Rock
Over two distinct sonic eras, The Doobie Brothers — led by singer-guitarist Tom Johnston and singer-pianist Michael McDonald — have sustained a genre-agnostic, commercially viable career since the early 1970s. That includes nine top 10 albums on the Billboard 200 and 10 top 20 entries on the Billboard Hot 100, as well as hits spanning the rock, adult contemporary, R&B and country charts.
But what truly defines the band is that “it’s a democracy,” according to Karim Karmi, its comanager of a decade alongside Irving Azoff.
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Now, 50 years in, the Doobies are proving just that with Walk This Road, their first album to feature significant contributions from all three principal songwriters (Johnston, McDonald and Pat Simmons). Produced by pop-rock stalwart John Shanks, the project is McDonald’s first appearance on a Doobies album in 20 years and will arrive a week before he, Johnston and Simmons are inducted into the Songwriters Hall of Fame (alongside George Clinton, Rodney “Darkchild” Jerkins, Ashley Gorley, Mike Love and Tony Macaulay) on June 12. After which, McDonald teases, the Doobies “might even do another” album.
How did working with John Shanks affect your songwriting process for Walk This Road?
Michael McDonald: We found ourselves revisiting old ideas that might have never gotten recorded — in my case, songs that I might have demoed, gosh, 10 years ago, that I would every once in a while run across in my phone. And then some of the stuff was more immediate, where we just sat down with John and came up with a song in a moment.
Tom Johnston: John’s a hell of a guitar player, and he has good ideas on sound. He’s got a place up in the Hollywood Hills overlooking part of the San Fernando Valley and he’s got a lot of toys, so you can try pretty much anything you want to try and that’s liberating.
McDonald: It’s every musician’s fantasy man cave — literally every kind of keyboard, keyboards I never even knew existed.
A sense of social conscience is central to the band’s music, especially on this album’s title track with Mavis Staples. Do you feel a responsibility to address current times in your writing?
Johnston: The civic duty bit that you express when writing, that’s something that you just feel — it’s an organic thing.
McDonald: With “Walk This Road,” I think John had the original idea for the title — of us getting back together, here we are still trudging the same road all these years later. But it immediately took on a bigger meaning, and I think bringing Mavis onto the track cemented that idea because she is an ambassador of the gospel of humanity. The sound of her voice and her intent made it clear what we might be talking about in the bigger sense, which is, we’re all here together. As a band, we hope to appeal to the collective better nature of people.
You have a long track record on the Billboard charts. What does it take to write a hit?
Johnston: When you’re writing a song, you’re not thinking about that; you’re just trying to put into it what you feel at that moment. The only time I ever even thought [about] that was on “Listen to the Music.” You just want to do the best you can.
McDonald: We came up in the middle of the ’60s and the ’70s, when recording artists were starting to exercise a lot more latitude in terms of style and genre, and the Doobies were always a very eclectic band; we were free to do what we wanted or whatever we thought we could be sincere at portraying musically. I always felt fortunate that we came up in a time when there were a lot less limitations set on artists to stay in their lane.
HBO’s Yacht Rock: A Dockumentary highlights that aspect of you and your contemporaries — as well as your habit of turning up in unexpected places, Mike, both in the Doobies and as a solo artist. What’s the most unexpected place or collaborator you’ve found yourself around recently?
McDonald: I wrote a couple songs recently with a kid named Charlie Puth, who’s a really talented musician. And I find that I’m being taken more places than I would ever have gone on my own. I’ve been trying to co-write with people, which I always do with a little bit of mixed feelings. I never really know if what I’m writing is good or not. You start to compare yourself to everything else, and it gets a little scary sometimes. But I do like co-writing because it gets me out of the house and it makes me do something rather than watch another episode of HGTV. (Laughs.)
This story appears in the June 7, 2025, issue of Billboard.
The Oasis drum seat has been filled by a number of time keepers, from original drummer Tony McCaroll, to longtime member Alan “Whitey” White, Steve White, Zak Starkey and Chris Sharrock. But when the reunited group finally hits the stage on July 4 for the first show on their anticipated Oasis Live ’25 tour, none of those men will be holding down the rhythm.
This time around the seat will be filled by veteran drummer Joey Waronker, who has worked with everyone from Beck to R.E.M., Elliott Smith and Thom Yorke’s Atoms For Peace side project. Singer Liam Gallagher seemed chuffed by the addition to the group after a fan asked last week what he thought about the musician and if he is “appropriate for the Oasis sound?”
Liam was unequivocal in his praise, responding, “He’s the best and we’re lucky to have him I’ve enjoyed all our drummers but this guy is special.” Waronker will join Liam and brother/songwriter and occasional vocalist Noel Gallagher, as well as bassist Andy Bell and, reportedly, guitarists Paul “Bonehead” Arthurs and Gem Archer.
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Anticipation has been building for the group’s first shows in 16 years, with Liam forced to apologize to fans on Monday morning (June 9) after raising anticipation for more major news with an X post that read, “BIG ANNOUNCEMENT 6.30 am.” The wild speculation quickly unfurled, with fans guessing that Gallagher may have been hinting at warm-up gigs or additional dates.
When Gallagher responded a short time later with “I WORK OUT,” the fury went up 10 notches, with one fan complaining, “you played with our feelings,” as another raged, “I F–KING HATE YOU,” to which Gallagher quipped, “Hate is such a strong word.”
Soon enough the singer appeared to genuinely regret the wind-up, writing, “Gotta admit that was good craic gotta you all riled up to ras,” then sincerely apologizing for the false alarm. “If I caused any distress and upset anyone this morning I’m deeply sorry that wasn’t my intention I thought it was a bit of fun I got it wrong please forgive me,” he wrote. Oasis will criss-cross the U.K. in July before heading to North America in August for shows in Toronto, Chicago, New Jersey, Pasadena and Mexico City, then moving on to Asia and Australia in the fall and Argentina, Chile and Brazil in November.
“We’re in for nasty weather,” prophesied David Byrne 42 years ago on his band Talking Heads‘ biggest Billboard Hot 100 hit. He probably wasn’t making specific predictions about 2025’s Governors Ball festival in New York, but that’s certainly what was in store for attendees Saturday (June 7), as heavy rain and possible thunder and lightning […]
A New Jersey man has been arrested for allegedly stealing a pair of instruments from Rock and Roll Hall of Famers Heart. Just days after the band offered a reward for the return of a custom guitar and mandolin they said were stolen from the Hard Rock Hotel & Casino in Atlantic City on the […]
Australian rock legend Jimmy Barnes has released his 21st solo studio album DEFIANT, just one day before launching a national tour across Australia.
Out now via Mushroom Music, DEFIANT arrives after a difficult period for Barnes, who has undergone multiple surgeries in recent years, including a life-threatening heart operation. Despite the challenges, the Cold Chisel frontman says the new 10-track set carries a message of resilience.
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“Nobody lives this long without copping some knocks and I’ve taken my fair share, particularly lately,” he said in a press statement. “But none of us can control what life throws at us. We can only control how we respond — and for better or worse, I’ve never liked to take a backward step.”
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While he didn’t intend for the album to take on a particular theme, Barnes says that in hindsight, DEFIANT reflects a consistent message.
“I didn’t set out to do it deliberately but now that the album is finished, I can see there’s a recurring theme about the satisfaction you can get from fighting back. That’s why it’s called DEFIANT.”
The album marks his first new project since 2022’s Blue Christmas and follows a career that includes a record-breaking 15 solo No. 1 albums on Australia’s ARIA Albums Chart — more than any other artist in ARIA history. He’s also notched five more chart-toppers with Cold Chisel, making him a singular force in Australian rock.
“I’m ready to rock!” Barnes said. “All of the songs on DEFIANT are made to play live and I can’t wait to blow the roofs off with them in my live set.”
“I’m really looking forward to getting back on stage with my band again. I’m so proud of this new record – all the songs mean a lot to me and I can’t wait to share them with you. It’s going to be some serious fun!”
The Defiant Tour kicks off June 7 at Adelaide Entertainment Centre and will continue through major cities including Perth, Melbourne, Brisbane and Sydney, wrapping in Canberra later this month.
In addition to the album and tour, Barnes will appear on the debut season of That Blackfella Show, billed as Australia’s first national First Nations variety show. The series is filmed in front of a live studio audience and features a lineup that includes rapper BARKAA, comedians Steph Tisdell and Dane Simpson, and broadcaster Abbie Chatfield.
DEFIANT is available now on all streaming platforms.
Queens of the Stone Age frontman Josh Homme has some sage advice for anyone who finds themselves in a difficult situation.
“If you’re going through hell,” Homme says, “keep going.”
Easy for him to say: He’s one of the few lucky souls who has left the Paris Catacombs, the subject of his band’s new film and the final home to more than 6 million deceased Parisians following an 18th-century effort to fix Paris’ overcrowded, dilapidated cemetery system. Homme has long been fascinated by the underground burial site, visited by more than a half-million people each year, and chose the dark and foreboding underground capsule as the central motif for Queens of the Stone Age’s new project Alive in the Catacombs, a concert and concept film directed by Thomas Rames and produced by La Blogothèque.
“This place is like trying to run on a sheet of ice,” Hommes explains in the accompanying documentary Alive in Paris and Before, shot by the band’s longtime visual collaborator Andreas Neumann. “You have no idea how much time has passed up there, up above, and no time has passed below. It’s the same time, all the time, every time.”
It’s easy to get lost in the maze-like film as it wanders through the subterranean tunnels and ossuaries buried deep beneath the City of Light. The film captures Homme at a low point in 2024, having to cancel a major European leg of the band’s tour due to a cancer diagnosis from which he has since recovered. Performing in the Catacombs had been a lifelong dream of Homme’s, and he pushes though the pain to delivery a carefully arranged performance of music from the band’s back catalog, “stripped down bare, without taking away what made each one wonderful,” band member Dean Fertita explains in the documentary.
The band recruited violinist Christelle Lassort and viola player Arabella Bozig to repurpose tracks like “Paper Machete,” “Kalopsia” and “Villains of Circumstance”; while each song was performed acoustically, Homme was adamant the project not simply feel like “Queens of the Stone Age Unplugged.”
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“When you go into the Catacombs, there are 6 million people in there, and I think about, ‘What would you want to hear if you were one of those people?’” Homme said Wednesday night (June 4) during a Q&A in Los Angeles following a screening of the film. “I’d want to hear about family and acceptance and things I care about. A lot of the songs we picked are about the moment you realize there’s difficulty and the moment you realize you’re past it, so a lot of the songs we picked were about letting the people down there know it’s all right and that we care about them.”
Homme said the challenges of the performance was that unlike a traditional concert where the band plays to the audience, “We’re in the belly of this thing. The ceiling is dripping and it’s an organic thing that’s really dominating.”
The Paris Catacombs were built during a time of great upheaval in French society, as revolution completely reshaped civic life and laid siege to the political fabric of the French monarchy. There are no coffins or headstones in the Catacombs, with the bones of the princes and kings mixed with peasants and non-nobility.
The band shot the entire film in one day, Homme said, securing permission from the historical group that oversees the Paris Catacombs to shoot on a day the space was closed to the public.
“We didn’t over-rehearse; we just rehearsed twice,” Homme said. “It’s not supposed to be perfect. You try to make a plan, but you go down there and all the plans are off.”
Fans can preorder the film in advance on Queens of the Stone Age’s website; fans who order the video before Saturday will also receive the mini-documentary film. Watch the trailer below:
Hey, pigs! All of our dreams practically came true when Nine Inch Nails announced in January that the band was hitting the road for the Peel It Back world tour in 2025. (“Practically,” because some of us are still awaiting that new album announcement.) It didn’t take long after the news arrived for fans to […]
When Faye Webster is back home in Atlanta, she likes to visit Oakland Cemetery. “I always go there when I’m home from a tour and just walk around by myself,” she says.
It’s not that the cemetery is the final resting place of any of her loved ones, or that Webster enjoys checking out the tombstones of Atlanta’s rich and famous, like musician Kenny Rogers or golfer Bobby Jones, who are both buried there. She just sees it as “a peaceful, safe space” to find silence amid her increasingly chaotic life.
Last year, Webster, 27, released her fifth album, Underdressed at the Symphony, and played 77 shows to support it — a lot by anyone’s measure, but a touring itinerary that was particularly challenging for Webster. Despite her fast-growing success, the soft-spoken homebody has never loved the spotlight. “Navigating it is tough, but I had a friend give me the advice to call someone I love after the show every day to remind myself of what’s real,” she says. “So I asked my mom, ‘Hey, can I call you at 10:10 every night?’ Now we always do it.”
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She has other ways of making the road feel like home — like the added comfort of having her older brother Jack as her guitar tech; her best friend, Noor Kahn, on bass; and her bandmates of many years by her side. (Her other elder brother, Luke, handles her merchandise and graphic design.) She also has a go-to warmup routine for shows. “I always get everyone together and we recite the battle of the bands prayer from School of Rock: ‘Let’s rock, let’s rock today!’ Then we go onstage,” she says.
Originally, Webster had asked to meet at the cemetery for this interview, but with heavy rain projected in the forecast, we decide to talk over matcha and baked goods at a nearby café instead. Between bites of a guava pastry, Webster says that when she gets the rare opportunity to be at home, she spends time with friends and family or tends to her many hobbies, which include — but are not limited to — yo-yo, tennis, Pokémon, the Atlanta Braves and Animal Crossing. And, she says with a laugh, “I have so many collections of so many different things. So many dumb things.” Her house is littered with it all. “I was collecting alarm clocks for a while, then I filled a full shelf and I was like, ‘OK, there’s no more space.’ I did my yo-yo shelf, too. I have tons of vinyl. Now I need something new to collect, so I’m buying CDs,” she explains. Her latest purchase? A copy of Alison Krauss and Robert Plant’s Raising Sand from Criminal Records in Atlanta.
“I remember the first time I heard her sing when I was a kid. I thought, ‘I didn’t know people could sing like this,’ ” Webster recalls of Krauss. “She has this very soft, angelic, pristine voice. When I first heard her sing I thought, ‘I want to be her.’ ”
Faye Webster
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Webster self-released her debut, Run and Tell, an earnest and straightforward Americana record, in 2013 when she was just 16. Back then, her voice was still developing and didn’t yet have the bell-like clarity and melancholic whine that she is beloved for now. Soon after, Webster’s path crossed with the Atlanta hip-hop scene when she started photographing and hanging out with the young rappers signed to tastemaking indie label Awful Records. Around this time, she also grew closer to another emerging local rapper, Lil Yachty — whom she ultimately collaborated with on Underdressed single “Lego Ring.” With Awful, “It started as just a friendship for months, and then it grew to me signing there,” says Webster, who was an oddball addition to the label as its first non-rap artist.
But for Webster, it didn’t feel strange at all — she was just putting out music with help from her friends. “I loved my experience with Awful. I think, to this day, what I learned there was about creating this sense of family and community. I still hold those values today,” she says.
After releasing 2017’s Faye Webster with Awful, she moved to indie powerhouse Secretly Group and its Secretly Canadian label. There, she steadily accumulated millions of fans as she released 2019’s Atlanta Millionaires Club, 2022’s I Know I’m Funny haha and Underdressed. (Secretly also now distributes her self-titled album.)
Her career hit hyper-speed about two years ago when she scored surprise TikTok hits with “I Know You” and “Kingston” — which were about 7 and 5 years old, respectively, when they took off. Those viral moments shifted her audience away from indie-loving Pitchfork dudes and toward a younger, more female crowd; her recent shows have been marked by throngs of adoring fangirls. Ironically, Webster isn’t even on TikTok — and she barely posts on social media in general.
“Faye is amazing — and somewhat of a contradiction as an artist,” says Secretly Group vp of A&R Jon Coombs, who, with his team, signed Webster to Secretly. “She bucks industry trends by not being online that much, but she still has great social media success. She’s someone who is so impossibly cool, yet she likes traditionally uncool things like yo-yoing and gaming. All of these things combined make her a really compelling and singular artist.”
To connect her whimsical hobbies to her much more serious music career, Webster introduced custom yo-yos as merch in collaboration with Brain Dead Studios, which is run by her friend and creative director Kyle Ng. (“Individuality and being her own character adds so much to her as a musician,” he says.) She also incorporated Bob Baker Marionettes into the Ng-directed “But Not Kiss” music video; founded an annual yo-yo invitational in Berkeley, Calif.; started an active Discord server with a dedicated channel to all things Minions; and has repeatedly covered the Animal Crossing theme at her gigs.
“I look out at shows now and see people dressed up like Minions and having fun and singing and I think, ‘This is so beautiful. This is why I do it,’ ” Webster says. “I really appreciate that my music can resonate with anybody. That’s all I’ve ever wanted — for somebody to feel they can relate to my work.”
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Her hobbies also seep into her songs, like Underdressed’s “eBay Purchase History” or Funny’s “A Dream With a Baseball Player,” which is about her lasting crush on Atlanta Braves star Ronald Acuña Jr.
“She has this ability to pack a short story into a single line,” Coombs says of her lyricism. From “The day that I met you I started dreaming” (“Kingston”) to “You make me want to cry in a good way” (“In a Good Way”) and “Are you doing the same things? I doubt it” (“Underdressed at the Symphony”), Webster’s economical songwriting often repeats phrases on a loop, each refrain cutting to a deeper emotional core. Her expertly crafted productions — Wurlitzer keys, smooth Southern-rock guitar and plenty of pedal steel — seal the deal.
For Webster, “initial reactions” and “gut feelings” are the anchors of the songwriting and recording process. “To me, I’m just like, ‘Oh, that sounded good! Let me say it again…’ However the song plays out is sometimes just the way it’s supposed to happen,” she says.
As part of that instinctive approach, Webster has historically recorded songs soon after writing them. “I just like to do things in the moment,” she says. “When writing a song, I’ve often texted my friends, my band, and tried to get everyone together while it’s still fresh.” She typically self-records her vocals at home and the rest in nearby Athens. Most recently, however, she tried recording Underdressed at famed West Texas studio Sonic Ranch.
“That was our first experience going somewhere new,” she says. “My producer [Drew Vandenberg] was like, ‘What if we go somewhere else?’ And I was like, ‘OK, if it’s you and it’s me and it’s Pistol [pedal steel player Matt Stoessel] and all the band, it shouldn’t matter where we go.’ ”
Now, as she works on her next album, Webster is taking another leap of faith: signing her first major-label deal with Columbia Records, where she’ll join a roster that includes Beyoncé, Vampire Weekend and Tyler, The Creator (whose Camp Flog Gnaw festival she performed at last year). When asked why she signed there, she pauses, taking a sip of matcha as she thinks. “It comes back to that initial gut, that initial intuition,” she finally answers. “[Columbia] feels like where I belong right now and that’s where I’m supposed to exist.”
Faye Webster
Christian Cody
Perhaps it’s thanks to the flexibility her time on indie labels offered, or the support system it allowed her to build — but so far, Webster has deftly navigated the music business without sacrificing her personality, her community or her privacy, and she doesn’t see that changing under Columbia. “I think throughout this process [of signing the new deal], I’ve been very up front and honest. I was like, ‘Don’t be surprised if I say no to a lot of things.’ I think being honest and having an understanding of each other is really important in any relationship.”
“I know it’s a buzzword, but Faye is just so relentlessly authentic,” says her manager, Look Out Kid founder and partner Nick O’Byrne. “Over the years, I’ve seen she’s not interested in doing anything that feels unnatural to her, and from talking to fans, I know that they’re smart and they see that in her, too.”
When I ask Webster if this signing is an indication that she is more comfortable in the spotlight now, she quickly replies “no” with a laugh. “I think I’m just always going to be this way.”
This story appears in the June 7, 2025, issue of Billboard.
As the 2025 Stanley Cup Final kicks off with Wednesday night’s (June 4) Game 1 showdown between the Florida Panthers and the Edmonton Oilers, players and fans alike have no choice but to rock out to the NHL‘s brand-new promo starring and soundtracked by Linkin Park. The promo — which opened the TNT broadcast of […]
If you were a fan of Pavement in the 1990s then it probably won’t surprise you that when time came to make a biopic of the quintessential indie slacker rock band director Alex Ross Perry (Her Smell) took a hard turn away from the typical hagiographic, soft-focus treatment.
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In fact, unless you were a fan of the “Cut Your Hair” band back then, chances are Perry’s film, Pavements, will mostly just confuse you. Hell, even the band members aren’t totally sure how it all works. “We were informed via email things we needed to know, but for most of the process we didn’t know what was going on, because we didn’t have to,” multi-instrumentalist Bob Nastanovich tells Billboard about of the film in select theaters now and opening wide on Friday (June 6).
Addressing the project’s oddball format, which is part mockumentary, part documentary and includes footage from the fake Slanted! Enchanted! A Pavement Musical, as well as a movie-within-a-movie via the fake biopic Range Life: A Pavement Story, Nastanovich says, “if we wanted to have known more we would have. Our general attitude was: ‘lets see what happens.’”
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Stranger Things star Joe Keery takes on the role of singer Stephen Malkmus (but also plays himself), while the band’s members play themselves alongside a passel of young actors who also take on their personas. In a three-way call from Cincinnati — where bassist Mark Ibold was born and spent many of his summers — and Kentucky — where former Louisville native Nastanovich was visiting a friend — the two men describe their feelings about the film and get pumped about a gig throwing out the first pitch at a Cincinnati Reds game on Wednesday (June 4).
Nastanovich, 57, says he was thrilled to meet “delightful” actor Fred Hechinger, adding as far as he’s concerned the 25-year-old White Lotus star is “spitting image of me and an extremely good-looking young man.” That said, after Ibold, 62, ran into Escape Room star Logan Miller, 33, at the restaurant where the bassist works, he went to visit the New York set of the film to see what was up. Describing entering a room where various actors were playing Pavement, Ibold says he thought, “‘whoa, this is really tripped out,’” even though he couldn’t tell who was playing whom.
“[Director] Alex explained the concept to me and he interviewed us before he started to get an idea of what he wanted to do, but even when you see the film it can be somewhat confusing what is real and what isn’t… the concept is pretty wild and he presented it to the band in a way that he said would be very different from other rock documentaries,” says Ibold of the movie’s unusual take in the wake of more straight-ahead recent biopics of Queen’s Freddie Mercury, Elton John and Bob Dylan. He describes going to the Taipei Film Festival last year and having to explain what was going on to the perplexed audience during a post-screening Q&A after they seemed confused by the entertainingly disjointed nature of Perry’s approach.
While Ibold jokes that his takeaway was that “we’re all more handsome than we really are,” Nastanovich says that he honestly saw some things he didn’t know about before, including shots of Malkmus’ original lyric drafts and real memorabilia sent in by band archivist Scott “Spiral Stairs” Kannberg, which appear in the movie’s fake museum.
In addition to the film, the band recorded their first new song in 25 years, a cover of Jim Pepper’s 1969 track “Witchitai-To,” which is on the sprawling, 41-track Pavements soundtrack. The song came together during rehearsals for one of the band’s 2022 reunion shows and it’s the first fresh recording from the group since their 1999 Major Leagues EP.
Speaking of the major leagues, Ibold is excited to be back in Cincinnati, where he was born and spent many summers attending Reds baseball games with his family during the team’s late 1970s heyday. “My brother almost got hit by a car while getting Pete Rose’s autograph a block from where I am,” he says of the late, disgraced Cincinnati legend and all-time MLB hits leader who recently saw his lifetime ban end earlier this year when he was posthumously reinstated and made eligible for the Hall of Fame.
In fact, when he takes the mound on Wednesday at Great American Ballpark, Ibold says he plans to wear a jersey with Rose’s No. 14 on it when he tosses to catcher Nastanovich, for whom he made a custom “Nast” jersey honoring late Reds first baseman Dan Driessen’s No. 22, despite Nastanovich being a lifelong fan of longtime Red rivals the Pittsburgh Pirates.
“We’re extremely excited about it,” says Nastanovich, who says the team reached out to the baseball-loving band to see who would be interested in the honor, a query he and Ibold immediately raised their hands for. He says he’s seen video of Ibold practicing and predicted that his bandmate’s arc is so “sweet” that he might not even need a glove at all.
The gig also comes naturally to Ibold because his great great uncle started the iconic Ibold Cigars company in Cincinnati in the late 1800s. “When we came in from the airport to go to my grandparent’s house we’d see all these Ibold ads on warehouse walls and old brick buildings,” he says of the stogie maker that used to occupy a 13,000-square-foot, five-story building downtown, where it pumped out more than one million cigars a month in the 1940s.