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Duane Betts says that he’s been “holding up” since the death of his father, Allman Brothers Band guitarist Dickey Betts, on April 18 at the age of 80. And while he and Allman Betts Band partner Devon Allman — son of the late Allman Brothers leader Gregg Allman — don’t necessarily need more reason to pay tribute to their fathers’ musical legacy, Betts tells Billboard that there’s a different kind of charge in playing their songs now. 
“Now that he’s gone it changes it a little more,” acknowledges Betts, who was named after the late Duane Allman and played at times in his father’s post-Allman Brothers band, Great Southern. “I think the spirit is always with me, whether I’m playing those particular songs or I’m playing my own songs. He had kinda been in poor health for awhile, so I was already playing for him and getting a lot of inspiration (from) thinking about him and what his legacy means to me, personally. I love playing that music and really treasure it ’cause it’s precious. so it’s nice to play a few of their tunes and mix ’em with our originals I do with the Allman Betts Band or a Duane Betts show. 

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“And now that he’s moved on to the next level it’s kind of put the exclamation mark on that idea of showing love and appreciation for the music.”

Allman Betts has been mixing a variety of Allman Brothers Band tunes into its current spring tour, including selections such as “In Memory of Elizabeth Reed,” “Blue Sky,” “Jessica,” “Melissa,” “Midnight Rider,” “Dreams,” “Seven Turns” and “Sailin ‘Cross the Devil’s Sea,” as well as Allmans-popularized covers like Sonny Boy Williamson’s “One Way Out” and Blind Willie McTell’s “Statesboro Blues.”

“That’s been rotating; it depends on what night it is, what you’ll hear,” Betts explains. “Y’know, I play the way I play; when I’d ask my dad, ‘Do I sound too much like you?’ he would say, ‘Well, you like the same food as me. You walk like me. You cough like me. You look like me. So why are you trying to not be you? Just be you and don’t worry about it.’”

Allman Betts’ tour runs through June 9 and is the band’s first since the 2023 death of drummer R. Scott Bryan, which brought Roy Orbison’s youngest son Alex “Orbi” Orbison — who played in two previous bands with Betts — into the lineup. (The group also includes another Allman Brothers progeny, bassist Berry Duane Oakley.) Betts says the septet has made a conscious effort to dig deep into its two album catalog for this trek. 

“We’re really enjoying switching up the set list quite a bit and throwing different things in there we haven’t played in awhile, so it’s been really fun,” he notes. “We’ve done songs off our records we haven’t played in years, ’cause we haven’t really been on tour.”

Another Allman Betts Band album — a follow-up to 2020’s Bless Your Heart — is another matter, however. 

“We haven’t really gotten that far,” says Betts, who released a solo album, Wild & Precious Life, last July. “I think right now we’re just keeping it as this, a live thing. We’re really grateful to be out there on the road, and being all together again is really fun. We have a few more shows later in the summer, and we’re just having a great time on tour and not thinking about anything else yet.”

The band’s next date is a show Thursday night (May 30) at The Fillmore in Detroit; click here to see their summer tour schedule.

It’s refrain has become universal shorthand for keeping your eye on the prize. And now Survivor‘s legendary Rocky III pump-up anthem, “Eye of the Tiger,” has crossed the one billion views mark on YouTube.

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The video for the song that begins with a repetitive picked guitar part over cymbal crashes is quintessential early ’80s, mostly consisting of the band’s five members power walking down city streets looking focused and fierce. Their double-time stroll takes them through an industrial warehouse filled with plumbing and construction parts and up into a loft packed with what looks like mothballed movie props as beret- and leather-jacket-wearing vocalist Dave Bickler sings the iconic refrain: “It’s the eye of the tiger/ It’s the thrill of the fight/ Rising up to the challenge of our rival/ And the last known survivor stalks his prey in the night/ And he’s watching us all with the eye… of the tiger.”

The billion club entry represents the first one of the band’s videos to cross that high-water mark.

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In addition to serving as the theme song for the threequel, the propulsive track was also a single from the band’s third studio album of the same name. Founding guitarist Frankie Sullivan — who co-wrote the song with founding rhythm guitarist/keyboardist Jim Peterik — confirmed to Guitar Player magazine in an interview in March of this year that Survivor was not Stallone’s first choice.

As Sullivan recounted, Stallone used Queen’s “Another One Bites the Dust” in an early cut of the film, but was unable to keep it in the final version. “I actually saw it on the film at the studio when I was there with Sly,” Sullivan said, who added that the deal to use “Tiger” was set in motion during a meeting at Roa’s Hollywood Italian restaurant by the owners of Survivor’s label, Tony and Ben Scotti of Scotti Brothers Records.

“They were all good friends,” said Sullivan of the siblings and Stallone. “Tony was real smart, and he said to Sly, ‘I’ve got this band, maybe we could help each other.’ Tony asked Sly to call me, which he did. That dinner was probably the best thing that ever happened to my career.” After watching the film, Sullivan said it became a scramble to finish the track, with the music taking “about 10 minutes,” while the lyrics bubbled for three days. “We had 90 percent of them, but we couldn’t come up with a title,” the guitarist recalled.

While looking through the script he spotted a line where rival Apollo Creed (Carl Weathers) reminds Rocky that he used to have the eye of the tiger. “And that was our title,” Sullivan said.

Watch the “Eye of the Tiger” video below.

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Update: Outside Lands revealed its single-day lineup on Wednesday (May 29). The Killers, Daniel Caesar, JUNGLE, Gryffin, and Young The Giant will kick off Friday’s primetime performances. Saturday will feature Tyler, The Creator, The Postal Service, Grace Jones, Chris Lake, ScHoolboy Q and FLETCHER to Golden Gate Park and Sunday will close the weekend with Sturgill Simpson, KAYTRANADA, Teddy Swims, Victoria Monét, Chappell Roan, Slowdive, Killer Mike and more. Post Malone’s country set will also take place on Sunday. Check out the single-day lineup below.

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This summer’s Outside Lands Festival (Aug. 9-11) in San Francisco’s Golden Gate Park will feature headlining sets from Tyler, the Creator, The Killers and Sturgill Simpson, as well as a special country performance from Post Malone.

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Tickets for the 16th edition of the Another Planet Entertainment/Superfly production will go on sale on Wednesday (April 24). Other acts on this year’s lineup include: The Postal Service, Grace Jones, Kaytranada, Jungle, Snoh Aalegra, Gryffin, Young the Giant, Schoolboy Q, Chappell Roan, Reneé Rapp, Victoria Monét, The Last Dinner Party and others.

This year will mark the return of the Dolores Stage, an inclusive dance floor that celebrates the kinds of queer and trans communities that are part of the city’s fabric, with the full Dolores lineup slated to be announced soon. In addition, the SOMA stage will mark a return to the Marx Meadow, ditching the tent format for an extended, open air dance space spotlighting house and techno stars, including actor/DJ Idris Elba, Uncle Waffles, The Blessed Madonna and Shiba San b2b CID, among others.

The general public on sale will kick off on Wednesday at 10 a.m. PT on Outside Lands’ website, with options including three-day GA tickets ($465 plus fees), three-day GA+ ($715 plus fees) and three-day VIP ($1,075 plus fees), as well as three-day Golden Gate Club passes ($5,095 plus fees), as well as payment plan options for those who prefer installments.

As always, the festival will spotlight music as well as the best of the Bay Area’s culinary experiences in the Taste of the Bay Area, and Grass Lands, the first curated cannabis experience at a major American music festival.

Other acts on this year’s lineup include Teddy Swims, Slowdive, Killer Mike, TV Girl, Charley Crockett, Men I Trust, Ben Howard, Amyl and the Sniffers, Kevin Abstract, Romy, Badbadnotgood, Strfkr, Corinne Bailey Rae, Snakehips, Allen Stone and more.

Check out the full lineup poster below.

https://www.instagram.com/p/C6HJdeDLrFG/

Zayn returns to Billboard’s charts with his first album in more than three years, and with a shift in sonics, as his fourth LP, Room Under the Stairs, debuts at No. 3 on the Top Album Sales survey (dated June 1). It also opens at No. 4 on Top Rock Albums and No. 5 on both Top Rock & Alternative Albums and Americana/Folk Albums, marking his first foray onto those rankings.
On the all-genre Billboard 200, the album debuts at No. 15. Released May 17, it earned 29,000 equivalent album units, with 24,000 in album sales, in the U.S. in the week ending May 23, according to Luminate.

The set was largely produced by Dave Cobb, who previously produced albums by artists including Brandi Carlile, Jason Isbell and Chris Stapleton.

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“I was pretty much on my farm having a glass of whiskey and listening to a bit of Stapleton by the fire with my dog, playing guitar,” Zayn recently told Nylon of the album’s inspiration. “People are in search of a little bit more depth from the lyrics,” he mused. About Stapleton, he said, “He’s got class, right? He’s telling you a real grown man’s story. I was like, ‘This is cool. It’s something I can do.’ ”

The new collection is Zayn’s first on Mercury/Republic, after his first three pop-focused albums were issued by RCA. Nobody Is Listening hit No. 44 on the Billboard 200 in January 2021, Icarus Falls reached No. 61 in December 2018 and Mind of Mine, his first LP after leaving One Direction, soared in at No. 1 in April 2016.

Before Zayn went solo, One Direction released four LPs, all of which hit No. 1 on the Billboard 200 in 2012-14.

Billie Eilish crowns Billboard’s Top Rock & Alternative Albums and Top Rock & Alternative Songs charts dated June 1 with her new album, Hit Me Hard and Soft, and its lead single “Lunch.”
Hit Me Hard and Soft becomes Eilish’s first No. 1 on Top Rock & Alternative Albums, reigning as her first LP since the chart shifted in 2022 to include alternative-leaning titles outside the rock genre.

The set is also Eilish’s fourth leader on Top Alternative Albums, following Happier Than Ever (2021), When We All Fall Asleep, Where Do We Go? (2019) and Dont Smile at Me (2019, after it first appeared on the list in 2017).

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In the week ending May 23, Hit Me Hard and Soft, released May 17, earned 339,000 equivalent album units in the U.S. – Eilish’s best career week by that metric – according to Luminate. The sum includes 191,000 album sales and 146,000 streaming-equivalent units.

The 10-song collection is the first release to reach six digits in units on Top Rock & Alternative Albums since Dolly Parton’s Rockstar (128,000; Dec. 2, 2023) and the first on Top Alternative Albums since blink-182’s One More Time… (125,000; Nov. 4, 2023).

The 339,000-unit total is the highest for a title on Top Rock & Alternative Albums in a decade, since the 383,000 units amassed by Coldplay’s Ghost Stories (June 7, 2014; it’s the top count since Top Rock & Alternative Albums shifted to a consumption-based methodology in 2016).

On Top Alternative Albums, Hit Me Hard and Soft has the biggest week since the all-time leader: Taylor Swift’s Folklore (846,000; Aug. 8, 2020), with Eilish’s new LP the second-biggest in a single week since the 2016 shift to a consumption-based formula.

Concurrently, Hit Me Hard and Soft debuts at No. 2 on the all-genre Billboard 200 and crowns the Vinyl Albums chart, with 90,000 vinyl copies sold, as previously reported.

“Lunch,” the album’s lead single, bows at No. 1 on the Hot Rock & Alternative Songs and Hot Alternative Songs surveys. “Lunch” is Eilish’s fourth No. 1 on the former, which became inclusive of alternative-leaning songs not categorized within the rock genre in 2020, following commands for “What Was I Made For?” in 2023, “Happier Than Ever” in 2021 and “My Future” in 2020. Of those, “Happier Than Ever” also debuted at No. 1.

On Hot Alternative Songs, which began in 2020, “Lunch” is also Eilish’s fourth leader, likewise following “What Was I Made For?,” “Happier Than Ever” and “My Future.”

“Lunch” starts with 32.8 million official U.S. streams, 20.2 million radio audience impressions and 3,000 downloads sold May 17-23.

The entirety of Hit Me Hard and Soft’s 10-song tracklist reaches Hot Rock & Alternative Songs, with eight titles debuting in the top 10 and all 10 in the top 12. Only Zach Bryan, with nine of the top 10 on the Sept. 9, 2023, tally, has claimed more in the top 10 in a single frame.

The LP’s top-charting song after “Lunch” is “Chihiro,” which bows at No. 3 with 27.2 million streams and 1,000 sold.

“Lunch” concurrently debuts at No. 17 on Pop Airplay, No. 21 on Alternative Airplay and No. 24 on Adult Pop Airplay, as well as No. 26 on the all-format Radio Songs list.

The track also arrives at No. 1 on Alternative Streaming Songs, marking Eilish’s eighth leader since the ranking began in 2020. On the all-genre Streaming Songs chart, it starts at No. 5.

All Billboard charts dated June 1 will update on Billboard.com on Wednesday, May 29, a day later than usual due to the May 26 Memorial Day holiday in the U.S.

Ed Sheeran has basically been waiting his whole life for a moment like this. During the Offspring‘s set at this weekend’s BottleRock Festival in Napa Valley, Calif. on Sunday night Sheeran came out on stage to join the veteran Cali punks for blitz through “Million Miles Away” from their 2000 Conspiracy of One album. In […]

Elvis Presley is one of history’s most successful artists by Billboard Hot 100 standards, even if you don’t take into account the numerous hits he had before the chart’s inception in 1958. There’s a reason why they call him The King. In fact, with seven Hot 100 No. 1s and 25 top 10 smashes overall, […]

Coldplay had a special surprise in store for fans on Sunday (May 26) during their headlining set closing out BBC Radio 1’s Big Weekend Festival. While preparing to perform the Ghost Stories favorite “Magic,” singer Chris Martin alluded to the fact that his band has been a staple of the event for the past decade.
“We’ve been playing this, one Big Weekend since we were basically children,” Martin said. “And the reason we play one Big Weekend is because without Radio 1, we would never have kept our jobs.” Then, the singer self-deprecatingly introduced one of the festival’s other performers, Sabrina Carpenter, telling the crowd, “What we’d like to do, to say thank you to you for being so wonderful for the whole three days is bring on a singer who’s much younger, more beautiful, more successful, better in every way, and sing a song of ours that is okay but make it really good.”

With the crowd properly hyped, Martin added, “Welcome, from America, U.S.A., Sabrina Carpenter, let’s go!” Carpenter seemed as jazzed as the audience, responding, “Give it up for Coldplay! What the hell?”

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The band — who have frequently invited guest stars up to join them during the epic two-year Music of the Spheres road trip — leaned into the song’s spare intro, as Martin and Carpenter harmonized, “Call it magic/ Call it true/ I call it magic/ When I’m with you,” while a graphic of a man trapped inside a top hat struggling to hold on to a woman blowing away from him screened behind them.

It wasn’t the only time during the Coldplay set that the 25-year-old singer/actress made her way into their repertoire. While playing their beloved ballad “Fix You,” a few songs earlier, Martin playfully slipped in a shot of Carpenter’s hit “Espresso” into the song to the crowd’s delight, as he sang, “That’s that me, espresso.”

Watch Carpenter join Coldplay for “Magic” below.

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Dead & Company will roll into the Sphere for an additional six shows this August, new dates added due to “increased demand.”
Announced today (May 28), the “Dead Forever – Live at Sphere” residency in Las Vegas expands with two weekends of back-to-back dates, bringing the total number to 30.

The new shows are locked in for Aug. 1-3 and Aug. 7-10, an extension to what’s said to be a “must-see” immersive experience that celebrates the legacy of the Rock Hall-inducted Grateful Dead, combining their songbook with the Sphere’s technical spectacles.

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Of course, the band known for their psychedelic musical wanderings will play a unique setlist during each weekend’s shows at the 20,000-capacity state-of-the-art venue that has wowed crowds during the inaugural run by U2 with eye-popping visuals on the world’s highest resolution warp-around LED screen; U2’s U2: UV Achtung Baby Live at Sphere shows began in September and are slated to wind down on March 2.

Dead & Company’s previously announced, 24-date residency began May 16 and was expected to run through July 13.

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The group — which includes Grateful Dead founding member guitarist/singer Bob Weir and longtime drummer/percussionist Mickey Hart, as well as John Mayer, Jeff Chimenti and Oteil Burbridge — formed in 2015. Co-founder drummer Bill Kreutzmann was originally part of the band as well, but he exited in 2023, before the band kicked off what it called its “final tour” last summer.

To ensure that tickets get directly into the hands of Deadheads, advance presale registration is available now here, powered by Seated.

Travel and VIP packages are available now, the artist presale begins Thursday (May 30) and the general on-sale begins Friday (May 31) at 1pm ET. Ticket prices start at $145.

Check out the dates for Dead & Company’s “Dead Forever” Sphere residency below.

May 30, May 31, June 1June 6, June 7, June 8June 13, June 14, June 15June 20, June 21, June 22July 4, July 5, July 6July 11, July 12, July 13Aug. 1, Aug. 2, Aug.3Aug. 8, Aug. 9, Aug. 10

Bill Walton was a lot of things: the 1977-78 NBA MVP, two-time league champion, sportscaster and, perhaps most famously, a huge Deadhead. The 6′ 11″ center known as “Big Red” for his flowing, shaggy locks died on Monday (May 27) at age 71 following a battle with cancer.
In a tribute to their biggest superfan, the surviving members of the Grateful Dead honored Walton in an Instagram post on the Dead & Company feed, saying, “Fare you well, fare you well, we love you more than words can tell. Bill was an irreplaceable force and spirit in our family. Father Time, Rhythm Devil, biggest deadhead ever. Over 1000 shows and couldn’t get enough. He loved this band and we loved him.”

The tribute continued, “We will miss our beloved friend, @BillWalton, deeply. Rest in peace and may the four winds blow you safely home. 🌹💀⚡️.” The post included several pics of Walton in his signature tie dye vibing out at Dead shows over the years, including several shots of him in elaborate, colorful costumes honoring the times he dressed up as “Father Time” for Dead shows on New Year’s Eve.

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Walton would often weave his love of the Dead into his broadcasts, wearing tie dye Dead shirts while spinning sometimes trippy, hard-to-follow yarns from the sidelines in between calling shots.

Dead singer/guitarist Bob Weir also posted his own memories, including pics with Walton from over the years with the message, “Yo Bill, thanks for the ride. Thanks for the wonderful friendship, the years of color commentary – and the Hall of Fame existence that you wore like headlights. Bon voyage ol’ buddy. We’re sure gonna miss you – but don’t let that slow you down…”

Drummer Mickey Hart weighed in as well, calling Walton, “The best friend I ever had. He was an amazing person, singular, irreplaceable, giving, loving. His love for our music was beyond description. He called himself the luckiest man in the world but it was us who were lucky — to know him, to share the adventure with him,” Hart wrote. “He was the biggest Deadhead in the world and used our music as the soundtrack to his life. After our shows, he would regularly send messages that said, ‘thank you for my life.’ Over 1000 shows, he just couldn’t get enough. Bill had an incredible passion for drums. After any meal at his house, we would play. There was nothing like a Bill Walton… nothing.”

Fellow drummer/percussionist Bill Kreutzmann was equally effusive, posting a pic of Walton on stage during a show helping out behind the kit, writing, “There are incredible stories about Bill Walton that I promised him I would only tell after he passed away, and it’s not nearly that time yet because before we laugh, first we must allow ourselves to cry. Darn it. This is a mournful day. This is a period of mourning.”

Not only did Walton gladly pay tribute to late San Francisco promoter and Dead supporter Bill Graham by slipping into the Father Time outfit, but he also slid in references to the band during broadcasts, occasionally sat in for DJ sets on the group’s SiriusXM channel and was even inducted into the Dead’s Hall of Honor, which the big man said was his highest honor.

Kreutzmann noted that, of course, Walton was an NBA legend, but in the Dead orbit, “he was just a fan – and that made him a legend here, too. In many ways, he was our number one fan… but Bill would’ve taken issue with that ranking because, while he won many awards in his storied basketball career — including MVP — Bill insisted that the Grateful Dead was not a competition — and that all Deadheads were equal. By that same notion, as I flash through decades of adventures with him, there isn’t one favorite memory. They all shine through. And they’re all important, because they all brought us both real happiness. And that’s special. That’s friendship.”

Kreutzmann said that Walton was a “genuine fan that became a genuine friend and someone I always looked up to. But his towering presence was more than just literal. Whenever I play, there will now always be a hole where a seat should be, about ten rows back, center, where Bill used to stand, eyes closed, arms raised, while he felt the music running through him. That was a happy place for him and seeing him out there was one of mine. We never did have a hard time finding him in the crowd.”

He added, “Similarly, when he walked into a room, you knew it – but it wasn’t because of his size. It was because of that laugh of his that broadcasted joy, and it was his easygoing smile that beamed sunshine across any space he ever entered. So, yeah, losing Bill is an irreplaceable loss and, in simple terms, I am heartbroken. When somebody means that much to you, when their friendship is that important – that’s called love. I loved Bill Walton. As we say in the land of the Dead: May the four winds blow him safely home. There are things you can replace. And others you cannot. Bon voyage, old friend, I love you.”

As Kreutzmann suspected, Walton was, indeed, lauded in his death as both an NBA superstar and beloved broadcaster, but just as importantly, as the biggest Deadhead ever.

Check out the tributes below.