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Jane says … the tour is over. Jane’s Addiction has canceled its tour midway through the band’s trek after frontman Perry Farrell threw a punch at guitarist Dave Navarro during the band’s show on Friday (Sept. 13) in Boston at the Leader Bank Pavilion.
“The band have made the difficult decision to take some time away as a group. As such, they will be cancelling the remainder of the tour,” the band said in a brief statement Monday (Sept. 16). Refunds will be issued at the point of purchase.
In fan-captured videos that went viral after the Friday show, Farrell is seen on stage singing toward the audience before turning to Navarro and screaming the lyrics, seemingly angrily. The frontman then makes his way over to the guitarist, continuing his scream, before body-checking the guitarist, backing away, then getting back in Navarro’s face to continue yelling while the guitarist-actor — who appears confused — calmly holds Farrell at arm’s length while the frontman continues to yell. Farrell then throws a punch at his guitarist, and a crew member comes on stage, telling Farrell repeatedly to “Stop! Stop!” More crew members rush to the stage to restrain the rocker and take him off stage.
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The next day, Jane’s Addiction issued a statement via the band’s Instagram Stories. “We want to extend a heartfelt apology to our fans for the events that unfolded last night,” the statement read. The band then noted that the following show on Sunday (Sept. 15) at the Hartford Healthcare Amphitheater was canceled.
Farrell’s wife, Etty Lau Farrell, shared a statement on her own Instagram after the altercation. Reposting video of the altercation, she explained how she saw the situation. “Clearly there had been a lot of tension and animosity between the members.. the magic that made the band so dynamic,” she wrote. ” Well, the dynamite was lit. Perry got up in Dave’s face and body checked him.”
“Perry’s frustration had been mounting, night after night, he felt that the stage volume had been extremely loud and his voice was being drowned out by the band,” she continued, noting that her husband had been battling a sore throat and tinnitus. “But when the audience in the first row, started complaining up to Perry cussing at him that the band was planning too loud and that they couldn’t hear him, Perry lost it.”
She went on to praise Navarro for trying to de-escalate the situation, noting that the guitarist “still looked handsome and cool in the middle of a fight,” while her husband was “a crazed beast” for a little bit. Added Etty, “He finally did not calm down, but did breakdown and cried and cried.”
Jane’s Addiction — who logged one song on the Billboard Hot 100 and three No. 1 hits on the Alternative Airplay chart since forming in the mid-’80s — was about halfway through its tour alongside Love and Rockets. The tour — produced by Live Nation — had been scheduled to conclude on Oct. 16 at the YouTube Theater in Los Angeles.
See Jane’s Addiction’s statement below.
This week, Billy Strings and Margo Price link up for a stoned-cold country sound, while Koe Wetzel offers a party-worthy romantic rebuff and Mae Estes sings a gut-punch of a song about the guys who give “good ‘ol boys” a bad name. This week’s crop of new tunes also features songs from Anne Wilson, Parker McCollum and more.
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Check out all of these and more in Billboard‘s roundup of the best country songs of the week below.
Billy Strings/Margo Price, “Too Stoned to Cry”
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Americana mainstay Price welcomes prolific bluegrass artist Strings on guitar and vocals on this lilting heap of honky-tonk heartbreak, produced by Beau Bedford and written by Andrew Combs (and previously released on his 2014 album Worried Man). They sing of coping with touring life’s pressures and long hours through various vices — or as they put it, “Walking the line between hellbent and high.” The two singers’ world-weary voices bring a heft of believability to this sad country track.
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Anne Wilson, “Stand”
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Earlier this year, Wilson made a genre-melding project with the country/contemporary Christian album Rebel, spearheaded by songs such as “Rain in the Rearview” and “Strong.” She continues in that vein with her latest, as she sings of summoning strength to “stand for love when all you see is hate.” Bright production and a balanced country-pop instinct are a shining foil for her powerful, twangy vocal and a message of holding fast to one’s convictions.
Mae Estes, “Good Ol’ Boys”
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Estes lends her bluegrass-tinted lilt to this tale of small-town deception. She boldly sings of a “good ol’ boy” who seems unfailingly polite and picture perfect to the rest of the community. Thus, Estes sings, the members of that tight-knit town likely would never believe how his personality changes in private quarters. But to those his monstrous side has impacted, the concept of a “good ol’ boy” instills more wariness than trust. The writers here are Autumn McEntire, Marti Dodson and SJ McDonald.
Parker McCollum, “What Kinda Man”
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Grungy guitar gives way to a ferocious mashup of harmonica, blazing rock and honky tonk twang on McCollum’s latest. “It’s harder than it looks to walk that line,” he sings, reminiscing about living life on the edge, until he meets the one who has him rethinking his ways. As always, McCollum offers up an exemplary, gritty and undoubtedly country vocal styling.
Angie K, “Stay”
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El Salvador-born Angie K, known for songs including “Happily Ever After,” employs a grainy, soulful rasp that’s enticing on this romantic, bilingual track. Lush background vocals and velvety instrumentation, accented with flashes of Latin guitar, heighten the sultry flavor here. Angie K, David Borys, Tom Pino and Jason Haag are the writers behind the song. “Stay” is featured on Angie K’s self-titled EP, which will be released Oct. 25.
Koe Wetzel, “Casamigos”
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Following the release of his ninth studio album 9 Lives in July, Wetzel finally releases this fan favorite. This laid-back rocker with an ample sing-along-chorus is an anthem of defiance. “Mary Jane took my license/ And Casamigos took my friend,” he sings, before making it clear that while a cascade of less-than-stellar decisions may have cost a few things dear to him, there is one romantic relationship in particular he’s just fine with losing. Wetzel brings a jam-band vibe and a display of bravura to this stinging romantic rebuff.
In 2019, when Brooks & Dunn collaborated with such hot new artists as Luke Combs, Ashley McBryde and Brothers Osborne for Reboot, a collection of duets covering some of the superstar duo’s most beloved songs, they could have never imagined that within five years there would be a whole new crop of burgeoning stars to revisit the concept.
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Reboot proved to be such a tremendous success — providing the Country Hall of Fame pair with their first No. 1 on Billboard’s Top Country Albums chart in a decade — that it seemed natural to, well, reboot Reboot, but with a few twists.
Reboot II, out Nov. 15 on Sony Music Nashville, features a legion of new country artists, many of whom were just experiencing their first flushes of success or weren’t even signed yet five years ago, including Megan Moroney, Hailey Whitters, Lainey Wilson, Ernest and Warren Zeiders, but the new set also broadens the concept to include rockers Halestorm and bluesmen Marcus King and Christone “Kingfish” Ingram. Among the other artists on the album are Morgan Wallen, Jelly Roll, HARDY and Corey Kent.
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“What was even more impressive was to sit down with this bunch and turn them loose to do the songs in whatever way fit their artistic vision,” Ronnie Dunn tells Billboard. “The fun part was we weren’t chasing the original recordings or arrangements or our versions. We turned them loose to do whatever they wanted to do and, I’m biased, but it was really refreshing.”
Brooks & Dunn ‘REBOOT II’
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Hearing some of their songs, while still recognizable, turned on their heads and recreated with new arrangements, tempos or even as different genres, “made me realize how good we are,” Dunn says with a laugh, before seriously adding, “I think how lucky we are to have these songs that you can push the chameleon button on, and they change colors and keep on ticking.”
Unlike the first edition, where Kacey Musgraves and a few other artists upended their takes but for the most part the remakes stayed true to the originals, half the fun of listening to Reboot II are the unexpected roads some of the songs down — such as Moroney and Dunn’s slowed down, sultry duet on “Ain’t Nothing ‘Bout You,” The Earls of Leicester’s spirited bluegrass take on “How Long Gone” and Marcus King’s high-octane version of “Rock My World (Little Country Girl),” which screeches out of the gate.
It turns out Brooks & Dunn, one of country’s most successful duos with 20 No. 1s on the Country Airplay chart — would have happily embraced more reinventions on the first go-round. “I think artistically, Kix and I kind of wanted to let the horse run like we did on this on the first one — but the mandate was, ‘Hey this is an experiment. We haven’t done it before, so let’s try to keep the truck between the lines.’ And we were very pleased with it. But this is a whole different animal.” Then with what can only be described as a mischievous laugh, he adds, “I mean, this is gonna offend some people!”
Surprise more than offend more likely, given how Halestorm turns Brooks & Dunn’s classic “Boot Scootin’ Boogie” up to 11 with screaming guitars and Dunn going head to head with lead singer Lizzy Hale.
“[Halestorm] did not disappoint,” says Kix Brooks, adding that more than 30 years into their partnership, it’s good for Brooks & Dunn to shake things up a bit. “At this point in our career, we can’t really be nervous about that, especially on a record like this, and especially inviting some of the artists we did, like Christone “Kingfish” Ingram and Halestorm. Halestorm is a really badass, really tight rock band and whatever song they come in with heads are going to bang.”
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Furthermore, Brooks says some of the artists upped Brooks & Dunn’s game in a way that delighted them. “It was fun to see Ronnie go toe-to-toe with Lizzy,” he says. “I was like, ‘Good luck pal’ — but he did. I feel like a lot of the stuff really challenged us in a way that maybe we weren’t before. Kingfish came in on ‘Hard Workin’ Man’ with this funky blues thing, because that’s what he does with his band… then it’s like, ‘Holy crap. How are we going to plug into this?’ That was a whole new level of fun.”
Like the first Reboot, Brooks & Dunn were in the studio with the acts — no artists added their parts separately as happens in many such collaborative albums.
“I felt like it would be rude not to be [there],” Dunn says. The duo largely left it to their guests to come up with new interpretations, but were there to assist if the artist got “bogged down, and it would become a team sport to figure things out.”
While Dann Huff produced Reboot, this time he still did the majority of Reboot II’s tracks — but artists were also encouraged to use producers and musicians they routinely work with, which added Joey Moi, Kristian Bush and Jerry Douglas to the mix (along with some unintentional levity). “Kristian, who was producing Megan, has a very cosmic approach to producing,” Brooks says. “He was doing this thing with his hands like, ‘We just need to interweave this and that into that,’ and I was like, ‘You got that, don’t you, Ronnie?’”
“We almost threw him out the window,” Dunn says with a laugh — adding that making Reboot II “was the most fun we’ve ever had,” in part because there was no pressure.
The album contains 18 tracks, including six songs that were on Reboot, remade with different artists for Reboot II. “You think, ‘How can I do it differently? How can it not be repetitive? And everybody found a new way to give it a twist,’” Dunn says. Brooks cites Luke Combs’ straight-ahead read on “Brand New Man” for Reboot, whereas Warren Zeiders slows the tune way down on Reboot II and give it a “Nirvana kind of groove.”
When asked if there could be a Reboot III five years from now, Dunn says, “We would probably have to write a lot more new songs,” before adding, “we’re both writing all the time.”
The new versions also seem to lead new fans to discover the duo. “Asking our crowds this summer on tour, ‘How many of you are at your first Brooks & Dunn show?’” and probably 70% of that crowd now has their hands in the air,” Brooks says. “They’re just finding these songs. We kind of have this rebirth on stage that’s kind of hard to describe.”
Though Brooks & Dunn took a touring hiatus from 2010 to 2015, they now have no desire to see the end of the road. Their first leg of their 2025 Neon Moon tour, produced by Live Nation, will start March 13 in Lubbock, Texas and run through April 26 in Louisville.
“We’ve finally gotten to a place where we can kind of not worry about anything, just get out there and enjoy it,” Brooks says.
“We’re still drawing the same size crowds we did in our heyday, so let it rock,” Dunn says, adding with a laugh, “And we’re still pretty.”
Brooks & Dunn – Reboot 2 TRACK LIST
“Play Something Country” – Lainey Wilson
“Neon Moon” – Morgan Wallen
“Rock My World (Little Country Girl)” – Marcus King
“Ain’t Nothing ‘Bout You” – Megan Moroney
“Brand New Man” – Warren Zeiders
“Believe” – Jelly Roll
“She Used to Be Mine” – Riley Green
“She Likes to Get Out of Town” – The Cadillac Three
“Boot Scootin’ Boogie” – Halestorm
“Ain’t No Way To Go” – Mitchell Tenpenny
“How Long Gone” – The Earls of Leicester
“I’ll Never Forgive My Heart” – Jake Worthington
“She’s Not the Cheatin’ Kind” – Hailey Whitters
“Hard Workin’ Man” – Christone “Kingfish” Ingram
“Hillbilly Deluxe” – Hardy
“Indian Summer” – Ernest
“Drop in the Bucket” – Thousand Horses
“Only In America” – Corey Kent
The story of Buena Vista Social Club, the musical ensemble primarily comprised of Cuban musicians (many of them elderly), whose acclaimed debut album from 1997 became a global sensation, will arrive on Broadway early next year, producers Orin Wolf, John Styles and Barbara Broccoli announced on Monday (Sep. 16).
The musical BUENA VISTA SOCIAL CLUB, which had its world premiere off-Broadway in December 2023, will begin preview performances at the Gerald Schoenfeld Theater (36 West 45th St) in New York on Friday, Feb. 21, 2025, before opening officially on Wednesday, March 19, 2025.
With a book by Marco Ramirez inspired by true events, the Saheem Ali-directed show will feature a band of international musicians to narrate the legendary story of the artists who brought the original album to life. BUENA VISTA SOCIAL CLUB will features music from Cuba’s golden age, with choreography by Patricia Delgado and Justin Peck and a music team led by David Yazbek and musical supervisor Dean Sharenow.
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The Broadway company features Natalie Venetia Belcon as Omara Portuondo, Julio Monge as Compay Segundo, Mel Semé as Ibrahim Ferrer and Jainardo Batista Sterling as Rubén González — with Isa Antonetti, Da’von Moody, Wesley Wray and Leonardo Reyna as their younger versions, respectively. Renesito Avich will play Eliades Ochoa, and Ashley De La Rosa a young Haydee. Also performing are Angelica Beliard, Carlos Falú, Hector Juan Maisonet, Ilda Mason, Marielys Molina, and Sophia Ramos, among others.
The musical band will consist of Marco Paguia (piano, musical direction, composition, and arrangements), David Oquendo (guitar, additional arrangements), Gustavo Schartz (bass), Hery Paz (wind instruments), Eddie Venegas (trombone), Jesús Ricardo (trumpet), Javier Díaz (percussion, additional arrangements), Mauricio Herrera (percussion) and Román Díaz (percussion).
Buena Vista Social Club was formed in Cuba 1996, in a project organized by World Circuit executive Nick Gold, produced by American guitarist Ry Cooder and directed by Juan de Marcos González, who named the group after a popular music venue in Havana in the 1940s. To showcase popular styles of the time, such as son, bolero, and danzón, they recruited a dozen veteran musicians, some of whom had been retired for years.
The group’s eponymous debut album was released in September 1997 and quickly became an international sensation. On the Billboard charts, it reached No. 1 on Tropical Albums, where it stayed at the top for 24 weeks and spent a total of 266 weeks on the chart. It also reached No. 1 on Top Latin Albums and World Albums, and spent 19 weeks on the Billboard 200. In 1988, it won the Grammy for Best Tropical Latin Album, and the Billboard Latin Music Award for Tropical/Salsa Album of the Year by a Group.
“It’s been my honor to help develop Buena Vista Social Club into a new musical alongside Marco Ramirez, Saheem Ali, Patricia Delgado, Justin Peck and David Yazbek — all artists at the very top of their game,” producer Orin Wolf says in a press release. “From our trips to Cuba getting to meet the incredible artists who created the album to our Off-Broadway premiere, the artistic process has been as invigorating as the energy and music that will begin pouring out of the Schoenfeld Theatre next year.”
“I first heard the Buena Vista Social Club as a precocious youngster growing up in Nairobi, wearing out the original album from my father’s eclectic CD collection,” adds director Saheem Ali. “Though we spoke Swahili and not Spanish, I memorized the lyrics in my broken accent. I felt connected to the beautiful songs embodying the spirit of a distant culture. Decades later, I’m thrilled to be joining Orin, Marco and the entire creative team on the journey to bringing this extraordinary, singular musical to Broadway.”
Book writer Marco Ramirez says: “In 1968, my grandfather left Cuba and got a job washing dishes a block from the Schoenfeld Theatre. Almost 60 years later, we’ll be blasting his favorite songs there. Alongside some of the best artists — and people — I’ve ever met, I’m humbled by the chance to forge connections between two of the most musically iconic islands the world has ever known- Cuba and Manhattan.”
BUENA VISTA SOCIAL CLUB is produced on Broadway by Orin Wolf, John Styles, Barbara Broccoli, Atlantic Theater Company, Luis Miranda, LaChanze and John Leguizamo, with executive producer Allan Williams. The off-Broadway production was nominated for Best Musical by the Drama League and Outer Critics Circle organizations.
For tickets and more details, click here.
The 2024 BET Hip Hop Awards is headed to Sin City. The show will be held in Las Vegas for the first time on Oct. 8 and will premiere Tuesday, Oct. 15, at 8 p.m. ET/PT on BET. BET is expected to announce the venue next week.
“BET is excited to bring BET Hip Hop Awards to a city known for its electrifying atmosphere and rich history of awe-inspiring entertainment,” Scott Mills, president & CEO of BET, said in a statement. “From the groundbreaking performances of legends like Sammy Davis Jr. and Lena Horne, who shattered racial barriers, to today’s leading and emerging artists, Las Vegas’ vibrant energy reflects the innovation, soul, and storytelling that Black culture continuously contributes.”
The BET Hip Hop Awards, which originated in 2006, has been held in Atlanta in all but three years. It shifted to Miami in 2017-18 and was held in multiple locations in 2020, at the height of the pandemic. Fat Joe hosted the show the last two years. This year’s host has not yet been named.
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Connie Orlando, EVP of specials, music programming & music strategy at BET, will oversee production of the annual event and serve as executive producer with Jamal Noisette, BET’s SVP of specials & music programming. Jesse Collins, CEO of Jesse Collins Entertainment, will act as executive producer, with Jeannae Rouzan-Clay and Dionne Harmon from Jesse Collins Entertainment also serving as executive producers.
Collins and Harmon won Primetime Emmys two years ago for their work on The Pepsi Super Bowl LVI Halftime Show Starring Dr. Dre, Snoop Dogg, Mary J. Blige, Eminem, Kendrick Lamar, 50 Cent, which was voted outstanding variety special (live).
Las Vegas has become a popular home for awards shows. The Billboard Music Awards were based there most years from 1996 to 2022. The Academy of Country Music Awards were held there in all but three years from 2003 to 2022. The Grammys were held there in 2022, the only time the show has been broadcast from a city in which it doesn’t have a chapter.
Rimas Publishing, known for its influence in urban music and its management of stars like Bad Bunny, Arcángel and Eladio Carrión, is launching Faith Sounds, a platform dedicated to supporting and elevating Christian music artists, Billboard Español can announce today (Sep. 16) exclusively. The project seeks to offer a formal structure and advanced resources to Christian artists, providing collaboration opportunities, songwriting camps and a support network to boost their careers.
Faith Sounds is not a recent idea, but rather the evolution of a commitment that Rimas Publishing has maintained since its beginnings: supporting music with a positive message, Emilio Morales, managing director of Rimas Publishing, and Christopher Hernández, who will lead the marketing division, tell Billboard Español. “This was born from a need to be able to give even more visibility to these significant artists within our roster,” says Hernández. “The goal is to elevate them, create new collaborations and take them to different areas that perhaps they could not have reached on their own.”
The platform currently has a roster of 12 artists, covering a wide range of genres within Christian music. Among the most notable names are Lizzy Parra, a Christian trap singer from the Dominican Republic; as well as producer Barajas; Christian reggaeton artist Gabriel EMC; and gospel crooner Shamaai, all three hailing from Puerto Rico.
Additionally, they have established key alliances with companies such as Adarga Entertainment, and the Gospel Music Association (GMA), which has allowed them to access new opportunities in the niche and give greater visibility to their artists at important events such as the Dove Awards. According to Morales, the support of influential Christian companies has allowed Faith Sounds to gain credibility and establish itself in the sector.
Faith Sounds also seeks to foster collaboration between Christian and secular music artists. Camps have already been held in conjunction with Capitol Christian Music Group, with talents from both sides participating. “We invest in ensuring that our A&Rs, who are exposed to the biggest artists and producers in the world — the same person who may be serving Cris MJ, Lyanno, or Eladio [Carrión] one day — are the same persons who will be providing service to the client who is participating in the camp,” Morales adds.
With Faith Sounds, Rimas Publishing seeks to continue breaking patterns and offer Christian artists a broader and more diverse audience by breaking down barriers between Christian and secular music.
Shakira hopped up on stage at the LIV Miami nightclub over the weekend to celebrate her new single, “Soltera.” But according to fan video of the impromptu moment, after swiveling her hips in classic style for a few minutes, the singer stopped dancing when she appeared to notice someone in the crowd attempting to film […]
The Weeknd is turning down the heat. Just days after releasing his new electro pop single, “Dancing in the Flames,” the singer (who now goes by his birth name, Abel Tesfaye), switched things up and stripped things down on an unplugged version of the song. The acoustic take on the first single from Tesfaye’s upcoming […]
The entertainment world is mourning the loss of Tito Jackson, a founding member of the iconic Jackson 5.
Entertainment Tonight reported on Sunday (Sept. 15) that Tito, 70, died following a suspected heart attack while driving from New Mexico to Oklahoma, according to Steve Manning, a longtime Jackson family friend and former manager.
People later reported that Tito’s son Siggy Jackson confirmed the news of his passing, though there is currently no official cause of death.
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Tito was an integral part of the Jackson family’s musical dynasty. He, along with his brothers Michael, Jermaine, Marlon, and Jackie, formed The Jackson 5 in the 1960s. Their debut single, “I Want You Back,” became an instant sensation, reaching No. 1 on the Billboard Hot 100, as did their subsequent hits “ABC” and “I’ll Be There.”
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They were later inducted into the Rock & Roll Hall of Fame in 1997.
Beyond his work with The Jackson 5, Tito pursued a solo career, releasing his debut album Tito Time in 2016. His single “Get It Baby” reached No. 19 on the Billboard Adult R&B Airplay chart.
Amid the news, Tito’s sons TJ, Taj, and Taryll have taken to Instagram to share their grief and confirm the devastating news with a heartfelt message:
“It’s with heavy hearts that we announce that our beloved father, Rock & Roll Hall of Famer Tito Jackson is no longer with us. We are shocked, saddened, and heartbroken. Our father was an incredible man who cared about everyone and their well-being.
“Some of you may know him as Tito Jackson from the legendary Jackson 5, some may know him as ‘Coach Tito’ or some know him as ‘Poppa T.’ Nevertheless, he will be missed tremendously. It will forever be ‘Tito Time’ for us. Please remember to do what our father always preached and that is ‘Love One Another.’ We love you Pops.”
They concluded with, “Your boys, Taj, Taryll, and TJ.”
Jonathan ‘Sugarfoot’ Moffett, a former drummer for the Jackson 5, also expressed his profound sadness on Facebook:
“There is great, great sadness in my heart, spirit, and soul tonight… I’m stunned and devastated to receive and hear this disheartening news. I love Tito like my brothers of blood relation… My thoughts are with my nephews in heart and spirit, 3T, and all his grandchildren. I love you all VERY much. You are my second family.”
Moffett continued, sharing his love and support for the Jackson family, including Tito’s mother Katherine Jackson: “Dear mother, I love you dearly. I love you, Tito Jackson, my brother… forever, still.”
The Jackson family is no stranger to tragedy, having previously lost Tito’s younger brother Michael Jackson in 2009, and their father, Joe Jackson, who passed in 2018 at age 89.
Just days before his death, Tito posted a message on social media from Munich, Germany, where he visited a memorial to Michael with his brothers. He wrote: “Before our show in Munich, my brothers Jackie, Marlon, and I, visited the beautiful memorial dedicated to our beloved brother, Michael Jackson.
“We’re deeply grateful for this special place that honours not only his memory but also our shared legacy. Thank you for keeping his spirit alive.”
As the world continues to process this loss, more tributes from fans and peers in the music industry are expected to come in, celebrating Tito’s life and legacy as both a musical icon and beloved family man.
Billboard has reached out to Tito Jackson’s representatives for comment.
This story is developing.
Tito Jackson, one of the founding members of the legendary Jackson 5, passed away at the age of 70 on Sunday, Sept. 15.
According to initial reports from Entertainment Tonight, Steve Manning, a longtime Jackson family friend, revealed that Tito is believed to have suffered a heart attack while driving from New Mexico to Oklahoma. People magazine later confirmed the news with Tito’s nephew, Siggy Jackson.
At the time of writing, the official cause of death has not been determined.
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BREAKING: Tito Jackson has died at the age of 70.Steve Manning, a longtime Jackson family friend and former Jackson family manager, tells ET that Tito passed away today. While an official cause of death has not yet been determined, Manning believes that Tito suffered a heart… pic.twitter.com/coZCZm3T9i— Entertainment Tonight (@etnow) September 16, 2024
Born Toriano Adaryll Jackson on October 15, 1953, in Gary, Indiana, Tito was an integral part of the Jackson family’s musical dynasty. He, along with his brothers Michael, Jermaine, Marlon, and Jackie, formed The Jackson 5 in the 1960s.
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Tito’s rhythm guitar work and the harmonies of his brothers helped the group achieve meteoric success, culminating in their signing to Motown Records in 1968. Their debut single, “I Want You Back,” became an instant sensation, reaching No. 1 on the Billboard Hot 100, as did their subsequent hits “ABC” and “I’ll Be There.”
While his younger brother Michael often dominated the spotlight, Tito’s steady presence as a musician and performer was crucial to the band’s success. The Jackson 5’s debut album, Diana Ross Presents The Jackson 5 (1969), marked the beginning of their chart-topping career, with numerous tracks from that era becoming cultural staples.
In the 1970s, the group rebranded as The Jacksons after leaving Motown. Tito continued to perform and tour with his brothers through the 1980s, contributing to albums like Destiny and Triumph, both of which saw significant success on the Billboard 200 and R&B charts.
Beyond his work with The Jackson 5, Tito pursued a solo career, releasing his debut album Tito Time in 2016. His single “Get It Baby” reached No. 19 on the Billboard Adult R&B Songs chart.
Tito’s passing follows the deaths of his younger brother Michael Jackson in 2009 and their father Joe Jackson, the family patriarch and early manager of The Jackson 5, who passed away in 2018 at the age of 89. Michael’s sudden death in 2009 from acute propofol intoxication shocked the world, and his legacy as the King of Pop remains an indelible part of music history.
Tito is survived by his three sons, Taj, Taryll, and TJ, who formed their own musical group, 3T, and by his numerous grandchildren. His ex-wife Delores “Dee Dee” Martes passed away in 1994.
Billboard has reached out to Tito Jackson’s representatives for comment.