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For San Francisco fans of Lionel Richie and Earth, Wind & Fire, the party at Chase Center ended before it even started.

Earth, Wind & Fire abruptly called off its concert at the NorCal venue on Thursday, notifying fans in a social media statement that the cancellation was “due to a medical emergency involving a member of our band.” A spokesperson for the San Francisco Fire Department confirmed to The Times that personnel were dispatched at 5:30 p.m. to respond to a medical emergency at Chase Center. One person was transported to a hospital via private ambulance, but the individual’s identity was not disclosed. TMZ reported that the Fire Department responded to a “cardiac incident.”

A representative for Earth, Wind & Fire did not provide additional details. The band said in its post that it has rescheduled Thursday’s show for a later date to be announced soon and that tickets will be valid for the new date. “We sincerely apologize for the unexpected change and appreciate everyone’s understanding,” the band said.

Live Nation announced Richie and Earth, Wind & Fire’s joint Sing a Song All Night Long tour in January. The tour kicked off in June but quickly hit a snag when Richie also suffered an unspecified health issue while on the road. Richie, 77, postponed a stop at Chicago’s United Center and another show at the Schottenstein Center in Columbus, Ohio, after he brought his first tour stop to an abrupt end.

The Grammy-winning hitmaker of “Hello” and “Say You, Say Me” unexpectedly stopped the concert at the Grand Casino Arena in St. Paul, Minn., after taking a seat on stage multiple times during his performance of “Dancing on the Ceiling” and telling his audience he felt “dizzy,” according to videos shared on social media.

“When you are feeling dizzy, sit your a— down,” he joked, according to video a fan posted to TikTok. “When you are feeling strange about yourself, sit your a— down.”

TMZ reported at the time that the singer-songwriter was hospitalized after the health scare. Paramedics reportedly met the artist backstage and transported him to a nearby hospital out of precaution. In a statement following the incident, Richie thanked fans for their support and informed them, “I’m doing well, and I’m grateful for all of you.”

The Sing a Song All Night Long tour is slated to continue Saturday at Acrisure Arena in Palm Desert. Richie and Earth, Wind & Fire are scheduled to play the Intuit Dome in Inglewood on Sunday. The tour ends Aug. 14 at the Moody Center in Austin, Texas.

Susanna Hoffs calls it “the list”: a faded piece of paper ripped from a Filofax day planner on which are scrawled the names of every guy she’s ever gone out with — some famous, some not, some “kind of douchey,” as she puts it with a what-can-you-do shrug.

“It was like a dating profile but pre-internet,” Hoffs says of the tally, which she composed sometime in the late 1980s as she was racking up hits — among them the chart-topping “Walk Like an Egyptian” and “Eternal Flame” — as the frontwoman of the Bangles. “I’m a nice Jewish girl,” she adds. “I was just keeping track, doing my homework.”

Today at the bottom of the list in all caps sits the name of Jay Roach, the movie director whom Hoffs met on a blind date in 1991. He’s the subject of a new song called “None of Them Were You,” in which the singer runs down some of Roach’s predecessors — “a very dapper Brit,” “a suave and handsome actor” — before musing on her deep connection with the man to whom she’s now been married for 33 years.

“I ended up with such a good guy,” she says. “It almost brings a tear to the eye.”

“None of Them Were You” isn’t the only tune with that potential on an album Hoffs is preparing to release next month. Due Sept. 18 from her Baroque Folk label, “The List” — Hoffs’ first set of original material in more than a decade — collects a dozen touching and witty songs based on tales from her life as an artist, wife, businessperson and mother. At 67, her winsome singing voice is remarkably unchanged from the era of big hair and dangly earrings. Yet the music reflects an emotional wisdom that had to be earned through experience, as in the folky “Time,” which ponders her and Roach’s relationships with their two adult sons.

“I see you dancing in the kitchen / I feel your tiny hand in mine,” she sings, “What if you fly back home this summer? / We could spend a little while.” (Beware, parents — this one will wreck you.)

A voluble presence with an easy laugh, Hoffs points out that she’s hardly been “hiding in a cave” since 2012’s “Someday.” In 2024, she put out a long-shelved solo record of songs she’d cut back in 1999; before that, she made a series of expertly curated covers albums, including three she recorded with the power-pop maestro Matthew Sweet. But publishing her first novel in 2023 — “This Bird Has Flown,” a charming bestseller about a one-hit wonder looking for a comeback — rejuvenated Hoffs’ devotion to songwriting.

“I never thought the book would sell, and I never thought it would get great reviews,” she says on a recent afternoon at her home in Brentwood. “That was a big turn career-wise.”

For “The List,” Hoffs teamed with CJ Camerieri, a musician and producer known for his work with Paul Simon and Bon Iver, among others; Camerieri in turn recruited an array of songwriters to collaborate with the two of them, including a couple of Grammy winners in Dan Wilson and Jesse Harris.

“Sue has built up decades and decades of goodwill in this town,” Camerieri says, seated next to Hoffs on a sofa, “so you call up somebody like Dan and you say, ‘Hey, you want to write a song with Susanna Hoffs?’ and he goes, ‘Great, yeah, I’m in.’”

The process was simple, the producer explains: “We’d start in Sue’s kitchen with coffee at 10 in the morning —”

“I’m really good at coffee,” Hoffs interjects. “I mean, I use Nespresso. But I’m good at being a hostess to all the lads.”

“So I’d give everybody a yellow legal pad and Sue would start telling stories,” Camerieri continues. “We’re all scribbling notes, and after about an hour, we’d go, ‘I think we got enough here,’ and we’d go write songs about what she’d told us.”

They recorded at Hoffs’ place — “We’d move this couch and the drums would go right here,” she says — beneath a vaulted ceiling that provided just the right ambience. First-call players like Greg Leisz and Wendy Melvoin stopped by to take part in the sessions; for harmony vocals in a country-ish ditty called “Bad Case of Loneliness,” they got Rufus Wainwright, with whom Hoffs had done a version of the Turtles’ “Happy Together” for Roach’s 2025 comedy “The Roses.”

The dreamy-rootsy arrangements are never less than handsome — and never prettier than in “Fool,” which Hoffs says was inspired by her love of the records Dionne Warwick and Burt Bacharach made together. Yet “The List” was built to showcase Hoffs’ rich storytelling.

The LP opens with “Casablanca,” in which she recounts a run-in with the Grateful Dead’s Bob Weir in New Orleans in the late ’80s. The Bangles were on tour opening for George Michael; the Dead had a gig at the University of New Orleans’ Lakefront Arena. After Hoffs and Weir ended up at a crawfish boil put on by the Neville Brothers, the two took a walk along Lake Pontchartrain — “He was very cute,” Hoffs says — then later strolled again through the French Quarter.

“At one point, I looked back and there was a sea of Deadheads who realized it was Bob Weir,” she says. “But I was with him. I got to be his pal, which I just couldn’t believe was happening. It was delicious.” (Between the two walks, the Bangles famously jumped onstage with the Dead to perform “Iko Iko.”)

As we’re talking, Camerieri tells Hoffs that he recently met Weir’s former tour manager — Weir died in January at age 78 — and that he’d relayed Hoffs’ memory of the encounter. “He was like, ‘I know this story,’” Camerieri says the manager replied. “‘Bob used to talk about the time he got to walk around New Orleans with Susanna Hoffs.’”

“Oh my God!” Hoffs says, eyes starting to glisten. “So it meant something to him too.”

Bookending “The List” is “What Are Wings For,” a stately ballad about sticking to one’s guns that Hoffs and Camerieri wrote with Edie Brickell, who’s married to Simon, on a trip they took to the couple’s ranch in Texas.

“We were there during the World Series [in 2024],” Camerieri recalls, “and we watched the Yankees game with Paul every night after working on songs.”

Adds Hoffs with a laugh: “He also told me that he thinks the Bangles’ version of ‘Hazy Shade of Winter’ is better than his. I was like, ‘Please don’t — yours is the iconic version.’”

By the time the Bangles covered that Simon & Garfunkel tune for the soundtrack to 1987’s “Less Than Zero,” the band was already a fixture on the radio and MTV. Hoffs formed the group in 1981 with sisters Vicki and Debbi Peterson, who learned to play together in the garage of Hoffs’ parents’ house, just a few blocks from where the singer lives today.

The Bangles came up through L.A.’s ’60s-steeped Paisley Underground scene and found stardom after the addition of Michael Steele with “Manic Monday,” a sparkling pop-rock gem gifted to the band by Prince. (Beyond her list of boyfriends, one of Hoffs’ prized possessions from back in the day is Prince’s original cassette demo of “Manic Monday.”)

“He was brilliant but mischievous,” Hoffs says of the late trailblazer, on whom she modeled the character of Jonesy from her novel. “I remember one time he invited us to Sunset Sound in the middle of the night. We get there and we’re jamming, then suddenly we look around and he’s disappeared. ‘OK, I guess we’re done.’”

The Bangles with an assortment of music execs in Los Angeles in 1987.

(Lester Cohen / Getty Images)

After eight Top 40 singles and a triple-platinum LP, the Bangles split in 1989 amid differing ideas about the band’s creative direction and ambitions. The members pursued solo and other projects but reunited to record a song for 1999’s “Austin Powers: The Spy Who Shagged Me,” which Roach directed; two more Bangles albums followed in 2003 and 2011, the second minus Steele, whom Hoffs says she’s not in touch with at the moment.

Compared to the Go-Go’s, whose parallel career was detailed in a 2020 documentary and who were inducted into the Rock & Roll Hall of Fame a year later, the Bangles haven’t quite cemented their legacy, though an authorized biography came out last year and a doc is currently in development.

Yet Hoffs doesn’t seem especially troubled by the possibility that the Bangles might be underappreciated, perhaps because she’s got plenty of her own stuff going on. Before “The List” comes out, she’ll play her old hits in a Sept. 5 gig at Largo at the Coronet and in a handful of dates opening for Billy Idol; after the new album drops, she’ll head east for a residency at New York’s Café Carlyle.

She and Camerieri are also at work on a musical adaptation of “This Bird Has Flown” for the stage or the screen. And just the other day she found a folder on her computer full of songs she wrote years ago with her friend Marvin Etzioni of Lone Justice.

“I don’t like using the word ‘bucket list,’ but all these things are labors of love,” Hoffs says.

What’s the trouble with “bucket list”?

“Oh, I don’t know,” she says, smiling. “It just seems, like, death-y.”

The U.K. electronic band Massive Attack has been banned from Singapore because of its pro-Palestinian activism onstage, the group said.

The group unfurled a Palestinian flag during a performance at the Star Theatre in Singapore on July 29. The band said police detained them after the show, and that an investigation led to the band being forbidden from performing in the country.

The nation of Singapore has strict laws against displaying foreign flags or national symbols without a permit.

Massive Attack, which consists of Robert “3D” Del Naja and Grant “Daddy G” Marshall, described the event as a “surreal experience” in a post on Instagram.

“We were surprised and disappointed that our entire band was detained by the police, isolated and separately questioned – with some members subjected to hotel room searches and temporary passport confiscation,” it read.

“Before we set foot on the stage and again at the end of the show, large sections of the auditorium organically led chants of ‘Free Palestine’, presumably aware but undeterred that this spontaneous expression alone could violate their government’s censorship laws.”

“For our part,” the statement continued, “we did not imagine that merely holding up the flag of a sovereign state recognised by 157 countries would violate any law.”

In a statement issued Saturday, cited by the Guardian, Singapore police and the local Infocomm Media Development Authority said that Del Naja and Marshall had been investigated for “their actions of support for a political cause and unfurling of a foreign flag,” violating Singapore’s Foreign National Emblems (Control of Display) Act and the Public Order Act.

The police said they “take a serious view of acts which could potentially harm the racial and religious harmony in Singapore and urge the public, including foreigners, to refrain from importing foreign politics as this can undermine our social cohesion and the rule of law.”

The statement said Del Naja and Marshall would “be banned from re-entering Singapore” and are forbidden from performing there again.

The band did not back down from its onstage gesture or its longstanding pro-Palestinian activism, stating that “On reflection, we are proud to have made this impromptu expression with our fans in Singapore who clearly felt a moral imperative to show solidarity with the people of Palestine in their ongoing reality of illegal occupation, apartheid and genocide, and we salute their courage in doing so. Right across the world, the continued inaction of the ‘international community’ is moving citizens to personal risk.”

Del Naja was recently arrested at a recent protest in support of the group Palestine Action in London.

Jared Leto faces allegations of criminal sexual conduct by several women who allege the sexual incidents with the musician and Oscar-winning actor occurred when he was in his 30s and 40s and they were teenagers.

In a BBC documentary titled “Jared Leto: Hollywood’s Dark Secret,” multiple women spoke about their experiences with the “House of Gucci” star and Thirty Seconds to Mars frontman, detailing allegations of inappropriate text messages, sexual assault and statutory rape from 2002 to 2016. Among the allegations, one woman said she was 17 years old when Leto sexually assaulted her in a motel bathroom. Another woman alleges Leto continued to sexually pursue her in Los Angeles despite knowing she was 17 years old, younger than the age of consent in California.

Leto, in a statement shared with The Times on Wednesday, denied the allegations raised by the BBC documentary: “I have never sexually assaulted anyone in my entire life,” he said. “These claims are absolutely and categorically false.”

Journalist and documentarian Jessica Sartenaer said in the segment published Wednesday that the BBC began its investigation into allegations against Leto after noting an Instagram story from a prominent DJ based in Los Angeles. In a since-expired Instagram story, DJ Allie Teilz, resurfaced a 2012 Facebook post in which she accused Leto of trying to “force himself” onto her backstage at a concert. Teilz captioned her repost: “Jared Leto was a creep then..still a creep now, going on 15+ years of being Hollywood’s most persistent predator,” according to the BBC documentary.

Numerous social media users reportedly responded to Teilz’s posts with their own claims about Leto’s alleged predatory behavior, many noting they were subject to Leto’s misconduct when they were teens. A woman identified as “Etta” told the BBC she was 14 when Leto approached her outside of a modeling agency and invited her to an Oscars party. Etta provided email correspondences to the outlet and said the “Morbius” actor encouraged her to stay in contact via text after the invite. Text messages turned into phone calls and conversations about her modeling career quickly turned sexual, according to the documentary. Leto allegedly asked Etta about her virginity, her kinks and sexual capabilities.

Etta said in the documentary that Leto’s legal team allegedly contacted her and urged her to sign a nondisclosure agreement about her relationship with the actor, though she never did.

The documentary portrays Leto as a celebrity who leveraged his fame to connect with young fans and control them. The woman who alleged she was sexually assaulted by Leto at age 17 in a motel bathroom told the BBC she met Leto in 2002 at a mall in Las Vegas. Leto would have been in his early 30s at the time. He invited her to meet him at a nearby motel. She waited in the room while he stepped into the shower, but he eventually called her over and began kissing her, according to the BBC. The woman, identified as “Isabelle,” accused Leto of forcing her hand to his genitals and using her hand to masturbate. Isabelle pulled away and moved to leave the room, but Leto allegedly looked outside the motel room for any potential bystanders before letting her out, she recalled to the BBC.

The BBC also published allegations by “Clara,” the woman who said Leto knowingly had sex with her when she was 17 — he was 34 at the time — at his house in California. Clara said she connected with Leto after his associate requested her phone number. She and her friend were invited to spend time with the band at the Chateau Marmont in Hollywood, where the age of consent of California became a topic of conversation. Leto, who allegedly shrugged off the conversation, invited Clara and her friend back to his home and told the friend to wait in another room while he had sex with Clara. Clara visited Leto’s home a total of three or four times, according to the BBC. She also alleged that Leto often requested that she call him “daddy” and that she pretend to be a little girl.

Leto in 2013 allegedly invited another woman, named Alex, to his band’s concert at London’s O2 and to an after-party. She was 19 at the time but told Leto she was younger out of a need to protect herself, the BBC reported. Leto allegedly replied: “Age is just a number, and anyway, we’re in Europe.” Alex alleges Leto threatened to sexually assault her in a hotel room later that evening.

The BBC also spoke to men who who worked closely with Leto’s band, Thirty Seconds to Mars. One man said Leto was often texting girls to invite them to spend time with the band. Leto also allegedly asserted control by ignoring the girls he invited and speaking to them rudely. The man also recalled that Leto took one fan, who was dropped off by her parents, “off to the bedroom.” Afterward, she called her parents to pick her up.

Leto has long faced quiet scrutiny for his alleged behavior with women and girls. In 2005 the New York Post published a story accusing the actor of “aggressively pursuing many” teen models. Last year Air Mail published accusations against Leto of impropriety by nine women, though he denied those claims at the time.

Still, the actor-musician has moved on from those allegations seemingly unscathed. Leto, who won his Oscar in 2014 for “Dallas Buyers Club,” most recently appeared in “Masters of the Universe” and is set to tour with his band next year.

Twenty-five years after “Is This It,” the Strokes are as big as they’ve ever been — and not just among old heads eager to relive the wasted glamour of the early-2000s garage rock revival. Go to a Strokes gig these days — they’re playing arenas and headlining festivals like next month’s Just Like Heaven in Pasadena — and you’ll find teens and twentysomethings in the audience; open up Instagram and there’s frontman Julian Casablancas dispensing viral hot takes on the New York City subway. On Spotify, the band’s most-streamed song isn’t the Giuliani-era “Last Nite” but “The Adults Are Talking,” which came out at the beginning of the COVID-19 pandemic — a feat of cultural endurance unmatched by any of the Strokes’ Gen X or millennial peers.

So what better time to drop a new album full of arcane jokes, baffling vocal affects and light conspiracy theorizing?

The group’s first LP since 2020’s Grammy-winning “The New Abnormal,” “Reality Awaits” is easily the nuttiest entry in the Strokes’ catalog, with a spooky opening track, “Psycho S—,” in which Casablancas, his voice slathered in AutoTune, ushers the listener “past the hall of judging dead into the bed of nightly dread.” (Sexy!) “Falling Out of Love” is a lilting robo-country ballad about dancing alone under acid rain; “Liar’s Remorse” is a voice-and-guitar lament about submitting to artificial intelligence that Casablancas croons for some reason in a terrible Caribbean accent.

Then there’s “Lonely in the Future,” in which Casablancas name-drops John Legend and Josh Groban, appears to ding Harry Styles for cribbing the beat from the Strokes’ “Hard to Explain” and informs Anthony Fantano, the popular internet music critic, that he “would not recognize art in any age.”

Philosophically, “Reality Awaits” feels less like a Strokes album than like a Casablancas solo record or an effort by his other band, the Voidz, which he’s used for the last decade or so as a kind of finsta for his harder-edged sociopolitical musings. “Going Shopping,” the LP’s lead single, casts a condescending eye on anyone insufficiently troubled by what the singer views as the creeping tyranny of a super-rich ruling class: “The worse reality gets, the less you want to hear about it / Solidarity can be difficult when you got cool stuff to lose.” That “Going Shopping” is the album’s jauntiest cut — with a music video that restages Paul Simon’s “You Can Call Me Al,” no less — only sharpens the critique.

Yet every now and then the Strokes, who absolutely ripped at Coachella in April, lock into a groove with the springy precision that’s been the band’s signature since the beginning. “Dine N’ Dash,” “Going to Babble On,” “Lonely in the Future” — it’s pure pleasure to hear the guitars in these songs slashing away over a rhythm section as crisp and nimble as this one. For all they’ve absorbed from their forbears, the Strokes don’t sound like anybody else, even when they seem to be trying to, as in “The Fruits of Conquest,” which suggests early Maroon 5 having a go at the Rolling Stones’ “Miss You.” (Obviously, I mean this as a compliment.)

You can view the indelibility of the Strokes’ style as the reason the band makes so many wacky decisions on “Reality Awaits”; looked at differently, the band is taking advantage of its persistent success to spend a bit of creative capital. Either way, Casablancas doesn’t actually seem worried at all in “Going Shopping” when he voices some anxiety about how long he can continue to matter. “I’ve been thinking about what I want to say,” he sings, “But I’m an old man now — at least that’s what they tell me anyway.”

On Saturday at Dodger Stadium, as the sun dipped below the horizon, Fuerza Regida took center stage for a career-defining show, delivering cinematic time-travel segments and hints of off-stage controversy.

The Mexican American band joined an illustrious list of legendary acts — Elton John, the Beatles, Michael Jackson and Beyoncé to name a few — to perform at the iconic venue built on Chavez Ravine, the shallow canyon that served as home to thousands of Mexican American families forcibly displaced in the 1950s for the sake of progress.

In June, the San Bernardino quintet kicked off its This Is Our Dream stadium tour across nine U.S. cities to close out its manifestation project “111xpantia.” The 2025 LP peaked at No. 2 on the Billboard 200 in May 2025, becoming the highest-charting Spanish language album by a duo of band ever. It also comes a year after the band sold out the Madison Square Garden and the Hollywood Bowl in consecutive nights.

But the stadium tour — which will end Aug. 7 in New York’s Citi Field — does more than showcase the band’s recent mainstream success. It honors the years of grit it took to get there.

“It’s proof that dreams are worth chasing, fighting for, even when it feels hard or impossible,” said Khrystian Ramos, the band’s rhythm guitarist.

As part of the set design, a massive prop car stereo was affixed atop the stage. Inspired by the 1985 film “Back to the Future,” it doubled as a time traveling machine. But instead of a DeLorean, the band opted for a Chevrolet 454 SS pickup truck, a car that symbolizes the American dream for lead singer Jesús Ortiz Paz, better known as JOP, and is largely associated with the group’s corrido forefather, the late Chalino Sanchez.

The first stop in Fuerza Regida‘s journey to the past was 2018, as the band performed its breakthrough hit, “Radicamos En South Central,” a song about gradually building a drug empire that went viral on YouTube. Shortly after its release, the band signed with independent label Rancho Humilde and followed up with “Sigo Chambeando,” a bouncy corrido that embodies the band’s “never stop hustling” ethos.

It’s a mindset that has served them well.

The more than a decade-long road to selling out Dodger Stadium certainly wasn’t easy for the corrido tumbado band, which formed in 2015 and first built a fan base by performing cover songs at local parties across the Inland Empire. .

Jose “Pelon” Garcia, left, Jesus Ortiz Paz and Khrystian Ramos of Fuerza Regida perform during their This Is Our Dream Stadium tour at Dodger Stadium on July 18 in Los Angeles.

(Carlin Stiehl/For De Los)

“We got kicked out of a gig one time. The guy literally told us that he didn’t like our music,” said Ramos. “That drive home was a key moment in our career.  It showed us that it’s not all stars and rainbows.”

Ramos started the band alongside the band’s 12-string guitarist, Samuel Jáimez. The two met at martial arts school as kids and kept in touch in the years that followed, jamming out together after their 9 to 5 .

The band’s name was originally Raimez — a portmanteau of Ramos and Jáimez— but was later changed to accomodate the arrival of lead singer JOP.

“I remember exactly [where we came up with the name]. We’re driving down the 10 passing Mount Vernon Avenue,” said Ramos. “Fuerza Regida, a  governing force. Wherever you step, the presence is felt.”

That certainly was the case on that warm July evening as the more than 56,000 fans in attendance chanted the band’s name in unison.

“Not in a thousand years, I didn’t see it until it crept up. It was like alcohol,” said Jáimez about the band’s global success.

Sousaphone player José García, also known as Pelon, never imagined that leaving behind a steady job to pursue his musical dreams would pan out like this.

“I worked in construction Monday through Friday and we had gigs with Fuerza Thursday, Friday, Saturday and Sunday. I practically had two jobs,” said García. “I had life insurance. I had benefits, 401(k), all that. So I left a really good job so I could join Fuerza Regida.”

In 2022, the band added its fifth member, Moisés López, who plays the tololoche — a small upright bass. López, who contributed to the 2020 track “Vamos Bien” as a bass player, said that JOP had asked him to learn the instrument if he wanted to stay with the group. “He bought me it. I picked it up real quick and from there it’s history.”

Jesus Ortiz Paz, left, and Moises Lopez of Fuerza Regida perform during their This Is Our Dream stadium tour at Dodger Stadium on July 18 in Los Angeles.

(Carlin Stiehl/For De Los)

At the concert, the time machine took attendees back to 2022, Fuerza Regida’s bélico era marked by the corridos “Billete Grande” and “Igualito A Mi Apá” as well as its gentler viral hit “Bebe Dame,” the first Fuerza Regida song to reach the Billboard 100, peaking at No. 25.

“We went from clubs to theaters to arenas. I’ve never thought we would get this far,” said López. “We’ve always said hard work beats talent.”

But it isn’t just drive that has shaped Fuerza Regida’s career — time and time again, the band has proved to be adaptable and experimental, always evolving its sound and drawing from a wide range of influences.

2023 saw the release of “Pa Las Baby’s y Belikeada,” a party record that fuses trap, pop and EDM, and features the player anthems “TQM” and “Sabor Fresa”; to complement the womanizer themes of the record, there was a baddie camera on stage, which panned to women in the audience.

As the band sang its 2023 ballad “Una Cerveza” — a song about getting drunk to forget a lost love— a girl across my way called her ex and lifted her phone up in the air so that he could hear its heartbreaking lyrics. Then she hung up.

The Dodger Stadium show felt like a massive celebration, not just for the band but for música mexicana as a whole. Special guest performances throughout the night included Los Gemelos de Sinaloa, Calle 24, Chino Pacas, Clave Especial and Chuyin — acts that have helped fuel the meteoric rise of the genre.

“I’m proud and grateful that la raza is finally doing it. We’re here to stay,” Jaimez said.

Though the show focused on Fuerza Regida’s past, there were also hints of what’s to come. The band’s relationship with its record label Rancho Humilde has become acrimonious and litigious. In recent months, JOP has repeatedly accused founder Jimmy Humilde of withholding royalties and sabotaging the band. In turn, the record mogul has claimed that the band is not fulfilling its contractual obligations. A bitter divorce feels imminent.

“The internet tells a lot of lies. False news. That supposedly someone won a lawsuit. But that lawsuit is still underway and we know who will win,” JOP told the audience before singing “Triston,” a track released at the start of 2026 that was immediately pulled from the streamers. “They took this song off the platform but they can’t stop us from singing the song here.”

Kevin Lyman has always lived life on the move. For years it was a symptom of working to keep up with Warped Tour, a punk rock circus on wheels. Since bringing the festival back last year to celebrate its 30-year anniversary, he’s switched his mode of transport from buses to planes. What started as a two-month tour across the U.S. and parts of Canada is now a strategically placed, five-date extravaganza starting this weekend in Long Beach. With stops in Montreal, Mexico City, Orlando and Washington, the tour has gotten bigger with the partnership of EDM promoter Insomniac but Lyman insists that the soul of it remains the same.

Thriving on a mix of punk, emo, ska, hardcore, metal and action sports, Warped has become an entry point to festival culture for a new generation of fans, requiring Lyman to always move forward in his musical tastes while still trying to stay true to the essence of what made Warped more of a community than just an annual event.

Recently he chatted with The Times to discuss the process of continuing the fest’s revival and why it’s still a vital part of the summer festival ecosystem.

What were your initial thoughts after Warped Tour’s big comeback in Long Beach last year?

I was really nervous. To be honest, I knew I had one shot at getting it right. I knew there were going to be bigger stages, we were going to have video and lights, but I also knew that I had to make it feel like Warped Tour between the performances. So that little bit of controlled chaos we had between the stages — the merch tents, all the sponsorship booths, the skate ramps, the surprises we threw out each day — I think it was mission accomplished. The feedback overall has been fantastic from the fans. For some people closer to my age demo, maybe it was a little too much — their feet hurt. But Warped came back strong, we went back on sale [for 2026] fairly quickly, and to still have 50% of the people buy the tickets right away without knowing a band on the bill yet was great.

Jimmy Eat World is doing like their 25th anniversary of “Bleed American” at the fest this year. What does it mean to you to have some of those early Warped Tour bands like that on the bill again?

It felt good to have a lot of those bands. For me, one of the more emotional ones last year was Rise Against. They had such a big moment. They were such a part of Warped Tour, and you get them to come back and then watch that crowd, every phone went up in the crowd, and probably 50% of the people there had never seen them before.

“I’ve been a disruptor, and the disruption I’ve caused has attracted enough people. Now we’re a niche of people,” Lyman says. “Warped is a great niche.”

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You’ve always had your own way of doing things that created the culture of Warped Tour. Why do you feel it is still so vital in the festival ecosystem today?

I had to carve a niche out for myself in the industry. I was never going to really quite conform. I kind of came from that rebellious spirit that Goldenvoice instilled in me back in the ‘80s when I worked for them, and Gary Tovar was rebellious. So I’ve always kind of had that mentality of, “Hey, let’s go against the norm. Let’s make it something our own.” And even when I’m teaching at USC now, I say you have to learn the foundations of every business. And those foundations, to me, were working 12 years in the clubs of L.A., 320 nights a year, and then you have to make something your own. I always say when you decide to go for it — go for it. And I did, and it seemed to connect with enough people and resonated with enough people that I’d been around that said, “Wow, this is different. He needs to work on it. But instead of knocking him down, let’s support him.”… I’ve been a disruptor, and the disruption I’ve caused has attracted enough people. Now we’re a niche of people. Warped is a great niche.

How did you keep Warped on people’s minds year-round while you were planning it out this year?

That was a challenge because before we used to have the two-month tour, so we were able to build community to keep the conversation going. Community is a big driver for me. Everything we’re doing now is investing in the community, and I think it’s working. [In January] we had a downtown Long Beach event with the band Holy Wars, we had an event in Orlando. We had one event in a fraternity house backyard in Virginia, we had events in Mexico City and Montreal … canned food drives, blood drives or, you know, register to vote. We’ll drop those kind of events so we’re constantly in everyone’s mindset. And it’s not about monetizing. I think people are always asking “How do you monetize the superfan?” I’m like, “How do you reward them?” Giving people a free Sunday afternoon event in Long Beach, that’s a thank you. Those are the people that are going to spread the word when you post a video, they’re going to share it with all their friends, and then they’re going to be telling kids at their schools. A third of the people going to Warped had never been to a festival or even a concert before, so we need to engage them in a different way.

What are your ways of scouting out bands you want to take a chance on when booking the festival?

Well, I have a great booker named Amanda Phelan. She books with me, so she’s kind of that on the ground talking to the agents and things. I don’t necessarily do that much anymore. I talk to them, but my part is more like, “Oh, I want to see what bands other bands are talking about, or young people are talking about.” And then I’m also talking to lots of the independent promoters out there that you know I used to work with.

Why do you think younger generation of fest goers will keep discovering Warped Tour?

We used to be that festival where you know it was over by sunset, your mom could pick you up at the curb or you could get home by dark, and then you went off to other festivals. We were your entry point to festivals. We may be that entry point again, but a lot of it now will come down to price point. We know the economics of Warped Tour are conducive for people that want to go on two levels: ones that want to come and explore a festival, and other ones, maybe some of your peers, who don’t get to go out every night and see bands anymore because they all have real jobs and things. But they can go for one for two days and catch up on all music, which makes you feel like you’re staying young.

In the Mid-City neighborhood where Syd grew up, lots of people now refer to this 34-year-old musician as the mayor.

“During COVID, I’d spend all day on the grass waving at everybody,” she says with a laugh. More recently, a bunch of “unruly teenagers,” as Syd describes them, have been doing doughnuts in the street near her parents’ house.

“I’m out there talking about, ‘Hey! Stop!’ I had one of my trucks parked in front, so I was like, ‘Y’all ain’t finna mess my s— up.’ But also they were hanging out the window — it was really dangerous.” She laughs again.

“I’m an old head when it comes to safety.”

Syd’s new album happily embraces a sense of maturity — of “feeling more sure of myself than I ever have,” she says. Released last week, “Beard” — the title was inspired by Syd’s wife’s request that she maintain the peach fuzz on her upper lip — sets thoughts of romantic commitment and professional achievement against gleaming R&B grooves that occasionally nod toward Afrobeats or bossa nova. It’s Syd’s third solo LP since she emerged nearly two decades ago as a member of the Los Angeles hip-hop collective Odd Future; it also comes eight years after her most recent album with the Internet, the Grammy-nominated soul-music combo she shares with Matt Martians and Steve Lacy (the latter of whom dropped his new “Oh Yeah?” on the same day Syd dropped “Beard”).

Yet for all the growing up she’s done, “ironically, I feel younger than I’ve ever felt,” Syd says. “Beard’s” blurry cover photo, which shows her shaved head and slightly doleful eyes, “captures exactly what I was trying to portray with the music,” she adds. “It’s kind of this nonbinary image, where if you’re looking at it and you don’t know who I am, you might wonder: Is that a 12-year-old boy?”

Syd and I are talking over coffee at a crowded spot on Jefferson Boulevard that she says she visits every day. (So many people say hi to her that I’m inclined to believe it.) The restaurant isn’t far from her house, which itself is just an eight-minute drive from her folks’ place; eventually, she says, her parents plan to swap homes with Syd and her wife, the model Simone Clay, so that the couple can fulfill their dream of becoming foster moms in the larger house.

“With all my privilege and with all the peace I’ve been able to create for myself, I would love to spread that,” says Syd, whose full name is Sydney Bennett and whose younger brother Travis (known as Taco) also came up through Odd Future before finding success as an actor.

Syd recorded “Beard” between a studio she built at her parents’ place and a studio in North Hollywood owned by Raphael Saadiq, the veteran R&B star whom Syd counts as something of a mentor. The singer says she can relate to the way Saadiq moves between making solo records, working in a band (in his case Tony! Toni! Toné!) and writing and producing for other artists, as Syd did on Beyoncé’s 2022 “Renaissance” album.

“Syd is just looking for things in music that are breathing,” says Saadiq, who plays bass and co-produced several cuts on “Beard.” “She keeps developing, and she’s not developing to be relevant — she’s developed because she loves doing it. People like Syd and myself, we’ve been at this since we were kids. We were the ones in the neighborhood who’d walk outside and say, ‘Anybody want to get on this track? Anybody want to play?’”

Songs on “Beard” like “Closet” and “My Love” reflect recent changes in Syd’s life, not least her decision to get hitched last year, which she attributes in part to an uncertainty about how long same-sex marriage will remain legal in the United States.

“You know the Supreme Court,” she says with a shrug.

She also quit drinking after realizing that she was waking up more often than not with a hangover. “People around me weren’t like, ‘She be drinking,’” Syd says. “But it was every day, and it was just at the crib. Everybody has a different relationship to it, and I found that mine was tied to boredom, which I think is probably better than it being tied to sadness. But that’s also what made it a little bit harder to call it a problem, you know what I mean? I had to realize: OK, this might not be a problem for someone else, but it’s not serving me.”

So two and a half years ago, she stopped — and on a holiday some can’t imagine without booze.

Says Syd: “I raw-dogged New Year’s Eve, bro.”

“Ironically, I feel younger than I’ve ever felt,” Syd says.

(Nabil)

“Beard” encompasses shifts in Syd’s business too. After fulfilling her contract with the Columbia label, the singer signed last year to Warner Records, where an old high school pal, Tim Hinshaw, oversees a boutique label called Free Lunch. The new deal inspired her to mix up her creative process and hold a songwriting camp with an assortment of writers and producers, among them the duo Nova Wav, who’ve also worked with Beyoncé; on “Beard,” the duo co-wrote and co-produced the hooky “Callin” and “Jasmin 17,” a lusty boudoir jam titled after the unisex fragrance. (Additional collaborators on the album include James Fauntleroy, Van Hunt, Rodney Jerkins, Big Sean and Jordan Ward.)

Given her high-profile gig writing and producing Beyoncé’s “Plastic Off the Sofa” — a sensual retro-soul number that went on to win a Grammy — I tell Syd that I assume the offers came rolling in immediately afterward to join other A-list acts in the studio.

“To be honest, that opportunity didn’t give me any more producing opportunities,” she answers, to my surprise. “Nobody was reaching out — like, ‘Hey, can I get beats?’” She’s not bothered, though, since what the experience did do was “give me the confidence to produce this album for myself.”

And anyway, she’s got a solo tour coming up, not to mention a long-awaited Internet LP to finish. The band has been recording intermittently at her place, and last month she spent a week working at Martians’ studio in rural Georgia.

“We’re closer than we’ve probably ever been,” Syd says of the band, whose drummer, Christoper Smith, put out yet another solo record on the same day as “Beard” and Lacy. Syd doesn’t want to reveal too much about the Internet’s new music. But she will say that so far the group has avoided using Auto-Tune, the vocal-processing software that she feels has become sadly ubiquitous.

“I want nuance, I want texture, I want the lack of perfection,” she says. “I’d rather mess up naturally than not mess up unnaturally.”

Tony Thorpe, the guitarist for the English glam-rock combo the Rubettes, has died. He was 80.

“It is with great sadness that we officially announce the passing of Anthony John Thorpe. He was a father to Clay, a husband to Shirle, a friend to many, and a mentor to countless musicians young and old,” read a statement posted to his Facebook page. “His recently failing health did little to diminish his fierce intellect and sharp sense of humour. He will leave an unfillable hole in the lives of all who knew him, or his music.”

The Rubettes formed in 1973 after a session-musician team cut several doo-wop inspired tracks including the single “Sugar Baby Love.” The song hit number one on the UK charts in 1974 when the band, known for its uniform of white suits, performed on Top of the Pops. The single also charted in the U.S. top 40 and became their best-known song, along with European hits including “Tonight,” “Juke Box Jive,” “I Can Do It.”

The band sold millions of singles, primarily in Europe, over its career. Thorpe sang lead on several songs in the band’s catalog, including the country-influenced single “Baby I Know.” He left the group in 1979, and the Rubettes continued to perform and record in various incarnations.

The Rubettes classic-lineup singer, Alan Williams, posted on the band’s official Facebook page, saying Thorpe was “Mercifully now at peace.”

“Dear Tony, our paths having crossed but fleetingly during which time was conceived wondrous music and often hilariously memorable moments. Your brilliance with the axe and the pen cannot be denied and remains with us, never forgotten. Rest now Cowboy.”

On stage at Red Rocks Amphitheatre in Colorado, a far cry from the sweaty basement punk shows of the band’s early days, Jimmy Eat World played breakthrough power pop hit “The Middle” as the sold-out crowd sang along with the final chorus that “everything will be all right, all right.”

“It really is incredible to us to think about everyone who bothered to spend time with this record and made something of it for themselves over 25 years. This is your guys’ record as much as it’s ours, really,” singer-guitarist Jim Adkins said from the stage.

The band, which has generally shied away from nostalgia plays over its 30-plus year career, is performing the platinum-selling “Bleed American” album in its entirety on tour this summer, including a stop at Warped Tour in Long Beach on Saturday, a matching bookend to the band’s original promotion of the album.

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“It solidified us as, ‘This is what we do. Let the day job go.’ It turned into full-time rock and roll. And that moment only happens once, so it felt appropriate to honor it at 25,” bassist Rick Burch said backstage before the band’s Brooklyn tour stop in June.

Released on July 24, 2001, “Bleed American” was one of the last great rock records of the monoculture, arriving months before Apple’s iPod launched and made shuffle the default and 15 years before streaming became the dominant way to consume music.

“When ‘Bleed American’ took off it was right at the transition of the internet,” says Jim Adkins.

(Evelyn Freja / For The Times)

A hit with Hollywood roots

Just over a quarter of a century ago, four guys from Mesa, Ariz., came to L.A. to record their fourth album.

Jimmy Eat World’s Adkins, Burch, drummer Zach Lind and guitarist Tom Linton earned recording money between tours by working construction, driving around car dealership customers and selling art supplies and auto parts.

The band had cut ties with Capitol Records after 1999’s “Clarity” — a sweeping, lush and highly influential work highly regarded by their contemporaries that would inspire third-wave emo superstars including My Chemical Romance, Fall Out Boy and Paramore — that the major label had no idea how to market, even after “Lucky Denver Mint” got pickup on L.A.’s alt rock tastemaker KROQ-FM.

“If that song would have been on ‘Bleed American,’ that would have been a No. 1 song,” said Jim Suptic, of Kansas-based second-wave emo band the Get Up Kids, who have been on the “Bleed American” anniversary run. Suptic said that he was inspired to start the band after seeing Jimmy Eat World live in the mid-’90s.

With the band’s tight budget, producer Mark Trombino, who produced “Clarity” and predecessor “Static Prevails,” worked with the band for free in L.A., banking on the future success of the album. After recording drums at Cherokee Studios, the band relocated to Harddrive Analog & Digital Recording in North Hollywood to make the bulk of “Bleed American.”

“The studio was so small, it didn’t have a lounge,” Lind recalled.

But there was a bus stop outside they used instead, where they would hang out with “an assortment of characters,” Adkins said.

He and Lind commuted to the Valley from Redondo Beach, where they crashed on the floor of Lind’s brother’s place. Linton fondly remembers the great food in the city and hanging out with friends in other bands while Burch spent downtime skateboarding in L.A.

Even without the cash or support from a label, recording “Bleed American” didn’t feel like a do-or-die moment for the band’s future.

“We just kind of figured we might have to go out and just release this ourselves. Let’s just do the best job we can, and be happy with what we put out,” Linton said.

But with the buzz growing around the new music, record labels came calling.

‘The Middle’ meets the moment

By the time the album dropped in July 2001, the guitar-heavy snarling title track of “Bleed American” had already been in regular rotation on alt-rock stations for a month.

After a stint on the Warped Tour, Jimmy Eat World set out on a U.S. headlining tour in the fall, with Hey Mercedes opening.

“I remember that tour in particular, them sort of really finding their confidence in their voice and their shows and their performance and the whole package. And this was before ‘The Middle’ really broke, but I could tell that they were really firing on all cylinders,” said Hey Mercedes singer-guitarist Bob Nanna, whose influential emo group Braid first played with Jimmy Eat World in 1998.

The album landed on the Billboard charts three weeks after its release, and while its peak position was 31, it remained on the chart for 70 weeks. (A couple of months after the Sept. 11, 2001, attacks, the name of the album was changed to “Jimmy Eat World” on pressings before reverting to the original title in 2008.)

“When ‘Bleed American’ took off it was right at the transition of the internet,” Adkins said.

By 2002, “Bleed American” was taking off due to the popularity of the song “The Middle.”

(Scott Gries / Getty Images)

The media landscape hadn’t yet transformed. Rock music magazines like Spin, NME, Alternative Press and Kerrang! were thriving. The band made the rounds on the late-night talk shows as “The Middle” video clip played on MTV’s popular show “Total Request Live.”

“Things hadn’t splintered out into a zillion niche locations just quite yet,” Adkins said.

By March 2002, “The Middle” had hit the Billboard charts, where it climbed to No. 5 by the summer and spent 33 weeks on the Hot 100.

“They were a real band that had a radio hit, and not a radio band reverse engineered,” the Get Up Kids’ Suptic said.

The success was surreal for the band members as they heard the song on the radio, in restaurants and the gym. Today, you can still summon an entire generation with the opening guitar melody.

“I understand why that song has resonated,” Lind said. “I think there’s a few themes in the album that resonate with people in times when things are going tough. You know, ‘The Middle’ is definitely one of those songs that so many people have found encouragement from, whether they’re dealing with a breakup or going through cancer.”

“It seems like one of those songs that people have used to feel better and I think that’s obviously really powerful.”

“It solidified us as, ‘This is what we do. Let the day job go.’ It turned into full-time rock and roll,” says bassist Rick Burch about the success of “Bleed American.”

(Evelyn Freja / For The Times)

Here we are now

But the fans selling out the tour dates around the U.S. know much more than the hits, singing along to the deep cuts after traveling hundreds of miles to get to the show, in some cases.

Fans traveled from states like Michigan and Texas for the tour kickoff at Red Rocks in Colorado.

Robie O’Donnell took the train up to New York from the Washington, D.C., area to take his 12-year-old daughter to her first Jimmy Eat World show. The Brooklyn show was his 25th after he discovered them in the late ‘90s from a recommendation on the Get Up Kids’ website.

Behind him in line hours before doors opened was Jane Kung, who was only 8 when “Bleed American” was released and got into it when she was in high school. She didn’t want to miss the chance to hear it live.

“The fact that so many people wanted to come see this is something I didn’t expect,” Adkins said about the tour.

The fans get a chance to geek out over the rarely-played deep cuts from the album, like “Your House,” which required a revamp because of the studio work on the song, and the live debut of “(Splash) Turn Twist,” which was on the Japanese import of the album. Even louder than the sing-along to “The Middle” is the call and response from the crowd on the album’s second-biggest hit, “Sweetness.”

“Having this piece that we’ve created be embraced by so many is a very accomplished feeling,” Burch said.

Nanna even ventured into the crowd after Hey Mercedes opened the Brooklyn show, singing along to “A Praise Chorus,” the band’s crunchy guitar-filled love letter to rock music, among others.

“The world is a tough, s— place now and to have these moments where everybody can sing along to something that’s just pure joy was really soul enriching,” he said.

OAKLAND — The 17th year of Mosswood Meltdown at Oakland’s Mosswood Park brought with it a parade of free-thinking freaks on stage and in the crowd that descended on a punker’s picnic paradise for its annual outing of 20 bands over three days last weekend.

Hosted by the pencil-mustachioed art film icon John Waters, it began with a “pre-party” that exploded with main-event energy courtesy of lo-fi indie rock heroes Pavement, along with Wednesday and Vivian Girls on Friday night. The main fest lineup, topped by underground legends Iggy Pop and Bikini Kill, brought wild music with a message of unity among generations of punks to the tree-lined stages surrounded by a city that knows how to throw a good-time rager while staying deathly serious about its musical taste. Here are 10 moments that stood out at this year’s fest.

John Waters hosted the entire weekend, bringing his cackle-inducing foul-mouthed band intros to nearly every set at Mosswood Meltdown.

(Dick Slaughter)

Saturday

Singer/guitarist Toyozo (Yusuke Toyoshima)of The Fadeaways at Mosswood Meltdown

(Dick Slaughter)

The Fadeaways stand out early

Performing Saturday in Mosswood Park was a homecoming for Japanese revival rockers the Fadeaways. It was barely a year ago that they played a guerilla-style set by the festival entrance for a crowd of unsuspecting new fans. Going from ground level to being introduced on the main stage by Waters was a bucket-list achievement. “Their intense leaps in the air remind me of a throwback ricocheting tear-gas canister landing in a crowd of ICE agents,” the fabulously filthy host told the crowd before bringing them up. When they took the stage, the band wasted no time exploding into a searing 10-song set led by “That Girl” and including a screeching cover of the Kingsmen’s “Louie Louie.”

Snooper lead singer Blair Tramel performing on the Field Stage at Mosswood Meltdown

(Dick Slaughter)

Snooper and its puppeteers of chaos

Performing its third set at the festival since 2022, this Nashville four-piece band has quickly become a staple of this fest thanks to a larger-than-life-size puppet show and an electro-shock energy that helped it rumble through an early set on the Field Stage Saturday. Frontwoman Blair Tramel let the creativity of her paper-mache puppets made for the show match her highly caffeinated caterwaul on songs like “On the Line” and “Long Way,” where blown-out guitar tones, glitchy beats and shrieking vocals took Saturday’s decibel level unapologetically into the red.

The Spits performing on the Amphitheater Stage at Mosswood Meltdown.

(Dick Slaughter)

The Spits went full throttle

The sunken Amphitheater stage was a tough place to see anything if you didn’t show up to grab a spot at least 20 minutes early (or just climb a tree). But sweating in the sun to watch a band like the Spits, another Mosswood favorite, was worth pre-planning to get into the pit. The four-piece from Kalamazoo, Mich., hilariously clashed with the all-pink game show backdrop of the stage. Entering in sleeveless denim vests backed with a hailstorm of machine samples and maniacal Vincent Price laughter, the band clearly wasn’t playing any games as the members pounced on the crowd with 26 songs performed at breakneck speed, with dirty, piston-pumping rhythms on “Spit Me Out,” “Rip Up the Streets,” “Bring” and “SK8.”

Mannequin Pussy singer Missy Dabice and bassist Colins “Bear” Regisford on the Field Stage at Mosswood Meltdown

(Dick Slaughter)

Mannequin Pussy end with a loud bark

Blissfully ferocious and never short on words from the stage, frontwoman Missy Dabice didn’t get to say as much as she wanted to between songs due to the brevity of a festival set. But after a well-received set full of songs off 2024’s “I Got Heaven” and 2019’s “Patience,” Dabice still left room for some fiery parting words that embodied the tone of the weekend before wrapping things up with the band’s seething battle cry “Loud Bark.” “Don’t forget to celebrate the beauty of life while in every breath in turn fighting against fascism in every section of this country, good night!”

Otoboke Beaver drummer Emi “Leo” Morimoto performing on Saturday at Mosswood Meltdown

(Dick Slaughter)

Otoboke Beaver’s fury lights a fire

This quartet from Kyoto, Japan, put the Mosswood crowd in a stranglehold at the Field Stage and didn’t let up once during its entire set of math-rocky, manic, candy-colored fury. Even if you had no idea of the meaning behind song titles like “Don’t Light My Fire” or “I Am Not Maternal” or “Hey Where’s the Thank You?” sung mostly in Japanese, its joyous hell-raising energy left a lasting impression with the crowd. You couldn’t help but smile watching the members shred as an inflatable, beaver-shaped inner tube bounced around the mosh pit while they did their best to sound like a satanic garage band.

Iggy Pop headlining Saturday night at Mosswood Meltdown.

(Dick Slaughter)

Iggy Pop’s eternal lust for life

Iggy Pop’s ability to stay shirtless and savage at 79 goes beyond scientific explanation. One can only assume he’s made a deal with the devil that he’ll never stop performing. That seemed OK with the packed crowd that watched him headline Saturday night, rolling through all the Stooges and solo classics that made him the king of the underground. He kicked off his 18-song set with “T.V .Eye” and continued ripping into “Raw Power and “I Got a Right” before anyone in the crowd had a chance to catch their breath. With the Los Tropicanos backing band behind him, Iggy’s energy was transferred through the players who bolstered his catalog of Detroit-bred proto punk with tight precision and the right amount of stumbling sleaziness. Though he ended the set in a cage from “Wild One” to “Mass Production,” it’s clear that he’ll never be confined and that should give us all a bit of extra hope for ourselves.

A crowd surfer at Mosswood Meltdown.

(Dick Slaughter)

Sunday

Peaches Christ performing on the Field Stage at Mosswood Meltdown.

(Dick Slaughter)

Peaches Christ sings with punk pride

The fire on stage for Day 2 of the fest started early by a pack of drag queens led by Peaches Christ. She sauntered on the stage with electrified green and purple hair and Vivienne Westwood-style chic to perform a cover of the Sex Pistols’ “God Save the Queen.” Showing the true rainbow colors of the punk scene has always been an important aspect of Mosswood’s ethos and as a staple of the fest, Christ compelled everyone in the crowd to sing loud and proud as she and her squad each took turns performing classics from the canon of mosh pit hits including “New Rose” by the Damned and “Add It Up” by Violent Femmes. Following her was fellow queen Kochina Rude who came out dressed as Pee-wee Herman to perform the Germs’ “Lexicon Devil” before stage-diving into the crowd. Between flamboyant showmanship and a strong commitment to the vocals on tough songs like Suicidal Tendencies’ “Institutionalized” (slayed by Trixxie Carr) the LGBTQ community’s spirit was on display throughout the set.

Drummer Nick Aguilar and bassist Nikki Piclle of Frankie and the Witchfingers.

(Dick Slaughter)

Frankie and the Witchfingers leaves the crowd spellbound

Casting a spell on the crowd with their sharp synth-laden aggression and bouncy ‘80s dance punk rhythms, Frankie and the Witch Fingers arrived with a bang in the late afternoon sun. With a guitar hiked up to his clavicle, frontman Dylan Sizemore convulsed with energy that saw the power of every chord electrify his bones during the jam-heavy “Conducting Experiments” while the rhythm section of drummer Nick Aguilar and the neon green-haired bassist Nikki Pickle kept the crowd bouncing and magnetized the attention of eyes all around the fest. The best crowd surfing of the day came thanks to a seasoned, white-haired fest attendee in a bike helmet who was getting tossed around like a white-water rafter. The head gear was definitely a smart idea.

Fred Armisen and Carrie Brownstein of the Return of Jackie and Judy perform on the Field Stage at Mosswood Meltdown.

(Dick Slaughter)

The Return of Jackie and Judy revive the Ramones

It’s one thing to perform a set of cover songs, but it’s another thing to play tunes that ensure the vibe of an entire festival is covered as well. “I hope you like the Ramones ‘cuz that’s all we’re playing,” said Carrie Brownstein of Sleater Kinney. Alongside SK bandmates Corin Tucker, Toko Yasuda and “Portlandia” co-star/“Saturday Night Live” comedian Fred Armisen, the quartet formed Ramones tribute the Return of Jackie and Judy. From the thunderous opening chant of “Blitzkrieg Bop” (“Hey! Ho! Let’s Go!”), the all-age crowd strapped in for a roller-coaster ride of leather-clad punk classics that had everyone shouting along. Brownstein did a good job of meeting the moment with both joy and reverence, at various points talking to the crowd about the enduring spirit of the songs as well as dedicating “Rock-n-Roll Radio” to L7 bassist Jennifer Finch, who died Saturday.

Kathleen Hanna and Tobi Vail of Bikini Kill performing on Sunday at Mosswood Meltdown.

(Dick Slaughter)

Bikini Kill passes the torch

The entire vibe around Sunday was fueled by female empowerment thanks to riot grrrl godmothers Bikini Kill. Throngs of young girls in Day-Glo punk garb and face paint mashed against the barricade to see the roots of revolutionary aggression come crashing through the chords of classics like “Carnival,” “Alien She” and, of course, “Rebel Girl.” But frontwoman Kathleen Hanna was just as stoked to see them having a good time in front of her. “I can’t wait to open for you in 10 years,” Hanna said to inspire all the girl bands yet to form in the crowd. . Giving a shout-out to female-fronted young bands like Bitchfit that played one of the most impressive ground-level sets of the weekend was a warm and fuzzy torch-passing moment that summed up the reason a festival like this is still so vital to the survival of punk culture.

Jennifer Finch, bassist for the influential Los Angeles rock band L7, has died. She was 59.

Finch died of “an aggressive form of brain cancer,” according to a statement from the band.

“We are shattered by the loss of our beloved bandmate, sister and friend Jennifer Finch, whose fierce spirit, humor and boundless creativity helped shape L7 and changed all of our lives forever,” the group said in its statement. “Jennifer was a true original who lived entirely on her own terms, and the impact she made on music, art and everyone lucky enough to know her cannot be measured. We love her beyond words and will carry her with us always. Rest in power our dear friend.”

Finch was receiving ongoing treatment for brain cancer, and just last week backed out of the band’s planned final tour. The group said those dates were “planned along with Jennifer when all four of us were in good health and spirits,” and Finch had asked the band to continue the shows while she sought treatment.

Finch, raised in Los Angeles, was an outspoken and ambitious fixture of ‘90s rock. She briefly performed in a band with Courtney Love pre-Hole and Babes In Toyland’s Kat Bjelland, and once dated Dave Grohl. But she came to prominence in L7, a foundational act in the alt-rock scene of the ‘90s.

Formed in 1985 by guitarists and singers Suzi Gardner and Donita Sparks, drummer Dee Plakas and Finch, they made a fast impact on L.A.’s punk scene, which was growing out of the hyper-masculine hardcore era of the ‘80s. Alongside Hole and Sleater-Kinney, L7 helped usher in the riot grrl wave of confrontational, female-led rock acts onto charts and festival bills.

“Rock ‘n’ roll was invented and became popular because of its rebellious nature,” Finch told the Times in 1993. “But the world has seen every form of rebellion–from throwing TVs out the windows to heroin abuse to just the guy in the leather jacket with greased-back hair–and the rebel image is becoming tired and burnt out. So (the press) is finding new interest in women who (rebel), creating a whole new aspect.”

“The unfortunate thing is that journalists are trying to create a genre out of gender, which trivializes it,” she added. “That’s extremely ignorant, because it bypasses the uniqueness between the groups.”

Bolstered by Finch’s ferocious basslines, hit single “Pretend We’re Dead” received significant airplay on alternative rock stations and became the group’s signature song, along with the biting anti-war anthem “Wargasm.” Finch wrote several songs across the group’s catalog, including the scabrous single “Everglade.” L7 went on hiatus in 2001, but reunited in 2014.

Finch was a talented photographer, whose intimate shots of SoCal bands lent an air of tragic grit to an ascendant punk and rock scene. “The irony is not lost on me when I’m driving from my house just blocks from where I grew up, and I’m heading to the L.A. Weekly to publish pictures of us as kids hanging out and shooting up, 20 years ago,” she told L.A. Weekly in 2006.” It feels weird but strangely hopeful. That was a totally unique time and it defined who we are, so then maybe it’s not a bad thing to be nostalgic about.”

Beyond L7, her song with OtherStarpeople, “Then There’s None,” appeared on the beloved “Office Space” soundtrack, and founded the punk band The Shocker in 2002. She acted in John Waters’ dark comedy “Serial Mom” as a member of the fictional band Camel Lips.

L7’s last album, “Scatter the Rats,” was released in 2019, and its final tour, “The Last Hurrah,” is booked to kick off in San Diego on Oct. 6.

L7 and Finch’s family opened a GoFundMe to support her medical care, saying “We love her, and we want her to feel the full strength of the community that has loved and supported her for so many years.” Information on surviving family was not immediately available.

THIS is the moment Matty Healy performed with a The 1975 tribute band – having booked the act for his stag do.

Brit Award winner Matty, 37, has been lead vocalist of pop rock band The 1975 since 2002.

The singer-songwriter put a unique spin on his stag do – as he joined a The 1975 tribute act on stage.

A clip of the moment begins with tribute group The 9075 singing The Sound, which was released in 2019.

Matty jumps on stage mid-performance and performs alongside the band.

One person commented: “Matty Healy attending a 1975 tribute is very Matty Healy coded.”

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Another added: “I thought the real Matty was the fake Matty until he started counting things on his fingers that don’t need to be counted, that’s when I knew.”

A third wrote: “He wanted to experience a 1975 concert for his stag party and I respect it.”

Matty – the son of Denise Welch and Tim Healy – is set to marry American model and singer Gabbriette.

He and the 28-year-old – whose real name is Gabriella Bechtel – announced their engagement in June 2024.

Gabbriette showed off a huge black ring on social media at the time and wrote: “Marrying the 1975 is very Brat.”

Back in February, The Sun revealed the couple had set a July 2026 wedding date.

Jennifer Finch, the bassist for veteran LA rock act L7, has brain cancer and will not perform with the band on its farewell tour this year.

“Our beloved bandmate, sister and friend Jennifer Finch has been diagnosed with an aggressive form of brain cancer,” the band wrote in a statement on its Instagram on Monday. “Following multiple surgeries and serious complications, Jennifer now requires extensive medical care, rehabilitation and professional in-home support.”

The group said that its final tour, scheduled for fall, “was planned along with Jennifer when all four of us were in good health and spirits.” Finch asked the band to continue with these performances, according to the statement.

“We will honor her request while making her care and well-being our immediate priority,” the band wrote. “We love her, and we want her to feel the full strength of the community that has loved and supported her for so many years.”

L7, a hugely influential act in the alt-rock wave of the ‘90s, was formed in 1985 by guitarists and singers Suzi Gardner and Donita Sparks, drummer Dee Plakas and Finch. Its firey singles “Pretend We’re Dead” and “Wargasm” helped kick off the riot grrl movement of the era, until they went on hiatus in 2001. The band reunited in 2014, and will begin The Last Hurrah tour in San Diego on Oct. 6.

The band also posted a GoFundMe for donations to help with her medical care . “The level of care Jennifer needs has gone beyond what friends and family can safely provide around the clock,” the band wrote. “As we face the difficult reality that Jennifer may have more good days behind her than ahead, we are asking for help to make the time she has with her friends, family, and fans as comfortable, meaningful, and full of love as possible.”

Thinking back on the last two years of his life full of album releases, filming schedules and tour dates, Finn Wolfhard requires squint-inducing concentration to keep it all straight.

“Jesus, a lot has happened,” he says, looking surprised. That’s an understatement.

In that time, the 23-year-old not only finished filming the Netflix hit show “Stranger Things,” which catapulted him to global stardom, and promoted the final season upon its premiere. He also released his feature film directorial debut (“Hell of a Summer,” co-directed with Billy Bryk, which hit theaters in April 2025). Then, he starred in another movie (A24’s creature feature “The Legend of Ochi”), directed a posthumous George Harrison stop-motion music video, wrote, recorded and put out his first solo album (“Happy Birthday”), and embarked on a 22-date tour before recording a new album.

On a video call from his family home in Vancouver, Canada, where he lives with his parents and older brother, he’s chatting about the release of that record, the eclectic, guitar-driven “Fire From the Hip,” which dropped Friday.

“I think it’s a nice day?” he offers when I ask what’s happening in Vancouver. “I don’t know. I’ve been in my basement studio all day, so I don’t … I think it’s nice.”

He’s been down in the basement doing press calls like this, he explains, undoubtedly a familiar routine after so many years in the limelight. He wears a baseball cap and an oversize brown sweater, tugging on the sleeves while he ponders.

Even if Wolfhard is exhausted by the press marathon, he doesn’t show it. He’s excited for the chance to be known on his own terms. He never fails to express gratitude for the projects that afforded him recognition and opportunity, but he’s ready to “take control of the narrative.”

“I spent my whole childhood standing on marks that other people told me to stand on and saying lines that other people told me to say,” he says. “Why wouldn’t I want to make my own stuff?”

Being in control also means being the face of the operation. Before “Happy Birthday” and “Fire From the Hip,” Wolfhard released a total of two records and an EP, plus a whole bunch of singles, with his previous bands, Calpurnia and the Aubreys. Being in a band was a natural fit for Wolfhard, who thrives in an ensemble where he can “hide behind the band name.”

Touring last year was his first time seeing his own name on the marquee.

“It’s just straight up me, and if I suck, I suck,” he laughs. “It’s not like I can be like, ‘Oh, man, we’re having disagreements in the band.’ It’s like, no, that’s you. So there was a little more pressure early on.”

Finn Wolfhard released “Fire From the Hip” on Friday.

(Victoria Stevens)

Stepping into the spotlight required Wolfhard, who admits he shies away from conflict, to own both the pressure and the power of being the one audiences came to hear.

When he got sick and had to cancel a show in Portland, Ore., he remembers feeling crushingly sad “letting down” his fans and bandmates — who, of course, assured him it was outside of his control and urged him not to be so hard on himself.

Wolfhard introduced many of the songs that ended up becoming “Fire From the Hip” to his bandmates while they were still on tour, and he says playing them live “cultivated the spirit” of the eventual recordings. Despite his collaborative ethos, there was a moment during the process where he had to learn how to put his foot down in real time.

“I remember suggesting something and people being like, ‘Ah, I don’t know if I want to do that.’ And I was like, ‘No, you don’t get to do that to me. It’s my record,’” he remembers. “It was very innocent — I don’t think there was much ego on either side. But I think I maybe set up too collaborative of an experience that day.”

“I think I sometimes make it feel like a democracy, which it is in a lot of ways,” he adds. “But also, in the end, it is up to me.”

That thought is echoed in the album’s cover art, an image of two miniature Finn Wolfhards facing off, donning colonial garb and brandishing weapons. It’s meant to represent dueling impulses inside of him, he explains.

Wolfhard, a true-blue music nerd, has been described online as an archetypical example of the “child of a Gen X cool dad,” in the same vein as Olivia Rodrigo. (His dad, a former screenwriter turned lawyer and Indigenous rights researcher, does sound cool, but it was his mom who first introduced him to the Beatles. His parents apparently met over a Stone Roses record.)

That sensibility is evident in his musical influences — “I wanted everything [on drums] to sound like the first two Wilco records,” he says — and in his approach to recording. “Happy Birthday” was recorded almost entirely on four-track cassette tapes, while “Fire From the Hip” uses 24-track reel-to-reel.

The album runs the gamut from its cheeky, surf-rock opener “I’ll Let You Finish” (yes, that is a reference to Kanye West’s infamous speech at the 2009 VMAs) to more ’90s alt-inspired tunes to a surprising dose of straightforward country-folk.

Lyrically, Wolfhard divides his songs into two categories: the “very personal” and the story songs written around books he was reading (“Knockemstiff” by Donald Ray Pollock) or quotes that made him laugh. The personal themes he explores are exactly what you would expect from an early-20s rocker raised in the public eye — namely, relationship expectations and existential fears about the future.

On the nostalgic piano ballad “Good Morning,” he imagines what it might be like to settle down somewhere “with a dog and a wife.”

“I haven’t lived that part of my life yet,” he says now. “So I can really easily get lost in thinking about what that looks like.”

When it comes to sharing his music, especially the more vulnerable tracks, Wolfhard knows his “Stranger Things” fame is the elephant in the room. Anything he sings can and might be used against him in the court of public opinion.

“I could either kind of say nothing and be totally private, because it is scary knowing that everything I say, at least one person will take it a certain way that I wouldn’t want them to. But I just don’t have the control,” he says.

“So if I don’t have the control, then there’s nothing really that I can do, other than try to be as truthful and passionate and well-meaning as I possibly can, you know?”

The double-edged sword of fandom hasn’t stopped Wolfhard or his musically-inclined “Stranger Things” co-stars from pursuing this path. Fellow Hawkins alums Joe Keery (who releases music under the moniker Djo) and Maya Hawke are indie darlings in their own right, and Wolfhard has previously referred to Keery as a mentor. None of them face the unique challenge of relatability in quite the same way, however.

“I’m aware that my specific problems are maybe not as relatable because of how specific of a life I have,” he said. “The only thing I can hope for is that some other person out there listens to it and relates to the same things that I do.”

Sometimes an air of wistfulness accompanies these admissions. When asked about how he feels about Los Angeles, he tells me that it’s complicated: “I think if I wasn’t a young actor, it would be a very different situation.” His favorite parts of the city are its repertory cinemas and lush neighborhoods like Mount Washington, where his godfather resides, because they look the most like Vancouver.

That said, he’s not through with Hollywood. He’ll be back in L.A. for an Oct. 13 show at the Fonda Theatre, and acting and directing are still on the agenda. He would like his next film project — other than the Matt Johnson and Bong Joon Ho projects he’s already committed to, of course — to be something more “personal.”

For now, though, the focus is music. Wolfhard launches a new tour this month, and he’s most looking forward to “doing dumb s—” with his friends.

He tells a quick story to illustrate: When he and the band last toured in Glasgow, Scotland, he was trying to leave the venue without being noticed. (“I have a hard time dealing with fan interaction,” he says.)

“We kind of made it into this joke thing, knowing it wouldn’t work, where me and Rand, my guitarist, were like, ‘let’s switch clothes.’ Rand pretended to be me and I pretended to be Rand,” he says. Miraculously, it worked up until the “very last second” before they stepped on the bus.

“I couldn’t help myself,” he says: He instinctively made eye contact with someone in the crowd. “They did a double take, like, ‘Wait, what?’”

It sounds like a scene straight out of “A Hard Day’s Night” — or maybe inspiration for his next film.

“I’m pretty in my head about things and want them to be a certain way,” he says. “The thing that I have to remind myself all the time is that, like, dude, you’re with your friends, you’re playing music — it’s the best.”

In 1975, 31-year-old Mick Jagger told People magazine that “I’d rather be dead than sing ‘Satisfaction’ at 45.” The Rolling Stones’ frontman is still very much alive, despite having performed that song in concert hundreds of times since then, most recently in 2024 during the band’s “Hackney Diamonds” tour. Jagger was 80 at the time.

“Time waits for no one,” as the Stones once sang, but apparently that doesn’t apply to the “World’s Greatest Rock and Roll Band.” To paraphrase the group’s first Top 10 U.S. hit in 1964, time is on their side. Yes, it is.

Consider the fates of the British Invasion superstars who emerged from England alongside the Stones in the 1960s. The Beatles broke up in 1970. The Kinks dissolved in 1996. The original Animals imploded in 1966. The Who called it quits in 1982 but has reunited repeatedly, including for its recent North American farewell tour.

And then there’s the indestructible, indefatigable Rolling Stones. With the partnership of Jagger and guitarist Keith Richards still front and center, the Stones will release their 27th studio album, “Foreign Tongues,” on Friday. Over the decades, they have produced classics such as “Exile on Main St.” and “Some Girls,” mediocrity like “Steel Wheels,” and abominations such as “Dirty Work.” We rank the group’s six-decade studio output from worst to first. All albums are the U.S. editions.

27. ‘Dirty Work’ (1986)

Never has an album cover so captured a band’s mood. “Dirty Work” features a photo of sullen, unsmiling Rolling Stones looking like they’d rather be anywhere else. The music reflects that disinterest. Apart from the cover of “Harlem Shuffle,” nothing here is memorable. It’s no surprise that the Stones nearly broke up during this period.

26. ‘Undercover’ (1983)

The follow-up to the brilliant “Tattoo You” landed with a thud. Although the song “Undercover of the Night” nicely melds a solid guitar riff with trenchant lyrics about political corruption and violence in South America, the rest of the album wilts.

25. ‘Bridges to Babylon’ (1997)

Another in a series of disappointing releases, “Bridges to Babylon” has one great song, “Saint of Me,” and lots of filler.

24. ‘Steel Wheels’ (1989)

Touted as a return to form, this album certainly outshines “Undercover” and “Dirty Work.” But that’s not saying much. With dated production and too many songs that make a good first impression but fail to stick, “Steel Wheels” has gathered moss over the years.

23. ‘Voodoo Lounge’ (1994)

Like its predecessor “Steel Wheels,” this is another attempt to recapture their classic sound. To an extent, the record succeeds. “You Got Me Rocking” sounds like a throwback to something on “Exile on Main St.,” while the ballad “Out of Tears” echoes “Angie.” With the exception of “Love Is Strong,” however, most of the songs here are little more than pleasant exercises in nostalgia.

22. ‘The Rolling Stones: England’s Newest Hitmakers’ (1964)

A solid debut, “England’s Newest Hitmakers” features covers of songs by Willie Dixon, Chuck Berry and Jimmy Reed, firmly grounding the group in its American blues and R&B influences. The sole Jagger/Richards original here, “Tell Me,” only hints at the duo’s future songwriting prowess.

21. ‘Black and Blue’ (1976)

After guitar virtuoso Mick Taylor’s departure from the Stones in late 1974, the band used “Black and Blue” to audition potential replacements. They settled on Ronnie Wood, a former member of the Faces who, ever since then, has engaged in the ancient art of guitar weaving with Keith Richards. Heavy on grooves and jams, this album sometimes feels unfocused and indulgent. The excellent ballads “Memory Motel” and “Fool to Cry” are essential.

20. ‘12X5’ (1964)

A step forward from their debut, “12X5” has the magnificent covers “Time Is on My Side” and “It’s All Over Now.” For those who like their Stones bluesy, early albums like this offer a cornucopia of treasures.

19. ‘Blue & Lonesome’ (2016)

Recorded in just three days, this album of blues covers sizzles. The Stones sound absolutely committed, with Jagger’s harmonica and vocals particularly strong.

18. ‘The Rolling Stones, Now!’ (1965)

On the band’s third U.S. album, the Stones rock harder and softer. Their version of Willie Dixon’s “Little Red Rooster” is a slow burn. The ballad “Heart of Stone,” one of their best early originals, made the Billboard Top 20.

17. ‘Foreign Tongues’ (2026)

The Stones have rarely sounded looser or more alive. Produced again by the classic-rocker whisperer Andrew Watt (Paul McCartney, Elton John, Pearl Jam), the band delivers a clutch of strong songs. In a just world, the single “In the Stars” would be a hit. “Back in Your Life,” fueled by some of Wood’s most sensitive and impassioned playing, is a stunner. At 14 songs and 62 minutes, the album would have benefited from trimming three or four of the more generic tunes. Still, it’s amazing that Jagger and Richards, both 82, and Wood, 79, have made such a fresh and vital record. Sometimes you can get what you want.

16. ‘A Bigger Bang’ (2005)

For the band’s first album of originals in eight years, the Stones remind you what makes them great. The first of their three late-career triumphs, “A Bigger Bang” brings attitude, funk, dirty rockers and dreamy ballads. The blazing “Rough Justice” and the slinky, sexy “Rain Fall Down” are topflight.

15. ‘Hackney Diamonds’ (2023)

Eighteen years passed between the release of “A Bigger Bang” and this album. It was worth the wait. “Hackney Diamonds” is another strong effort, with the banger “Angry” sounding urgent and, well, genuinely angry. The gospel-tinged “Sweet Sounds of Heaven,” featuring Lady Gaga, finds her and Jagger trading vocals and pushing each other to the stratosphere. It’s the best song the group has made since “Tattoo You’s” “Waiting on A Friend” and “Start Me Up” in 1981. The absence of late drummer Charlie Watts is felt, but Jagger and Richards prove that old geezers can still rock.

14. ‘Out of Our Heads’ (1965)

A very strong outing that includes originals “The Last Time,” “Play With Fire” and “Satisfaction,” one of the best rock songs ever written.

13. ‘It’s Only Rock ‘n Roll’ (1974)

Keith Richards’ deepening heroin problem meant Jagger had to carry more of the load himself. On this album, he acquits himself admirably. The anthemic title track positively swaggers. The poignant “Time Waits for No One” features one of Taylor’s most beautiful solos, a fitting coda to the end of his five-year career with the Stones. A fine album with several good songs and a couple great ones.

12. ‘December’s Children (And Everybody’s)’ (1965)

A hodgepodge of live cuts, outtakes, British LP tracks and singles, this album shows the Stones rapidly gaining confidence and playing with equal parts finesse and fire. Any album with “Get Off of My Cloud” and “As Tears Go By” is worth the price of admission.

11. ‘Their Satanic Majesties Request’ (1967)

Released months after “Sgt. Pepper’s Lonely Hearts Club Band,” this occasionally ill-advised foray into psychedelia pales in comparison to the Beatles’ masterpiece. That doesn’t mean it’s bad. In fact, the Stones never sounded as adventurous or experimental. When it works, as it does on “She’s a Rainbow” and “2000 Light Years From Home,” candy-colored bliss follows.

10. ‘Emotional Rescue’ (1980)

An underrated gem often overshadowed by its predecessor, “Some Girls,” and its successor, “Tattoo You,” “Emotional Rescue” finds the Stones in fine form at the dawn of a new decade. The rhythm section of bassist Bill Wyman and drummer Watts locks in, while Richards and Wood converse with their guitars as only they can. Jagger sounds energized on the rockers “Let Me Go” and “She’s So Cold” and sexy on the incredibly funky “Dance (Pt. 1).”

9. ‘Goats Head Soup’ (1973)

Considered a big letdown after the magisterial “Exile on Main St.,” this album has received a well-deserved critical reappraisal and aged like a fine wine. It’s not the Stones at their peak, but close enough. “Angie” is absolutely gorgeous, while “Star Star” captures the Stones at their most profane.

8. ‘Tattoo You’ (1981)

Needing new material for their 1981 tour, the Stones cobbled together “Tattoo You” from leftovers and half-finished songs dating back to “Goats Head Soup.” Jagger penned new lyrics, recorded new vocals, and presto — the band made its last classic. “Start Me Up,” the band’s best rocker since “Brown Sugar,” propelled the album to multiplatinum sales and shook stadiums around the world. It still does.

7. ‘Aftermath’ (1966)

The first Stones album composed entirely by Jagger and Richards, “Aftermath” represents a quantum leap forward or two. Brian Jones, before drugs and paranoia dimmed his creative spark, made some of his greatest contributions, elevating “Paint It Black” with his sitar and adding the indelible marimba riff to “Under My Thumb.” The Stones had finally lived up to all the hype.

6. ‘Between the Buttons’ (1967)

The American version kicks off with the one-two-three punch of “Let’s Spend the Night Together,” “Yesterday’s Papers” and “Ruby Tuesday” and doesn’t let up. Arguably the band’s poppiest album, it sounds like groovy Swinging London set to music.

5. ‘Some Girls’ (1978)

After the lackluster “Black and Blue” and the mixed critical reception of “It’s Only Rock ‘n Roll” and “Goats Head Soup,” some wondered if the Stones had lost their musical magic. They needn’t have worried. The band, hungry to prove the doubters wrong, made one of its strongest albums. With Wood now fully integrated into the group , punky, guitar-centric rockers like “Respectable,” “When the Whip Comes Down” and “Shattered” snarl. Jagger, entranced by the sounds coming out of New York’s discos at the time, contributed the No. 1 “Miss You.” Add “Beast of Burden” and the countryish “Far Away Eyes” to the mix and you have the ingredients for a stunning comeback.

4. ‘Beggars Banquet’ (1968)

The start of one of the strongest four-album runs in rock history, “Beggars Banquet” is a near-perfect listen from beginning to end. New producer Jimmy Miller helps strip the band down to its rawest, raunchiest essence on songs like “Sympathy for the Devil,” “Stray Cat Blues,” and “Street Fighting Man.” For the first time, the Stones had released an album on par with some of the Beatles’ best work. Indispensable.

3. ‘Sticky Fingers’ (1971)

Unbreakable love (“Wild Horses”); heartbreak (“I’ve Got the Blues”); slavery, interracial sex and heroin (“Brown Sugar”); addiction (“Sister Morphine”) — “Sticky Fingers” has it all, along with some of the most powerful music in the Stones’ catalog. If a Martian came to Earth and wanted to know what made the Stones special, a listen to “Sticky Fingers” would make it abundantly clear.

2. ‘Let It Bleed’ (1969)

By the end of the ’60s, the dream had faded. Vietnam, inner-city riots, and the assassinations of Robert F. Kennedy and Martin Luther King Jr. had cast a pall over the Day-Glo optimism of the Love Generation. The Rolling Stones were there to chronicle the impending hangover. “Gimme Shelter” reflected the growing dread of the times. It’s among the darkest, grittiest and most transcendent songs ever recorded, with Jagger singing about rape and murder over Richards’ shimmering guitar. In the powerhouse “Midnight Rambler,” Jagger takes on the persona of a killer, even name-checking the Boston Strangler. Dark stuff. Yet the superb “You Can’t Always Get What You Want,” replete with a gospel choir, the country stylings of “Let It Bleed” and “Love in Vain,” sung by Jagger with utter conviction, give the album incredible diversity and depth.

1. ‘Exile on Main St.’ (1972)

And then there was one. Recorded largely in the steamy, sweltering basement of Richards’ rented French villa, Nellecôte, “Exile” reeks of filth, decadence and decay. With Jagger’s vocals often buried deep in the muddy and murky mix, the album initially sounds like a druggy demo. But listen again. And again. Slowly, it reveals itself as quintessential Stones, a potent admixture of styles, sounds and soul. Richards tosses off one indelible riff after another, making “Rocks Off,” “Happy,” “Tumbling Dice” and “All Down the Line” rock and roll perfection. You like your Stones with a dash of Americana? “Sweet Virginia” might be the band’s best country rocker. Blues? Try “Ventilator Blues.” Gospel? “Shine a Light,” accented with Billy Preston’s piano and organ, transports listeners to a higher place. Other Stones records contain more classics and better production, but none holds together as well as a whole or comes as close to the sublime as this one.

Marc Ballon, a former Times, Forbes and Inc. Magazine reporter, teaches an advanced writing class at USC. He lives in Fullerton.

Here’s a terrible-seeming idea: The Rolling Stones should get started on their next album.

Like, now.

After taking nearly two decades to release 2023’s “Hackney Diamonds” — the band’s first set of original material since “A Bigger Bang” in 2005 — the Stones are back this week with a follow-up, “Foreign Tongues,” that took them less than 36 months to get out.

And it’s the better record in every way.

In the old days, of course, two and a half years was all they needed to make “Beggars Banquet,” “Let It Bleed” and “Sticky Fingers.” So let’s not get too carried away by the fact Mick Jagger, Keith Richards and Ronnie Wood are working as fast as they are in their late 70s and early 80s.

Yet to listen to the brisk and sportive “Foreign Tongues” is to hear a band clearly going on instinct rather than overthinking the music à la any number of veteran acts in legacy-maintenance mode. I don’t know if the result is the Stones’ best since 1978’s “Some Girls,” but it’s definitely the funniest, which is actually the more impressive achievement.

“Wake up in the morning and you wanna make me puke,” Jagger sneers in the punky “Hit Me in the Head” — exactly the kind of lyric you’d hope to hear from a band whose only possible reason for still being in the game is to have a gas-gas-gas.

Like “Hackney Diamonds” — and, for that matter, like Paul McCartney’s “The Boys of Dungeon Lane” (to name one recent overthinking-veteran LP) — “Foreign Tongues” was produced by 35-year-old Andrew Watt, who’s made a career of helping boomer icons put a little shine on their late-in-life efforts. And he’s helped the Stones convene an appealingly motley crew of collaborators here, including McCartney (who plays bass on “Covered in You”), the Cure’s Robert Smith (who contributes guitar to “Divine Intervention”), Steve Winwood (who plays piano and organ throughout the album) and Bruno Mars (who’s credited with, uh, cowbell in “Never Wanna Lose You”).

You also get a welcome appearance from the late Charlie Watts in a hard-thwacking performance recorded before his death in 2021. (Steve Jordan otherwise keeps time.)

But none of the stunt casting feels like the point of the album, which instead simply doles out a dozen tunes in the Stones’ various idioms — the bluesy stomp, the country-ish lope, the sleazy disco jam — plus a couple of covers in just over an hour. It’s frisky and lighthearted, even when Jagger is lamenting what he sees as the sorry state of his beloved America in “Ringing Hollow” and when Richards is croaking about love having put him on his knees in “Some of Us.”

And when they go goblin mode, they really lean in: “Mr. Charm” is a demented soul-rock rave-up about how boring money is — OK, Mick — in which Jagger drops a diss of the “mad mogul Mr. Musk” into a verse laying out the delights of staying home and doing anagrams.

In “Divine Intervention,” Jagger offers a colorful travelogue of trips through New York and Los Angeles — “I kept moving on to Silver Lake / To play guitar with a brand new friend of mine” — while Richards and Wood get their guitars slip-sliding all over the place. “Jealous Lover” is gorgeously trashy: a horny little strut that sounds like “Dirty Mind”-era Prince doing “Waiting on a Friend.” (Legitimately loony Mick vocal here.)

For God knows what reason, the Stones offer up a faithful rendition of Amy Winehouse’s “You Know I’m No Good” with Jagger on harmonica. And the album ends with a very ragged take on Chuck Berry’s “Beautiful Delilah,” obviously meant to remind you of how the two lifers at the core of the Stones came together more than half a century ago.

The memory is ancient; the thrill, somehow, is alive.

A POPULAR 90s band have cancelled their entire UK tour following the tragic death of one of their band members.

Sixpence None the Richer were due to head out on the road later this year but the concerts have now been pulled following the death of bassist Justin Cary last month.

They confirmed online that they had decided to take some time out to “grieve” following the saddening news and and as such would not continue with their current touring plans.

The band said in a post online: “We are completely heartbroken over the tragic and untimely loss of our bandmate, brother-in-arms, and friend for 30 years, Justin Cary.

“The past three years had been full of international tours, recording new music, and an even further deepening of the joy of making music together.

“We were looking forward to connecting with new and old fans around the world this summer and fall, but for now we need time to be still and grieve.

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“With heavy hearts, we are canceling all remaining tour dates for 2026.”

Heartbroken by the loss, the band added: “Hundreds of pictures. Thousands of memories, 30 years worth. Thank you, Justin.

“There’ll never be another you, sir. No one could pack a suitcase better or make us laugh harder.

“We don’t know what is ahead, we never do, really. But for now, we must grieve our brother.

“Prayers are welcome for us all, especially his beautiful wife, Linda. We love you all so much and will see you again.”

They had been due to perform dates across the UK in late September and beginning of October of this year.

The performer died at the age of 50 after suffering a stroke on the 18th of June.

The Kiss Me musician had been receiving treatment at Albany Medical Center in New York.

He underwent two surgeries following the stroke and was placed in intensive care.

Sixpence None The Richer got its start in 1992.

Justin joined the lineup five years later, the same year the band dropped its self-titled album, home to the breakout single Kiss Me.

The smash-hit song climbed all the way to No. 2 on the Billboard Hot 100.

Kiss Me landed a Grammy nomination for Best Pop Performance by a Duo or Group with Vocals in 2000.

A MAJOR US band has cancelled all of their UK tour dates including a massive headline festival appearance. 

The popular nineties group pulled out of their tour just hours before their first UK show due to “medical issues”, leaving fans devastated. 

The American punk rock band, Alkaline Trio, have revealed to fans the sad news that they are unable to continue on their UK tour. 

Frontman Matt Skiba, Dan Andriano and Tosh Peterson make up the Chicago originated group.

The trio were all set to perform last night in Birmingham but hours before the show was set to start, the band released a statement on social media.

It read: “We are immensely sorry but we must cancel our dates in England, including tonight’s show in Birmingham, due to medical issues Matt has been suffering from that have worsened.

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“He’s gonna be okay but needs to be treated stateside as soon as possible.

“We will be back healthier and stronger!

“Refunds are available at the point of purchase.”

Not only will the band miss their upcoming UK tour dates to return to the States, but they have also been forced to cancel their highly anticipated headline performance at 2000trees Festival. 

Frontman Matt went on to share a video to fans from London Heathrow Airport, expressing his gratitude for “all the love and support”.

He added: “You guys deserve a better show than I can throw right now. I got numbness in my feet, numbness in my hands as you can tell I’m losing my voice so I can’t really talk, walk, play or sing. But I’m okay.”

After the news broke fans rushed to the comments, one user said: “Sorry to hear this and get well soon.

“Have flights and accommodation booked for the Manchester gig on Wednesday as no Dublin date. Dang.”

Another added: “Gutted to hear this guys, was so looking forward to seeing you again in London tomorrow, but know this decision wouldn’t have been taken lightly. Get well soon Matt.”

“Me looking at my tickets for London and 2000trees (crying emoji) Get well soon, Matt! Wishing you a speedy recovery fam,” a third added.

“It is what it is. Just a shame cus I was literally about to leave my hotel when I saw the message,” penned a fourth.

The band, whose name derived from Matt Skiba simply flicking through a dictionary to find a cool word to stick in front of the “Trio”, was founded in 1996 and went on to sell over a million albums.

Matt is well known for serving as the co-lead vocalist and guitarist of Blink-182 from 2015 to 2022.

Alkaline Trio are best known for songs like ‘Stupid Kid’ and ‘Private eye’. 

The band shot to fame when they released their debut single ‘Sundials’, in 1997.

When the gates opened at St. John’s Episcopal Church in San Bernardino on Good Friday, the music coming from inside wasn’t that of angel-faced choristers or pipe organs; it was the collective scream of electric guitars.

As the sky darkened over the white stucco church framed in palm trees and the dry peaks of the San Bernardino Mountains, fringed teenagers made their way inside, shaking their limbs and chattering in excitement. Fluorescent lights shone overhead in a room that, by day, hosted Bible studies and food pantries — that night, it would be the site of Spinkick Dance Hall, a regular underground music series where noses are bound to bleed and limbs to flail along to ear-splitting riffs.

It’s just one of many shows taking place from Pomona to Palm Desert, heralding a Latino-led youth revival where the freewheeling movement of mosh pits meets the raw power of punk rock: Inland Empire hardcore.

Teenagers congregate in front of St. John’s Episcopal Church in San Bernardino before the start of the night’s hardcore shows on April 3, 2026.

(Katerina Portela / Los Angeles Times)

As the fast-paced and anti-establishment genre known as punk went mainstream in the ’80s, a harder and more unhinged variant emerged in the States; bands like Bad Brains, Minor Threat and Black Flag pushed the limits of vocalization and instrumentation into dissonant new sounds that would make up the subgenre known as hardcore punk.

“As a teenager pre-social media, the music scene was the release for teen angst,” said music photojournalist Zach Cordner. “It was a convergence of nationwide bands that would come to play at [the now shuttered Riverside venue] Showcase Theater, and through word of mouth people got inspired to make cassettes and zines.”

Cordner and his friend Ken Crawford grew up in Riverside in the ’80s and ’90s, photographing the initial wave of hardcore punk taking shape in the Inland Empire. They turned these photographs into a sprawling exhibition held at the Riverside Art Museum earlier this year, “60 Miles East.”

“The scene looks a lot different today than it did in the ’90s,” Crawford said. “It’s browner, it’s queer, and that’s a good thing, to see how it’s become way more diverse.”

Inside the church, the frontman of all-Latino hardcore band Barrio Slam emitted rough growls as the crowd broke into a bustling mosh pit. Teenagers did pinwheel kicks, wrapped Mexican flags over their shoulders and filled the air with chants of “F— ICE.”

Lead vocalist Victor Campos’ family moved from Guadalajara, Mexico, to Pomona, where he says he discovered hardcore through friends. Then, at age 14, Campos attended his first rock show.

“That was the first time that I saw hardcore and metal and the heavier side of music for what it was, and the violence and culture of the shows just sucked me in and I’ve been in it ever since,” Campos said. “It felt like freedom.”

Angela, 19, was in the mosh pit during Load Tha Nine’s performance when she was accidentally struck in the nose by another concertgoer on April 3, 2026, in St. John’s Episcopal Church in San Bernardino. Hardcore shows are characterized by intense music and rough dancing where bloody accidents are not an uncommon sight.

(Katerina Portela / Los Angeles Times)

Jose Ruelas and his Barrio Slam bandmates headbang as they perform on April 3, 2026, in St. John’s Episcopal Church in San Bernardino.

(Katerina Portela / Los Angeles Times)

Campos credits local Latino-led bands like Xibalba and Harsh Reality as inspirations to dive into making music and embrace his identity in the genre.

“In the I.E., it’s really the norm. We’re singing in Spanish, we’re proud. But when we tour, we see it’s not like that everywhere,” Campos said. “Some people still consider punk ‘not for us.’ My own family members will say, ‘You’re listening to white people music.’”

The show at St. John’s is just the tip of the Inland Empire’s DIY venue iceberg. Living rooms, restaurant dining rooms, tattoo shops and record stores have transformed into hardcore venues across the region as established locales closed down.

San Bernardino four-piece “beatdown” group Big Ass Truck is one band that found success beyond the I.E. scene. They signed to Nuclear Blast Records, and at the time of our interview, they had just returned from a tour of Europe.

“With the I.E. especially, we lose a venue like every week. If we have a venue, it’s not staying around for long. I’ve personally seen like three or four venues [in the last few years] just call it,” said Big Ass Truck vocalist Abel Abarca. “So we do get scrappy, and I think that’s what sets the I.E. apart from places like L.A. and O.C.”

San Bernardino hardcore band Big Ass Truck performs a surprise concert at Creator Fest on May 2, 2026, at Creator Tattoo in Pomona.

(Katerina Portela / Los Angeles Times)

Izzy Leyva, 17, describes being met with an immediate “sense of welcoming” at her first DIY hardcore show.

“It’s nice finding people my age to talk about life with. You can start conversations so easily,” Leyva said. “Especially after moshing with someone in the crowd. If you’re struggling to make friends in school, you’ll be able to find someone here.”

She enters the mosh pit fearlessly, dodging flailing arms to two-step — a synchronized dance move that requires punching and running in place — unleashing her energy in the punk sanctum.

“I never feel like an outsider here,” Leyva added.

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1. Mauricio Rivera performs with his band Barrio Slam on April 3, 2026, in St. John’s Episcopal Church in San Bernardino. (Katerina Portela / Los Angeles Times) 2. Toni Feliz shows her “IE” tattoo, a nod to her hometown, at Creator Fest on May 2, 2026, at Creator Tattoo in Pomona. (Katerina Portela / Los Angeles Times) 3. Izzy Levya, 17, two-steps during Marked for Death’s performance on April 3, 2026, in St. John’s Episcopal Church in San Bernardino. (Katerina Portela / Los Angeles Times) 4. Fans dance and “two-step” during Barrio Slam’s performance on April 3, 2026, in St. John’s Episcopal Church in San Bernardino. (Katerina Portela / Los Angeles Times) 5. Andres Rodriguez, 18, moshes during Marked for Death’s performance on April 3, 2026, in St. John’s Episcopal Church in San Bernardino. (Katerina Portela / Los Angeles Times)

As 25-year-old Guatemalan American vocalist Jorge Cruz entered the show, he embraced his friends and bandmates. Cruz, who fronts the voracious hardcore band KnuckleSandwich, says he sees TikTok as a major platform for hardcore fans to find one another.

“I saw shows online and was hooked … I used to be so nervous to be in the mosh pit, I’d throw up outside. But when I got in there for the first time, I feel like it changed me into someone who was more comfortable in myself,” Cruz said. “It was like a baptism.”

His music, ranging from songs like “Melting ICE” and corrido-hardcore fusion “El Corrido del Maton,” is inspired by his immigrant household upbringing and interest in Chicano studies.

“Especially with this growing anti-intellectualism going on, and conservatives in our government, writing about Chicano identity and the issues in America feels important,” Cruz said. “There’s no one out there to speak up for us than us.”

A day after attending the show, Garrett Boyer and Kenny Sylvia, longtime friends with nearly matching tattoo sleeves and baseball caps, stood talking in Creator Tattoo Parlor in Pomona.

The pair helps to run Division One, a local booking company that books anywhere from Corona storefront DBZ Books N’ Records to their very own tattoo parlor.

A few weeks prior, Boyer got a call from his sister: His niece was diagnosed with an aggressive childhood cancer called neuroblastoma that had spread through her body, causing his sister to tackle insurance and medical costs. Boyer said he reached out to the hardcore community for help and was “overwhelmed” by the response.

“The community really, really, really came together. A lot of people reached out and really quickly we threw this benefit show that raised thousands of dollars,” Boyer said. “That’s the core of what hardcore music should be and is. It’s community.”

A few months before that, they had united with local bands to throw a benefit show, raising money for immigrant coalition groups after increased ICE raids.

“We thought, ‘How could we not help?’ I’m second generation from El Paso. So many of my neighbors and even my partner’s family were directly affected,” Boyer said. “So many shows are not just about music but they can [impact] people’s lives.”

Brett Rock, bassist of San Bernardino hardcore band Big Ass Truck, performs during Creator Fest on May 2, 2026, at Creator Tattoo in Pomona.

(Katerina Portela / Los Angeles Times)

In Creator’s graffitied back lot area on May 2, bands Load Tha Nine, ’92 and Auditory Anguish opened up a DIY festival called Creator Fest, where 22-year-old Cynthia Garcia came out to “let off steam.”

Garcia, who fronts local band Exutoire, said discovering the local alternative scene “changed everything.”

“In high school, it was very much like nothing was happening. We’re all bored. We’re all depressed. We’re writing, and finally, we get to put the writing to use,” Garcia said. “We meet people that are like-minded and trying to get out of that boredom, and then [the music scene] just exploded.”

At Garcia’s shows, she says she constantly meets concertgoers from L.A., or even from San Diego, who drive hours into the I.E. to be part of its blossoming scene.

At Creator Fest, Abarca commanded the stage, building up the energy of the crowd until hair whipped in frenzies. Abarca says he sees I.E. hardcore continuing to evolve, fusing new genres and making the Inland Empire a place to watch as alternative music booms in the “scrappy” venues of San Bernardino, Corona, Pomona and Riverside.

“Latinos in the Inland Empire have always been hardcore,” Abarca said. “People just know it now because we make them hear us.”

A LITTLE-known band were left totally gobsmacked after a rock legend turned up in the audience at one of their shows.

The Rolling Stones cover band were playing to a small crowd in a bar when the iconic musician revealed himself as a fan, dancing alone in the bar.

The mystery figure was none other than Noughties nu-metal megastar Fred Durst, frontman of Limp Bizkit.

Fellow punters couldn’t believe their eyes and quickly pulled out their phones to capture the surreal moment as the Rollin’ singer rocked out to their set.

Musician Jenny Teator, who was singing on stage shared the clip on TikTok, writing: “This was unexpected. Get it, Fredddd!! We had so much fun at @GRAYSonMAIN.”

The unlikely scene unfolded at Grays on Main, a bustling music venue and dining room in downtown Franklin, Tennessee – the town Fred now calls home.

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Shaggy 2 Dope fails as he tries to dropkick Limp Bizkit’s Fred Durst on stage

The star looked almost unrecognisable with a full white beard, although he still sported the signature baseball cap fans will remember from the band’s heyday.

Other diners appeared oblivious to the famous face in their midst, continuing with their meals unaware they were in the company of rock royalty.

One viewer commented: “The people sitting there eating, completely unbothered that Fred Durst is getting down right beside them, is killllling me!”

Fred and Limp Bizkit were one of the biggest bands of the late Nineties and early Noughties, with hits including Break Stuff, My Way and Rollin’.

Their album Chocolate Starfish and the Hot Dog Flavoured Water debuted at number one on the Billboard 200 and sold over one million copies in its first week.

The singer was also linked to a string of high-profile romances, including rumoured relationships with pop stars Christina Aguilera, Britney Spears and Avril Lavigne. He has been married four times and has two children.

Despite stepping out of the spotlight in recent years, Fred, now 55, continues to record and perform with Limp Bizkit.

Limp Bizkit’s last official UK tour was last year, with the band appearing at the Reading and Leeds festivals.

Besides continuing to tour and perform with the band, Fred has made his mark as a film director with movies like The Education of Charlie Banks and The Longshots.

He also directed the film The Franatic in 2019 which starred John Travolta.

Walter Parazaider, the saxophonist and co-founder of the rock group Chicago, has died. He was 81.

Parazaider died June 17 of complications from Alzheimers disease. In a statement posted to social media on Wednesday, the band said that “Chicago is heartbroken at the sad news of Walter Parazaider’s passing this morning. We extend our deepest condolences to his family, friends and countless Chicago fans who are all grieving his loss today.”

His daughter, Felicia Helen Parazaider, also posted on Facebook that “I love you poppy, my Pal…You coloured our world.”

Born in Maywood, Ill., Parazaider began his music career as a clarinetist, before founding Chicago with childhood friends in the group’s namesake city. The band’s pop hits like “25 or 6 to 4” and “Saturday in the Park” were staples of the ‘70s and remain beloved fixtures of classic rock. His diverse woodwind skills helped give the band its regal sound, adding saxophone riffs to hits like “Just You ‘n’ Me” and a poignant flute solo on “Colour My World.”

While Chicago’s lineup changed often, Parazaider remained with the group until retiring in 2018. In April of 2021, Parazaider wrote in a statement on Chicago’s website that “I was diagnosed with Alzheimers disease. Needless to say, my wife, daughters and myself were shocked and devastated. It has taken awhile to process this news and the fact is, we still are. The good news is we have a wonderful medical facility here and I have a very good doctor. I am working hard and not going to give up.”

Chicago gave credit to Parazaider for conceiving of the band’s distinct instrumentation, and the work ethic that made them stars. “A Rock & Roll band with horns was Walt’s idea,” Chicago’s statement continued. “He put the band together and they rehearsed in the basement of his mother’s home. He is also the one who did the hard work to book shows for the young, unknown band, performing top 40 covers at local bars in and around Chicago.

“We are forever grateful for his contribution,” they continued. “Perhaps his greatest gift was bringing people together. This amazing music may have never been heard had it not been for Walt’s vision.”

Parazaider is survived by wife JacLynn and daughters Laura and Felicia.