Rock
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Billy Joel and Stevie Nicks are hitting the road next year for a very special concert series. On Wednesday (Nov. 2), the Piano Man took to Instagram to share that he and the Fleetwood Mac singer will be joining forces for a “one night only” event that turned out will be a little more than a single evening.
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“Two Icons – One Night Only, Billy Joel & @stevienicks, live at @attstadium on Saturday, April 8! Tickets go on-sale Friday, Nov. 11 at 10AM local time,” the “Uptown Girl” singer shared, along with a poster for the event to be held in Arlington.
Joel rolled out two more dates on his page on Thursday, revealing that Los Angeles and Nashville will also be getting concert dates on March 10 and May 19, respectively. Per Joel’s posts, tickets for the events will go on sale on Friday, Nov. 11, through Live Nation.
The “Rhiannon” singer also shared the news on Instagram Wednesday. “Excited to hit the road with the amazing @billyjoel in 2023,” she captioned her post. But, she also teased, potentially hinting at additional shows: “More soon!”
Fans in Joel’s posts expressed their excitement at his and Nicks’ joint venture, and begged for their cities to be added to the list, with one commenting, “ok now do this but in new york.” Requests from Pennsylvania, Illinois, Indiana and Mexico also rounded out the list.
See Billy Joel and Stevie Nicks’ posts below.
RIP, good boy. Travis Barker mourned the death of his family’s dog Blue on social media Wednesday (Nov. 3).
“I’ll miss you Blue,” the Blink-182 rocker wrote in a heartbreaking Instagram Story of the French bulldog. “You were the best dog. I was always waiting for you to say something. Love you 4ever boy.”
He also tagged daughter Alabama Barker in the video, who posted her own heartfelt tribute to the pup on her Instagram account, even changing her bio to read “Forever blue.” “I love you blue,” she wrote, “you will never understand how much you helped me on my darkest days, you slept next to me, the way I would throw your ball and you would run with excitement, or the eyes you had that just touched everybody, I’ll never forget you my baby, I know you’ll have the most amazing time up in doggy heaven, until we meet again my love.”
Prior to Blue’s passing, the elder Barker’s social media as of late had consisted mainly of posts with wife Kourtney Kardashian, including a trio of snaps of the reality star posing in the bathtub while her hubby fawned over her “angel feet.”
In October, the drummer and Mark Hoppus reunited with their Blink-182 bandmate Tom DeLonge to drop “Edging,” their first new single together since 2014. The rock band will also embark on an international tour starting in March with stops headlining Lollapalooza Chile, Brazil and Argentina, as well as When We Were Young 2023.
Watch Barker and his daughter’s tributes to Blue here and here before they expire.
Britt Daniel was well into his thirties when he first got into dub music. In 2006, as his band Spoon was working on their sixth album — and eventual commercial peak — Ga Ga Ga Ga Ga, producer Mike McCarthy told Daniel to check out a new compilation, King Tubby’s In Fine Style, by the Jamaican sound engineer and dub pioneer King Tubby.
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“That record really had a big impact on the sound of Ga Ga Ga Ga Ga,” the 51-year-old Spoon frontman tells Billboard. “Which is not a dub record. But there are trippy little dub elements all throughout it.”
For instance, “Finer Feelings” opens with a prominent sample from reggae singer Mikey Dread — which Daniel remembers clearing with Dread himself. “He was a real character. Very friendly to me, but at the same time, he seemed to hate lawyers,” Daniel says. “I was like, ‘Yeah, I know you want to do it, but we do have to have something on paper.’ And if it came from the lawyer, he would just say, ‘No, no, no. This isn’t right.’”
In the years since, Spoon fans could be forgiven for not sensing much dub influence in the band’s famously exacting indie-rock hooks. Now, though, comes a fully fledged fusion: on Friday (Nov. 4), the Austin band will release Lucifer on the Moon, their first remix album, which is a song-by-song deconstruction of Spoon’s recent album Lucifer on the Sofa by Adrian Sherwood, the English dub producer and founder of On-U Sound Records. Sherwood turns tightly chiseled rockers like “On the Radio” and “The Hardest Cut” inside out, reimagining them with rattling rhythms, wobbly bass sounds and disorienting waves of vocal echo.
The idea grew out of a routine request from Spoon’s label, Matador, for bonus material from the band, such as B-sides or remixes. Daniel felt bored with cookie-cutter digital reworking. “I wanted to find someone who could do things in a less computer-y and more… musical way?” Daniel explains. “Adrian seemed like the right guy for that.”
He sent Sherwood the album and invited him to remix a few songs. Daniel gave him just a few instructions: “Avoid things that wouldn’t be possible on tape. Add whatever you want to add. Don’t make it computer-y. And the less modern, the better.”
A week later, the Spoon frontman received Sherwood’s dub-inspired remixes of “The Devil & Mister Jones” and “Astral Jacket.” He was blown away. “I was driving around in my car, listening to those mixes over and over again that night. I was very psyched,” Daniel said. “Next we said, ‘Well, maybe we should do one or two more.’ Then we got those done. And then we said, ‘Well, maybe we should do one or two more.’”
Pretty soon, Sherwood had remixed the entire record. Spoon decided to release it as a standalone companion piece to Lucifer on the Sofa, available digitally and on vinyl this week (and on CD in Japan).
If Spoon has a surprising kinship with dub, it derives from the fact that the band has long placed an emphasis on groove and empty space, epitomized in indelible tunes like “I Turn My Camera On” and “Stay Don’t Go.”
“When we started out, it wasn’t like that. A thing that would hit you over the head with our records was distorted rhythm guitar,” Daniel says. “At some point, around the Girls Can Tell era [in 2001], we started realizing that less could mean a lot more. When you get rid of that element, then a lot of what you’re focused on is the bass and drums. It makes the tracks feel more open. Around that time, people started to say we were minimalists.”
For Spoon, Lucifer on the Moon culminates a triumphant year of renewal and reinvigoration. After releasing Lucifer on the Sofa in February, the band spent a big chunk of 2022 on the road, touring both with labelmates Interpol and on their own headlining tour. Those runs have gone well, though Daniel concedes that it is not an easy time to be a mid-level touring band.
“It has been a much harder year to turn a profit,” the singer says. “We had like a week’s worth of shows in the middle of this tour that had to get postponed because a couple of us got COVID. We tacked them onto the end of the tour. But basically all that meant was, we were still paying for all of the crew, all of the busing, all of our trucking, everything for an additional week, but with the same amount of income. That made it a lot less profitable. It was almost unprofitable.”
Is it still worth it? “Yeah, it’s worth it. I have a good time,” Daniel says. “I guess we’re gonna have to assess how things go. Even on the tours where we didn’t have to postpone, the cost of busing is up two or three times what it was when we were touring last September. That takes a huge chunk. So that’s why, when I see Animal Collective canceling a tour, I’m not surprised. Things have just really gone nutty.”
Spoon’s future plans are uncertain. In March, Daniel made fans nervous when he admitted he wasn’t sure there would be another Spoon record after Lucifer. Asked to clarify, Daniel says, “Should we do another one? We will see. I don’t know what’s next. I haven’t figured that part out yet. We basically just finished touring.”
For years, Spoon has been held up by fans and critics as a paragon of indie-rock consistency. It’s hard not to wonder if they ever feel the urge to enter their ‘80s-Neil-Young phase and make a tossed-off record just for fun.
“Maybe we should do that,” Daniel laughs. “I do remember when [2010’s] Transference came out, a lot of people did not like that record, especially coming after Ga Ga Ga Ga Ga, which had some of our biggest, most commercial, universal songs. And then we came out with this record that was very much an ugly record. I think it’s a great record. But there were a lot of people that didn’t like it. Mostly did not get amazing reviews. We’ve done a record that people said was us falling off. And yet the word ‘consistent’ gets thrown about.”
Asked if he feels inclined to give any of Spoon’s prior albums the remix treatment, Daniel quickly points to the band’s 1996 debut, Telephono. “Not in terms of, like, a dub remix. I’d just been thinking of it in terms of, ‘Wow, I know we could make this sound so much better.’”
It’s the only Spoon album Daniel feels unsatisfied with. “It doesn’t feel as much like us,” he admits. “It’s like I almost don’t recognize the person who wrote those songs. Even when you get to [1998’s] A Series of Sneaks, that sounds more like us. And then Girls Can Tell really sounds like us. And then we settled in.”
I Prevail hits No. 1 on Billboard‘s Mainstream Rock Airplay chart for the second time, as “Bad Things” tops the Nov. 5-dated survey.
The song follows the two-week ruler “Hurricane,” the Michigan band’s first leader, in March 2020.
In between “Hurricane” and “Bad,” the band notched an additional Mainstream Rock Airplay entry, the Delaney Jane-featuring “Every Time You Leave,” which reached No. 3 in November 2020.
I Prevail first hit Mainstream Rock Airplay in 2015 with its amped-up cover of Taylor Swift‘s “Blank Space,” and boasts five top 10s to date.
Concurrently, “Bad” lifts 11-10 on the all-rock-format, audience-based Rock & Alternative Airplay chart with 2.3 million audience impressions, up 6%, according to Luminate. It’s the band’s first top 10, having exceeded the No. 13 peak of “Hurricane.” In addition to its mainstream rock radio support, the song is receiving airplay on select alternative stations.
“Bad” also jumps 10-7 on the multi-metric Hot Hard Rock Songs list, after reaching No. 5 in September. Along with its radio airplay, the song earned 818,000 official U.S. streams in the Oct. 21-27 tracking week.
True Power, from which “Bad” is the lead single, debuted at No. 3 on Billboard‘s Top Hard Rock Albums chart dated Sept. 3 and has earned 53,000 equivalent album units since its release.
Maroon 5 has “one more” accomplishment to add to its list of accolades. On Wednesday (Nov. 2), YouTube announced that the pop rock band’s video for “One More Night” has entered the Billion Views Club.
The video sees lead singer Adam Levine split between two scenes — one of him training at a boxing facility that later leads to him facing against an opponent for a match, and another of him juggling family life with a partner and their young baby girl. After emerging triumphant, Levine comes home to find his home empty save for a few family photos and a trophy — his partner and daughter nowhere to be found.
According to YouTube, “One More Night” is the band’s third video to reach the billion views mark. “Sugar” and “Girls Like You” are the other two visuals.
Maroon 5, in a collaborative Instagram post with Universal Music Enterprises, shared its excitement at the new milestone. “One More Night” hit 1 BILLION views on YouTube in ten years!! Third @maroon5 track to reach this milestone, we can’t believe it,” both accounts captioned a behind-the-scenes video from “One More Night” of Levine in hair and makeup.
In addition to being Maroon 5’s third video to hit one billion views, “One More Night” was also the band’s third No. 1 hit on the Billboard Hot 100 after singles “Makes Me Wonder” (2007) and “Moves Like Jagger” featuring Christina Aguilera (2011). “One More Night” spent a total of 42 weeks on the Hot 100, with nine of those weeks in the No. 1 spot.
Revisit Maroon 5’s video for “One More Night” above, and check out the celebratory Instagram post below.
In just its third week on Billboard‘s Alternative Airplay chart, Blink-182‘s “Edging” is No. 1.
The song’s three-frame ascent to the top of the list dated Nov. 5 is the quickest of 2022, eclipsing the four-week trip of The Killers‘ “Boy.” It’s also the fastest rise since Twenty One Pilots‘ “Shy Away” made it in three weeks in May 2021.
In the last decade, just three songs have taken three weeks or fewer to hit No. 1 on Alternative Airplay, with “Edging” and “Shy” joined by twenty one pilots’ “Jumpsuit” and its two-week sprint in 2018.
Prior to “Jumpsuit,” the last such coronation belonged to Foo Fighters‘ “Rope,” at three weeks, in 2011.
“Edging” is Blink-182’s fourth No. 1 on Alternative Airplay and first since “Bored to Death” in 2016. The others are “I Miss You” in 2004 and “All the Small Things” in 1999, giving the band No. 1s in each of the last four decades. Green Day and Red Hot Chili Peppers are the only other acts with leaders in four distinct decades, also in the ’90s through the ’20s, dating to the chart’s 1988 inception.
In between “Bored” and “Edging,” Blink-182 – then featuring Matt Skiba on guitar and vocals as of “Bored,” whereas “Edging” marks the return of Tom DeLonge – charted five songs, paced by the No. 2-peaking “She’s Out of Her Mind” in 2017.
Concurrently, “Edging” leaps 22-14 on Mainstream Rock Airplay, marking the trio’s top-charting track since “Bored” reached No. 6.
On the all-rock-format, audience-based Rock & Alternative Airplay chart, “Edging” rules for a second week with 5.7 million audience impressions, up 5%, according to Luminate.
In addition to its radio airplay, the song earned 2.1 million official U.S. streams and sold 1,000 downloads in its second full week of availability.
“Edging” is currently a standalone single from Blink-182, whose last album, 2019’s Nine, debuted at No. 1 on Billboard‘s Top Rock & Alternative Albums chart.
Machine Gun Kelly is misunderstood and he knows it.
The “Papercuts” singer sat down with The Hollywood Reporter at the SCAD Savannah Film Festival, and while talking about his new movie Taurus, he clarified that unlike some believe, he never took a break from rap music in favor of his more pop-punk-leaning albums Tickets to My Downfall and Mainstream Sellout.
“I’m talented as f— and I added on to my catalog of four great rap albums. So what I did was I added on — never departed, left or switched. Because in the same year I was the most-viewed YouTube video putter-outer with all rap, which was my lockdown sessions, which gained more views than almost any of my other videos. And it was hundreds of millions of views of me rapping,” the 32-year-old explained.
MGK further explained that outlets often try to discredit his achievements in rap music and stated that he worked incredibly hard at writing his songs. “When you conveniently leave that out, that when quarantine happened and everyone was stuck in the house with no new entertainment, and I picked up my cell phone and put this thing on and wrote my a– off and rapped my a– off weekly … then you watch it and you’re like, ‘Damn, he’s actually saying some sh–.’ I was rapping,” he added. “And then later on we dropped a [Billboard 200] No. 1 album that was a pop-punk album. So when they say ‘departed’ or when they say, ‘Oh, man, you switched.’ Mother—-er, are you dumb?!”
Kelly further added that assumptions about his art often discourages him from doing interviews.
“I stopped doing interviews because I’m so sick of being asked questions that don’t make me think or that don’t make me feel. I’ve just sat there and heard this, ‘Oh, he departed, oh, he switched, oh, he’ — Do you know how long? How much that kills me every day? That if I died tomorrow, I know every single person would be like, ‘Legend, dude, this mother—-er did this and did this.’ And while I’m alive my flowers can’t be brought to me. … I don’t give a f— about actual money. I’ve never once in my life looked at my bank account. I could care less. I care about real human interaction. That’s the sh– to me.”
Taurus will be released Nov. 18. Listen to Machine Gun Kelly’s entire conversation with The Hollywood Reporter here.
Never change, James Hetfield. This Halloween, the Metallica frontman paid tribute to Stranger Things by dressing up as fan-favorite character Eddie Munson, whose performance of “Master of Puppets” in a season four episode sparked a renaissance for the band’s song earlier this year.
Hetfield debuted his 1980s-inspired outfit in an Instagram photo posted to Metallica’s official account, just a couple hours after Halloween ended. In the photo, the singer-guitarist does one of Eddie’s signature poses — two rock n’ roll hand-horns signs held to the top of his head, tongue sticking out — while dressed in a denim jacket, shaggy hair and a recreation of the “Hellfire Club” T-shirts worn by his group’s Dungeons & Dragons players in Stranger Things.
“Eddie Munson says Happy Halloween!” read the post’s caption.
Played by Game of Thrones actor Joseph Quinn, Eddie Munson captured the hearts of millions of Stranger Things fans when the character debuted this summer in the Netflix sci-fi series’ fourth chapter. One of his most beloved scenes came in the season’s finale, when Eddie whipped out his electric guitar and performed an epic cover of Metallica’s 1986 track “Master of Puppets” in an alternate dimension known on the show as the Upside Down, earning his long-awaited hero moment when the concert successfully distracted evil creatures from harming his friends.
After the episode premiered on Netflix in July, Metallica took to Instagram to praise Quinn and the show’s creators, The Duffer Brothers. “We were all stoked to see the final result and when we did we were totally blown away,” wrote the band, also comprised of Lars Ulrich, Kirk Hammett and Robert Trujillo. “It’s so extremely well done.”
Following the song’s use in the show, “Master of Puppets” appeared on the Billboard Hot 100 for the first time, 36 years after the song was originally released. It reached a peak at No. 35 and also experienced a surge on streaming services, with daily on-demand U.S. audio streams growing nearly 400% in a matter of days.
See James Hetfield’s Eddie Munson Halloween costume below:
D.H. Peligro, the drummer for influential punk band Dead Kennedys who also was a drummer for the Red Hot Chili Peppers for a short period of time, had died. He was 63.
The band confirmed the news of Peligro’s passing on their official social media accounts Saturday night (Oct. 29), noting that he died the day before in his Los Angeles home following an accidental fall.
“Dead Kennedys’ drummer D.H. Peligro (Darren Henley) passed away in his Los Angeles home yesterday, October 28th,” Dead Kennedys wrote in a statement on Instagram. “Police on the scene stated that he died from trauma to the head caused by an accidental fall. Arrangements are pending and will be announced in the coming days. We ask that you respect the family’s privacy during this difficult time. Thank you for your thoughts and words of comfort.”
“My dear friend, my brother I miss you so much,” Red Hot Chili Peppers’ Flea wrote on Instagram upon hearing of his death. Peligro had played with the band briefly, in 1988, and has three writing credits on RHCP’s Mother’s Milk album.
Flea’s tribute said: “I’m devastated today, a river of tears, but all my life I will treasure every second. The first time I saw you play with the DK’s in ‘81 you blew my mind. The power, the soul, the recklessness. You became my beloved friend, so many times of every kind. We had so much fun, so much joy, having each other’s backs. I love you with all my heart. You are the truest rocker, and a crucial part of rhcp history. D H P in the place to be, you live forever in our hearts, you wild man, you bringer of joy, you giant hearted man. I will always honor you. Rest In Peace and freedom from all that restrained you.”
Peligro, born Darren Henley in 1959, joined Dead Kennedys in 1981 and first appeared on the band’s In God We Trust, Inc. EP that year. The St. Louis native who moved to San Francisco recorded on the band’s pre-breakup studio albums Plastic Surgery Disasters (1982), Frankenchrist (1985) and Bedtime for Democracy (1986), plus the compilation album Give Me Convenience or Give Me Death (1987).
Dead Kennedys reunited (without original vocalist Jello Biafra) in 2001, with Peligro returning on drums alongside other original band members East Bay Ray and Klaus Flouride.
In a 2018 interview with LA Weekly, he spoke of the racism he faced touring in a punk rock band over the years. “You go down South, you go across the Midwest, then people were thinking that it was music for white people, or I was the janitor or security or something,” Peligro said. “You got to experience the racism firsthand, because everybody wasn’t as open-minded as they were in San Francisco. It’s a bit more open and accepted today, but there’s still pockets of people who want to use punk rock to create hate music. That angers me to no end.”
At the time, he said he was working on a script for a series based on his 2013 memoir, Dreadnaught: King of Afropunk. “It’s about all the stuff you don’t hear about from African-American punk rockers,” he told the publication.
BTS‘ Jin delivered the debut live performance of his new solo single “The Astronaut” alongside Coldplay at the band’s concert in Argentina on Friday (Oct. 28).
Big Hit Music recently confirmed on BTS’ Weverse page that the K-pop star would appear during Chris Martin and Co.’s Music of the Spheres tour stop at Buenos Aires’ River Plate stadium. Friday’s sold-out show, which arrived just hours after “The Astronaut” dropped on streaming services, was broadcast live across 3,5000 movie theaters in more than 80 countries.
Co-written by Jin and Coldplay, “The Astronaut” reveals the stadium-sized rock sound that the British band is known for as a perfect bed for Jin’s steady, soothing vocals. Prior to the single’s live debut, Coldplay’s Martin shared the story of the track’s origins with the roaring South American crowd.
“About six months ago, one of [BTS’] members called me up and he said, ‘I have to leave the band in December for two years to join the army in Korea, because that’s the rules there,” Martin said from behind his piano. “And he said, ‘I need a song that says goodbye to everybody for a little while, and tells them that I love them. …So I said, ‘Okay, we’ll do a song together.’ Instead of being worried about it, I feel so excited about it, so grateful for this relationship that we have with BTS. Then this song arrived and I was said, ‘This is one of our best songs — let’s give it to this gentleman.’”
BTS previously collaborated with Coldplay on the single “My Universe” for the latter’s 2021 album, Music of the Spheres. The track debuted atop the Billboard Hot 100, becoming the first Hot 100 No. 1 by two groups each sporting lead billing on a song.
Watch Jin’s performance of “The Astronaut” with Coldplay below.