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Former Guns N’ Roses drummer Matt Sorum has dismissed suggestions that Aerosmith frontman Steven Tyler will ever return to the touring circuit.
Sorum’s claims arrived just weeks after Tyler made a return to the stage as part of his sixth annual Jam for Janie Grammy Awards Viewing Party. With Sorum serving as Musical Director, the event was only the second time that Tyler had performed live since a 2023 vocal injury which halted Aerosmith’s touring schedule, and the first time since the band announced their formal retirement in August of 2024.
Performing alongside Extreme’s Nuno Bettencourt, Tyler sung covers of songs by Extreme and Led Zeppelin, and four Aerosmith staples, which saw the musician joined by the likes of Mick Fleetwood, Lainey Wilson, the Black Crowes’ Chris Robinson, Jessie J, and Aerosmith bassist Tom Hamilton. However, despite the positive response from fans, Sorum told Joe Rock of Long Island radio station WBAB (via Blabbermouth) that the strain of global touring would prevent Tyler from performing on a large scale once again.
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“Some fans were a little bit, like, ‘Well, he can sing.’ Well, let me just explain what’s happening with Steven Tyler, ’cause he’s a really good friend,” Sorum explained. “He went out and sang. And it was a really big moment for him because he hurt himself bad. Now, is he gonna tour again? No, he’s not. Because, and I explained this to people, Steven cannot put himself under the rigors of doing a full worldwide tour because there’s a lot of pressure.
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“And if you’re not a singer, you wouldn’t understand what he goes through, but he’s 77 years old and he’s a perfectionist. And if he doesn’t sing correctly, it bothers him. And he’s not gonna put it on tape, like 80 percent of the people that are out there taking your money. He will not be on tape, and he won’t change the keys of the song. That’s just who he is. He’s, like, ‘I’m an artist. I’m a singer. This is my band. I’ve been doing this for 50 years. And if I can’t do it perfect, I can’t do it.’ And I respect that.
“I talked to him about it multiple times,” added Sorum. “I said, ‘So, just sing four or five songs tops.’ He says, ‘I can do that.’ And that was just one time. Maybe down the line, he’ll do it again and possibly do the same amount of songs.”
Initially, early reports of Tyler’s recent live appearance claimed that the performance would in fact be an Aerosmith reunion. If it were true, it would have been the group’s first live show since Sept. 2023.
While performing in Elmont, NY on Sept. 9 of that year, Tyler fractured his larynx, necessitating the postponement of shows on their Peace Out tour. Ultimately, these shows were canceled entirely when the band announced their retirement from touring in August 2024.
In January, Hamilton spoke to Boston’s WBUR to provide an update on Tyler’s health status, and to provide an insight into future Aerosmith activity. “Maybe Aerosmith will do something in the future, but it’s a big if and the last thing I want to be doing is to try and push Steven in that direction,” he explained. “If we do anything in the future, it would come from him.”
Tool bassist Justin Chancellor has provided an update into the band’s famously-protracted album release schedule, revealing that the Los Angeles quartet will be hitting the studio following their upcoming tour of South America.
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Speaking to Summa Inferno, Chancellor explained that after Tool – whose last album arrived in 2019 – wrap up a run of March shows in Argentina, Chile, Colombia, and Brazil, they plan to “dedicate the next three months after that in the studio to organizing our ideas”.
“There are a lot of stages in the process,” Chancellor continued. “We all have ideas. When they’re good, when we like them, we kind of save them or memorize them. The really difficult process is when you actually get together and make decisions about how it’s going to end up. And that becomes a little more mathematical, a little more like in the classroom — there’s a blackboard and there’s numbers and you have to make decisions. So that’s the stage we haven’t completely pulled off yet, but we’re committed to do that when we get back.”
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Noting that the band “have a really good pile of stuff” after its members shared their individual ideas with others, Chancellor noted that the next stage of the process is where things become a lot more complicated.
“You have to make those decisions, and you have to kind of wrestle with each other a bit to get to that next stage,” he explained. “And then you have to record it, which is a whole other thing as well. It’s like a pregnancy, almost. When you go to the studio, you have to make this final decision of how it’s going to sound and how you’re going to play it, and it’s going to live like that forever.”
Though Tool celebrate their 35th anniversary in 2025, their lengthy history has only brought with it a comparatively-meager five full-length records. Famously, a 13-year gap followed the release of 2006’s 10,000 Days, with fifth album Fear Inoculum giving the band their third consecutive Billboard 200 chart-topper upon its August 2019 release.
While the band were forced to contend with a long-running lawsuit that delayed the production of their most recent record, Chancellor – who joined Tool ahead of 1996’s Ænima – defended the length of time the band spends working on material.
“It’s a real delicate thing to be able to pull off,” Chancellor explained. “I don’t think it’s unreasonable that we take a long time at all. I think that’s only natural, and that’s why I’m proud of it, because it was worked on really hard.”
Tool’s Fear Inoculum record also scored the band a pair of Grammy nominations, including Best Rock Song for its title track, and Best Metal Performance for “7empest” – with the band winning the latter.
Notably, upon the release of 10-minute-and-21-second lead single “Fear Inoculum”, it became the longest song to enter the Hot 100 – dethroning David Bowie’s 2015 single “Blackstar” by 24 seconds in the process.
Tool were themselves outshone by André 3000 by almost two minutes in 2023, when his New Blue Sun album opener “I Swear, I Really Wanted to Make a ‘Rap’ Album but This Is Literally the Way the Wind Blew Me This Time” entered the chart at No. 90.
Veteran rockabilly musician Brian Setzer has revealed he’s currently unable to play guitar, with an unspecified autoimmune disease halting his celebrated abilities.
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Setzer shared the news on social media on Thursday (Feb. 13), giving fans an update as to his current status following a few months away from the stage. In his post, he revealed that towards the end of the Stray Cats’ 2024 summer tour (which wrapped in August), he was left with cramping hands and a diminished ability to play guitar.
“I’ve since discovered that I have an auto-immune disease. I cannot play guitar,” he told his followers. “There is no pain, but it feels like I am wearing a pair of gloves when I try to play. I have seen some progress in that I can hold a pen and tie my shoes. I know this sounds ridiculous, but I was at a point where I couldn’t even do that.
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“Luckily, I have the best hospital in the world down the block from me. It’s called the Mayo Clinic. I know I will beat this, it will just take some time.”
Setzer first rose to fame at the start of the ‘80s as the guitarist and vocalist of New York rockabilly outfit Stray Cats. Following a string of successful albums and singles (including Hot 100 top ten hits “Rock This Town” and “Stray Cat Strut” from their 1981 self-titled debut), the group split in 1984 before reforming two years later.
Alongside further splits and reunions, Setzer has also been the leader of the eponymous Brian Setzer Orchestra since 1990. His most recent solo album, The Devil Always Collects, arrived in 2023, while Stray Cats returned in 2019 with 40, their first studio album in 26 years.
Setzer’s battle with an auto-immune disease isn’t the first time the acclaimed musician’s health has kept him away from the stage. In 2019, he was forced to cancel 26 dates of his Christmas Rocks! Tour due to being diagnosed with a severe case of tinnitus – a condition that causes sufferers to hear a constant noise or ringing in their ears.
“I’m truly sorry for the inconvenience this has caused all of the amazing people who make my tour happen and to my unbelievably loyal and devoted fans,” Setzer wrote at the time. “I hate to let you down and I hope you’ll understand.”
Though no touring plans have been affected by Setzer’s recent diagnosis, his positive demeanor bodes well for a swift return to the stage.
“Rata inmunda, animal rastrero, escoria de la vida, adefesio mal hecho.”
Loosely translating to “filthy rat, creeping animal, scum of life, shoddy monstrosity” in English, these are the opening lyrics to one of Paquita la del Barrio’s most popular songs, “Rata de dos Patas.”
Whether the lyrics to her songs — most penned by other composers, including Manuel Eduardo Toscano — were poetic is subjective, but they were very much the essence of Paquita. She was refreshingly honest, which made her one of the most unique artists of her generation.
It was announced on Monday (Feb. 17) that the great and oh-so-blunt Paquita la del Barrio had died at age 77, leaving behind a hefty catalog of female anthems that have soundtracked Spanish-language households in Mexico and beyond for decades.
“With deep pain and sadness, we confirm the sensitive passing of our beloved ‘Paquita la del Barrio’ at her home in Veracruz [Mexico], being a unique and irreplaceable artist, who will leave an indelible mark in the hearts of all who knew her and enjoyed her music,” reads a statement posted on her official Instagram account. “In this moment of great pain, we respectfully ask all media and the public to give us space and understanding so that her family can experience their mourning in privacy and peace.”
Paquita la del Barrio was a force to be reckoned with in regional Mexican music, a genre historically and still dominated by men. Her perspective and take on rancheras — often calling out the macho culture — was not only unique, but extremely important. No one was else was singing what Paquita la del Barrio was singing about, and for that, she will go down in history as one of the most iconic singers in Latin music.
Injecting pathos into her delivery, Paquita made women feel seen. Our point of view mattered, too, she proclaimed, singing about the peaks and valleys of womanhood and, more often than not, singing directly to the men who disrespected her. “I should shut up like a lady would,” she sings in “Taco Placero.” “But now they will know that you are a dud in bed.”
While most of Paquita la del Barrio’s songs became anthems, here are five emblematic ones (in no particular order).
“Rata de dos Patas”
Back in September of 2021, during the Billboard Latin Music Awards in Miami, Paquita la del Barrio — all 4 feet, 11 inches of her — struggled to reach the too-high microphone set up for her to accept her Lifetime Achievement Award.
It was one of those totally impromptu TV moments, and for a few seconds, the stage and the audience froze, uncertain of what to do. Then, Bad Bunny bounded up from his front row seat, climbed onto the stage, lowered the microphone and held it up for Paquita as she delivered a teary thank you.
There was a one-foot height gap between Paquita at 4′ 11″ and Bunny at 5′ 11″, and a 47-year age gap between Bunny, 27 at the time, and Paquita, 74. But standing side by side — Bunny, in an elegant cream suit, and Paquita, resplendent in a pink evening gown adorned with sequins — they were both unicorns in their respective worlds.
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By now, of course, the whole world beyond our Latin corners knows all about Bad Bunny, superstar. But they were just starting to wake up to the exploits of Paquita la del Barrio, the diminutive ranchera singer who died today (Feb. 17) at 77 years old.
Although she released more than 30 albums throughout her career, and performed thousands of shows, the life of the woman born Francisca Viveros Barradas in Veracruz, Mexico, was little-known outside the Latin realm until last year, when Netflix released a series memorializing a hard-scrabble, colorful life.
Born poor, and married young to a man 18 years her senior — who, as it turned out, had another family — and pummeled by life and hardship, Paquita rose against all odds, thanks to a powerful voice and an impervious stage presence.
That alone would have garnered fame. But Paquita became legendary because she loudly and publicly excoriated men with extraordinarily harsh songs whose titles, like “Rata de dos Patas” (Two-Legged Rat) and “Piérdeme el Respeto” (Lose My Respect), often said it all. Paquita knew what she sang. She’d given her heart to a two-timing scoundrel, after all, and in every song that voiced her anger and the deceit (“Horrible rat, crawling animal, scum of life, misshapen monster”), she voiced the anger and deceit experienced by legions of fans.
But she could also sing of love and lust: “Lose my respect,” she begged in “Piéerdeme el Respeto.” “Stop being coy and ask of me, I beg you, the most indecent proposals.” She was also sweet and emotional, often breaking down in tears during interviews.
In the realm of Latin music, where women so often have to fit into a glamorous, beautiful mold, Paquita defied convention. Her nickname was literally Paquita from the barrio, of the people. She was a portly, elegant matron who notched her biggest hits — including “Taco Placero” and “Rata de Dos patas” — when she was well in her 50s.
Many of those hits were written expressly for her by songwriter Manuel Toscano, who once told Billboard: “I write specifically for each artist. Particularly what I write for Paquita la del Barrio. Through her songs, women love me, but men hate me!”
Except, they didn’t. Paquita triumphed in the world of regional Mexican music, which continues to be a notoriously tough nut to crack for women. But Paquita didn’t care about tradition or niceties. She just let it all out, and men loved her for it. In the vastly male-dominated live concert circuit of Mexican music, she was often the headliner, and men flocked to her shows.
On the charts, however, Paquita struggled as an unconventional woman. She placed eight releases on Billboard’s Top Latin Albums charts, but none of them made the top 10. She never had a top 10 on the radio charts, either.
Paquita eventually found her love. Her second marriage lasted 30 years, until her husband’s death. And her power and influence was such that in 2021, Billboard honored her with its Lifetime Achievement Award.
That night, Bad Bunny couldn’t figure out how to lower the microphone stand for Paquita. “You’re useless,” she deadpanned, referencing the famous line in “Rata de dos patas,” in which she shouts, “Are you listening to me, useless one?”
Bunny shrugged, and valiantly held that mike. Coming from Paquita, he knew this was the ultimate compliment.
Camila Cabello is taking C,XOXO on the road on the Yours, C Tour this summer. The singer announced the upcoming trek on Monday (Feb. 17), as well as presale details.
“I have been dying to tell you this. you have been so patient, and now it’s finally happening,” Cabello wrote on Instagram, where she shared a promo clip with snippets of singles from Camila, Romance and C,XOXO to tease the tour.
The summer itinerary takes Cabello around Europe for festivals and headlining shows in June and July. Fans in Spain, France, the Netherlands, Germany, Finland, Poland, England and Ireland will get the chance to see her live.
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In September, she’ll head to São Paulo, Brazil, to perform at the Town Festival, with Katy Perry also on the lineup.
No U.S. tour dates have been announced.
To get presale information and first dibs on tickets, sign up for Cabello’s mailing list here by Feb. 18 at 6 p.m. GMT. Presale tickets will go on sale on Feb. 19 at 9 a.m. local time. General sale tickets will be available beginning Feb. 21 at 9 a.m. local time.
On Sunday, Cabello appeared at the 2025 BRIT Awards as a presenter, announcing the winner of the children’s and family film award (Wallace and Gromit: Vengeance Most Fowl). She hinted at Monday’s tour announcement in a post from the event, writing, “announcing something exciting tomorrow.”
Last month, she penned a heartfelt ode to fandom, and to her own fans, on Instagram.
“The people who I’ve chosen to be a fan of, since I was 12 to now, from musicians to authors to painters, have made me who I am,” she wrote. “Being a fan is a transformative and creative and sacred endeavor. And the artist who gives to their community also gets, in the form of love, inspiration, and trust. I’m honored to be that for you. It’s one of the sweetest relationships I’ve known. I have fans that have been more loving, loyal, and ride or die than people in my real life. Make no mistake, regardless of distance and time apart and proximity, the love in that room, the love between us is very real. I feel it too. I hold it close to my heart like a little light on a dark night. Yesterday, today, and tomorrow.”
Check out Cabello’s Yours, C Tour announcement below.
The BRIT Awards has finalized its performer lineup for the 2025 ceremony with two new additions. Sam Fender and Lola Young will both play live during the broadcast on March 1 at The O2 Arena in London. They join a stacked bill of performers including Sabrina Carpenter, Shaboozey, Teddy Swims, JADE, The Last Dinner Party […]
Lady Gaga is giving fans a sneak peek into her upcoming album. A visit to the 38-year-old pop star and actress’ official website reveals a series of floating black letters against an orange backdrop, which may be lyrics from her forthcoming album, Mayhem, set to drop on March 7. When users click and drag their […]
Doechii has something to say to anyone questioning the authenticity of her jaw-dropping performance at the 2025 Grammy Awards. On Saturday (Feb. 15), the 26-year-old rap star addressed rumors suggesting she was lip-syncing during her innovative delivery of “Denial Is a River” and “Catfish” at the Feb. 2 ceremony in Los Angeles, where she also […]
Ezra Collective have teamed up with British-Colombian singer-songwriter Sasha Keable on new single “Body Language,” marking their first release of 2025.
The track, which contains elements of cumbia music and celebrates movement and Latin American culture, arrives off the back of a stellar year for the contemporary jazz group. In October, they broke the top 10 of the Official U.K. Albums Chart for the first time with their third LP, Dance, No One’s Watching. The following month, they performed their biggest headline show to date at London’s 12,500-capacity OVO Wembley Arena.
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“‘Body Language’ is a tribute to the Latin American communities of London that deeply inspire us,” the band said in a press release. “A collaboration with a friend who has been part of the EZ family for years. The language of the body is dancing and this song is a celebration of this.”
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Keable added, “I’m so happy to be coming full circle with the boys on this collab after touring years ago together. It feels like the timing couldn’t be better as we get ready to road test ‘Body Language’ in Latin America, my motherland. This record holds a special place in my heart on so many levels.”
Ezra Collective have also gone on to receive four nominations for this year’s BRIT Awards, including a nod for album of the year. They also crop up in the group of the year, best new artist and alternative/rock act categories.
“Our BRITs nominations for 2025 are a celebration of a 12-year journey — starting out playing at pubs to our friends and family, to loads of special firsts along the way,” the band posted to social media upon announcement of the news. “We’re beyond grateful for the support and encouragement at every step of the journey.”
The five-piece first rose to mainstream prominence through winning the Mercury Prize 2023 with their album Where I’m Meant To Be, becoming the first jazz act in history to do so. They have since released three albums and collaborated with Loyle Carner, Jorja Smith, Kojey Radical and rising British pop star Olivia Dean.
The band — comprising drummer and bandleader Femi Koleoso, bassist TJ Koleoso, keyboardist Joe Armon-Jones, trumpeter Ife Ogunjobi, and saxophonist James Mollison — met at the London jazz youth programme Tomorrow’s Warriors as teenagers. They have since spoken about the importance of ensuring that musical education remains accessible for those from working-class backgrounds across the country.
“You’re investing into the community and people around you,” said Femi of the band’s mission statement when speaking to Billboard last October. “That’s what the Ezra Collective is all about, and that’s why I’m so proud to be considered a part of the U.K. jazz scene because it’s such a beautiful community.”
Listen to “Body Language” below.