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Morrissey has announced tour dates for the U.K. and Ireland, his first since 2023. The former Smiths singer shared the news of the upcoming shows on his official social media accounts.
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The post said that these were the only concerts he would “perform in Ireland, Scotland and England in 2025,” and will see him play in Dublin, Glasgow and Manchester in May and June.
Morrissey has played a number of shows in North America in recent years, and will tour the region again in 2025. He last played in the U.K. in 2023 with shows in London, Aylesbury, Liverpool and more.
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In November 2024, the “Suedehead” singer claimed that his unreleased album Bonfire of Teenagers has been shelved because of his various controversies. “As you know, nobody will release my music anymore,” Morrissey told a crowd in New Jersey. “As you know because I’m a chief exponent of free speech. In England at least, it’s now criminalized.”
“You cannot speak freely in England. If you don’t believe me, go there,” he continued. “Express an opinion, you’ll be sent to prison. It’s very, very difficult.”
In 2019, Morrissey expressed support for the far-right Britain First political party, and has not released an album since 2020’s I Am Not a Dog on a Chain. His Bonfire of Teenagers LP was scheduled to be released in February 2023, but it was pulled months before its release date, with Morrissey claiming its “fate is exclusively in the hands of Capitol Records (Los Angeles.).”
The album was reportedly made in 2021 and featured contributions from Iggy Pop, Miley Cyrus and producer Andrew Watt. News followed that Cyrus had requested her vocals to be removed from the record. Its title track references the Manchester Arena bombing at an Ariana Grande concert in 2017, which killed 22 attendees and injured hundreds more. One song from the record “Rebels Without Applause” has been issued as a single, with others performed live.
In February 2023, Morrissey issued another statement claiming he was “too diverse” for Universal Music Group. He has since stated that he has recorded an additional album titled Without Music the World Dies, which remains unreleased. He has offered the album to “any record label or private investor [that] has interest in releasing this project,” following his split from Capitol.
See Morrissey’s U.K. & Ireland 2025 tour dates below:
May 31 – Dublin, Ireland @ 3Arena
June 4, 5 – Glasgow, Scotland @ O2 Academy Glasgow
June 7 – Manchester, England @ Co-Op Live
Ticketmaster has begun cancelling thousands of tickets for Oasis’ upcoming reunion tour in a crackdown on bots.
Passes for the shows in the U.K. and Ireland went on sale in August 2024, but the on-sale process was marred by long delays and the use of dynamic pricing model, which meant that ticket prices were higher for some fans than expected.
Reports said that over 50,000 tickets ended up on resale sites, despite efforts to restrict touts re-selling tickets at inflated prices.
A statement issued by promoters Live Nation and SJM Concerts at the time read: “Ticket resale is permitted at no more than the price you paid (face value + booking fees). Please only use the official resale partners Twickets and Ticketmaster. Selling tickets through unauthorised resale platforms will breach these T&Cs and those tickets may be cancelled”.
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Now, Ticketmaster have been contacting some ticket holders to inform them that their tickets have been refunded as “it has been identified that bots were used to make this purchase,” meaning they “violate the tour’s terms and conditions.”
“These terms were specifically established to limit resale of tickets on unauthorised ticketing platforms for profit,” the message says. “Fans have been strongly advised by all parties not to purchase tickets from unauthorised resale sites, to protect them from fraud or refunding.”
However some Oasis fans have reported on social media that their tickets have been wrongly cancelled in the efforts, despite abiding the rules of the on-sale process. “If 2025 could actually get any worse – now I don’t even have this to look forward to any more,” wrote one fan on X (formerly Twitter) on Friday (February 7) showing a message from Ticketmaster saying that their tickets had been cancelled.
Another wrote: “So what’s this complete sh-tshow? Sat on my laptop for hours on general sale day to secure just TWO tickets for ONE gig and you’re telling me I’m a bot and a tout!” The post is accompanied by pictures of his ticket buying set-up which includes one device but with multiple tabs.
Reports in the BBC and The Guardian have identified fans who have also had their tickets cancelled, with one telling the former that “it just feels like my dreams have been completely crushed.”
Billboard UK has approached Ticketmaster for comment. On the Oasis Refunds FAQ page, a message reads: “For ticket purchasers who believe they have had tickets refunded in error, refer to the email sent by the relevant agent when informed.”
Following the original on sale, the band responded to the news that tickets had been on-sale on resale sites for upwards of £10,000 ($12,412)
“We have noticed people attempting to sell tickets on the secondary market since the start of the pre-sale. Please note, tickets can ONLY be resold, at face value, via Ticketmaster and Twickets.
“Tickets sold in breach of the terms and conditions will be cancelled by the promoters.” Twickets shared Oasis’s statement and added their own: “Don’t buy tickets over face value. Official resale will be available on our website/app at face value only.”
Oasis’ reunion tour will kick off at the Principality Stadium in Cardiff, Wales on July 4, before heading to Manchester, London, Edinburgh and Dublin across the 19 dates. The tour will then head to North America, Latin America, Australia and Asia later this year.
Dream Theater‘s new Parasomnia is titled after a specific category of sleep disorders. But it’s also an album that’s made dreams come true for fans of the 40-year-old progressive metal quintet.
Parasomnia marks the recording return of drummer and co-founder Mike Portnoy to the band’s ranks for the first time since 2009’s Black Clouds & Silver Linings. It reunites him with guitarist (and album producer) John Petrucci and bassist John Myung, who started Dream Theater as Majesty in 1985, after meeting at the Berklee College of Music in Boston. Vocalist James LaBrie came on board in 1991, while Jordan Rudess joined in 1999.
That quintet released six studio albums prior to Portnoy’s departure, and Petrucci acknowledges to Billboard that “we fully understand the gravity of Mike coming back and us being together again.”
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From Portnoy’s perspective, “As Dorothy once said (in The Wizard of Oz), there’s no place like home. It’s not the original lineup, but it is the ‘classic’ lineup. I think the era this band made albums, basically ’99 through 2009, that was in a lot of ways the golden age of this band and…a musical blueprint that is such a big part of Dream Theater’s history. For this particular lineup to be reunited, it’s really special.”
While Portnoy acknowledges that “some fences had to be mended” from his departure, he and Petrucci worked together on the latter’s 2020 solo album, Terminal Velocity, and toured together; the two joined Rudess and bassist Tony Levin for a third studio album as Liquid Tension Experiment in 2021. But, Petrucci says, “those weren’t intended as any indication that (Portnoy) might be returning. Mike Mangini [Portnoy’s replacement] was very strong in the band…even if he couldn’t escape the ‘When’s Portnoy coming back?’ question that was constantly asked. We had just come off our first Grammy win [best metal performance in 2022 for “The Alien”] and everything was going great with touring.
“For whatever reason the stars aligned in that moment, in the fall of 2023. We did understand that making the announcement that not only was (Portnoy) coming back, but that we’d be going into the studio again, the excitement would be crazy — for us, too. I think you can hear it on the album.”
The eight-track, 71-minute set — out Friday (Feb. 7) and recorded at Dream Theater’s DTHQ studio on Long Island — is the band’s 16th overall, and the follow-up to 2021’s A View From the Top of the World, which debuted at in the top 10 of Billboard‘s Top Hard Rock Albums, Top Rock Albums and Independent Albums charts. With its intricate arrangements, explosive dynamics, virtuosic playing and long-form compositions (six songs are over seven minutes and a closing epic, “The Shadow Man Incident,” clocks in at a heady 19:32), Parasomnia is everything Dream Theater envelopes while sounding decidedly present-day.
“I wanted it to sound modern but also classic,” Petrucci explains. “Some of the albums made between 1999 and 2009 or so, that’s a period that’s so beloved by our fans. So having Mike rejoin, I think there’s hope for some of that nostalgia coming back — and it pretty much did. You can hear it on the album. It definitely has that vibe. But as a producer I’m going in wanting to make an album that sounds better than anything else we’ve done before. So you try to push the envelope with ways of recording. It’s a combination of using modern techniques but using vintage audio equipment to do it and mash those up in a perfect way. And of course using great personnel — Jimmy T (Meslin) our engineer, Andy Sneap, Mark Gittins — these guys are helping to bring it into the future, into a modern sound. It’s a perfect balance of old and new.”
Petrucci says Parasomnia‘s concept is not based on any real-life sleeping disorders within the band. He first heard the term a few years ago and “kept it in my back pocket. I love the sound of that word. I love the tie-in to dreams and Dream Theater, and I loved that the subject matter could be so creepy and dark and heavy.” He researched the various parasomnias — including sleepwalking, night terrors and night paralysis — and used them as the basis for songs; one, “Dead Asleep,” was even drawn from a true story about a man who accidentally strangled his wife in bed while dreaming that he was fighting a home intruder.
The suite-like “The Shadow Man Incident,” meanwhile, is based on a pre-waking phenomenon of feeling the presence of “demons or dark figures,” according to Petrucci.
“It is a thematic, concept album,” he acknowledges, “so there are some Easter eggs throughout, (musical) themes that repeat themselves that I think hardcore fans will pick up on. We love doing stuff like that. I think it takes the album to another level. It makes it more epic, more classic, more special. And it’s so much fun.”
Portnoy, meanwhile, takes credit for pushing Dream Theater in the conceptual direction on Parasomnia. “It’s such an important album for us that I thought it needed to be something more than just a collection of songs,” he says. “That’s when we started creating the album, thinking of it in terms of one piece of work that you digest from start to finish, like watching a movie or reading a book. Once we decided to go in that direction it really opened the doors to make this a very special album.”
Dream Theater preceded Parasomnia‘s release with the tracks “Night Terror,” “A Broken Man” and “Midnight Messiah,” along with accompanying videos. The band returns to the road on release day in Philadelphia, with dates currently announced through a sold-out March 22 stop at Radio City Music Hall in New York City. Petrucci says the trek will feature a couple of songs from the new album but is mostly designed to continue a celebration of Dream Theater’s 40th anniversary — which began last year, overseas — with a more Parasomnia-centric tour planned for later this year. Portnoy adds that Dream Theater hopes to play the new album in its entirety at that time.
“It’s pretty incredible I’m still in the same band with a guy I met when I was 12, in middle school, and a guy I met when I was 18, just starting at college,” Petrucci notes. “We all love doing it. We’re driven. We love playing our instruments, we love writing music together, recording music together, we love touring together. The chemistry and brotherhood we have as people is just so strong. And on top of that is a fan base that’s international and widespread and loyal and dedicated and devoted. We don’t take that for granted.
“Not every band survives, right? Bands break up, members leave. We know how lucky we are to have a 40-year career and that a member can leave and come back and rejoin with such happiness and excitement around it. That’s a testament to everybody’s love for doing it, and love for each other.”
Oasis are prepping a 25th anniversary reissue of their fourth studio album, Standing on the Shoulder of Giants, which will be released in a pair of limited-edition vinyl versions on Feb. 28.
The fourth album from the Britpop superstars was released in February 2000 and marked a left-turn into more electronic-based psychedelic sound featuring drum loops, electric sitar, Mellotron, synthesizers, backwards guitar and samples layered into their signature heady, Beatles-inspired rock sound on the bull rush opening track “F****n’ In the Bushes” and the swirling “Put Yer Money Where Yer Mouth Is.” The collection also featured one of their classic acoustic ballads, the single “Go Let It Out,” as well as singles “Where Did It All Go Wrong?,” “Who Feels Love?” and “Sunday Morning Call.”
Friday’s (Feb. 7) announcement came just 147 days (but who’s counting?) before formerly battling brothers singer Liam and guitarist/songwriter/occasional singer Noel Gallagher kick off their eagerly anticipated 2025 reunion tour.
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The anniversary edition of the album will be issued in silver vinyl and an official store-exclusive blue and purple marble edition on the anniversary of the LP’s original release on Feb. 28, 2000. They also teased a new lyric video for “Go Let It Out,” slated to premiere at 11 a.m. ET on Friday.
A press release announcing the reissue noted that the album marked a new era for the group, with “Go Let It Out” the first release on the Gallaghers’ Big Brother Recordings Ltd. label, established after the sudden shuddering of their former label, Creation Records.
Oasis are slated to kick off their 2025 stadium tour on July 4 with the first of two dates at Cardiff, UK’s Principality Stadium, after which they will criss-cross the UK and Ireland before hopping over to North America on August 24 for a show at Rogers Stadium in Toronto. They will hit Chicago, New Jersey and Los Angeles before moving on to Mexico City, South Korea, Japan, Australia and South America, winding down with a Nov. 23 show in Sao Paulo, Brazil.
See the reissue announcement below.
Eight months after going on hiatus, comedy rock duo Tenacious D are back. Sort of. The Jack Black-fronted two-man band appear on a new compilation album benefitting victims of last month’s deadly Los Angeles wildfires, Good Music to Lift Los Angeles. The contribution is a cover of REO Speedwagon’s 1980 power ballad “Keep on Loving You,” a song they’ve performed live in their patented urgent acoustic style before.
The 90-track compilation released today (Feb. 7) contains previously unreleased recordings, new songs, covers, remixes, live versions and demos from Animal Collective, Blondshell, Perfume Genius, R.E.M., Dawes, Death Cab For Cutie, TV on the Radio, Wilco’s Jeff Tweedy, MJ Lenderman, My Morning Jacket, Interpol, Mudhoney, Manchester Orchestra, The New Pornographers and many more.
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It was unclear at press time when the band — which also features guitarist/singer Kyle Gass — recorded the song; you can buy the album exclusively now on Bandcamp. The compilation will be available for one day only, with proceeds going to the L.A. Regional Food Bank and California Foundation’s Wildfire Fund.
At press time it did not appear that Black or Gass had commented on the song’s inclusion on the compilation, which comes after they announced a break and cancelled a planned Australian tour following Gass’ controversial on-stage joke about the assassination attempt against then-presidential candidate Donald Trump.
After the comment, Black apologized and announced that the group would take a break in light of criticism from Australia’s right-wing over the joke Gass made at a show in Sydney in July when Black rolled out a birthday cake for his longtime musical mate and asked him to make a wish. “Don’t miss Trump next time,” Gass quipped, just weeks after a 20-year-old gunman opened fire on a Trump rally in Butler, PA, grazing Trump’s ear and killing a rally attendee.
In a deleted post, Gass apologized, writing, “I don’t condone violence of any kind” and saying he was “incredibly sorry for my severe lack of judgement.” Shortly after, Gass was dropped by his agent and the remainder of the Australian tour, as well as a planned fall run of U.S. shows in swing states ahead of November’s presidential election, were cancelled.
Black also posted an apology on Instagram at the time, writing, “I was blindsided by what was said at the show on Sunday. I would never condone hate speech or encourage political violence in any form.” At the time of the tour cancellation, Black’s statement said that “all future creative plans are on hold.”
In August, Black told Variety that the duo needed “to take a break. Everybody needs a break sometime,” while also promising “and we’ll be back.”
In the meantime, earlier this week, Black posted a video from the set of his new movie Anaconda in which he sang the names of his co-stars while one of them, Paul Rudd, accompanied him on a hand drum.
Check it out below.
There’s a feeling that something around Inhaler has shifted in the past 18 months. The Irish quartet, made up of Eli Hewson (vocals, son of U2’s Bono), Ryan McMahon (drums), Bobby Keating (bass), and Josh Jenkinson (guitars), has welcomed a new influx of young, passionate fans into their world, no doubt helped by their support slots on megatours with Arctic Monkeys and Harry Styles at their respective stadium shows. Those gigs followed a chart-topping debut on the U.K.’s Official Albums Charts with It Won’t Always Be Like This (2021) and its follow-up Cuts & Bruises (2023), which landed at No. 2.
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But the new tunes that make up third LP Open Wide, released via Polydor, are bright, expansive, and the group’s best yet. The venues keep growing at home and abroad, with tickets being snapped up and sold-out in minutes. Why’s it all come together at this moment?
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“I think we know what we want from our music now,” frontman Hewson responds to Billboard UK. “Maybe when we were a bit younger, we wanted people to like us and wanted people to connect with it – and we still want that – but I think that’s different from making music that we love.”
Open Wide was produced by Kid Harpoon, who had a huge hand in the easy-going sound of Styles’ Grammy-winning LP Harry’s House, as well as the One Direction alum’s 2019 album Fine Line. Elsewhere Kid Harpoon has credits on Miley Cyrus’ Hot 100 chart-topper “Flowers,” and with HAIM and Florence + The Machine.
There’s also an appearance on Open Wide for hit songwriter Amy Allen, a close collaborator of Kid Harpoon with songwriting credits on Sabrina Carpenter’s “Espresso” and “Please Please Please,” as well as on ROSÉ and Bruno Mars’ “APT.” She recently snagged the songwriter of the year award at the 2025 Grammys, becoming the first woman to win the category.
The decision for the Dublin-born band to head to L.A. during the album’s writing phase gave them clarity and space away from their tried and tested methods. “We sound a lot more like how we’ve always wanted to. It gave us peace and quiet to listen to our gut instincts. When we were in London when we were writing and recording [the first two albums], it always felt like things were up in the air. With this one, we felt very calm all the way through and enjoyed the process. We just heard ourselves out. We weren’t listening to external anxieties; it felt satisfying.”
No wonder there’s a lightness and confidence in these songs. The LP’s title track is built on a pulsing, subtle EDM beat before it hits a typically explosive chorus. Likewise, “A Question of You,” and “Billy (Yeah Yeah Yeah)” do away with the moody reverb heard on 2023 LP Cuts and Bruises and aren’t afraid to embrace a more mainstream-friendly sound.
In February the group will head out on the road in the U.K. for some of its biggest shows yet, including sold-out nights at London’s O2 Academy Brixton. They’ll then play in North and Latin America, Europe and then a massive homecoming show in Dublin to 20,000 fans.
Speaking from Amsterdam while on the press trail, the band discusses the input from Kid Harpoon and Allen, the ever-shifting indie scene, global success for Irish artists and more.
This is your third LP – does release week get any easier or more enjoyable?
Eli: It’s always in the last week before it’s out that the doubts start to come in. We did an album playback yesterday with some fans who heard it for the first time, and they seemed to enjoy it.
Ryan: Yeah, but they wouldn’t say it to your face, though, would they? I’m sure we would have some fans that wouldn’t have a problem with that though…
You’ve mentioned that the pressure was off this time. Why did it feel that way?
Josh: We didn’t have a deadline or tour that we had to be ready for. We had the freedom to create whatever we wanted to and assess it after we made it, instead of getting it straight out.
Eli: With Kid Harpoon, his whole ethos was – which was really shocking given the records he’s worked on – that he didn’t want any labels or managers in the room when recording: “It’s just us making this album and we’ll think about the singles when we’re done.” I found that really refreshing because he was putting the album before anything. We hadn’t really had that approach before. We were chasing singles a lot of the time, and we just wanted to get out and tour, so this was a big opportunity to step back and reflect on what we were making.
What made you want to change things up and work with a new producer?
Eli: Initially there was perhaps fear in all of us. It was the first time that we’d worked with someone different. With our last producer [Antony Genn], we’d been going to him since we were 17. We felt it was the right time to graduate from that, as it felt like our working relationship had gradually run its course for the time being. So it was important for us to work with something new for us to see what else they could bring out of us.
Josh: [Kid Harpoon] is a great person to be around. Initially we wondered if he could work with a band like us, but we when we realised that he did that Kings of Leon album [2024’s Can We Please Have Fun] that really eased all our stress. When we were working with him, he was going darker than us. He’d say, “Don’t put that in, it’s too poppy!”
Inhaler
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What were the sessions like in L.A. and then back in London?
Josh: They were very efficient. We didn’t waste any time. We had about nine days in L.A. before heading to RAK Studios in London, but we made a plan, and we stuck with what we set out to do. We also had a lot of fun with it too.
Ryan: He also wouldn’t send us what we’d done and recorded that day. He’d say, “Yeah, Brian, the engineer, will send it,” but just never did it. But once we got to the end, we realized we’d been going into the sessions totally fresh and hearing the songs and recordings again for the first time. You’re not constantly overthinking it. In the past, we’ve been known to get tunnel vision and overanalyze things.
Amy Allen also had a part to play. What was her contribution like?
Josh: She came in to listen to the songs while we were in L.A. It was so cool to see someone at that level of songwriting and with all of her achievements come in and say, “You guys have got some pretty good tunes.” Hearing her come in and sing some of them was so inspiring.
Eli: It was amazing. She’d just hum something quickly, and you’d think, ‘That’s f—ing amazing.’ We were lucky enough that she was able to stop by because she’d canceled another session, and Tom [Hull, Kid Harpoon] invited her to come in. Whatever she’s tapped into at the minute, she’s doing really well with.
Josh: She had such a beautiful voice, and she came in on a day when we were so tired, and it was much-needed…
Ryan: …it was like a visit from an angel!
How has the band’s dynamic developed over the years? It feels like you’re all pulling in the same direction with this album…
Eli: We’ve managed to keep it all together. It’s a sacred place being in this band. We fight less now than we ever have. We got all of that out when we were teenagers! It’s always felt like the center of everything we do together.
Ryan: We just love to make music naturally, and anything that feels right in the moment we follow. There’s never a discussion about setting rules on an album or doing a certain thing. We’ve never felt any joy out of a situation like that – that’s where it feels like the arguments begin, and ego starts getting in the way. Making music and saying less is what we do better.
It feels like there’s an openness from indie artists and fans to embrace new sounds and to work collaboratively with hit songwriters and pop producers. The question of ‘authenticity’ in these spaces feels quite outdated…
Josh: It’s refreshing to feel like you don’t have to do the same thing over and over again. You can progress how you want to. People can support you and still be open to change. That’s exciting.
Ryan: As long as you’re happy with what you want to make. There are no rules that go with writing a good song, and people are a lot less closed off to how a band should sound in their head; no one knows – neither do we – what they want until they get it.
There has been considerable support and acclaim for Irish artists like Fontaines D.C., Hozier and Kneecap among others over the past few years. Why are these kinds of acts exploding right now?
Eli: The biggest reason is that they’re good! In years past, you’d have to do “the American album.” It was the thing to do because everyone adheres to American culture. But now, if the country has its own indigenous culture, style and tradition, people are finding that interesting and want to know more about it. It definitely makes for better music and art. I doubt it’s something in the water…
It feels like there’s a lot of support for one another…
Eli: There’s always been a strong sense of camaraderie among Irish artists. I don’t think we’ve ever felt like we fit into a particular scene with other Irish artists, so it’s never felt like there’s a sense of competition between anyone. Everyone’s just happy to see other people succeed.
Bobby: I think that support also comes from the fact that we’re a small country as well. Everyone goes to the same venue to get to the next stage and wants the best for everyone else. We played the same venues that Fontaines, Hozier and The Murder Capital have all played. Especially when we’re in the U.K. and see people around and playing shows. I think Irish people really take the idea of playing abroad very seriously. When we first started playing abroad and in London, it felt like the real thing and a real achievement.
What will the new material bring with the live show?
Josh: It’s going to give us some depth and shape shows in a way that we haven’t done before. We’ve always been very ‘go go go’ at our shows, then there might be some slower moments or something a bit groovier, we now have a broad spectrum of songs to choose from.
Ryan: It’s also nice to freshen things up. We’ve been playing some of these songs for so long and it’s nice to have something new to play.
What did you learn on those big tours with Harry and Arctic Monkeys that you’ll take forward?
Josh: I think we learned that it would be something that we loved to do. But also the attention to detail that goes into every show and how it’s set-up, and the amount of work that goes into shows of that scale. It made us want to take things a lot more seriously.
Imagine Dragons fans will be on top of the world March 26 and 29 when Imagine Dragons: Live From the Hollywood Bowl (with the LA Film Orchestra) comes to theaters around the globe through Trafalgar Releasing. Filmed in October 2024, the nearly two-hour concert film captures the final night of the Grammy-winning rock group’s four-night […]
What started out as something Howie Mandel thought would be a funny bit for his Howie Mandel Does Stuff podcast last month quickly devolved into a super-tense, awkward moment the America’s Got Talent host is now expressing regret for. “I want to apologize,” Mandel said on this week’s episode of the pod he hosts with his daughter, Jackelyn Schultz.
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“I feel horrible and I’m sorry, Bill. I’m sorry, Billy. I only tried to do something good,” Mandel added. Mandel noted that he has not heard a “peep” from his longtime friend and fellow comedian Bill Burr since the Jan. 21 episode in which he blindsided him by bringing on Smashing Pumpkins leader Billy Corgan for an episode he called “Family Reunion with Bill Burr & Billy Corgan.”
Back in November, Corgan said he told Mandel that his step mom informed him years ago that Burr “might be” one of the children that Corgan’s late father “sired in his days being a traveling musician.” Corgan also recalled that his dad once mentioned that he had a half-brother who was close to his age named Bill; Corgan is 57, Burr is 56.
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As soon as Corgan came out to join the pod, Burr was immediately on edge, which the rocker sensed, saying, “he didn’t tell you? He told me you were totally cool with me coming.” Clearly peeved at Mandel, Burr hissed, “that’s what he does.” Sensing the awkwardness, Corgan offered to leave, but Burr said it was fine, going on to refer to his dad as a “piece of s–t with two kids this close together [and] he named them the same f–king name.”
Burr then said he appreciated Corgan’s music, but that he would “prefer if you just kind of… not [tell] these f–king stories.” The tension continued to mount as Corgan explained that Mandel made it seem as if Burr would be okay with repeating the story he’d originally told Howie in private and then having the men meet on-air.
“He always does that. Because that’s the thing,” Burr said angrily of the comedian he’d earlier praised as one of his inspirations and a longtime friend. “He’s bringing it here, not because he’s trying to heal the bulls–t that we went through growing up. He’s getting here just for the f–king ratings.”
Mandel eventually left the room and the Bills traded stories about the man they both described as their dad as Burr continued to mock Mandel’s IMDb credits mercilessly. “At least we’re not on some f–king awful network show judging plate spinners or whatever the f–k Howie’s career has become,” Burr said of Mandel’s gig co-hosting AGT.
Burr — whose beloved stand-up act is often filled with his irate annoyance, and rage, about what he thinks is the idiotic, inexplicable behavior of others — eventually told Mandel that he still loved him, “even though you did this,” wondering what his friend expected to happen. “Are we going to play catch? We’re both in our 50s,” Burr seethed, with both bald performers agreeing on one thing: that Mandel (also famously bald) is “a d–k.”
Once Corgan had assured him that it was all Mandel’s idea, Burr admitted he was not upset with the Pumpkins singer/guitarist and that he just didn’t like that their first meeting was the result of subterfuge. The two then had a funny exchange about possibly hanging out after the taping, with Burr immediately taking a dig at Corgan’s vegan diet after Corgan said he assumed Burr was a meat-eater. “I can have a cup of coffee while you eat your f–king Brussels sprouts,” Burr spat.
On this week’s pod, Mandel said he texted Burr to congratulate him on a good episode, but has not heard back from his friend since. “The next thing I see is… headlines,” Mandel said while posting a series of news reports about Burr’s anger over the incident. Burr went on the Rich Eisen pod shortly after and referred to Mandel as a “Hollywood whore” for the stunt. “I legitimately thought I was doing something nice, I swear to you,” Mandel said this week. “I thought it was funny.”
Watch Mandel’s mea culpa and a snippet of the original podcast below.
Longtime friends Elton John and Brandi Carlile have joined together for Who Believes in Angels?, a new studio album the pair recorded over 20 days starting in October 2023. Interscope will release the set on April 4, but the title track was released on Wednesday (Feb. 5).
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The pair wrote and created the album with John’s long-time co-writer Bernie Taupin and producer Andrew Watt. The quartet are nominated for an Oscar for best original song for “Never Too Late,” the end-title track to John’s documentary, Elton John: Never Too Late, which is included on the album.
“As my Farewell tour came to an end, I knew I wanted to make a new album with Brandi, I wanted to shift gears and do something different from anything I’d done before,” John tells Billboard. “I have always found Brandi so inspiring, our friendship was so close, and I just had the instinct that we could produce something really amazing. Creating Who Believes in Angels? was challenging, and I had a lot of self-doubt, but alongside Bernie Taupin and Andrew Watt, we ended up writing 10 songs in 20 days and it was one of the most joyous and exhilarating experiences I’ve ever had in my life.”
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Billboard has an exclusive look at the emotional, candid trailer that captures the recording of the album and the vulnerabilities and frustrations that gripped John as the quartet worked at Los Angeles’ Sunset Sound Studios.
“I’m 76 and I want to do something different. I don’t want to coast,” John says. But the recording sessions proved difficult, given that John was exhausted from finishing his final world tour. “I was a nightmare. Angry, I was tired, I was irritable,” John says, as he throws his earphones down in frustration and Watt snaps at him for being so “impatient.”
“Elton is prone to moments of insecurity, especially when the stakes are high,” says Carlile, who has “idolized” John since she was 11. She admits to “having a hard time connecting to Elton” at times during the process and wondering why he wants to make the album given that is it radically different from how he has created before.
Throughout the trailer, the tension escalates, as John gets so frustrated, he tears up a lyric sheet and throws it on the floor, declaring, “I’m going home,” and Watt directs the crew to cut the mics.
But then John realizes that Carlile, Taupin and Watt are depending upon him and suddenly the process gels and the creativity begins flowing again. “We’ve made an album that I think is spectacular for all the ages,” Carlile says. “My life has been taking me to this album the whole time.” They are joined in the studio by Red Hot Chili Peppers drummer Chat Smith, renowned session bassist Pino Palladino and Pearl Jam guitarist Josh Klinghoffer on the album that spans rock, pop and Americana.
As the trailer wraps, John begins crying, but this time it’s happy tears.
“Who Believes In Angels? feels like going into another era and I’m pushing the door open to come into the future,” John said in a statement. “I have everything I’ve done behind me and it’s been brilliant, amazing. But this is the new start for me. As far as I’m concerned, this is the start of my career Mark 2.”
“I’m still reeling from the fact that I got to do it,” added Carlile. “I think all ships rise with Elton John’s standards for songwriting, and it was an incredibly challenging and inspiring environment to work in, everybody throwing in ideas, everybody listening to everybody else’s ideas. It felt like a family. The world is a wild place to live in right now. It’s hard to find peace and triumph. It’s a radical act to seek out joyful and euphoric happenings. And that is what this album represents to me.”
Other than Taupin, John has seldom worked with collaborators: he and his musical hero the late Leon Russell made two albums together with T Bone Burnett and he has collaborated with lyricists like Tim Rice for musicals, including The Lion King and Aida.
Fans who pre-order Who Believes In Angels? are eligible for a chance to buy tickets to An Evening with Elton John & Brandi Carlile at the London Palladium on March 26.
Who Believes In Angels? tracklisting:
The Rose Of Laura Nyro
Little Richard’s Bible
Swing For The Fences
Never Too Late
You Without Me
Who Believes In Angels?
The River Man
A Little Light
Someone To Belong To
When This Old World Is Done With Me
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