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It was no surprise that Jack White performed The White Stripes’ “Seven Nation Army,” a sporting anthem, during his halftime set on Thursday (Nov. 27) at the Detroit Lions’ annual Thanksgiving Day Classic at Ford Field.
The real surprise came with a guest appearance by fellow Detroit icon Eminem, who co-executive produced the event alongside his manager, Paul Rosenberg.
The superstar rapper, decked out in a hoodie and custom-made Lions jacket, electrified the sold-out crowd by joining White and his band halfway through their seven-minute set for a mashup of Em’s “Till I Collapse” with the White Stripes’ “Hello Operator,” a pairing that was sandwiched between White’s “That’s How I’m Feeling” and “Seven Nation Army.”
It was a first-ever onstage meeting between the two Detroit music standard bearers. It came in the wake of the White Stripes’ induction into the Rock and Roll Hall of Fame on Nov. 8, and also coincided with the 10th anniversary of the opening of White’s Third Man Records location in his hometown. Eminem was inducted into the Rock Hall in 2022.
White played a blue guitar for the occasion, while his rhythm section sported Lions attire. “I love you Detroit,” the rocker shouted as the performance came to a feedback-drenched conclusion. More than 400 Lions season ticket holders who volunteered to be part of the show rocked along in front of the stage.
Eminem and White — who each created special limited edition merchandise related to the game and halftime show — were well represented before the performance as well. The Ford Field PA blasted “Seven Nation Army” shortly before the Lions took the field, and White’s “Taking Me Back” during the time-out music in the first quarter. “Till I Collapse” was featured as hype music prior to kickoff.
The show marked the first event in a new three-year partnership between the Detroit Lions, Burbank-based Jesse Collins Entertainment — known for producing previous Super Bowl halftime shows — and Eminem and Paul Rosenberg. Eminem and Rosenberg also collaborated with the Collins organization on the June 2024 concert celebrating the opening of Michigan Central, which also featured a performance by White.
JCE executive VP Seth Dudowsky told Billboard that conversations about Eminem and Rosenberg joining the production team began near the start of the NFL season, and once on board White quickly became a focal point of the Thanksgiving halftime discussion.
“We talked about how do we put on a show that really represents the attributes and values of the city and are true to the Lions and true to what Eminem and Paul had established there,” Dudowsky said. “When you talk about those elements and those values, Jack White was a perfect artist to… represent rock ‘n’ roll and be on that stage and somebody who not only spans Detroit, but anybody who’s been in stadiums and at sports events has heard [‘Seven Nation Army’] at some point.”
The Lions also launched a new initiative with Feeding America with Thursday’s game.
Adding to the day’s hometown flavor was Grammy-winning gospel singer CeCe Winans, a Detroit native who flew in that morning from Nashville to perform the National Anthem.
“It’s an honor,” Winans told Billboard at Ford Field. “I grew up with seven brothers and a dad, so the Lions game was on every year. There were 10 of us so we couldn’t get all those tickets, so we watched on TV. To be able to be here to do the anthem is a lot of fun, and honor and amazing.”
The Lions game against NFC North division rival Green Bay Packers was the first of three NFL Thanksgiving Day games.
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The Oasis Live ’25 tour is a bit like a iceberg: what you see above the water doesn’t always match up with what’s hiding under the surface. For evidence just look at tour video director Jon Shrimpton’s celebratory post on Monday (Nov. 24), when he reminisced about the globe-trotting outing that wrapped up in Brazil on Sunday (Nov. 23) after 41 sold-out show on five continents.
“And there it was…. gone!…. after 14 months of pre-production, lots of well kept secrets, and 5 months of some of the most incredible sights and sounds I’ve ever seen at a stadium show, here we are,” Shrimpton wrote, revealing that plans for the shows were well along on their way last September, just weeks after the group shocked the world by announcing that they were reuniting after a 16–year break.
While Shrimpton didn’t divulge what “secrets” he was referring to, he did rave about the results of the tour that brought out rapturous, bucket hat-wearing hordes who lustily sang along to every note and reveled in the chance to hear “Wonderwall” and “Champagne Supernova” live again, or possibly for the first time.
“The last night of the … it would be fair to say; culturally and financially successful Oasis Live ‘25 world tour, tonight, in São Paulo,” he wrote from Estádio do Morumbi in São Paulo, Brazil in the post featuring images of the tour’s crew and a wild behind-the-scenes peek at what the shows looked like from his perch featuring more than a dozen feeds he pumped out to the massive screens spanning the stage.
“A genuine career high point here, being the video director on this momentous event. Travelling around the world, in the eye of the storm,” Shrimpton wrote. “I’ve been genuinely honoured to work with the most incredible, talented, ego-free, happy crew that has ever been assembled, and there’s been nothing but love from everything I’ve seen written about the show…. even in the British press.”
And while Shrimpton hinted that the tour was in the works well before fans heard a peep about it, the NME noted that some enterprising fans on Reddit did the math and speculated that the 14 months of pre-production meant the plans for the reunion were in the works by May or June of last year, several months before the announcement.
One user even accused singer Liam of being even cheekier than usual when he went out on his June 2024 arena tour celebrating the 30th anniversary of the band’s debut, Definitely Maybe. “Thinking about all those interviews where Rkids [Liam] fooled me [into] think[ing] they still didn’t talk to each other… good actors,” read one comment about the singer’s continuation of the charade that he and his older brother were still not on speaking terms after their rancorous 2009 split.
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In much the same way that Oasis spent more than a decade and a half swearing that they would never play together again, now it seems like they can’t wait to go back out on the road for another run. The group wrapped up their massive Live ’25 reunion tour in Brazil on Sunday (Nov. 23) after playing 41 sold-out shows on five continents.
The first gigs in 16 years from formerly battling brothers singer Liam Gallagher and guitarist/songwriter Noel Gallagher were rapturously received and left fans begging for more. So it’s been a bit of a roller-coaster ride trying to figure out if there actually are additional shows in the offing. While the band has not officially announced any 2026 plans, Liam has been dropping Easter eggs that have begged more questions than they’ve answered.
Earlier this month he wrote “I know things you don’t” on X after earlier teasing that “it’s not even half time yet,” before admitting that there was a “few tuts and raised eyebrows” when he’d earlier told fans that he would see them next year. And then he was more succinct when a commenter asked for just one word on a potential 2026 tour: “No,” he answered.
That definitive shutdown seemed to be confirmed on Tuesday (Nov. 25) when the band posted a series of pics from the tour with the message “there will now be a pause for a period of reflection.”
And then Liam eased the door open a bit, again.
Responding to a number of X comments pressing him on when Oasis will tour again and if the first swing’s rigid setlist might loosen up the next time around, Liam spread a little holiday joy with another seeming hint of what’s to come. “There’s loads more classics we need to play for you when we go out again I mean happy Christmas,” Gallagher wrote on Tuesday.
When one of them proposed an alternate setlist with some of the favorites that were missing the first time around, Gallagher gave a thumbs up to a few of the ideas, writing, “Defo doing ‘Hindu Times’ ‘Colombia’ and ‘Go let it out’ I mean happy Christmas,” he said.
The hits kept coming, as a fan speculated that they felt like “a new album is coming and you’re just hiding it really well.” Liam wasn’t quite as jovial about that one, responding, “It’s not I honestly do t see the point it won’t be as good as the old stuff im quite happy singing the old stuff I’m not 1 of those WANKERS that need to keep pushing it forward or sideways or backwards in some cases NOSTALGIA forever.”
In case you missed his point, he added, “New music is for WANKERS.”
So, to recap: absolutely no new music, a definitely maybe setlist shakeup and more dates for sure, unless not.
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Sublime are getting into the festival game. The long-running reggae punk band announced the debut of their first-ever touring festival, Sublime Me Gusta, which is slated to debut in Forth Worth, Texas on May 9 at the Panther Island Pavilion. According to a release announcing the event, the “beginning of a national festival series built around the timeless sound, spirit and cultural impact” of the band takes its name from the lyric “Me gusta mi reggae, me gusta punk rock” from the trio’s iconic song “Caress Me Down” from their 1996 self-titled debut album.
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“The festival embodies everything Sublime stands for: sun-soaked vibes, rebellious spirit, and a love for music without boundaries,” reads the release. Tickets for the festival start at $89.99 for general admission and are available here now.
“It’s always been our dream to put on a Festival for our friends and family,” says Sublime singer Jakob Nowell, son of the band’s late, original singer Brad Nowell. “It’s punk rock, hip hop, reggae, surf — all facets of true west coast alternative culture that has been kept alive for generations by fans and musicians alike. This is our era now and we got nothing but love for everyone coming with us.”
The band will be joined on the bill by their longtime friends in fellow reggae punk band Slightly Stoopid for what is described as an “immersive day of live music, community and good vibes.” A full festival lineup will be announced in the coming weeks. The event is being co-produced by Sublime and independent promoter Brew Ha Ha Productions.
A second stop in Oregon on June 27 has also been announced, though a city and venue were not revealed at press time. Each show will feature a hand-picked lineup of bands that bridge the punk-reggae gap, with the promise of a full day of music, vendors, art, food and drinks.
“As someone who lives in the Dallas-Fort Worth area, I couldn’t be more excited to launch the first-ever Sublime Me Gusta Festival right in our own backyard,” event co-producer Cameron Collins of Brew Ha Ha Productions said in a statement. “Sublime and Slightly Stoopid are two of the most influential bands of our generation and bringing them together for this new festival is something truly special. Fort Worth is the perfect place to kick off Sublime Me Gusta, and we can’t wait to share the full experience with everyone.”
Sublime was formed in Long Beach, Calif. in 1988 by singer/guitarist Nowell, bassist Eric Wilson and drummer Bud Gaugh. The band’s self-titled third album was released two months after 28-year-old Nowell’s death from a drug overdose, peaking at No. 13 on the Billboard 200 album chart. The band broke up in 1996 following Nowell’s passing and reformed in 2009 with fan Rome Ramirez taking over vocal/guitar duties, changing their name to Sublime With Rome.
Gaugh, who had split in 2011, rejoined the band in 2023 when Jakob Nowell took over as lead singer, followed by the dissolution of Sublime with Rome in 2024. In May of that year the band released their first new song in almost 28 years, “Feel Like That,” followed by the single “Ensenada.” Earlier this year, Sublime revealed that Nowell has been in the studio with Blink-182 drummer/producer Travis Barker and producer John Feldmann writing songs for the trio’s first new full-length album in three decades.
Check out the Sublime Me Gusta festival poster below.
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Anthrax will return to Australia in March 2026 for four shows across Brisbane, Adelaide, Melbourne and Sydney, Live Nation announced Tuesday.
The run marks the thrash-metal veterans’ first Australian headline tour since 2019, extending a global touring period that has seen the band revisit material spanning more than four decades.
Hailing from New York and widely regarded as one of the “Big Four” of thrash alongside Metallica, Slayer and Megadeth, Anthrax have sold more than 10 million albums worldwide and remain one of heavy music’s most enduring live acts. Their 2026 Australian dates will feature a career-spanning setlist mixing fan favorites, deep cuts and selections from the band’s more recent catalog as they continue celebrating their legacy on the road.
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According to the announcement, the tour will kick off March 23 at Fortitude Music Hall in Brisbane before moving through Adelaide’s Hindley Street Music Hall on March 25 and Melbourne’s Festival Hall on March 26. The run will wrap March 28 at Enmore Theatre in Sydney. It marks the group’s return to all four cities after several years of international touring and festival performances.
Tickets go on sale Nov. 28 at 11 a.m. local time. A Mastercard presale runs Nov. 26 from 11 a.m. until Nov. 28 at 10 a.m., with additional Live Nation presale access beginning Nov. 27 at 11 a.m. and concluding Nov. 28 at 10 a.m. All times are local.
Anthrax has also finished mixing its forthcoming studio album, marking the band’s first full-length release in nearly a decade following 2016’s For All Kings, with drummer Charlie Benante confirming the milestone via Instagram on Nov. 24.
Key recording sessions and all final mixing took place at Dave Grohl’s Studio 606 in Northridge, California — a space long associated with major hard-rock productions. The band reunited with producer Jay Ruston, who previously oversaw For All Kings and 2011’s Worship Music, bringing continuity to the project as Anthrax enters its next era.
More information is available at livenation.com.au.
Anthrax Australian Tour dates:
March 23 – Fortitude Music Hall, BrisbaneMarch 25 – Hindley Street Music Hall, AdelaideMarch 26 – Festival Hall, MelbourneMarch 28 – Enmore Theatre, Sydney
Trending on Billboard MGK compared his sexual performance to that of an F1 driver during a Las Vegas Grand Prix show, and the hilarious clip is going viral. Originally shared by The Daily Mail, the rapper and singer made the crass joke before playing his song “Bloody Valentine” from his 2020 Billboard 200-topping album Tickets […]
11/24/2025
The new songs, the band’s first since 2023’s “The General,” are due out on Dec. 2.
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Los Angeles’ live music club scene is amping up. And one of the energizers behind that push is Adam Blackstone, in his newly created role as creative director for the recently rebranded venue Live at The Sun Rose.
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Case in point: Earlier this month (Nov. 11), a long line of exuberant fans stretched down the block from the club’s entrance on Hollywood’s famed Sunset Strip. They were waiting to witness the Blackstone-led 30th anniversary salute to the star- and hit-filled 1995 film soundtrack Waiting to Exhale. Billed as a “special legacy experience,” the family reunion-vibed evening sparked lively singalongs — plus shoutouts and standing ovations — to songs such as Faith Evans’ “Kissing You,” Whitney Houston’s “Exhale (Shoop Shoop)”/”Why Does It Hurt So Bad,” Brandy’s “Sittin’ Up in My Room,” Mary J. Blige’s “Not Gon’ Cry” and Toni Braxton’s “Let It Flow.”
But it was done with a twist. Blackstone’s surprise guests for the affair was a cast of male singers who lent their own vocal insights to the soundtrack’s themes of love, hurt and friendship. Among the emerging and established artists on deck were TA Thomas, JayDon, Dixson and Darrel Walls. Also spotted in the audience: Waiting to Exhale star Lela Rochon, actor/producer Lena Waithe and Grammy-winning artist-musician Robert Glasper.
JayDon, Dixson, Lekhan, Eric Dawkins, Adam Blackstone and Darrel Walls at The Sun Rose West Hollywood, November 11, 2025.
David Coy II
The Waiting tribute is just one example of the kind of events Blackstone has in mind for Live at The Sun Rose. Nestled within The Sun Rose West Hollywood (formerly the Pendry hotel), the revamped 100-seat intimate space hosted a for-your-consideration chat in October between Blackstone and Teyana Taylor, who earlier this month received her first Grammy nomination. Recent and upcoming shows at the venue, which relaunched Aug. 1, include David Bowie’s Piano Man: Mike Garson featuring Judith Hill and Luke Spiller Presents — The Songs I Wrote for You (Dec. 5, 12-13).
Emmy winner Blackstone (Super Bowl LVI halftime show) won his first Grammy this year for best musical theater album (Hell’s Kitchen). The bassist, producer and musical director’s list of credits also includes Rihanna, Justin Timberlake, Alicia Keys, Maroon 5, Jay-Z and Eminem. Now he’s opening the door to a new era at the Sun Rose — and the Los Angeles club scene, which also welcomed Blue Note’s L.A. offshoot to town in August with Glasper as its partner/creative ambassador.
“It’s incredible to see and feel what’s going on in the city; there’s a lot happening now,” says Blackstone. “So I’m not taking this new role lightly. We’re going to push this new synergy of creativity forward at the Sun Rose.”
Below, Blackstone explains more about the vision behind the venue, and what inspired the unconventional Waiting to Exhale anniversary celebration.
How did this gig come about?
When my first album [2022’s Legacy] came out, I had been looking for a newish spot to set up shop. A friend of mine introduced me to a couple of people who told me about this brand new spot built over the House of Blues. I had so much nostalgia for that venue because one of the first albums I ever played on was with Jill Scott performing live at the House of Blues. So I went to see the room. It was incredible.
I feel that what we did that first night I played [promoting the new album] at Sun Rose in early 2023 set the precedent for what L.A. has become now jam session-wise. I really wanted to bring in some East Coast and Philadelphia flair: you invite people up onstage, it’s very impromptu. I think one of the things that people love about what happens at the Sun Rose, whether it’s me or not, is that it feels like a family safe space for people to mess up, to improv. That’s what jazz, blues and R&B are all about: to be in the moment, to be vulnerable, to tell stories.
I was very excited to be one of the first cats to make Sun Rose my home to do that type of music. So in making the transition from the Pendry, this job came about. I’m thankful to be a part of it. And we’re only going to get bigger and better as far as our reach.
Adam Blackmon with Lena Waithe and Lela Rochon at The Sun Rose West Hollywood, November 11, 2025.
David Coy II
What is your vision for achieving that mission?
My mission for Live at Sun Rose is to be a music venue that accepts all creative spaces, doing thing that other L.A. music venues can’t do. For example, we have sat down and talked about what 2026 looks like for Grammy Week, but also for NBA All Star Week, which might not just be music stuff but also installations. It could be glam things that are centered around music. All of these things our venue is able to do.
So the goal is to be anything live entertainment-oriented that allows people to have a safe space to come in and create whether that’s music, art, visual art, a podcast space [R&B Money taped a show there] or a glam space for hair, nails, makeup … there’s something to be said about the ambience and location that we provide alongside the history that’s already associated with Sun Rose.
Which prompted your staging a show celebrating the 30th anniversary of Waiting to Exhale?
The week we staged the show coincided with the Nov. 14 release date of the 1995 soundtrack. I had been talking to Babyface about the soundtrack, which produced several major hits and made such an impact on our culture. I asked him how he was able to write in the perspective of these four women. And Forest Whitaker directed the film.
So I got this genius idea that I hoped would translate. Because nobody speaks about such hurt from a man’s perspective, I wanted to surprise the audience by having all males sing the soundtrack’s songs. We’ve experienced and gone through some ish too. We hurt as well. And I felt this was the perfect time to do something like this in the intimate, safe space of the Sun Rose.
As creative director, how hands-on are you in organizing and slating shows at Sun Rose?
Ascreative director, I’m in it every day. We have calls, text threads and ideas that we present to one another. And artists are bringing me ideas. One of the things that we’re talking about now is developing immersive experiences for both the music venue and the hotel as well. Where people can stay over multiple days like during Grammy Week, NBA All Star Week or something like that and immerse themselves in the music and the culture without even having to leave the facility. That’s something that we can provide that another venue can’t.
Also, I’ll be doing probably five-six special concerts myself a year, or possibly more. But I’m there every day as creative director, helping to make decisions. Knowing the House of Blues was on this site, I feel a responsibility to uphold that great music tradition.
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Billy Corgan debuted the long-anticipated operatic adaptation of Mellon Collie and the Infinite Sadness on Fri., Nov. 21, with the Smashing Pumpkins leader performing on opening night at the Lyric Opera of Chicago.
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The new production presents a symphonic and operatic reimagining of the band’s 1995 double album, which debuted at No. 1 on the Billboard 200 and marked a defining moment in the group’s commercial peak. Across the evening, selections including “Tonight, Tonight,” “1979,” and “Bullet With Butterfly Wings” were transformed for a full operatic cast and orchestra.
Corgan appeared as a featured vocalist throughout the performance, joined by soprano Sydney Mancasola, mezzo-soprano Zoie Reams, tenor Dominick Valdés Chenes and baritone Edward Parks. The Lyric Opera Orchestra and Chorus performed under conductor James Lowe, who has been one of Corgan’s key collaborators in reworking the score for the stage.
In a previous statement, Corgan said the process allowed him to reconsider the album nearly 30 years on. “It is thrilling to collaborate with Lyric head John Mangum, my musical partner James Lowe, and all of the artists at Lyric in reimagining this very special and historic album, and to discover how Lyric’s full operatic treatment is helping me experience my own compositions in powerful new ways,” he said.
“Opera and rock both tell stories of heightened emotions, and I am excited for both fans of my music and traditional opera fans to hear some truly inspired work; for the balance here is to honor both traditions in a magisterial way.”
Originally released in Oct. 1995, Mellon Collie and the Infinite Sadness earned seven Grammy nominations, including album of the year. It produced two of the band’s most enduring singles with “1979” (which peaked at No. 12 on the Billboard Hot 100) and “Bullet With Butterfly Wings,” the latter winning the group a Grammy for best hard rock performance. The album remains one of the Smashing Pumpkins’ most critically and commercially significant projects, certified diamond by the RIAA.
The Lyric Opera production continues its limited run in Chicago through the coming week.
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Jellybean Johnson, the Minneapolis musician and producer who was the drummer for the Prince-affiliated funk-rock group The Time, has died. He was 69.
His cause of death is unknown. TMZ first reported Johnson’s passing, noting that he died Friday night (Nov. 21) according to a statement obtained by his family.
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Prince recruited Johnson (real name Garry George Johnson), who was self-taught on drums and guitar, in 1981 for The Time, an act born out of the city’s Flyte Tyme. They’d known each other since their high school years in Minneapolis.
“The drums are physical and violent for me while the guitar is spiritual and emotional,” Johnson said in a 2018 interview with Australian Musician. He also quipped to the publication, “When you live here in the cold, you stay in [in] the winter time and you learn how to play.”
As a member of The Time — and later, Prince’s The Family — Johnson helped establish the funk-rock, new wave and synth-pop hybrid that became known as the Minneapolis Sound. He appeared as a fictionalized version of himself in 1984’s Academy Award-winning Purple Rain and as himself in 1990’s Graffiti Bridge.
The Time had five top 10 hits on the Hot R&B/Hip-Hop Songs chart in the ’80s and early ’90s (when the chart was called Hot Black Singles), including “777-9311,” “Jungle Love” and “Jerk-Out,” which reached No. 1 in 1990.
Johnson is also known for his work as a producer, with Janet Jackson‘s 1990 Hot 100 No. 1 “Black Cat” among his credits — and he was an in-demand session musician.
Sheila E., a longtime friend and a frequent collaborator with Prince, remembered Johnson in an emotional post on Facebook Saturday morning, which she shared “with a heavy heart.”
“My dear friend Jellybean passed away a couple of hours ago,” Sheila E. wrote. “We are devastated by this news. I’m praying for his family and all the kids. He was a kind human being, extremely talented and funny. He had a great sense of humor and [was] an awesome guitar player.”
Directing her words toward her late friend, she added, “Yesterday was your birthday, I forgot to call you and I’m so sorry. I love u bean. Rest in peace and power.”
“I’m absolutely heartbroken!” The Family vocalist Susannah Melvoin wrote on Instagram. “My beautiful brother Jellybean Johnson has passed. This band was and is the kind of Family that believed we all rightfully belonged together in love, music and kindness. Jellybean was the master of loving you like no brother could! My big brother, who watched over me and anyone who he loved!”Melvoin’s note continued: “I met him when I was 19 years old and he was already a seasoned musical savant at 28. He’d been in the Time and was masterfully put into a band that became what we lovingly and rightfully call the family. He went from being behind the drums to playing guitar in this band because he was a guitar player first and drummer second. Oxygen for him was the inhale and exhale of playing his guitar. I can barely get this out….his children and family members need our support and love. Please send it their way.”“May you rest in all that is light and graceful,” she said to Johnson.
Johnson performed with The Time and Rihanna at the Grammy Awards in 2008, a performance that had him playing the drums to a click track. After being a career musician with his “own click track for 30, 40 years,” Johnson said it was difficult to pivot — “If you go back and watch that performance, it came off flawless, but, man, that week of practice was hell,” he said with a laugh, in a 2024 interview with Dancing to the Drum Machine author Dan Leroy.
“The guys in The Time always trusted me, as far as tempos and all that kind of stuff,” explained Johnson. “But there were a few times, like when I played the Grammys … I remember one time back in ’08, man, I played the Grammys, and Rihanna was on there with [The Time]. And she was just getting huge, and she had that ‘Umbrella’ song … And she had dancers, and she was doing this thing with us, and it was gonna be part Minneapolis, part her. She’s gonna be integrated with us — which means with me being the only drummer, I had to play to a click track. I struggled. I’m not gonna lie. I called every hotshot drummer, young drummers that I know, all my top drum friends. I mean, how do y’all do this? Because some guys, especially studio guys, they learn how to do that. Just deal with click tracks and all that kind of stuff. And I didn’t. I never had to really do that.”
He returned to the Grammys stage in 2017 and 2020 as part of tributes to Prince.
Johnson co-founded the non-profit Minneapolis Sound Museum in 2021, with the goal of preserving the history, culture and legacy of the Minneapolis Sound.
In 2022, he was awarded a Soul Train Lifetime Achievement Award with The Time.
