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Turnstile returned to their hometown of Baltimore over the weekend with a powerful purpose. The Grammy-nominated hardcore band staged a free benefit concert on Saturday (May 10) at Wyman Park Dell, drawing thousands of fans and raising over $35,000 for charity.
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The event marked the band’s first live performance in nearly a year and served as a high-energy preview of their upcoming album Never Enough, out June 6 via Roadrunner Records, which includes recently released singles “SEEIN’ STARS” and “BIRDS”.
Fans traveled across the country to attend the 16-acre event, which featured moshing, crowd-surfing and sing-alongs. QR codes throughout the park allowed fans to donate to Health Care for the Homeless, which offers medical, dental, therapy and addiction support services to Baltimore’s most vulnerable populations.
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Kevin Feldt, senior director of institutional advancement at the organization, told the Baltimore Banner that the event gave them “the opportunity to share our mission with thousands.” The band financed the show entirely on their own, with help from Unregistered Nurse Booking founder Dana Murphy and a team of more than 60 people.
Turnstile will play a record release show June 5 in Brooklyn, N.Y., before going on a more extensive tour including festival stops at Primavera Sound, Glastonbury, Ottawa Blues and III Points, among others.
The event follows the announcement last month of the band’s new album — its first in four years following the highly acclaimed, Grammy-nominated Glow On — and the release of the Never Enough title track. While Mike Elizondo (Linkin Park, Fiona Apple, Eminem) produced the last record, frontman Brendan Yates takes the production reins on the new album, which was recorded between the band’s hometown of Baltimore and Los Angeles.
Billboard named Turnstile’s Glow On one of the best albums of 2021, placing it at No. 27 on the list. The record also debuted on the Billboard 200 chart at No. 30.
Robert Fripp is recovering after undergoing emergency heart surgery last month, the legendary guitarist has revealed.
The King Crimson co-founder shared the news in a YouTube video posted with his wife, singer and actor Toyah Willcox, on May 11. In the clip, the 78-year-old explained that he unknowingly suffered a heart attack in early April while traveling to Italy for a performance with The Orchestra of Crafty Guitarists.
Fripp initially believed his symptoms were related to acid reflux. “I’d been suffering what I considered to be acid reflux for a couple of weeks,” he explained. “On the Saturday morning I flew, it felt a little bit more.”
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“I was in A+E not quite knowing what was going on other than I knew they were going to do something, and an orderly came along and shaved my balls,” Fripp continued. “Now the dear man, I really didn’t wish his job on him at that point. Now this is the thing. So you’re concerned with my heart, fine. What are you doing shaving my balls?”
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Upon landing in Bergamo on April 6, Fripp’s companions took him directly to a cardiac hospital instead of waiting for a scheduled doctor’s appointment. There, doctors discovered dangerously elevated troponin levels, a protein that indicates damage to the heart. “You’re supposed to have 10 of these, but you’ve got 500,” a doctor reportedly told him.
The guitarist underwent five hours of surgery, followed by intensive care and a second operation. Despite the ordeal, Fripp still managed to perform with the 124-member ensemble at Villa Sancelso. He is now on medication for life and slowly adjusting to the change.
“It was stunning. The audience were prepped with orchestral manoeuvres and it really was a magical event for me,” he added.
Willcox, visibly emotional in the video, praised the medical team and expressed her gratitude. “I’m so proud of you and so grateful to your team who kept us all informed,” she said. Fripp also urged fans to take symptoms seriously. “If you think you have heartburn or acid reflux, really look into it. It might be something more.”
Fripp, widely regarded as one of the most innovative guitarists in rock history, founded King Crimson in 1968. Beyond the band’s genre-defying catalog, he’s contributed to landmark records from David Bowie, Brian Eno, and Peter Gabriel. In recent years, he’s reached a new audience through the couple’s viral “Sunday Lunch” YouTube series, where the two cover rock classics with a theatrical twist.
‘Weird Al’ Yankovic has been a staple of pop culture and the musical world at large for over 40 years now, and comedian John Mulaney feels it’s high time that Yankovic received the recognition he’s due with an induction into the Rock & Roll Hall of Fame.
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Speaking to Rolling Stone recently, Mulaney – himself a diehard fan of the Rock Hall – reflected on this year’s list of inductees, which includes the likes of The White Stripes, Outkast, Cyndi Lauper, and Soundgarden, but didn’t include the likes of Phish, who won’t be inducted this year despite winning the fan vote.
“The music they introduced my generation to as well was hugely important,” Mulaney said of the Vermont veterans. “I learned to be eclectic from them. They were always getting compared to the Grateful Dead, but they had this whole world of influences that was really fun to pick up on and cross-check.”
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When speaking of Chubby Checker, Mulaney reflected on the impact that he had upon the world of novelty music, specifically thanks to the likes of his debut single “The Class,” which peaked at No. 38 on the Hot 100 upon its release in 1959.
“I’m a big proponent of novelty music,” Mulaney admitted. “I’m a big proponent of ‘Weird Al’ getting into the Rock & Roll Hall of Fame. This is one step closer, though I don’t know why they need to be led via steps. ‘Weird Al’ brought more people to music than is recognized at all.
“I will, in fact, greatly devalue my coolness by saying [when I was young], it wasn’t until ‘Smells Like Nirvana’ defanged ‘Smells Like Teen Spirit’ that I could enjoy ‘Smells Like Teen Spirit,’” Mulaney added. “It was scary at first. It just was like, ‘I’m pretty happy, I’m a kid.’ I needed a way in. And after you laugh at ‘Smells Like Nirvana,’ you go, ‘Oh, this is a really good song.’”
Despite Yankovic having been eligible for inclusion into the Rock Hall since 2005, he’s yet to be nominated on any annual ballot. However, chairman John Sykes did admit in December that the influential musical satirist has “come up in conversations” over the years.
“He’s a genius,” Sykes explained. “He has made brilliant versions of the songs, but I’ll be honest: He’s never made it close to the ballot.”
Though it remains to be seen whether or not Yankovic will make it onto the ballot in future years, Sykes’ comments also saw him reflect on other artists who are yet to make it in, despite continued support. This included the likes of The B-52s, the Pixies, and even Phil Collins‘ solo career.
“There’s been a group of nominees who’ve been passionate about the Pixies,” Sykes said. “The same thing with Warren Zevon, who actually did get on the ballot one year. I’m passionate about Warren, and he’ll get in, too. But the Pixies have had a lot of support.”
Given that this year will indeed see the late Zevon inducted into the Rock Hall, it appears that Mulaney and the legion of Yankovic’s fans might just need to sit tight.
Days after American actor Nicolas Cage shared an anecdote about being mistaken for Australian musician Nick Cave, the latter has now chimed in to say that theirs is a shared experience.
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Cage’s comments were made in an interview with The Guardian last week, responding to a reader’s question about a 2022 tall tale from Cave which recounts the pair apparently meeting due to their similar names.
“I don’t think there’s a day that goes by where I’m not mistaken for Nick Cave,” Cage explained.
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“I do remember that Cave was very nice,” he added. “We were at an animal sanctuary, I believe – I think Sealy Animal Hospital in Texas – and he was terrific. I said hello and wanted to shake his hand. I said: ‘Only one letter separates us – G. Nick Cave, Nick Cage.’”
Cage’s original story was shrouded in mystery, given that it heavily referenced Cave’s own tale from 2022 in which he responded to readers of his Red Hand Files website who respectively asked if Cave has ever met Cage, or added an “untrue component to a story to make it more interesting than it actually is.”
Cave’s ensuing story saw him recounting a case of mistaken identity at the Healesville Sanctuary in his home state of Victoria, before apparently meeting Cage in the back of a local pub where the actor claimed that “Only one letter separates us!”
Though Cave’s 2022 post is a clear shaggy dog story, a new post on his Red Hand Files site has seen him respond to fans asking about the actor’s recent interview. “I read Nic Cage’s piece in The Guardian, and I relate to his experience,” Cave explained. “There has always been a persistent and somewhat perplexing confusion surrounding our names.”
As he continued, Cave recounted a lengthy story in which he visited a bar while living in São Paulo and met a Brazilian man named Diego who mistook him for Cage, with the musician adopting the guise of the actor due to the pity he felt for the young man.
“After a while, I began to warm to my theme,” Cave explained. “I told him that making Raising Arizona was the most extraordinary experience and a highpoint in my career, that John Goodman was a fascinating and complex character, and how it was a real privilege to work with the Coen brothers and that they were ‘masters of their craft’ and all this bullsh–t.”
“Anyway, these confusions between me and Mr. Cage happen fairly often. But I don’t mind. I’m a fan,” Cave wrote at the end of his story. “Have you guys seen Mandy? My God. What a film.”
Though the likes of Hall & Oates might be heavily associated with the contentious ‘yacht rock‘ genre, Daryl Hall himself has expressed disdain towards the classification.
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Used as a way to refer to the soft pop-rock and blue-eyed soul of the ’70s and ’80s, the term ‘yacht rock’ was initially coined by makers of a 2005 mockumentary series of the same name. The series itself was a popular one, lasting from 2005 until 2010 and even resulting in a 2024 HBO ‘Dockumentary‘ that explored the genre in deeper detail.
However, while the likes of Michael McDonald and even John Oates have been receptive to the original show, Hall is singing a far different tune. In the latest episode of the Broken Record podcast, Hall told interviewer Justin Richmond that he’s far from a fan of the concept.
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“This is something I don’t understand. First of all, yacht rock was a f–king joke by two jerk-offs in California, and suddenly it became a genre,” he explained. “I don’t even understand it. I never understood it. It’s just R&B with maybe some jazz in there. It’s mellow R&B, smooth R&B. I don’t see what the yacht part is.
“People misjudged us because they couldn’t label us,” he continued. “They always came up with all this kind of crap, soft rock and yacht rock and all this other nonsense. And none of it, none of it really describes anything that I do, really.”
In 2007, Oates reflected on the success of the Yacht Rock series, explaining that it was the “beginning of this whole Hall & Oates resurrection,” and even noting that “a lot of things have happened because of Yacht Rock.”
It’s little surprise that both Hall and Oates have differing views on the matter, given that the pair’s 2024 dissolution was given an air of finality when Hall claimed in March that they would never again perform together. “That ship has gone to the bottom of the ocean,” he explained. “I’ve had a lot of surprises in my life, disappointments, betrayals, so I’m kind of used to it.”
The Hall & Oates dissolution first began back in November 2023 when the pair became embroiled in a legal dispute. Described by Oates as “a very boring business issue,” the crux of the issue began when Hall filed suit against his former partner over Oates’ attempt to sell his half of the duo’s joint venture Whole Oates Enterprises to Primary Wave Music without Hall’s consent.
A wide range of guest performers will hit the American Idol stage Sunday alongside this year’s top 14 contestants ahead of the live crowning of the 2025 winner during the three-hour finale, Ryan Seacrest announced on Monday’s (May 12) live episode. Sunday’s performers include: Brandon Lake, Goo Goo Dolls, Good Charlotte, Jennifer Holliday, Jessica Simpson, […]
Veteran music journalist Gerry Wood died on Saturday (May 3) in Inverness, Fla. He was 87.
Wood was Billboard’s Nashville bureau chief and country editor in 1980 when he was promoted to editor-in-chief of the magazine, resulting in a transfer to the publication’s New York headquarters. He served in that capacity through 1983, when he left Billboard, only to return in 1986 as general manager/Nashville, a position he held into 1991.
Wood’s elevation to editor-in-chief coincided with the explosion of country music in the late 1970s and early ‘80s, when Kenny Rogers, Willie Nelson and Alabama were among the top-selling acts in any genre and the film Urban Cowboy became a pop-culture phenomenon. Wood was there before, during and after the explosion, charting every bit of it. He could probably relate to the lyrics of a Barbara Mandrell hit in 1981: “I Was Country When Country Wasn’t Cool.”
Ken Schlager, former Billboard managing editor, paid tribute to Wood on Facebook: “When I joined Billboard as managing editor in November 1985 one of the first tasks was finding a new Nashville bureau chief. Our publisher, Sam Holdsworth (R.I.P.), had asked Gerry, who was no longer associated with Billboard, to check out the candidates that had emerged and scout for others. After several weeks, Gerry reported back that he, in fact, was the best candidate. It seemed like a whole lotta hubris, but it turned out he was right. That’s how Gerry ended up back at Billboard.
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“Some weeks later, when I made my first trip to Nashville, Gerry, now bureau chief, greeted me with a gift basket in my hotel room filled with GooGoo Clusters, Moon Pies, and airplane bottles of Jack Daniel’s.
“Gerry was a sweet guy. Smart, hard-working, knowledgeable and well-connected. I’m sorry to hear of his passing.”
Born Gerald Edmund Wood in Lewiston, Maine, on April 7, 1938, Wood began his career in radio. He was a news and sports reporter and DJ at WSON in Henderson, Ky., and at WVJS in Owensboro, Ky. He also served as news reporter and DJ at WAKY in Louisville, Ky.
Wood graduated from the University of Kentucky in 1960 and went on to earn a master’s degree from Vanderbilt University in Nashville in 1965. He later worked in public relations at Vanderbilt (1966-69).
While attending Vanderbilt and after, Wood served as news reporter and DJ at WKDA in Nashville (1964-66). After working in public relations at Vanderbilt (1966-69), he shifted to working on Music Row, where he worked in public relations at ASCAP (1969-75), rising to associate director. Wood began his first stint at Billboard in 1975.
Wood left Billboard in 1983 when the editorial leadership was reorganized under group publisher Jerry Hobbs. He moved back to Music City to become editor-in-chief at Nashville magazine (1983-84) and a special correspondent for People magazine (1984). Like many others before and since, Wood returned to Billboard for a second tour of duty, rejoining the staff in 1986 as general manager/Nashville. In that capacity, he directed and coordinated editorial, chart and sales activities in the country sector. He held that position through 1990.
On local TV, Wood became known as “The Gamboling Gourmet” on WTVF-TV. He also worked under that identity for Nashville magazine. As a freelance journalist, Wood wrote for Country Weekly and many other publications. He was also a regular reviewer on the TNN cable channel in the mid-1980s.
Wood won a Journalistic Achievement Award from SESAC in 1981. He was a board member of the Nashville Entertainment Association and a member of the Country Music Association, the Gospel Music Association, the Recording Academy, the Nashville Songwriters Association International, and Sigma Delta Chi.
Wood was also a published author. Ain’t God Good (1975) and Let the Hammer Down (1978) were collaborations with country comedian Jerry Clower. Other titles included The Grand Ole Opry Presents the Year in Country Music (1997) and Tales From Country Music (2003).
Outside of his career, Wood was a travel enthusiast. Late in life, he moved to Florida and wrote books and articles for local publications on the Gulf Coast.
“I was just laughing with Ed [Morris] yesterday as we were reminiscing about our days at Billboard with Gerry at the helm of the Nashville bureau,” says Debbie Holley, who worked under Wood in the country department at Billboard in the 1980s.
“Ed and I never knew where he would be calling in his column from, to whichever one of us was willing to take it over the phone by dictation. If he wasn’t on a plane or boat, he was calling from a train making his way across the country!
“Ed and I truly loved Gerry Wood! If free-flowing, imaginative, intuitive, and emotional thought are characteristics associated with the right brain, his right hemisphere must have been double in size. Gerry Wood definitely encompassed and underscored ‘creative.’ He was full of original ideas, artistic works and new possibilities. He was unconventional and impractical at times, but that always led to even more interesting projects. He was more than willing to share the spotlight and pushed everyone around him to ‘be your best self,’ ‘try things without fear of judgment,’ and ‘go for it, or you’ll always wonder!’
“I’m sad that he has left us, but I bet there are a couple of one-way streets called ‘Music Row’ just inside ‘Heaven’s Gates!’ And, I bet Gerry Wood is right there with all of the songwriters, music publishers and record label execs on ’16th (and 17th) Avenue!’”
Ed Morris, who was Billboard’s country music editor from 1990-95, tells Billboard, “Gerry hired me in 1981 as he was leaving Nashville for New York to take the chief editor job. Having heard I was an atheist, he found it enormously amusing to name me gospel editor, thereby making me hostage to the Righteous for the next two years. Gerry lived to be entertained—by both by personalities and circumstances—and I never once saw him less than buoyant.”
Wood also had a good sense of humor about himself. At one Billboard staff conference, a staff member, Jean Williams, wasn’t able to be present, but sent in taped remarks. At one point she said, “Gerry Wood had a good idea. I think it was about a year ago.”
William paused just a little too long between those two sentences, creating the impression that good ideas from Wood were a rarity. Everyone in the room laughed at the unintended slight. No one laughed harder than Gerry.
Latto really needs “Somebody,” and she announced on Monday (May 12) that she’s dropping her new single with that name on Friday. “Greetings from Jamaica,” she wrote on Instagram under the island-inspired artwork. She first teased the single on X back in March with a one-minute clip of her playing it in the car. “I’m […]
In her 1991 documentary Truth or Dare, Madonna declared that Sean Penn was the love of her life. And more than three decades later, the actor is sharing his thoughts on it. In an interview on The Louis Theroux Podcast posted Monday (May 12), Penn said that his superstar ex-wife was “very sweet” for her […]
The lineup for this year’s KCON LA just got even more robust, with aespa, NCT 127 and several more star K-pop acts joining the list of previously confirmed performers in a second wave of lineup announcements unveiled Monday (May 12).
In addition to the “Whiplash” girl group and the NCT subunit, RIIZE, KISS OF LIFE, MEOVV, NOWADAYS, MONSTA X, KEY, HWASA and YUQI have also been added to the 2025 lineup. The festival also revealed that CHOIHOJUNG, who won Mnet’s dance competition series STAGE FIGHTER, will perform too.
The news comes a couple of weeks after the Los Angeles iteration of the global KCON enterprise revealed the first set of names headed to Crypto.com Arena this year. Among them were CRAVITY, SEVENTEEN subunit HxW, IS:SUE, IVE, izna, JO1, LEE YOUNGJI, NMIXX, P1Harmony, Roy Kim and ZEROBASEONE.
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KCON LA will take place Aug. 1-3 at the downtown L.A. venue, featuring multiple stages such as ARTIST STAGE, MEET & GREET, X STAGE and M COUNTDOWN. The 2025 theme is “KLOVER’S CLUB FAIR,” taking inspiration from the lucky symbolism of four-leaf clovers.
In addition to musical performances and opportunities to see their favorite K-pop artists up close, attendees of the festival will also get to experience different facets of Korean culture through different activities and stations dedicated to fashion, beauty and food.
“This year, [organizer] CJ ENM plans for a more immersive KCON LA 2025, expanding both on-site and digital experiences,” reads a release, which adds that the festival was “designed to help fans connect directly with their favorite idols, discover emerging acts on X STAGE, and join dance and participation programs designed just for them.”
The L.A. installment of KCON is just one of several that take place each year. Japan, Hong Kong, Germany, United Arab Emirates, France, Mexico, Australia, Thailand and Saudi Arabia have also hosted iterations since the inaugural festival kicked off in the United States in 2012.
In 2024, KCON LA attracted more than 5.9 million fans from 170+ countries, both on-site and virtually.
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