Rock
Trending on Billboard Phish is heading back to Las Vegas. The iconic jam-rock group will return to Sphere next spring for a nine-show residency, expanding on the four-night run that marked its acclaimed debut at the venue in 2024. The new dates — April 16–18, April 23–25 and April 30–May 2, 2026 — were announced […]
Songs by Mark Mothersbaugh, Danny Elfman, Iggy Pop, Fall Out Boy’s Patrick Stump & more soundtrack these children’s animated series.
12/2/2025
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Flea has a simple, come together now message on his first-ever solo single: “live for peace, live for love.” The simple, open-hearted plea comes more than five minutes into the nearly eight-minute song “A Plea,” which dropped on Tuesday morning (Dec. 2).
The free jazz/spoken word jam is the first taste of the hyperkinetic Red Hot Chili Peppers bassist’s upcoming, as yet untitled, debut full-length solo album, which is due out next year on Nonesuch Records. Though best known for his bass-thumping in the Chili Peppers, Flea returns to his first instrument, the trumpet, on the album a release described as filled with a “dream band of modern jazz visionaries.” Additional details about the albums guests and track list will be announced early next year.
In the meantime, Flea dropped the high-energy video for “A Plea,” which was directed by his eldest daughter, 37-year-old photographer Clara Balzary. In the visual, Flea performs a series of modern dance-style moves in a blank space, walking in slow motion, shaking his head and arms, punching the air, flailing his torso, shaking his butt and patting his belly along to the song’s uptempo jazz groove.
The song, written and performed by Flea, features his work on electric bass, trumpet and Gil Scott-Heron-like spoken word-style vocals, including such provocative lyrics as “Who’s your neighbor, who’s your friend?/ Ahh there’s hate all around/ I don’t care about your f–king politics/ I don’t wanna hear about your politics/ Well, he said boo/ She said hooray.”
As the tempo increases to a frantic pace, Flea laments that the “beautiful kids” are scared of the coming “ugly” and of guns, making a plea for “peace and love” while confirming that hate is never the solution. He’s joined on the track by double bassist Anna Butterss (Boygenius), guitarist Jeff Parker (Tortoise), drummer Deantoni Parks (We Are Dark Angels), percussionist Mauro Refosco (David Byrne), alto flutist Rickey Washington and trombonist Vikram Devasthali (Angel Olsen), with additional vocals by Chris Warren (The DX Band) and the song’s producer, Josh Johnson (Leon Bridges), who also plays alto sax.
In a statement, Flea, 63, described the song’s lyrics as reflective of the divisiveness in our country and world right now and yearning for “a place beyond, a place of love, for me to speak my mind and be myself. I’m always just trying to be myself… I don’t care about the act of politics. I think there is a much more transcendent place above it where there’s discourse to be had that can actually help humanity, and actually help us all to live harmoniously and productively in a way that’s healthy for the world. There’s a place where we meet, and it’s love.”
While Flea has been slappin’ the bass with the Chili Peppers since 1982, he’s also contributed to a number of supergroups, including Radiohead singer Thom Yorke’s Atoms For Peace, as well as sitting in with everyone from the Circle Jerks to Tom Waits, Johnny Cash, Alanis Morissette, Nirvana and Jane’s Addiction. He’s also long had a sideline acting and making cameos in films and TV shows, including Back to the Future Pt. II, My Own Private Idaho, Inside Out 2, Fear and Loathing in Las Vegas, Baby Driver, The Big Lebowski and Obi-Wan Kenobi, among many others.
Watch the video for “A Plea” below.
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Nelson burst onto the music scene in May 1990 when debut single “(Can’t Live Without Your) Love & Affection” charged onto the Billboard Hot 100, reaching the summit weeks later on the July 7-dated chart. The band — led by twins Matthew and Gunnar Nelson — saw its star continue to climb when its first studio album, After the Rain, arrived a month later, peaking at No. 17 on the Billboard 200 and reaching double-Platinum status by July 1998.
It was a quick transition from unknowns to widespread fame for the duo known for their long, platinum locks and notable family history in entertainment. (Their grandparents are performers Ozzie and Harriet Nelson; dad is late singer Ricky Nelson, known for Hot 100 hits such as “Travelin’ Man” and “Poor Little Fool”; sister Tracy Nelson is an actress; and their uncle is actor Mark Harmon.) But the duo’s popularity proved to be fleeting — sophomore album Because They Can arrived in 1995, but did not chart.
Now, 35 years after the immense success of their debut album, the Nelson twins are ready to tell their story in their new memoir, What Happened to Your Hair?, which arrives Dec. 16 via Permuted Press and Simon & Schuster.
In an exclusive excerpt shared with Billboard, Matthew details from his point of view a planned in-store appearance at Los Angeles’ Sherman Oaks Galleria, where the band expected few people. Instead, thousands showed up, resulting in a riot that led police to shut down the event. (Excerpted from What Happened to Your Hair? by Matthew and Gunnar Nelson © 2025 and reprinted by permission of Permuted Press.)
“The story about the pandemonium at the Sherman Oaks Galleria is important to us because it was our very first indication that our world had shifted overnight in an epic way, and that Nelson wasn’t just going to be successful — it was going to be a phenomenon,” Gunnar tells Billboard of including that moment and its aftermath in the new memoir. “Every aspiring musician dreams of that kind of fandom that they saw in movies like Hard Day’s Night while they’re paying their dues on their way up.
“It’s that sort of fabled payoff that keeps them going through all of the doubt, poverty and setbacks they’ll have to overcome as they put in their 10,000 hours. They keep visions of such things in their bag of power while working their way up in an endless parade of dive clubs, playing to scores of empty rooms,” he continues. :We were no different. Throughout all of those years of making our bones in the L.A. nightclubs from the time we were 12, we dreamed that one day, thousands and thousands of girls would be screaming our names in unison like a jet engine. Only in our case, it actually happened.”
“What blew our minds though was the fact that we were the exact same people we were just a week earlier … when we went to that very same mall to buy underwear for our trip to New York City to guest VJ on MTV. Just a few days earlier, we might as well have been invisible,” Gunnar marvels. “And now the LAPD was having to shut the mall down because the girls were starting to stampede. It was surreal. And it was FANTASTIC. Isn’t it amazing what a little TV exposure can do?”
Read Billboard‘s excerpt from What Happened to Your Hair? below.
The cover of Matthew and Gunnar Nelson’s memoir, ‘What Happened to Your Hair?’
Permuted Press
Gun grabbed the store’s crappy announcement microphone, and we both tried to calm down the audience. It worked for a second. We thanked them for being there, and between the screams we played them a little bit of our first single on the acoustic guitar held up to one microphone over the PA in the record store. Big mistake. When we were done, the entire place exploded. Every girl there started pushing forward toward the store’s entrance at that moment.
The guys in the band started to look scared. Gunnar was smiling, although looking in his eyes I saw a new look that I would see a lot for another year and a half and through a breakdown or three, and I had a small but foreboding feeling that deep down he was terrified too. I was amazed that there were so many people there to see us because of what they saw on television just that week. I’d remembered being at that very same mall two weeks earlier and being completely overlooked by everybody, including salespeople, when I went to buy socks and underwear. That’s when I was an unknown soldier of rock: unhailed and disposable. A few days later—and I’m a bona fide rock god and one-half of the most famous twin brothers in the world.
Overnight, the world wanted its piece of us and wanted it now. Somehow, I didn’t forget I was the exact same guy as I was two weeks ago. After what I’d been through in my life—what we’d been through, and the ups and downs I’d seen my pop go through—I refused to abandon my “remember thou art mortal” emotional compass…even with every chick in the Valley in front of me wanting to devour me. I thank God for that inner compass as it kept me balanced and (mostly) sane in the years to come, through our success and especially through its demise. The music business, as we lived it, was absolutely not for the faint of heart. It’ll kill you. Ask our dad, the late great Ricky Nelson. The greatest lesson from him I ever learned was instilled by personally witnessing his ups and downs in “the biz.” The hard truth that fame is not love. Pop’s life taught me that fame is a whore—she loves you and makes you feel like a stud until the moment you stop paying her price. Then she’s gone, as if she’d never met you. I watched my dad’s fame rise and fall many times before the business killed him in a plane crash 2,000 miles away from his family one horrible New Year’s Eve. Still, Gunnar and I chose to do the same thing our dad did. Are we insane? Yeah—probably. But the difference (we told ourselves) was we had each other to keep us alive and keep us real through it all. We had, in fact, sworn an oath after Pop’s accident we would never let happen to us what happened to him. The biz wouldn’t get us. Then we soldiered on.
In hindsight, I think in some ways I was more prepared emotionally to deal with instant fame than Gunnar was, at least initially. My emotional breakdown happened years later long after the dust had settled and hope had finally abandoned me. How we each handled superstardom as Nelson, from zeroes to heroes and back again, revealed and solidified our personalities and our symbiotic roles in each other’s journey. To outside spectators I was promoted as the “sensitive twin,” Gunnar the self-proclaimed “shameless one.” True duality. To the fans I was apparently candy-coated; Gunnar was bulletproof. In reality (and I think only really known between the two of us), the opposite was true when we initially became really famous and the lights went down and the cameras shut off. Unseen cracks in the emotional armor eventually became a real problem when the inevitable backlash from haters happened shortly thereafter. Gunnar could let things really get to him—much more than me—and I was truly concerned about him.
At first, life was a blur of activity, and we were unflappable. We were so amazingly busy when “Love and Affection” hit number one. For three months we couldn’t breathe, let alone worry about a backlash. I was always quicker to say “f–k ’em” and move on than Gun when we first caught the fame wave. Gunnar was more sensitive than anyone knew, save me. He wore the hero suit very well. He was unquestionably a champion. Gunnar goes all in, but an idiot A&R executive or a jealous hater could really mess him up. Riding that aforementioned wave with my brother, I saw that a rock star’s ego can be shaken from a mighty height by a single middle finger hovering above a sea of 10,000 raving fans. True story. You do get what you focus on. Don’t get me wrong. Gunnar has strength and courage and all that comes with it, but underneath it all I believe there is a little kid who needs an embrace and an “I love you” just a little more than my little kid does. Fame was a trigger. I’ve always felt he was broken inside by our mom when he was a baby. That woman really did a number on both of us (I’m sure you know that by now), but Gun was always more sensitive and things cut deeper. I fought for him when he hurt, and he fought for me in return.
That’s why God brought us in together. When it really comes down to it, we are there to back each other up. We need each other. We can count on each other. The man upstairs made sure we each had a spare.
That day, with thousands of girls screaming for us, I knew we were in for it. We were gonna need to protect each other more than ever, or we would be in deep trouble. Remember, there is a huge difference between fame and love.
I could see in Gunnar’s eyes in that moment at the Galleria that to him this was a huge wall of love. Yeah, wow, awesome. Bravo! Almost 75 percent of me felt the overwhelming rush too. But somehow inside I also knew it was just fame disguised as love. It was a beautiful lie. As happy as I was at that moment, I was a little bit irritated knowing our “instant” success was Pavlovian. An illusion. The remaining 25 percent of me thought that we were just the special-of-the-day meat in a corporate greed sandwich. That jaded inner postpunk/preteen cynical part of me that will never die thought that it was all completely media-driven horseshit. An illusion. But on the other side—the side that won the battle that day—was a chorus of inner voices screaming, “WHAT A RIDE! ENJOY IT! Why NOT? You’re only twenty-one so why not tear it up already! Fantasy NOW…reality LATER! Isn’t this everything you’ve struggled for, and then some? Re-fucking-lax, Nelson! This is your moment!”
It was admittedly addictive to feel that kind of energy being thrown my way because of the years of sacrifice and hard work we’d put in. So, I talked my inner punk off his high horse and let the moment sink in and basked in the sunshine of it all. And it was glorious. Matt and Gunnar were the conquering twin heroes of Dial MTV and the San Fernando Valley.
First, the Galleria. Next—THE WORLD!
It was euphoric. It was a dream. And like all dreams, you wake up. “The cops are here, and they’re shutting it down,” Geffen rep informed us. “They say if we don’t leave immediately, we will get arrested. They want to keep people from getting killed. They estimate there are now at least seven thousand people trying to see you guys right now. The crowd is getting unruly and refuses to leave.”
Time to go. Well, that was fun while lasted…every bit of one-half hour. And I was right—we were back at the house by noon ordering pizza.
Nelsonmania and its ensuing female tidal wave was launched that day at that mall. And the Sherman Oaks Galleria’s notorious Valley Girls were there first. That was the flashpoint and the true beginning of Nelson’s official establishment as a “chick band.” To put it bluntly—it’s a massive understatement to say we appreciate women. They were the mission, and mission accomplished! All those girls were nuts for us. The same kind of crazy we had seen with our father years earlier. I saw firsthand that women, especially beautiful women used to getting their way, will go to great lengths to get what they want. Without shame. I discovered that day that it was amazing how attractive having a number-one record and being on TV and in magazines make you to the opposite sex. Irresistible, in fact. Gunnar and I were now human catnip for a million kitty cats.
To prove my point: To cap off the day of the first mall riot at the Galleria, that very night we drove the band to the Sunset Strip for a celebration dinner at the Rainbow, a well-known hangout next to the Roxy. We had eaten and were waiting for our cars to be pulled up when I was approached by the reigning Penthouse Pet of the Year. She was spectacular in every way. And she wanted me. How do I know? She walked straight up to me in front of the entire band and made a proclamation.
“I’m taking you home right now, and I’m going to f–k you like you’ve never been f–ked before,” she said.
The band froze wide-eyed and slack-jawed. Now, there are a million reasons why I should have grabbed her by the hand and gotten into her Mercedes and experienced a night of erotic bliss. But before I could stop it, that cynical awkward inner punk that brought a guitar to high school to keep him company had an answer for her.
“You know, I went to school with girls like you who thought they could have anything they wanted that ignored me, and two weeks ago you would never have given me a second look,” I said. “So, I’ll have to say ‘no thank you.’” She froze in astonishment, blinked a few times, then briskly walked away hoping nobody saw the exchange. I admit blowing her off actually felt pretty damn good. The band ripped me up for that, but I couldn’t help it. I had to do it for all the other social rejects out there and to heal old Pali High wounds. That’s not to say there are some nights when I admittedly wonder, What if? Let’s just say I made up for shunning the Penthouse Pet of the Year in the years to come. And how. But I’ll save that for another chapter.
For the next two years, I was rarely in public alone with my twin brother. Our image was iconic and unmistakable. We looked like a pair of hot Swedish chicks. We caused riots almost everywhere we went. If we went out on days off on tour, we went solo. People would see us and say, literally, “Look at that loser trying to look like a Nelson twin!” and move on. But it was a harsh reality that I couldn’t really truly enjoy the ride with my brother or a riot ensued.
Part of the reason Gunnar unraveled emotionally during our eternal tour was the fact we couldn’t hang together. It was the first experience of not being able to have each other’s backs. The final mall riot was a solo act in late 1991. I was in Toms River, New Jersey, visiting my old friend and producer Jack Ponti while we were on a break from the tour. He had a twisted sense of humor that was a lot of fun. He even managed to talk me into a social experiment—walk inside the Ocean County Mall to see how long it took people to recognize me. We placed our bets. Jack brought his dad’s old-school stopwatch. We drove to the mall, and I bought a Mrs. Fields cookie while he timed me from a distance. Five minutes. It started with a single “Oh my GOD!” and built from there. Jack laughed hysterically from his corner. Ten minutes later, the cops arrived and politely asked us to leave as the growing crowd of over 500 was too much for them to handle. That’s when the fun of causing mall riots ended for me. I was really scared. For the first time I truly asked myself, What if this is the way it will always be for me? For us? If this kind of fame is just the beginning, what kind of a life is that for a person? What if it never ends?
Well, it does. I’m living proof that even if you are on the cover of People magazine (and I was) that the world does eventually move on. It doesn’t take long. As a mall riot veteran in 2025, I can honestly tell you that fame, as a whole, is fantastic. I highly recommend the experience. But my advice to those seeking fame or new to stardom: Never forget that fame is not love. That knowledge could save your life. And don’t forget anonymity has its benefits too. Like being able to catch a movie at the local mall on a day off with your twin brother without causing a riot. Or going to the Galleria to buy socks and underwear blissfully unnoticed.
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Dave Grohl and the Foo Fighters spread some holiday cheer on Tuesday morning (Dec. 2) with the announcement of a big benefit show supporting the homeless non-profits Hope the Mission and the Los Angeles Mission. The special concert on Jan. 14 at the Kia Forum in Los Angeles will benefit the two organizations singer/guitarist Grohl, wife Jordyn Grohl and the band have long supported.
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“What better way to spend my 57th birthday than making a bunch of noise with a bunch of people for a good cause. This ain’t just a big ass rock show, it’s a big ass party with a heart,” said Grohl in a statement. Turn up the volume, turn up the hope, but most of all….TURN UP. The best gift is TO GIVE. Can’t friggin wait x.”
The only pre-sale opportunity for the show — which coincides with Grohl’s 57th bday — will be this Sunday (Dec. 7) at an in-person-only advance ticket purchase/donation drive at the Forum. Fans are asked to bring an item or items from a list of in-demand food and clothing necessities, with Hope the Mission slated to collect them on site. The list includes: socks and underwear (male, female, adult, children, all sizes, new/packaged only), dried pinto beans (bagged), pasta — spaghetti, macaroni (bagged or boxed) and dried rice (bagged), with a request not to bring canned or perishable goods.
The donations will support Hope the Mission and Los Angeles Mission provide food, clothing and direct services to unhoused and food-insecure Angelenos.
“Dave, Jordyn, and Foo Fighters are a striking example of what’s possible when we decide to show up and give back,” said Hope the Mission president Rowan Vansleve in a statement. “This concert will be more than just a celebration, it’s a statement that it will take all of us working together to end homelessness in our city so that no one is left suffering on our streets. We’re incredibly grateful to partner with the band. Foo Fighters and their fans have a reputation of always stepping up to help when people need it, and this concert will be no different.”
Dennis Oleesky, CEO of Los Angeles Mission added, “The impact of this event goes far beyond one night of incredible music. Every ticket purchased and every donation will directly help feed and house our unhoused neighbors. We’re honored Foo Fighters are joining to bring real help and real hope to people across Los Angeles.”
For more information on the charities and details on how you can help even if you can’t attend the show, click here.
The Foos have wrapped up their tour dates for the year, but will be back on stage on Jan. 10 at Feria Estatal De Leon in Guanajuato, Mexico, followed by a summer run of European shows and North American stadium gigs with Queens of the Stone Age in August and September.
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Parkway Drive’s planned Park Waves Festival — the band’s first-ever touring festival in Australia — will no longer go ahead.
Organisers Destroy All Lines confirmed the cancellation, posting a statement across social media explaining that the numbers behind the ambitious run “no longer stack up.”
“We’re devastated to confirm the Park Waves Festival Australian tour will not go ahead,” the statement read. “The cancellation is due to a combination of challenges, and ultimately, the numbers no longer stack up. With a heavy heart, we’ve had to make a difficult decision. We’ve tried everything. We’re gutted.”
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The festival was scheduled to take place across February and March 2026, with stops in Perth, Adelaide, Geelong, Scoresby, Bendigo, Wollongong, Sydney, Maitland, Toowoomba, Byron Bay and Sandstone Point. Ticket holders will automatically receive refunds, with organisers confirming additional details will be emailed directly.
In a separate statement posted to their own channels, Parkway Drive described the decision as “a kick in the guts,” noting the increasingly difficult landscape for major touring events in Australia.
“Another festival being crushed by the rising costs across our entertainment industry,” the band wrote. “It hurts to be another casualty in this chapter of the Australian music scene. We’ve tried every possible option to keep this dream alive, but the reality of the circumstances won’t allow for it.”
Park Waves originally launched in Germany in 2024, where Parkway Drive headlined alongside Fit for a King and Australian heavyweights Thy Art Is Murder. The Australian edition was intended to bring that model home, with the band emphasising their desire to reach regional audiences that often miss out on arena-level tours.
Speaking with Rolling Stone AU/NZ earlier this year, vocalist Winston McCall said the concept had been years in the making. “Being able to take it regional is really important,” he explained. “This is the first Byron show we’ve been able to play in 12 years… If you don’t have an entertainment centre, you’re playing a 1000-cap club and thousands of people are missing out.”
The cancellation follows a milestone era for Parkway Drive, who performed a widely praised, career-defining show at the Sydney Opera House in 2023 and released their single “Sacred,” their first new music since 2022’s Darker Still. Park Waves was expected to be the band’s major domestic live moment for 2026.
Destroy All Lines closed their statement by thanking fans who purchased tickets and continue to support Australian live music during a turbulent period for promoters and touring artists alike.
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Evanescence is gearing up for their first major headlining world tour in four years. The Amy Lee-led group announced the dates for their upcoming 2026 world tour on Monday (Dec. 1), revealing a list of 47 dates across North America, the U.K. and Europe.
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The run is slated to kick off on June 11 at the iTHINK Financial Amphitheatre in West Palm Beach, Fla., before moving on to Georgia, Tennessee, North Carolina, Massachusetts, New York, New Jersey, Ontario, Quebec, Indiana, Missouri, Arizona, California, Utah, Ohio and Michigan. It will then hop over to the U.K. and Europe for summertime gigs in Leeds, Manchester, Birmingham and London, as well as shows in Germany, Italy, Spain and Portugal.
“This year has been so inspiring in so many ways, creating so much new music, playing some bucket-list shows and working with so many artists that give us life,” said Lee in a statement. “We are taking all of that fire and energy and inspiration and building it into an epic 2026 for our fans. Collaborating with K. Flay, Poppy, and Courtney Le Plante made me want to create a world where we could share stages together, and I’m thrilled we are going to make it happen! I can’t wait to share what we’ve been working on, and I can’t wait for this incredible tour.”
The shows will feature special guests Spiritbox and Nova Twins on the North American leg, Poppy and Nova Twins opening the non-U.K. concerts and K.Flay — who is featured on Evanescence’s latest single, “Fight Like a Girl” — opening the U.K. stops. K.Flay will also work as the support act on the tour’s final stop at the storied Red Rock Amphitheatre in Morrison, Colo. on Oct. 26.
Tickets will be available starting with a Citi pre-sale beginning on Tuesday (Dec. 2) at 8 a.m. local time through Thursday (Dec. 4) at 10 p.m. local time; details for the Citi pre-sale are here. Evanescence and Spiritbox pre-sales will follow on Tuesday beginning at 12 p.m. ET, with more pre-sales scheduled throughout the week ahead of the general on-sale on Friday (Dec. 5) at 10 a.m. local time here.
Evanescence is teaming up with non-profit PLUS1 to donate $1 from every ticket to support groups providing humanitarian aid and medical relief around the world.
Check out the dates for Evanescence’s 2026 world tour below:
June 11: West Palm Beach, Fla. @ iTHINK Financial Amphitheatre
June 12: Tampa, Fla. @ MIDFLORIDA Credit Union Amphitheatre
June 14: Alpharetta, Ga. @ Ameris Bank Amphitheatre
June 15: Nashville, Tenn. @ Bridgestone Arena
June 17: Raleigh, N.C. @ Coastal Credit Union Music Park at Walnut Creek
June 18: Charlotte, N.C. @ PNC Music Pavilion
June 20: Camden, N.J. @ Freedom Mortgage Pavilion
June 21: Mansfield, Mass. @ Xfinity Center
June 23: Saratoga Springs, N.Y. @ Saratoga Performing Arts Center
June 24: Wantagh, N.Y. @ Northwell at Jones Beach Theater
June 26: Holmdel, N.J. @ PNC Bank Arts Center
June 27: Bristow, Va. @ Jiffy Lube Live
June 29: Toronto, ON @ RBC Amphitheatre
June 30: Montréal, QC @ Centre Bell
July 8: Tinley Park, Ill. @ Credit Union 1 Amphitheatre
July 9: Noblesville, Ind. @ Ruoff Music Center
July 11: North Little Rock, Ark. @ Simmons Bank Arena
July 12: Kansas City, Mo. @ MORTON Amphitheater
July 14: Albuquerque, N.M. @ Isleta Amphitheater
July 15: Phoenix, Ariz. @ Talking Stick Resort Amphitheatre
July 17: Chula Vista, Calif. @ North Island Credit Union Amphitheatre
July 20: Mountain View, Calif. @ Shoreline Amphitheatre
July 22: Ridgefield, Wash. @ Cascades Amphitheater
July 23: Auburn, Wash. @ White River Amphitheatre
July 25: Salt Lake City, Utah @ Utah First Credit Union Amphitheatre
July 28: St. Louis, Mo. @ Hollywood Casino Amphitheater
July 30: Cuyahoga Falls, Ohio @ Blossom Music Center
Aug. 1: Cincinnati, Ohio @ Riverbend Music Center
Aug. 2: Clarkston, Mich. @ Pine Knob Music Theatre
Sept. 8: Leeds, UK @ First Direct Arena
Sept. 10: Manchester, UK @ Co-op Live
Sept. 11: Birmingham, UK @ Utilita Arena Birmingham
Sept. 13: London, UK @ The O2
Sept. 16: Brussels, BE @ Forest National
Sept. 17: Paris, FR @ Accor Arena
Sept. 19: Frankfurt, DE @ Congress Center Messe Frankfurt – Festhalle Frankfurt
Sept. 20: Dortmund, DE @ Westfalenhallen Dortmund
Sept. 22: Amsterdam, NL @ Ziggo Dome
Sept. 23: Hamburg, DE @ Barclays Arena
Sept. 25: Berlin, DE @ Velodrom
Sept. 26: Munich, DE @ Olympiahalle
Sept. 28: Bologna, IT @ Unipol Arena
Sept. 29: Zurich, CH @ Hallenstadion Zurich
Oct. 1: Barcelona, ES @ Palau Olimpic Badalona
Oct. 2: Madrid, ES @ Palacio Vistalegre
Oct. 4: Lisbon, PT @ MEO Arena
Oct. 26: Morrison, CO @ Red Rocks Amphitheatre
Trending on Billboard Radiohead has been forced to postpone a pair of shows on their comeback tour of Europe due to illness. In a statement posted to their social channels on Monday morning (Dec. 1), the band announced that frontman Thom Yorke was suffering from an “extreme throat infection” and two upcoming shows in Copenhagen, […]
Trending on Billboard You already knew Jon Stewart could skewer bloviating politicians with effortless, cutting wit. But did you know he can also rock the house? The 63-year-old Daily Show legend proved it’s never too late to learn a new trick on Friday (Nov. 28) when his indie rock band, Church and State™️ made their […]
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Bob “Bongo” Starkie, guitarist for the trailblazing Australian rock band Skyhooks, has died at 73 after a year-long battle with acute myeloid leukemia. His death was confirmed Tuesday on the group’s official Facebook page.
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Skyhooks archivist Peter Green announced the news, writing that Starkie “passed away early this morning” after spending the past year undergoing treatment while still hoping to return to the stage. Green remembered him as the youngest member of the band who “embraced the theatrics” that became a signature part of Skyhooks’ identity — from bold makeup and elaborate stage outfits to the irreverent swagger that helped define the group’s rise. “The music always came first,” Green wrote, adding that performing live “was his absolute joy” and that “music was in his blood till the very end.”
Starkie joined Skyhooks in August 1973, replacing his older brother Peter Starkie, who died in 2020 at age 72 following complications from a fall. Peter was one of the musicians who helped establish the early lineup that would go on to dominate Australian rock in the mid-1970s.
In a tribute shared through the band’s page, Starkie’s daughter Indiana said her father “peacefully departed, listening to Chuck Berry, snuggling with his fur baby Bonnie, surrounded by friends and family.” She noted that he was deeply loved by daughters Indiana and Arabella, grandchildren Phoenix and Lucia, partner Chrissy, close friend Ian, and son-in-laws Simon and Chris, adding: “He felt the love till the very end.”
Formed in Melbourne in 1973, Skyhooks quickly became one of Australia’s most influential rock acts. Known for their glam-leaning visual style, provocative lyrics and theatrical shows, the band gave Michael Gudinski’s Mushroom Records its first major commercial breakthrough. Their debut album, Living in the 70’s, spent 16 weeks at No. 1 in 1975 and reshaped Australia’s pop and rock landscape. Skyhooks also made broadcasting history when their track “You Just Like Me ’Cos I’m Good in Bed” became the first song ever played on 2JJ (later triple j) in January 1975.
The group endured tragedy before: frontman Graeme “Shirley” Strachan died on August 29, 2001, at age 49 in a solo helicopter crash near Mount Archer in Queensland. He was piloting a Bell 47 when turbulence caused the rotor to strike the tail boom, leading to the fatal accident.
Skyhooks disbanded in 1980 but reunited periodically, with Starkie remaining one of the band’s most active ambassadors. In 1992, Skyhooks were inducted into the ARIA Hall of Fame, further defining their status as one of Australia’s defining rock acts.
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