album out. It’s not the typical career trajectory.”
Mad! was created in standard Sparks methodology, according to Mael, without a great deal of forethought — and, according to the vocalist, nothing held over from previous projects.
“Everything was done specifically for this album,” Mael says. “It’s a process where we’re pretty free to work however we want. Sometimes we’ll have a complete song that’s fully formed…or we come in with nothing at all planned and just sit down and see if something can come up from nothing. Having our own studio, you’re free to experiment in that way. We’ve been working together for so long now that we’re able to read what each other’s thoughts are regarding the songs or the recording process. That certainly makes it easier. It’s not starting off with any questions marks.”
The result on Mad! is unapologetically diverse — to its benefit. Musical and lyrical quirks about; “JanSport Backpack” is about just that, for instance, while “Running Up a Tab at the Hotel for the Fab” is a good-humored “mini-movie,” and “I-405 Rules” and “A Long Red Light” show the Maels are well attuned to traffic patterns in their native Los Angeles. The range of sounds, meanwhile, runs from the aggressive attack of “Hit Me, Baby” to the theatrical drama of “Don’t Dog It” to the string-fueled “I-405 Rules,” while a great deal of melodic pop floats through “A Little Bit of Light Banter,” “My Devotion,” “Drowned in a Sea of Tears” and the Mersey-meets-Bacharach majesty of “Lord Have Mercy.”
“I think we both have the same goal in mind… to try to come up with fresh approaches to the universe that Sparks has and has had since the very beginning and try to stretch that, or try to find new angles to be able to do in three-and-a-half-minute songs,” Mael says. “We both really like pop music, and we still feel there are ways to come up with stuff that will hopefully surprise a listener in this day and age. Pop music has been there a long time, so the trick is to see how you can take that form and still come up with something fresh — but not be weird just to be weird, or odd.”
Mad! also finds Sparks with a new label, Transgressive Records, after working with Island on The Girl is Crying in Her Latte. “Sometimes you just have to make moves,” Mael notes. “Transgressive heard the album; even referring back to ‘Do Things My Own Way,’ they told us they thought that was really a kind of manifesto of their label. They’ve all been huge Sparks fans for a long time. They really wanted to be involved not only ’cause they like us as a group, but they responded to this album and really felt a kinship to it. We’ve been lucky enough to work with people like Chris Blackwell at Island in the ‘70s, even Richard Branson at Virgin and of course Albert Grossman with Bearsville Records when we first started. It seems like in today’s musical climate there’s fewer and fewer of those visionary types. Transgressive shares that same kind of spirit, so it’s a good fit.”
Mad! will send Sparks back on the road, beginning June 8 in Japan and followed by an early summer trek through Europe before returning to North America starting Sept. 5 in Atlanta, with dates booked through Sept. 30 at the Greek Theatre in Los Angeles. Meanwhile, the Maels are also working on another movie musical that John Woo (Face/Off, Mission: Impossible 2, Silent Night) is on board to direct.
“We wanted to do another narrative project, ‘cause we really liked the whole process with Annette so much, really working and channeling our music in other ways,” says Mael, who describes the new piece as “really different in its approach than Annette.” The brothers read in an interview with Woo that he’s long wanted to make a musical and invited him to their studio to hear what they had.
“He said, ‘This is amazing, and I want to direct it,’ so we’ve been working with him to refine the story elements. He’s completely sold on the whole approach and all of the music. We have three really great producers now on the project; they’re out there trying to get all the financing together so we can start the production. We think it’s going to be something really amazing.”
Billboard’s Producer Spotlight series highlights creatives currently charting on Billboard’s producer rankings. Whether they are new to the industry or have been churning out hit after hit, the intention is to showcase where they are now, and their work that’s having a chart impact.
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Longtime hard rock producer Carl Bown scores a career milestone on Billboard’s latest charts (dated May 24), thanks to his work on Sleep Token’s breakout album, Even in Arcadia.
The band reaches unprecedented heights this week, as the album debuts at No. 1 on the Billboard 200 with 127,000 equivalent album units earned in the U.S. in its first week, according to Luminate. Concurrently, all 10 tracks from the album land on the Billboard Hot 100, making Sleep Token the first hard rock act in history to chart as many as 10 songs simultaneously in a single week.
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Here’s a full breakdown of Sleep Token’s entries on the Hot 100:
No. 56, “Dangerous” (debut)
No. 57, “Caramel” (re-entry; peaked at No. 34)
No. 58, “Emergence” (re-entry; peaked at No. 57)
No. 61, “Even in Arcadia” (debut)
No. 66, “Look to Windward” (debut)
No. 70, “Past Self” (debut)
No. 72, “Damocles” (re-entry; peaked at No. 47)
No. 75, “Gethsemane” (debut)
No. 77, “Provider” (debut)
No. 100, “Infinite Baths” (debut)
Bown is credited as the sole producer on all 10 tracks, propelling him to No. 1 on Billboard’s Hot 100 Producers chart for the first time in his career. He also claims the top spot on Rock Producers, Alternative Producers, Hard Rock Producers, and Rock & Alternative Producers.
Bown, a veteran of the U.K. hard rock scene, has been a go-to producer for many of the genre’s biggest names. He’s also worked with Bullet for My Valentine, Bring Me the Horizon, While She Sleeps, Gunship, Pendulum and Trivium, among others.
Before teaming up with Sleep Token, Bown had only appeared on Billboard’s song charts with four singles by Bullet for My Valentine:
“You Want a Battle? (Here’s a War)”: No. 37 on Mainstream Rock Airplay, No. 46 on Hot Rock & Alternative Songs (2015)
“Don’t Need You”: No. 49 on Hot Rock & Alternative Songs (2016)
“Knives”: No. 16 on Hot Hard Rock Songs, No. 39 Mainstream Rock Airplay (2021)
“Shatter”: No. 24 on Hot Hard Rock Songs (2021)
Based in Manchester, U.K., Bown is also the founder and owner of Treehouse Studios in Chesterfield, a popular recording hub for many of the records he’s helmed.
Meanwhile, two of Sleep Token’s members, Vessel I and Vessel II, also achieve a notable feat. They rank at Nos. 1 and 2 on Billboard’s Hot 100 Songwriters chart, respectively. Known for their anonymity, the cloaked and masked artists have remained publicly unidentified. Vessel I is credited as a writer on all 10 of the band’s Hot 100 entries, while Vessel II is credited on eight.
Billboard launched its songwriters and producers charts in June 2019, including those for individual genres. The charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on their respective “Hot” or “Top” chart. As with Billboard’s yearly recaps, multiple writers or producers split points for each song equally (and the dividing of points will lead to occasional ties on rankings).
The full Songwriters and Producers charts, plus those for other genres, can be found on Billboard.com.
The Modfather himself, Paul Weller, has announced the release of his latest covers record, Find El Dorado.
Set for release on July 25, the 15-track collection of songs sees Weller looking to an eclectic list of artists, including the Bee Gees, The Kinks, Richie Havens, Christy Moore, The Flying Burrito Brothers, and more.
“These are songs I’ve carried with me for years,” Weller said in a statement. “They’ve taken on new shapes over time. And now felt like the moment to share them.”
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Additionally, the album also features a number of talented guest musicians, including the likes of Oasis’ Noel Gallagher and Led Zeppelin’s Robert Plant. Other guests include Hannah Peel, Declan O’Rourke, Amelia Coburn and Seckou Keita.
Alongside the announcement of the record, Weller has also shared two tracks as a preview of what to expect. The first of these is “Lawdy Rolla,” the 1969 A-side to the only studio release from obscure French outfit The Guerrillas; and “Pinball,” the title track to English multi hyphenate Brian Protheroe’s 1974 debut.
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News of the forthcoming record arrives almost one year to the day since Weller’s last album, 66, which arrived on May 24, 2024 – one day before his 66th birthday. El Dorado is also his first record of covers since 2004’s Studio 150, which featured tracks written by the likes of Neil Young, Bob Dylan and Noel Gallagher.
Paul Weller – El Dorado Tracklist:
1. “Handouts in the Rain” (Richie Havens)2. “Small Town Talk” (Bobby Charles)3. “El Dorado” (Eamon Friel)4. “White Line Fever” (The Flying Burrito Brothers)5. “One Last Cold Kiss” (Christy Moore)6. “When You Are a King” (White Plains)7. “Pinball” (Brian Protheroe)8. “Where There’s Smoke, There’s Fire” (Willie Griffin)9. “I Started a Joke” (Bee Gees)10. “Never the Same” (Lal and Mike Waterson)11. “Lawdy Rolla” (The Guerrillas)12. “Nobody’s Fool” (The Kinks)13. “Journey” (Duncan Browne)14. “Daltry Street” (Jake Fletcher/PP Arnold)15. “Clive’s Song” (Hamish Imlach)
Almost one year to the day since the release of their most recent record, Clancy, Ohio duo Twenty One Pilots have announced the release of their forthcoming seventh album, Breach.
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Sharing news of their new record on social media on Wednesday (May 21), Twenty One Pilots have announced that the album will arrive on an unspecified date in September, with first single “The Contract” to be released on June 12.
The album’s announcement was also paired with the news that it appears to thematically continue the narrative arcs which the band have focused on across the past decade. “Hello Clancy. Hello Blurryface,” they wrote on social media. “Let’s finish this.”
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Referencing the titular characters of their 2024 and 2015 LPs Clancy and Blurryface, respectively, the record will ostensibly wrap up the narratives that have also continued across records such as 2018’s Trench and 2021’s Scaled and Icy.
Composed of Tyler Joseph and Josh Dun, Twenty One Pilots first formed in 2009 and released a pair of independent records before 2013’s Vessel served as their major label debut and commercial breakthrough, ultimately peaking at No. 21 on the Billboard 200. The group received their first No. 1 with 2015’s Blurryface, with their following records all reaching the top three.
More recently, Twenty One Pilots wrapped their Clancy World Tour with a series of U.K. dates earlier this month. These shows made headliners when, in the final moments of their gig at Manchester’s AO Arena on May 11, a concertgoer was seen grabbing one of Dun’s drums and casually walking away with it.
“I really don’t think you should take that,” one fan can be heard saying in a widely shared video of the alleged theft, as another adds, “Have I just witnessed a crime. Has she actually just stolen that drum? That’s crazy.”
Though the unnamed fan initially appeared to get away with the souvenir unhindered, dedicated fans went into full investigative mode to attempt to track them down. The hours-long search appeared to pay off when Twenty One Pilots’ behind-the-scenes tour videographer Sax posted on Instagram on May 12 that the one-of-a-kind drum had been returned.
Evan Dando, the frontman of alt-rock veterans The Lemonheads, has announced the release his long-awaited memoir, Rumors of My Demise.
The book was initially announced back in late 2020, with Dando reported as co-writing the volume with music writer Jim Ruland at the time. “My life is a muddy river. I thought I should add more dirt,” Dando said upon its initial announcement.
Named for the rumor and innuendo that surrounded Dando’s life at the height of his fame as a ’90s rock heartthrob, the book aims to share “the true story of his band’s tumultuous history and what it was like to be famous in the pre-internet days.”
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Set for release through publishers Gallery Books on Oct. 7, Rumors of My Demise presents as a candid account of Dando’s storied life, ranging from his formative years in the ’80s hardcore scene, his brush with mainstream success, up to his current status, which sees him sober and living in South America while not touring.
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“Reclaiming the purity and exuberance of his early days and encapsulating the spirit of the era, this candid autobiography presents a portrait of an artist who lives wholly for his music, and one that makes no apologies for doing so,” a description of the book reads.
News of Dando’s upcoming memoir follows on from the release of “Deep End,” the lead single from The Lemonheads’ first album of original music since 2006. The track will feature on Love Chant, which is scheduled for a fall release, though specifics have not been shared.
The Lemonheads first formed in Boston in 1986, with a series of independent albums arriving via Taang! before the group signed to Atlantic for 1990’s Lovey.
Writing with Smudge frontman Tom Morgan while in Australia, The Lemonheads found their commercial breakthrough with 1992’s It’s a Shame About Ray, which reached No. 68 on the Billboard 200. Its success was bolstered by a cover of Simon & Garfunkel’s “Mrs. Robinson,” and helped the group achieve their commercial peak with 1993’s Come on Feel the Lemonheads, which peaked at No. 56.
The Lemonheads initially dissolved in 1997, though Dando reactivated the group in 2005, with a self-titled record arriving the following year. Since then, two cover albums have been released, with Varshons and Varshons 2 being issued in 2009 and 2019, respectively.
Dead & Company have released new details about the Grateful Dead 60th-anniversary concerts at San Francisco’s Golden Gate Park from Aug. 1-3, including the announcement of special guests booked to play each show. Bluegrass phenom Billy Strings will open the Aug. 1 concert, while singer/songwriter Sturgill Simpson, performing as Johnny Blue Skies, will perform Aug. […]
President Donald Trump is once again letting his distaste for Bruce Springsteen be known after the musician slammed him and his administration during two recent concerts.
This time, an altered video Trump shared via his Truth Social platform on Wednesday (May 21) shows the commander in chief in a red Make America Great Again cap as he takes a big swing and hits a ball on the golf course as onlookers cheer him on. The video then cuts to a scene of The Boss walking on stage during a concert, as a white dot representing the golf ball suddenly sails into the shot, hits the musician in the back and knocks him down as audio of onlookers clapping and saying “nice shot” plays. Trump did not caption the video, but also shared it on X.
Billboard has reached out to Springsteen’s reps for comment.
This latest dig at the 20-time Grammy winner comes after Springsteen spoke out against the twice-impeached president on his ongoing tour. “[America] is currently in the hands of a corrupt, incompetent and treasonous administration,” the rocker, who endorsed Democratic presidential nominee Kamala Harris in the 2024 election, said during his first Land of Hopes and Dreams Tour in Manchester, England, on May 14. “Tonight, we ask all who believe in democracy and the best of our American experience to rise with us, raise your voices against the authoritarianism, and let freedom ring.”
Trump, who in May 2024 was convicted of 34 felony charges in his hush money trial, responded in a lengthy Truth Social post on May 16 calling the artist “dumb as a rock” and going on to insult his talent. “This dried out ‘prune’ of a rocker (his skin is all atrophied!) ought to KEEP HIS MOUTH SHUT until he gets back into the Country, that’s just ‘standard fare,’” Trump wrote the same day he also insulted Taylor Swift, who also endorsed his opponent in the election. “Then we’ll all see how it goes for him!”
Springsteen continued his criticism of the president during his May 17 show in Manchester. “In my home, they’re persecuting people for their right to free speech and voicing their dissent. That’s happening now,” the musician told concertgoers. “The majority of our elected representatives have utterly failed to protect the American people from the abuses of an unfit president and a rogue government. They have no concern or idea of what it means to be deeply American.”
Those same comments from his two concerts are included in a new six-track EP also titled Land of Hopes & Dreams, which arrived on Wednesday.
Since the back-and-forth, the president has called for investigations into Springsteen as well as other stars for allegedly joining in on an what he calls an “illegal election scam” he claims was orchestrated by Harris’ campaign. In May 19 Truth Social posts, Trump accused The Boss, Beyoncé, U2’s Bono as well as Oprah Winfrey of illegally accepting undisclosed payments to appear at the former VP’s rallies and endorse her. FactCheck.org previously disproved those allegations when they first surfaced in 2024.
After Trump initially insulted Springsteen and Swift on May 16, the American Federation of Musicians International stepped up to defend the artists. “The American Federation of Musicians of the United States and Canada will not remain silent as two of our members — Bruce Springsteen and Taylor Swift — are singled out and personally attacked by the President of the United States,” Tino Gagliardi, the organization’s president, said in part in a statement that day. “Musicians have the right to freedom of expression, and we stand in solidarity with all our members.”
A English hard rock band that performs in masks and cloaks is not the type of artist that regularly visits the top of the Billboard 200 — yet anyone who had been paying attention to Sleep Token’s rise over the past few months knew that their fourth studio album, Even in Arcadia, was going to have a strong debut.
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After years of building a fan base, expanding their lore and inching onto the Billboard charts with increasingly higher peaks, the group kicked off the year by scoring their first career Hot 100 entries, as well as quickly selling out a slew of fall arena dates. When Even in Arcadia was released on May 9, its album tracks flooded streaming charts, a clear sign that the early enthusiasm around the album had coalesced upon its release.
Yet when the dust settled on its debut week, even the most bullish Sleep Token fan had to be pleasantly surprised: Even in Arcadia debuted at No. 1 on the Billboard 200 chart dated May 24 with 127,000 equivalent album units, according to Luminate — good enough to not only score Sleep Token’s biggest chart week ever, but the biggest total for a hard rock album in nearly two years, as well as the largest streaming week ever for a hard rock album. It’s the type of debut that blows away even the most hyped-up prognostications, and immediately makes Sleep Token one of the biggest stories in rock this year.
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The performance of this album cycle has “by far” surpassed expectations, RCA Records COO John Fleckenstein tells Billboard. Sleep Token — which debuted nearly a decade ago and has always remained under cover of anonymity, with band members never revealing their identities or speaking to the press — signed with RCA in early 2024 following the release of third album Take Me Back to Eden. That album became the band’s first to hit the Billboard 200, debuting at No. 16 in May 2023, and produced some of its first songs to hit the Hot Rock & Alternative Songs chart.
Yet when “Emergence” — the six-and-a-half minute, multi-part prog-metal epic that opened the Arcadia era in March — debuted at No. 57 on the Hot 100 in March, thanks in part to some mind-boggling streaming numbers (9.9 million official U.S. streams from March 14-20, according to Luminate), RCA had to adjust its forecast for the commercial prospects for its host album, says Fleckenstein.
“We knew they were great, and they were potent,” he says. “But when ‘Emergence’ came out, that’s when we saw the reality of where the numbers had gotten to.”
“Emergence” was followed by “Caramel” — a more radio-friendly (yet no less audacious) single that somehow pulls off a fusion of rhythmic pop, shuffling reggaeton and a shrieking metal breakdown — and “Damocles,” Sleep Token’s version of a power ballad with twinkling pianos that morph into thundering guitars. Both of those songs hit the Hot 100 as well, at Nos. 34 and 47, respectively — and the fact that the second and third songs released from Even in Arcadia peaked higher than the first on the Hot 100 indicated to RCA that the host album was going to be a monster.
“Everyday along the path into this album, we were more and more confident that this was a big deal,” says Fleckenstein. “We just don’t see that kind of fan behavior and consistency, in terms of new music coming out.”
When RCA signed Sleep Token last year, Fleckenstein says that the two biggest indicators of the band’s upward trajectory were its rapid growth as a live act — the group leapt from clubs to theaters, and now to arenas, with strong ticket demand for each live run — and the online dedication of its fan base. The London natives have crafted a complex backstory over the year, with Sleep Token leader Vessel speaking of a higher power called Sleep and causing fans to parse through lyrics and messages to unlock new mysteries from their world.
For the band’s new major-label partner, Sleep Token’s anonymity has felt “liberating” as a promotional tool, says Fleckenstein, particularly in an era of artists oversharing on social media platforms. “So much of it is about the art that the band makes,” he notes. “The world that’s being created is being driven by the fans, and as we were building [the rollout] with the band, the part that was so rewarding was that we could not get more clever than this fan base.”
Case in point: in February, before the album cycle had truly started, the band launched a teaser site full of jumbled numbers and letters, which fans quickly found out related to the geographic coordinates of an 18th century monument in England. “It all happened in a blink!” Fleckenstein says with a laugh. “It’s because you’ve got a fan base that is undyingly passionate about this band.”
Now that Even in Arcadia is here, fans’ attention will now turn to how the album will be presented live: Sleep Token will perform the new material for the first time next month at a handful of European festivals before their U.S. arena tour kicks off on Sept. 16. In the meantime, the noise of this album debut has already unlocked opportunities for Sleep Token that aren’t normally reserved for hard rock acts: Vessel was featured as the main image of Spotify’s New Music Friday playlist on release day, for instance, and all 10 of the album’s tracks have made the Hot 100 chart. Combined with Ghost’s new album Skeletá debuting atop the Billboard 200 two weeks prior to Arcadia, a brand of new-school hard rock with baked-in mystique and accessible hooks is experiencing a mainstream boom that’s been years in the making.
“The numbers here are basically in line with high-caliber pop artists, in terms of consumption level,” says Fleckenstein of Sleep Token. “Up until this point, the focus has been on the fan base, and that won’t change — they’re the reason why we’re here… But in a lot of ways, the story from here will probably be that this isn’t some niche thing. There’s definitely a broader awakening here among media and partners that are looking at this in a different kind of way.”
A similar effect is trickling down to pop fans, too. “There are people that haven’t discovered this band yet, because they haven’t been part of the lore and they perceive it as metal, which may not be their genre of choice,” Fleckenstein says. “But it’s great music. And I think that’s going to be the road ahead.”
20 years since he took up the role of vocalist of Foreigner, Kelly Hansen has announced that he will be leaving the band this year.
Hansen’s news was shared on the season finale of NBC’s The Voice on Monday (May 20), where the band was on hand to perform a medley of their hits.
Following a rendition of “Feels Like the First Time,” Hansen took the opportunity to announce his plans to the audience. “After 20 magical years fronting this band, this will be my last year with Foreigner,” he revealed. “At the end of this summer, a new great voice will sing these songs for you; my friend Luis Maldonado.”
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Hansen then welcomed Maldonado for a performance of “Juke Box Hero,” before the pair shared lead vocals on “I Want to Know What Love Is.”
“Being the voice of Foreigner has been one of the greatest honors of my life,” added Hansen. “But it’s time to pass the mic. Luis has the voice, the energy, and the soul to carry these songs into the future. I couldn’t be prouder to hand this off to him.”
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Hansen rose to fame in the ’80s as the vocalist for Hurricane, whom he fronted until their 1991 dissolution. Following years spent working with other bands, such as Air Pavilion, Unruly Child, Perfect World, and recording with Slash’s Snakepit, Hansen joined Foreigner in 2005 following the departure of co-founding vocalist Lou Gramm two years prior.
Maldonado, meanwhile, joined Foreigner in 2021, having previously served as the guitarist of Train and having worked with names such as John Waite and Lisa Marie Presley. “This music has been part of my life for as long as I can remember,” Maldonado added. “I’m ready to honor Foreigner’s legacy and bring my heart to every performance.”
The status of Hansen’s role in the band had previously been the subject for debate in March, when it was announced that actor Geordie Brown, who is perhaps best known for his role in Foreigner’s own Jukebox Hero – The Musical – would be fronting the band for their Canadian Farewell Tour throughout October and November. Foreigner’s recent South American tour also featured Maldonado on lead vocals, while Gramm returned as a guest musician.
Foreigner was first formed in 1976 by former Spooky Tooth guitarist Mick Jones, with the band releasing their self-titled debut album the following year. They topped the Billboard 200 in 1981 with the aptly-titled fourth album, 4. The record also boasted top five songs “Urgent” and “Waiting for a Girl Like You,” though they would release their highest-charting single in 1984, with “I Want to Know What Love Is” topping the Hot 100 after it was issued as the lead track from Agent Provocateur.
Various lineup changes over the years have left Jones as the only original member of the band, though he has been absent from the live stage since 2023. In October 2024, the band was inducted into the Rock and Roll Hall of Fame by Sammy Hagar.
As Iron Maiden ready themselves to climb aboard Ed Force One and launch their Run for Your Lives World Tour, manager Rod Smallwood has asked fans to put their phones away.
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The veteran British heavy metal outfit will launch their upcoming tour in Budapest, Hungary on May 27, with the shows also kicking off their 50th anniversary celebrations. With the massive milestone in their back pocket, and the tour also set to see the debut of drummer Simon Dawson, there’s a lot worth documenting.
However, Smallwood has taken to the band’s website to share a post titled “Put away your phones and get ready to Run For Your Lives!” in which he urges fans to experience the shows “in the moment” rather than on smaller screens at a later date.
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“We really want fans to enjoy the shows first hand, rather than on their small screens,” Smallwood wrote. “The amount of phone use nowadays diminishes enjoyment, particularly for the band who are on stage looking out at rows of phones, but also for other concertgoers.
“We feel that the passion and involvement of our fans at shows really makes them special, but the phone obsession has now got so out of hand that it has become unnecessarily distracting especially to the band. I hope fans understand this and will be sensible in severely limiting the use of their phone cameras out of respect for the band and their fellow fans.”
Iron Maiden aren’t the first band to ask fans to put their phones back in their pockets. In 2015, Jack White shared a verbal plea for no phones during his Lazaretto tour, and by the time The Raconteurs toured in 2019, attendees were told to put their devices in locked Yondr pouches.
“We think you’ll enjoy looking up from your gadgets for a little while and experience music and our shared love of it in person,” a note from the band read at the time.
Other acts, such as Tool, have also employed a similar approach, requesting phones stay off their phones until their final performance. Guitarist Adam Jones explained in 2022 that while part of the reason was due to the loss of connection between band and fan, another factor was the limited technological know-how of some concertgoers.
“I think one of the problems is you get a lot of lights because people don’t know how to use their cameras correctly, which makes it very blinding onstage,” Jones explained.
As Smallwood added on Iron Maiden’s website, much of the urging for fans to stow their phones comes out of a plea for respect, for both the larger experience and the band themselves.
“We would very much like you to be ‘in the moment’ instead and be fully actively involved to enjoy each and every one of these classic songs in the spirit and manner they were first played,” he adds. “This show isn’t just a celebration of our music; it is, as you will see, also about our years of art, of Eddie and of the many, many worlds of Maiden we have created for you.”
“So please respect the band, respect the other fans and have the time of your lives as you join your Maiden family by singing your heart out, rather than getting your phone out!! It’s really not a lot to ask is it?”
The upcoming Run for Your Lives World Tour will be Iron Maiden’s first performances since wrapping their The Future Past Tour in São Paulo, Brazil in December. That tour was the last to feature drummer Nicko McBrain, who announced his “decision to take a step back from the grind of the extensive touring lifestyle.”
