band

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What’s a Kaoss Pad?

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

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

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

(Brian Feinzimer / For The Times)

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

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

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

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

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

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

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

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

Does Harrison?

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

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

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

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

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

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

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

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

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

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

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

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

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

(Travis Shinn)

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

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

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

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

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

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

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

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

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

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

(Travis Shinn)

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

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

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

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

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

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

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

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

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

PROUD DAD

Watch moment nepo-baby, 15, joins rockstar dad on stage to perform Oasis cover

ROCK ‘N’ GOAL

Inside Oasis star and Man City fan Noel Gallagher’s love affair with football

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

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

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

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

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

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

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

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

The four performances there will begin on September 11.

Turn on a radio between 1978 and 1987 and you were sure to hear Journey — any of the more than two dozen sumptuous yet muscular rock hits that shaped young America’s ideas about love, inspiration and wanting it the way you need it. Four decades later, the band’s music is still everywhere, including television, social media and streaming platforms like Spotify, where Journey has more monthly listeners than Bruce Springsteen, U2 or Bob Dylan. Yet Saturday night the group will bring what it’s calling its farewell tour to Crypto.com Arena — a capstone (at least if the band is to be believed) to a long career full of twists and turns.

Indeed, domination was hardly a given when guitarist Neal Schon and keyboardist Gregg Rolie — both of whom had played with Carlos Santana — formed Journey as a kind of jazzy proto-jam band in San Francisco in 1973. But with the addition a few years later of singer Steve Perry, the group found its gloriously dramatic sound and began racking up hits one after the next (though critics were rarely kind). Perry eventually quit, which took the wind out of Journey’s sails until Schon discovered an uncanny soundalike from the Philippines, Arnel Pineda, on YouTube; he’s helped the band get back into arenas and the occasional stadium even as Schon and keyboardist Jonathan Cain, who replaced Rolie in 1980, have battled each other in court over financial matters.

Got all that? To try to make sense of Journey’s path, I’ve ranked all 25 of the band’s hits that have charted on Billboard’s Hot 100, starting with the worst and ending with the best. Hold onto that feeling — it goes on and on and on and on.

25. ‘Walks Like a Lady’ (peaked at No. 32 in July 1980)

Some are born to sing the blues, as Perry once observed — just not Perry himself, who chews his way through this corny come-on like an overserved uncle at the Hard Rock Cafe. Nice showcase for Rolie’s organ work, though, on one of the last Journey singles he played on before leaving the band.

24. ‘Just the Same Way’ (peaked at No. 58 in May 1979)

Rolie and Perry tag-teaming lead vocals is not a form of democracy I’d vote for.

23. ‘After the Fall’ (peaked at No. 23 in August 1983)

Safe? Sterile? Soulless? Look, the haters can’t always be wrong.

22. ‘Too Late’ (peaked at No. 70 in January 1980)

“Before your time has run astray / You’ve got to try to get away.”

21. ‘Anytime’ (peaked at No. 83 in July 1978)

After overseeing Queen’s first few albums, producer Roy Thomas Baker turned his attention to Journey (and to the Cars); this midtempo number from the “Infinity” LP offers a credible approximation of Queen’s trademark stacked vocal harmonies.

20. ‘The Party’s Over (Hopelessly in Love)’ (peaked at No. 34 in April 1981)

Three platinum plaques in less than two years — for “Infinity,” “Evolution” and “Departure” — meant that Journey had no choice but to drop a live record, “Captured,” at the top of 1981. (It went platinum by Christmas.) As extra consumer bait, the double album closed with this new studio cut built around a killer Schon lick (and not much else).

19. ‘Good Morning Girl’/‘Stay Awhile’ (peaked at No. 55 in September 1980)

Phantom of the roller rink.

18. ‘Why Can’t This Night Go On Forever’ (peaked at No. 60 in May 1987)

Propelled by the success of his debut solo album — not to mention his appearance on the smash all-star “We Are the World” — Perry assumed greater control of Journey’s sound for 1986’s synthed-up “Raised on Radio,” which spawned no fewer than five singles, ending with this slightly lugubrious ballad. Yet the takeover came with a cost: By the end of 1987, the band had entered a hiatus that would last nearly a decade.

17. ‘Still They Ride’ (peaked at No. 19 in July 1982)

Listen to how nimbly Perry maneuvers some very tricky intervals.

16. ‘When You Love a Woman’ (peaked at No. 12 in December 1996)

Journey reunited for 1996’s “Trial by Fire,” which brought the band its only Grammy nomination (and which might feature the ghastliest album cover in music history). If the members knew that rock had changed dramatically while they were away, they didn’t show it in the LP’s romantic lead single: “When You Love a Woman” — a chart-topper for three weeks on Billboard’s adult contemporary tally — clearly sought to pick up where “Open Arms” and “Faithfully” had left off.

15. ‘Girl Can’t Help It’ (peaked at No. 17 in November 1986)

Wonder what Perry and Huey Lewis talked about between takes on “We Are the World.”

14. ‘Be Good to Yourself’ (peaked at No. 9 in May 1986)

“Karate Kid”-core.

13. ‘Only the Young’ (peaked at No. 9 in March 1985)

More “Karate Kid”-core, in this case released first as a song by Patty Smyth’s band Scandal; Journey’s version later wound up alongside Madonna’s “Crazy for You” on the soundtrack to “Vision Quest.”

12. ‘Wheel in the Sky’ (peaked at No. 57 in May 1978)

Before Perry came aboard in 1977, Journey spent a few months with Robert Fleischman as lead singer — long enough for Fleischman to co-write the group’s first Hot 100 entry, not so long that he got to sing it on the record.

11. ‘Any Way You Want It’ (peaked at No. 23 in April 1980)

Ooh, baby, hold tight.

10. ‘Suzanne’ (peaked at No. 17 in August 1986)

Easily Perry’s most unhinged vocal performance.

9. ‘Send Her My Love’ (peaked at No. 23 in November 1983)

A luscious and melancholy white-soul song that I’d bet Phil Collins admired back in the day — and that Justin Bieber would probably flip for now.

8. ‘Lovin’, Touchin’, Squeezin’’ (peaked at No. 16 in October 1979)

Inducting Journey into the Rock & Roll Hall of Fame in 2017, Train’s Pat Monahan belted the na-na-na outro of the band’s first Top 40 hit as he made his case for the group’s excellence. “They didn’t even need lyrics — that’s how badass this band is,” he pointed out. Still, let’s not gloss over the appealing perversity of starting a song this horny the way Perry does: “You make me weep and want to die.”

7. ‘Lights’ (peaked at No. 68 in September 1978)

Dodgers fans can delight in the fact that Perry originally wrote this paean to San Francisco — an anthem taken up at one time or another by every Bay Area pro sports team, including the Giants — about the lights going down and the sun shining on … Los Angeles. (Swap out “the bay” for “L.A.”) Maybe that’s why “Lights” has always felt to me like a precursor to the Red Hot Chili Peppers’ “Under the Bridge.”

6. ‘Separate Ways (Worlds Apart)’ (peaked at No. 8 in March 1983)

[Listens to “Eye of the Tiger” once.]

5. ‘I’ll Be Alright Without You’ (peaked at No. 14 in February 1987)

Shout out to future “American Idol” judge Randy Jackson, who joined Journey for “Raised on Radio” and proceeded to lay down the slinkiest, sultriest, funkiest bass line the band had ever known.

4. ‘Don’t Stop Believin’’ (peaked at No. 9 in December 1981)

Believin’ in what, exactly? The genius of Journey’s most-streamed track on Spotify (with more than 2.9 billion plays) is its use of concrete images to advance a pretty mysterious narrative. We’ve all stood under a streetlight; we all know the smell of wine and cheap perfume. Yet everybody’s midnight train is going to a different anywhere.

3. ‘Open Arms’ (peaked at No. 2 in February 1982)

Famously — and fortuitously — rejected by a former bandmate of Cain’s as “sentimental rubbish,” “Open Arms” was perhaps just waiting to be embraced by Perry, who sings it with the wounded gusto of a man well acquainted with regret. In a poetic twist, Journey’s highest-charting hit was blocked from No. 1 by the J. Geils Band’s “Centerfold,” in which the heartbroken narrator goes laughing all the way to his bed.

2. ‘Who’s Crying Now’ (peaked at No. 4 in October 1981)

The first of three Top 10 singles from 1981’s 10-times-platinum “Escape,” this immaculate R&B jam imagines an alternate dimension where Perry and Cain hear Earth, Wind & Fire’s “After the Love Has Gone” and decide to form a new group with David Foster. Except Perry remembers the song as a high point for Schon: “You know the guitar outro from ‘Who’s Crying Now’?” he asked a New York Times reporter in 2003. “I fought for that because I knew no DJ would cut that song off with Neal’s guitar wailing at the end of it. It was too brilliant.”

1. ‘Faithfully’ (peaked at No. 12 in June 1983)

It wasn’t the first rock ballad about life on the road — and it definitely wasn’t the last — but “Faithfully” might be the most emotionally generous: “Loving a music man ain’t always what it’s supposed to be,” Perry tells his lady, grounding the song in the experience of those who leave and those left behind; later, he envisions their reunion with such tenderness — “I’ll get the joy of rediscovering you” — that you know he’s already decided to take off again.

MIS-TEEQ sent fans wild at their reunion gig on Saturday night, as original member Zena McNally joined the girl group on stage to perform their debut single.

The highly-anticipated show saw Alesha Dixon, Sabrina Washington and Su-Elise Nash regroup for a comeback performance at London’s OVO Wembley Arena.

And fans were treated to an extra hit of noughties nostalgia as OG member Zena took to the stage as a special surprise guest.

Zena was only part of Mis-Teeq for the band’s first year, just appearing on their debut single, Why?

She left in 2001 and attempted to launch a solo career, only releasing two songs, before becoming a DJ for Radio 1 Xtra and eventually moving to the US with her then beau, US soccer [football] player, Cory Gibbs, who she married in 2008 but split from in 2014.

Since her divorce, her work has included being an entertainment manager in LA, as well as working as the director of a property investment company.

NO MIS-TEEQ WE’RE READY

Mis-Teeq ‘to put on performance of a lifetime’ at huge one-off show

comin’ back strong

Mis-Teeq in talks to reunite ahead of band’s 25th anniversary

But as the group welcomed her to the stage at Wembley on Saturday night, their excitement to be back together as a four-piece was palpable.

Zena looked stunning in a black leather ensemble and hugged the other three ladies as she arrived on stage, with Alesha seen jumping up and down at the reunion in The Sun’s exclusive video.

“How beautiful is Zena?” she exclaimed, before telling the crowd: “You didn’t see that one coming did you?”

Alesha went on the explain that they didn’t want to perform the song that launched them unless Zena sang it with them.

She said: “We could not sing this song without our girl, who, as the day one’s know, is in the video.

“Her vocals are still on the record – she had a sweet voice!”

Alesha turned to Zena and said: “The fans are always talking about you!

“I don’t think they think we like each other – we love each other!”

Zena affirmed that there was no bad blood between the girls, saying: “It’s all love!”

She added: “I want to thank you for having me here tonight – such a special moment.

“I’m hoping you’ll have fun with this – let’s do it!”

The ladies then sat in a line on four stools and delivered their track Why? for the adoring crowd.

The reasons behind Zena’s abrupt 2001 departure have been widely speculated, and the former Mis-Teeq queen has kept relatively tight-lipped.

The only occasion she seemed to shed any light on the split was in an 2010s blog post by writer and speaker Anika Allen where Zena spoke of her initial joy of being in a group before things soured.

She said: “Everything was fine in the beginning and it fun. But as time went on, I began to notice an imbalance in the group as the other members [Sabrina and Alesha] had been their first.”

Sabrina continued: “I felt they were focused on a bit more by the production team, who were suppressing my ideas. I write a lot also. We’re a team, but there was no compromising. I became unhappy.”

The 2026 reunion show has been nine months in the making, since the group announced their comeback at the start of 2026, with The Sun revealing this week that it would be an extraordinary gig for the fans.

Celebrating the 25th anniversary of their debut album Lickin’ On Both Sides, the Scandalous singers locked themselves inside Soundstage Studios in North London in the days leading up to the gig.

“This concert means everything to Alesha, Su-Elise and Sabrina and they have been working so hard to put on the performance of a lifetime,” an insider explained.

The trio performed live together in May, delivering a medley of their hits at the final of Britain’s Got Talent, and sang again as the surprise guests during Capital’s Summertime Ball, thrilling the 80,000-strong crowd.

The insider continued: “When they reunited at BGT and Summertime Ball, they loved being back performing together but they have taken it up a notch for their Wembley concert.

“This past week they’ve been pushing themselves in rehearsals to make sure their moves are flawless.”

The noughties group had seven consecutive top-10 singles and two top-ten albums across US, Europe, Asia and Australia, including their double platinum second album Eye Candy which was released in March 2003.

In spite of this success, the group would disband 2005 while recording their never-released third album, with all three members turning their focus on their respective solo careers.

AN AMERICAN heavy metal group has confirmed they are locked in a legal battle with the estate of their late bandmate.

The Blood and Thunder hitmakers have been forced to release a statement to their Instagram page addressing the previously-unearthed feud and how they will proceed.

Oblivion singers Mastodon, a Grammy-nominated band formed in Atlanta, told how what they deem a “meritless lawsuit” is centred on their late Brent Hinds.

The band’s guitarist Brent quit the group in March 2025 after 25 years together, prior to his death in a motorcycle crash in the August.

The group’s founding member passed aged 51, after his Harley-Davidson collided with a BMW SUV.

Prior to his death it appeared there were frictions between the musician and the band, and this only seems to have developed a year since the tragedy.

BUS TRAGEDY

Iconic Brit band cancel gig after worker crushed to death under their tour bus

ROCK OUT

Reading Festival-goers ‘work out’ secret set for Sunday & it’s a HUGE rock band

Mastodon have now told of the fresh legal woe and uploaded a statement which read: “Sadly, a private business dispute with the estate of our dear departed friend Brent Hinds was made public.

“We strongly deny allegations of ill intent on our part and intend to vigorously defend what we believe is a meritless lawsuit.

“We don’t intend to speak publicly on this going forward, as we feel this wouldn’t honour Brent’s memory or the legacy of his musical gifts”.

Fans were quick to respond to support the group, who now are formed of Troy Sanders, Bill Kelliher, Brann Dailor, Nick Johnston and João Nogueira.

One wrote: “Nobody’s business but yours. The fans are here for the music my guys. Congrats on the excellent new album”.

A second put: “We love Brent, we love Mastodon”.

A third posted: “This is really disheartening. Hoping things can be resolved”.

Last year, Brent told Billboard that his departure from the group was not mutual.

He then said the remaining members “kicked me out”.

This came after the band said they had “mutually decided to part ways”.

The new lawsuit has seen a civil complaint filed by the Hind estate, against the band’s members, on behalf of the late musician on September 3 according to loudwire.com.

As per The Atlanta Journal-Constitution, the lawsuit claims Mastodon failed to pay Brent for his share of the business after his exit.

It claims although the wheels were in motion for the group to buy him out of his share in “band related business” he had not in fact signed the paperwork prior to his passing.

As such, it claims his stake remains valid.

Representatives for his estate also suggest Brent’s image was also used to present the band’s Marrow Deep album, in the same legal challenge.

The lawsuit claimed: “Defendants selected and placed a recognizable image of Brent on the album cover of Marrow Deep and disseminated that cover to advertise, market, distribute and sell physical albums, digital downloads and streams, merchandise and related goods or services”.

U2 will be honored as the 2027 MusiCares Persons of the Year, the Recording Academy announced Thursday, half a century after the four members of the Irish rock band met as high school students in Dublin in 1976.

The award, which recognizes an act’s philanthropy and cultural impact and comes with an all-star tribute concert typically held two nights before the annual Grammy Awards, will be presented to the group’s Bono, the Edge, Adam Clayton and Larry Mullen Jr. at the Peacock Theater in downtown Los Angeles on Feb. 5.

In a statement, MusiCares Executive Director Theresa Wolters hailed the band’s work on issues “spanning global health, disaster response, addiction recovery, mental health and access to music education” and said that what “resonates so strongly” with the Recording Academy’s charitable arm is the members’ “belief that success in music comes with an opportunity to care for the people around you.”

Added Harvey Mason Jr., the academy’s CEO: “Not only has their music defined generations, but they’ve been equally exemplary in their dedication to humanitarian work and using their platform for good.”

The statement quoted the members of U2 as saying they’re “huge fans of MusiCares and the lifelines they provide across the incredible pool of talent that is the music industry. We’ve been recording and touring for 50 years because of that pool, from producers and engineers to carpenters and riggers.” The band said they are “very excited to be in the front row of our first ever U2 gig,” adding, “We know we’re gonna be outplayed.”

In late January, Mariah Carey received the MusiCares award at a gala that featured performances by Foo Fighters, Jennifer Hudson, Teddy Swims, Busta Rhymes, Laufey, Jon Batiste and Charlie Puth. Previous honorees include Joni Mitchell, Dolly Parton, Lionel Richie, Bob Dylan and Barbra Streisand; Bono was previously named Person of the Year on his own in 2003.

U2’s recognition comes in the wake of a much-discussed residency at Sphere in Las Vegas, where the band looked back at its 1991 album “Achtung Baby” in a high-tech multimedia presentation. In July, the group released “Street of Dreams,” the lead single from a studio album due out later this year.

SPICE GIRLS, Girls Aloud and Little Mix are just some of the huge girl groups who have ruled the charts over the years.

Now the next generation is ready to get in on the action.

Step forward Manifest — Turkey’s picture-perfect group, who are taking the world by storm.

Despite being yet to release a single English-language track, the girls already have 7.3million monthly listeners on Spotify alone.

The group is made up of six amazing women: Sueda Uluca, Hilal Yelekci, Lidya Pinar, Mina Solak, Esin Bahat and Zeynep Sude Oktay.

And they have the backing of Dua Lipa, who personally invited them to perform as part of her Sunny Hill music festival in Kosovo earlier this summer, and has tipped them for greatness.

DUA LEAPER

Dua Lipa jumps for joy as she marks 31st birthday in Ibiza on 8th trip of year

TAUT & TANNED

Dua Lipa shows off bronzed body in a bikini as she sunbathes on girls’ trip

They said: “Dua was amazing. We really love her, and meeting with her was like a dream come true. We saw meeting Dua and playing her festival as a step to becoming global stars.

“She gave us some great advice and was keen for us to just remember to enjoy the show.

“She encouraged us to enjoy our time on stage and not worry too much. If we have fun, the fans have fun.”

Each member has their own distinct personality and style, and since being put together on a TV talent contest in Turkey last year, their popularity has skyrocketed.

Keen to take on the world, the girls invited Bizarre’s Jack to Izmir, on Turkey’s Aegean coast, to see them in action at their three-day festival, Manifestival.

He was blown away — not only by the vocals and the sharp choreography but by just how lovely the girls were backstage.

In their first UK interview, the group explained: “We have been manifesting ourselves to be a successful band for years. We have always believed we can do it and make it global.

“We believe people can manifest anything, so when it came to picking a name for us, as soon as someone mentioned Manifest, it stuck.

“We loved it. We didn’t want a name that was too cheesy.”

The group are putting in some serious hours to make themselves stars.

They explained: “We don’t have days off, we have hours. We are so busy, but that’s good. We are constantly in rehearsals.

“It only takes us one day to learn a dance but then we practise it over and over again.

“We want the show to be perfect. Sometimes we will practise a single routine for five days until it’s ready.”

Next month, Manifest will jet to the UK for their first ever headline show on British soil and, boy, are they starting big.

Leapfrogging smaller venues due to demand, they will headline London’s Wembley Arena on October 16.

As well as the gig, the girls are set to take part in a number of promo activities across the capital to show there’s a new band in town.

Admitting they still battle with nerves even though they have “made it” in their home country, the group said: “When we first started to perform, we were really nervous — it almost felt like you were having a heart attack from the nerves.

“But now it’s just excitement. Every time we perform, it’s still so exciting for us. It’s what we love to do.

“We have rituals to calm us down, and we pray to God before we take to the stage.”

In another sign Manifest are attracting all the right attention, they have also landed themselves a Netflix series which will show them on the road and take each member back to their home town.

Setting their sights as high as possible, the girls now hope they can emulate their Girl Power idols.

They added: “We would love to be as big as the Spice Girls; they are our inspiration.

“We have just recorded our first English song, which should be out soon, and we are coming to London.”

Take it from us, there are big things to come from Manifest.

Sam’s on £400m sales

SAM SMITH looked pleased as punch receiving this plaque celebrating the sale of 400million singles worldwide.

The Lay Me Down singer, whose latest album Hazel Eyes came out last month, beamed backstage at the London Coliseum.

Sam played the first show of an eight-night To Be Free residency there on Tuesday, and I’m sure this boost was most welcome before taking to the stage.

An ABBA Fab tribute

IN what I can only describe as the maddest musical mash-up I’ve heard of in a long time, Una Healy, Samantha Mumba, Duncan James and Antony Costa are teaming up for an ABBA extravaganza.

All Stars: The Music Of Abba is a new stage show ­celebrating the Swedish group’s biggest hits.

Across a 21-date tour, The Saturdays star Una, Samantha and the Blue bandmates will form a pop supergroup paying homage to the works of the chart legends, backed by a live band.

Further dates are expected down the line, but they will kick off in Croydon on February 26, before ­taking in shows in cities nationwide including Aberdeen and Edinburgh, Cardiff, Birmingham, Southend, Nottingham and Hull.

Tickets go on pre-sale from 10am today online at allstarsonstage.com.

SHAKIRA’S World Cup anthem Dai Dai with Burna Boy has surpassed one billion views on YouTube and made her the most-viewed female artist on the platform.

The achievement comes ahead of the launch next week of her sold-out 12-night residency at a purpose-built stadium in Madrid.

THE WEEKND has wrapped his 42-date After Hours Til Dawn 2026 tour, grossing £255million after performing in front of more than two million fans.

The gigs gave a massive boost to local economies and raised more than £1.6million in charitable donations for both the United Nations World Food Programme and the Global Citizen project.

Strike a pose Julia

JULIA GARNER is the spitting image of a young Madonna as she vows that the superstar’s biopic will be made.

The Ozark actress sported cropped blonde hair and a feathery gown in the October issue of Elle magazine after being cast in the film, which was canned amid budget rows.

Julia insisted: “I think the movie has to get made. But we’ll see . . .”

She and Vogue singer Madge filmed for Apple TV show The Studio together earlier this year. Their spoof storyline is inspired by the Queen of Pop’s axed film.

Julia said: “She’s one of the funniest people I’ve ever met. Like actually. And people don’t know that.”

Peter’s spaced out in new film role

WHATEVER you think about Peter Andre, it’s safe to say he likes to keep his career varied.

Last year he played a gangster trying to secure his nan’s £35,000 care home fee in comedy film Jafaican.

Now, I’m told the Mysterious Girl singer is about to start work on his next ­production.

Insiders tell me his latest foray into the movie world will be Love In Space, which has a similarly hilarious plot.

It will tell the story of a young man who falls in love with a charming female ­scientist after being abducted by UFOs.

A source said: “Pete just loves acting and if the project feels right and he likes the script, he goes for it.

“This film is really futuristic and Pete will be filming at the end of this month in a ready-made spaceship.”

Popcorn at the ready . . . 

A Biggie break for Swayvo

ANOTHER nepo baby has bagged a major role in Hollywood.

The son of neo-soul pioneers D’Angelo and Angie Stone has been cast as Biggie in the upcoming Snoop Dogg biopic.

Swayvo Twain, whose real name is Michael D’Angelo Archer II, will star in the Universal Pictures movie called Snoop, which is being produced by the rapper himself.

Biggie, also known as Notorious B.I.G., was one of the biggest names in hip-hop in the Nineties and had a mutual appreciation with Snoop, despite the fact they were on either side of the East Coast-West Coast rap rivalry.

Jonathan Daviss will play the main man himself in the flick, which is due to hit cinemas next August.

Nirvana go for a gong

NIRVANA will be honoured with the prestigious Video Vanguard Award at the MTV VMAs on September 27.

The gong is akin to a lifetime achievement award and has been won by Mariah Carey and Rihanna in recent years, with Nirvana being the first band to do so since Duran Duran in 2003.

They only released three albums before frontman Kurt Cobain died, but surviving members Dave Grohl, Krist Novoselic and Pat Smear are being tipped to attend, 34 years after winning the Best New Artist and Best Alternative Video prizes for Smells Like Teen Spirit.

The 2026 ceremony will take place at the Peacock Theater in Los Angeles, with Madonna leading the nominations with 11.

In reach for Adela

WITH just one day of sales left, the battle for No1 is almost over but breakout star Adela is fighting for the top spot.

And it’s not just chart success she is hoping for but world domination, following the release of her brilliant debut album Prima on Friday.

More than a million videos have been made on TikTok using the audio for her single Ain’t In LA.

Now that single is set to enter the Top 20 tomorrow, plus A-lister Nicole Kidman has praised Adela after the Slovak singer named her next track after the actress.

Meanwhile, Adela has revealed her drive to become a pop star in the first place.

Speaking about her favourite Disney Channel show as a youngster, she told Bizarre’s Howell: “Hannah Montana’s where I first saw like, ‘Oh, you can sing and dance for a living and you can be a pop star. This is what that is like’.

“That’s literally where this all first began. For me, it was seeing that show and becoming obsessed with it.”

Of the show’s star Miley Cyrus, she added: “She’s like a mythical creature to me. I don’t think I can actually meet her.”

If Prima manages to clinch the No1 spot from competitors Kasabian, who she is just 332 copies behind, she will be the first solo female to go straight to No1 with her debut album since Olivia Rodrigo’s Sour in 2021.

And judging by Adela’s drive, talent and creativeness on this record, the world is her oyster.

A NEW teaser video from Oasis ‘confirms’ an upcoming tour location – with a subtle nod to a moment that happened around the group’s original split.

The legendary rock band – led by brothers Liam Gallagher and Noel Gallagher – reformed in 2024 after breaking up in 2009.

It saw the pair overcome their 15-year feud as they embarked on a reunion tour in summer 2025.

The band have now posted a cryptic clip online, with fans certain they sussed out an upcoming tour location.

Fans were convinced the clip hinted at a France tour date – with references to “Rock en Seine” and “Au Marché” visible.

One person commented: “A French date for next year’s tour I see! Possibly for the 7th of July?? Interesting…”

BACK IN ANGER

Oasis shock as secret recordings to be released by ex employee for huge sum

FERRY NICE

Oasis tease another huge gig with cryptic post that throws back to chaotic tour

Another added: “Hey Oasis, you owe me a gig in Paris!!! I was there that night in 2009. F*****g night. So VIVE LA FRANCE!!”

In addition to this, the video also includes a reference to an infamous moment in Oasis history.

A viewer remarked: “Please tell me that was a plum he threw. Genius.”

While a second person said: “OMG ITS LIAM THROWING A PLUM AT NOEL !!!!!”

In the clip, a man wearing a leather jacket took out a plum from a paper bag and began eating it.

Soon after this, he lobbed the plum away somewhere off camera, into the distance.

It references Noel previously telling how – during a heated 2009 argument at the Rock en Seine Festival in Paris the time of his Oasis departure – Liam threw a plum at him.

In 2011, he said at a press conference for solo album Noel Gallagher’s High Flying Birds: “He storms out of the dressing room and on the way out, he picked up a plum and threw it across the dressing room and it smashes against the wall.”

Noel added: “Part of me wishes it did end like that – “plum throws plum.”

NICOLA Roberts has shared a sweet throwback snap online to honour the fifth anniversary of Girls Aloud bandmate Sarah Harding passing away.

The singer, 39, died in 2021 following a 13-month battle with advanced breast cancer.

The photo shows all five members of Girls Aloud from many years ago holding one another by the arm.

In utter disbelief about how half a decade has ticked by since Sarah passed, Nicola penned a touching tribute in the post’s caption.

She began: “It’s hard to believe it’s been five years already since Sarah’s passing.

‘MY HERO’

I miss Sarah Harding every day & wish I’d made her a mum, says last love Chad

STAR’s LEGACY

Women aged 30 to get breast cancer checks in trial led by Sarah Harding’s doc

“So much has happened that she should have been a part of. My heart is particularly with Marie [Sarah’s mum] today.

“Sitting with myself, hormones and sleep deprivation are probably not helping but as I type I’m feeling very sad and transported to this day 5 years ago.

“Such a milestone would have most likely had this impact anyway. Most definitely for all her friends and family.”

Nicola then took a moment to gush about her friend, sharing how proud she still is of her.

She continued: “I’m also feeling proud that Sarah left such a legacy with her charity and that everyone that vowed to help her on that quest is still powering through for that silver lining she was so passionate about.

“She’s saving lives. Wish to everything she didn’t have to lose her own xx”

The Sarah Harding Breast Cancer Appeal was founded in Sarah’s honour to fund research for women experiencing cancer in their 30s.

Thanks to the charity, women aged 30 can access breast cancer checks through a trial on the NHS.

It has gone on to raise over £1million to date from various events including performances by her bandmates Cheryl Tweedy, Kimberley Walsh, Nadine Coyle, and Nicola, as well as donations.

Daisy Chain Fields arrived on a sweltering summer Saturday, plopped in the middle of Irvine’s suede hills, inside Orange County lines. The festival, hosted by Olivia Rodrigo at the Great Park, was a spiritual successor to Sarah McLachlan’s Lilith Fair of the late ‘90s, born out of frustration with promoters and radio stations that refused to play two female artists in a row.

Like McLachlan’s event, Daisy Chain Fields boasted an all-female lineup, featuring some of the most coveted names in the contemporary music scene. The festival also gave a nod to some of the industry’s women pioneers, such as Bikini Kill and Garbage.

Anticipation for the festival was high after Rodrigo unveiled it in late June, with tickets selling out just 30 minutes after release. This translated directly onto the grounds, which were swarmed by 45,000 attendees, comprising teenage girls, moms, dads and everyone in between.

The event raised $10 million to benefit 10 girl- and women-focused nonprofit organizations, all of which made an appearance on stage before each artist’s set. Each musician on the lineup performed for free.

Festivalgoers walk past the Great Park Balloon.

1

2

1. Festival goers pose for pictures in front of a daisy backdrop. 2. Nara Brown from Costa Mesa ties together a flower headpiece.

As the sun went down and Rodrigo took the stage, she announced that proceeds had been 100% matched by billionaire and philanthropist Melinda French Gates, bringing total donations to $20 million.

The Times was on site to witness the festival in all its glory, amid astounding 94 degree heat and an unwavering, tangible electricity among fans. Here is our recap of the best moments from the festival. —Julius Miller

Livies get loud on the Metrolink
The 2 p.m. Metrolink train from Union Station in L.A. to Orange County was absolutely mobbed with Livies (a.k.a. Olivia Rodrigo fans) on Saturday. For such a car-brained region, it was sweet to see public transit packed with young fans in festival regalia, making the grind to Irvine more sane and green. Let’s have this vibe for every major SoCal festival (including the car-free Ocean Way next month). Yet, for new train fans, a gentle reminder: one spirited round of singing “Get Him Back!” as you’re climbing onboard? Endearing, a delight for all. Keeping it up for an hour, next to civilian commuters who looked ready to climb onto the tracks themselves by Buena Park? Maybe save that for the pit. —August Brown

Festivalgoers sing as Olivia Rodrigo performs during Daisy Chain Fields.

Devon Again performs during Daisy Chain Fields.

Devon Again felt so lucky that she gets to know you

25-year-old alt-pop princess Devon Again was a last-minute addition to the Daisy Chain Fields bill, replacing global girl group Katseye, who pulled out of the festival on Thursday due to a member’s ankle injury. Luckily, Devon Again, a personal friend of Rodrigo who will open for her tour starting in November, was there to answer Rodrigo’s call with a resounding “Duh, b—! Obviously I want to do it!” as she relayed to the Saturday afternoon crowd. Though Katseye’s presence was felt — members Lara Raj, Megan Skiendiel and Yoonchae Jeong took the stage to introduce nonprofit partner Baby2Baby before the set, and Devon Again’s drummer wore a Katseye shirt in tribute — Devon Again’s self-confessed impostor syndrome was misplaced. With a rollicking mix of high-energy country twang, twisty ballads and production-heavy pop hits bolstered by her crisp belt, she made the stage her own. —Eloise Rollins-Fife

Die Spitz dives into a great early set

The set began with a five-minute delay due to technical issues, during which bassist Kate Halter — impressively — performed several handstands to pass the time. By 1:45 p.m., the band was ready to go, with frontwoman Ellie Livingston kicking off the performance. Draped in a torn white skirt and black fishnet gloves to complement, she wailed “I hate when girls die.”

Die Spitz’s set felt like the epitome of what Daisy Chain was all about. The band members took turns strutting around stage and acknowledging, “I know it’s f— hot!” But that didn’t stop the crowd from forming mosh pits on the left and right side of the yellow Marigold stage. At one point, Livingston even jumped in herself, to the despair of security and the delight of fans. —JM

Eleanor “Ellie” Livingston of Die Spitz performs during Daisy Chain Fields.

Santigold’s set was worth fighting for

Santigold’s eclectic, genre-defying sound may be a hallmark of the “indie sleaze” era, but her standout midday Daisy Chain set proved she has plenty of staying power in 2026. Dressed in all white and flanked by a pair of straight-faced dancers in futuristic sunglasses, the 49-year-old artist performed back-to-back hits like “Run the Road” and “L.E.S. Artistes” to a crowd ready to dance the pain away. She even brought a handful of fans onstage — mostly, adorably, children — for a follow-along dance contest during “Unstoppable,” with a winner determined by cheers. Wrapping up the set with “Disparate Youth,” Santigold reminded the audience to keep believing in “a life worth fighting for.” –ERF

Santigold transports the crowd to the early aughts era of indie sleaze during Daisy Chain Fields.

Bikini Kill double dares Daisy Chain crowd to keep fighting the power

“This government hates us and wants us dead,” proclaimed punk icon and Bikini Kill frontwoman Kathleen Hanna: a critical guiding light for Olivia Rodrigo’s feminist consciousness, as well as that of thousands of Daisy Chain attendees on Saturday. Since the band’s inception in 1990, the OG riot grrrls of Bikini Kill made social justice the centripetal force of their furor — long before Daisy Chain Fields, and even its late ‘90s predecessor Lilith Fair. Powered by Tobi Vail on drums (and occasional vocals), Kathy Wilcox on bass and Sara Landeau on guitar, the electric Hanna buffered classic songs like “Double Dare Ya” and “Feels Blind” with parables from her own revolutionary life — much of which she spent fighting back against objectification from men. Dudes in Saturday’s crowd got a special directive: “You guys gotta talk to your friends [about misogyny],” said Hanna. “[Women] are not gonna stop this on our own!” Sealed with a kiss and delivered with a snarl, the band closed its rip-roaring set with the anthemic battle cry of “Rebel Girl,” and were flanked onstage by a few lucky young fans. —Suzy Exposito

Bikini Kill’s Kathleen Hanna preaches a message of anti-misogyny to the crowd during Daisy Chain Fields.

Mitski brought melodrama and musical magic

Whether you’ve been rocking with Mitski since the “Lush” days or discovered her music via pandemic-era Tik Tok, when industrial ballads like “Washing Machine Heart” unexpectedly popped off, there’s no denying her captivating stage presence — not to mention her stunning vocals. Longtime fans may have wished for a few more of the hits (no “Your Best American Girl” after the recent “Puberty 2” 10th anniversary re-release was a surprise), but indie music’s favorite sad-woman still brought her A-game to the Dandelion Stage, incorporating her signature “Butoh” performance style — a form of avant-garde Japanese dance-theatre — underscored by a backdrop of 1940s melodramas. During her set she implored Rodrigo to make the festival an annual tradition. “When do you get to be the first anything anymore?” she said. “For the rest of our lives, we could be like, ‘I’m OG DCF.” – ERF

Mitski performs during Daisy Chain Fields.

The Breeders deliver ‘Last Splash’ classics

Hand it to Kim Deal: As one of the OGs on the bill at Daisy Chain Fields, the Breeders frontwoman used her band’s performance to shout out an even earlier pathbreaker by wearing an old Shirley Chisholm campaign T-shirt featuring the first Black congresswoman’s slogan of “Unbought and unbossed.” Deal and her bandmates (including her twin sister Kelley) drew deeply from their classic 1993 “Last Splash” LP, loping through the country-ish “Drivin’ on 9,” chugging on a fuzzed-out “Saints” and pricking up Gen Z ears with the perennially TikTok’d “Cannonball.” — Mikael Wood

The Breeders play songs from their 1993 classic album “Last Splash” during Daisy Chain Fields.

Doechii does it for the girls

Under the hot afternoon sun, Grammy award-winning rapper Doechii celebrated all things girls in her typical over-the-top fashion. She and her dancers arrived onstage painted in hot pink, the swamp princess’ hair fashioned into high pigtails. A dance breakdown to a hardcore take on Beyoncé’s “Run the World (Girls)” introduced the set, and though she fed fans by performing some of her most popular singles — a version of “Anxiety” that morphed into a cover of the original sample “Somebody I Used to Know” by Goyte, “Alter Ego” and tracks like “Nissan Altima” and “Boiled Peanuts” from her 2024 album “Alligator Bites Never Heal” — she also reminded festivalgoers of the influential Black women artists who came before her — Lauryn Hill, Queen Latifah, Beyoncé — by mixing their iconic songs into hers. Glowing magenta, she twirled above what looked to be a rising river, a physical representation of the swirling, engulfing thoughts that anxiety can provoke as she performed the song by the same name. And just to ensure there was zero confusion, the Florida rapper ended her set by simply stating: “We do this for the girls, we do this for the gays and we do this for trans women.” —Danielle Dorsey

Doechii performs during Daisy Chain Fields.

Doechii

Garbage gives grunge power to Gen Z

With its blend of serrated alt-rock guitars and sleek machine rhythms, Garbage always sounded a little ahead of its time when the band broke out in the post-grunge mid-’90s. But as frontwoman Shirley Manson evoked an age of digital surveillance and pharmacological dependence in “I Think I’m Paranoid” — one of the era’s great snarling pop singles — what you realized is that history had finally caught up with the band. — MW

Shirley Manson, lead singer of Garbage, performs during Daisy Chain Fields.

Chappell Roan reigns with a hit-heavy set

It’s funny to think that Chappell Roan has only really been in the American music scene for the past six years, with just one studio album to her name.

Roan appeared from the back of stage, revealing her leather, periwinkle stewardess outfit and red mod bob — an apparent nod to Luc Besson’s 1997 film “The Fifth Element.” Naturally, the crowd roared as she dove bob-first into “Super Graphic Ultra Modern Girl.” She’d occasionally crouch down to take a sip from her water bottle, which matched her ensemble.

Roan looked especially happy to be there, happily performing for free and her set did not disappoint.

“Only the hits today,” she said, smiling. “Only the hits.” —JM

Festivalgoers dance in the “MicroRave.”

Not for Radio crank up the volume

Just after sundown, the Marías’ enigmatic leading lady, María Zardoya, emerged to perform songs from her nocturne solo project, Not for Radio. Circled by a verdant reproduction of an enchanted forest, and dressed in a black swan-like two-piece by Ann Demeulemeester, Zardoya held the audience captive with her purring soprano and vampy stare. But make no mistake: by dialing up their otherwise elegant chamber pop with a little extra crunch and distortion, the players of Not for Radio came ready to rock out with the Daisy Chain crowd. It was during a performance of the new track “Comet,” which has only been recorded live thus far, that Zardoya bewitched fans into head-banging along with her. —SE

Olivia Rodrigo does duets with her idols

Sarah McLachlan, left, and Olivia Rodrigo perform during Daisy Chain Fields.

Rodrigo’s enduring virtue as a pop star is being a great fan first. The job requires commanding attention and devotion for yourself, but she’s never been shy about situating herself in the long arc of women who came before (and after) her, or just being moon-eyed to live inside her favorite songs with her heroes onstage. For her Daisy Chain Fields closing set, she dueted with generations of women that shaped her sense of what’s possible in music — Stevie Nicks for a gorgeous “Landslide,” and a surprise Alanis Morissette cameo for “Ironic” that felt like girl-gang karaoke night at its finest. She joined Lilith Fair founder Sarah McLachlan — a specific inspiration for this festival — for “Building a Mystery” and a deeply tender “Angel.” Even Rodrigo’s backing band, full of absolutely shredding women instrumentalists, played beside her on equal footing for exquisitely tasteful, post-punky revisions of songs across her three albums. The boys in the crowd got a brief chance to growl in the lead on “Expectations,” but here they were just allies — the headline act was Rodrigo’s talent framed as a gift received from other women, and given again to the young fans on the field. —AB

BERKELEY — Twelve hours after walking offstage at the Greek Theatre on Tuesday night, David Byrne sits down with a cup of coffee on the patio of a tony hillside hotel and admits that he’s starting to get a little misty.

Last night’s concert on the campus of UC Berkeley was one of the remaining few on Byrne’s yearlong world tour after 2025’s “Who Is The Sky?” album. About an hour from now, a bus will pull up to ferry the 74-year-old musician and the dozen or so members of his touring company to the airport for a quick flight to Los Angeles, where they’re set to perform Friday and Saturday nights at the Hollywood Bowl.

“There’s a firepit over there,” Byrne says, pointing across the patio, “so after the show we all sat around and told stories. Everyone’s such a joy to work with — we’re all having a really good time.” He sighs. “That’s kind of rare, actually.”

“Who Is The Sky?,” which Byrne made with the producer Kid Harpoon, contrasts deep lyrics about art, home and enlightenment with bright pop arrangements filled with crisp grooves and singalong melodies. (Kid Harpoon, whose real name is Tom Hull, is known for the hits he’s created with Harry Styles and Miley Cyrus.) In the show, Byrne blends whimsical new tunes like “My Apartment Is My Friend” and “I Met the Buddha at a Downtown Party” with jittery oldies by Talking Heads, the hugely influential art-rock band he formed in 1975 with Jerry Harrison, Chris Frantz and Tina Weymouth.

Yet even when the songs get dark — as in “Life During Wartime,” which comes with images of police violence on the enormous digital screens behind the players — the mood is euphoric: Like Byrne’s previous tour behind 2018’s “American Utopia,” this one has the musicians holding their instruments as they execute choreographed moves on a bare stage; the result is more or less a nonstop dance party. (Also like “American Utopia,” which Spike Lee adapted into an acclaimed concert film, this tour will make its way to movie screens courtesy of “The Brutalist” director Brady Corbet.)

So you can see why Byrne would be sad to see it come to an end, not least because he’s been using his days off to tool around a given town and take pictures of cool local color. At the top of the gig in Berkeley, he showed photos from a hike he’d taken and of a car he’d come across with a tricked-out sound system.

“Any ideas of things to see in L.A.?” he asks me, dressed in a violet-colored chore jacket only a few shades removed from the blue one he wore onstage. “That hike was a workout. Even some of the dancers said those hills were steep.”

“Life During Wartime” was maybe 15% faster last night than the original record.
Could’ve been, yes. You’ll have to ask the drummers — they set the tempo, and they get excited and it kind of ramps up. It’s sometimes hard for me to keep up — I’ve got a lot of words to get out.

I was fortunate to be at Van Halen’s next-to-last show at the Hollywood Bowl, and I remember every song felt insanely fast.
Wonder if that was drugs?

You ever see Van Halen?
Never saw them live. David Lee Roth was a Talking Heads fan — came to visit our rehearsal loft once. I was kind of surprised: “How did you…?”

David Byrne performs at the Coachella festival in April.

(Christina House / Los Angeles Times)

Would you say things turned out better or worse than the future you predicted in “Life During Wartime”?
Well, we’re not having a total civil war. There’s maybe still a chance that could happen, but it seems there’s more resistance now than there was before — a sense that we don’t have to just roll over and take all the stuff that’s going on. The footage we got kind of hits home.

You show the video of the guy on the bike pedaling away from ICE agents in Chicago.
That often gets a cheer.

I wondered if it ever doesn’t.
In the United States, no. Seeing the underdog get away — that’s a pretty timeworn story. We didn’t have that video at the beginning of the tour — it didn’t exist. I saw it on some news service, and I thought, oh, this has to lead the whole sequence. When we were first putting the show together, we had more video stuff. But screens are really seductive, so you start looking at that. We said, no, you have to connect with real live people, then you can put it up.

Have you been to the Sphere in Las Vegas?
A bunch of the band and I went to see “Wizard of Oz.” I haven’t seen a band in there. But it was really a lot of fun — quite a spectacle with the video all around you.

Don Henley compares the Eagles’ role there to the organist at a silent movie.
The pit band, yeah. That’s a thing to do — works especially well, I would imagine, for bands like the Eagles and other groups that don’t do a whole lot of song and dance.

At 74, can your body do all the dancing you want to do?
Oh, no. With more physical training, I’d probably be able to do a little more than I can now. But I’m never gonna be able to do what some of the dancers can do.

How about what you used to be able to do?
Like in “Stop Making Sense”? There’s some stuff in there where I go, nope, can’t do that. But I can do other things. I don’t have a feeling that I’m barely getting by.

Are you an exerciser?
I have a person I see in New York. It hasn’t happened so much lately because we’ve been moving around so much. But Sasha [Rivero, from the touring company] leads us through these warm-up exercises before shows — kind of a cross between strength training and yoga.

Beyond the value of staying agile, how do you think about maintaining your looks?
I’m aware it’s a thing. If I came across as old and decrepit, it might be less exciting for some of the audience. Not great for business.

When did your hair go gray?
In the ’90s, I want to say. I dyed it for a while when I started seeing a fair amount of gray coming in. Then at one point I was on holiday with my then-wife and just said, “Let’s cut it off and see what’s under there.” By that point it was pretty much all gray. I was OK with it.

Who’s a performer you admire who’s still out there doing it late in life?
Caetano Veloso — he’s served as a role model for me. He’s someone who’s reinvented himself over and over and over again — done records that are very different than the record before. Even on the same record, he can be really experimental and then do something incredibly romantic.

Can you envision a time when you’d stop performing?
I don’t think so. I can see there might be a point where I don’t do as much dancing around.

I’ve seen Willie Nelson probably half a dozen times in the last 10 years. He sits there and plays, and it’s great.
“My Apartment Is My Friend,” that was inspired by a Willie Nelson song: “Hello Walls.” There’s also a George Jones song, “The Grand Tour,” where he takes you into his place: “This is where she sat, that’s where she put out her cigarette,” all this kind of stuff. I loved that you can make an apartment into a character. So I started putting down ideas, and I realized: Should I reveal that it’s about an apartment right off the bat, or should I wait till the last line of the chorus? Before that, you don’t know — it sounds like a love song. The title gives it away. But Tom, when I said “should I change the title?” he said, “The title’s what got me to listen to the demo.”

If I say that the songs from the new album didn’t come alive for me until the show, how does that strike you?
Good and bad. I wish the record had the same impact that the songs have live. But then I also think to myself: Well, the reason you go to see a live show is because you’re getting something more than you get by just putting a record on.

(Josh Edelson / For The Times)

You’ve been playing for years now with this mobile handheld setup.
I wasn’t sure an audience was gonna go for it. I don’t know why, but I thought it was kind of a big step for an audience to take in.

To not have the traditional rock band stage set.
“Here’s the drummer — we know what he does.” There were people on the last tour who would say, “It’s got to be playback — you’re not really playing it.” So I added an introduction to a song where one by one we introduced the musicians at the beginning of the song, and you could hear how we put it together. An unexpected consequence is that it democratized the whole stage experience for the band members. There’s parts where the drummers come to the front and I go to the back, which you would never have in a regular kind of show where the drummer’s stuck on a riser. Everyone gets to be a star — everyone gets to be recognized as an individual.

Would you say your eagerness to share the spotlight could only have come after years of being the focal point?
I have no idea.

Most of the musicians are pretty young.
Younger than me, anyway.

Why is that important to you?
I learn from them — musically but also personally. I learn about what music they’re listening to, what their experiences have been, what their take on things is. They’re not living in the past — they don’t have nostalgia for the good old days.

In 2023, you spent a fair chunk of time looking back with the rest of Talking Heads for a rerelease of “Stop Making Sense.” Did you enjoy that or grit your teeth through it?
It was fine — it was really nice. As we said over and over, we’re very proud of that show and the music that we did and the film that Jonathan [Demme] made. And that it was going to connect with a completely new generation. Jerry came to the show last night. He lives in Marin.

You guys hang out?
Afterwards, yeah. I mean, he had to drive back. He said he enjoyed it — said it was a good show. I connected him with our keyboard player because the keyboard player came up with these interesting technical things I thought Jerry might be interested in. He has an accelerometer attached to his arm — you don’t see it because his sleeve covers it — where he raises his arm and it increases the volume like a foot pedal on a keyboard.

Tell me about Brady Corbet’s concert movie. He shot it in 70mm.
To be honest, I wasn’t sure why. But Brady made the case, and it wasn’t about bringing people into the theater. He said when you go to 70mm it’s a little bit closer to what your eye experiences.

Talking Heads in Italy in 1982: Tina Weymouth, from left, Jerry Harrison, Chris Frantz and David Byrne.

(Luciano Viti / Getty Images)

This is kind of a cutesy formulation, but I wonder if it’s pushing back on the dominance of vertical video.
Biologically and evolutionary-wise, we experience the world horizontally. We don’t go walking around looking up at the sky — the stuff that’s gonna come get us is somewhere on our eye level.

Jimmy Iovine gave an interview to the New York Times the other day where he said one of the last things he asked AI was about your set list.
He could’ve just asked me.

Iovine was extremely pro-AI in this interview. What’s your vibe?
My vibe is positive and negative. On the positive side, we’ve all heard the hype from Silicon Valley that we’re gonna have medical breakthroughs. The negatives — how could there not be massive job loss? What concerns me is the environmental stuff. The last thing the planet needs is a massive increase in energy usage. We’re talking about the survival of species — of everything that lives on Earth. To ramp up that part of what humans do just seems like the worst possible thing you could do.

The other thing that worries me is that machines aren’t really thinking — they’re probabilistic. This stuff has been designed intentionally to mimic human beings, and we are very, very easily fooled. I think that’s dangerous because we give it agency. We assume all these things about it — we trust it. I mean, people will listen to a political argument from a chatbot more than they will from another person.

Seems bad.
Right?

Any worthwhile creative application you can identify?
I used it a little bit to animate my drawings in one of the sequences from the show. They’re my drawings — I wasn’t taking from anybody else. In that case I feel like it’s a tool that’s very efficient. Might put some animators out of work, but if I had to pay the rate for animators on something like that, it would take a year to do and cost me a fortune.

What if the producer on your next record says, “Hey, here’s a little shortcut we can use”?
We already use little shortcuts — Auto-Tune is one. That’s not AI, but we’ve been using those kinds of tools, and there’s always the danger of overusing them. When people use Auto-Tune a tiny bit, it’s pretty much invisible. But on a lot of records — I’m not talking about the Cher record — it’s a little too perfect, and you start to lose the human connection. So it’s not a clear-cut choice of: Do I use this or not? It’s: Do I get seduced and use it too much?

Under the hot lights of the Crypto.com Arena in Los Angeles, the five members of Santos Bravos stood center stage, ready to stake their claim to international stardom. It was the first night of KCON — a three-day festival of Korean pop culture, held every year since 2013 — and on Aug. 14, Santos Bravos became the first Latin American act ever to grace the bill.

Despite the band having debuted less than a year ago, the crowd was buzzing with excitement, but its energy heightened as the slashing knife sounds of “Hooligan,” a song off BTS’ latest hit album, “Arirang,” began to ring out. Because of their popularity, BTS songs are frequently covered by groups at KCON, but newcomers Santos Bravos, who are under the same parent label, Hybe, had more to prove to this audience.

Santos Bravos, a Latin American boy band based in Mexico City, performs on the Artist Stage on Aug. 14 at KCON at the Los Angeles Convention Center.

(Arwen Clemans / Los Angeles Times)

“Hooligan” was produced by Spanish producers Fakeguido and El Guincho (who worked on two records with Rosalía), as well as South Korean producer Ghstloop and American producer Jasper Harris. The multicultural song, with lyrics in both Korean and English, was an apt choice for Santos Bravos — between the five members, they speak and sing in three languages and represent several Latin cultures.

For BTS fans, nothing less than near the performance level of the superstar group is acceptable. But as Santos Bravos sang the opening verses in English, the crowd roared with approval — especially as lead vocalist Kauê Penna, who hails from Brazil, slid onstage to take on the high parts of BTS lead Jungkook.

While artists from different backgrounds working together is nothing new, Santos Bravos, like the Hybe x Geffen girl group Katseye, are part of an effort to bring K-pop training, marketing methods and fandom culture to other regions of the globe.

Fans watch as members of Santos Bravos walk off the stage and into the crowd during a performance on Day One of KCON.

(Arwen Clemans / Los Angeles Times)

Off the global success of BTS, Hybe evolved from a mid-sized label into one of the biggest music and entertainment players in South Korea. Santos Bravos operates under a division called Hybe Latin America, which is based out of Mexico City, where the band calls home. They are the first Hybe group to be based in a region outside of the United States or Asia.

Selected from 17 finalists on a 2025 competition reality show called “Santos Bravos — La Serie,” the contestants had vied to become part of Santos Bravos. Along the way, they received feedback and coaching from Song Sun-deuk, BTS’s longtime former choreographer and performance director. They also worked closely with Miami-based Cuban American choreographer Cultura, who has previously worked with Maluma, J Balvin, and Karol G, among others.

The final five debuted as a group at the show’s finale in October of 2025, where they performed before an audience of 10,000 at the Auditorio Nacional Mexico. Santos Bravos’ members are Penna, 19, from São João de Meriti, Brazil; Kenneth Lavíll,16, from Veracruz, Mexico; Gabi Bermúdez, 21, from San Juan, Puerto Rico; Alejandro Aramburú, 22, of Lima, and Drew Venegas, 26, from L.A. County.

The selected members were no starry-eyed amateurs: Both Lavíll and Aramburú were professional actors in their countries, while the honey-voiced Penna won the fifth season of “The Voice Kids, Brasil” in 2020. Bermúdez, the effusive mood-lifter of the group, was gunning for a career as a soloist when he entered the ring. Venegas, a dance specialist who had performed as a backup dancer for BTS, had a brief stint as a member of the Future X, a co-ed group formed by Simon Fuller that featured members of the queer community.

Not even a year into their formation, Santos Bravos topped Billboard’s new Latin music poll. In January, they performed alongside Mon Laferte and Feid in Willy Chavarria’s Paris Runway show, “Eterno.” In June, their debut EP, “Dual,” made it as high as No. 17 on the Billboard Top Latin Pop Albums chart. That same month, the group won its first award, the fan-voted artist duo or group at the 2026 Premios Tu Música Urbano Mix.

“We’re very disciplined,” said Venegas, who called West Covina home before joining the band. I met the band inside the Los Angeles Convention Center on Saturday, after their KCON breakout moment.

“One day of training was equivalent to one week of training,” he added. “I think combining all of our cultures together, then keeping our Latin essence with the K-pop methodology, [brings] something very new and very fresh for the eye.”

1/5

Santa Monica , CA – August 17: Drew Venegas of Santos Bravos at Hybe America on Monday, Aug. 17, 2026 in Santa Monica , CA. (Ronaldo Bolanos / Los Angeles Times)  (Ronaldo Bolanos/Los Angeles Times)

2/5

Santa Monica , CA – August 17: Kaue Penna of Santos Bravos at Hybe America on Monday, Aug. 17, 2026 in Santa Monica , CA. (Ronaldo Bolanos / Los Angeles Times)  (Ronaldo Bolanos/Los Angeles Times)

3/5

Santa Monica , CA – August 17: Ale Aramburu of Santos Bravos at Hybe America on Monday, Aug. 17, 2026 in Santa Monica , CA. (Ronaldo Bolanos / Los Angeles Times)  (Ronaldo Bolanos/Los Angeles Times)

4/5

Santa Monica , CA – August 17: Kenneth Lavill of Santos Bravos at Hybe America on Monday, Aug. 17, 2026 in Santa Monica , CA. (Ronaldo Bolanos / Los Angeles Times)  (Ronaldo Bolanos/Los Angeles Times)

5/5

Santa Monica , CA – August 17: Gabi Lopez of Santos Bravos at Hybe America on Monday, Aug. 17, 2026 in Santa Monica , CA. (Ronaldo Bolanos / Los Angeles Times)  (Ronaldo Bolanos/Los Angeles Times)

Although the group doesn’t perform in Korean — unless it’s for fun — they cater to K-pop fans, which is easy to do since they too are K-pop fans. They’ve paid a visit to the Hybe headquarters in Seoul, collaborated with bands like Le Sserafim and BoyNextDoor and livestreamed to fans via Hybe’s proprietary social platform Weverse. They’ve even performed on Korean television.

But for the members of Santos Bravos, the cultural exchange goes beyond marketing.

“In Mexico,” Venegas said, “when you’re eating we say, ‘Buen provecho,’ which is like ‘Enjoy your food,’ No matter who it is, no matter who you’re walking by. Food is a big part of acknowledging somebody, and that’s what we have in [common with Korean culture].”

Mostly talking to each other in Spanish — both Venegas and Penna learned to speak it as a second language — they occasionally forget which language they are speaking to each other in.

“Sometimes I find myself talking to Kenneth or Kauê in English when I don’t need to,” interjected the soft-spoken Aramburú, who plays the guitar — and, in between his shifts as a pop star, is finishing up his music degree at USC.

“The fact that we learn so many languages opens so many doors for us,” Aramburú said. “Personally, wherever we go, I love to learn the language. I’m on Duolingo learning Korean right now.”

Penna sees language as a way to not only open doors for Latin artists, but also reach people through their music.

“Thank God Latin America is being watched,” said Penna. “You know, people can see what we’re doing, and people also are interested in in our languages, in our culture. And in every country we [visit], we try to learn as much as possible about the culture. Now we’re focusing on Portuguese” — a language they test-drove in the song “Velocidade” — “and of course, English.”

Venegas has found that his experience as a Mexican American who didn’t grow up speaking Spanish resonates with some people.

“There were a couple of fans who came up to me who were of Mexican descent, but they didn’t get the chance to learn like me growing up,” he said. “And immediately, they were at a loss for words and kind of filled with emotions. I started getting emotional because I can feel the heartache and … feeling scared, like you don’t belong … and that’s what I felt like. Being able to speak with them and hear what they say made me feel like I’m not alone and like I do matter. Hearing, ‘OK you didn’t grow up getting spoken to in Spanish, but you were still called mijo like I was called mijo.’ ”

Asked why some people struggle to grasp multiracial Latino identity — Cardi B is brought up as an example — Penna weighed in.

“Being in Santos Bravos as an Afro Latino is something so important to me,” said Penna. “I feel like this ‘thing’ of being this or being that… It’s just cultural differences. I’m also working to understand how another culture sees me. As Brazilians, we are very mixed. Of course, I have my Afro side, my mom’s side, I have my Indigenous side… but of course, I am very open and very proud [with] what I’m representing in Santos Bravos.”

“People in general like to categorize,” said Bermúdez, who grew up idolizing Puerto Rican singer Chayanne. Raised in Puerto Rico by parents with both Boricuan and Cuban heritage, Bermúdez bristles at attempts to divide Latinos.

“We as Santos Bravos want to transmit to the world that Latin America is one,” he said

Santos Bravos

(Ronaldo Bolanos / Los Angeles Times)

On the Monday after KCON, I met up a second time with the members of Santos Bravos, who were milling about in the Hybe America offices in Santa Monica. Venegas scrolled through his phone while Penna shuffled past us to grab a drink from the office fridge. I ask whether he’s tired. “A little” he replies, but he’s good.

Upstairs, walking past a large poster of BTS, I met with Juanse Arenas, president of Hybe Global Label Services, who promotes artists outside of their home markets. He said the company looked closely at data and research when conceptualizing the group.

“Mexican regional music became really big, Bad Bunny himself went global,” Arenas said. “You have Karol G, J Balvin, all these massive artists who come from our countries. Latin music is no longer just Latin; it’s global, right? Now, there is a methodology that exists in K-pop that has produced very successful groups. But you can’t just apply that methodology blindly to new regions and to new places — you have to [consider] where the members are coming from, what makes them tick, what drives them and the audience they’re speaking to.”

After posing for individual promo portraits, they gathered for a group photo before singing an acapella version of the uptempo ballad “MHM” for social content. They also greeted their fans on the Weverse livestream, where they expressed sadness over leaving L.A.

“Nos vamos pronto de L.A., mi gente,” said Lavíll to fans. “Y estamos tristes.”