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02/20/2025
The North Shields’ third LP is stacked with massive anthems and lyrical greatness.
02/20/2025
Ozzy Osbourne was once invited to audition for a role in Pirates of the Caribbean—but the opportunity was shut down by his longtime manager and wife, Sharon Osbourne.
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During a recent appearance on Billy Corgan’s The Magnificent Others podcast, Sharon revealed what she considers the “biggest mistake” she ever made on the legendary Black Sabbath frontman’s behalf. “He got offered to go and read for Pirates of the Caribbean, and I’ve never said this to anyone,” she admitted to the Smashing Pumpkins frontman. “And I said no. Now wouldn’t he have been perfect?”
Corgan immediately agreed, responding, “He would have been perfect! Maybe it’s not too late, but God bless.”
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While it remains unclear which character Ozzy was being considered for, the Pirates of the Caribbean franchise has a history of casting rock legends. The Rolling Stones’ Keith Richards famously played Captain Teague, the father of Johnny Depp’s Captain Jack Sparrow, in At World’s End (2007) and On Stranger Tides (2011).
Paul McCartney also made an appearance in Dead Men Tell No Tales (2017) as Jack Sparrow’s uncle, Uncle Jack. Given Ozzy’s unmistakable persona and theatrical stage presence, it’s easy to imagine him fitting right into the swashbuckling world of the blockbuster franchise.
Beyond his near brush with Hollywood, Ozzy has remained active in music despite ongoing health struggles. In recent years, he released Patient Number 9 (2022), which earned a Grammy for Best Rock Album, and announced his retirement from touring due to health concerns. Meanwhile, Black Sabbath’s final reunion show is set to take place on July 5 in Birmingham, featuring appearances from Guns N’ Roses, Tool, and even actor Jason Momoa.
While Ozzy never got his shot at the high seas, his legacy as the Prince of Darkness remains untouchable—onstage and, perhaps, in an alternate timeline, on the big screen.
Opening less than two weeks ago, Becoming Led Zeppelin is already nearing $6 million in international box office gross. In an era where most documentaries head straight to streaming, the rock doc’s box office run – not the mention the fact that it’s playing on IMAX screens – is a small coup. “I must say that feedback from fans is just humbling and inspiring,” lead guitarist Jimmy Page wrote on social media.
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It’s also a source of great pride for co-directors Bernard MacMahon and Allison McGourty, who were told the film wouldn’t make four bucks by one skeptical studio. According to MacMahon and McGourty, all the major studios except Song Pictures Classics passed on Becoming Led Zeppelin. That’s more than a bit surprising given the legendary band’s cross-generational popularity and the fact that the directors scored extensive interviews with the band’s elusive surviving members. But it’s fitting, too – it wouldn’t be the first time Led Zeppelin faced indifferent (or outright hostile) critics and proved them wrong.
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While Zep’s career spans nine albums and 12 years, effectively ending when drummer John Bonham died in 1980, this film focuses on the band’s early days, using interviews, rare archival footage and an unbeatable soundtrack (just try to resist headbanging in the theater) to tell the story of how four British boys from divergent backgrounds created an alchemic mixture of blues, hard rock, R&B and folk that changed the way rock bands played, recorded and toured.
Billboard sat down with co-directors MacMahon and McGourty to learn how they locked in interviews with Page, Robert Plant and John Paul Jones, why the film stops after Led Zeppelin II and how some of the band’s contemporaries reacted to screenings of the movie.
You both worked together on American Epic, a wildly impressive and comprehensive 2017 documentary about the first recordings of blues, country and folk music in the United States. Did that help you land the surviving members of Led Zeppelin for this documentary? That series is very much their kind of music. Bernard MacMahon: It’s the fundamental reason why this film exists. Allison McGourty: There wouldn’t be Becoming Led Zeppelin without American Epic. MacMahon: Allison had this idea to do American Epic and tell the story of the first blues, gospel, country and Cajun records made in America and the 1920s and ‘30s. So she got a filmmaker friend of hers, Geoff Wonfor, who had done The Beatles Anthology films, to meet with me to persuade me this was a good idea for a movie. We made it under Allison’s leadership, and afterward, I came to her and said, “You know what would be a great follow-up film? When I was 12 years old, I read this little paperback book about Led Zeppelin. It’s long out of print, it was published in the ‘70s, and it’s the early story and it contains all this information that has been lost. It’s not part of the Led Zeppelin lexicon, it’s been replaced by all these tabloid books in the ‘80s written by a bloke who went on tour with them for a week.” This book was by a guy, Howard Mylett, who really had access to them. I read it when I was 12 and I found it inspirational, these four kids from different parts of Britain trying to make their way in music. McGourty: That was unusual. Two were from London, two were from the West Midlands. Normally that would never happen: The Rolling Stones were all from London, the Beatles were all from Liverpool. It’s hard for people from the West Midlands to break into the music scene so it was a bit of a miracle they got together at all. And their own back stories are entirely different. Jimmy Page had the support of his mom; John Paul Jones came from a showbiz family, his mom and dad were vaudeville performances; John Bonham, his parents didn’t mind what he did as long as he looked after his family; and Robert Plant got thrown out because he wouldn’t become an accountant. He became homeless. The part of the film where he talks about being homeless is pretty emotional. And then of course when they did get together, it was still an uphill battle. MacMahon: Peter Grant couldn’t get them a record deal in the U.K. No one got [their music]. People wouldn’t book the band. They had to go to America and did it on their own terms. Vanilla Fudge were the only group that took them under their wing and supported them. How did you manage to land Page, Plant and Jones for sit-down, on-camera interviews about Led Zeppelin? That’s rare.MacMahon: We had done months and months of preparations, including tracking down every interview of John Bonham. A couple people who knew what we were doing said we were absolutely mad (since the band) had said no to every film. But we believed and carried on doing the work. This is a message to the readers: work hard and follow your dreams. There’s nothing special about me – I’m not Francis Ford Coppola’s son, I’m not sitting with a pile of Academy Awards, but we did do this movie, American Epic, that we worked really hard on for 10 years, and we did not take short cuts. That meant when we got to (the band) and they happened to have seen (American Epic), they knew there were no short cuts in that movie — no stone was unturned — and they thought, “Well, they’re gonna apply that to us.” Which we did. It was a five-hour meeting with John Paul Jones, something similar with Robert Plant and Pat Bonham and a seven-hour meeting with Jimmy Page. There’s a lot of stuff about their pre-Zeppelin days in the film that I bet a lot of fans didn’t know. MacMahon: I remember, I said to (Page), “This is the point where you see Robert singing for the first time.” He goes, “What was the name of the group?” “Obs-Tweedle.” He was testing you?MacMahon: Yeah! When we got to the end he said, “This is a great film and we’d be honored to have you make it.” He gave us artistic freedom. They let us make the movie, they did not edit the film. That never happens. (With most) successful groups, they control everything. McGourty: They did come in with additional photographs and recordings that had never been released before. MacMahon: Stuff we’d never seen before. After intending to never do it, when they did agree to do it — and we were honored — they turned up full throttle, in the way Led Zeppelin does on stage. They came with bags of stuff. They came intending to be candid and honest. It’s so emotional watching them is because the additional material made it more emotional. When John Paul Jones is talking about this priest who said, “You can be organist and choir master” to him at 14 years old, I’d been showing him pictures of that church. That church was bulldozed two years after he was there. It’s completely lost to time. So he’s looking at this and remembering this wonderful guy, so the emotions are fresh. You talk about how Led Zeppelin owned the recordings of their first album in the film. They were pretty savvy about their publishing as well. Was there anything about the band’s business strategies, or Grant’s business practices, that you learned in the interviews that didn’t make the film? MacMahon: I wanted to make a film that when I was 13, I would have seen in my local cinema and would want to watch three or four times. What we put in the film was what we thought was useful if you’re a kid starting out. There’s a point where you stop with the minutiae and go, “Maybe for a later day.” What we wanted to get across with big brushstrokes emotionally that would resonate with a kid was that these guys never sat on their hands. Whether they were struggling like Robert Plant and John Bonham in the Midlands, or part of the session music scene like Jimmy and Jonesy were, they were studying every single thing. Jimmy was coming in to do a session and he’s leaning over to see what the engineer is doing, as well as playing his part. And Robert was trying everything. Before Led Zeppelin he was singing with Alexis Korner, the father of the British blues scene. They were putting themselves out there and trying everything. And that’s the message. All the things (people are) being told they need to do now: TikTok, Instagram, you don’t need all that stuff. You just need two or three of you, and ideally as broad of tastes as possible to make it as colorful as possible, and then follow what your gut is telling you to do. But you gotta be out there and you gotta work and you gotta be studying. Let your response with the audience – even if it’s 10 people, then 15 people – inform what you’re doing. But don’t let those people tell you what to do. And that’s the message we as filmmakers found when we were getting to the rough cut. We brought it to every studio and every major studio apart from Sony Pictures Classics was like, “No one will ever watch this movie. Nobody will watch full Led Zeppelin songs in a cinema.”McGourty: Someone told us we wouldn’t get four dollars for this film. We carried on anyway. It paralleled (the story in the film). MacMahon: The Led Zeppelin story was a lesson to us as we were making this film. The film doesn’t get into any of the more salacious rumors about the band. Was that part of the feedback from studios — they wanted more scandal in the film? MacMahon: Some of that, yeah. They thought people would only sit and watch films about debauchery. McGourty: Led Zeppelin became the biggest band in the world because of their music. That’s what people love and what fans want to hear. MacMahon: This film allows you to hear the music in the purest way possible. This (movie features) the original lacquer cut done by Bob Ludwig in ’69. It’s a journey in sound — the exact sound it was meant to have. There’s no compression in the audio on this film. This is huge high peaks and troughs. It’s dynamics, which is what Led Zeppelin traded in. And that’s why audiences are responding to it – they’re getting the pure, high-quality stuff with no compression, no butchering. Were there any archival bits that were painful to cut?MacMahon: Nothing. McGourty: Peter Grant, if he caught someone filming at their gig, he would rip out the film, smash the camera, physically eject them. And they were not doing media. We’ve got every fragment known to exist. MacMahon: I just found out that some clip was (recently) discovered, but fortunately it was a song we already have a mind-boggling performance of in full-color and that (new one) was in black and white. The Beatles did insane amounts of publicity all the time, so there’s an endless supply of photo sessions and TV interviews. Zeppelin is the exact opposite. There’s so little. McGourty: In a way it made the film harder, since you have very little footage to work with, but it forced us to be creative. We’re very inspired by films of the Golden Era, Singin’ in the Rain, Frank Capra. We used lots of techniques from old movies like montage work. You see newspapers, contracts, tickets – we had over 6,000 artifacts digitized. (Everything you see in the film) is the real thing. MacMahon: We screened it for Bob Weir and Taj Mahal, who were kings of the counterculture in the Bay Area. They were there when Zeppelin broke through. Weir went over to me at the end of the film and said, “You know, this is game-changing stuff. Every kid should watch this to see this is what their grandparents did and how they did it. You know what I was thinking as I watched these guys? They reminded me of the John Coltrane trio with a singer. Or Pharoah Sanders with a singer.” That from Bob Weir, that tells you the level of musicianship he’s seeing. Taj Mahal saw it and said – McGourty: “That film re-arranged my molecules.”MacMahon: A guy who has been aware of this group for 55 years has his opinion expanded and changed from his preconceptions of the group.The film concludes after their second album, which I think is wise, as it allows you to really dig into their origin story instead of feeling beholden to tell the whole tale. Was that always the intention when you started this project?MacMahon: Yeah. In the story of Led Zeppelin, as in the story of anything that’s a great achievement, there’s a moment where you come from childhood with nothing, and you land on the moon or climb Everest. This is where the film ends – they’ve landed on the moon, they’re the biggest band on the planet and they finally have recognition in their home country. That is absolutely the conclusion of a two-hour cinematic film.

On the heels of his first book, Dark Days: A Memoir, in 2015, Lamb of God frontman Randall Blythe did not want to follow it up with another non-fiction book. But he was counseled otherwise.
“I was like, ‘Oh, I never want to write non-fiction ever again,’” Blythe tells Billboard via Zoom from his home in Richmond, Va. “But my literary agent was like, ‘No, you need to write another non-fiction book to prove to publishers that you’re not just a one-trick pony, contingent on this very kind of bizarre and unfortunate story.’ And I was like, ‘OK, he’s the literary agent, so I’m gonna follow his advice.’ But I didn’t really know what I wanted to write about. This book was more difficult to write than my first one.”
Dark Days focused on Blythe’s legal battles in the Czech Republic, where he was arrested in 2012 and hit with manslaughter charges over the death of a fan at a 2010 Lamb of God show in Prague; he was acquitted in 2013. “(Dark Days) had a classic three-act narrative structure provided by that unfortunate even in my life. This one it was more, ‘Here’s an idea. Let’s see what happens.’ So it was a different experience.”
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In Just Beyond the Light: Making Peace With the Wars Inside Our Head (Grand Central) — which published Tuesday (Feb. 18) – Blythe offers a series of essays about what Blythe calls “perspective” on mortality, sobriety, creativity, mental health, the environment and other issues. “I knew I wanted to write about death. I knew I wanted to write about surfing — that’s another thing that has broadened my perspective in life and really made my life better,” Blythe says. “So death and surfing, which I thought would be a good book title. And I just kinda went from there.”
Just Beyond the Light begins with a chapter devoted to Blythe’s relationship with Wayne Ford, a Lamb of God fan dealing with terminal leukemia who passed away at 33.
“The ultimate fear of every human is our mortality, really,” Blythe explains. “I befriended (Ford) during the last month or two of his life, and the way he handed his mortality was extremely…I hate to use the word inspiring, but it was. I had this honest, open sort of relationship with him when we were talking, and to see this young man handle it with such grace and dignity, it really altered my perspective.
“I’m almost 54 years old now. Mortality is staring me more and more in the face, and it’s something I think about a lot. And it doesn’t freak me out; I view it as something not to be afraid of because it’s going to happen to us all inevitably. But I knew I wanted to write about that.”
Mortality provides a thread throughout the Just Beyond the Light, as does discourses on sobriety, which Blythe achieved more than a decade ago. “I wouldn’t have these perspectives if I wasn’t sober now,” he notes. “I wouldn’t have any perspective, period, because I think I’d be dead by now — to bring it back to mortality. My drinking, it got in the way of everything because I bought into the sort of cultural mythos of the hard drinking, hard drugging, hard partying artist for awhile.
“I didn’t become an author until I got sober. I talked about being a writer. I did all the things that (Charles) Bukowski and (Ernest) Hemingway and Hunter S. Thompson did. I drank and partied and womanized, got in a few fights. I did all the things those great writers did — except writing. I was practicing to be a writer I suppose, but when I got sober I was able to become the writer I’m supposed to be.”
In other parts of Just Beyond the Light, Blythe uses a stay at the Chelsea Hotel in New York to ruminate on songwriting and other forms of creativity, while the chapter before laments the epidemic of school shootings in the United States and the lack of effective measures to prevent them. There are plenty of viewpoints in the book that may butt up against social and political sensibilities that have surfaced in the country during the past month, but Blythe (acknowledging that “I’m strapped in, it’s going to be a bumpy ride”) is ready to have those conversations when he begins a 15-date speaking tour to promote the book.
“I’m very much interested in conversations,” he says. “I think that is a problem within our culture now, that lack of dialogue. And for me, I think that dialogue can only effectively occur in a face-to-face setting, because I think that within the confines of the Internet there’s a tendency towards tribalization…and to view others almost as less than human. It’s us and them, and our common humanity is lost and people are just typing slogans at each other — from both the left and the right, as far as I can tell. There’s no discourse, and that’s extremely distressing to me.”
Those appearances will be anything but rote, Blythe promises.
“I’m not gonna be reading; they could just stay home and do that,” he says. “I’m gonna get up there and tell stories from outside the book. I want all the stories to service the main theme of the book, which is perspective. I’ve never done it before, so it’s gonna be an interesting experiment for me. We’ll see what happens.”
Beyond the book, Blythe says Lamb of God — marking its 30th year since he joined the band, then known as Burn the Priest, and independently released its first demo tape — is headed for a “light” year after heavy touring in the wake of 2022’s Omens album. Guitarist Mark Morton also wrote a memoir, Desolation: A Heavy Metal Memoir, for which Blythe provided assistance as well as a cover photo. (“His book is more of a Lamb of God retrospective,” Blythe says, “which I think is cool ’cause I don’t want to write that. I’m glad he did the heavy lifting.”) Blythe also made guest appearances on recent albums by P.O.D. and Lacuna Coil.
The band, meanwhile, will be playing festivals — Inkcarceration in Ohio and Louder Than Life in Kentucky — but Blythe and company are most excited about being on the bill for the Back To The Beginning on July 5 in Birmingham, England, where Ozzy Osbourne and the original lineup of Black Sabbath will play its final show supported by a who’s who of heavy metal and hard rock acts.
“It’s an incredible honor to be asked to do this,” says Blythe, adding that Lamb of God will be performing one of its own songs and one Black Sabbath song, which is already chosen, though he won’t reveal what it is. “Black Sabbath was the first metal band, and we are going to their home town, which is the birthplace of heavy metal, to give them the best send-off we can. And it’s awesome it’s going to charity. I think all the bands are pretty emotional about it. All of us have Black Sabbath’s DNA in our music. They are the tree from which we have all fallen. And this is the last one; Ozzy has Parkinson’s, so it’s not like the endless Kiss farewell tour. This is it. So we want to go and give them the best send-off as possible and just show respect and thank them.”
Just Beyonce The Light
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The dates for Blythe’s book tour supporting Just Beyond the Light include:Feb. 19 – Philadelphia, Pa, Underground ArtsFeb. 21 – Harrisonburg, Va., The Golden PonyFeb. 23 – Somerville, Mass., Arts at the ArmoryFeb. 25 – Montreal, Quebec, Théâtre FairmountFeb. 26 – Toronto, Ontario, Red Room at The Concert HallFeb. 28 – Lansing, Mich., Grewal Hall at 224March 01 – Joliet, Ill., The ForgeMarch 03 – Nashville, Tenn., The Basement EastMarch 04 – Dallas, Texas Granada TheaterMarch 05 – Austin, Texas, ParishMarch 07 – Denver, Colo., Meow WolfMarch 09 – Seattle, Wash., El CorazonMarch 12 – San Francisco, Calif., The IndependentMarch 13 – Los Angeles, Calif., El Rey TheatreMarch 14 – San Diego, Calif., House of Blues
Pantera’s latest stop on their European tour came with a legendary surprise when the metal heavyweights were joined on stage by none other than Iron Maiden’s Bruce Dickinson for a rendition of their 1992 classic “Walk.”
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The metal legends took over Adidas Arena in Paris on Feb. 15, treating fans to a career-spanning set. Before launching into “Walk,” frontman Phil Anselmo addressed the crowd, noting that Dickinson was in attendance. Midway through the track, the Iron Maiden vocalist stormed the stage, mic in hand, to sing the song’s iconic chorus alongside Anselmo. The Pantera frontman even bowed in front of Dickinson in a moment of mutual metal respect.
Fan-shot footage of the moment quickly made waves online, with fans praising the crossover between two of metal’s most influential ac
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The surprise guest appearance came just days before Pantera kicks off their first U.K. and Ireland headlining tour in 20 years, with shows in Glasgow (Feb. 18), Leeds (Feb. 19), Dublin (Feb. 21), Birmingham (Feb. 23), and London (Feb. 25). The band will also return to the U.K. this July, supporting Black Sabbath at their final reunion show alongside Metallica, Slayer, Gojira, and Mastodon.
Pantera’s reunion tour, featuring core members Anselmo and bassist Rex Brown alongside Zakk Wylde and Charlie Benante filling in for the late Dimebag Darrell and Vinnie Paul, has been a point of both celebration and controversy. While the tour has been met with strong demand, the band faced backlash in 2023 over Anselmo’s past actions, leading to festival cancellations in Germany and Austria.
Despite the controversy, Pantera has continued to sell out major venues across the globe, and Dickinson’s unexpected cameo only added to the excitement surrounding their current run.
Beyond their dominance on the live stage, Pantera’s legacy is solidified in the charts. The band made history in 1994 when Far Beyond Driven debuted at No. 1 on the Billboard 200, making it the first extreme metal album to ever claim the top spot. The record, fueled by tracks like “I’m Broken” and “5 Minutes Alone,” marked a turning point for metal’s mainstream acceptance.
Their follow-up albums continued their chart success, with The Great Southern Trendkill (No. 4, 1996) and Reinventing the Steel (No. 4, 2000) reinforcing their standing in heavy music. Meanwhile, their seminal 1992 release Vulgar Display of Power—featuring classics like “Walk” and “Mouth for War”—remains a defining album of the genre, certified double platinum by the RIAA.

You know how it is when you’re lost in the riff, head banging so hard that you unleash a torrent of embarrassing white flakes. No, not that kind. That’s the dilemma facing Saturday Night Live cast mates Bowen Yang and Sarah Sherman in a new CeraVe shampoo ad in which they portray the lead singers […]

You may not always be able to sing them at work in full voice, but over the past half century Saturday Night Live has given us some of the most hilarious, surprisingly tuneful (and often NSFW) musical shorts and original comedy tunes in TV history.
From second season cast member Bill Murray’s smarmy Nick the Lounge Singer’s groovy original Star Wars theme song to Eddie Murphy’s dead-on impersonation of soul legend James Brown and Adam Sandler’s seasonal classic “Hanukkah Song” and howling Opera Man bits, the sketches work because — as former cast member Maya Rudolph said in one of the recent anniversary specials — “when you can really sing, that’s when you’re the funniest.”
Plus, when you really, really love the music you’re spoofing, it shows, as in the legendary “More Cowbell” sketch and, of course, Justin Timberlake and Andy Samberg’s ribbon-rung new jack surprise, “D–k in a Box.” Whether they’re parody songs, topical tunes or just left-field jams about crypto currency or airport sushi, the show has always found a way to balance earworm singability with LOL lyrics.
In the recent Questlove-directed Ladies & Gentleman… 50 Years of SNL Music primetime special, Rudolph — an accomplished vocalist herself, and daughter of legendary soul singer Minnie Riperton — explained that Murphy’s eerily spot-on version of Stevie Wonder was so perfectly funny, “not because he’s dressed as Stevie Wonder… it’s funny because he’s pulling off the musicality of Stevie Wonder.”
Parody songs and original musical bits have been a part of the show’s fabric since the Not-Ready-For-Primetime-Players debuted on Oct. 11, 1975 with a cast including future legends Chevy Chase, Laraine Newman, Dan Akroyd, John Belushi, Jane Curtin, Garrett Morris, Gilda Radner and others. But the volume, quality and virality of the show’s for-laughs songs have rocketed to new heights over the past 20 years thanks to a string of stone cold killer tunes from the Samberg-led writing/producing trio The Lonely Island.
Their roster of must-pass-around bits are among the modern era’s most beloved, including such chart-worthy ditties as “Lazy Sunday” — the first SNL digital short to blow up on a then-nascent YouTube — to “Motherlover,” “Jizz in My Pants,” “I’m on a Boat” and “I Just Had Sex.”
The trio’s golden ear for musical comedy gold has continued to keep SNL buzzing in our ears as recent casts have added in such modern marvels as “Murder Show,” “Yolo” and “This is Not a Feminist Song,” as well as former writer and frequent guest host John Mulaney’s bonkers off-Broadway-worthy musical extravaganzas. And if you missed A Complete Unknown star Timothée Chalamet’s 2020 ode to his favorite miniature mount, “Tiny Horse,” the first time — saddle up, it’s a whole ride.
Though the list of our favorites is way longer — and you won’t find any of Belushi’s iconic Blues Brothers bits here, because they featured covers of classic blues songs, not originals — here are our 50 favorite SNL original songs/musical shorts ever, as we prepare for the all-star prime-time SNL 50 special on NBC airing this Sunday (Feb. 16).
“Hotline Bling Parody”

Sum 41 singer Deryck Whibley offered up his sincerest apologies to the pop punk band’s Australian fans in a video posted this week after the group were unable to play what were slated to be the final-ever shows Down Under in December due to his illness. “This is the part that I hate… The fact […]

Kendrick Lamar hid a bunch of Easter eggs in his historic Super Bowl LIX halftime show. But there’s one little nod you may have missed, but Paramore‘s Hayley Williams sure didn’t. The rocker slipped into the comments on the Instagram feed of Good Dye Young earlier this week to jump for joy after see that […]
Oasis frontman Liam Gallagher has made his stance on the Rock and Roll Hall of Fame crystal clear following the band’s latest nomination, calling the institution “for wankers” in a blunt social media post.
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The Britpop icon reacted to the news after Oasis was named among the 2025 nominees, joining a list that includes New Order, Cyndi Lauper, The White Stripes, Mariah Carey, Bad Company, Chubby Checker, Outkast, Maná and the late Joe Cocker.
“RNR hall of fame is for WANKERS,” Gallagher posted on X under a flyer of the list of nominees on Feb. 12. He didn’t hold back when responding to a fan who asked what he’d do if Oasis were inducted, cheekily replying, “Obv go and say it’s the best thing EVER.”
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This isn’t the first time Gallagher has taken aim at the Rock and Roll Hall of Fame. When Oasis was nominated last year, he dismissed it entirely, writing, “F*** the Rock n Roll hall of fame its full of BUMBACLARTS LG.” He also told fans not to “waste your time” voting, calling the whole process “a load of bollox.”
Gallagher doubled down in a 2024 interview, scoffing at the Hall of Fame’s inclusions. “As much as I love Mariah Carey and all that, I want to say: do me a favour and f*** off,” he told The Sunday Times. “It’s like putting me in the rap hall of fame, and I don’t want to be part of anything that mentally disturbed. Besides, I’ve done more for rock n’ roll than half of them clowns on that board.”
Like The White Stripes, Oasis seemed like a strong contender upon its first nomination in 2024 but didn’t make the cut. This time, their odds look better after announcing their highly anticipated reunion tour, which sparked near-Taylor/Beyoncé-level demand.
With the possibility of their first new music in over 15 years, Oasis stands out as one of the most likely inductees in the 2025 class—if Gallagher is willing to accept the honor.
Gallagher also recently found himself at the center of controversy surrounding Oasis’ reunion shows after Ticketmaster’s decision to cancel thousands of resold tickets.
On Monday (Feb. 10), Billboard reported that fans had indeed begun to see their tickets being cancelled, with Ticketmaster getting in touch with some ticket holders to inform them that their tickets have been refunded. Ticketmaster’s message to these ticket holders claimed that “it has been identified that bots were used to make this purchase,” meaning they “violate the tour’s terms and conditions.”
With some fans venting their anger on social media, one X user named Karen Kelly reached out to Gallagher, asking “Liam what do you think of the ticket situation? Thinking fans are bots and getting their money returned?”
The rocker was less than sympathetic when asked about the situation, writing, “I don’t make the rules. We’re trying to do the right thing. It is what it is, I’m the singer. Get off my case.”
Oasis’ Rock Hall nomination comes as anticipation builds for their reunion tour, which marks the first time Liam and Noel Gallagher will share a stage in over a decade.