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The life and times of beloved Swedish DJ/producer Avicii are celebrated in the first official trailer for the upcoming Netflix doc chronicling his life, Avicii – I’m Tim. The nearly two-minute preview of the film due out globally on Dec. 31 opens with an image of Avicii (born Tim Bergling) posted up behind his decks in front of a massive festival crowd as towering pyro flames fill the frame and the audience shouts “AVICII! AVICII!”
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Featuring voiceover narration recorded with the late global superstar before he died in 2018 at age 28 by suicide, the trailer flips through images of Avicii in his youth, landing on a snap of a teenage Tim strumming an acoustic guitar as he explains, “I’ve always loved music. I knew that whatever I wanted to do later in life, I wanted to do something creative.”
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He describes working on his music at home, constantly sending his tracks out in the hope that someone would notice. “In such a small time, he completely killed it,” says fellow global DJ superstar David Guetta. The focus then shifts to a series of pics and video clips of Avicii in the studio with stars including Coldplay’s Chris Martin, Chic’s Nile Rodgers and others, as Martin recalls that it was Avicii’s signature 2011 hit “Levels” that introduced him to Bergling’s music.
“I had that feeling that I get when I really love something,” Martin says about the inescapably catchy, Grammy-nominated house tune that topped the charts in the DJ’s native Sweden and became his signature hit. The trailer also hits on one of the most audacious, and successful, chances Avicii took in his life when he got booed after debuting the genre-busting Aloe Blacc collab “Wake Me Up” at the Ultra Music Festival in 2013 with a live band — including a banjo and two guitars. The song would go on to be his biggest hit, and his only top 10 hit on the Billboard Hot 100, where it reached No. 4 in October 2013 on its way to more than three billion streams.
At the time, Avicii was “really broken about it,” according to the doc, with a voiceover noting that the constant jet-setting touring was “really taking a toll” on Bergling. “I was running after some idea of happiness that wasn’t my own,” Avicii says. “I didn’t like being a persona.”
Avicii struggled as the line between performer and persona got blurred, and in a poignant moment at the end of the sneak preview, the interviewer wonders what his answer would be if someone asked “What’s your story? Who are you?”
Haltingly, Bergling confirms, “I’m… Tim.”
The doc directed by Henrik Burman premiere at the Tribeca Film Festival earlier this year also features interviews with Avicii’s parents, friends, colleagues and fellow artists. Along with the documentary, Netflix will stream Avicii’s final performance at Ushuaïa Ibiza in August of 2016, his final live set before he stopped touring at 26.
Watch the trailer below.
If you or anyone you know is in crisis and/or experiencing suicidal ideation, reach out to the Suicide and Crisis Lifeline by calling 988 or visiting the website. Confidential support is available 24/7, 365 days a year.
Peppa Pig brings the BTS anthem “Dynamite” to the preschool audience with a cover of the K-pop group’s hit song, out today through Hasbro. Billboard Family exclusively reveals Peppa Pig’s “Dynamite” music video, which you can watch above. The “Dynamite” video, featuring Peppa’s cover with lyrics to sing along, offers a first listen to her […]
For Alessia Cara, emotion and connection is at the heart of her creative endeavors — hence why each of her three studio albums live in a unique world full of signature concepts, colors and themes built around them. Her music isn’t just a listening experience, it’s a feeling.
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Her upcoming Feb. 14-slated project, Love & Hyperbole, continues that process, as she splashes her music videos and promotional content with deep berry and maroon tones, amplifying the passion that love entails. “Love is very red to me,” Cara tells Billboard. “Every time you see love portrayed anywhere, it’s usually red, like Valentine’s Day colors. Even before I knew that the album was going to come out on Valentine’s Day, it just always felt a little bit deeper, a little bit richer. The textures and the songs felt a little richer and more sophisticated, so that wine color just always came into my mind, even before I knew what the concept was going to be. It feels warm and it feels like love.”
That’s why it was a perfect fit when she teamed up with Lenovo, Intel and Universal Music Group for Brands for their “Made By” campaign, which intersects music, creativity and technology — something Cara has been a pro at throughout her career. “Each song has such a story to it that’s so specific and getting the chance to showcase each song in a way that non-singles don’t really get to be showcased, it’s really awesome to be able to do that,” she says of the partnership.
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The team-up will lend to a series of visually stunning pieces surrounding Love & Hyperbole, including an album trailer with custom graphic designs and key scenes, as well as an accompanying miniseries that documents the journey behind the development of the trailer, capturing how Lenovo and Intel supported and inspired Cara’s vision. They’ll also emphasizes the integral roles of Maris Jones and Gaia Esther Maria in shaping the project’s artistic direction. The Grammy winner adds with a laugh, “It’s a little bit indulgent for the artist in me. This was an incredible opportunity, and everyone has been so amazing creatively, and so collaborative while giving us the freedom to explore and play. We had a great time.”
Exploring seems to be a key theme in Cara’s career, as her music earnestly captures the complexities of growing into adulthood and how romantic relationships stir up all kinds of emotions. Her self-discovery both as a songwriter and human being is showcased in the Love & Hyperbole single, “Isn’t It Obvious,” a breezy hug of reassurance for a love interest who is scared to lose her. “Fears are only constellations/ Only glowin’ if we make them, we’re just fine/ If it’s any consolation, you’re my favorite/ It’s you and I, you gotta know that, right?” she sings on the track, bolstered by a guitar solo from one of Cara’s personal heroes, John Mayer (“I still can’t believe that happened,” she says.)
“Obviously, my perspective of love has transformed and changed and grown throughout my life,” She says of “Isn’t It Obvious,” in comparison to some of her previous fan-favorite tracks like “Comfortable” and “I’m Yours.” “Being a young woman, I think sometimes when you’re experiencing love for the first time and you’re a little bit more inexperienced — I can give a lot of myself and almost treat love as something that makes me feel smaller, rather than something that expands me, and thinking that that was the right way to do it. I always used to think if it was really intense, and if it took energy out of me, that it was the right thing.”
She continues, “As I’ve gotten older, I’ve realized that love is supposed to feel like something that calms the storm rather than creates it. It should just kind of feel easy. That’s why I think a lot of these songs, even though some of them are laced with elements of fear or worry, they’re always very steadfast in themselves and there’s a sense of reassurance there. I did not have that when I was growing up and finding out what I wanted in early stages of love for me.”
Keeping in the album’s theme of love, Cara is eager to spread it to fans. As part of her partnership with Lenovo and Intel, she’ll be hosting an exclusive album event for fans in early 2025, which will feature a live performance as well as interactive projection mapping and other immersive elements.
She concludes of the message she hopes Love & Hyperbole gives to listeners, “I just hope that if they’re going through something or if they’re in a similar stage in their life, that they can understand that at the end of the day, we’re all a product of everything that has happened to us, good and bad. We actually need those bad things in order to find the good. We need to know what we don’t want in order to find what we do want. We need loss in order to really feel love. Those things can work in tandem with one another instead of clash. That’s the main thesis, but I hope they just take anything from it.”
Pre-save Love & Hyperbole here.
Warning: the following story contains graphic language about sex.
Eminem has never been one to hold his tongue. Which might explain why Slim Shady is an extras shade of blue in a super NSFW promo for his pal Snoop Dogg‘s new album, Missionary. Keeping in mind that the punny title is a call-back to the equally sex-obsessed name of Snoop’s 1993 debut album, Doggystyle.
That is all you need to know before diving into Em’s X-rated plug for Snoop’s triumphant on-wax reunion with both men’s mentor: Dr. Dre.
“Fellas, are you tired of bl–jobs like I am?” Em asks in the clip shared by Snoop on Wednesday (Dec. 18) in which Marshall is seen hanging on a bland stage set in all black as sombre piano music plays in the background. “I think it’s time to take it back to the basics. Who wants their d–k sucked every day? That s–t can get to you, man. I mean every day, it’s just…,” Eminem adds while pantomiming a sex act with two hands.
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“S–t gets old. It gets boring. Can we just lay down and f–k?” Marshall pleads. “I don’t know why everything’s gotta be so f–kin’ complicated. You don’t have to put your leg over your head. Snoop Dogg, Missionary, just f–k me, in stereo.” Snoop captioned the video “Bacc 2 the basics [laughing, music notes, fist pound emoji].”
Late night host Jimmy Kimmel also got in on the action in his own similarly spicy promo. “The human penis gets cold, so wrap it up, because nothing is colder than a sexually transmitted infection,” Kimmel says while standing in a similarly drab void wearing jeans and a white button down. “Ask your Dr. Dre about Snoop’s new one, Missionary. It’s more than just an album, it’s a position.”
The big Dogg even tapped his old pal, Martha Stewart, aka M. Diddy, to cut her own promo in which the domestic doyenne mentions the new album’s title in a slyly seductive way, while also marking what is likely her first time saying Doggystyle in public.
Snoop’s new album, his first to be produced by Dre since Doggystyle, has features from 50 Cent, Sting, Method Mad, Jelly Roll, BJ the Chicago Kid and, of course, Slim Shady on the song “Gunz N Smoke.”
Check out Eminem’s promo video below.
Mickey Hart was with Zakir Hussain right until “the moment that he left this plane” on Dec. 15 at the age of 73– as well he should have been.
The Grateful Dead percussionist and Indian tabla master were tight, as friends and as musicians. They met in 1970 when Hussain’s father, Allarakha Qureshi, sent Hussain to knock on Hart’s tour and begin an association that started with Hart’s first solo album, Rolling Thunder in 1972, and continued until Hussain’s death, when the two were still working on a project that includes tuned hand drums, drones and sonic bathing. In between were Grammy Award-winning works as Planet Drum and the Global Drum Project, as well the Diga Rhythm Band in 1976 and number of other collaborations on Hart albums such as 1990’s At the Edge and Mickey Hart’s Mystery Box in 1996.
Hussain’s legacy also includes four Grammy Awards (three of them earlier this year), founding membership in the fusion band Shakiti and recordings with Pharoah Sanders, Bela Fleck and Edgar Meyer, John Handy, L. Shankar Charles Lloyd and more. Hussain also taught at Princeton University and Stanford University and received a Doctor of Law degree from the University of Mumbai.
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Hart tells Billboard that “the shock is still with us” from Hussain’s passing, but he was happy to share the great memories he has of his friend and fellow rhythmist.
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“You talk about someone who is a great rhythm master, you have to start with Zakir. He was an enormous influence on all genres, considering he crossed more borders, musically, than anybody I’ve ever met or known in history. There is no one that has traveled as far to do so much than Zakir, because he was constantly on the road, constantly spreading the rhythm seeds everywhere he went. Maybe every 1,000 years you get somebody like Zakir. He was the Mozart of his instrument, one of the greatest musicians who ever lived, a great tabla player and a great rhythmist. Zakir can play everything from spoons to his nose — he can play nose flute like a maniac, he does it all.
“He comes from a lineage of drummers, so it’s part of his DNA. He’s born to drums, so he was nurtured as a baby, when his father recited rhythms in his ear as an infant. Allarakha was my mentor, my teacher. I met him when Phil Lesh gave me a record called Drums of North and South India; he handed it to me and said, ‘You should hear this. This is for you,’ or something like that. When I listened to it I was just riveted. I really heard it, and I was never the same after that. It contained Allarakha, and I couldn’t believe what he was playing. It influenced a lot of Grateful Dead music because of the unusual time signatures…those kind of very complicated rhythmic gems that we really practiced for long periods of time to learn. I found (Allarakha) in New York in 1967, and he became my teacher.
“Then in 1970 Zakir knocked on my door; his father sent him to me because his father comes from the analog world, quiet, and Zakir was a young man when I met him. We lived together for awhile, and we really bonded and he opened himself up to the feel and the rhythms of the West. He was very strict — as he should have been from north Indian classical music where you’re supposed to be very accurate and everything is composed and traditional, ancient rhymes that are codified and only played one way, by everybody. In the West it was loud music and a new kind of rhythm, kind of funkier than he had played in the past, and he accepted that. I play that serpentine kind of way, move in and out of the groove and it slips and slide and everybody goes with it; that makes for an amazing, living creature as opposed to a pre-ordained rhythm.
“So he opened himself up to the West and he flourished in it. He loved it. We played together like it was meant to be. For me to be playing these north Indian classical rhythms was very difficult at first; it took months, years to come up to a level where Zakir was. He kinda came down and I went up and we met in the middle, that kind of thing. But it was very resonant; we felt love in the groove, and the groove was deep. He and his father both played on Rolling Thunder, my first solo work, and we went on to do so many records together. He was a colleague and a rhythm master, and our deep friendship translated into rhythm — I would say bliss is a good word to describe how it feels when we play together.
“It’s hard to say who he influenced — anybody who ever heard him, let’s put it that way, was not the same. A lot of people can’t understand him, but they can feel him. They hear someone with great passion playing rhythms they’ve never heard before. He’s the Einstein of rhythm — that’s a good way of thinking of him as a rhythmist and what he could do and speak in the rhythm language. He’s way above any other percussionist or rhythmist I’ve worked with on this planet. Maybe there’s somebody better on Mars, but not on earth — and I’ve heard a lot of them.
“Jerry (Garcia) joined us for At the Edge (1990). Jerry and Zakir got along really well. Jerry noticed immediately who he was and Zakir, of course, just loved Jerry’s musical style. The banjo, of course, is like a rhythm instrument and Jerry plays the guitar like a banjo. A lot of the bluegrass instruments work perfectly within Indian rhythms because of the nature of it, three against two, all these intertwining rhythms that go on in banjo playing and also in tabla. And, of course, that explains (Hussein’s) Bela Fleck collaboration, because of course he’s a master banjoist, or banjolero.
“(Hussein)’s just a very kind man, and he plays like that, too. He’s really good as a composer as well, and arranger. He can do it all. He can play anything, but he’s a kind man — very thoughtful, unbelievably generous. He started to teach in the 70s; he had thousands of students all over the world and he dedicated himself to teaching hem the traditional rhythms. He traveled everywhere, constantly; even when we were on tour, if we had three days off he would go to India to conduct the national symphony or accept the greatest honor and come back for sound check on Monday. He was able to travel long distances, and he had this system of meditation he would so he wouldn’t get jet lag, and that increased his proficiency. He was able to perform more and travel because of that. He just wouldn’t stop.
“We’re starting to unearth so much of what we never got (released), never hit the street, which is voluminous. You’ve got to remember we’ve been recording since 1970, so there’s a lot of Zakir Hussein, and you bet I’d like to work on a Zakir Hussein compilation and keep his music alive, and that’s what I’m about to do.”
In the meantime, Hart and Grateful Dead mates Bob Weir and Bill Kreutzmann will be featured on CBS’ broadcast of the Kennedy Center Honors, where they were feted on Dec. 8, on Dec. 22. “It was surprisingly a lot of fun, and profound in many ways,” Hart says of the ceremony, where the Dead men were celebrated alongside Francis Ford Coppola, Bonnie Raitt, Arturo Sandoval and The Apollo theater. “It was nice to be honored, but it was not essential. It’s hard to be honored for something that it’s a privilege to do, you know? You don’t do it for medals…but it was a great show for the arts, to be able to show how powerful (it is) and that music can cover so much ground in so many different ways.”
The group’s current incarnation, Dead & Company, will become the first act to launch a second residency at Sphere in Las Vegas, with an 18-show Dead Forever — Live At Sphere that starts March 20. The six-weekend run will celebrated Dead & Company’s 10th anniversary, and Hart promises “all new compositions and ‘Drums and Space,’” that will build on what the group did earlier this year. “
“If you’re in a place for a long enough period of time you start to learn the room; you play the room as if the room is your instrument,” Hart explains. “We’re just playing it loose and playing it from the heart, and we serve the music. That’s what musicians do. We’re just working musicians, and Sphere is such a great place to work.”
Sum 41 frontman Deryck Whibley is grappling with the bittersweet reality of the band’s impending farewell, as the Canadian leg of their “Tour of the Setting Sum” approaches.
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The pop-punk icons, who announced their decision to disband in 2023, are set to play their final show on Jan. 30, 2025, at Toronto’s Scotiabank Arena—bringing their 28-year career to a close.
In an interview with iHeartRadio Canada, Whibley shared that the gravity of the band’s final chapter is finally sinking in. “For the first time, this is actually hitting me that the Canadian run is gonna be the last run,” he said. “Now there’s only four more weeks left, and this is the final run. So it’s finally hitting me that it’s coming to an end.”
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Despite the nostalgia surrounding the farewell tour, Whibley admitted that he’s not naturally drawn to looking back. “I don’t spend much time in memory lane,” he said, though he acknowledged that touring often evokes memories of the band’s storied history. “Everywhere I go, everything I do, every tour that I do, every city that I go to constantly reminds me of some wild story—or even just something boring, like a great restaurant I’ve been to.”
Whibley also reflected on his journey of sobriety, having been sober for nearly 11 years after a near-death experience from alcohol-related organ failure in 2014. Comparing his life on the road now to the early, wild years of Sum 41, he said, “I prefer being sober now. The things that you enjoy, you actually feel more, whereas when you were drinking, yeah, there are a lot of wild stories and there’s a lot of crazy nights, but there were so many nights that we were just drinking for no reason, too.”
He added, “There were so many boring nights that you just spent drinking a bottle of Jack or whatever that we all stayed up till six in the morning, just driving on the bus, talking about dumb stuff that is just kind of pointless. But they’re just different lifestyles.”
“I don’t regret any of those years, but I’m glad I don’t do it anymore.”
Sum 41’s farewell has not been without challenges. Earlier this month, the band canceled their Australian shows, including a co-headlining appearance at the Good Things festival, due to Whibley’s recent battle with pneumonia. Despite health scares, Whibley has soldiered on to ensure the farewell tour continues as planned.
Sum 41’s farewell tour caps a year of significant Billboard milestones, marking their enduring impact on alternative rock. Earlier in 2024, “Landmines” topped the Alternative Airplay chart, breaking the record for the longest gap between No. 1 hits—22 years after “Fat Lip” ruled in 2001.
The success continued with “Dopamine,” which reached No. 1 on Nov. 30, making this the first year since 2001 that the band achieved two top 10 hits. The track also climbed to No. 6 on the Rock & Alternative Airplay chart and boosted Heaven :X: Hell, their final album, which debuted at No. 23 on the Top Rock & Alternative Albums chart.
Sum 41 fans will have one more chance to see the band live during an encore performance at the Juno Awards in Vancouver on March 30.
Blondie have announced the release of a new album in 2025, with production helmed by Grammy-winning producer John Congleton.
The news was shared by guitarist and co-founder Chris Stein, who posted a black-and-white photo of lead singer Debbie Harry and Congleton in the studio on Bluesky, accompanied by the caption, “With John Congleton. New Blondie record next year.”
It marks the band’s first album since 2017’s Pollinator, also produced by Congleton. That record earned critical acclaim and featured collaborations with artists like Joan Jett, Charli XCX, and Johnny Marr. Known for his work with St. Vincent and Angel Olsen, Congleton’s involvement hints at a modern, innovative approach for Blondie’s upcoming release.
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Hints of the project have been circulating for months. Stein previously shared photos from the studio on Instagram, teasing fans with mentions of “a new Blondie album” and confirming on BBC Radio 6 that the record had entered the mixing phase earlier this year.
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Blondie lit up the Billboard Hot 100 with four chart-topping hits that defined their genre-bending brilliance. The disco anthem “Heart of Glass” had everyone dancing in 1979, while the high-energy “Call Me” dominated in 1980. That same year, they switched things up with the reggae-infused “The Tide Is High,” and by 1981, they were breaking boundaries with the rap-meets-rock vibes of “Rapture.”
Their albums made just as big a splash. Parallel Lines (1978) climbed to No. 6 on the Billboard 200, driven by unforgettable hits like “Heart of Glass” and the gritty “One Way or Another.”
A couple of years later, Autoamerican (1980) landed at No. 7, bolstered by the massive success of “The Tide Is High” and “Rapture,” proving that Blondie’s versatility had no limits. Even earlier, Eat to the Beat (1979) had fans hooked, reaching No. 17 with tracks like “Dreaming” that became instant favorites.
Phil Collins, widely regarded as one of the greatest drummers of all time, opens up about his enduring passion for music and the struggles he’s faced in Phil Collins: Drummer First, which premiered on Dec. 18 on the Drumeo YouTube channel.
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The documentary captures Collins revisiting his drum kit for the first time in years, a moment that’s both poignant and powerful. “It’s still kind of sinking in,” Collins says in the documentary. “I’ve spent all my life playing drums. To suddenly not be able to do that is a shock.”
Collins, now 73, has faced numerous health challenges stemming from a 2007 spinal injury that left him with limited mobility and complications such as drop foot. His drumming, once the heartbeat of Genesis and his solo career, has been sidelined in recent years. During Genesis’ 2022 farewell tour, Collins passed the torch to his son Nic, who filled in on drums. Still, his connection to the instrument remains unshakable.
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“If I can’t do what I did as well as I did it, I’d rather relax and not do anything,” he reflects. “But if I wake up one day and I can hold a pair of drumsticks, then I’ll have a crack at it. But I just feel like I’ve used up my air miles.”The documentary sheds light on Collins’ legendary career, including anecdotes that illustrate his profound impact on music.
He recalls Peter Gabriel recognizing his talent the first time they played together, and Eric Clapton’s incredulous reaction to his drumming: “F—ing hell, what was that?!” The moments underscore Collins’ identity as a drummer first and foremost. “I’m not a singer who drums a bit,” he asserts. “I’m Phil Collins, and I am a drummer.”
Nic Collins provides further context to his father’s struggles, revealing that years of drumming took a significant toll on his posture and spine, ultimately necessitating a major neck surgery.
Despite the physical setbacks, the elder Collins finds joy in revisiting his instrument, even briefly. Holding drumsticks again, he admits, “It just feels so strange to hold a pair.”
Collins has achieved remarkable success on the Billboard charts throughout his career, particularly during the 1980s. As a solo artist, Collins earned seven No. 1 hits on the Billboard Hot 100, including “Against All Odds (Take a Look at Me Now),” “Sussudio,” and “Another Day in Paradise,” which spent four weeks at the top.
His 1985 album No Jacket Required dominated the Billboard 200, earning diamond certification and winning the Grammy for Album of the Year. With Genesis, Collins reached No. 1 with “Invisible Touch” in 1986.
Bob ‘Slim’ Dunlap, the Minnesota-born guitarist who rose to fame as the final guitarist for Minneapolis punk outfit The Replacements, has died at the age of 73.
Per a report from The Minnesota Star Tribune, Dunlap passed away early in the afternoon on Wednesday (Dec. 18). His cause of death was said to be related to the stroke he suffered in 2012 that not only left him bedridden, but unable to play music anymore.
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“Bob passed at home today at 12:48 p.m. surrounded by family,” a statement shared by his family read. “We played him his Live at the Turf Club (Thank You Dancers!) CD, and he left us shortly after listening to his version of ‘Hillbilly Heaven’ — quite poignant. It was a natural decline over the past week. Overall it was due to complications from his stroke.”
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Born in 1951, Dunlap began playing guitar at a young age and rose to local attention in the late ’70s while performing with Curtiss A (aka Curt Almsted). Almsted later formed the punk-influenced Spooks, which featured Dunlap on guitar and caught the attention of The Replacements’ Paul Westerberg.
At the time, Westerberg had been seeking a replacement for founding guitarist Bob Stinson, who was ousted in 1986. Though Dunlap initially declined Westerberg’s offer to join the band, the decision was later reversed due to his admiration for Westerberg’s songwriting.
Adopting the name ‘Slim’ to avoid confusion with Stinson, Dunlap fittingly became known as “the replacement Replacement” by many fans. He performed with The Replacements from 1987 until their dissolution in 1991, appearing on 1989’s Don’t Tell a Soul and 1990’s All Shook Down albums.
Following The Replacements’ split, Dunlap launched a solo career, releasing The Old New Me in 1993 and Times Like This in 1996, and remained active in the local scene until his musical career came to an end in 2012 following a stroke.
A number of artists, including The Replacements, Steve Earle, The Hold Steady’s Craig Finn, Jakob Dylan, Frank Black, and Jeff Tweedy, all contributed to the 2013 Songs for Slim compilation to raise money for his recovery.
Dunlap’s final release, Thank You, Dancers!, was released in 2020 and featured recordings from a 2002 live performance at St. Paul’s Turf Club.
Violet Grohl, the daughter of rock veteran Dave Grohl, is reportedly in the process of preparing her debut album.
Per The Hollywood Reporter, Violet has been working on new material in a studio space that she had been gifted for her birthday by her father. Having performed alongside Dave in the past and also releasing music as a solo artist, Violet is has been described as being “incredibly committed” to the musical process and “to growing as an artist” by an unnamed source.
Currently, her studio time has seen her working with producer Justin Raisen, who has worked with artists as varied as Charli XCX, Drake, and John Legend, and most recently, Kim Gordon on her Grammy-nominated album The Collective.
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Violet first emerged as a musician in 2018 at the age of 12, performing a cover of Adele’s “When We Were Young” with her father. Since then, she has also joined her father and other surviving members of Nirvana for a cover of “Heart-Shaped Box”, in addition to providing backing vocals for the likes of St. Vincent and Beck.
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She’s also provided backing vocals on songs released the Foo Fighters‘ Medicine at Midnight and But Here We Are albums, and performed as part of the tribute concerts to late drummer Taylor Hawkins. In 2021, she also released her debut single, covering X’s “Nausea”, again in collaboration with her father.
“She’s a true torch singer,” a source told The Hollywood Reporter of her recent material. “Her vocals are tremendous. She’s very talented.”
Currently, official details relating to Violet’s full-length debut are being kept under wraps, including whether the music will be released via the Foo Fighters’ Roswell Records imprint of RCA Records – as was her “Nausea” single.
Dave Grohl and the remainder of his family have been relatively absent from the public eye since September, when Dave shared he had become the father of a daughter born outside of his marriage. “I plan to be a loving and supportive parent to her,” he wrote on social media.
“I love my wife and my children, and I am doing everything I can to regain their trust and earn their forgiveness,” he added. “We’re grateful for your consideration toward all the children involved, as we move forward together.”