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Journey experienced some technical difficulties during a recent Texas concert.
The legendary rock band had performed just five songs when, during their 1981 hit “Don’t Stop Believin’,” they were forced to leave the stage at NRG Stadium during the Houston Livestock Show and Rodeo on Friday (March 14).

Fan-captured video from the event, shared on X, shows lead singer Arnel Pineda reaching the second verse of the song before the sound cut out and the projector screens went dark. As the audience continued singing along, unaware of the issue, members of Journey’s crew were reportedly seen rushing to the stage with fire extinguishers. Shortly after, the crowd was informed that the concert would not continue and that everyone needed to evacuate, according to KHOU. No injuries were reported.

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Journey had not addressed the situation on social media at press time, but the Houston Rodeo later issued an official statement about the cancellation on its Facebook page.

“Due to an unforeseen electrical incident under the stage area, we regretfully announce the cancellation of tonight’s Journey concert. We sincerely apologize to all fans for this disappointment,” the organization wrote. “Our team is working diligently to assess the situation, and we will provide updates regarding rescheduling options and refunds as soon as possible.”

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Other local news outlets, including KPRC and ABC 13 Houston, reported that the incident was an electrical fire.

Following the abrupt cancellation, many fans were left frustrated and in disbelief. “I am here right now,” one person commented on the Houston Rodeo’s Facebook post. “People are upset, but unforeseeable things happen in every day lives. I am so glad everybody is safe and everything was under control.”

Another fan shared, “We truly thought that it was a part of the show. 70,000 people singing ‘Don’t Stop Believing’ perfectly in unison, unprompted was beautiful! I’m glad everyone in the band and crew are ok. I’m thankful all of us at the show are ok. Count your blessings folks, things just happen sometimes.”

The Chicago Bulls‘ six NBA championship banners have been removed from the United Center after sustaining damage from pyrotechnics during a Disturbed concert. In a statement released on Friday (March 14), the United Center confirmed that the banners — earned during Michael Jordan’s reign in the 1990s — sustained “minor damage” during a March 8 […]

Universal Pictures Content Group announced on Friday (March 14) that it has begun production on a documentary chronicling heavy metal icons Iron Maiden‘s 50-year career. The currently untitled film is slated for release internationally in the fall, with U.S. theatrical distribution details to be confirmed later.

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According to a release, the long-awaited doc is an “emotive journey through Iron Maiden’s 50 Year history told from the perspective of both the band and some of their most devoted followers – from longstanding superfans to established names from the worlds of film and music such as Javier Bardem, Lars Ulrich and Gene Simmons.”

In addition, the doc is slated to feature exclusive interviews with key band members and the final interview with original vocalist, Paul Di’Anno, who died in October 2024 at 66 from a tear in the sac around his heart. In addition to rare archival footage of the group, the doc will also include all-new animated sequences with Maiden’s fan-favorite ghoulish grin zombie mascot Eddie, who has appeared on all their album covers.

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“We’re proud Universal Pictures Content Group has chosen to share the unique story of Iron Maiden with the world,” said Maiden manager Rod Smallwood in a statement about the film that will be directed by Malcolm Venville (Churchill At War). “We have given them unrestricted access to the band, our fans and musical peers.  We trust that they will excite not only music fans but also anyone who loves a story of an underdog beating the odds to become and remain one of Britain’s biggest musical exports since our first record released 45 years ago.”

The movie description continues, “The film offers a unique visual experience that highlights Iron Maiden’s widespread impact and the strong connection between the band and their truly global army of fans. The film also explores the cultural movement Iron Maiden has helped shape and their enduring legacy in both music and fan culture, challenging common perceptions of the wider significance of rock music and heavy metal.”

Iron Maiden formed in East London in 1975 and helped spearhead a resurgent wave of British metal on their way to selling more than 100 million records worldwide thanks to such hard-charging hit singles as “Run to the Hills,” “The Number of the Beast,” “Aces High,” “Flight of Icarus,” “The Trooper” and “Hallowed Be Thy Name.”

“We’re thrilled Iron Maiden have entrusted us to bring their legacy to cinemas around the world,” said Universal Pictures Content group executive vice president Helen Parker. “Working closely with the band and their passionate fans has been an unrivalled experience allowing us to tell their story in a unique way and celebrate their incomparable fearless creativity in their 50th anniversary year.” The film will be produced by Dominic Freeman (Spirits in the Forest – a Depeche Mode Film), with Parker serving as executive producer.

Iron Maiden will launch their 50th anniversary Run For Your Lives tour in Budapest on May 27, with 32 other dates currently scheduled throughout Europe through August 2.

Gene Simmons can rock n’ roll all night and deliver the weather forecast the next day. On Thursday (March 13), the KISS frontman hilariously took over Los Angeles meteorologist Adam Krueger’s weekend report on Fox 11 — and it was truly chaotic from start to finish.
Wearing a denim shirt, sunglasses and a black cap, Simmons began by asserting he knows “quite a lot” about weather. He also landed a backhanded compliment toward Krueger — “You look much better in real life than you do on TV” — before pointing out regions on a map of Southern California and nonchalantly reading off the weather patterns crossing through.

At one point, Simmons pushed Krueger away so as not to block the graphics behind them before reading out the warm temperatures local viewers would experience over the next few days. Krueger then went in for a play on KISS’ Billboard Hot 100 hit “Rock and Roll All Nite,” saying, “This weekend, I’m thinking, it’s looking pretty good. If people want to rock and roll all night …?”

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“They should party every day,” Simmons finished.

Another hilarious moment came when Krueger tried to signify the end of the segment by giving the rock star a fist bump, prompting Simmons to ask, “Are you kicking me out?”

“You don’t have the thing in my ear where they’re saying wrap, so I gotta wrap,” Krueger responded, leading Simmons to start freestyling some bars.

“Rap? ‘You go to 7-Eleven/ Go to heaven …,” Simmons spit, doing a little dance.

After the broadcast, Krueger shared some behind the scenes photos with the rock legend on Instagram and wrote, “Do weather with @genesimmons” along with a checkmark emoji.

Krueger is known for creating viral weather moments by incorporating popular music into his presentations. Last year, he turned heads by using lyrics from Kendrick Lamar’s “Not Like Us” while delivering a Houston forecast, telling viewers, “If you wanna pass on this heat like John Stockton, you can go into the Northwest where there’s 60s and 70s for highs today.”

“So again, we got temperatures in the 90s, but it’s going to feel hotter for several days … Wop, wop, wop, wop!” he continued at the time. “This is not a major cold front. In fact, the general rule this time of year if it’s June and we’re talking about a cold front, it’s probably a minor.”

Krueger’s has also recently paid homage to Doechii, Tyler, the Creator and Travis Scott.

Simmons has also previously tried his hand at meteorology. In September, he joined KTLA 5 Morning News and hilariously pushed resident weatherman Henry DiCarlo aside to take over that week’s weather report.

Watch Simmons make his weather report above.

The Mars Volta appear to be sick of the standard album release plan, with the group finally confirming their new album after weeks of speculation.
Vocalist Cedric Bixler-Zavala confirmed the existence of the new album via his Instagram Stories this week, sharing a pre-order link to a record titled Lucro Sucio; Los Ojos del Vacío. No other announcement from the band – be it a larger social media post or a press release – has mentioned the record, though it is currently available for pre-order via online retailers such as Amazon. These retailers list an official release date of April 11.

“The Mars Volta’s ninth studio album represents a significant milestone for the band, which has been continually reinventing itself for more than 20 years,” an online description for the record reads. “With Lucro Sucio; Los Ojos del Vacio, they deliver an album that celebrates their roots, allowing them to reconnect with their origins. Fans are invited to embark on a musical journey.”

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The album’s rollout plan has been a strange one, perhaps in response to the fact that both news of the album and its content had leaked prematurely in late January. While The Mars Volta had not acknowledged the leak publicly, they launched a U.S. tour in support of Deftones on Feb. 25, where they have since been performing Lucro Sucio; Los Ojos del Vacío in its near-entirety.

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On March 2, a Reddit user took to The Mars Volta subreddit to share an unverified story in which they claimed to have delivered food to Bixler-Zavala while the band were in Oregon, only to be handed the singer’s personal copy of the album. The user shared a handful of photos to support their claim, adding further speculation amongst fans as to when the album would be officially released.

The Mars Volta was formed by Bixler-Zavala and guitarist Omar Rodríguez-López following the breakup of their previous band At the Drive-In. Debut album De-Loused in the Comatorium was released in 2003, while 2005’s Frances the Mute would see the band reach No. 4 on the Billboard 200. They would release a total of six albums across their initial run, with 2012’s Noctourniquet preceding their split the following year.

While Bixler-Zavala and Rodríguez-López would later perform again in Antemasque and a reunited At the Drive-In, The Mars Volta would not be considered active again until 2019. They returned to releasing music in 2022 with a self-titled record, and an acoustic re-recording of the album the following year titled Que Dios Te Maldiga Mi Corazón.

A new release from Radiohead could be on the way, if a historical trend of new legal entities is to be believed.
According to the British Government’s Companies House agency, the five members of Radiohead established a new limited liability partnership under the name RHEUK25 LLP on Monday (March 10). An LLP is a legal business entity which allows the band to exist and conduct their own dealings outside of the typical framework of a record label.

While the establishment of an LLP may mean nothing on face value, historical activities have indicated that a new release or tour usually follows after Radiohead or its members establish a new LLP. 

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In 2007, the group prefaced the release of In Rainbows with the creation of Xurbia Xendless Ltd., which was followed by Ticker Tape Ltd. ahead of The King Of Limbs’ arrival in 2011, while 2016’s A Moon Shaped Pool was rumored after the discovery of the Dawn Chorus LLP.

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It’s not just restricted to Radiohead’s movements as a whole, with frontman Thom Yorke having been a part of Unsustainabubble Ltd. in 2010 before Atoms for Peace released their solo album in 2013, with the partnership also being used for his later solo releases. In 2021, Self Help Tapes LLP was incorporated before the release of The Smile’s debut album, and has since been used for their subsequent releases.

The most recent partnership to be created with all five members of Radiohead was Spin With a Grin Ltd., which arrived ahead of their 2021 reissue of Kid A and Amnesiac, dubbed Kid A Mnesia. It should be noted though, the nascent establishment of RHEUK25 LLP also coincides with the anniversary of Radiohead’s second album, The Bends, which was released 30 years ago on Thursday (March 13). Currently, it’s unknown whether the new LLP could be related to new music or a potential reissue.

Radiohead haven’t released a new studio album since 2016’s A Moon Shaped Pool, which peaked at No. 3 on the Billboard 200 at the time. Band members have remained active since, with Yorke and guitarist Jonny Greenwood teaming with Tom Skinner to craft The Smile. On Tuesday (March 11), Yorke also announced a collaborative album with Mark Pritchard, with Tall Tales slated to arrive on May 9.

Speaking to Australian radio station Double J ahead of his Australian tour last year, Yorke noted his ignorance of online speculation regarding the band’s future. “I am not aware of it and don’t really give a flying f–k,” Yorke said. 

“No offence to anyone and err, thanks for caring. But I think we’ve earned the right to do what makes sense to us without having to explain ourselves or be answerable to anyone else’s historical idea of what we should be doing.”

Laura Jane Grace set out to make a point with a recent performance of a new song. It turns out, the song went right over the heads of the people she was hoping would hear it most.
On Friday (March 7), Sen. Bernie Sanders hosted a town hall as part of his “Fighting Oligarchy” tour across the country in Kenosha, Wisconsin, and invited Grace to perform on stage. One of the songs she performed — her February released “Your God (God’s D–k)” — caused immediate outrage online over its profane lyrics and religious themes.

In the song, Grace makes a point that while religious conservatives have a problem using the proper pronouns for trans people, they seem to have no problem imposing gender on an omnipresent, non-physical deity. “Does your god have a big fat d–k? ‘Cause it feels like he’s f—ing me,” Grace sings on the track. “Are his b–ls filled with lightning?/ Do they dangle like heaven’s keys?”

In an interview with Rolling Stone, Grace said that the purpose of the song was to open people’s eyes to the double standard of gender constructs today. “I’m not being profane to be profane, I’m not just saying ‘d–k’ to say ‘d–k.’ I’m asking a genuine question,” she said. “If you refer to your God as he and him, but you will not refer to a transgender person with the pronouns that are theirs … that’s just insane.”

Grace continued, adding that the outrage itself was representative of the larger problem around the right’s attack on trans people. “It’s such blatant hypocrisy. You can’t prove God exists with biology or chromosomes,” she said. “So if you’re gonna throw science continually in my face, let’s stick to that: Your god doesn’t exist.”

Sanders’ event was aimed at protesting president Donald Trump and Republican lawmakers’ proposed plans to cut federal programs like Medicare and Medicaid that low-income families rely on. “4,000 people came out to say: NO tax breaks for billionaires,” he wrote on Instagram following his Kenosha event. “NO cuts to Medicaid. NO oligarchy. NO authoritarianism. NO MORE billionaires buying elections.”

The White House has since stated that Trump “will not cut Social Security, Medicare, or Medicaid benefits,” but has alleged that there is “waste and fraud in entitlement spending” without providing concrete evidence of where that waste and fraud exists in programs like Medicare or Medicaid.

For decades, rock music dominated the sales charts, with bands like the Beatles, AC/DC, the Eagles, the Rolling Stones, Fleetwood Mac and Led Zeppelin among some of the top-selling acts in recorded music history. But while rock music remains the second-biggest genre in the U.S., it lags far behind market leader R&B/hip-hop and third-placed pop when it comes to streaming.
For the prior year ended Jan. 2, 2025, R&B/hip-hop led the U.S. industry with 27.2% of audio consumption units, besting rock by just 1.7%, the latter coming in at 25.5%, according to Luminate. (These figures subtract activity from titles unassigned to any genre.) But for current market share — defined by Luminate as releases from the last 18 months — rock’s share of the market slips to 11.9%, less than half of that 25.5% mark that includes catalog titles, too.

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That might help explain some of the weakness of rock’s biggest acts in the streaming era. For decades, the music industry measured success using numbers in the millions: an album or song that sold 1 million copies was a platinum record; a diamond record, at 10 million copies, was a smash success. But while those milestones still apply for albums, the streaming era means the industry measures success in the hundreds of millions — and, increasingly, in the billions for huge success stories.

That makes 1 billion annual on-demand U.S. streams a reliable barometer of success for the biggest acts in the country, with the 2 billion stream plateau seemingly the measure of superstar status. But it’s heavily skewed towards genres — like R&B/hip-hop and pop — that have thrived in the streaming format. In 2024, streaming accounted for 91.2% of U.S. album consumption unit totals, vs. 8.8% from sales; while rock leads in market share for the sales formats with 35.8%, it trails R&B/hip-hop in streaming by a whopping 10 percentage points, 19.69% to 29.78%, respectively.

Last year, 51 artist catalogs passed the 2 billion stream mark in the U.S., not including any collaborations, according to Luminate. Of those artists, only one core rock artist hit that milestone: Linkin Park, at 2.25 billion. Meanwhile, four country artists — Morgan Wallen, Zach Bryan, Luke Combs and Chris Stapleton — achieved that distinction, as did three Latin artists, Bad Bunny, Peso Pluma and Fuerza Regida. Another 11 artists that passed the 2 billion stream mark could be considered pop, including Taylor Swift (16.5 billion on-demand streams); Billie Eilish (5.16 billion); and Noah Kahan (3.2 billion). That means the vast majority of artists with over 2 billion streams in 2024 — 32, to be exact — could be considered R&B/hip-hop, led by Drake, the artist with the second-biggest stream count in the U.S. at 10.1 billion streams in 2024, down slightly from the prior year’s 11.5 billion. (Equivalent album units and streaming figures cited in this story include user generated content (UGC) on-demand streams, which are not factored into any of Billboard‘s chart rankings.)

So while it might be easy to think that rock bands like Led Zeppelin, Pink Floyd, Elton John, the Beatles, the Eagles, Metallica, Bruce Springsteen and the Rolling Stones are among the biggest artists in the U.S, the big names in R&B/hip-hop swamp the iconic rock bands when it comes to streaming counts.

For example, not only did none of the above recording acts pass the 2 billion stream mark in 2024, but none of them have hit that milestone in the last five years. By comparison, attaining the 2 billion stream milestone is fairly routine for R&B/hip-hop acts — in fact, a strong contingent of R&B/hip-hop and pop artists annually surpass even 3 billion on-demand streams each year.

Billboard analyzed more than 90 of the top acts in the U.S. and compiled an average of each act’s annual stream count over the five-year period of 2020-2024, with Taylor Swift (10.74 billion average annual streams) and Drake (9.2 billion annually) leading the way. And many of the R&B/hip-hop artists analyzed showed hugely impressive averages. For that 2020-2024 period, those artists include NBA YoungBoy, whose five-year annual average for the U.S. on-demand streams stands at 6.2 billion; Juice WRLD (4.8 billion); The Weeknd (4.6 billion); Kanye West (4.043 billion); Eminem (4.037 billion); Future (3.7 billion); Kendrick Lamar (3.3 billion); J. Cole (3.15 billion); and Travis Scott (2.79 billion), according to Billboard calculations based on Luminate data.

Among rock artists, it’s a completely different story; only in the last two to three years have some of the other big-name rock artists hit the latter milestone.

Nevertheless, of the 45 or so big-name rock acts that Billboard examined for this article, eight have achieved the 1 billion milestone in each of the past five years, and one band — Imagine Dragons — reached 2 billion twice (2.3 billion in 2022 and 2.47 billion in 2023), making it the only rock act to average north of 2 billion over the period (2.04 billion).

Of the remaining bands with five years all over the 1 billion stream mark, one of those rock acts is the most famous band in the world, the Beatles; and, at a 1.91 billion average, they are the only other rock act even close to 2 billion annual streams. The other rock acts to reach the mark every year are Queen (1.38 billion annual average streams); AC/DC (1.2 billion annual average); Linkin Park (1.5 billion average, having broken the 2 billion mark in 2024); Maroon 5 (1.73 billion); Coldplay (1.6 billion); and Twenty One Pilots (1.24 billion).

Four other rock acts averaged over 1 billion streams annually during the period, but only hit the mark four times: Metallica (1.26 billion); the Red Hot Chili Peppers (1.15 billion); Panic! At the Disco (1.1 billion); and the Eagles (nearly 1.1 billion). Elton John (1.02 billion average) hit the mark in three of the years from the five-year period, as did Elvis, whose annual average was just shy of 935 million.

The Rolling Stones (958 million annual average) and Creedence Clearwater Revival (955 million) each hit 1 billion streams twice during the past five years, while Green Day, Billy Joel and Radiohead accomplished it once.

That leaves some major names that have yet to reach the 1 billion mark. Of the bands Billboard chose to examine, that includes Led Zeppelin, who averaged nearly 931 million streams annually over the last five years; and Pink Floyd, at an annual average of 844 million streams. Guns ‘N Roses, Aerosmith, Van Halen, The Beach Boys and the Killers all averaged between 500 million and 800 million streams annually for the period, while David Bowie, the Police, Grateful Dead and Creed were between 300 million and 500 million annually.

Still, 300 million streams is nothing to sneeze at. These days, that would bring in nearly $1.6 million in master recording revenues alone, Billboard estimates.

We still don’t know who will join Liam and Noel Gallagher on stage for Oasis‘ eagerly anticipated 2025 reunion tour. But even if you weren’t able to score tickets to the siblings’ upcoming first live shows since their acrimonious break-up in 2009, you will definitely be able to re-live it thanks to a just-announced live film chronicling the get-back nobody thought would ever happen.

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The band announced on Thursday morning (March 13) that a film documenting the Oasis Live ’25 tour will be created and produced by BAFTA- and Oscar-nominated writer/producer/director Steven Knight (Peaky Blinders, Spencer, Dirty Pretty Things) and directed by Dylan Southern and Will Lovelace (Meet Me in the Bathroom, Shut Up and Play the Hits).

No release date has been announced yet — and no further details were revealed about the content of the film — for the project that will be distributed by Sony Music Vision.

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Fans are starved for any information about the tour, including who will be performing alongside singer Liam and guitarist/occasional vocalist and songwriter Noel, though a report from the NME that purported to have the inside scoop on the rest of the band earlier this week was quickly rubbished by Liam.

After the British music mag claimed to have the line-up thanks to “sources working closely with the band and tour,” Liam slapped back in a post in which he demanded, “NME tell me who your source pots are that keep giving you info about OASIS and I’ll give you an exclusive interview about up n coming OASIS tour. You can have it all but how much do you want it.”

A short time later, he added, “It’s not the lineup reveal I’m bothered about I’ll reveal that to you in a minute I’m more bothered about the line where it says a source close to the band and tour that really causes me a great deal of concern.” Forever cheeky, Liam then confirmed who would be on stage with him and his brother, claiming it would be ““Tony Mc drums Alan white bass guitar Zak lead guitar Chris Sharrock keys.”

Fans in the know quickly surmised he was just kidding, since all four men served as drummers in the band at some point. “That’s a BANGING line up,” Liam joked.

Oasis have announced 40 dates so far for the Live ’25 tour, which will kick off on July 4 with the first of two shows at Principality Stadium in Cardiff, Wales, criss-crossing the U.K. before landing in Toronto on August 24 for a run of North American stadium dates, then moving on to Mexico City, South Korean, Japan, Australia and South America.

John Lennon and Yoko Ono were never shy about sharing their love story with the cameras. The late Beatle and his wife/Plastic Ono Band co-leader are center stage in the first trailer for One to One: John & Yoko, an upcoming documentary from Oscar-winning director Kevin Macdonald that tells the story of a life-changing, fast-moving 18-month period in the couple’s lives in the early 1970s.

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The two-minute clip opens with audio of Lennon calling someone named Howard, in which the woman on the other end begins to spell out the singer’s name only to realize who she’s talking to. “You’re a member of the Beatles?” she asks. “That’s right, yeah,” Lennon answers nonchalantly. From there, the footage explodes into a collage of images of bombs falling in the Vietnam war and the couple preparing for a charity show as Lennon says, “good morning, folks. Have you had your breakfast yet,” accompanied by, yes, footage of the pop icon having his bowl of morning cereal.

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We see a flip-book of footage of John and Yoko leaning into their new lives in the city, shopping for clothes and goofing around with friends as Yoko says, “the Flower Generation is over, but we can start all over again, right?,” which leads into a famous image of the couple from behind throwing up raised fists as the Statue of Liberty hovers on the horizon.

The movie is a chronicle of the couple’s new life in New York post-Beatles in 1972, following them as they move into an apartment in Greenwich Village and prepare for their One to One Concerts, a two-show all-star charity event for children with special needs that they threw at Madison Square Garden in August 1972. It was the only full-length performance by Lennon in the wake of the Fab Four’s split two years earlier and in addition to the Plastic Ono Band it featured sets by Stevie Wonder, Sha Na Na and Roberta Black, among others.

Asked by a reporter at the time why they were doing the free shows, Lennon said, “to change the apathy that the youth have.” The couple’s only child, musician Sean Ono Lennon — seen in clips as a toddler — produced and remixed the concert audio for the movie, with the trailer ending with footage of Lennon , wearing his signature tinted round eyeglasses, performing his signature hit “Imagine” at the concerts.

The film also features newly transferred and restored footage from that era along with previously unseen and unheard items from the couple’s personal archives, including phone calls and home movies recorded and filmed by Lennon and Ono during the 18 months the couple lived in a cramped Greenwich Village apartment in the early 1970s.

“How would you like to be remembered?” a reporter asks Lennon at one point. “Just as two lovers,” he responds. The movie will be released exclusively in IMAX on April 11 and in wider release on April 18 and then stream later this year on Max.

Watch the One to One trailer below.