genre rock
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Just days after addressing critics who expect lengthy shows from artists, a charitable Jack White is giving back to his fans with a new live EP and an affordable ticket deal for students.
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Taking to social media on Monday (Feb. 10), White revealed that students will be able to purchase $20 tickets at all upcoming dates on his ongoing No Name Tour.
“A limited number of student tickets will be available to purchase in-person only at each venue’s box office on show day,” White explained. “These tickets will be sold on a first come, first served basis with a valid student ID (1 ticket per student ID).” More information about this ticketing approach is available on the website for each venue on the tour.
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White, who is himself a noted critic of high ticket prices, is following in the footsteps of other bands who have taken a similar approach to capping the cost of tickets in the past. While DIY post-hardcore outfit Fugazi were famous for their $5 entry fee, recent years have seen the likes of The Cure attempting to make their gigs affordable too.
In 2024, frontman Robert Smith claimed ticket sellers were “driven by greed”, and capped the price of some tickets to just $20. In some cases, however, the fees were more expensive than the tickets themselves.
Alongside White’s recent generosity, the veteran musician also unveiled his No Name Live EP on Wednesday (Feb. 12). The five-song release includes a handful of live recordings of cuts from his 2024 record No Name, including “That’s How I’m Feeling”, “Archbishop Harold Holmes”, “Morning at Midnight”, and “Rough on Rats (If You’re Asking).”
These recordings were taken from U.S. performances in Denver, Atlanta, New Haven, and Dallas, respectively, with an additional appearance of “Old Scratch Blues” recorded during his trip down to Hobart in Australia.
Almost 20 years on from the release of their major label debut, Death Cab for Cutie have announced a handful of shows to celebrate their Plans album.
The Washington outfit will perform four shows in August which will see them playing Plans in full. They’ll launch with a show in Seattle on Aug. 2, before heading to Chicago on Aug. 5. Death Cab for Cutie wrap up the anniversary run with two dates in New York City on Aug. 8 and 10, with an additional appearance supporting My Chemical Romance in New Jersey nestled in between those last two.
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“Plans is an album that changed the trajectory of Death Cab for Cutie forever—it was our major label debut, it went platinum, and earned us our first Grammy nominations,” the band’s frontman Ben Gibbard said in a statement. “We are only playing a few shows in its honor as we’re currently working on our next studio album, but we would be remiss to not take the opportunity to celebrate the 20th anniversary in some fashion.”
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Plans was Death Cab for Cutie’s fifth album, and followed on from 2003’s Transatlanticism, which gave them their first appearance on the Billboard 200, hitting No. 97. Plans increased their career-best, reaching No. 4, and saw the group receive a nomination for Best Alternative Music Album at the 2006 Grammys.
The following year, their tour DVD Directions was nominated for Best Long Form Music Video, while third single “I Will Follow You into the Dark” was nominated for Best Pop Performance by a Duo or Group with Vocals. The record also gave the band their highest peak on the Hot 100, with lead single “Soul Meets Body” charting at No. 60.
Death Cab for Cutie releases their latest album, Asphalt Meadows, in 2022, before launching a lengthy run of dates the following year in honor of Transatlanticism’s 20th anniversary. These shows also featured Gibbard’s other band, The Postal Service, celebrating the 20th anniversary of their sole studio album, Give Up.
Death Cab for Cutie Plans Anniversary Shows
August 2 – Climate Pledge Arena, Seattle, WAAugust 5 – Chicago Theatre, Chicago, ILAugust 8 – Brooklyn Paramount, Brooklyn, NYAugust 10 – Brooklyn Paramount, Brooklyn, NY
Veteran industrial outfit Ministry are looking to rewrite their own history with their next album.
March 28 will see the band issue their new album, The Squirrely Years Revisited. As the title indicates, it sees Ministry revisiting their earlier, somewhat despised ‘80s material. “Since I hated my early stuff for decades, I decided to take ownership of it and do it right,” singer and founding member Al Jourgensen said in a statement.
Ministry first formed in Chicago, IL back in 1981, albeit with a far different sound to what contemporary fans would be familiar with. At the time, the group featured a decidedly synth-pop sound, and following shows alongside Depeche Mode, Culture Club, and A Flock of Seagulls, they issued their debut album With Sympathy in 1983.
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The material on that record largely disappeared from setlists by the end of 1984, and in 1986, the band released their sophomore record Twitch. Harnessing a sonic shift for the band, it was still influenced by synth-heavy bands of the era, but featured a darker, more industrial lean to it.
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Though Jourgensen claimed that record label influence had pressured him to not only venture into this synth-pop style, but also adopt an English accent for With Sympathy, Jourgensen’s future Pailhead bandmate Ian MacKaye later claimed that the Ministry founder only discovered heavier music after the band’s first two records.
Regardless of the timeline, Ministry leaned into this far heavier sound for their third album, 1988’s The Land of Rape and Honey, and by the ’90s, the group had become an influential presence on the industrial scene, with 1996’s Filth Pig peaking at No. 19 on the Billboard 200.
Ministry previously broke up in 2008 following their C-U-LaTour farewell jaunt, but would later reform in 2011. In recent years, Jourgensen has spoken of an impending split, with Ministry signing a deal in 2024 for the band’s final album.
However, The Squirrely Years Revisited will not be that final release from the group, with a statement from the band noting that it “comes ahead of the final new studio album from Ministry in 2026, a record that has Jourgensen teaming up with Paul Barker once again”.
The Squirrely Years Revisited will largely consist of material originally featured on With Sympathy, along with re-recordings of 1985 single “(Every Day Is) Halloween”, and rarities such as “Same Old Madness” and “I’ll Do Anything For You”. Their Twitch album will also be revisited, but only for three tracks exclusive to the CD edition.
Ministry will also embark on a North American tour in April, performing alongside Die Krupps, Nitzer Ebb, and My Life With The Thrill Kill Kult.
The comma in the title of Bon Iver‘s three-track October EP Sable, was always there for a reason. And on Tuesday (Feb. 11), the musician born Justin Vernon finally revealed what it was, announcing new album Fable — a counterpart project that’ll serve as the direct follow-up to the original release, featuring collaborations with Danielle Haim, Dijon and Flock of Dimes.
Arriving April 11 via Jagjaguwar, Sable, Fable will serve as Bon Iver’s first proper album since 2019’s I, I, which debuted at No. 26 on the Billboard 200. Described in a release as a “love story set to lush, radiant pop music,” the new project “begins with the vulnerable unburdening” of the Sable EP, before giving way “to a new nine-song saga in which one person becomes two, darkness turns to salmon-colored beauty, and sadness transforms to unbridled joy.”
“Where Sable, is a sparse and solitary reckoning with a pain that long-defined the past, Fable looks towards a vibrant future filled with light, purpose and possibility: a partner, new memories, perhaps a family,” the description continues.
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Dijon and Flock of Dimes will join Vernon on a song called “Day One,” while the HAIM band member’s voice will appear on a duet called “If Only I Could Wait.” The rest of the track list includes titles such as “Things Behind Things Behind Things,” “Speyside,” “Awards Season,” “Short Story,” “Everything Is Peaceful Love,” “Walk Home,” “From,” “I’ll Be There,” “There’s a Rhythm” and “Au Revoir.”
The Wisconsin native also shared the album’s minimalistic cover via Instagram on Tuesday. The geometric artwork simply features a salmon background with a black title in the center. In a concept photo also on Bon Iver’s account, Vernon is dressed in the exact shade of pink standing in a lush natural landscape, while four people covered head-to-toe in black pose around him.
But while fans will have to wait until spring to get their hands on Sable, Fable — which is available to preorder — the project’s lead single, “Everything Is Peaceful Love.” Described as “the portrait of a man overwhelmed with happiness upon meeting the one he will fall in love with,” the track will drop on Valentine’s Day (Feb. 14) alongside a music video by John Wilson.
Five days later, Vernon will share more about Sable, Fable at On Air Fest in Brooklyn, New York, during a conversation with author Krista Tippett. Ticket information is available on the event’s website.
See Bon Iver’s announcement below.
The pop-punk princess is making her Warped Tour debut at last. As announced Tuesday (Feb. 11), Avril Lavigne will perform at one of three stops on the iconic traveling rock show — which is set to make a comeback in 2025 after six years off the road — for the first time in her career. […]
02/11/2025
The power ballads and rave-ups to best have you swooning this Valentine’s Day.
02/11/2025
Patti Smith is hitting the road this fall to celebrate the 50th anniversary of her iconic debut album, Horses. The singer will be joined by longtime side men guitarist Lenny Kaye and drummer Jay Dee Daugherty, who both played on the seminal 1975 LP that is considered a punk classic and is often cited by R.E.M. singer Michael Stipe as the album that made him want to make music.
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The Patti Smith Group will be joined by longtime keyboardist/bassist Tony Shanahan and the singer’s son and guitarist, Jackson Smith, on the tour slated to kick off on Oct. 6 at the 3Arena in Dublin, Ireland. The outing is then booked to hit Madrid, London, Burssels, Oslo and Paris before moving over to the U.S. for theater gigs in Seattle, Oakland, San Francisco, Los Angeles, Chicago, New York, Boston and Washington, D.C. before winding down on Nov. 29 at the Met in Philadelphia.
“Please join us to help celebrate the final ride of our irreverent thoroughbred,” read a statement announcing the run that will mark the first time in 20 years that Smith, 78, has performed the whole album; she celebrated its 30th anniversary in 2005 a that year’s Meltdown Festival in London, which she curated.
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Smith’s debut album was released on Arista Records on Nov. 10, 1975 and combined the singer’s urgent, vivid poetry with spiky, minimal arrangements that incorporated reggae rhythms with spoken word and propulsive rock energy. The album produced by the Velvet Underground’s John Cale failed to spawn a chart hit, but it is considered one of the founding text of punk rock and has been enshrined in the Library of Congress’ National Recording Registry as a historically significant work.
Before she hits the road, Smith will be feted at a March 26 all-star concert at New York’s Carnegie Hall, “People Have the Power: Celebrating the Music of Patti Smith,” which will feature appearances by Stipe, former Sonic Youth guitarist Kim Gordon, the National singer Matt Berninger, the Yeah Yeah Yeah’s Karen O, Sharon Van Etten, the Kills’ Alison Mosshart, the Kronos Quartet, Ben Harper, Courtney Barnett, Angel Olsen and others.
Last month, Smith assured fans that she was okay after collapsing on stage in São Paulo, Brazil on Jan. 29. “This is letting everyone know that I am fine,” the singer wrote on Instagram along with a selfie in which she was smiling and waving at the camera. “A grossly exaggerated account is being spread by the press and social media. I had some post migraine dizziness. Had a small incident, left the stage, and returned 10 minutes later and talked to the people, told them I was fine and sang them Wing and Because the night.”
The health scare came a month after Smith was ordered by a doctor to rest following a brief stay in an Italian hospital to deal with what was described as a sudden, unnamed illness, resulting in the cancellation of a pair of European shows.
Tickets for the Horses tour will go on sale on Friday (Feb. 14) at 10 a.m. local time, with a pre-sale slated to kick-off on Wednesday (Feb. 12) at 10 a.m. local time; click here for details and check out the full list of dates below.
Oct. 6 – Dublin, Ireland @ 3ArenaOct. 8 – Madrid, Spain @ Teatro RealOct. 10 – Bergamo, Italy @ ChorusLife ArenaOct. 12 – London, U.K. @ London PalladiumOct. 13 – London, U.K. @ London PalladiumOct. 15 – Brussels, Belgium @ Cirque RoyaleOct. 16 – Brussels, Belgium @ Cirque RoyaleOct. 18 – Oslo, Norway @ Sentrum SceneOct. 20 – Paris, France @ L’OlympiaOct. 21 – Paris, France @ L’OlympiaNov. 10 – Seattle, WA @ Paramount TheatreNov. 12 – Oakland, CA @ Fox TheatreNov. 13 – San Francisco, CA @ The MasonicNov. 15 – Los Angeles, CA @ Walt Disney Concert HallNov. 17 – Chicago, IL @ The Chicago TheatreNov. 21 – New York, N.Y. @ The Beacon TheatreNov. 22 – New York, N.Y. @ The Beacon TheatreNov. 24 – Boston, MA @ The Orpheum TheatreNov. 28 – Washington D.C., The AnthemNov. 29 – Philadelphia, PA @ The Met
Oasis frontman Liam Gallagher is as sick of the ongoing fiasco relating to tickets to the band’s reunion shows as anyone else.
Since Oasis announced their long-awaited return back in August, high demand has translated into ticket trouble, with a dynamic pricing model and long delays resulting in a litany of frustrated fans attempting to obtain tickets to the band’s shows in the U.K. and Ireland.
In October, it was announced that Ticketmaster would be investigating the matter further, going so far as to cancel roughly 50,000 resale tickets that were deemed to have been purchased using techniques that have been forbidden for the Oasis tour. These included methods often used by scalpers and bots, including purchasing more than four tickets per household, per show, and using multiple identities to buy up tickets.
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On Monday (Feb. 10), Billboard reported that fans had indeed begun to see their tickets being cancelled, with Ticketmaster getting in touch with some ticket holders to inform them that their tickets have been refunded. Ticketmaster’s message to these ticket holders claimed that “it has been identified that bots were used to make this purchase,” meaning they “violate the tour’s terms and conditions.”
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“These terms were specifically established to limit resale of tickets on unauthorised ticketing platforms for profit,” Ticketmaster’s message said. “Fans have been strongly advised by all parties not to purchase tickets from unauthorised resale sites, to protect them from fraud or refunding.”
At least one fan has now attempted to bring the matter to the attention of the band’s outspoken vocalist, Liam Gallagher. With some fans venting their anger on social media, one X user named Karen Kelly reached out to Gallagher, asking “Liam what do you think of the ticket situation? Thinking fans are bots and getting their money returned?”
A punctuation-averse Gallagher responded only six minutes later, writing “I don’t make the rules were trying to do the right thing it is what it is I’m the singer get of my case”.
Kelly soon clarified the question by claiming that no one was getting on Gallagher’s case, but that she was instead wanting to know “if [he’d] seen it”. Gallagher responded by noting, “I see everything I work out”.
In December, Liam’s brother Noel touched on the upcoming gigs, assuring fans that their reunion shows will be less volatile than their history might suggest, while indicating the ticketing hassles may be worth it in the long run.
“No, it won’t be as raucous as back in the day, because we’re on the wrong side of 50 now, so we’re too old,” he claimed. “We’re too old to give a s**t now, so there won’t be any fallouts, there won’t be any fighting. It’s a lap of honour for the band.”
A plane owned by Mötley Crüe vocalist Vince Neil is reportedly at the center of a fatal plane crash in Scottsdale, AZ.
The incident reportedly occurred at 2:45pm on Monday (Feb. 10) when a Bombardier Learjet 35A arriving from Austin, TX veered off the runway after landing at Scottsdale Municipal Airport and crashed into a Gulfstream G-200 business jet parked nearby on private property. One person was reported deceased following the crash, with four others suffering injuries.
A press briefing from Scottsdale Fire Capt. Dave Folio attributed the incident to faulty landing gear.
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Jet Pros Director of Operations Gus Toulatos, who operates the Gulfstream, issued a statement noting that no injuries occurred aboard their plane but confirmed the extensive exterior damage.
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“We are cooperating fully with airport authorities and relevant agencies as they conduct a thorough review of the situation,” Toulatos said. “We appreciate the swift response of airport personnel and will provide updates as more information becomes available.”
Scottsdale Mayor Lisa Borowsky also issued a response to the tragedy, confirming the details of the event and noting that the airport remained closed at the time of her statement.
“We are closely monitoring the situation, and we are in touch with airport, police and federal agencies and will update the community as we have further information,” Borowsky said.
“On behalf of the city of Scottsdale, we offer our deepest condolences to those involved in the accident and for those who have been taken to our trauma center for treatment. We will keep all affected by this tragedy in our prayers.”
According to Nashville’s NewsChannel 5 (WTVF), the Bombardier Learjet 35A is registered to the Franklin, Tennessee-based Chromed in Hollywood, with Mötley Crüe’s Vince Neil listed as a principal agent.
A report from TMZ stated that Mötley Crüe manager Allen Kovac has confirmed that Neil was not on the plane at the time of the incident, and that the band are working towards a way to aid those affected by the crash.
Mötley Crüe themselves took to Facebook late on Monday night to share a post containing a statement from Neil’s representative, Worrick Robinson IV.
“At 2:39 p.m. local time, a Learjet aircraft Model 35A owned by Vince Neil was attempting to land at the Scottsdale Airport,” the statement read. “For reasons unknown at this time, the plane veered from the runway causing it to collide with another parked plane. On board Mr. Neil’s plane were two pilots and two passengers. Mr. Neil was not on the plane.
More specific details regarding the collision are not available as this is a rapidly evolving situation and there is an ongoing investigation. Mr. Neil’s thoughts and prayers go out to everyone involved, and he is grateful for the critical aid of all first responders assisting today.”
Don Henley and his longtime manager Irving Azoff are being sued by one of the men who was criminally charged — and later vindicated — for allegedly attempting to sell handwritten lyrics connected to the Eagles‘ 1976 album Hotel California, claiming they and their attorneys engaged in a “malicious prosecution” that harmed his reputation and caused him financial losses and emotional distress.
The complaint, filed in New York state court on Thursday (Feb. 6), was filed against Henley, Azoff and the firms that represented them in their case: Manatt, Phelps & Phillips and Loeb & Loeb. In it, Horowitz claims the parties falsely alleged that he and his two co-defendants in the criminal case “knew or had reason to believe” that the lyric sheets “had been unlawfully obtained” and nonetheless attempted to profit off of them via an online auction. However, Horowitz claims the men and their attorneys knew all along that the notes had been acquired through legal means in the first place.
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Horowitz, a rare book dealer, and his co-defendants — Rock & Roll Hall of Fame curator Craig Inciardi and memorabilia auctioneer Edward Kosinski — were criminally charged in 2022 over an alleged conspiracy to resell the lyrics that had been handwritten by Henley while working on the Eagles’ iconic Hotel California album. At the time, prosecutors had accused the three men of hiding the fact that the documents had been stolen from Henley’s home by Ed Sanders, a journalist hired by Henley and Azoff to write a never-published book on the Eagles in the late 1970s.
But in a stunning turnaround in March 2024, Manhattan prosecutors dropped the case after Henley produced new evidence previously withheld under attorney-client privilege that cast doubt on his and Azoff’s allegations. The judge in the case subsequently dismissed the charges and chastised Henley, Azoff and their attorneys for “obfuscat[ing] and hid[ing] information that they believed would be damaging to their position that the lyric sheets were stolen.”
According to Horowitz’s attorney Caitlin Robin, the evidence cited by prosecutors and the judge in dropping the charges — a series of emails between Henley, Azoff and their attorneys — proves they were aware that Sanders had legally obtained the lyric sheets in the course of writing the never-published Eagles book. Nonetheless, she alleges they “purposefully withheld any disclosure thereof because they knew it would exculpate Plaintiff GLENN HOROWITZ and essentially destroy the fraudulent allegations they made about him.”
As a result of his “unjust prosecution,” Horowitz claims he “was deprived of his liberty and suffered humiliation, defamation, media harassment, diminished reputation, loss of business and/or loss of wages amounting in more than ten million dollars ($10,000,000.00), in addition to mental anguish, indignity, frustration and financial loss.” The complaint further alleges that Horowitz’s wife Tracey (who is listed as a co-plaintiff) also “suffered humiliation, defamation, media harassment, diminished reputation, and mental and emotional anguish” as a result of her husband’s prosecution.
In a statement sent to Billboard, Henley and Azoff’s attorney Dan Petrocelli said, “Don Henley was a witness and a victim in a criminal trial brought by the Manhattan District Attorney after a formal indictment of Glenn Horowitz by a New York grand jury. The indictment highlighted the dark underbelly of the memorabilia business that exploited the brazen, unauthorized taking and selling of Mr. Henley’s handwritten lyrics. The only malicious prosecution involved here is the filing of this case by Mr. Horowitz.”
The Horowitzes are asking for damages “in excess of the jurisdictional limits of all the lower Courts of the State of New York.”
Manatt, Phelps & Phillips and Loeb & Loeb did not immediately respond to Billboard‘s requests for comment.