band

Today it’s an Italianate apartment building wedged between an Indian restaurant and a Target. But what stood half a century ago at 1454 5th Street in downtown Santa Monica was the Beach Boys’ Brother Studio, a former porn theater turned recording complex where the preeminent American rock band of the 1960s sought to coax its resident genius, Brian Wilson, back into the fold after a long stretch in the wilderness.

Nobody would consider the albums the Beach Boys made at Brother in the mid-70s — among them “15 Big Ones,” “The Beach Boys Love You” and the long-shelved “Adult/Child” — the band’s most successful. (Well, nobody except for Wilson, who frequently cited the synthed-up “Love You” as his fave.) A decade after 1966’s “Pet Sounds,” which so blew the Beatles away that they had to answer with “Sgt. Pepper’s Lonely Hearts Club Band,” the burly, bearded Beach Boys were far from the center of pop music; Wilson, in particular, had largely withdrawn from public life as he struggled with the effects of drugs and his fragile mental health.

Yet Brother offered the setting for a creative reflowering — arguably the band’s final moment of unity before the start of years of more serious infighting.

“It was like we all got back together and became Beach Boys again,” says Al Jardine, who founded the group in suburban Hawthorne in 1961 with Wilson, Wilson’s brothers Dennis and Carl and the Wilsons’ cousin Mike Love. Now, eight months after Brian Wilson’s death in June at age 82, a new box set looks back at the era as an expressive outpouring led by the band’s rejuvenated visionary.

“We Gotta Groove: The Brother Studio Years” collects 73 tracks from 1976 and ’77, including outtakes, demos, a remastered version of the “Love You” LP and the first official release of the widely bootlegged “Adult/Child,” which puts Wilson’s touchingly emotive singing amid orchestral arrangements in a glossy big-band style. Among the set’s highlights are a voice-and-piano rendition of “Still I Dream of It,” which, according to legend, Wilson wrote in the hopes that Frank Sinatra would perform it, and a majestic take on “You’ve Lost That Lovin’ Feeling” that shows how brilliant a record-maker Wilson remained despite all the well-documented turmoil.

“Brian was healing from his personal life, and he was ready to go in the studio again,” says Jardine, 83, whose latest tour with the members of Wilson’s road band will stop Friday night at L.A.’s United Theater on Broadway for a complete performance of “The Beach Boys Love You.” With quirky but heartfelt tunes about Wilson’s daughter Carnie (“I Wanna Pick You Up”) and Johnny Carson (uh, “Johnny Carson”) — not to mention the propulsive “Honkin’ Down the Highway,” on which Jardine sang lead — “Love You” has become something of a cult classic among Wilsonologists.

Says Jardine of the LP: “Brian’s spirit — his songwriting soul — is really strong on that one.”

The Beach Boys opened Brother Studio around 1974 near the corner of 5th Street and Broadway, just a few blocks from the beach. They’d traveled to the Netherlands to record their most recent album, “Holland”; before that, they cut several records at Wilson’s home on Bellagio Road in Bel-Air, though the group’s erstwhile mastermind spent as much time upstairs in his bedroom as he did recording music with his bandmates.

Wilson’s retreat after the flameout of his notoriously ambitious “Smile” project made space for the other Beach Boys to shape the band’s music, as on 1970’s fondly remembered “Sunflower.” But the lack of hits eventually took its toll: With a laugh, Love, 84, says one reason they started up Brother was that Wilson’s wife, Marilyn, eventually “threw in the towel after years of having her house flooded with people” to less-than-spectacular returns. “It was sort of like a self-preservation thing,” he adds.

The Beach Boys backstage at New York’s Central Park in 1977.

(Richard E. Aaron / Redferns)

In “We Gotta Groove’s” liner notes, engineer Stephen Moffitt, who designed Brother after working earlier at L.A.’s Village Recorders, recalls clearing out “all the porn crap” from the building and installing a circular stained-glass window to establish the right vibe. A vintage magazine ad boasts of the studio’s high-end gear as well as its “large screen video lounge” and “a playroom with pong, pinball and bumper pool.”

“It was a respite,” Love says. “A place to go and be creative.”

Just as the band was getting Brother up and running, the Beach Boys scored an unexpected smash with 1974’s “Endless Summer,” a double-LP compilation of the group’s early material — “Surfin’ Safari,” “Don’t Worry Baby,” “California Girls” — that topped the Billboard album chart on its way to sales of more than 3 million copies. A similar hits collection issued in the U.K., “20 Golden Greats,” did just as well there. “An enormous success,” says Love. “One in every five families had it.”

Suddenly, having more or less ignored group-minded efforts like “Holland” and “Carl and the Passions — ‘So Tough,’ ” the world remembered what it loved about the Beach Boys, and that was songs written and produced by Brian Wilson.

The band got to work at Brother recording “15 Big Ones,” which featured a mix of Wilson originals and covers of oldies like “Chapel of Love” and “Blueberry Hill.” The first Beach Boys album since “Pet Sounds” to carry a solo production credit for Wilson, it came accompanied by an aggressive marketing campaign known as “Brian Is Back!”; Wilson appeared on the cover of Rolling Stone — “The Healing of Brother Brian,” the cover line read — and took part in a Beach Boys television special that showed his return to the concert stage at Anaheim Stadium.

Earle Mankey, an engineer at Brother in the mid-70s, says “15 Big Ones” was less Wilson’s attempt to relight the flame than it was “everyone else’s attempt to relight the flame.” He recalls Wilson looking like a “scared rabbit” when he walked into the studio to find some of the session musicians who’d worked with the Beach Boys back in the old days. (This was the time of Wilson’s first dalliance with the psychologist Eugene Landy, who would reenter Wilson’s life to much controversy in the early ’80s.)

Fans watch the Beach Boys perform at Anaheim Stadium on July 3, 1976.

(Tony Korody / Sygma via Getty Images)

Even Love admits that “Brian Is Back!” was a little overblown. “Brian was back to some degree,” Love says now. “One hundred percent? Perhaps not.”

Yet the campaign worked: “15 Big Ones” went to No. 8 on the Billboard 200 — the highest for a Beach Boys studio album in more than a decade — while the LP spun off the band’s first Top 5 single since “Good Vibrations” with a rendition of Chuck Berry’s “Roll and Roll Music.”

More important, the commercial success set up Wilson for a true artistic comeback with “The Beach Boys Love You,” which can still startle you with the purity of its emotion and the strange textures of Wilson’s production. Check out the beautifully lopsided groove of “Mona,” which Dennis sings with a bleary smoker’s rasp, or the lonely-sounding electric-guitar lick floating over the Wilson brothers’ harmonies in “The Night Was So Young”; listen to Brian and Marilyn trading marital assurances in their almost painfully guileless duet, “Let’s Put Our Hearts Together.”

“Of all Brian’s stuff, I’d say it’s his most personal album after ‘Pet Sounds,’ ” says Darian Sahanaja, who played with Wilson for the last couple of decades of his life. “Maybe even more than ‘Pet Sounds,’ because Tony Asher wrote most of the lyrics on ‘Pet Sounds’ and Brian wrote most of the lyrics on ‘Love You.’ The Brian that I knew is very much living and breathing in these songs.”

Unlike “15 Big Ones,” “Love You” was not a hit, peaking at No. 53 — even lower than “Holland.” As much as he adores the album, Sahanaja finds it amusing that anyone in the Beach Boys’ camp might have expected Wilson to try to give rock fans what they wanted.

“He wasn’t listening to the Top 40 at the time,” he says. “He just wrote whatever came out of him. There was no, ‘I wonder what Fleetwood Mac’s up to…’ ”

Indeed, Wilson went even further out with “Adult/Child,” for which he commissioned orchestral arrangements by Dick Reynolds, who’d worked in the ’50s with Wilson’s beloved Four Freshmen. Both Love and Jardine say they can’t quite remember why the album didn’t come out; Love says “it may not have suited the record company at the time” and points out that even “Pet Sounds” got the group’s A&R rep wondering “if maybe we could do something more like ‘I Get Around.’ ”

Whatever the case, “Adult/Child’s” mothballing led to another withdrawal by Wilson, who had far less to do with the band’s next few records and who eventually turned to a solo career. In 2012, Wilson produced a so-so Beach Boys reunion record — minus Dennis, who died in 1983, and Carl, who died in 1998 — but for much of the ’00s he and Jardine toured under Wilson’s name while Love toured as the Beach Boys. (Love’s band will play three shows at the Hollywood Bowl in July.)

Asked what it’s been like performing with Wilson’s band since his death, Jardine says, “I just feel like he’s still around.” Sahanaja says he’s seen Jardine tear up as they’ve been working up songs from “Love You” on the road ahead of Friday’s show. But he’s also been gratified to see the excitement among younger fans regarding what he views as the Beach Boys’ last great album.

“The reaction has been more insane than I’ve ever seen for any of the shows we ever did with Brian,” he says. “It’s like they feel they found this secret thing that they really identify with.” He laughs. “I’m telling you, these kids are freaking out — jumping up and down, singing along to all the words. They’re, like, pogo-ing.”

GARY “MANI” MOUNFIELD’s legacy lives on thanks to a huge vault of unreleased music.

The rocker was laid to rest in December following his sudden death the month before.

I’m told there have been talks with his Stone Roses bandmates about releasing a song dedicated to him.

A source said: “Tracks Mani recorded with the band after their reunion in 2011, along with songs he made with Primal Scream, are all in a vault which could soon be opened.

“Mani was one of the most prolific musicians around and as well as playing with The Roses and Primal Scream, he was involved in numerous side projects.

“There are tracks featuring him by The Stone Roses, Primal Scream, Free Bass and Mantra Of The Cosmos.

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“The hope is that these tracks will come out in tribute to him, possibly even as a compilation. It’s all early days but there are ongoing discussions about how best to pay tribute to his music legacy.”

After The Stone Roses reformed for concerts in 2011, they went into the studio to record new material and released two singles, All For One and Beautiful Thing.

But a third album never materialised, despite there being more songs.

Zak Starkey, son of Beatle Ringo Starr, revealed Mani agreed to be the bass player for Mantra Of The Cosmos but had to walk away after initial sessions to care for his wife Imelda, who died in 2023.

Drummer Zak said: “Due to his amazing strong woman Imelda being very sick, he couldn’t commit to Mantras.

“There was no substitute for Mani so we never had a bass player, it just wouldn’t have been right.”

Bella in nightclub hold-up

IT’S not often we see celebs falling out of nightclubs these days, given they’re more prone to neck a protein milkshake than a martini.

But Bella Hadid almost took a tumble outside the Chateau Marmont Hotel in Los Angeles.

Luckily for Bella, all those years walking in heels on catwalks means she’s a pro at keeping her balance – and she grabbed on to a handily parked 4×4 car to keep her upright.

Bella shared snaps from her night out at the trendy haunt and revealed she was with New York designer Noah Ruttenberg and her stylist Mimi Cuttrell before making this spectacular exit.

EX-Coronation Street actor Adam Rickitt is relaunching his solo career.

He got the part of Nick Tilsley in 1997, and went on to have a No5 song with his debut single I Breathe Again in 1999.

But after album Good Times limped in at No41, he was dropped from his label.

Adam said online about going back into the studio: “We did a version of Breathe Again, which was nice. We’ve got a really good song idea. We’re going to record a new song.”

SCAM FEAR CUT SHORT J-LO HAIRDRESSER GIG

CELEBRITY hairdresser Chris Appleton thought Jennifer Lopez was a scammer when he first got an email from her.

He told Roxie Nafousi’s Rise With Roxie podcast: “I remember I got an email from J-Lo’s team.

“It was like, ‘Jennifer Lopez is doing her Vegas tour and she would, you know, want to work with you.’ I remember I ignored the first email because I thought, ‘Oh this is probably just spam or something’. And then I got another one and I remember thinking, ‘How does J-Lo know who I am?’.”

Unluckily for Chris, who counts Kim Kardashian among his famous clients, he ended up missing the boat because he failed to respond.

BANDS including A Day to Remember, The Primals and Creeper have joined the list of rock gods playing Download Festival.

The mega event taking place at Donnington Park from June 10 to 14 will also feature acts such as headliners Limp Bizkit, Guns n’ Roses, Linkin Park, plus Cypress Hill, Trivium, Bad Omens and Pendulum.

Tickets for the festival in Leicestershire will go on sale at 10am tomorrow.

JAIL JOB STIRS UP MARCUS

MARCUS MUMFORD says working with jail inmates gave him inspiration for new album Prizefighter.

The Mumford And Sons frontman said: “Alley Cat, I wrote in a prison actually. I go into prison and do poetry workshops and that came out of one of those sessions with the lads.

“I felt slightly conflicted about it to start with.”

While the track hasn’t yet been picked as a single, the record is going down a storm.

Prizefighter is on course to give Mumford And Sons their fourth UK No1 album on Friday, after topping the chart in the midweek update.

Marcus has been volunteering in prisons since the end of lockdown.

The singer added: “If all of us were defined by the worst thing we ever did, we’d all be f***ed.

“I believe in grace, I believe in mercy, I believe in responsibility, choices, consequences, of course.”

Good for him.

CRUZ GETS HIS BREAK IN EUROPE

CRUZ BECKHAM AND THE BREAKERS are making waves with sold-out shows in London, Brighton, Southampton and Leeds.

Now the youngest son of Posh and Becks has announced a European leg including gigs in France, Germany and the Netherlands.

Cruz said: “I’m so excited to get out on the road.

“I’ve always been inspired by bands who do it the right way.”
Their run of shows kick off tomorrow night at Mama Roux’s in Birmingham.

AN AMERICAN rock star has quit an iconic emo band after nine years with the group.

It has been confirmed that rockers Dashboard Confessional will be losing a group member – nine years after he was first drafted into the band.

Drummer Chris Kamrada took to Instagram to confirm that he would be parting ways with his group in an emotional online message.

Writing his statement, the star penned: “After an incredible run together, Dashboard Confessional and I are parting ways.

“I’m incredibly grateful for the eight years spent travelling the world, playing and creating music together, and contributing to moments that I believe fans will never forget.

“After 20 years of doing this professionally, this chapter of a musician’s career will forever be bittersweet.

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“With that said, I simply want to say thank you to Chris, everyone in the band, family and close friends in our circle, our touring crew, and everyone involved behind the scenes.

“I’ll see you out there.”

Reacting to the news, he had a slew of fans replying to him in the comments to wish him luck in his next ventures.

One fan said: “I feel honored I was able to see you twice and then meet and hang out with you.”

Another added: “Absolute legend.”

With a third penning: “Amazing run. Cant wait to hear what’s next, friend.”

Before a fourth went on to write: “An incredible drummer in my favourite band.

“Still remember being handed a drumstick by you after a gig in London!”

The band were first formed in 1999 and have been performing ever since with various different members coming and going over the years.

Frontman Chris Carrabba had led the band since it’s inception.

The band achieved most of their success Stateside with their third and fourth albums both charting at number two on the US Billboard 200.

Chris previously played the drums for band There For Tomorrow for over a decade.

THIS NOUGHTIES indie band looks unrecognisable after undergoing a bleach blonde hair transformation.

The rockers released a new promo photo for their upcoming gigs later this year.

The lads looked very different as they showcased their new look.

The trio posed for a photo all suited and booted and looking serious.

But have you worked out who it is yet?

Well it’s none other than British punk rock band The Ordinary Boys.

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The band consists of Samuel Preston ‘aka Preston’, along with Charles “Chuck” Stanley, James Gregory and Matthew Powers.

The band is set to return to live music next month after a decade’s hiatus to celebrate their 20th anniversary.

They will be performing a number of intimate gigs in Worthing, Bristol, Darwen and Portsmouth.

But first they will be kicking things off with a special show in London at the Strongroom Bar – and fans can get tickets for as little as £20.

The group will also be making an appearance this summer at Chester’s Together Again Festival at Bolesworth Castle.

In a bid to reinvent themselves ahead of the shows, the singers were seen sporting their striking hairdo for a new poster.

The Ordinary Boys are best known for their 2006 UK Top 10 hits Boys Will Be Boys.

Their collaboration with Lady Sovereign titled Nine2Five was also a hit.

They also released a number of other tracks during the mid-2000s including I Luv U, Lonely at the Top, and Talk Talk Talk.

Preston is arguably the most well known member of the group thanks to his appearance on Celebrity Big Brother in 2006.

The singer went on to marry fellow housemate Chantelle Houghton after meeting on the show, but split just a year later.

Preston’s ex Chantelle told The Sun last year: “I think everyone loves a romance love story don’t they.

“I think a house romance would definitely make it easier for you, because you’ve got that person haven’t you.

“Whereas if you have no real friendship or connection, you’re sort of there on your own and it’s quite lonely and there’s a lot of mind games.

ROCK band The Enemy have been forced to cancel a string of gigs after a “medical emergency” as they issue an apology to their fans.

The group have revealed that their Glasgow and Edinburgh shows for tonight and Tuesday have been cancelled.

Taking to Instagram to share the news, their management posted a statement on their behalf.

It read: “Due to a family medical emergency within the band, they have had to rush back home and both tonight’s show at King Tut’s Glasgow and tomorrow night at The Caves Edinburgh have been cancelled.

“Refunds will be issued within the next 24 hours.

“We are so sorry for the disappointment caused, your support means the world to the band, thank you on their behalf for being so understanding of the circumstances. Many thanks, Management,” they signed off.

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The group are still currently scheduled to perform at Brudenell in Leeds on Friday 27 and 100 Club in London on March 4.

Their beloved fans rushed to the comments section to send them their well-wishes as they navigate the emergency.

One concerned fan penned: “Hope all is well. Family should always come first. The shows can wait.”

Another understanding social media user commented: “Sending loads of love, hope everything is ok. Family is always first priority.”

Somebody else said: “Gutted. Hope everything is ok though,” while a fourth added: “Sorry to hear this, family first.”

The English indie rock band was formed in Coventry back in 2006 and consists of members, Tom Clarke, Andy Hopkins and Liam Watts.

The Enemy’s debut album, We’ll Live and Die in These Towns was released in 2007 and went straight to number one in the UK Albums Chart.

They followed this up with a further three albums and are gearing up for their fifth studio album, Social Disguises, which releases this week.

After disbanding in 2016, the trio reunited in 2022 for two reunion shows in their hometown of Coventry as well as embarking on a UK tour.

While Tom is on lead vocals as well as guitar, piano and strings, Andy is on bass guitar and vocals and Liam is in charge of drums.

The group revealed earlier this month they’re releasing their newest album, Social Disguises.

Taking to Instagram, they penned: “We can officially say that there is a brand new album by The Enemy being released THIS MONTH.

“It’s been a while since last time we said that!

“Massive love to everyone who’s listened to singles and pre-ordered the record! Go get yours from our website.”

This Summer is also set to be a good one for the band’s fans as they’ve been lined up to play Tramlines in Sheffield, Y Not? Festival in Derbyshire and Victorious Festival in Portsmouth.

Whether you’re already on the inside or new to the party, the Canadian meta-comedy “Nirvanna the Band the Show the Movie,” about a music duo’s epic undiscoveredness, shows little audience favoritism as it ping-pongs between timelines, formats, realities, cultural shout-outs and its two indefatigable lead characters. Make that four leads, since director and co-writer Matt Johnson and his composer-best friend Jay McCarrol each play themselves twice, thanks to archival footage presented in this zippy mockumentary as evidence of time travel.

Don’t be confused. Or rather, be confused but adventurously so! Especially if you aren’t familiar with the cult web series from which this film derives. Indie-savvy viewers might know Johnson’s work from the moon-landing conspiracy lark “Operation Avalanche” or the cheeky docu-dramedy “BlackBerry,” both of which he directed and acted in. But there’s no getting around the fact that if you haven’t encountered them before, then for a good while they’ll come across as Motormouth Clown in a Fedora (Johnson) and Understated Guy at the Piano (McCarrol).

With three Ns to their band name (no relation to a slightly better-known group), a dream of booking Toronto’s longstanding live venue and only a cluttered suburban home to show for it, the duo’s act seems primarily to be coming up with boneheaded ideas for exposure. Johnson’s latest bolt of inspiration is for them to parachute from the top of downtown Toronto’s 2,000-foot CN Tower into the open Rogers Centre stadium below, a plan which meets with amusingly alarmed concern from a very real employee at the hardware store. It’s the first of many encounters with unsuspecting citizens, à la the oeuvre of Sacha Baron Cohen.

Though their stunt fails — yet succeeds for us as a piece of guerrilla filmmaking wizardry — it spurs Johnson toward an even crazier notion: time traveling in an RV to 2008 to change their fates and secure their inevitable fame. Think “Back to the Future” and think about it a lot, since from here on out, that 1985 classic becomes this movie’s lodestar of structural, comedic and musical reference. (McCarrol’s enjoyably overwrought orchestral score shouts out to composer Alan Silvestri.)

That the filmmakers could play against themselves using video of the 2008 versions of their characters (when they had the web series) is undeniably clever, if not always the laugh riot it promises to be. But it also helps foster the jealousy-driven farce that takes over the current-day narrative and is genuinely funny: a rejiggered timeline in which McCarrol becomes a massive pop star and Johnson gets left behind.

Invariably these wacky scenarios will be more amusing to longtime fans, for whom a frantic climax akin to the lightning-meets-DeLorean ending of “Back to the Future” will play like nostalgia for nostalgia. To the uninitiated, though, even amid steady laughter and a sneaking concern for this silly friendship to right itself, it may come off as much ado about who knows what.

But Johnson is nothing if not a punchy ringmaster of deadpan humor and his grab-bag mindset generates enough goodwill to appreciate the DIY brashness of it all. I’m one of those who had no clue of this act’s history and I’m fairly certain I’d look forward to “Nirvanna the Band the Show the Movie the Sequel.”

Thundering drums and shredding guitar solos cut through the crowd as pyrotechnics and streamer cannons blast. The energy and production feel like a show at the Hollywood Palladium or the Forum, but we’re at Knott’s Berry Farm, on the rooftop of a big red doghouse — that is if we can suspend our disbelief for an evening. The educational rock band Jelly of the Month Club along with guest musicians Charlie Brown, Lucy, Schroeder and Linus set up the show’s finale with a question: “Where’s that crazy dog?” Hundreds of fans scream as “All aboard!” resonates through the park, watching in anticipation as a spotlight searches for its fuzzy rock ‘n’ roll star to emerge.

Chances are you’ve seen Snoopy dressed as Doggy Pawsbourne on your Instagram or TikTok feed, complete with Ozzy’s signature round sunglasses, long hair and trench coat, punctuating the Prince of Barkness’ “Crazy Train” entrance. Snoopy’s Legendary Rooftop Concert became an instant hit with park patrons and with fans internationally thanks to a viral video posted on opening night. Sharon Osbourne shared the “Peanuts” tribute to her late husband with the all caps message “I LOVE IT” to her social media from the floor of the 68th Grammy Awards. But it’s more than witty puns and costumes that make Snoopy’s Legendary Rooftop Concert special.

The show at Knott’s tells the story of Snoopy learning to be a rock star at Jelly of the Month Club’s Music Academy and touring the world with the band. Snoopy takes on fursonas like Dog Lennon, Paw Prince, Fido Mercury, Flying Ace Freely and even a lost member of Devo wearing the signature Energy Dome hat. Jelly of the Month Club hits every beat and chord with precision, with arrangements of songs and medleys that bring together the power of rock’s past with the whimsy of “Peanuts.” Woodstock gets a solo moment too, whistling on Dog Marley’s “Three Little Birds,” set to a perfect one drop beat as Charlie Brown spirals out in a chicken suit while rubber chickens sway.

“We got rows of kids bringing their own rubber chickens,” show director Rob Perez tells me. “Its almost like watching ‘Rocky Horror’; kind of bizarre, really funny, and charming.” When Charles Schulz’s daughter Jill came to see the show, she told Perez that her dad used to say “there’s nothing funnier than a rubber chicken.”

Snoopy as Doggy Pawsbourne at Knott’s Berry Farm

(Dick Slaughter)

It makes sense that rock ‘n’ roll appeals to Snoopy; he’s a bit of an outsider with an internal life seen by almost none of his friends. It makes more sense that the feeling of family promised by rock touring life would appeal to Charlie Brown; it often calls to creative dreamers and outcasts with a subconscious need to belong. Schulz explored why all humans have the feeling people don’t like us in his cartoons and admitted that Charlie Brown was loosely based on himself. “People who win are the minority,” he told BBC in 1977, “most of us lose a lot.” The solution he provided to overcoming life’s most difficult conditions was simply to never give up.

Nobody cheers on Charlie Brown in Snoopy’s Legendary Rooftop Concert more than Jelly of the Month Club guitarist and vocalist Michael De La Torre, a.k.a. Mic Dangerously, who has become accustomed to encouragement working with youth. Active since 2013, Jelly of the Month Club is a family-friendly band who use music to inspire, educate and entertain kids and adults. It has played countless elementary schools, children’s hospitals, civic events and theme parks with interactive songs that teach musical concepts and life lessons. The band also offers free online lessons called the Jelly of the Month Club Music Academy, which turned live gigs into cartoon-based educational games. The band members have partnered with nonprofits including UNICEF’s Kid Power initiative to provide concerts to schools across Southern California, often donating their time.

“Studies say music helps with math, English and science, but it also helps you as a person,” Dangerously says. “It helps you understand feelings better. Look at how adults use music therapeutically. Kids are doing just the same.”

Dangerously first recognized the power of music education as a young boy at St. Pius elementary school in Buena Park, when a man with a bushy mustache and a Hawaiian shirt quieted the boisterous students in seconds with only an acoustic guitar. But hearing Louis Prima’s voice in “The Jungle Book” solidified his desire to become a singer.

Playing at Knott’s has forged meaningful connections to the community in ways Dangerously never foresaw in his early rock ‘n’ roll days. He’s become close to a father and his usually nonverbal son who can’t keep quiet at shows, asking questions and singing along. Last year an older woman who he’s built a friendship with for years suddenly disappeared. Dangerously learned from her daughter and granddaughter that she suffered a stroke. She credits singing and dancing to his music at Knott’s as instrumental in recovering her speech and movement. “She told me that she loved me like a son,” Dangerously says. “I’ve never had anything like that happen with my rock band. It makes you really want to show up.”

On the night The Times experienced Snoopy’s Legendary Rooftop Concert, Dangerously’s biggest fan, Abbey, stood in the front row playing a light up tambourine above her head to “The Blooz Beagles,” wearing a head-to-toe matching outfit to him. In her sequin blazer, red pants, black boots, bow tie and wide-brim hat, the 11-year-old mirrored his musical gestures, never missing a beat. Abbey loves “everything” about the music and dancing she tells me, excited to share that Mic personally gave her the tambourine and a few other instruments too.

Crowd at Jelly of the Month Club show at Knott’s

“They’ve known her since she was 3,” says April Guerrero, Abbey’s supportive mom who has helped her daughter make replicas of Jelly of the Month Club’s looks since 2017. Abbey learned to play music because of the band’s online resources.

“Many of us have a background in education,” Dangerously said. Matt Kalin is a teacher and pro saxophonist who has shared the stage with legends like Social Distortion and Louis Bellson. Dr. Todd Forman is a practicing physician who went to Harvard, taught at USC, and played sax with Sublime. Bassist James Kee is an educator who has taught kindergarten through fourth grade for the last 15 years. Dangerously’s own mom was an art teacher who encouraged him to teach after he finished his audio engineering degree at Musicians Institute, something he’s used in a junior producer’s course he created for an after-school program in Long Beach.

Like the members of Jelly of the Month Club, director Rob Perez is a multi-instrumentalist and producer with a deep reverence for classic rock and Charles Schulz cartoons. Perez is the man responsible for turning Snoopy’s Legendary Rooftop Concert from a dream into a reality. The concert grew out of a 2017 show called Woodstock’s Music Festival. When Snoopy walked out as Jimmy Hendrix, the crowd went wild, and Perez’s boss and Knott’s fans wanted more.

“The Rooftop Concert is a little bit of a nod to the Beatles, but it’s much more about Snoopy’s rooftop,” Perez tells me. “When you see Snoopy as the great writer, or the World War I Flying Ace, it’s always on the roof of his doghouse. So why wouldn’t he be a rock star on his rooftop?”

Knott’s rebrand of the show let Perez incorporate more storytelling, a task he shared with Jelly of the Month Club. The show opens with Snoopy traveling from his fictional cartoon town to a rehearsal where Dangerously gifts him a tambourine to join their jam. He sends Snoopy home with a pile of records which he listens to obsessively in his doghouse, a relatable experience for fans who have found solace and inspiration in old LPs, hiding out like Snoopy with pizza, root beer, and the complicated dream of leaving the only place you’ve ever called home to follow music’s call. Snoopy dons a leather vest, proclaims he’s a “Golden Dog,” and runs away from home to take lessons at Jelly of the Month Club‘s Music Academy and tour the world. After receiving criticism in the recording studio about his howl, Snoopy finds himself missing his best friend Charlie Brown. He asks the Peanuts Gang to team up with Jelly of the Month Club for one final performance on top of his doghouse, legendary enough to land them in the Rock and Roll Hall of Fame.

Perez’s writing and producing shares the attention to detail present in Jelly of the Month Club’s approach to the music. Perez had the honor of voice acting for Snoopy. He digitally re-created a technique he learned from researching Bill Melendez’s 1960s approach in which he recorded barks and grumbles directly to reel-to-reel tape, sped it up, then cut and pasted it randomly to create Snoopy’s signature pentameter-less cadence. Perez worked closely with costume designer Tim Barham, creating every wig, accessory, and costume with exacting detail. The storyline and graphics pay close attention to “Peanuts” lore and rock ‘n’ roll film history, with Easter eggs from “La Bamba,” “Rocketman,” “This Is Spinal Tap,” “Almost Famous” and many others hidden throughout the 30-minute show.

“We don’t try to change the Peanuts from who they are,” Perez says. “We have to bring Charlie Brown along as he constantly fails at being a rock star. We have to give him a shot and prop him up, because he’s usually on the ledge. We bring him back. That’s been the premise of many Peanuts TV specials and movies.”

Mic Dangerously with Snoopy at Knott’s

(Dick Slaughter)

Jelly of the Month Club’s original song “The Magic Is in the Music” meets Charlie Brown where he’s at, encouraging him to take on the challenge of becoming a guitarist. As he fumbles with his out-of-tune Flying V, looking ready to shred in a thrash band, the crowd cheers for his success despite his self-doubt. When Charlie withdraws during the Elton John number, Dangerously responds by saying that that music can be a safe place when you’re feeling lost, saying “Charlie Brown, you are home.”

“We’re out there singing we ‘want to bark and howl all night’ but we’re teaching Charlie Brown and Snoopy is that it’s not just about your clothes, it’s about what’s in here,” Dangerously says, touching his heart. “It’s important not to take yourself too seriously. We’re showing that it’s OK to have fun. And that silliness is a big, important component of rock and roll.”

This spirit is the core of Snoopy’s Legendary Rooftop Concert on stage and on the floor. At the show I see a sea of grandmas shaking babies’ fists in the air, a little boy in a Woodstock hoodie headbanging, rockers in studded vests with huge smiles on their faces, and teenagers momentarily dropping their defenses against cringe in exchange for a moment of sheer joy.

Hanna and Ellie, teens from South Gate and Silver Lake, respectively, can’t contain themselves, pogoing, screaming and singing along. “I’m at a loss for words,” Hanna says, giggling. The girls agree that the show was better than they expected.

On Snoopy’s rooftop everyone is a rock star: Abbey, a rubber chicken and even Charlie Brown.

The man I’m talking to tells me he has no name.

“Hey” is what he responds to, and he says he can be best described as a “travel agent,” a designation said with a sly smile to clearly indicate it’s code for something more illicit.

About eight of us are crammed with him into a tiny area tucked in the corner of a nightclub. Normally, perhaps, this is a make-up room, but tonight it’s a hideaway where he’ll feed us psychedelics (they’re just mints) to escape the brutalities of the world. It’s also loud, as the sounds of a rambunctious funk band next door work to penetrate the space.

Celeste Butler Clayton as Ursa Major and Ari Herstand as Copper Jones lead a group of theater attendees in a pre-show ritual.

(Gabriella Angotti-Jones / For The Times)

”Close your eyes,” I’m told. I let the mint begin to melt while trying to pretend it’s a gateway to a dream state. The more that mint peddler talks, the more it becomes clear he’s suffering from PTSD from his days in Vietnam. But the mood isn’t somber. We don’t need any make-believe substances to catch his drift, particularly his belief that, even if music may not change the world, at least it can provide some much-needed comfort from it.

“Brassroots District: LA ’74” is part concert, part participatory theater and part experiment, attempting to intermix an evening of dancing and jubilation with high-stakes drama. How it plays out is up to each audience member. Follow the cast, and uncover war tales and visions of how the underground music scene became a refuge for the LGBTQ+ community. Watch the band, and witness a concert almost torn apart as a group on the verge of releasing its debut album weighs community versus cold commerce. Or ignore it all to play dress-up and get a groove on to the music that never stops.

Audience members are encouraged to partake in a “Soul Train”-style dance exhibition.

(Gabriella Angotti-Jones / For The Times)

Now running at Catch One, “Brassroots District” aims to concoct a fantasy vision of 1974, but creators Ari Herstand and Andrew Leib aren’t after pure nostalgia. The fictional band at the heart of the show, for instance, is clearly a nod to Sly and the Family Stone, a group whose musical vision of unity and perseverance through social upheaval still feels ahead of its time. “Brassroots District” also directly taps into the history of Catch One, with a character modeled after the club’s pioneering founder Jewel Thais-Williams, a vital figure on the L.A. music scene who envisioned a sanctuary for Black queer women and men as well as trans, gay and musically adventurous revelers.

“This is the era of Watergate and Nixon and a corrupt president,” Herstand says, noting that the year of 1974 was chosen intentionally. “There’s very clear political parallels from the early ‘70s to 2026. We don’t want to smack anyone in the face over it, but we want to ask the questions about where we’ve come from.”

This isn’t the first time a version of “Brassroots District” has been staged. Herstand, a musician and author, and Leib, an artist manager, have been honing the concept for a decade. It began as an idea that came to Herstand while he spent time staying with extended family in New Orleans to work on his book, “How to Make it in the New Music Business.” And it initially started as just a band, and perhaps a way to create an excitement around a new group.

Ari Herstand as musician Copper Jones in an intimate moment with the audience.

(Gabriella Angotti-Jones / For The Times)

Celeste Butler Clayton (Ursa Major), from left, Ari Herstand (Copper Jones), Bryan Daniel Porter (Donny) and Marqell Edward Clayton (Gil) in a tense moment.

(Gabriella Angotti-Jones/For The Times)

Yet as the pair became smitten with immersive theater — a term that typically implies some form of active involvement on the part of the audience, most often via interacting and improvising with actors — Brassroots District the band gradually became “Brassroots District” the show. Like many in the space, Herstand credits the long-running New York production “Sleep No More” with hipping him to the scene.

“It’s really about an alternative experience to a traditional proscenium show, giving the audience autonomy to explore,” Herstand says.

Eleven actors perform in the show, directed by DeMone Seraphin and written with input from L.A. immersive veterans Chris Porter (the Speakeasy Society) and Lauren Ludwig (Capital W). I interacted with only a handful of them, but “Brassroots District” builds to a participatory finale that aims to get the whole audience moving when the band jumps into the crowd for a group dance. The night is one of wish fulfillment for music fans, offering the promise of behind-the-stage action as well as an idealized vision of funk’s communal power.

Working in the favor of “Brassroots District” is that, ultimately, it is a concert. Brassroots District, the group, released its debut “Welcome to the Brassroots District” at the top of this year, and audience members who may not want to hunt down or chase actors can lean back and watch the show, likely still picking up on its broad storyline of a band weighing a new recording contract with a potentially sleazy record executive. Yet Herstand and Leib estimate that about half of those in attendance want to dig a little deeper.

At the show’s opening weekend this past Saturday, I may even wager it was higher than that. When a mid-concert split happens that forces the band’s two co-leaders — Herstand as Copper Jones and Celeste Butler Clayton as Ursa Major — to bolt from the stage, the audience immediately knew to follow them into the other room, even as the backing band played on. Leib, borrowing a term from the video game world, describes these as “side quests,” moments in which the audience can better get to know the performers, the club owner and the act’s manager.

“Brassroots District: LA ‘74” is wish fulfillment for music fans, providing, for instance, backstage-like access to artists. Here, Celeste Butler Clayton performs as musician Ursa Major and is surrounded by ticket-goers.

(Gabriella Angotti-Jones / For The Times)

An audience member’s costume.

(Gabriella Angotti-Jones / For The Times)

Yet those who stay in the main stage will still get some show moments, as here is where a journalist will confront a record executive. Both will linger around the floor and chat with willing guests, perhaps even offering them a business card with a number to call after the show to further the storyline beyond the confines of the club. If all goes according to plan, the audience will start to feel like performers. In fact, the central drama of “Brassroots District” is often kicked off by an attendee finding some purposely left-behind props that allude to the group’s record label drama. Actors, say Herstand, will “loosely guide” players to the right spot, if need be.

“The point is,” says Leib, “that you as an audience member are also kind of putting on a character. You can stir the spot.” And with much of the crowd in their ‘70s best and smartphones strictly forbidden — they are placed in bags prior to the show beginning — you may need a moment to figure out who the actors are, but a microphone usually gives it a way.

“They’re a heightened version of themselves,” Herstand says of the audience’s penchant to come in costumes to “Brassroots District,” although it is not necessary.

“Brassroots District,” which is about two hours in length, is currently slated to run through the end of March, but Herstand and Leib hope it becomes a long-running performance. Previous iterations with different storylines ran outdoors, as it was first staged in the months following the worst days of the pandemic. Inside, at places such as Catch One, was always the goal, the pair say, and the two leaned into the venue’s history.

“It’s in the bones of the building that this was a respite for queer men and the Black community,” Leib says. “There’s a bit of like, this is a safe space to be yourself. We’re baking in some of these themes in the show. It’s resistance through art and music.”

Such a message comes through in song. One of the band’s central tunes is “Together,” an allusion to Sly and the Family Stone’s “Everyday People.” It’s a light-stepping number built around finger snaps and the vision of a better world.

“We are stronger when we unite,” Herstand says. “That is the hook of the song, and what we’re really trying to do is bring people together. That is how we feel we actually can change society.”

And on this night, that’s exactly what progress looks like — an exuberant party that extends a hand for everyone to dance with a neighbor.

For three decades, the Dropkick Murphys have played their riotous brand of Boston Irish Celtic punk for legions of tattooed, mosh-pitting fans, but it wasn’t until last month that they found a new following among an unlikely demographic: C-SPAN viewers.

Washington policy wonks and political junkies who tuned in to watch former Justice Department special counsel Jack Smith testify before the House last month were treated to lurid details about President Trump’s alleged involvement in 2020 election meddling and the Jan. 6 insurrection. What they didn’t bargain for were the animated actions of former D.C. cop Michael Fanone, who was in the chamber wearing a Dropkick Murphys T-shirt that read “Fighting Nazis Since 1996.”

Fanone, who was brutally attacked by a pro-Trump mob while defending the Capitol in 2021, was impossible to miss. He was seated directly behind Smith and the only guy visible in a band T-shirt. Also notable were his reactions to GOP suggestions that the attack on the Capitol never happened, or was everyone’s fault but Trump’s: He coughed out expletives and flashed colorful hand gestures. Dropkick Murphys T-shirt sales spiked.

“It was this crazy, organic thing,” says Ken Casey, lead singer of the band. “We never put up a poster saying, ‘Hey, wear our shirt!’ But over the course of the next week, we sold like 6,000 of those shirts.” And for those who want one now? The shirt is on back order.

Casey, who speaks in a thick, working-class Boston accent (think “The Departed” meets a Ben Affleck Dunkin’ Donuts commercial), isn’t a stranger to mixing music and politics. He has been outspoken onstage and in the recording studio about his opposition to MAGA’s immigration policy, racist rhetoric and war on the working class. And the band announced Tuesday they’re parting ways with the Wasserman Music agency because the namesake of the agency turned up in the Epstein files.

Casey spoke with The Times about challenging MAGA through the rebellion of punk rock.

The Dropkick Murphys’ “Fighting Nazis Since 1996” T-shirt is a hot item now thanks to its appearance on Capitol Hill, via Fanone. He’s been very active and adamant about countering MAGA’s Jan. 6 narratives, including testifying with his colleagues in front of the House select committee investigating the insurrection.

Ken Casey: “Michael is an old friend. He was at our very first Dropkick show in D.C. in 1996, so it’s not like he’s some kind of jump-on-the-bandwagon guy. I appreciate just how vocal he is. It’s one thing to talk the talk, but it’s another to walk the walk and be showing up at all those events, and really putting himself out there.

But why is it important for the Dropkick Murphys to speak out? You’ve no doubt lost fans.

I hate to say it, but in some ways, MAGA needs to be countered with a mirror of them, like in physical appearance. They love painting themselves as righteous warriors and the rest of the country as immigrants, or whatever other stupid s— they come up with. But it seems to trigger them more when someone like Michael Fanone and the Dropkick Murphys speak up to them because it just like explodes their mind. It’s like, “You’re supposed to be on my side!” It’s like no, remember when you were on our side? Before you got twisted up by this lying con man?

In some ways, no band has more to lose because our fan base is the population that might jump into MAGA. But there is that middle ground — the people who don’t have time for politics. Who don’t follow it as closely as you or I do. They hear things about Biden, hear things about Trump, and it’s like “I don’t know what to believe.” That’s where voices like [mine] are important. You’re hearing it from someone who really doesn’t have skin in the game. I’m an American citizen, not a politician. I don’t have corporate interest involved in this.

And then there’s the new interest in your band, from folks who are just discovering you, or maybe just know your material from film soundtracks like “The Departed” (“I’m Shipping Up to Boston”).

It’s also brought back fans and there’s this [renewed] punk rock urgency and importance to our shows. It’s gained us a lot of new fans, in theory, like people who don’t necessarily listen to punk rock, or who wouldn’t listen to our music or come to our shows, they now speak out and say, “I support Dropkick Murphys for what they’re doing.” It’s support in solidarity. For the [longtime] fans, it’s rekindled this new dedication. It’s reconnected us with some old fans who had drifted away.

What do you say to other music artists who are afraid to speak out against what they see as an injustice or wrongdoing?

We’ve already had every death threat, every friggin’ cancellation threat. So what would we say to other bands and other people who are keeping their head down because they don’t want to deal with all the drama that comes along with speaking up? Come on in. The water is great. There’s nothing to worry about. The [trolls] are a vocal minority — online is bots and paid influencer types. Don’t let anybody silence you.

At this year’s Grammy Awards ceremony, every other acceptance speech contained anti-ICE sentiment, so it does appear that more musicians are speaking out against Trump’s policies.

Listen, if executions in the streets of your citizens [by ICE agents] doesn’t get people to speak out, then nothing will. But it’s nice to finally see there’s a wave starting to peak, out of frustration and realization. I can also tell from the amount of attacks we get that there’s some backpedaling. Obviously, there’ll always be the die-hards — Trump could be molesting someone in front of their eyes, and they’d still stick with him. But there’s a lot of people trying to quietly distance themselves.

Ken Casey of Dropkick Murphys

(Riley Vecchione)

If we’re being historically accurate, the Dropkicks have always had something to say about what’s going on in this country.

The very first line sung on our very first album was in regards to how Reagan started the dismantling of unions and [created a] wealth gap, so we’ve been about it the whole time. We’ve been showing up on picket lines the whole time. Social justice, we’ve always been about it. But before Trump, we weren’t necessarily having to make it a social media presence type of thing. But we’re in a different time now.

The Republicans started to cosplay as working-class white males, and people bought right into it. There’s a portion of this country that is sick and twisted and MAGA has been a great vehicle for them, but then there’s also a big portion of the country that just got caught up in the lies and the bull— and the rhetoric.

Your band is part of a new initiative aimed at getting more punk bands to speak truth to power.

The Dropkick Murphys and Michael Fanone, along with the guys in Rise Against, have started a collaborative called Down for the Cause. It’s basically going to be kind of a punk rock collaborative because years from now, we don’t want punk rock to be disgraced by the silence. Just kind of get involved, not necessarily supporting candidates but more like taking back the air waves let people know that we don’t have to accept this unacceptable behavior. Also reminding people to vote, because if all those people didn’t stay on the sidelines in the last election, we probably wouldn’t be in the mess we’re in now.

Your band just released a new song, “Citizen I.C.E.” But is it new?

The song is actually 20 years old. It was called “Citizen CIA.” It was basically a mock recruitment song for the CIA, poking fun at the damage the CIA has done around the world. Now we flipped it to a mock ICE recruitment song, with lines like “Too scared to join the military, too dumb to be a cop.” It’ll be out on a split album, “New England Forever,” that we did with a younger Boston band called Haywire. We’re touring with them now [ on the “For The People…In the Pit St. Patrick’s Day Tour”].

What do you say to people who say shut up and sing.

I get that even people who aren’t necessarily MAGA don’t want to listen to someone [on a] soapbox. But I view where we are as five-alarm fire, and if you got a microphone in front of your mouth, you better damn well be talking into it.

Brad Arnold, the 47-year-old cofounder and lead singer of the Mississippi rock band 3 Doors Down, died Saturday, nine months after revealing a diagnosis of kidney cancer.

The band announced Arnold’s death in a social media post, which said he had “helped redefine mainstream rock music, blending post-grunge accessibility with emotionally direct songwriting.”

In May 2025, Arnold announced that the band would be canceling its summer tour because he had advanced-stage kidney cancer that has spread to his lungs.

“That’s not real good,” he said of his diagnosis. “But you know what? We serve a mighty God, and He can overcome anything. So I have no fear. I really sincerely am not scared of it at all.” He added, “I’d love for you to lift me up in prayer every chance you get.”

He was public about his battle with alcoholism. He said he started drinking in his teens, an addiction fueled by the pressure of stepping on a tour bus at 20 years old.

“It’s just a lot to hand a 20 year old,” he told a Christian podcaster. He thanked religion for his sobriety and took to proclaiming his faith on stage.

Born in Escatawpa, Mississippi in Sept. 1978, Arnold formed the band with friends Todd Harrell and Matt Roberts in the mid-1990s.

As a 15-year-old in algebra class, he wrote the song “Kryptonite,” drumming out the beat on his desk.

“I used to be our drummer,” he told the lead vocalist of the band Candlebox in an interview. “I only became the singer because we didn’t have a singer. That beat just came from just sitting on a desk. I probably wrote that song in the length of time that it took to me to just to write it down. It really was just one of those that kind of fell out of the sky.”

It became the band’s breakout hit in 2000 and earned a Grammy nomination.

“The Better Life,” the first of the band’s six albums, sold more than 6 million copies, and the 2005 album “Seventeen Days” entered the national charts at No. 1. That year, reviewing a Los Angeles performance, a critic noted Arnold’s “heartland drawl” and sleeveless denim shirt, calling him “less punk than Springsteen.”

The band released its final album, “Us And The Night,” in 2016. The following year, the band played at the inauguration of President Donald Trump. Arnold is survived by his wife, Jennifer.

Twisted Sister has canceled all of its 50th anniversary performances following the departure of lead singer Dee Snider because of “a series of health challenges.”

In a statement posted Thursday on Instagram, the heavy metal band said all scheduled shows beginning April 25 in São Paulo and through the summer have been canceled “due to the sudden and unexpected resignation” of Snider. The “I Wanna Rock” singer is no longer able to perform in the way that he used to because of multiple heath issues.

“I don’t know of any other way to rock,” Snider said in a statement accompanying the band’s announcement. “The idea of slowing down is unacceptable to me. I’d rather walk away than be a shadow of my former self.”

“The future of Twisted Sister will be determined in the next several weeks,” the band’s statement read.

The separate statement regarding Snider’s health explained that a “lifetime of legendarily aggressive performing has taken its toll on Dee Snider’s body and soul.”

Also posted to the “We’re Not Gonna Take It” singer’s Instagram account, the statement said that Snider “has had several surgeries over the years” to help manage his degenerative arthritis. His condition meant he had only been able to “perform a few songs at a time in pain.”

“Adding insult to injury, Dee has recently found out the level of intensity he has dedicated to his life’s work has taken its toll on his heart as well,” the statement continued. “He can no longer push the boundaries of rock ‘n’ roll fury like he has done for decades.”

Thousands of cheering fans surround the ice at the Honda Center. The arena is loud, packed with fans in Anaheim Ducks jerseys. As the puck drops and the action starts, players zoom back and forth until — boom! A shot, and the Ducks score. But when the music hits for the first goal of the game, it’s not the typical “We Will Rock You” by Queen. It’s “Come Out and Play” by local heroes, and one of Orange County’s most influential punk bands, the Offspring.

To celebrate the third annual Come Out and Play Night, the Ducks have once again collaborated with the band for an evening of hockey, music and special exclusive merchandise for fans. The event will take place Tuesday at the Honda Center against the Vancouver Canucks. The collaborative effort began in 2024, but at the time, no one knew if it would last, including the Offspring’s guitarist, Kevin “Noodles” Wasserman, who told The Times in a phone interview from Canada while on tour with Bad Religion that he and the band hoped it would be more than a one-time event. “This was the first time we’d ever teamed up with an organized sports team, and the fact that it’s an Orange County team, where we grew up, made it feel right,” Noodles said. “It’s been really fun, but we had no idea how long it would last. Now it’s three years later.”

Merrit Tully, senior vice president and chief marketing officer of the Ducks said that the concept for the collaboration between the club and the Offspring came organically as part of an evolution the organization was going through.

“We started putting a lot more emphasis on the in-arena experience a little over three years ago. That gave us the opportunity to rethink music, not just as something played between periods, but as something that could really elevate the experience for fans and players alike,” Tully said. “As this was happening, we approached our 30th season, and we were really leaning into our Orange County roots. We looked at collaborating with the Offspring, since they grew up just a few miles from here, and their rise happened at the same time our franchise was starting. This just felt authentically Orange County in a way that was hard to ignore.”

Ducks goalie Lukas Dostal and Noodles hold albums by the Offspring.

(Jordan Bathe)

For Ducks goalie Lukas Dostal, who was recently named NHL Third Star of the Week, having a collaboration with a band like the Offspring has special sentimental meaning. “I remember growing up hearing rock music a lot back in my home country, the Czech Republic,” Dostal said. “My parents would play punk rock and metal when they were driving me to the rink for practice, so hearing the Offspring now kind of brings me back to that.”

Dostal said that he loves many rock and alternative bands he remembers hearing back in his home country, such as Linkin Park. He also said that, as an athlete, music is part of his daily regimen, and it is the same with the Ducks. “We listen to music every day, before practice, before games. It’s a big part of how we get ready,” he said. “I grew up listening to this kind of music, so whenever I hear these songs, it just pumps me up.”

For fans who attended the two previous Come Out and Play Nights, people should expect lots of enthusiasm and high energy, mixing the intensity of a concert and a hockey game. “Those nights definitely had a different vibe. You can feel it from the ice,” Dostal said. “The fans are excited, the music is louder, and it just feels like something special for everyone in the building.”

Noodles said he agreed with Dostal and added that he thinks the collaboration makes sense because there are a lot of parallels between punk rock and sports like surfing, skating and ice hockey. “With surfing and skating, there’s always been that mix of flow and violence. You’re carving, you’re gliding, and then sometimes you take a wave on the head,” he said. “Hockey has that same thing. It can be really violent, but then there are moments where it’s all speed and movement.”

With a band having a successful career for over three decades, Noodles said there have been instances of being approached by professional athletes who are fans of the Offspring. “Over the years, we’ve had professional athletes come up to us as fans for sure. One time, Dennis Rodman came out onstage with us and did ‘Come Out and Play,’” he said. “Our producer, Bob Rock, is a huge hockey fan and really got us into going to the Ducks and Kings games.”

Members of the band the Offspring pose for a photo during a pre-game puck ceremony of the game between the Anaheim Ducks and the Vancouver Canucks on Feb. 27, 2025, at Honda Center.

(Debora Robinson / NHLI via Getty Images)

Noodles said he appreciates that a band like the Offspring has generations of fans and values how much the OC music scene is still thriving. “We’ve always had late teens and early 20s kids in the front row, but now we’re seeing younger kids and their parents, too. There’s a really wide age range at our shows now, and that’s been pretty cool to see,” he said. “The Orange County scene is still really alive. You see a mix of people from the old bands, but there are also a lot of younger bands coming up. I actually love going to see younger bands because nobody cares who I am. I can just stand in the pit and watch the show.”

This idea of generations of fans is also seen in the NHL, and Dostal agrees it can be seen with fans of the Ducks. He said this is one of the reasons he loves working with an OC band. “The Offspring are local, the Ducks represent Orange County, and I’m really happy I can be part of something that connects the two,” he said. Dostal also said that a custom collaborative design on a mask will be revealed at the Come Out and Play Night against the Canucks. “I worked with the guys in the Offspring, we threw around ideas together, and I told them they could basically do whatever they wanted. I’m really excited for fans to see it,” Dostal said.

Fans of the Ducks and the Offspring can expect a night to remember. It’s all about connection, and giving fans of the music and the team a chance to bring the worlds of sports and punk together for one special night. “Beyond ticket sales, we look at how fans respond in the building,” Tully said. “When we score and the arena reacts together to an Offspring song, that tells us the connection is real.”

Dostal agreed with the sentiment and said he is humbled by the collaborative event, which he said is fan emphasized. “The Offspring is a huge band all over the world, so being able to work with them and represent that on the ice is something I really appreciate.”

VICTORIA Beckham was in the biggest girl group of all time but her son Cruz is taking inspiration from another brilliant British band for his debut album — The Beatles.

The budding musician’s close friend Luke Pritchard has unofficially helped guide the project thanks to years of experience in the industry, along with his ten UK Top Ten singles with his band The Kooks.

In an exclusive chat, Luke revealed Cruz was heavily influenced by the Fab Four’s ninth record, The White Album, which gave us iconic songs including Ob-La-Di, Ob-La-Da and Blackbird.

“He’s brilliant. He’s got all the right things,” Luke told me at the Iconic Images Gallery in London, where we were invited to celebrate a new exhibition of The Cure ahead of their headline slot at Isle of Wight Festival.

“I think he’s a rockstar, I really do.

“It’s got a kind of White Album psychedelia sound, with warm tones.

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“I think he’s a great guitar player – it’s kind of what I want to hear in my head.”

In March, Cruz took to social media to tease a self-penned track inspired by his love for The Beatles.

In the short clip, he sang: “I wanna be John Lennon.”

Last week, as the showbiz world imploded thanks to his brother Brooklyn’s bombshell statement hammering his family, Cruz was locked away in a north London studio putting the finishing touches to the record.

As speculation about the family rift circulated the globe, Cruz took to Instagram to reshare a shot from the studio with the words “Loneliest Boy” along the top of a song sheet, leading some fans to wonder if it will be about his estranged brother.

Luke, who has released a new live version of The Kooks’s 2014 song See Me Now today, explained: “We were actually in the studio with him.

“His album sounds so good, so authentic. It’s really refreshing.

“You know, he’s recording everything completely authentically and trying to pick up that magic to some parts. I think that’s amazing.”

And he is determined to prove himself as an artist in his own right, breaking free from the nepo baby label.

Luke continued: “He’s the real deal. He wants to do things properly and he wants to gather his fan base the right way and he wants to go out and just play. It’s been a mad few days for him.”

Cruz has sold out his first headline show in London in March and has announced a UK tour with his band The Breakers which went on sale on Friday.

As well as their own tour this year, The Kooks are performing at Isle of Wight Festival alongside The Cure, Calvin Harris and Lewis Capaldi.

ONE of the UK’s most celebrated rock bands has been officially confirmed to perform at the Brit Awards alongside major stars.

The indie band, joining Harry Styles and Olivia Dean, is none other than Wolf Alice.

They were the first band confirmed by the BRIT Awards 2026 with Mastercard and it could be a huge night for them.

Wolf Alice are up for three exciting awards including, Group of the Year, Alternative/Rock Act and Mastercard Album of the Year for their fourth studio album ‘The Clearing’.

Their newest album debuted last August and was a huge hit with fans, reaching number one upon release.

Theo Ellis, Wolf Alice’s bassist, said: “We’re truly honoured to get the opportunity to play this year’s BRIT Awards!

‘robbed’

Little Mix fans in tears as Wolf Alice beat them to Best Group at the Brit Awards

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Wolf Alice’s Ellie Rowsell is engaged to Slaves frontman Isaac Holman

“Can’t wait to see what everyone’s wearing, can’t wait to see who else is playing, can’t wait to have ten mini wines (after we play).

“Most of all can’t wait for a big night out in Manny. Make sure to tune in and watch it all live on the telly.”

The band recently announced a huge summer show at Finsbury Park on 5th July, where they will be joined by The Last Dinner Party, Lykke Li, Rachel Chinouriri, Keo, and Florence Road.

Wolf Alice had a jam-packed year in 2025 from performing at Glastonbury in the summer to launching a huge global tour for their newest album.

The band travelled across North America, Europe and the UK from September to December and it seems they’re not slowing down anytime soon.

Comedian Jack Whitehall will be back on Saturday, 28 February to host The Brit Awards as it debuts at its new Manchester home.

Last week, the nominations were announced for this year’s awards and leading the charge for 2026 are Olivia Dean and Lola Young with five nominations each.

Sam Fender follows closely behind with four nominations following his Mercury Prize win last year.

Other British artists up for awards this year include Lily Allen, Calvin Harris, JADE, Ed Sheeran, Little Simz, PinkPantheress, RAYE and Skye Newman.

The public vote for Song of the Year with Mastercard and International Song of the Year open tomorrow at midday only via Whatsapp.

Information on the vote can be found here.

The Brit Awards will be available to stream exclusively on ITV and ITVX.