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Arlo Guthrie to Come Out of Retirement for Storytelling ‘What’s Left of Me’ Tour

Touring can be a tough way to make a living these days, but for Arlo Guthrie, playing live comes with certain medical benefits that aren’t available in retirement.  

“There’s nothing like playing before a live audience,” says the prolific songwriter, activist and storyteller who suffered a series of strokes in 2019 and decided to retire in 2020 as the pandemic shuttered the live music industry. Now, after three years resting at his home in Berkshire County, Mass. with wife Marti Ladd, the couple decided that “I could recuperate better in front of a live audience, rather than just sit at home, and both agreed I should get back out there as part of my rehabilitation.”

Today, Guthrie is sharing the details of his recovery plan, embarking on a four-city storytelling theater tour titled “Arlo Guthrie – What’s Left Of Me – A Conversation With Bob Santelli,” featuring the executive director of the Grammy Museum in Los Angeles. The tour is spread out so that each show is at least one week apart, making travel an easy back and forth trip from his home in western Massachusetts.

“I didn’t really retire from the gigs. I retired from getting to them. I’m retired from seven-hour rides in a tour bus,” Guthrie tells Billboard. The first show in the series will take place at Boston’s Schubert Theater on April 1, followed by The Egg in Albany, NY on April 21; The Pollock Theater at Monmouth University in West Long Branch, New Jersey on April 28; and The Spruce Peak PAC in Stowe, Vermont on May 27. 

“What’s Left Of Me” was booked by Guthrie and Ladd’s new production company Gut3 Productions. Ladd is the director of set design for the series and has created an intimate setting with a backdrop of Arlo’s heroes and mentors hanging within a living room environment. The couple met 20 years ago in Woodstock and married in December 2021.  For “What’s Left of Me,” Guthrie will talk about his life as a touring artist, his memories of his famous father Woody Guthrie and his wildly entertaining tales from the road. Guthrie has performed at Carnegie Hall, the 1967 Newport Folk Festival and the original Woodstock festival in 1969 and has released 32 acclaimed albums over his six-decade career. “What’s Left of Me” also includes rarely seen video footage along with an audience Q&A and snippets of his past performances. 

Guthrie says the stroke has affected his ability to perform music and says the series is not a music show with some conversation sprinkled in between songs.

“It’s a conversation between two people with maybe some music included,” he notes. “I would rather have it that way. There may be some young people who have no idea who I am, but who got dragged to these events by overenthusiastic friends or parents, or even grandparents and you’ve got to reeducate people and tell them where you’ve been and who you’ve been and make it as much fun as possible.

That includes telling the story of “Alice’s Restaurant Massacre,” a 18-minute monologue that’s both a celebration of Thanksgiving and a not-so-subtle protest piece against the Vietnam War. The talking, satirical format was unusual when it was released in 1967 and still occasionally befuddles folk music fans. 

“In 1967, I was beginning to tell my stories on stage and somebody yelled out, ‘shut up and sing,” he jokes “After ‘Alice’s Restaurant’ came out, I was back in Chicago and I was singing songs and somebody yelled ‘shut up and talk.’” 

While Guthrie is still affable and gregarious six decades into his career, he’s also become an outspoken advocate and proponent for folk music and the genre’s legacy. His father Woody is one of the most significant and recognized American folk artists of the last century and Arlo has received multiple awards and accolades for his work in folk music, which he insists is more of a musical movement than a genre.  

“The great folk musicians all learned how to play music the same way — on acoustic instruments in their houses. That’s the kind of music that I was brought up with. That’s the kind of music my father played. That’s the kind of music I taught my kids to play. It’s music you can take to any country in the world and sing or play with anyone – even those you may not be able to talkto. You may not even be able to say hello, but you can sit down and play something together. That to me, is really always been at the heart of what folk music is,” Guthrie explains.  

“That to me is what folk music is,” he continues. “It’s how you learn music. It’s not the sound of it. It’s not the look of it. You don’t need a fancy hat for it. You don’t need lights or amplification. You don’t need anything besides experience and the will to learn how to play.”

For more on “What’s Left Of Me” and to purchase tickets, visit: www.gut3.me  

Royalty Accounting Is a Pain. Stem Wants to Make It Easy

Last year, Milana Rabkin Lewis, co-founder and CEO of the distribution company and payment platform Stem, was among those who read a series of frustrated tweets from the rapper Meek Mill. “I haven’t got paid from music, and I don’t know how much labels make off of me!” Mill wrote in a since-deleted thread. “How much have you spent on me as an artist? How much have you made off me as an artist?”

“Why can’t he know that?” Rabkin Lewis asks. The problem has frustrated her since she was an agent at United Talent Agency and saw “just how messy the whole process” of royalty accounting was. “We were working with major artists who realized they had no visibility into when they were going to get paid and how unrecouped they were,” she recalls.  

Part of the reason she started Stem in 2015 was to provide artists with more transparency. Now Stem is debuting Royalty Services, which aims to distill labyrinthine Excel spreadsheets into digestible dashboards and will be available to labels outside of Stem’s distribution network. (Some of the major labels also have their own version of a dashboard, though managers say they can be tough to navigate.) Users can view summaries of overall costs, earnings and recoupment status. They can drill down into more granular data — to determine which streaming platform or track is generating the most money, for example — with a click. And the process of linking bank accounts and sending money to partners is straightforward.

“It’s easy to see which song is doing the most each month on which platform, how much you’re making, when you will recoup,” Rabkin Lewis says. Stem’s chief product officer Brendan Kao calls the new dashboard “the next step in our mission to improve financial clarity for the entire music industry” for both labels and artists. 

Royalty accounting has been a source of artist frustration for about as long as there has been a music industry. “The mystique of the music business is that, though profits are huge, accounting is incomprehensible,” CBS boss Walter Yetnikoff wrote in his memoir. Another company hoping to inject more transparency into an industry known for opacity is CreateSafe, which made a Record Deal Simulator freely available online so artists can input their advance, recording and marketing costs and get a rough estimate of how many streams they need to generate to recoup their deal.

If anything, royalty accounting has only become more complicated in today’s digital environment. Artists often release more music with more partners than in the past and work with more producers. And revenue comes from multiple streaming services as well as platforms like TikTok and Twitch. “We’re also seeing this trend of the admin and the responsibility of paying people out going more downstream,” Rabkin Lewis adds. “Motown pays out Quality Control, for example, but there are so many layers of people that need to get paid after that,” from artists to producers to engineers, and “often the people downstream from the major have no software.” 

Quality Control has also started using Stem’s technology, as has Fool’s Gold. Rabkin Lewis says she hopes to have 50 clients by the middle of 2023. “Stem’s software makes royalty data easy to read to the point that I actually want to log in myself to look at trends,” Quality Control co-founder Kevin “Coach K” Lee said in a statement. “With any other solution, I would wait for my team to generate a report and then wait again while they pull the important details out of a massive spreadsheet.” 

Justin Blau, best known as the DJ-producer 3LAU, is the founder of Blume Music, another label that quickly signed on to use Royalty Services. “We used to hire an accounting firm,” Blaus says. “We’d send them everything, they’d send paperwork back, and then we’d send payments manually to each rightsholder.” This system was “inefficient,” Blau continues, to the point that it was “just obnoxious.” 

He was quick to sign up for Stem’s new product: “A lot of artists have been waiting for this.”

Nick Carter Launches Mental Health Fund in Aaron Carter’s Memory

Nick Carter took to social media on Monday (Nov. 14) to thank fans for their support following the death of Aaron Carter, and announced a way to give back in his brother’s memory.

“Very grateful for the outpour[ing] of love and support for my brother,” the Backstreet Boys singer wrote in an Instagram Story. “In his memory, a donation fund has been started to benefit @onoursleevesofficial, an important children’s mental health helping families across America.”

The post also included a direct link to the On Our Sleeves donation site with a note that reads, “Thank you for choosing to celebrate the impact of the life of Aaron Carter with a gift of hope. By honoring Aaron, you help Nick, Angel, and their family’s commitment of helping others.”

The “Aaron’s Party (Come Get It)” singer tragically passed away earlier this month at the age of 34. While no cause of death has been revealed, a spokesperson for the Los Angeles Police Department confirmed to The Hollywood Reporter that a “suspicious death” had taken place at the address of Carter’s residence.

Following his younger brother’s death, Nick shared a number of photos with Aaron from their childhood, writing, “My heart is broken. Even though my brother and I have had a complicated relationship, my love for him has never ever faded. I have always held on to the hope that he would somehow, someday want to walk a healthy path and eventually find the help that he so desperately needed. Sometimes we want to blame someone or something for a loss, but the truth is that addiction and mental illness is the real villain here.”

If you are struggling with substance abuse or your mental health, SAMHSA’s national hotline can offer help at 1-800-622-HELP (4357).

Taylor Swift’s ‘Anti-Hero’ Holds Atop Hot 100, Drake Debuts 8 Songs in Top 10

Taylor Swift‘s “Anti-Hero” adds a third week at No. 1 on the Billboard Hot 100 songs chart, boosted by seven new remixes released between Nov. 7 and Nov. 10. Two weeks ago, the song soared in at the Hot 100’s summit, as Swift made history as the first artist to hold the survey’s entire top 10 in a single frame.

Meanwhile, Drake blasts in with eight debuts in the Hot 100’s top 10, including seven with 21 Savage, as the pair’s collaborative LP Her Loss launches at No. 1 on the Billboard 200 albums chart.

With Drake having claimed nine of the Hot 100’s top 10 spots on the chart for a week in September 2021 (concurrent with the chart start of his album Certified Lover Boy), he is now the only artist to have logged at least eight songs in the top 10 twice.

Plus, Drake extends his record total to 67 career Hot 100 top 10s.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Nov. 19, 2022) will update on Billboard.com tomorrow (Nov. 15). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

In the Nov. 4-10 tracking week, “Anti-Hero,” released on Republic Records, tallied 51.3 million radio airplay audience impressions (up 37%), 31.1 million streams (down 13%) and 327,000 sold (up 1,793%), according to Luminate.

The single surges 4-1 on the Digital Song Sales chart; falls to No. 9 after two weeks atop Streaming Songs; and jumps 14-9 on Radio Songs (which, as previously reported, is now based on Mediabase-monitored airplay data).

Swift scores her record-extending 25th Digital Song Sales No. 1 with “Anti-Hero,” which also takes top Sales Gainer honors on the Hot 100, sparked by seven remixes made available for purchase during the tracking week. Joining the song’s previously available original and instrumental versions, its Bleachers remix (explicit and clean) arrived Nov. 7 (first in Swift’s webstore, followed by its wide release at 12 a.m. ET Nov. 8). Its Roosevelt remix was released Nov. 9 (in Swift’s webstore, followed by its wide release Nov. 10), while its Jayda G remix, Kungs remix (including its extended version) and an acoustic version were all released Nov. 10. All versions of the song were discounted to 69 cents between 2:30 p.m. ET and midnight Nov. 10 in Swift’s webstore, and between 4 p.m. ET and midnight Nov. 10 at all other retailers; all were available for wide release, except for the Kungs extended remix and acoustic version, between 10 p.m. ET and midnight Nov. 10.

The song’s sum of 327,000 paid downloads makes for the biggest sales week for a song in over five years, since Swift’s own “Look What You Made Me Do” bounded in with 353,000 (Sept. 16, 2017). “Anti-Hero,” which debuted with 13,000 sold and moved 17,000 in its second frame, logs the largest third-week sales total for a track since Adele’s “Hello” (480,000, Nov. 28, 2015, after it sold a weekly record 1.1 million downloads and 635,000 in its second week).

“Anti-Hero” concurrently becomes Swift’s 16th Radio Songs top 10, and first since “ME!,” featuring Brendon Urie (No. 7, May-June 2019).

Drake roars in with eight debuts in the Hot 100’s top 10, including seven with 21 Savage, with all from their new collaborative album Her Loss.

Here’s a recap of the eight tracks new in the Hot 100’s top 10 – all by Drake and 21 Savage unless otherwise noted:

  • No. 2, “Rich Flex”
  • No. 3, “Major Distribution”
  • No. 4, “On BS”
  • No. 5, “Spin Bout U”
  • No. 6, “Pussy & Millions” (feat. Travis Scott)
  • No. 7, “Privileged Rappers”
  • No. 8, “Circo Loco”
  • No. 9, “BackOutsideBoyz” (Drake)

The eight songs above line up in the same order, infusing Nos. 1-8, respectively, on Streaming Songs, led by “Rich Flex” with 58.9 million streams. The total is the second-highest for a song this year, just below the 59.7 million that Swift’s “Anti-Hero” drew in its first week (Nov. 5).

“Rich Flex” begins as Drake’s record-padding 15th Streaming Songs No. 1 and 21 Savage’s third.

“Rich Flex” was also the top-selling Her Loss track in its first week (2,600), while “Circo Loco” drew the most all-format radio audience of any song on the set in that span (5 million), followed by “Rich Flex” (3.1 million).

In one swoop, Drake ups his career count from 59 to 67 Hot 100 top 10s, extending his record total (dating to his first top 10, “Best I Ever Had,” in 2009) over the chart’s 64-year history.

Notably, of his 67 Hot 100 top 10s, Drake has notched a likewise-record 49 as a lead artist. (Swift has been credited as the lead artist on all 40 of her top 10s, while Madonna ranks third with 37 top 10s as a lead act, among her 38 total.)

Most Billboard Hot 100 Top 10s:

  • 67, Drake
  • 40, Taylor Swift
  • 38, Madonna
  • 34, The Beatles
  • 32, Rihanna
  • 30, Michael Jackson
  • 29, Elton John
  • 28, Mariah Carey
  • 28, Stevie Wonder
  • 27, Janet Jackson
  • 26, Justin Bieber
  • 25, Lil Wayne
  • 25, Elvis Presley (with the start of Presley’s career having predated the Hot 100’s inception)

Meanwhile, Drake becomes the only artist to have logged at least eight songs in the Hot 100’s top 10 twice, plus as many as seven concurrent top 10s in three distinct weeks. Prior to this week’s haul of eight top 10s courtesy of Her Loss, he posted nine alongside the chart arrival of his album Certified Lover Boy in 2021 and seven as Scorpion made its chart entrance in 2018.

Also thanks to Her Loss, 21 Savage boasts the fourth-most simultaneous Hot 100 top 10s.

Most Simultaneous Hot 100 Top 10s:

  • 10, Taylor Swift, Nov. 5, 2022
  • 9, Drake, Sept. 18, 2021
  • 8, Drake, Nov. 19, 2022
  • 7, 21 Savage, Nov. 19, 2022
  • 7, Drake, July 14, 2018
  • 5, Juice WRLD, July 25, 2020
  • 5, The Beatles, April 11, 1964
  • 5, The Beatles, April 4, 1964

In the rundown above, the Hot 100 has sported six instances of acts having amassed five or more simultaneous top 10s since July 2018, after only The Beatles had achieved the feat in two distinct weeks in 1964. As streaming has ascended in prominence in recent years, the select acts above have run up such lofty totals in weeks that high-profile albums of theirs have arrived. The model contrasts with prior decades, when acts generally promoted one single at a time in the physical-only marketplace and on radio. That shift in consumption also helps explain certain acts having swelled their career top 10 totals to historic highs over relatively short spans in recent years.

21 Savage more than doubles his career Hot 100 top 10 total, from six to 13. He logged his most recent top 10 before this week as featured on Drake’s “Jimmy Cooks,” which became his second No. 1 and Drake’s 11th, and latest, leader upon its debut in July.

Thanks to his featured turn on the chart’s sixth-biggest song, Travis Scott earns his 11th Hot 100 top 10.

Meanwhile, “Rich Flex” premieres at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same methodology as the Hot 100. Drake dominates the rankings with a record-extending 26th and 27th track, respectively. 21 Savage leads each list with a fourth title.

Elsewhere in the Hot 100’s top 10, Sam Smith and Kim Petras’ “Unholy” drops from No. 3 to No. 10, three weeks after it ascended to No. 1. The collaboration claims the chart’s top Airplay Gainer award for a second week, up 39% to 56.7 million impressions, as it flies 12-5 on Radio Songs. Smith notches their sixth Radio Songs top 10 and first since “Dancing With a Stranger,” with Normani, became their second No. 1 in 2019. Petras reaches the Radio Songs top 10 in her first trip to the tally.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Nov. 19), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Nov. 15).

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

The Ultimate 2022 World Cup Playlist: Jennifer Lopez, Pitbull, & More

It’s officially World Cup month, and Billboard has compiled the ultimate playlist for soccer aficionados around the world. 

The playlist is over two hours long and includes 45 jams to celebrate fútbol, including Ricky Martin’s “Cup of Life,” the official song of the 1998 event held in France and Shakira‘s “Waka Waka (This Time for Africa)” for the 2010 World Cup in Africa. The former peaked at No. 45 on the Billboard Hot 100 in 1998, and the latter peaked at No. 38 on the Hot 100 dated July 3, 2010. 

Also on the playlist are soccer-related bops by Carlos Vives and Camilo (“Baloncito Viejo”); Jason Derulo and Maluma (“Colors”); Will Smith, Nicky Jam and Era Istrefi (“Live It Up”); and Akon (“Oh Africa”), to name a few. As well a handful of officials songs for the 2022 World Cup released by FIFA such as “Hayya Hayya (Better Together),” featuring Trinidad Cardona, Davido, and Aisha, which fuses R&B and reggae influences, and “Arhbo,” a feel-good collaboration between Ozuna and French-Congolese rapper Gims named after the local slang word for “welcome” in Qatar and embodies the welcoming spirit of the Arabian country.

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The 2022 FIFA World Cup kicks off on Nov. 20 with host nation Qatar’s tournament opener against Ecuador. A total of 32 teams, representing different countries, will participate. In the end, one is crowned the World Cup champion on Dec. 18. 

Below, listen to the playlist. (You can find Billboard‘s updating list of 2022 World Cup songs here.)

Travis Japan’s Debut Single ‘JUST DANCE!’ Launches at No. 5 on Global Excl. U.S. Chart

Japanese boy band Travis Japan recently made J-pop history when its debut single “JUST DANCE!” bowed at No. 5 on Billboard’s Global Excl. U.S. chart.

Billboard launched two global charts in September 2020, based on worldwide audio and video streams and download sales from over 200 territories. The Excl. U.S. chart focuses on territories outside the U.S. Travis Japan’s “JUST DANCE!” dropped Oct. 28 and launched on the chart dated Nov. 12., making the seven-member Johnny’s group the first Japanese act to break into the top five with a debut single since the chart’s inception.

Here’s a list of other J-pop hits that have charted in the top 10 of the Global Excl. U.S. tally:

Artist / Title / Date of Chart / Peak Position
LiSA, “Homura,” Oct. 31, 2020, No. 2 
YOASOBI, “Yoru ni kakeru,” Jan. 30, 2021, No. 6
Ado, “New Genesis,” Aug. 27, 2022, No. 8
Kenshi Yonezu, “KICK BACK,” Oct. 29, 2022, No. 4

Travis Japan’s debut number becomes the fifth title on this list. The breakout boy band recently performed at the YouTube FanFest 2022 event in Singapore that took place Nov. 11.

Elton John Announces Dua Lipa, Kiki Dee & Brandi Carlile Will Join Him on Final North American Performance

Elton John is saying goodbye, but not without a little help from his friends. As announced Monday (Nov. 14) in a new teaser trailer, the 75-year-old legend will bring Dua Lipa, Kiki Dee and Brandi Carlile onstage with him for “Elton John: Farewell From Dodger Stadium,” his final North American performance ever.

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The three-hour concert will be live-streamed at 11 p.m. EST Nov. 20 on Disney+, meaning the 50,000 fans at Dodger Stadium will make up just a fraction of the fans who get to watch Sir Elton as he plays his decades-worth of hit songs one last time in North America. And it’s only right that Lipa and Dee are joining him during the show, as the two have served as featured artists on a couple of the icon’s biggest smashes — nearly 50 years apart.

Earlier this year, Elton teamed up with the “Levitating” singer for a mashup of his older hits “Rocket Man,” “Sacrifice” and “Kiss the Bride” remixed by Pnau, which became his first UK No. 1 in 16 years. Five decades before that, Dee was the co-vocalist on his blockbuster duet “Don’t Go Breaking My Heart,” which topped the Billboard Hot 100 for four weeks in 1976.

Carlile has also collaborated with the “Your Song” singer, releasing “Simple Things” with John last year as part of his Billboard 200 Top 10 album The Lockdown Sessions. The two are longtime friends, and Carlile even hosted hosted the 30th annual Elton John AIDS Foundation Academy Awards Viewing Party in March.

Before the farewell concert officially begins, a “Countdown to Elton Live” event will take place on the livestream. According to a release, some of the Grammy winner’s famous friends from around the globe will be featured, along with interviews with Elton John and his husband, filmmaker David Furnish.

After the concert, an hour-long iHeartRadio TV special, “Elton John’s Thank you to America: The Final Song,” will broadcast nationwide on Monday, November 21 at 1 a.m. EST. It’ll look back on legendary moments from Elton’s career and include a live simulcast of his final song and closing remarks from the Dodger Stadium show. 

Watch the new trailer for Elton John’s farewell concert featuring Dua Lipa, Kiki Dee and Brandi Carlile above.

The Weeknd Is Thinking About Pulling ‘Trilogy’ Compilation From Streaming Services, Maybe

We live in an age when nothing is ever the last word. That appears to be The Weeknd‘s thinking when it comes to his beloved Trilogy project. The collection originally dropped in Nov. 2012, a year after the then-enigmatic singer released a series of three intriguing mixtapes, House of Balloons, Thursday and Echoes of Silence.

Trilogy whipped together remastered and remixed versions of 30 songs, including lead single “Wicked Games,” which topped out at No. 53 on the Billboard Hot 100. At the time, though, a number of the samples and mixes from the original mixtapes were reworked because of an inability to clear the samples for Trilogy; in March 2021 the singer re-released the original version of House of Balloons with the original mixes and samples for the first time to commemorate its 10th anniversary.

“if y’all wanna hear the trilogy how it’s supposed to be listened to … listen to House of Balloons, Thursday and Echoes of Silence individually,” the singer tweeted. “Not all samples are on trilogy and the mix isn’t the original mix. But shout out trilogy but fyi, for the new fans, it isn’t an album.” He then dropped a bit of news, suggesting that he might “get rid” of the compilation “just so there’s no more confusion, now that ALL the samples are finally cleared since Dec. 17, 2021.”

The collection’s songs feature a number of prominent samples. including Siouxsie and the Banshees’ “Happy House” on “House of Balloons/Glass Table Girls,” as well as Beach House’s “Master of None” on “The Party & the After Party” and the Cocteau Twins’ “Cherry Coloured Funk” on “The Knowing.” But in a sign that the idea of wiping Trilogy from streaming services might have ben a fleeting thought, a short time later Abel seemed to immediately reconsider his historical revisionism.

“But I also know there are fans of the compilation so I might not get rid of it,” he tweeted. “But just want to be clear for all the new fans and the weirdly older fans.”

House of Balloons was released as a free download from The Weeknd’s official website on March 21, 2011, before it was combined with his other 2011 mixtapes Thursday and Echoes of Silence for Trilogy, which peaked at No. 4 on the Billboard 200 and hit No. 1 on Billboard‘s Top R&B/Hip-Hop Albums chart in 2012.

See Weeknd’s tweets below.

Nashville’s Exit/In Nears End of Indie Status as Longtime Operator Chris Cobb Announces Departure

Later this month, Chris Cobb, longtime independent operator of revered Nashville music venue Exit/In for nearly two decades, will conclude his work at the 51-year-old music venue due to the lease ending at the conclusion of 2022, as Nashville-based development firm AJ Capital Partners (which purchased the Exit/In property in 2021) are set to begin overseeing operation of Exit/In.

“It looks like 51 years of local, independent ownership and operation have come to an end,” said a statement from Chris and Telisha Cobb. “We are humbled to host this last run of concerts with friends from many eras gracing our stage again. There have been too many incredible moments to count over the 18 years we’ve stewarded Exit/In. It’s an incredibly special place that we are so fortunate to have been a part of.” 

The final 2022 concert at Exit/In is slated for Nov. 23, with the second of a pair of shows from Diarrhea Planet.

A statement from AJ Capital Partners, which recently moved its headquarters from Chicago to Nashville, provided to Billboard says, “The Exit/In will remain open, as it has under the stewardship of dozens of operators over the past 51 years, as its irreplaceable self: an iconic Nashville venue and gathering place for music lovers from all over. We spent the last year securing historic protections for this special and sacred space, which we’re committed to preserving while providing some long overdue physical improvements. We look forward to the next half-century of moments and memories, and to announcing 2023 show dates very soon.”

In 2021, AJ Capital filed a request to designate the Exit/In as a historical landmark, and historic overlays were approved for a section of the property this year.

Last year, the Cobbs launched a GoFundMe campaign with the aim of purchasing Exit/In, shortly after the venue went under contract. The fundraiser received over 4,000 donations and accumulated over $270,000 from supporters. In his statement, Cobb said that the money will be donated to National Independent Venue Association (NIVA) and to Music Venue Alliance (MVAN).

Exit/In, which celebrated its 50th anniversary last year, opened in 1971 and is located at 2208 Elliston Place, as the anchor of “The Rock Block,” which over the years has been home to businesses including The End, Elliston Place Soda Shop and The Gold Rush. Exit/In quickly became known for the diverse slate of artists who have performed there — with many of their names scrawled on its Wall of Fame at the front of the building. Those artists have included Billy Joel, Etta James, Johnny Cash, Muddy Waters, Paramore, the Red Hot Chili Peppers, Chuck Berry, The Allman Brothers Band, Jason and the Scorchers, Cage the Elephant and R.E.M., among many others.

Jimmy Buffett was the first performer at the venue when it opened in 1971.

The Rock Block was commemorated with a historical marker in 2020.

Billy Corgan Has Laryngitis, Smashing Pumpkins Cancel Portland Show

The Smashing Pumpkins have had to cancel one of its recent shows. In a statement posted to the band’s official Instagram on Sunday (Nov. 13), the rock band revealed that its Portland concert — scheduled to take place at Moda Center that day — was canceled after lead singer Billy Corgan came down with laryngitis.

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“It is with great disappointment that tonight’s show in Portland, OR has been cancelled due to laryngitis. William, Jimmy, James and Jeff are deeply saddened but this decision was not made easily and was far beyond their control,” the statement read. “They look forward to returning to you all next summer. Refunds will be available at your point of purchase.”

A rescheduled date has not yet been announced.

Following the announcement, Corgan gave fans an update about his condition via his personal Instagram account. “At the voice doctor. Lots of love,” he captioned a pictured of himself giving an optimistic thumbs-up, with Portland as his geotag.

The Smashing Pumpkins are on its joint Spirits on Fire tour with Jane’s Addiction. The 32-date trek kicked off on Oct. 2 at American Airlines Center in Dallas, and made stops in Houston, Austin, Tampa, Nashville, Atlanta, Boston, New York, Philadelphia, Pittsburgh, Toronto, St. Louis, Detroit, Chicago, Denver and Vancouver before its Portland stop.

The bands have four more dates left in the tour starting on Nov. 15, before concluding at the Hollywood Bowl in Los Angeles on Nov. 19.

See the Pumpkins’ and Corgan’s instagram posts below.