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The Penske Media Corporation (PMC) announced its expansive slate of experiences and concerts at this year’s SXSW festival on Thursday (Feb. 13). The lineup of activations from PMC’s iconic brands — Billboard, Rolling Stone, Deadline, Variety, SHE Media, Sportico and The American Pavilion — will include panel discussion, concerts, fireside chats and must-see experiences during the annual conference and festival that will take place in Austin, TX this year from March 7-15.
The festivities will kick off on March 7-9 with Deadline‘s Deadline Studio and the On the Go with Deadline social activation at the Thompson Hotel, with to-be-announced talent stopping by for on-camera interviews and solo and group portraits.
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SHE Media will also set up house from March 7-9 for its Co-Lab event at 304 E. 3rd Street for a series of conversations about women’s holistic health featuring women’s health advocates, actors, comedians and specialists including: Chelsea Handler, Naomi Watts, Christy Turlington Burns, Dr. Jennifer Ashton, Tamsen Fadal, Scott Galloway, Stacy London, Emma Lovewell and Sophia Bush, among others.
Variety will host a live podcast taping with partner YouTube on March 8 with Hot Ones host Sean Evans and Variety Awards Editor Clayton Davis, followed by a March 9 screening and cocktail reception for the documentary Reef Builders: The Unlikely Partnership Restoring Coral and a panel discussion with actor Auli’i Cravalho, director/producer Stephen Shearman and others.
Sportico will host the two-day Sportico House (March 11-12) at Wanderlust Wine Co., which will feature top industry professionals dropping in for panels and live podcast tapings exploring the intersection of sports, media and business along with networking opportunities.
Rolling Stone will be back at SXSW for its third-annual Future of Music showcase presented by JBL, for a four-night (March 11-14) concert series featuring an as-yet-unannounced group of artists performing at ACL Live at the Moody Theater.
In addition, Billboard‘s THE STAGE at SXSW will return as well for three nights (March 13-15) of live performances at the Moody Amphitheater at Waterloo Park, with each night highlighting a different musical genre. The party will kick off with county singer Koe Wetzel on night one, followed by Música Mexicana stars Grupo Frontera on March 14 and a closing-night set from dance star John Summit.
The American Pavilion will return for year two of its Worldwide Student Program — which last year gave 12 students access to some influential industry events — expanding its scope in 2025 to six days of “thought leadership programming and expert discussions” from creators in the worlds of film and TV.
Billboard’s parent company PMC is the largest shareholder of SXSW and its brands are official media partners of SXSW.
After taking over Genesis frontman duties for the gone-solo Peter Gabriel in the mid-’70s, drummer-singer Phil Collins had gradually built up his popularity, his industry renown and his pop songwriting prowess over the course of a decade. He’d become a solo star after breaking off from his group in the early-’80s, but continued to gather momentum with the band as well, and also emerged as a go-to collaborator for much of the era’s pop and rock aristocracy. By 1985, it would all come together in one year that saw Collins absolutely flood the zone with hit singles, big collaborations, bigger performances, headline-capturing pop culture moments and even an acting turn on TV’s hottest primetime drama.
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On this Vintage Pop Stardom episode of the Greatest Pop Stars podcast, we look back at Collins’ singular 1985, and examine how an unassuming, plain-looking drummer became one of the most ubiquitous pop stars of the MTV generation. Host Andrew Unterberger is joined by Chris Molanphy of Slate and the Hit Parade podcast to talk all things Phil Collins, as Molanphy shares his memories of becoming a devout (if occasionally slightly abashed) Phil fan as a teen, and Unterberger explains how an unofficial New York-celebrated holiday — one coming up very soon on the calendar — expanded his own love for Phil as a young adult.
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We then dive all the way into the deep end on Collins’ 1985, which started with hits, peaked with hits and ended with even more hits — but in between, also included a gig on Miami Vice as Phil the Shill, appearances on both coasts’ Live Aid festivities (including with a quasi-reunited Led Zeppelin), and an Oscars snub so galling it still rankles the nice-guy pop star to this day. And of course, we do get into those hits, including the agony and the ecstasy of “Do They Know It’s Christmas,” the possibly purloined groove and confusing (in more ways than one) title of “Sussudio,” and the underappreciated knife-in-the-gut divorce rock of “Separate Lives.” We end with the unlikely question: Was Phil Collins actually the Greatest Pop Star of 1985?
Check it out above — along with a YouTube playlist of some of the most memorable moments of Phil’s 1985, 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 if you have the time and money to spare, please consider donating to any of these causes in the fight for trans rights:
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Sum 41 singer Deryck Whibley offered up his sincerest apologies to the pop punk band’s Australian fans in a video posted this week after the group were unable to play what were slated to be the final-ever shows Down Under in December due to his illness. “This is the part that I hate… The fact […]
Kendrick Lamar hid a bunch of Easter eggs in his historic Super Bowl LIX halftime show. But there’s one little nod you may have missed, but Paramore‘s Hayley Williams sure didn’t. The rocker slipped into the comments on the Instagram feed of Good Dye Young earlier this week to jump for joy after see that […]
Sam Fender has extended his 2025 U.K. summer tour with the addition of three new dates. The announcement arrives ahead of the North Shields songwriter’s third LP People Watching, due next Friday (Feb. 21) via Polydor. The record marks Fender’s first full-length release since 2021’s Mercury Prize-nominated Seventeen Going Under. The first of the new […]
Oasis frontman Liam Gallagher has made his stance on the Rock and Roll Hall of Fame crystal clear following the band’s latest nomination, calling the institution “for wankers” in a blunt social media post.
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The Britpop icon reacted to the news after Oasis was named among the 2025 nominees, joining a list that includes New Order, Cyndi Lauper, The White Stripes, Mariah Carey, Bad Company, Chubby Checker, Outkast, Maná and the late Joe Cocker.
“RNR hall of fame is for WANKERS,” Gallagher posted on X under a flyer of the list of nominees on Feb. 12. He didn’t hold back when responding to a fan who asked what he’d do if Oasis were inducted, cheekily replying, “Obv go and say it’s the best thing EVER.”
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This isn’t the first time Gallagher has taken aim at the Rock and Roll Hall of Fame. When Oasis was nominated last year, he dismissed it entirely, writing, “F*** the Rock n Roll hall of fame its full of BUMBACLARTS LG.” He also told fans not to “waste your time” voting, calling the whole process “a load of bollox.”
Gallagher doubled down in a 2024 interview, scoffing at the Hall of Fame’s inclusions. “As much as I love Mariah Carey and all that, I want to say: do me a favour and f*** off,” he told The Sunday Times. “It’s like putting me in the rap hall of fame, and I don’t want to be part of anything that mentally disturbed. Besides, I’ve done more for rock n’ roll than half of them clowns on that board.”
Like The White Stripes, Oasis seemed like a strong contender upon its first nomination in 2024 but didn’t make the cut. This time, their odds look better after announcing their highly anticipated reunion tour, which sparked near-Taylor/Beyoncé-level demand.
With the possibility of their first new music in over 15 years, Oasis stands out as one of the most likely inductees in the 2025 class—if Gallagher is willing to accept the honor.
Gallagher also recently found himself at the center of controversy surrounding Oasis’ reunion shows after Ticketmaster’s decision to cancel thousands of resold tickets.
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.”
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?”
The rocker was less than sympathetic when asked about the situation, writing, “I don’t make the rules. We’re trying to do the right thing. It is what it is, I’m the singer. Get off my case.”
Oasis’ Rock Hall nomination comes as anticipation builds for their reunion tour, which marks the first time Liam and Noel Gallagher will share a stage in over a decade.
Australian rock veterans INXS are taking a look back in time, celebrating 40 years of their international breakthrough record, Listen Like Thieves.
Originally released in October 1985, Listen Like Thieves was the Sydney sextet’s fifth album, and their first to make a sizable impact on a global scale. Their second consecutive chart-topper in their homeland, it would be their first to chart in markets such as the U.K. and Switzerland, and their highest peak to date in the U.S., with the record reaching No. 11 on the Billboard 200.
It also boasted a number of successful singles, including its title track, “Kiss the Dirt (Falling Down the Mountain)”, “This Time”, and “What You Need”. The latter was the record’s most successful, peaking at No. 2 in Australia and No. 5 on Billboard’s Hot 100.
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At the time of the record’s release, the band were already a success story in Australia thanks to their unique sound and relentless touring schedule, with Listen Like Thieves aiming to translate those aspects to the listener’s turntable. “We’ve done the album like a live show and what is there is there,” frontman Michael Hutchence told Rolling Stone in 1985. “We want to present this record as a band – the idea of six people playing together and using traditional sounds.”
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Ahead of the record’s 40th anniversary, the band’s surviving members have announced a new deluxe edition of the seminal album. Arriving on May 9, the 3CD/LP collection features a new remix of the album with Chris Thompson’s original production being overhauled by Giles Martin and Paul Hicks. It also boasts a number of unreleased outtakes and demos; a rare BBC Recording, Live From The Royal Albert Hall, London, 1986; and a new interview with the band by writer Paul Sexton. A 2CD edition pairs the new mix with a selection of B-sides, remixes and live recordings, while a single LP version contains the 2025 mix alone.
“Chris Thomas was one of the most talented and exciting producers we ever had the privilege to work with,” recalled keyboardist and guitarist Andrew Farriss. “From the moment we met, there was no doubt he would bring a new dynamic to our music, his drive and determination helped Michael and I deliver a smash hit in ‘What You Need’. 40 years on, Giles and Paul captured the original raw energy we felt when we first recorded the album and created a sonic depth to give the record an entirely new dimension that we couldn’t be prouder of.”
The BBC’s live recording of INXS’ June 1986 appearance at London’s Royal Albert Hall is also of note, with the band’s audience that evening comprising a number of notable artists such as Mick Jagger, The Cult, and the Psychedelic Furs. Described as a “poignant night” for the band, it wasn’t their first visit to the U.K., but arguably the turning point in their relationship with the region. Almost five years later to the day, INXS would headline London’s Wembley Stadium and perform before a sold-out crowd of 72,000.
INXS’ biggest commercial success would come two years after the release of Listen Like Thieves, with 1987’s Kick turning them into megastars. The album would top the charts in Australia, Canada, and New Zealand, and give them a career-best of No. 3 on the Billboard 200.
Though the band would initially split following the untimely passing of Hutchence in 1997, a revolving door of vocalists would precede their eventual permanent retirement in 2012. Despite this, the band are consistently one of the best-selling Australian bands to this day, with the Australian Recording Industry Association’s end-of-year charts for 2024 seeing the band’s 2011 collection The Very Best listed at No. 81 on the album charts – one of only three local records to make the cut.
About four months ago, Billy Idol was in Cleveland to sing “No More Tears” as part of Ozzy Osbourne’s Rock & Roll Hall of Fame induction.
Asked backstage about Osbourne’s comment that Idol himself should be inducted, he noted that, “It was really lovely of him to say so. It would be really incredible.”
Now it may indeed be Idol’s turn.
The man born William Broad in England, made famous as part of Generation X and then a solo career that’s notched hits such as “White Wedding,” “Rebel Yell,” “Eyes Without a Face” and “Dancing With Myself,” is one of eight first-timers out of 14 nominees on this year’s Rock Hall ballot, which was announced Wednesday morning (Feb. 12). Public voting is underway at vote.rockhall.com, and the inductees are expected to be announced during late April, with the ceremony held this fall in Los Angeles.
“It’s pretty incredible,” Idol told Billboard via phone from Los Angeles. “I’m really knocked out. It’s really fantastic, and what a great honor just to be included with those other fellow artists on that list. It caught me by surprise today, and I was completely bowled over.”
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Idol has been eligible since 2006 as a solo artist, but he said he’s never thought of himself as slighted or overlooked. “Well, there’s so many great people who have yet to be in the Rock & Roll Hall of Fame — someone like [fellow nominee] Joe Cocker, for instance,” he noted. “So of course you don’t tend to think about yourself.
“I think in some ways it’s a big thank-you to the fans, who really have stuck with you through thick and thin — sometimes more thin than thick. But they’ve really stuck with you. In some ways, if you’re in the Rock & Roll Hall of Fame, they are [too].”
Idol began his career as a guitar player in the punk band Chelsea before forming Generation X with guitarist Tony James in 1976. The group released four albums and had British hits with “Your Generation,” “King Rocker” and “Valley of the Dolls” before breaking up in early 1981. Idol then moved to New York, working with former Kiss manager Bill Aucoin. His first EP, Don’t Stop, featured a remake of Generation X’s “Dancing With Myself” and a cover of Tommy James and the Shondells’ “Mony Mony,” but his self-titled 1982 debut was the real breakthrough, going gold on the strength of “White Wedding” and “Hot in the City,” and a warm embrace from MTV.
That helped make Rebel Yell even bigger in 1983, a double-platinum, top 10 Billboard 200 smash that turned Idol into an arena-sized headliner.
“It’s just kind of incredible ’cause you never could have imagined this when you began,” said Idol, who’s released eight studio albums total and has another coming this year, with details expected to be announced soon. “When we started out in punk rock, we really were doing it for the love. We thought this might last six minutes, six months, maybe a year, maybe two years. We’re nearly talking about 50 years now.
“Look, if you do something for the right reasons, it can take you the whole way. Just to have lived this life, to have this musical life, at one point it was a dream. To get to live your dream, that’s pretty incredible.”
Idol has been in the Rock Hall already via one of his Harley-Davidson motorcycles, which is on display in the museum in Cleveland. He visited during October’s induction festivities and reports that “it’s beautiful seeing it there. They’ve done a good job of taking care of it.”
The Osbourne induction, Idol adds, was “really good fun. Playing with [producer] Andrew Watt and Wolfgang Van Halen and everybody, it was an incredible night. The vibe amongst everybody was fantastic, and to feel the sort of energy and excitement of the fans being there. Just getting to thank the fans is an incredible moment.”
While the Rock Hall voting is going on, Idol will be rolling out the new album and prepping for the It’s A Nice Day To…Tour Again! trek that kicks off April 30 in Phoenix and runs through late September. Idol will be joined by Joan Jett & The Blackhearts, reconnecting with someone he met during a Generation X press tour back in 1978.
“We ended up in L.A., watching the Germs and Black Flag at the Whisky a Go Go with Joan and about 20 other girls [in] go-go boots and short mini-skirts,” Idol recalls. “It was great meeting her. It should be a really fantastic [tour], a good time.”
Rick Springfield has had a long enough career to accumulate a few stories. Ahead of the Feb. 14 release of Big Hits: Rick Springfield’s Greatest Hits, Volume 2, a collection of tracks from his 1999 album Karma to Automatic from 2023, Springfield told Billboard’s Behind the Setlist podcast about partnering with Sammy Hagar on Sammy’s Beach Bar Rum drinks (and writing the song “Party at the Beach Bar,” which appears on the new greatest hits album), his early musical influences (such as The Easybeats and guitarist Hank Marvin) and writing “The Man That Never Was,” a song from the Dave Grohl-led Sound City: Reel to Reel soundtrack, released in 2013, that also appears on the new collection.
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The hard-rocking “The Man That Never Was” started as a track recorded by Springfield and the members of Foo Fighters, he recalls. “Dave wanted everyone to kind of get together that was in the documentary and all write songs. So I got together with the Foo Fighters in the studio, and we put together this track that was a really good track. It was a riff that Dave originally came up with, and we kind of fleshed it out.” Grohl then handed Springfield a CD with the track they just recorded and said, “OK, now go write a song.”
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Springfield then continued working on the then-unnamed track with veteran bass player Matt Bissonette, most recently a member of Elton John’s band. Bissonette had the idea to write lyrics based on an actual story from World War II about an elaborate plan by British intelligence officers to trick the Germans about the Allied armies’ invasion of Sicily. (The operation was captured in 2010 book Operation Mincemeat, and made into a movie of the same name in 2021.) “We’re both great history buffs,” Springfield says.
Working with Grohl and company was tame compared to Springfield’s experience performing for U.S. troops during the Vietnam War in the late ‘60s. More than a decade before Springfield topped the Billboard Hot 100 singles chart with “Jessie’s Girl” — one of 21 appearances on the tally — he was performing with his first professional band when an American promoter hired the group to perform in Vietnam. He had no idea what was in store.
“It was a war zone,” he recalls. “I’d never been to one. And we played for the troops in the on the back of trucks just before they went up. You know, we’d get [flown on helicopters] into fire bases, which is where the grunts would operate from, and go out into the jungle and just start fighting. We’d play in those places, and we get rocketed and mortared, and they’d have to shut the show.”
At one point, the base came under fire when the band’s bass player was lying unconscious in a dentist’s chair, ready to get some teeth pulled. “They started saying, ‘That’s incoming, gentlemen, better get to the bunkers.’ So we didn’t know what to do,” Springfield says. “He was all hooked up, so we left him and went into the bunkers. And when we came back, he was still there. So it was all good, but he didn’t know he’d he’d been left to the the wiles of the Viet Cong.”
During a visit to a Navy encampment at Marble Mountain outside De Nang, U.S. forces came under attack. “You see tracers going off through the sky,” says Springfield. “I was throwing mortars. You couldn’t do this stuff now. First of all, it’s insane to do it. And secondly, you wouldn’t be allowed. But back then, it was the Wild West.”
Listen to the entire interview with Rick Springfield using the embedded Spotify player below, or go to Spotify, Apple Podcasts, iHeart, Amazon Music, Podbean or Everand.
The Rock & Roll Hall of Fame has unveiled its 2025 nominees, and while every person and band on the list is more than deserving to be welcomed into the institution’s esteemed ranks, only a few can be.
As announced Wednesday (Feb. 12), the names on this year’s ballot include Mariah Carey, Oasis, Bad Company, The Black Crowes, Chubby Checker, Joe Cocker, Billy Idol, Joy Division/New Order, Cyndi Lauper, Maná, Oasis, Outkast, Phish, Soundgarden and The White Stripes. Eight of those acts — Bad Company, the Black Crowes, Checker, Cocker, Idol, Maná, Outkast and Phish — are first-time nominees, while the other six have been in RRHOF consideration in years past.
Those names will now be narrowed down by an international panel of more than 1,200 artists, historians and music industry players, with a fan-voted element factored in. That group’s selected nominees will be revealed in April, as well as whether they’ll be entering in the musical influence or musical excellence categories. An induction ceremony in Los Angeles will follow in the fall, coming one year after the 2024 class comprised of Mary J. Blige, Cher, Dave Matthews Band, Foreigner, Peter Frampton, Kool & the Gang, Ozzy Osbourne and A Tribe Called Quest was inaugurated into the hallowed Rock Hall.
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But while the list of nominees chosen for immortalization in the coveted hall of fame is largely up to panelists, Billboard wants to know who you would select from this year’s shortlist. Tell us who you most want to see inducted into the RRHOF by casting your vote below.
