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Linkin Park will headline the upcoming UEFA Champions League final kick-off show at Munich Football Arena on May 31. The teams for the finale of one of the most prestigious football tournaments on Earth have not yet been announced, but regardless of which top-division European club makes the cut, they will have the pitch more […]
Justin Vernon has a new Bon Iver album to hawk, Sable, Fable. But that doesn’t mean he’s not going to take the odd Taylor Swift question here and there. Which is why during a chat with Apple Music’s Zane Lowe this week, the singer-songwriter waxed rhapsodic about accidentally being pulled into Swift’s pandemic orbit in the best way possible.
When Lowe asked Vernon what it was like to work with Swift, he praised the singer for the “courage” to reach out to The National’s Aaron Dessner to collaborate on her COVID-era Folklore album. On the cusp of quarantine, Vernon said he was about to go on an European tour with Bon Iver a month before lockdown when he tapped Desssner to fill in on guitar.
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The plan was for Dessner to play DJ and cue up demos of songs from his Big Red Machine side project — a long-running collaboration with Vernon — before the Bon Iver arena sets. The tour was quickly cancelled due to the COVID-19 pandemic, so like a lot of musicians at the time Dessner went on Instagram Live to play some unreleased music for fans and who happened to hear what he was laying down but Taylor Swift?
“All the glory goes to Taylor for hearing, as a songwriter, what music she wants to make,” Vernon said. “But those songs are Big Red Machine demos at their core and her genius was working with the genius of Aaron Dessner on making the strongest set of lyrics and songwriting that she’s ever had, really.”
As he sat back and watched the process unfold, Vernon said he was mesmerized seeing the global pop icon “enter our whole universe… of course there’s no one bigger and we all bowed down to her.” Vernon described a feeling of not being able to stop blinking as he realized the collaboration between the chart and stadium queen and their low-key indie side project made perfect sense.
“The love and community that Aaron had shown me over these years… Taylor was just stepping into it and flawlessly taking it,” Vernon said, adding that Dessner rang him up during the process and said that there was a track Swift wanted him to sing on. “I was like, ‘Taylor?’” Vernon said he asked as Dessner explained that Swift was writing to some of the Big Red Machine songs she’d heard.
“I was like, ‘Awesome! I’m not doing anything today!’ They sent it and I ended up adding a couple little bits,” Vernon said of the origin story of how he ended up with a co-writing credit — along with Swift, Dessner and the singer’s ex, actor Joe Alwyn (under the pseudonym William Bowery) — on the track. “I just sang it on an SM7 in my little makeshift studio… and it felt level to everything else. It’s an exceptional song and an exceptionally popular song for a good reason,” he said. “But it felt just so natural and I’m so thankful for that opportunity just to have worked with such an amazing artist.”
In addition to “Exile” on the Folklore album, Vernon also pitched in on the title track to the companion Evermore pandemic album, while Swift lent a hand on the Big Red Machine single “Renegade” in 2021.
Watch Vernon talk about working with Swift below.
The Who have parted ways with drummer Zak Starkey after nearly three decades, following the band’s recent run of London shows.
In a statement to The Guardian, a spokesperson for the veteran group 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.”
The gigs, which took place last month on March 18 and 20, were in aid of the Teenage Cancer Trust. The Who’s frontman, Roger Daltrey, is a patron of the charity and until 2024 acted as curator for their annual gig series at the historic venue.
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Tensions came to a head when Daltrey complained onstage last month about Starkey’s performance. A report of the first performance via Metro suggested that the singer stopped several songs mid-performance, citing difficulty hearing the band over the drums.
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It also said that Daltrey paused their final song, “The Song Is Over,” and told the audience: “To sing that song I do need to hear the key, and I can’t. All I’ve got is drums going boom, boom, boom. I can’t sing to that. I’m sorry guys.”
Starkey appeared to pre-empt his dismissal over the weekend (Apr. 13), when he posted an all-caps message to his Instagram page that read, in part: “Heard today from inside source that Toger Daktrey [sic] lead singer and principal songwriter of the group unhappy with Zak the drummer’s performance at the Albert Hall a few weeks ago is bringing formal charges of overplaying and is literally going to Zak the drummer.”
Daltrey, 81, recently revealed during those Teenage Cancer Trust shows that “the joys of getting old mean you go deaf. I also now have got the joy of going blind.”
The decision wraps up a significant chapter in the legendary rockers’ history. Starkey joined the band during their 1996 Quadrophenia world tour. He was introduced to drumming by The Who’s original drummer, Keith Moon, a close family friend who gave him a drum kit for his eighth birthday. He went on to play major shows with the group, including the 2010 Super Bowl and the 2012 London Olympics. At press time spokespeople for Starkey and the Who had not returned Billboard‘s request for additional comment.
Starkey is the son of Beatles drummer Ringo Starr and Maureen Starkey, and has also enjoyed a fruitful career outside of The Who, playing with Oasis, Johnny Marr, Paul Weller and Graham Coxon. He currently performs in the recently-formed supergroup Mantra of the Cosmos, also featuring Shaun Ryder and Bez of the Happy Mondays and Black Grape, and Andy Bell of Oasis and Ride.
Two heavy metal icons are teaming up for a 22-city co-headlining tour this fall. Original shock rocker Alice Cooper, 77, will share stages with British hard rock legends Judas Priest for the Live Nation-produced outing that is slated to kick off on Sept. 16 at the Mississippi Coast Coliseum in Biloxi, MS. The tour will […]
Former Judas Priest drummer Les Binks, who held the spot in the metal band’s lineup for a few crucial years in the late 1970s, had died at 73.
The group members announced their bandmate’s death on Tuesday morning (April 15), writing on Instagram, “We are deeply saddened about the passing of Les and send our love to his family, friends and fans. The acclaimed drumming he provided was first class – demonstrating his unique techniques, flair, style and precision – Thank you Les – your acclaim will live on…..”
Born in Portadown, Northern Ireland, on Aug. 8, 1951, Binks (born James Leslie Binks), spent time drumming with Eric Burdon and the Animals and War, as well as the pop group Fancy before joining Judas Priest in 1977. The band formed in Birmingham, England, in 1969 and fronted by leather-loving singer Rob Halford released its debut album, Rocka Rolla, in 1974, followed by 1996’s Sad Wings of Destiny.
Binks made his first appearance with group in time for 1977’s Sin After Sin, the band’s major label debut. The sessions saw the exit of early drummer Alan Moore, who was replaced by Simon Phillips for the recording. But, with Moore unavailable to tour, Binks was tapped to hit the road with the band after bringing his signature double-bass barrage to the bonus track cover of The Gun’s “Race With the Devil.”
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The drummer made his biggest mark on 1978’s Stained Class, where his massive, double kick drum sound and blitzkrieg style is a standout from the very first seconds of opening track “Exciter,” one of the songs that set the stage for the speed and thrash metal of the 1980s. The album, considered by many fans to be one of the group’s finest efforts, featured a rare co-songwriting credit for Binks on the ominous prog-metal shouter “Beyond the Realms of Death.”
Binks also appeared on the follow-up, 1978’s Killing Machine (which was released as Hell Bent for Leather in the U.S.), the most commercially oriented collection to date from the Priest, and the LP that would also mark his swan song with the group. Anchored by meaty rock anthems such as “Rock Forever” and the raucous “Hell Bent For Leather,” the album set the stage for what would become the band’s commercial breakthrough on 1980s British Steel, which featured the hits “Living After Midnight” and Beavis and Butt-Head favorite “Breaking the Law”; Binks was replaced on that album by former Trapeze drummer Dave Holland.
Binks’ final record with Judas Priest would be the band’s 1979 Unleashed in the East live album recorded in Tokyo earlier that year, after which he split following a reported dispute with band manager Mike Dolan over compensation for the live LP.
The drummer played with a series of other bands throughout the 1980s and ’90s (Lionhearted, Tytan) and formed the all-star Priest cover band Les Binks’ Priesthood, in 2017. In a testament to the crucial role he played in the development of Judas Priest’s sound, Binks was on stage with the rest of Priest in 2022 when the group was inducted into the Rock and Roll Hall of Fame and performed as part of their three-song set in one of his final public appearances before his death.
Check out their performance at the RRHOF ceremony below.
Sam Fender has shared that he once turned down the opportunity to perform alongside Joni Mitchell.
In a new interview at Coachella with radio station KROQ, the North Shields songwriter revealed that he was once offered the chance to perform with the seminal folk artist as part of her “Joni Jams” series, but turned down the slot down due to nerves.
Fender went on to explain that Mitchell — who has a long history of hosting jam sessions in her living room with musicians — invited him to perform at her home in California. “Can I tell you something mental? I got offered to go to a ‘Joni Jam.’ You know how people were going to Joni’s house, and I didn’t go,” he told KROQ.
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“Honestly, it was nerves. I was like, ‘There’s no way I can sit next to Joni Mitchell and be like do you want to listen to this?’” he added. “I was like, ‘Does she even want these people around?’ Obviously, she did, but yeah, I got offered the chance to go, and I bottled it. I completely bottled it. It’s one of my great regrets, it really plays on my mind.”
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The Joni Jams began as an intimate performance series after Mitchell suffered a stroke in 2015. Organized by fellow singer/songwriter Brandi Carlile, close friends and collaborators would play her music for Mitchell as she recovered, with everyone from Elton John, to Paul McCartney, Harry Styles and others rumored to have been involved over the years.
The sessions later expanded to include public performances. In 2023, the 27,000-capacity Gorge Amphitheater in Quincy, Washington, played host to a Jam featuring appearances from Mitchell and Carlile, plus a star-studded guest list including Marcus Mumford, Annie Lennox, Allison Russell, Sarah McLachlan and Lucius.
At the time, it had been 20 years since the “Blue” singer had performed live due to several health issues that plagued the 81-year-old icon, leading to her staying out of the public eye for nearly two decades.
Mitchell made headlines again earlier this year when she took to the stage as part of the LA FireAid charitybenefit show. She was joined by Taylor Goldsmith of Dawes, Lucius, Taylor MacKall, Blake Mills and Abe Rounds, following a moving set at the 2024 Grammy Awards ceremony.
Fender, meanwhile, has enjoyed a banner year. The singer and guitarist shared his third LP, People Watching, in February, which Billboard U.K. described as “as a grand, emotional record which has the potential to become an instant British classic.”
According to data from the Official Charts Company, the record landed the biggest U.K. opening week for a British solo act since Harry Styles‘ Harry’s House in 2022. It also marked Fender’s biggest-ever opening week, selling more units than his 2019 debut Hypersonic Missiles and 2021’s Mercury Prize-nominated Seventeen Going Under combined.
In recent months, Fender has gone on to win a BRIT award for alternative/rock act, and has taken People Watching on tour across Europe and the U.S., including his debut appearance at Coachella over the weekend (Apr. 12).
This summer, he will perform a string of headline stadium shows in the U.K., with dates in London and Newcastle. £1 from every ticket sold on the run will be donated to select cultural organizations such as Youth Music and Sunday for Sammy to support the arts in the North East of England.
Check out the KROQ interview below.
Shirley Manson is pushing back against media commentary about her appearance, calling out what she describes as “weaponised” language used to diminish women in music as they age. Explore Explore See latest videos, charts and news See latest videos, charts and news On Saturday (April 13), the Garbage frontwoman took to Instagram to share a […]
Duo Soft Palms has returned with new single “Radio” from their upcoming sophomore album. The track marks the first new music from the wife and husband pair of Julia Kugel (The Coathangers, Julia Julia) and Scott Montoya (former member of The Growlers) since their debut self-titled album in 2020.
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“Radio” kicks off with Montoya on the drums before Kugel joins in a boisterous guitar riff that drives the track. The song is about the divisive nature of media and the alienation that results from the echo chamber of negativity, hearing secondhand information and the perception of persecution.
The track’s release is accompanied by a music video featuring the duo in night vision and serves as a reflection of the lyrics’ sentiment with surveillance cameras and projected messages that reflect the idea of being watched and judged.
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The Southern California couple have been making music together and separately for decades, and have decided to take their careers to what Montoya calls the “next logical step” of attempting to win a Grammy.
“Julia and I have over 40 years combined experience in music. ‘Radio’ will be our combined 352nd track on our combined 46th release, but it’s the first time we’ve ever thought to submit our work to the Recording Academy for Grammy consideration,” Montoya tells Billboard. Coming from the independent side of the music industry, he explains, the Grammys have “a stigma of being specifically for pop artists and for mainstream music, but it’s really not the case.”
The duo has also spent years strengthening their local music scene through their free annual festival, Happy Sundays, in Long Beach, Calif. The three-day event is scheduled to return this summer to several locations in the city between Aug. 23-25.
They also run non-profit Studios for Schools that provides equipment and funding for building recording/production studios in schools.
“Radio” was recorded and mixed by Kugel and Montoya at their home studio Centre of Mental Arts (COMA) in Long Beach, Calif., and mastered by BAFTA winner Mick Boggis. The entirety of the record is expected out later this year via Everloving Records.
Check out the video below.
Bon Iver‘s Justin Vernon has always done things his way, and the roll-out of the singer’s latest album, Sable, Fable, is no exception. In addition to the LP that dropped on Friday (April 11), Vernon has lined up dozens of unique product tie-ins ranging from bespoke pink cashmere hoodies and beanies from designer Todd Snyder to fragrances, notebooks, signature cocktails, ice cream and more.
The exhaustive list of products includes the Allpress Espresso “SABLE, fABLE Spritz” cold brew (featuring San Bitters, citrus, orange bitters and soda), as well as the Billy Van Creamy SABLE SORBET featuring vegan salted olive oil and grapefruit sorbet with vegan sour jube, as well as a non-vegan option that will be served with salmon roe.
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You can also check out Canyon Coffee’s SABLE Black Sesame Hojicha Latte (with hojicha tea, black sesame, pistachio milk and Japanese brown sugar), the fABLE Hibiscus Milk Tea (with hibiscus tea, strawberry simple syrup and your choice of milk) and Courage Bagels’ bon iver salmon SABLE plate with wild hot smoke salmon, cream cheese, capeberries, onion, dill, tomato and olive oil.
The collabs are are available at his partners’ retail outlets on Friday, including a special Earl of East “immersive” scent inspired by sound, the Fables Bar & Cafe walk home hot chocolate, Fell + Cole SABLE whiskey ice cream, Field Notes SABLE, fABLE notebooks, Fishwife’s SABLE, fABLE smoked salmon duo and the Gravely Brewing Co.’s SABLE dark cream ale brew.
The exhaustive list of items inspired by the new album also includes listening lounges, signature cocktails, sourdough salmon pastries, a fresh peach puree matcha, a different stacked bagel sandwich, a gravlax pizza, smoothie bowl, salmon colored roses and bouquets, coffee blends, flash temporary tattoos (salmon and double hearts), a “Short Story Shortcake” and more unique offers inspired by the album’s color scheme and title.
All of Friday’s experiences will be available while supplies last at outlets stretching from Manchester, U.K. to Melbourne, Australia, L.A., Wisconsin, South Korea, Detroit, Louisville, Jakarta, Amsterdam, Malaysia, Chicago, Singapore, India and Mexico City, among many other spots; click here for the full list of collaborations and locations.
In addition to the avalanche of tie-ins, Vernon also released a cabin-core-to-coast video for “There’s a Rhythm/ Au Revoir” on Friday. In addition to all that, Vernon will hit L.A.’s Terasaki Budokan sports/community center on Saturday (April 12) for the “Live Inside This State Fair” event featuring the three-game SABLES vs. fABLES basketball tournament, art displays, games, vinyl and food and drink from his collab partners.
Check out the “There’s a Rhythm” video, as well as pictures and a full list of the collabs here and below.
Paramore fans got a very rare treat this week when singer Hayley Williams performed “Teenagers,” her contribution to the super emo soundtrack to the 2009 Megan Fox horror comedy Jennifer’s Body live for the first time ever. Seated on the floor while strumming an acoustic guitar and rocking green shades, Williams, 36, sang, “I’m gonna go on like I never met you/ And it’ll feel wrong at first, but I think I can forget you/ Ignore the fact that we sleep no more than three feet apart/ I feel you now, you’re all around me, underneath me.”
Bobbing her head and clearly into it, she quick-strummed her way into the chorus: “Well, how was I to know that what we carved in stone/ Would be so temporary?/ Well, how was I to know that my first crack in love/ Would not be the last? It won’t be the last,” she sang.
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The caption to the performance read “#selfserenades wrote this for the jennifer’s body soundtrack when I was still a teenager,” adding to the tale in her Stories, writing, “lore behind this one is so ridiculous i cant tell if tellin it would make the song better or worse anyway, first self-serenade in years… hope its fine by you.”
In case you forgot, the soundtrack to the movie was a who’s who of emo at the time, including tracks from Panic! at the Disco, Dashboard Confessional, Cute Is What We Aim For, Cobra Starship, All Time Low and The Sword, as well as songs from Florence + the Machine, Little Boots, Screeching Weasel, Silversun Pickups and Lissy Trullie.
In addition to the performance, Williams also made an urgent call to action about the climate crisis, noting that the weather in Nashville when she recorded the performance was “glorious” after multiple tornado threats, flooding and “a sleepless night hiding in the basement. have come a little too close to multiple natural disasters this year. they continue to get worse and more frequent.”
Severe storms raked Nashville and Middle Tennessee last week, spawning multiple tornado warnings, one suspected tornado, as well as torrential rains and high winds that caused widespread flooding. Williams pulled no punches in describing the urgency she feels about climate change at a time when the Trump administration is touting efforts to revive the highly polluting coal industry and working to roll back many of the crucial green initiatives passed by the Biden administration to put the country on a path to reduce the nation’s greenhouse gas emissions.
“Climate crisis is definitely here and the ppl in power dont give a rats ass,” she wrote. The singer encouraged her fans to follow Mister Rogers’ sage advice to “look for the helpers,” with a shout-out to @supportandfeed, the organization founded by Billie Eilish’s mom, Maggie Baird, that is working to mitigate climate change and increase food security by promoting plant-based food options.
She also gave some love to @reverb_org, which has been striving for more than 20 years to green the touring industry.
Check out Williams’ performance below.