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Sass Jordan, the Canadian rock star known for hits such as “Make You a Believer” and “Tell Somebody” who served as a judge on all six season of “Canadian Idol,” has died. She was 65.

Jordan died Friday surrounded by her family, according to an announcement posted to Instagram Saturday. No cause of death was provided, but she had reportedly canceled a number of performances in Ontario, Canada, in September “due to a serious medical condition.”

“She remains in our hearts, an inimitable force of nature,” her family wrote in the statement accompanying a photo of Jordan cuddling a cat. “An irreplaceable being of light and joy!”

Jordan made her solo debut with her 1988 album, “Tell Somebody,” which led to her winning the Juno Award — the Canadian equivalent of a Grammy — for most promising female vocalist the following year. She moved to Los Angeles in 1990 before releasing her follow-up album, “Racine,” in 1992.

“Racine” remained one of Jordan’s biggest solo albums, with tracks including “Make You a Believer,” “I Want to Believe,” “You Don’t Have to Remind Me” and “Goin’ Back Again.” She also recorded a duet with Joe Cocker, “Trust in Me,” for the 1992 film “The Bodyguard” that year.

“I always think of music as medicine and as healing for myself and for anyone else who wants to join in,” Jordan said in a 2023 interview with the CBC about audiences still responding to her earlier hits when she performed. “[S]o it’s an extremely uplifting thing. … It’s amazing and it’s incredible to see that. It’s incredible to see people responding to something that is genuinely, like you said, 20 years old.”

Born on Dec. 23, 1960, in Birmingham, England, Sarah “Sass” Jordan moved from France to Montreal with her family at age 3 when her father, a French literature professor, took a job at Concordia University, according to a statement shared by her publicist Eric Alper after her death. Seeing David Bowie in concert as a young teenager inspired Jordan to dream of a career in music. She began singing and playing guitar with friends in Westmount Park and by age 16 she was performing with bands in downtown Montreal nightclubs.

“I’m an expert on rebellion,” Jordan told The Times in 1992, reflecting on why she ran away from home at 14. “I didn’t want that clean, wholesome life … It felt so fake. I identified with real people, oppressed people who were outside that life. I wanted to taste real life — street life.”

Throughout her career, Jordan would tour alongside acts including Aerosmith, the Rolling Stones, AC/DC and Van Halen. Her touring band in 1994 included Taylor Hawkins, who would go on to become the drummer for the Foo Fighters. Jordan’s most recent release is the live album from that tour, titled “Live in New York Ninety-Four.” Hawkins died in 2022 at age 50.

For six seasons, Jordan served as one of the judges on the reality competition series “Canadian Idol.” The show aired from 2003 to 2008 and mirrored the format of shows like “Pop Idol” and “American Idol.”

“Over four decades, she gave Canadian rock one of its most recognizable voices, carved out space for women in a genre long dominated by men, and opened doors for the young musicians who came through her band,” Alper said in his statement. “Sass Jordan leaves a catalogue that shaped Canadian rock through the late ’80s and ’90s, a blues renaissance in which her voice grew richer with each record, and a generation of artists, from Idol hopefuls to a future Foo Fighter, who learned from her what it means to give a song everything.”

Jordan is survived by her husband Derek Sharp, daughter Stella Jordan-Sharp, stepdaughter Brianne Sharp and brother Daniel Jordan.

LAS VEGAS, NV. — Metallica had a tender moment at Sphere on Thursday, just after a wretched sea monster mangled the Las Vegas skyline.

On the opening night of its “Life Burns Faster” stand, Metallica had a 16k-resolution arsenal to match the bombast of its music. While the quartet — the first metal band to perform at Sphere — tore through the instrumental deep cut “The Call of Ktulu,” that drippy leviathan swatted at life-sized fighter jets on the screen.

When the leathery beast slunk off, singer James Hetfield dedicated the track to the band’s founding bassist, who died in a tour bus crash in 1986. “In honor of our fallen brother, Mr. Clifford Lee Burton,” Hetfield said, to a bellowing crowd. “We love you, and we miss you, brother.”

Metallica, the biggest band in metal, thrives in that tension between the genre’s outrageous grandeur, grimy nihilism and outlaw camaraderie. At “Life Burns Faster,” a series of two-night engagements that stretches into March next year, they stayed fleshy and ferocious as a band beneath the digital carnage.

Metal, even when siloed off from broader music culture, has always been a commercial powerhouse. Metallica remains its flagship live act. In 2023 alone, they closed out the all-star Power Trip festival at the Empire Polo Grounds, and still played two in-the-round nights at SoFi Stadium.

They’ve been enormous for generations, and made no bones about their ambitions. The band’s ongoing “M72” tour is hovering around the 10 highest grossing tours ever. So it was only a matter of time before the band – Hetfield, guitarist Kirk Hammett, bassist Robert Trujillo and drummer Lars Ulrich – got curious about the rare venue that could go toe-to-toe with them for sheer firepower. (Onstage and at the box office – Metallica knows counterculture can be both sincere and extremely lucrative).

“We’re grateful you’ve taken the time, energy and the cash” to attend opening weekend, Hetfield said onstage on Saturday. Nice of him to acknowledge the table stakes.

By day, there was much charm in seeing nearly 20,000 metal fans swarming the Vegas strip in Metallica gear, flying in with buddies, spouses, kids and grandkids no matter the four-figure tickets and obligatory crates of merch. (The old adage that metal fans are nice people pretending to be mean held up). On Sphere’s escalators, grey-bearded lifers hugged in shredded battle jackets; tween girls in “Master of Puppets” hoodies drummed along to every fill; accents came from eastern Europe, Latin America and all the world over. My cab driver effusively recounted sneaking in to see Metallica at Ruthie’s Inn in Berkeley in 1983.

Classic rock and jam bands like the Eagles and Dead & Co. largely use Sphere’s A/V capabilities as a psychedelic background to stately tunes. Metallica is larger-than-life as is — they need little more than a Hetfield snarl or Hammett solo to feel tectonic. On Thursday and Saturday nights, they were nasty and resonant as a live band, even beneath 160,000 square feet of LED mayhem.

Metallica has one of the deepest catalogs and intensely-attached fandoms in rock. Sequencing the first Sphere shows would be a global statement, and the band played stellar ones on Thursday and Saturday. From the howitzer of opener “Battery” through the white-knuckle turns of “Creeping Death,” they knew they were still playing to the faithful, albeit in a whole new sort of arena.

As with all Sphere acts, that visual wattage can absolutely grip you, or it can feel using a flamethrower to grill. (I texted some “Ktulu” footage to a serious metalhead friend, who replied “Lol,” then “Sick,” which seemed apt).

Some backdrops were creepy set dressing, while others had tactile brutality — Sphere often had the rumble-seat effect blaring. Metallica locked into the martial imagery around “The Shortest Straw,” “Sad But True” and the MTV-era hit “The Memory Remains.” “Wherever I May Roam” used gulp-inducing hairpin turns, and fans flinched when the statue from “…And Justice For All” collapsed in pieces (an apropos image, these days!)

While the band surely didn’t intend this coincidence, for anyone watching the Christa Pike saga, it was surreal to hear Hetfield scream ”Death in the air, strapped in the electric chair / This can’t be happening to me” on “Ride The Lighting” inside a gigantic execution chamber.

The set snaked through freewheeling Hammett and Trujillo jams, the recent single “Lux Æterna” and the ballad “Nothing Else Matters” (Metallica writes aching melodies and forlon guitar lines, too). They closed Thursday with “Seek & Destroy,” a roiling cut from their 1983 debut “Kill ‘Em All,” and “Master of Puppets,” given new life as a major plot point in the horror-thriller series “Stranger Things.”

On Saturday, the band reprised its recent two-nights/no-repeats gambit with a completely different setlist. Equally rangy, if perhaps more ruminative.

Peeling out of the gate with “Blackened,” framed as massive silhouettes on a white field, they roared through “Fuel” and lurched into “Leper Messiah” and “Welcome Home (Sanitarium),” each great, grinding cuts from “Puppets.” “Devil’s Dance” and the reicide-themed visuals of “King Nothing” framed their controversial “Load”/”Reload” period as a core transition. Newer cuts “72 Seasons” and “Hardwired” channeled the old viciousness.

They played a lovely “The Unforgiven” and dedicated an exploratory take on “Orion” to Cliff Burton again, followed by Thin Lizzy’s “Whiskey In The Jar,” a major influence on their riffing. But the set came into its full power with a duel of “For Whom the Bell Tolls” and “One,” framed around WWI-era bombing footage and parades of mangled skeleton soldiers. Metallica’s always been more existential than topical, but haven’t we all scrolled our feeds recently and muttered – “Darkness imprisoning me / All that I see, absolute horror.”

They closed on “Enter Sandman,” the only real choice for their inaugural Vegas weekend. Two perfectly-tuned sets, retrofitted for this decadent monolith.

Is it a little weird that metal is now welcome as an elite Las Vegas entertainment commodity? Perhaps. But the genre’s been a cunning spectacle since Ozzy’s first crucifix (or Venom getting in league with Satan). Metallica’s generations of disaffected dirtbags — this writer among them — were primed for this gig. Metal’s always been escapist, even at its grittiest. Now it’s a five-star vacation destination too.

Gary “Angry” Anderson, front man for the Australian rock band Rose Tattoo, has died. He was 79.

News of Anderson’s death came via the band’s Instagram account, which said he died Monday in Sydney. The vocalist had suffered cardiac arrest weeks earlier during Rose Tattoo‘s farewell tour in Europe.

“Angry was a devoted father, and much-loved member of his friends, bandmates and the wider music and entertainment community. His loss will be deeply felt by all those who knew and loved him both here in Australia and overseas,” the band said.

Reports of Anderson’s health problems first came to light when the band canceled an appearance at the Alcatraz Metal Festival in Kortrijk, Belgium, on Aug. 9, stating on their Instagram account that the singer was in the hospital due to a “medical issue.”

By Aug. 10, Rose Tattoo had canceled all remaining shows on the band’s European tour as Anderson stayed in the hospital. Three weeks later, it was revealed via the band’s Instagram that the rocker’s medical issue was cardiac arrest and that he was receiving treatment and care.

Anderson was the most veteran member of Rose Tattoo, a hard rock and blues band that formed in Sydney in 1976. The group is known for tracks including “Rock ‘n’ Roll Outlaw” and “Bad Boy for Love,” and some of their discography was covered by Guns N’ Roses early in their career, including “Nice Boys” for the 1986 EP “Live ?!*@ Like a Suicide.” Rose Tattoo would later open for the L.A. hard rock band while on tour in Australia in 1993 for their Use Your Illusion Tour.

In the band’s bio, bandmates are described as as “four tall, gaunt men with unnaturally spikey red hair” — which at the time included Pete Wells on slide guitar, Ian Rilen on bass, Dillas “Digger” Royall on drums and Mick Cocks on guitar. Anderson was described as the “fifth out front stocky and furiously shaven” member, standing at 5 feet, 1 inch tall.

“[They] aren’t an average sight,” the biography states. “Even in the realm of Rock ’n’ Roll excesses.”

Apart from his role in the band, Anderson gained fame internationally as a solo artist when his debut 1987 single, “Suddenly,” earned critical acclaim and appeared on the charts in Australia, Belgium, New Zealand, the Netherlands and the United Kingdom.

The track was used as the wedding theme in an episode of the Australian soap opera “Neighbours,” in which characters Scott Robinson and Charlene Mitchell got married.

Anderson was also a youth advocate, reportedly serving as an ambassador for national child protection campaigns. According to the Australian Broadcasting Corp., he has been connected to numerous children’s hospitals, the Starlight Children’s Foundation, as well as the Make-a-Wish Foundation and Canteen, a support organization for youths with cancer.

In 1993, he was made a member of the Order of Australia for his role as a youth advocate.

After longtime members of Rose Tattoo died from various forms of cancer, Anderson became an advocate for men’s health and conducted campaigns to raise awareness about prostate cancer in 2007. Wells, the guitarist, died of prostate cancer in 2006 at age 59.

Anderson stirred controversy with forays into politics. In 2007 he espoused controversial views about immigration and Muslim communities in Australia. In 2016, he was endorsed as Senate candidate by the Australian Liberty Alliance, a right-wing group that opposes Muslim immigration.

Anderson’s son Liam was killed in 2018. The singer is survived by children Galen, Roxanee and Blaine Anderson.

Four days before they’re set to play the first-ever concert by their new band, Dhani Harrison and Nigel Godrich sit down to enjoy a post-rehearsal libation in the parking lot of a North Hollywood practice space.

“Is there an opener?” asks Godrich, who holds a bottle of fancy root beer. Harrison, who’s clutching a Sapporo, grabs his friend’s drink and neatly pops the top off using his own bottle.

“I went to Brown,” he says with a little smile. “That’s what they teach you in the Ivy League.”

Harrison, 48, is the son of the late Beatles legend George Harrison; long before college, he got a priceless musical education from his father, whose final solo album — 2002’s Grammy-winning “Brainwashed” — Dhani helped complete after George’s death in 2001. Godrich, 55, made his name working in the studio with Radiohead on game-changing records like “OK Computer” and “Kid A”; he’s also produced for Beck, Paul McCartney and Roger Waters and played with Thom Yorke and Flea in Atoms for Peace.

Now the two have teamed up in Dragonflies, a spacey and atmospheric art-rock duo with a self-titled debut album due Friday from Dark Horse Records, the label George Harrison founded in 1974 and Dhani Harrison relaunched in 2020. This weekend, Harrison and Godrich will celebrate the LP’s release with two shows at Hollywood Forever’s Masonic Lodge, where they’ll be joined by guitarist Nick Valensi (of the Strokes) and drummer Joey Waronker (who’s played with Beck, R.E.M. and Oasis).

Asked how exactly the group came together, Godrich and Harrison look at each other across a picnic table and shrug. “The real reason we did it was as a vehicle to hang out,” Godrich says of the two, who’ve been pals since both were living in Los Angeles in the early 2000s and who both found themselves back home in England a few years ago.

Yet “Dragonflies” has plenty to offer the rest of us: Built around Harrison’s high, sighing vocals, the music moves with a funky rhythmic propulsion rooted in Godrich’s signature tape loops; lush string arrangements by David Campbell (also known as Beck’s dad) add a touch of slightly spooked romance to songs about nature and friendship.

Harrison describes the band’s sound as “a bit creaky” and compares it to the feeling of being out on the water. “I always thought that’s a cool place to start — like you’re on a sinking ship,” he says.

Godrich laughs and adds, “Well, I hope not.”

For Harrison, working with Godrich provided a kind of full-circle moment nearly two decades after he caught one of Atoms for Peace’s first gigs at downtown L.A.’s Orpheum Theatre in 2009.

“I remember it made me want to quit music,” he says, which draws a frown from his bandmate.

“That’s not a great review,” Godrich says.

“No, that concert blew me away,” Harrison replies. “I went home and I was like, Oh, they’ve already done all the things I want to do. So I just went and sulked for a few days.”

Dragonflies began after Harrison returned to England, where he’d grown up on his father’s Friar Park estate, following the death of his grandmother, who famously raised George Harrison’s widow, Olivia Harrison, in Hawthorne. “I was still here basically to be around her,” says the musician, who formed the bands Thenewno2 and Fistful of Mercy while in L.A. “When she passed, that was the last of my grandparents. My mom was living in England, and so I just thought, Well, time to go.”

Harrison sought out Godrich for help on his 2023 solo album, “Innerstanding”; later, he lent the producer one of his dad’s old tape machines — “They did ‘Shankar Family & Friends’ on it,” he points out — which led to a series of casual jam sessions at Godrich’s studio in London’s Brixton neighborhood.

“It was like, ‘Hey, you want to get some Japanese food and make some tape loops?’” Harrison recalls.

Godrich notes proudly that “the way the record was made was completely mechanical,” meaning nothing was programmed on a computer but instead recorded “live on the fly” using older equipment.

“Fortunately, we both own a ridiculous amount of analog gear,” Harrison adds. “Because we’re nerds.”

“I’m not a nerd,” Godrich says. “I hate gear chat.”

“That’s true,” Harrison says. “He doesn’t nerd out about that stuff — I’m the nerd. He won’t even let me use six Kaoss Pads onstage.”

What’s a Kaoss Pad?

“You don’t want to know,” Godrich replies.

Gearhead or no, the producer was adamant that Dragonflies not rely on prerecorded backing tracks when it starts playing live.

“No computers were harmed in the making of this show,” Harrison says — thus the extra players.

(Brian Feinzimer / For The Times)

Waronker is an old friend of Godrich’s who played drums in Atoms for Peace and on Beck’s “Sea Change” and “Morning Phase” (not to mention Beck’s brand-new “Ride Lonesome,” which Godrich mixed); the producer has known Valensi since he “didn’t work with the Strokes,” as he puts it, in 2003, when Godrich tried a couple of sessions with the New York garage-rock band before deciding it wasn’t a good fit.

Godrich says he plays bass in the live group because it’s easy. But also: “Bass is such an important part of the sound that if somebody else was doing it, they would never do it the same as me, and it would annoy me.”

Top three bass players of all time, according to Dragonflies?

“McCartney’s good, isn’t he?” Godrich asks.

“Les Claypool,” says Harrison. “I’m a huge Primus fan.”

“I like David J from Bauhaus,” Godrich says. “He’s an incredibly innovative bass player — always did very interesting things. Stylistically, he’s someone that I probably copy a lot from. It’s just the root notes, but whoever’s in control of the root notes is in control of everything.”

“It really is a power move to be the bass player,” Harrison says.

“I don’t want to be at the front — that’s not my thing,” says Godrich. “I don’t want to be the guy.”

Does Harrison?

“It takes me a while to get warmed up,” he says. “I don’t really look at people when I’m playing a show. I’m not sure if that means I’m mildly spectoral. I took the test, actually — I scored highest in my old band. I know a lot of neurodivergent people who perform.” He shrugs. “Sometimes you don’t get to choose if you’re the guy, but you’re the guy.”

In addition to his father, one of Dhani’s mentors was George’s friend and latter-day creative partner Jeff Lynne, who for all his musical genius has never seemed particularly comfortable onstage.

“He’s brilliant at what he does, but you talk about in-ear monitors or the sound onstage or the lighting or something, and it’s over,” Harrison says. “It’s too much input. That’s why Jeff wears the Spider-Man goggles,” he adds, referring to the ELO frontman’s ever-present aviator shades. “He has too much Spider-Sense. My dad was the same way. He definitely was like, ‘Look at him — don’t look at me!’”

After Dragonflies’ Hollywood Forever shows, Godrich and Harrison have dates scheduled in Europe for November and hope to play more in the future, depending on when Godrich finishes a couple of records he’s producing. (To give a sense of the stress he’s under, he mimes putting a gun to his head.) The duo already has enough material for a second album too.

How much time does Harrison intend to dedicate to the project?

“As much as I can, really,” he says. “How much do you want to hang out with your mate? I got bored of being Dhani Harrison anyway — I like being Dragonflies now.”

Moments after the final rapid-fire rhythm of Anthrax’s opening number “Caught in a Mosh” fades from the open air of the Sports Illustrated Stadium in Harrison, N.J., shaggy-headed vocalist Joey Belladonna addresses the audience. “I gotta ask everybody out there right now. Who’s never seen Anthrax before?” Around half of the 6,000-or-so crowd members who showed up by 6 p.m. for the three-band bill, headlined by heavy metal legends Iron Maiden, raise their hands. “Ah, yeah! We got a lot of new friends here today. Thank you for being here.”

Some bands with a four-decade career would be disappointed by the turnout, or by the realization that many fans not wearing Maiden shirts are dressed in Megadeth merch. But for Anthrax, preaching to the unconverted is an opportunity to expand their fan base beyond the somewhat insular community of thrash metal, a style of music that took the aggression of bands like Iron Maiden and turbocharged it with the speed and fury of hardcore punk. As much as Anthrax cherish being one of the “Big Four” — Metallica, Megadeth, Slayer and Anthrax — playing a 35-minute set well before dark is a great way to reach new listeners.

“We have a strong base of fans that are deeply into this band, but we know there are also people that have never listened to this type of music before,” says bald-headed, gray-bearded rhythm guitarist and lyricist Scott Ian from his home office outside of L.A. a week before the show. “They’ve heard band names, but maybe they haven’t dipped their toe in the water. So, it would be great to reach them and give them something they didn’t even know they wanted and then they’ll fall in love with it.”

A full 10 years have passed since Anthrax released their last studio album, “For All Kings,” which helps explain why they’re not as well-known as some metal veterans. Instead of rushing out an album after the pandemic, Anthrax took their time writing and fine-tuning new songs before entering Dave Grohl’s Studio 606 in L.A. in 2022. Then, they wrote more songs and massaged those for another two years before finishing the recording and sending the album to be mixed in 2025.

“I nitpicked over every detail of these songs before I even sent the demos to the other guys to put their two cents in,” says drummer and main songwriter Charlie Benante, clad in a black T-shirt and blue jean shorts, and sporting cropped black hair and a slanted mustache. “I wanted them to be as good as they could possibly be. Being good enough wasn’t OK.”

The 11 tracks on “Cursum Perficio” (Latin for “I complete my journey”) encapsulate the finessed brutality, incisive melodies and experimental flourishes from Anthrax’s years with Belladonna (from 1984-1992 and 2005 to the present), during which the band wrote its fastest, most aggressive songs. As much as Anthrax were driven this time by the desire to attract new fans, they were also motivated by many popular new metal albums — and not in a good way.

Anthrax’s meticulously crafted album was recorded at Studio 606, using Iron Maiden support slots to court new listeners beyond the thrash faithful.

(Travis Shinn)

“I hear bands with new records out, and they’re horrible,” Benante says, squinting his eyes and grimacing. “The genre has gotten stagnant to the point where you see a social media post by some band mentioning they have new music coming out, and you can tell exactly how it’s going to sound just by the way they look.”

While “Cursum Perficio” may be a bit heavy for some metal fans, it’s neither dull nor predictable. The album is loaded with Anthrax trademarks — serrated, crunchy riffs, soaring lead vocals, bludgeoning beats, and scorching guitar — but there are also galactic noise effects, angular song structures and atypical chord configurations. The most striking number, “The Edge of Perfection,” starts with chiming ethereal guitars and gently tapped cymbals, then detonates in a conflagration of feral blast beats, minor-key tremolo guitar picking (redolent of black metal), and chanted tribal vocals before climaxing in a slithering riff and ebullient chorus.

“After 30 years as a band, I can honestly say that’s the best song we’ve ever done,” says Ian, the most voluble member. “I feel like it’s genre-defying and can appeal to fans of atmospheric stuff and extreme metal, and anyone who likes aggressive music or even just guitar rock.”

For such a bruising cut, the lyrics of “The Edge of Perfection” are surprisingly optimistic. “It’s about striving for perfection, which, of course, is impossible. But that doesn’t mean you can’t reach for it,” says Ian. “To me, true perfection is happiness and health, and that comes from love, and it isn’t a given. I work hard at being an empathetic person and I only do things out of love and wanting to make everybody around me feel good as well.”

Lest Ian’s Zen-like proclamation color him a romantic, the guitarist stresses that much of the energy and anger of “Cursum Perficio” stems from the political, social and economic turmoil of the last decade. The problems, he stresses, are cutthroat capitalism, rampant partisanship and mankind’s seemingly innate instinct to destroy.

“Humans are really good at one thing and that’s murder, and we’ve excelled at it over the centuries,” Ian says, shattering the good vibes that flowed like a clean mountain spring just a minute ago. “Every year, we get better at treating each other terribly, which I can’t understand. I mean, there are people on this planet who, if they wanted to, could end world hunger. But I guess there’s no money in that. They would rather make the world a s— place by draining the resources. I swear to God, it’s just like [the 1971 Dr. Seuss book] ‘The Lorax.’”

While Ian purposely scrapped any early lyrics he wrote about politics in the age of Trump (“that would have been boring”), on “Everyone’s Got a Plan” he addresses the partisan strategy of “divide and conquer,” and in the first single, “It’s for the Kids,” he writes about the ubiquity of school shootings. Neither song has stopped naysayers from characterizing Anthrax as left-wing.

“I’m not a liberal,” he plainly states. “I’m a centrist. I like skeet shooting and I enjoy going to a range and shooting at targets.  But I believe in common sense. And no matter what your political leanings, I think everybody can agree that nobody wants to see an 8-year-old shot in the face, which happens all too often.”

“I love this country,” interjects Benante. “But that doesn’t mean I don’t have some problems with it…. The way we go about things in this country is just wrong, and it makes me frustrated to the point where I’m like, ‘F— it. I’ll just put my head down and write a song.’”

“Cursum Perficio” delivers classic Anthrax crunch with experimental flourishes, anchored by genre-defying centerpiece “The Edge of Perfection.”

(Travis Shinn)

Much of “Cursum Perficio” caters to neither the left nor the right. “NYC 93” is about the celebratory chaos of band life in the early ’90s, “The Long Goodbye” addresses the horrors of dementia, and the title track is about closure, whether positive or problematic. The Latin translation of the phrase, along with Benante’s past comments that he can’t imagine writing another full Anthrax album anytime soon, have led to speculation that the band is nearing the end of the line; the theory is seemingly supported by lines like, “The journey’s over/ The threads that hold it all together.” But while there are no plans now to write any new songs, and four of the members are in their 60s (lead guitarist Jonathan Donais is the baby at 47), growing too old to headbang isn’t even a notion.

“I truly believe that going out and playing shows keeps us young,” concludes Benante. “We get in a zone, and the music takes over and the energy going through our bodies is the same as it was when we were 20. Why would we ever want to give that up?”

Wiederhorn is the co-author of Scott Ian’s 2014 autobiography, “I’m the Man: The Story of That Guy From Anthrax.”

RUMOURS of who will be supporting Oasis on their 2027 tour have reached fever pitch.

The Sun has already revealed that The Verve’s Richard Ashcroft will be supporting the rock band, but now bands Cast and the Manic Street Preachers have also been tipped to join the stage on the international tour.

Indie rockers Cast have already supported Oasis on their 2025 reunion to and bookies now have the at 5/4 favourites to play at Oasis’ Knebworth concerts.

Bookies William Hill also have Manic Street Preachers as the next favourite band to join the Hertfordshire gig after first supporting Oasis there in 1996.

Other rumoured acts rumoured to appear include, The Charlatans, Ocean Colour Scene, Kula Shakers, and The Chemical Brothers.

Bookies are also anticipating Noel and Liam Gallagher will release a new album as Oasis next year and have them headlining Glastonbury at 14/1.

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But they are also giving odds that the brothers will split up before the Paris leg of next year’s tour.

 “With the inclusion of Knebworth in Oasis’ 2027 tour dates announcement – on what will be 31 years since their historic concerts at the Hertfordshire venue – there’s a frenzy of speculation on who will support the Britpop titans,” spokesperson for William Hill, Lee Phelps.

“It is safe to say next year’s Knebworth gig will be nostalgic for many, and we make it 1/5 for any of their 1996 support to make a reappearance in the 2027 revival of one of Britpop’s most iconic performances.”

Liam and Noel Gallagher are taking their comeback across 11 cities, and organisers confirming there will be no general onsale, the official ballot is your only route to securing a spot in the crowd.

Oasis will kick off their live shows on 21 May next year at Celtic Park in Glasgow.

From they they will perform at Manchester City’s ground, Noel, 59, and Liam, 53, will fly to Europe for a round of shows including France, where Oasis will play for the first time in Paris since the group split in 2009.

The shows in Paris will begin on 23 July, before they fly to Italy for shows at the Stadio Olympico in Rome which start on 29 July.

Noel and Liam will then move stateside after the European shows before returning to Ireland and, as The Sun exclusively revealed earlier this year, Noel and Liam will then end their triumphant run of shows at Knebworth.

The four performances there will begin on September 11.