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Linkin Park delivered a four-song set ahead of the UEFA Champions League final in Munich on Saturday night (June 1), continuing their return to the live stage with performances of “The Emptiness Machine,” “In the End,” “Numb,” and “Heavy Is the Crown.”

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Taking the stage at Munich Football Arena just before kickoff between Paris Saint-Germain and Inter Milan, the band’s appearance served as a high-profile preview of their upcoming world tour, which supports their latest album, From Zero, released last year.

The set marked another major step in the band’s evolution following the addition of vocalist Emily Armstrong, who officially joined the lineup last September. Armstrong’s debut sparked conversation online, including public commentary from the late Chester Bennington’s family and discussion around her past professional affiliations.

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From Zero is Linkin Park’s first studio album since 2017’s One More Light, released just months before Bennington’s death.

At the band’s first show with their new lineup last year, co-founder Mike Shinoda addressed the crowd, saying, “We are thrilled to be back out here. It is not about erasing the past. It is about starting this new chapter into the future and coming out here for each and every one of you.”

Shinoda expanded on that sentiment during a guest appearance on The Tonight Show, explaining, “I think the important thing for us is that we never set out to, like, ‘Let’s bring the band back’ or ‘Let’s find a singer.’ That was never our intention or our goal.”

The album debuted at No. 1 on all of the above charts last November, except for the Billboard 200 and Top Album Sales, where it arrived at No. 2. Following its deluxe reissue with additional tracks on May 16, From Zero recently returned to Top Album Sales (at No. 5), Top Hard Rock Albums (No. 4), Vinyl Albums (No. 8), Top Alternative Albums (No. 9), Top Rock Albums (No. 15), Top Rock & Alternative Albums (No. 17), Indie Store Album Sales (No. 17) and the Billboard 200 (No. 71) charts dated May 31.

The North American leg of Linkin Park’s upcoming tour is set to kick off July 29 at Brooklyn’s Barclays Center. The run will include stops across the U.S. through August and September, including a major date at Dodger Stadium with Queens of the Stone Age, before it wraps Sept. 24 in Seattle.

Yungblud has enlisted Florence Pugh for an emotional music video for new single “Zombie.” The emotional ballad will feature on his upcoming fourth studio albums, Idols, out June 20. Pugh, who current stars in Marvel’s Thunderbolts has form for appearing in music videos. In 2023, she played the leading role in rising British indie star […]

Thom Yorke is speaking out for the first time about a confrontation with an audience member at one of his gigs in Australia last year that the Radiohead singer said left him emotionally distraught. In a lengthy Instagram post on Friday morning (May 30), Yorke described his feelings about “some guy shouting at me from the dark last year” as he was preparing to sing the final song at his solo show in Melbourne.
After a man in the audience shouted comments about “Israeli genocide in Gaza” during the gig at the Sidney Meyer Music Bowl in October, Yorke stopped the show and challenged the person to come on stage and say it to his face before walking off in seeming disgust. In his Instagram post, Yorke said that moment didn’t really seem like the best one to “discuss the unfolding humanitarian catastrophe in Gaza.”

Afterwards, however, Yorke wrote that he “remained in shock that my supposed silence was somehow taken as complicity,” adding that he “struggled to find an adequate way to respond to this and to carry on with the rest of the shows on the tour. That silence, my attempt to show respect for all those who are suffering and those who have died, and to not trivialize it in a few words, has allowed other opportunistic groups to use intimidation and defamation to fill in the blanks, and I regret giving them this chance.”

While Yorke didn’t specify which comments he was referring to, he said not formally responding to the vitriol has “had a heavy toll on my mental health.”

The remainder of the eight-page post is a pointed broadside against Israeli prime minister Benjamin Netanyahu, whom Yorke called out the last time Radiohead played in Israel, in July 2017. At that time, he wrote, “We’ve played in Israel for over 20 years through a succession of governments, some more liberal than others. As we have in America. We don’t endorse [Israeli Prime Minister Benjamin] Netanyahu any more than Trump, but we still play in America.”

The singer wrote on Instagram that he hoped that anyone who has ever listened to his or his band’s music, read the lyrics or seen their artwork would clearly understand that he could not “possibly support any form of extremism or dehumanization of others. All I see in a lifetime’s worth of work with my fellow musicians and artists is a pushing against such things, trying to create work that goes beyond what it means to be controlled, coerced, threatened, to suffer, to be intimidated .. and instead to encourage critical thinking beyond borders.”

If his message was not clear, Yorke made his feelings about Israel’s longest-serving PM even more so in the statement. “I think Netanyahu and his crew of extremists are totally out of control and need to be stopped,” he wrote. “And that the international community should put all the pressure it can on them to cease. Their excuse of self-defence has long since worn thin and has been replaced by a transparent desire to take control of Gaza and the West Band permanently.”

Netanyahu has overseen a nearly two-year war on Hamas in the wake of the extremist group’s attack on Israel on Oct. 7, 2023, during which raiders killed nearly 1,200 Israelis and foreign nationals and took 250 hostages. In the ensuing battles, Israeli forces have mercilessly pounded Gaza with bombs that have destroyed much of the region’s infrastructure, killing more than 53,000, according to Palestinian health officials. The daily attacks have also led to a humanitarian crisis and what experts warn is a potentially devastating famine due to the Netanyahu administration’s refusal to let sufficient food aid into the decimated region.

Yorke lambasted what he called Netanyahu’s “ultra-nationalist” administration, claiming that Harvard-educated Netanyahu and his hard-right peers have hidden behind a “terrified & grieving people and used them to deflect any criticism, using that fear and grief to further their ultra-nationalist agenda with terrible consequences, as we see now with the horrific blockage of aid to Gaza.”

Israel has begun allowing more food aid into Gaza in recent days, though the new distribution mechanism backed by the U.S. and Netanyahu has resulted in chaotic scenes in which tens of thousands of Palestinians reportedly on the verge of famine swarmed the sites to grab bags of food and flour. As talks for another temporary cease fire are under way, Israel has continued its daily bombing of Gaza, even as it has ordered serially displaced Palestinians to move to an area near the coast as the military attempts to empty out large areas where it says Hamas fighters remain.

“While our lives tick along as normal these endless thousands of innocent human souls are still being expelled from the earth… for what?” Yorke asked, pivoting to the issue of why the “unquestioning Free Palestine refrain” has not resulted in the return of what are believe to be the 58 remaining hostages. He also asked why Hamas undertook the “horrific” acts of Oct. 7, speculating that the militant group is choosing to “hide behind the suffering of its people, in an equally cynical fashion for their own purposes.”

Yorke ended by lashing out at “social media witch hunts” aimed at pressuring artists to make statements, efforts he said do little except exacerbate tensions, cause fear and over-simplify the situation. “This kind of deliberate polarization does not serve our fellow human beings and perpetuates a constant ‘us and them’ mentality,” Yorke wrote. “It destroys hope and maintains a sense of isolation, the very things that extremists use to maintain their position.”

The singer said he understands the push to “do something” when confronted with such suffering and loss, but cautioned against thinking that reposting “one or two line messages,” especially ones condemning others, is the answer. “It is shouting from the darkness,” he said. “It is not looking people in the eye when you speak. It is making dangerous assumptions. It is not debate and it is not critical thinking.”

Admittedly short on answers and aware that his note is unlikely to satisfy those looking to “target myself or those i work with,” Yorke ended by offering hope that his letter will allow him to join the many millions of others “praying for this suffering, isolation and death to stop.”

See Yorke’s full statement below.

For Bono, music has always been an immersive art form. “When I was a teenager and stereo came, it was everything,” the rock legend tells Billboard. “U2 immersed ourselves in our audience — I jumped into the audience, and then our shows were always immersive in their instincts.” 

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So when he got an early look at the Apple Vision Pro, the mixed-reality headset that the company launched in the U.S. last year, Bono says that he “was honored to be a lab rat in in their unusual mix of art and science.” On Friday (May 30), Bono: Stories of Surrender, a new documentary that captures and expands upon his recent one-man stage show, will be released on Apple TV+ as both a standard 2D film and as an immersive experience on the Vision Pro — the first feature-length project to be released in the format.

U2 has a long history of partnering with Apple, and Bono says that he was happy to be the one to break new ground for the company. “A lot of companies, when they get to that scale, they stop innovating,” he says. “And here they are again, ready to do it. 

Trending on Billboard

“And for the first time, I got to see myself onstage, and realized, ‘What a big arse!’” Bono adds with a laugh. “That has gotta go! And by the way, are those nose hairs? I’m like, ‘Wow!’”

Indeed, Stories of Surrender offers plenty of extreme close-ups of the rock star, as the documentary (directed by Andrew Dominik) adds new dimension to a 2023 performance of Stories of Surrender: An Evening of Words, Music and Some Mischief… The stage show itself was an extension of Bono’s 2022 memoir Surrender: 40 Songs, One Story, and mixed monologues detailing his upbringing, sparse visual props and stripped-down arrangements of some of U2’s biggest hits, all in a theater setting (the doc was filmed at the Beacon Theatre in New York City). 

“I ended up in the stage play because I didn’t want to do a promotion tour for the book,” Bono notes, “and I thought I’d do something a bit more challenging and a bit more fun — for me, selfishly speaking, and perhaps for the audience.” 

The 86-minute documentary flies by with heartfelt anecdotes about Bono’s relationship with his father, the earliest days of U2, run-ins with global celebrities and his legacy as an artist. Although the tasteful presentations of U2 songs like “Beautiful Day,” “Pride (In the Name of Love)” and “Vertigo” — by a trio of backing musicians, led by veteran producer Jacknife Lee — earn deservedly rousing reactions from the audience in the doc, Bono’s stories also received a reaction that startled him when the stage show launched.

“I went out onstage, and something happened to me that had never happened to me before onstage with U2, at least not in more than 30-seconds intervals: People started laughing!” Bono says. “And I started to [think], ‘Oh, is this funny? Wow, I like the sound of this.’

“And so I had the songs, and I’d found a different way of getting inside the songs to tell the story, and now I could be as silly and as serious as I wanted to be, and indeed, as I am,” he continues. “There’s a reason tragic comedy was a favorite of Shakespeare’s. People’s tears mean more after they’ve been laughing, or the other way around. And all our lives are these absurdities, aren’t they?”

Now that this extended look back — first with the memoir, then with the stage show, and now with the documentary — is wrapping up, Bono says that each project has made him feel closer to his father, Bob, who passed away in 2001. In the doc, Bono re-creates multiple conversations with his dad across time — playing both roles by turning his head from side to side, finding humor and heartache as the camera cuts between the sides of the discussion. 

“It is a little opera that I was making, about … my father, and how his son had to go through various different stages before he’d fully appreciate his father,” says Bono. “And one of those stages was playing him onstage, with the turn of my head every night, and realizing that my father was funny. And not just that I loved him, but I started to like him, just by playing him.”

American metal band Mastodon will join influential Brooklyn indie rockers TV on the Radio and 1990s alt- rock icons Pavement to headline this year’s Levitation festival, alongside reunited sludge metal band Acid Bath, Built to Spill, the Brian Jonestown Massacre and more.

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Launched in 2008 by Austin band The Black Angels to celebrate the resurgence of psychedelic rock and the formation of the label The Reverberation Appreciation Society or RVRB, the festival is now part of a partnership with Austin promoter Resound Presents, led by Graham Williams.

This year Levitation is moving to the festival grounds at the Palmer Events Center, in addition to nightly venue programming across Austin’s Downtown Red River District. Located on the shores of Town Lake overlooking the Austin skyline, the Palmer Events Center includes a massive 75,000 square foot environment for the indoor stage and a huge canvas for the artists on stage with 360 lighting and visuals, day or night. The indoor experience is accompanied by an outdoor stage set to a backdrop of lush trees and the Austin skyline. The new venue offers amenities like an air-conditioned common space, indoor experience for the main stage, ample outdoor green space, plenty of room to stretch out and hang, and an immersive setting for the music and visual experience.

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“The idea to use Palmer Events Center goes all the way back to 2011. I was riding my bike home from the cleanup day after that year’s festival at Seaholm Power Plant—our first and last year there before the site was redeveloped into convos and office spaces,” says Levitation’s co-founders Rob Fitzpatrick. “I took a detour through the park and stopped by Palmer. I’d been there before, but never seriously considered it as a festival site. That day I peeked inside and saw the massive indoor space and canopy around it and thought, ‘Damn, this would be perfect.’

The new home means larger acts can play the weekend festival, and Levitation’s Night Shows will continue to offer intimate club experiences downtown, celebrating the independent music scene—from up-and-comers to national headliners.

“When the 2016 edition at Carson Creek Ranch was canceled due to weather, it was a huge setback—we didn’t get a full insurance payout and were left with serious debt,” Fitzpatrick says. “So it was a disaster but the silver lining of the weekend was the way that the Austin music community and venues stepped up. They moved shows, shifted schedules, let us rebook shows in their clubs and helped save the weekend for fans. That experience sparked an idea: instead of building a temporary city in a remote location without infrastructure – and exposed to the weather – at the ranch, what if we brought the whole thing into downtown—with intention? That became the blueprint from 2018 to 2024.”

With this new chapter, Ftizpatrick says the fest was “finally able to merge both models. Palmer gives us the space, infrastructure, and production capabilities to bring back a larger-scale, multi-stage experience—and thanks to its downtown location, we can still collaborate with the Red River venues that have been the heart of the festival in recent years. It’s the best of both worlds.”

Passes for Levitation 2025 are now on sale, and night show tickets can be purchased separately here.

Levitation

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Guns N’ Roses busted out the live debut of an old favorite during their Tuesday (May 27) show in Abu Dhabi, seemingly pay tribute to late New York Dolls singer David Johansen two months after the pioneering punk icon died at 75 following a long battle with cancer. Explore See latest videos, charts and news […]

Ozzy Osbourne is going to make it to the stage for Black Sabbath’s final show no matter what it takes. As the metal icon gears up for his first full concert since 2018, he sat down with Billy Morrison on the latest episode of their SiriusXM “Ozzy Speaks” show to break down what he’s doing to gear up for the July 5 Back to the Beginning show in his hometown of Birmingham, England.
“I haven’t done any physical work for the last seven, six and a half, seven years,” Ozzy said, promising that “by hook or by crook, I’m gonna make it [to the stage at Villa Park],” where Black Sabbath’s final gig will find them joined by an all-star roster that will also include Metallica, Mastodon, Anthrax, Pantera, Alice in Chains, Gojira, Slayer and a supergroup featuring members of Guns N’ Roses, the Smashing Pumpkins, Limp Bizkit, Judas Priest, Rage Against the Machine and many more.

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“I’ve got this trainer guy who helps people get back to normal,” he said of the intense training he’s undergoing following a rough several years that included spinal surgery and a Parkinson’s disease diagnosis. “It’s hard going, but he’s convinced that he can pull it off for me. I’m giving it everything I’ve got.”

Ozzy, 76, said he’s definitely waking up and stressing about the show at times, but he knows that getting worked up is not what will get him through his first show with Sabbath bandmates guitarist Tony Iommi, bassist Geezer Butler and drummer Bill Ward in more than 20 years. “Sometimes [I stress], but what I do, if I start obsessing all the time, I’ll be insane by Friday, you know?” he said. “So, I’m just taking it one day at a time and when I do it one day at a time. You know, when we were talking about this [obsessive-compulsive disorder], whatever. I have that badly. All I can say is I’m giving 120%. If my God wants me to do the show, I’ll do it.”

Speaking to the Guardian recently, Ozzy said “I’ll be there, and I’ll do the best I can. So all I can do is turn up,” a hedge that was in keeping with comments from Tool singer Maynard James Keenan, who said it will take need “modern miracles” for the rocker to perform one of his legendary high-energy shows given his health struggles.

Though he hasn’t played a full show since Dec. 31, 2018 — two months before revealing his Parkinson’s diagnosis — Ozzy has set a reasonable bar for the July show, saying in February that he isn’t “planning on doing a set with Black Sabbath,” but rather “little bits and pieces” with the group. “I am doing what I can, where I feel comfortable,” he promised.

Listen to Ozzy talk about his training for the show below.

The saga around Zak Starkey’s departure from The Who continues to rumble on. In a new Instagram post on Wednesday (May 28), the band’s former drummer called reports that he “retired” from his position in iconic group as “f-kin total bollox” while insisting that he was, indeed, “fired” from the group.

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Starkey’s position as the band’s drummer has been uncertain since a show at London’s Royal Albert Hall in March. Reports suggested that Daltrey was unhappy with Starkey’s playing on the night, and a number of songs were cut short. Starkey – Ringo Starr’s son and a prolific session drummer – has been a part of the live lineup since 1996. In a statement, the band said, “The band made a collective decision to part ways with Zak after this round of shows at the Royal Albert Hall. They have nothing but admiration for him and wish him the very best for his future.”

His position was reinstated briefly after “communication issues” were resolved, but following the announcement of The Who’s farewell tour dates in North America, guitarist Pete Townshend confirmed that time had “come for a change” in relation to their drummer, and that Scott Devours would be taking on the role.

Trending on Billboard

On Monday (May 26) the drummer shared an Instagram post stating that Daltrey had said that Starkey had not been “fired,” but “retired” to work on his project with supergroup Mantra Of The Cosmos, which includes Starkey and members of Happy Mondays. The group’s upcoming debut LP features a song written by Oasis’ Noel Gallagher; Starkey was Oasis’ drummer from 2004-2008.

Two days later, on Wednesday (May 28), Starkey shared a new update with a screengrab of a news story that again indicated that he “retired” from the group. He called the report “f-kin total bollox,” insisted that “I was fired” and that Daltrey’s “new word for it is ‘retired’ to complete my other musical projects.”

He continued, “I called Roger last week and told him in person I had spent nearly 2 months at my studio in Jamaica completing my studio projects. That I had a mantra of the cosmos single out next week and then I was completely available for the foreseeable future… he was a little surprised but understood. It’s true – I have no plan’s whatsoever for the fall as I thought I was touring with The Who and my mantra band mates are v busy in oasis and happy Mondays until the new year . So this is simply a load of bollox … Am I fired , retired, deffo not tired as I’m 20 years younger than these guys as they keep saying.

Starkey added, “Dropping two beats on our second show is not a firing offence – I’ve watched the show on tv I can’t see where I dropped them – I looked everywhere- it’s the who ffs if it was perfect it would be so f–king boring …”

A spokesperson for The Who offered no comment on the latest update when approached by Billboard U.K.

The Who will kick off the U.S. leg of their farewell tour on August 16 at the Amerant Bank Arena in Sunrise, FL.

John Fogerty has announced a new album titled Legacy: The Creedence Clearwater Revival Years, due out Aug. 22 via Concord.
To celebrate, Fogerty has released three newly recorded versions of CCR classics: “Up Around the Bend,” “Have You Ever Seen the Rain,” and “Porterville,” the latter originally released in 1967 under the band’s earlier name, The Golliwogs.

The new recordings are labeled “John’s Version,” a nod to Taylor Swift’s “Taylor’s Version” project, though Fogerty now owns his masters. He won control over his publishing rights in early 2023, ending a legal battle that spanned five decades.

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“For most of my life I did not own the songs I had written,” Fogerty said in a statement. “Getting them back changes everything. Legacy is my way of celebrating that — of playing these songs on my terms, with the people I love.”

The sessions feature Fogerty’s sons Shane and Tyler on guitars, with Matt Chamberlain on drums, Bob Malone on keys, Bob Glaub on bass, and Rob Stone on saxophone. Shane Fogerty also co-produced the album with his father, while Julie Fogerty, John’s wife, served as executive producer.

Trending on Billboard

“I knew firsthand how much it meant for John to get his publishing back,” said Julie. “It has been so joyful and beautiful since this happened for him. This is a celebration of his life’s work. It is the biggest party for the good guy/artist winning.”

Legacy features 20 tracks, including CCR staples like “Proud Mary,” “Bad Moon Rising,” “Fortunate Son,” and “Down on the Corner.” The project arrives as Fogerty celebrates his 80th birthday with a pair of shows at New York’s Beacon Theatre, ahead of a European summer tour and a performance at Glastonbury Festival.

Fogerty co-founded Creedence Clearwater Revival in the late 1960s and went on to write and perform some of the most enduring hits of the era. The band scored nine Top 10 hits on the Billboard Hot 100 between 1969 and 1971, including “Proud Mary,” “Bad Moon Rising,” “Green River,” and “Lookin’ Out My Back Door.”

Legacy: The Creedence Clearwater Revival Years is available for pre-order now.

Metallica are in rarified air when it comes to album sales. According to a release from the iconic metal group’s publicist, the band’s self-titled fifth album, commonly referred to as The Black Album, has been certified 20x platinum by the RIAA for sales of more than 20 million copies. The 1991 LP that earned Metallica […]