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Yungblud has enlisted Florence Pugh for an emotional music video for new single “Zombie.” The emotional ballad will feature on his upcoming fourth studio albums, Idols, out June 20. Pugh, who current stars in Marvel’s Thunderbolts has form for appearing in music videos. In 2023, she played the leading role in rising British indie star […]

Thom Yorke is speaking out for the first time about a confrontation with an audience member at one of his gigs in Australia last year that the Radiohead singer said left him emotionally distraught. In a lengthy Instagram post on Friday morning (May 30), Yorke described his feelings about “some guy shouting at me from the dark last year” as he was preparing to sing the final song at his solo show in Melbourne.
After a man in the audience shouted comments about “Israeli genocide in Gaza” during the gig at the Sidney Meyer Music Bowl in October, Yorke stopped the show and challenged the person to come on stage and say it to his face before walking off in seeming disgust. In his Instagram post, Yorke said that moment didn’t really seem like the best one to “discuss the unfolding humanitarian catastrophe in Gaza.”
Afterwards, however, Yorke wrote that he “remained in shock that my supposed silence was somehow taken as complicity,” adding that he “struggled to find an adequate way to respond to this and to carry on with the rest of the shows on the tour. That silence, my attempt to show respect for all those who are suffering and those who have died, and to not trivialize it in a few words, has allowed other opportunistic groups to use intimidation and defamation to fill in the blanks, and I regret giving them this chance.”
While Yorke didn’t specify which comments he was referring to, he said not formally responding to the vitriol has “had a heavy toll on my mental health.”
The remainder of the eight-page post is a pointed broadside against Israeli prime minister Benjamin Netanyahu, whom Yorke called out the last time Radiohead played in Israel, in July 2017. At that time, he wrote, “We’ve played in Israel for over 20 years through a succession of governments, some more liberal than others. As we have in America. We don’t endorse [Israeli Prime Minister Benjamin] Netanyahu any more than Trump, but we still play in America.”
The singer wrote on Instagram that he hoped that anyone who has ever listened to his or his band’s music, read the lyrics or seen their artwork would clearly understand that he could not “possibly support any form of extremism or dehumanization of others. All I see in a lifetime’s worth of work with my fellow musicians and artists is a pushing against such things, trying to create work that goes beyond what it means to be controlled, coerced, threatened, to suffer, to be intimidated .. and instead to encourage critical thinking beyond borders.”
If his message was not clear, Yorke made his feelings about Israel’s longest-serving PM even more so in the statement. “I think Netanyahu and his crew of extremists are totally out of control and need to be stopped,” he wrote. “And that the international community should put all the pressure it can on them to cease. Their excuse of self-defence has long since worn thin and has been replaced by a transparent desire to take control of Gaza and the West Band permanently.”
Netanyahu has overseen a nearly two-year war on Hamas in the wake of the extremist group’s attack on Israel on Oct. 7, 2023, during which raiders killed nearly 1,200 Israelis and foreign nationals and took 250 hostages. In the ensuing battles, Israeli forces have mercilessly pounded Gaza with bombs that have destroyed much of the region’s infrastructure, killing more than 53,000, according to Palestinian health officials. The daily attacks have also led to a humanitarian crisis and what experts warn is a potentially devastating famine due to the Netanyahu administration’s refusal to let sufficient food aid into the decimated region.
Yorke lambasted what he called Netanyahu’s “ultra-nationalist” administration, claiming that Harvard-educated Netanyahu and his hard-right peers have hidden behind a “terrified & grieving people and used them to deflect any criticism, using that fear and grief to further their ultra-nationalist agenda with terrible consequences, as we see now with the horrific blockage of aid to Gaza.”
Israel has begun allowing more food aid into Gaza in recent days, though the new distribution mechanism backed by the U.S. and Netanyahu has resulted in chaotic scenes in which tens of thousands of Palestinians reportedly on the verge of famine swarmed the sites to grab bags of food and flour. As talks for another temporary cease fire are under way, Israel has continued its daily bombing of Gaza, even as it has ordered serially displaced Palestinians to move to an area near the coast as the military attempts to empty out large areas where it says Hamas fighters remain.
“While our lives tick along as normal these endless thousands of innocent human souls are still being expelled from the earth… for what?” Yorke asked, pivoting to the issue of why the “unquestioning Free Palestine refrain” has not resulted in the return of what are believe to be the 58 remaining hostages. He also asked why Hamas undertook the “horrific” acts of Oct. 7, speculating that the militant group is choosing to “hide behind the suffering of its people, in an equally cynical fashion for their own purposes.”
Yorke ended by lashing out at “social media witch hunts” aimed at pressuring artists to make statements, efforts he said do little except exacerbate tensions, cause fear and over-simplify the situation. “This kind of deliberate polarization does not serve our fellow human beings and perpetuates a constant ‘us and them’ mentality,” Yorke wrote. “It destroys hope and maintains a sense of isolation, the very things that extremists use to maintain their position.”
The singer said he understands the push to “do something” when confronted with such suffering and loss, but cautioned against thinking that reposting “one or two line messages,” especially ones condemning others, is the answer. “It is shouting from the darkness,” he said. “It is not looking people in the eye when you speak. It is making dangerous assumptions. It is not debate and it is not critical thinking.”
Admittedly short on answers and aware that his note is unlikely to satisfy those looking to “target myself or those i work with,” Yorke ended by offering hope that his letter will allow him to join the many millions of others “praying for this suffering, isolation and death to stop.”
See Yorke’s full statement below.
For Bono, music has always been an immersive art form. “When I was a teenager and stereo came, it was everything,” the rock legend tells Billboard. “U2 immersed ourselves in our audience — I jumped into the audience, and then our shows were always immersive in their instincts.”
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So when he got an early look at the Apple Vision Pro, the mixed-reality headset that the company launched in the U.S. last year, Bono says that he “was honored to be a lab rat in in their unusual mix of art and science.” On Friday (May 30), Bono: Stories of Surrender, a new documentary that captures and expands upon his recent one-man stage show, will be released on Apple TV+ as both a standard 2D film and as an immersive experience on the Vision Pro — the first feature-length project to be released in the format.
U2 has a long history of partnering with Apple, and Bono says that he was happy to be the one to break new ground for the company. “A lot of companies, when they get to that scale, they stop innovating,” he says. “And here they are again, ready to do it.
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“And for the first time, I got to see myself onstage, and realized, ‘What a big arse!’” Bono adds with a laugh. “That has gotta go! And by the way, are those nose hairs? I’m like, ‘Wow!’”
Indeed, Stories of Surrender offers plenty of extreme close-ups of the rock star, as the documentary (directed by Andrew Dominik) adds new dimension to a 2023 performance of Stories of Surrender: An Evening of Words, Music and Some Mischief… The stage show itself was an extension of Bono’s 2022 memoir Surrender: 40 Songs, One Story, and mixed monologues detailing his upbringing, sparse visual props and stripped-down arrangements of some of U2’s biggest hits, all in a theater setting (the doc was filmed at the Beacon Theatre in New York City).
“I ended up in the stage play because I didn’t want to do a promotion tour for the book,” Bono notes, “and I thought I’d do something a bit more challenging and a bit more fun — for me, selfishly speaking, and perhaps for the audience.”
The 86-minute documentary flies by with heartfelt anecdotes about Bono’s relationship with his father, the earliest days of U2, run-ins with global celebrities and his legacy as an artist. Although the tasteful presentations of U2 songs like “Beautiful Day,” “Pride (In the Name of Love)” and “Vertigo” — by a trio of backing musicians, led by veteran producer Jacknife Lee — earn deservedly rousing reactions from the audience in the doc, Bono’s stories also received a reaction that startled him when the stage show launched.
“I went out onstage, and something happened to me that had never happened to me before onstage with U2, at least not in more than 30-seconds intervals: People started laughing!” Bono says. “And I started to [think], ‘Oh, is this funny? Wow, I like the sound of this.’
“And so I had the songs, and I’d found a different way of getting inside the songs to tell the story, and now I could be as silly and as serious as I wanted to be, and indeed, as I am,” he continues. “There’s a reason tragic comedy was a favorite of Shakespeare’s. People’s tears mean more after they’ve been laughing, or the other way around. And all our lives are these absurdities, aren’t they?”
Now that this extended look back — first with the memoir, then with the stage show, and now with the documentary — is wrapping up, Bono says that each project has made him feel closer to his father, Bob, who passed away in 2001. In the doc, Bono re-creates multiple conversations with his dad across time — playing both roles by turning his head from side to side, finding humor and heartache as the camera cuts between the sides of the discussion.
“It is a little opera that I was making, about … my father, and how his son had to go through various different stages before he’d fully appreciate his father,” says Bono. “And one of those stages was playing him onstage, with the turn of my head every night, and realizing that my father was funny. And not just that I loved him, but I started to like him, just by playing him.”
Australian metalcore outfit The Amity Affliction have shared their rendition of Turnstile’s “Holiday” as part of their recent appearance on Like a Version, the long-running covers segment from Australian radio station triple j.
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Formed in the Queensland city of Gympie in 2003, The Amity Affliction have been staples of triple j’s heavy music rotation over the years but have remained absent from the station’s Like a Version studio until 2025.
As part of their debut appearance on the segment, the group launched into their performance with an original, performing the recently-released “All That I Remember.” Officially arriving on Wednesday (May 28), the track is the band’s first to feature Jonny Reeves on clean vocals, with the American singer joining the group following the exit of the band’s last remaining founding member, Ahren Stringer.
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Turning their attention towards the cover portion, The Amity Affliction were uncharacteristically joined by strings and keyboards as they delivered a high-energy rendition of Turnstile’s “Holiday.” The track was originally issued as the fifth and final single of the Baltimore outfit’s 2021 album Glow On, which became their most successful record to date, hitting No. 30 on the Billboard 200.
“[We] went through a list of songs that we thought would go over well and nothing really kind of hit us the right way,” explained drummer Joe Longobardi in a post-performance interview. “Then we were on the bus somewhere and somebody just said ‘Why don’t we cover Turnstile’”And it kind of got silent for a second.
“It was weird enough that we all went, ‘Oh I think that would work,’” adds vocalist Joel Birch. “It’s our roots, I guess, and [Turnstile are] a band using those roots to do this brand new thing, which is really cool and we like it.”
Since forming in 2003, The Amity Affliction have released a total of eight albums, with four of their records – beginning with 2012’s Chasing Ghosts – consecutively charting atop the ARIA charts. The group’s fourth album, 2014’s Let the Ocean Take Me, became their first to reach the Billboard 200, reaching No. 31. Follow-up record This Could Be Heartbreak would peak at No. 26 upon its release in 2016, while their next two albums – 2018’s Misery and 2020’s Everyone Loves You… Once You Leave Them – would reach No. 70 and No. 60, respectively.
Having first launched in 2004, the Like a Version series has gone from being a near-impromptu acoustic affair to featuring larger studio productions. Numerous artists have taken part over the past two decades, with the likes of Billie Eilish, Childish Gambino, Arctic Monkeys, and more reinventing classic tracks in the process.
View The Amity Affliction’s cover of Turnstile’s ‘Holiday’ below.
ZZ Top drummer Frank Beard has announced his return to the band, more than two months after unspecified “health issues” necessitated a leave of absence.
Beard’s return was announced via a statement from the group’s management, noting that the drummer will return to his rightful place behind the kit this weekend, and will “see the tour through to its completion in October.”
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“We’re happy that Frank is back with Elwood [Francis, bassist] and yours truly, BFG,” vocalist and guitarist Billy Gibbons explained. “We missed him and are looking forward to turning it up and rocking out with him as has been the case for the last few hundred or so decades. His complete recovery is cause for celebration and that’s just what we intend to do on an open-ended basis. Welcome back, pardner!”
Beard himself was far more concise, simply telling fans, “It’s good to be back. See you out there.”
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The 75-year-old drummer’s leave of absence was announced on March 15, with a social media post from the group explaining that Beard had “temporarily stepped away from the current tour to attend a health issue requiring his focus in the near term.”
During Beard’s time away from the band, “longtime tech member, percussionist and drummer” John Douglas stepped in. Douglas had previously served as Beard’s replacement during a Paris performance in October 2002 when he underwent an emergency appendectomy.
Though no specifics were revealed at the time, ZZ Top’s recent statement has detailed that Beard was suffering from foot and ankle issues which have since been resolved.
ZZ Top are set to return to the stage on Saturday (June 1) to resume the North American leg of their ongoing Elevation tour, which currently features 51 dates between June and October.
Beard has been the drummer of ZZ Top since 1969, when he took over from co-founder Dan Mitchell. Alongside Gibbons, Mitchell and bassist Lanier Greig had founded the band that same year.
Following Grieg’s replacement by Billy Ethridge, Dusty Hill assumed the role of bassist in 1970, with their lineup remaining unchanged for 51 years until Hill’s death at 72 in 2021. Elwood Francis has since served as the group’s bassist.
The group have not released a studio album since 2012’s La Futura, though Gibbons has claimed a new record featuring contributions from the late Hill is in the works.
Jack Black’s “Steve’s Lava Chicken” — the shortest song ever to make the Billboard Hot 100 — adds another chart feat as the A Minecraft Movie song debuts at No. 1 on Billboard’s Top Movie Songs chart, powered by Tunefind (a Songtradr company), for April.
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Rankings for the Top Movie Songs chart are based on song and film data provided by Tunefind and ranked using a formula blending that data with sales and streaming information tracked by Luminate during the corresponding period of April. The ranking includes newly released films from the preceding three months.
“Steve’s Lava Chicken” reaches No. 1 following its first month of tracking for Top Movie Songs; A Minecraft Movie debuted in theaters on April 4.
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The song earned 20.1 million official on-demand U.S. streams and sold 3,000 downloads in April, according to Luminate. That led “Steve’s Lava Chicken” to debut at No. 78 on the Hot 100 dated May 3, making it the ranking’s shortest song ever at 34 seconds (a longer, albeit less popular version is one minute and 15 seconds).
“Steve’s Lava Chicken” reigns over a trio of holdovers from the chart’s previous iteration, paced by Tom Petty and the Heartbreakers’ “Mary Jane’s Last Dance” from The Electric State (No. 2; 14.6 million streams, 1,000 downloads) and followed by Chappell Roan’s “Casual” from Novocaine (No. 3; 13.8 million streams) and Yeah Yeah Yeahs’ “Spitting Off the Edge of the World” from The Gorge (No. 4; 2.4 million streams, 1,000 downloads).
The next highest debut is courtesy of Rod Wave’s “Sinners,” from the movie of the same name, released April 18. Wave’s track bows at No. 5 via 14.3 million streams and 1,000 downloads.
More Sinners activity is possible upon the May chart, the movie’s first full month of tracking for the survey. The soundtrack debuted at No. 133 on the Billboard 200 dated May 10.
Eric Prydz‘s 2004 hit “Call On Me” also starts at No. 7 via a synch in Warfare, garnering 2.6 million streams and 1,000 downloads in April. Prydz’s track concurrently returned to Billboard charts via the Dance/Electronic Digital Song Sales list in late April, bowing at No. 5. It peaked at the same position on Dance/Mix Show Airplay in 2004.
See the full top 10, which also features music from Snow White and Holland, below.
Rank, Song, Artist, Movie
“Steve’s Lava Chicken,” Jack Black, A Minecraft Movie
“Mary Jane’s Last Dance,” Tom Petty and the Heartbreakers, The Electric State
“Casual,” Chappell Roan, Novocaine
“Spitting Off the Edge of the World,” Yeah Yeah Yeahs feat. Perfume Genius, The Gorge
“Sinners,” Rod Wave, Sinners
“Good Things Grow,” Snow White Cast, Snow White
“Call On Me,” Eric Prydz, Warfare
“Mother,” Danzig, The Electric State
“Party Up,” DMX, Holland
“(All Along the) Watchtower,” Devlin, The Gorge
It was the Year of Hootie: With grunge tailing off, country getting huge and top 40 starting to drift to a mellower and rootsier middle, an unassuming group of good-time frat-rockers became the biggest thing in 1995 popular music. After the mid-1994 release of Cracked Rear View started to spread from the Carolinas to the rest of the country, Hootie & the Blowfish dominated 1995 from front to back, with three top 10 hits, a guest (sort-of) appearance on the year’s hottest TV show, over 10 million in sales and nearly as many annoying questions about the band’s name. But within a couple years, the band’s quick fall from pop stardom would prove just as dramatic and difficult-to-explain as its rise.
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On this week’s Vintage Pop Stardom episode of the Greatest Pop Stars podcast, host Andrew Unterberger is joined by Billboard managing editor Christine Werthman, a member of the Blowfish’s school since ’95, to talk about the band’s unquestioned peak year of pop stardom. We talk about the many cultural and musical factors that led to the Hootie takeover — and still how improbable the sheer size and scope of it ended up being — as well as why it ultimately wasn’t built to last, and whether the band deserves better than they got in terms of their legacy in both rock and pop music.
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And of course, along the way, we ask all the big questions about Hootie & the Blowfish’s year as the big men on the pop-rock campus: Why did so many critics love to hate on Hootie? Is “Hold My Hand” more anthemic or simplistic? Did the SportsCenter anchors in the “Only Wanna Be With You” video go a little too hard with the catchphrases? Was an invisible Hootie cameo worth more to a ’90s sitcom than another band actually showing up? And of course: What kind of career could Hootie & the Blowfish have had if they had just gone with a different band name a decade earlier?
Check it out above — along with a YouTube playlist of some of the most important moments from Hootie’s 1995, all of which are discussed in the podcast — and subscribe to the Greatest Pop Stars podcast on Apple Music or Spotify (or wherever you get your podcasts) for weekly discussions every Thursday about all things related to pop stardom!
And as we say in every one of these GPS podcast posts — if you have the time and money to spare, please consider donating to any of these causes in the fight for trans rights:
Transgender Law Center
Trans Lifeline
Gender-Affirming Care Fundraising on GoFundMe
Also, please consider giving your local congresspeople a call in support of trans rights, with contact information you can find on 5Calls.org — and if you’re in the D.C. area this weekend (May 30-31), definitely check out Liberation Weekend, a music festival supporting trans rights with an incredible lineup of trans artists and allies.
Coldplay was back on the road in April, extending the group’s reach to Hong Kong and Goyang, South Korea (14 miles from Seoul). According to figures reported to Billboard Boxscore, the British band is No. 1 on the monthly Top Tours chart, with $67.4 million in the bank and 502,000 tickets sold.
Coldplay has been one of the most dominant acts on the Boxscore charts since the 2022 kickoff of the Music of the Spheres World Tour, reigning over seven Top Tours charts. The band’s touring calendar has become an accurate predictor of chart results: Its last batch of shows was in January, which matches its sixth monthly victory. Before that, Coldplay had dates in November, aligning with its fifth monthly win. Coldplay has only one show scheduled in May, but a busier calendar throughout the summer immediately makes the band prohibitive competition for the top spot over the next several months.
With its April triumph, Chris Martin & Co. tie Bad Bunny and Elton John for the most months at No. 1 (seven). Trans-Siberian Orchestra follows with five (December of every year since the chart premiered).
Beyoncé and P!nk have each led four times. The latter did it twice on the Beautiful Trauma World Tour in 2019 and twice more with dates from Summer Carnival and Trustfall Tour in 2023-24. Beyoncé dominated the summer of 2023 with the Renaissance World Tour and played the first show on Cowboy Carter Tour on April 28, squeaking onto the month’s list with one date.
Coldplay’s April boils down to four shows at Hong Kong’s Kai Tak Stadium and six at Goyang Stadium in South Korea. The first set of dates grossed $32.9 million and sold 184,000 tickets. The second set moved $34.4 million from 318,000 tickets. That’s enough to secure the top two positions on the Top Boxscores chart.
The grosses of Coldplay’s two stops are close, separated by just 4%. But the longer stay in Goyang sold 73% more tickets, which means that the ticket price in Hong Kong had to be much higher. At Kai Tak Stadium, Coldplay averaged $179 per seat, while the Korean shows paced $108.22.
Added to Coldplay’s January run in the United Arab Emirates and India, the 2025 Asian leg wrapped with $124 million and 1.1 million tickets. Combined with the 2023-24 leg in Japan, Taiwan, Indonesia and more, Asia accounts for $253.4 million on the Music of the Spheres World Tour. Worldwide, the trek has brought in $1.3 billion and sold 11.4 million tickets, extending its lead as the bestselling tour in history.
Coldplay picks back up on May 31 in Stanford, Calif., kicking off a 17-show run in the U.S. and Canada. Finally, there are 12 dates scheduled in the U.K., closing out the three-and-a-half-year tour with 10 shows at London’s Wembley Stadium. By closing night, the trek will be approaching $1.5 billion and 13 million tickets sold.
From one of the biggest tours of all time nearing its close to the opening shows of one of 2025’s hottest tickets, Kendrick Lamar and SZA are No. 2 on April’s tally. The first four shows of the Grand National Tour brought in $43.2 million and sold 180,000 tickets.
Lamar and SZA premiered their co-headline trek on April 19 at Minneapolis’ U.S. Bank Stadium, before hitting Houston, Dallas and Atlanta. These are the first stadium shows for each artist, having previously conquered arenas in 2022 (Lamar’s The Steppers Tour) and 2023 (SZA’s SOS Tour).
Already, the Grand National Tour is the biggest tour of either artist’s career, and they are only 10 shows deep. Including six reported shows in May, which will count toward next month’s charts, the trek has earned $115.7 million and sold 508,000 tickets through the May 17 show at Seattle’s Lumen Field.
Thirteen shows remain on the pair’s schedule in North America, before traveling to Europe for 16 dates. Before its close on Aug. 9 in Stockholm, the Grand National Tour will be one of the biggest co-headline treks in history.
April was not just the stadium launchpad for Lamar and SZA. In the closing days of the month, Lady Gaga played her first two ticketed shows of the year at Mexico City’s Estadio GNP Seguros (April 26-27), hitting No. 6 on Top Boxscores and No. 10 on Top Tours. Beyoncé opened Cowboy Carter Tour in Los Angeles (April 28), reaching Nos. 14 and 15, respectively. And Post Malone unleashed the Big Ass Stadium Tour with assistance from Jelly Roll in Salt Lake City (April 29).
Beyoncé, Gaga and SZA help to make April a banner month for women on tour. They are three of 10 women on the Top Tours chart, up from seven in March, six in February, and just one in January. Still less than half, the 33% representation in April represents the most women on a Top Tours chart in its 58 editions, surpassing nine, or 30%, in December 2019 and January 2022.
In between SZA and Gaga, Shakira is No. 7 after leading the list in February and March. The first Latin American leg of her 2025 tour ended mid-month, handicapping her potential rank. Elsewhere, Charli xcx and Olivia Rodrigo carry over tours that began in 2024. Kelsea Ballerini, Mary J. Blige and Kylie Minogue wrapped up spring runs, while Katy Perry began The Lifetimes Tour with five shows in Mexico.
American metal band Mastodon will join influential Brooklyn indie rockers TV on the Radio and 1990s alt- rock icons Pavement to headline this year’s Levitation festival, alongside reunited sludge metal band Acid Bath, Built to Spill, the Brian Jonestown Massacre and more.
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Launched in 2008 by Austin band The Black Angels to celebrate the resurgence of psychedelic rock and the formation of the label The Reverberation Appreciation Society or RVRB, the festival is now part of a partnership with Austin promoter Resound Presents, led by Graham Williams.
This year Levitation is moving to the festival grounds at the Palmer Events Center, in addition to nightly venue programming across Austin’s Downtown Red River District. Located on the shores of Town Lake overlooking the Austin skyline, the Palmer Events Center includes a massive 75,000 square foot environment for the indoor stage and a huge canvas for the artists on stage with 360 lighting and visuals, day or night. The indoor experience is accompanied by an outdoor stage set to a backdrop of lush trees and the Austin skyline. The new venue offers amenities like an air-conditioned common space, indoor experience for the main stage, ample outdoor green space, plenty of room to stretch out and hang, and an immersive setting for the music and visual experience.
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“The idea to use Palmer Events Center goes all the way back to 2011. I was riding my bike home from the cleanup day after that year’s festival at Seaholm Power Plant—our first and last year there before the site was redeveloped into convos and office spaces,” says Levitation’s co-founders Rob Fitzpatrick. “I took a detour through the park and stopped by Palmer. I’d been there before, but never seriously considered it as a festival site. That day I peeked inside and saw the massive indoor space and canopy around it and thought, ‘Damn, this would be perfect.’
The new home means larger acts can play the weekend festival, and Levitation’s Night Shows will continue to offer intimate club experiences downtown, celebrating the independent music scene—from up-and-comers to national headliners.
“When the 2016 edition at Carson Creek Ranch was canceled due to weather, it was a huge setback—we didn’t get a full insurance payout and were left with serious debt,” Fitzpatrick says. “So it was a disaster but the silver lining of the weekend was the way that the Austin music community and venues stepped up. They moved shows, shifted schedules, let us rebook shows in their clubs and helped save the weekend for fans. That experience sparked an idea: instead of building a temporary city in a remote location without infrastructure – and exposed to the weather – at the ranch, what if we brought the whole thing into downtown—with intention? That became the blueprint from 2018 to 2024.”
With this new chapter, Ftizpatrick says the fest was “finally able to merge both models. Palmer gives us the space, infrastructure, and production capabilities to bring back a larger-scale, multi-stage experience—and thanks to its downtown location, we can still collaborate with the Red River venues that have been the heart of the festival in recent years. It’s the best of both worlds.”
Passes for Levitation 2025 are now on sale, and night show tickets can be purchased separately here.
Levitation
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Guns N’ Roses busted out the live debut of an old favorite during their Tuesday (May 27) show in Abu Dhabi, seemingly pay tribute to late New York Dolls singer David Johansen two months after the pioneering punk icon died at 75 following a long battle with cancer. Explore See latest videos, charts and news […]