band

What do Dead Kennedys’ Jello Biafra, Thurston Moore of Sonic Youth and Motley Crüe bassist Nikki Sixx have in common? They all dig Frankie and the Witch Fingers, an L.A.-based band whose irresistible garagey-psychedelic rock sometimes even invokes shades of Oingo Boingo and Devo thanks to a staccato freneticism and pointed lyrics. The diversity of FATWF’s peer-fans speak to the quintet’s wide-ranging appeal, and the title of their new 11-song album, “Trash Classic,” is a spot-on descriptor of the LP as a whole.

In their longtime rehearsal-recording room in a legendary Vernon warehouse, the band perch on a couch a few days before leaving for tour. There’s a whiteboard with a set list behind the sofa, and they share some “mood board” phrases written for the creation of “Trash Classic.” On posterboard, the bon mots include “Lord Forgive Us For Our Synths,” “Jello -B.Y.O.F. (Bring Your Own Fork) – Ra” and “Weenus.” Laughter ensues at the memories.

The lineup formed with Dylan Sizemore (lead vocals, rhythm guitar) and Josh Menashe (lead guitar, backing vocals, synthesizer) more than a decade ago, the pair meeting at college in Bloomington, Ind. In different bands, they’d seen each other’s gigs and run into each other at parties.

“I was just bored one day, and was like, ‘I wonder if this guy wants to jam.’ I had all these songs,” recalls Sizemore. “I just kind of showed up to his house, and I knew he was really good at guitar and really good at music in general.”

Josh Menashe, from left, Dylan Sizemore, Nicole “Nikki Pickle” Smith, Jon Modaff and Nick Aguilar, of the Los Angeles psych-rock band Frankie and the Witch Fingers get into character in their rehearsal space in Vernon on July 11, 2025.

(Genaro Molina / Los Angeles Times)

The San Diego-raised Menashe recalls, “I think by the time I met Dylan, I’d already dropped out [of college], though, and there were day jobs — at a screen-printing shop, I worked at a Turkish restaurant; whatever I could do to keep my music addiction going. I never really settled on a major because I just couldn’t think about what I wanted to do. Nothing made as much sense as music.”

Sizemore had been dabbling in music that was “power-pop-y, kind of like Tom Petty worship …”

“… he was in a band called Dead Beach,” Menashe adds, “and I would say it was garage rock, almost like Nirvana meets Tom Petty.”

“And Josh was in a more like surf rock, almost like mathy band. What would you describe [the band] Women as?” Sizemore asks.

“Angular, punky, buncha noise stuff,” affirms Menashe, who also played with acclaimed Bloomington-to-L.A. band Triptides starting in 2010.

In FATWF (the name comes from Sizemore’s cat Frankie) the pair’s experience and influences were varied enough to create something new that, over seven albums since 2013, has morphed into a wildly creative and raucous band with hooks, melodies, smarts, irreverence, loud guitars and wonderfully oddball synth and sounds.

A move to L.A. in 2014 and eventual changes in the rhythm section — Nikki Pickles (Nicole Smith), formerly of Death Valley Girls, joining in 2019; with drummer Nick Aguilar’s 2022 addition solidifying the band further. Jon Modaff, a multi-instrumentalist from Kentucky who played drums on tour with FATWF in 2021, joined on synth in 2024, giving the band an even broader sonic palette to realize their sometimes-oddball audio dreams.

“Trash Classic,” produced by Maryam Qudus (Tune-Yards, Alanis Morissette, Kronos Quartet) follows 2023’s “Data Doom,” which was the first album to feature Aguilar on drums. Songs are by turns epic, edgy, spacey and insistent. Some “Trash Classic” lyrics are topical and pointed: “(While the upper) class is feeding / (On the lower) babies’ food / (Microwaving) TV dinners / (With the porno) graphic news.” “Economy” minces no words: “This has got to be / The best economy / The plasma you sell / (The plasma you sell) / Buys money to eat.”

There was no grand plan or lyrical theme settled ahead of the new album’s creation. “We collectively talk about what’s going on in the world when we’re in rehearsal and stuff, and our feelings about it,” says Sizemore. “I think it’s just at a point now where talking about certain things just feels more — what’s the word? — it feels more part of the zeitgeist. Like ‘Economy,’ I wanted to write about being around abject poverty. But it makes more sense now, it fits into the context of where we are. Things that we talk about in here, about what’s going on, maybe weren’t so omnipresent, and now it feels like it is. Like, you can’t escape poverty. You can’t escape what’s happening to people less fortunate than you. It’s everywhere.”

In writing the lyrics, Sizemore thought about growing up, “seeing people trade in their food stamps to get alcohol because they’re addicted. Messy stuff like that. But it’s relevant now, it’s not just parts of the world. It’s gonna be everywhere if we don’t do something about it.”

Lyrics, while Sizemore-centric, are a collaborative process. Pickle, however, who came to bass in her 20s, says, “I just am happy to be along for the ride, and I’ll contribute where it’s helpful. I like to sit back; I guess I don’t feel qualified as a songwriter.” But, she says, “honestly, I think that that’s a helpful way to be, because if you have too many people with egos on top of each other, like, ‘no, no, no, do it my way.’ I like to listen and then insert where I can. That’s my vibe.”

Differing approaches and backgrounds serve FATWF well. Because of their “cohesive diversity and flexibility in the rock realm,” Aguilar observes, “I feel like we could play with almost anybody. At least a rock band, to any extent.”

While they’re mostly doing headlining tours, they’ve shared stages with Cheap Trick and ZZ Top. So where would FATWF overlap with the two elder statesmen classic rock lineups on the musical spectrum?

“I mean, we were really into the [13th Floor] Elevators, and…” Sizemore says.

“The Velvet Underground…” adds Pickle.

“…Roky Erickson, all that stuff. I think we tried to, like, gear our set more in that direction, just so we weren’t fully playing freaky, noisy funk stuff,” Sizemore continues. “But there’s an overlap, for sure. If we play in Atlanta or something, we’ll get someone saying, ‘Oh, the first time I saw you guys was with ZZ Top’ and that’s always cool.”

“We collectively talk about what’s going on in the world when we’re in rehearsal and stuff, and our feelings about it,” says Sizemore. “I think it’s just at a point now where talking about certain things just feels more — what’s the word? — it feels more part of the zeitgeist.”

(Genaro Molina / Los Angeles Times)

Most of Frankie’s members cite the DIY scenes in their areas as influential: Aguilar is from San Pedro and began drumming at the age of 10. He eventually played with that neighborhood’s most famous musician: bassist Mike Watt, and growing up, “discovered I don’t need to go to the Staples Center or Irvine Meadows to see a band. I could just go, like, 10 blocks away from my home on my bike to house shows,” he says, adding, “if there wasn’t the music scene in San Pedro, I probably wouldn’t be in this band. I’d probably be playing at the Whisky with some s— metal band that nobody cares about.”

An increasing number of people are caring about FATWF; Jello Biafra even joining them on stage. At a gig in Biafra’s hometown of Boulder, Colo., the punk provocateur met the band after their show. The next night, the singer showed up in Fort Collins.

“We have a lot of mutual friends,” explains Aguilar. “I work at Alex’s Bar in Long Beach. So I met him there a long time ago. He said he was gonna come see us at our Halloween show in San Francisco. I was like, ‘How would you feel if we learned some DK songs and you sang with us for Halloween?’”

He answered in the affirmative, so Frankie and the Witch Fingers learned the Dead Kennedys’ “Halloween,” “Police Truck” and “Holiday in Cambodia.” Biafra rehearsed with the band at sound check, and for the holiday show FATWF dressed up as “bloody doctors.” As for Biafra? “He changed his outfit in between every song! He was throwing fake bloody organs at the audience. You could tell half of the audience knew who he was. And half was like, ‘Yo, who the hell is this?’”

“Talking about all this like ancient history makes me feel, ‘Oh yeah, we’ve kind of come a long way,’” Pickles ruminates. Aguilar states his somewhat modest hopes for the band: “I think my realistic goal is the headline the Fonda Theater one day.”

But if larger-scale fame and fortune find Frankie and the Witch Fingers, beware: Menashe claims he’d get a face tattoo if the band sells a million records. His promise is captured by the reporter’s recorder, officially “on the record,” the band teases him. But in true FATWF fashion, Sizemore pushes it one further: “You gotta get a teardrop too!”

Greg Saunier already had reasons to be wary of Spotify. The founder of the acclaimed Bay Area band Deerhoof was well acquainted with the service’s meager payouts to artists and songwriters, often estimated around $3 per thousand streams. He was unnerved by the service’s splashy pivots into AI and podcasting, where right-wing, conspiracy-peddling hosts like Joe Rogan got multimillion-dollar contracts while working musicians struggled.

But Saunier hit his breaking point in June, when Spotify’s Chief Executive Daniel Ek announced that he’d led a funding round of nearly $700 million (through his personal investment firm, Prima Materia) into the European defense firm Helsing. That company, which Ek now chairs, specializes in AI software integrated into fighter aircraft like its HX-2 AI Strike Drone. “Helsing is uniquely positioned with its AI leadership to deliver these critical capabilities in all-domain defence innovation,” Ek said in a statement about the funding round.

In response, Deerhoof pulled its catalog from Spotify. “Every time someone listens to our music on Spotify, does that mean another dollar siphoned off to make all that we’ve seen in Gaza more frequent and profitable?” Saunier said, in an interview with The Times. “It didn’t take us long to decide as a band that if Daniel Ek is going harder on AI warfare, we should get off Spotify. It’s not even that big of a sacrifice in our case.”

A small band yanking its catalog won’t make much impact on Spotify’s estimated quarterly revenues of $4.8 billion. But it seemed to inspire others: several influential acts subsequently left the service, lambasting Ek for investing his personal fortune into an AI weapons firm.

Spotify did not return request for comment about Ek’s Helsing investments.

This small exodus is unlikely to sway Ek, or dislodge Spotify from dominating the record economy. But it may further sour young music fans on Spotify, as many are outraged about wars in Gaza and elsewhere.

“There must be hundreds of bands right now at least as big as ours who are thinking of leaving,” Saunier said. “I thought we’d be fools not to leave, the risk would be in staying. How can you generate good feelings between fans when musical success is intimately associated with AI drones going around the globe murdering people?”

Swedish mogul Ek, with an estimated wealth around $9 billion, may seem an unlikely new player in the global defense industry. But his interest in Helsing goes back to 2021, when Ek invested nearly $115 million from Prima Materia and joined the company’s board. [Helsing, based in Germany, says it was founded to “help protect our democratic values and open societies” and puts “ethics at the core of defense technology development.”]

With his investment, Ek joined tech moguls Jeff Bezos and Palmer Luckey in pivoting from nerdier cultural pursuits (like online bookselling and virtual reality) into defense. The Union of Musicians and Allied Workers said then that Ek’s actions “prove once again that Ek views Spotify and the wealth he has pillaged from artists merely as a means to further his own wealth.”

A range of anti-Spotify protests followed later, like a songwriters’ rally in West Hollywood in 2022 and a boycott of Spotify’s 2025 Grammy party, after Spotify cut $150 million from songwriter royalties. Neil Young and Joni Mitchell pulled their catalogs in response to Rogan spreading misinformation about COVID-19.

Yet eventually, both relented. “Apple and Amazon have started serving the same disinformation podcast features I had opposed at Spotify,” Young said in a pithy note in 2022. “I hope all you millions of Spotify users enjoy my songs! They will now all be there for you except for the full sound we created.”

Daniel Ek, founder and CEO of Spotify, in 2023.

(Noam Galai / Getty Images for Spotify)

Ek’s latest investment seems to have struck a nerve though, especially in the corners of music where Spotify slashed income to the point where artists have little to lose by leaving.

After Deerhoof’s announcement, the influential avant-garde band Xiu Xiu announced a similar move. “We are currently working to take all of our music off of garbage hole violent armageddon portal Spotify,” they wrote. “Please cancel your subscription.”

The Amsterdam electronic label Kalahari Oyster Cult had similar reasoning: “We don’t want our music contributing to or benefiting a platform led by someone backing tools of war, surveillance and violence,” they posted.

Most significantly, the Australian rock band King Gizzard & the Lizard Wizard — an enormously popular group that will headline the Hollywood Bowl Aug. 10. — said last week that it would pull its dozens of albums from Spotify as well. “A PSA to those unaware: Spotify CEO Daniel Ek invests millions in AI military drone technology,” the band wrote, announcing its departure. “We just removed our music from the platform. Can we put pressure on these Dr. Evil tech bros to do better?”

“We’ve been saying ‘f— Spotify’ for years. In our circle of musicians, that’s what people say all the time for well-documented reasons,” the band’s singer Stu Mackenzie said in an interview. “I don’t consider myself an activist, but this feels like a decision staying true to ourselves. We saw other bands we admire leaving, and we realized we don’t want our music to be there right now.”

Ek’s moves with Prima Materia come as no surprise to Glenn McDonald, a former data analyst at Spotify who became well known for identifying trends in listener habits. McDonald was laid off in 2023, and has mixed feelings about the company’s priorities today. It’s both the arbiter of the record industry and a mercurial tech giant that only became profitable last year while spinning off enormous wealth for Ek.

“It’s well documented that Spotify was only a music business because that was an open niche,” McDonald said. “I’m never surprised by billionaires doing billionaire things. Google or Apple or Amazon investing in a company that did military technology wouldn’t surprise me. Spotify subscribers should feel dismayed that this is happening, but not responsibility, because all the major streamers are about the same in moral corporate terms.”

McDonald said the company’s push toward Discovery Mode — where artists accept a lower royalty rate in exchange for better placement in its algorithm — added to the sense that Spotify is antagonistic to working artists’ values. More recently, Spotify rankled progressives when it sponsored a Washington, D.C., brunch with Rogan and Ben Shapiro celebrating President Trump’s return to the White House, and raised $150,000 for Trump’s inauguration (Apple and Amazon also donated to the inauguration).

While Ek’s investments in Helsing are not directly tied to Spotify, the money does come from personal wealth built through his ownership of Spotify’s stock. Fans are right to make a moral connection between them, McDonald said.

“Ek represents Spotify publicly, and thus its commitment to music. Him putting money into an AI drone company isn’t representing that,” McDonald said. “He can do whatever he wants with his money, but he is the face of a company as controversial and culturally important as Spotify. So yeah, people want to hold him to a less neutral standard.”

For artists looking to leave the service, the actual process of getting off Spotify varies. For King Gizzard, which releases its catalog on its own record labels, it was easy to remove everything quickly. Deerhoof and Xiu Xiu needed time to clear the move with several labels and former band members who receive royalties.

Being a smaller, autonomous band enabled Saunier to act according to his values, even at the cost of some meaningful slice of income. He has considered that, by torching his band’s relationship with Spotify, Deerhoof’s music could slip from away from some fans.

“Everyone I know hates Spotify, but we’ve been conditioned to believe that there is no other option,” he said. “But underground music is filled with so many beautiful examples of a mom-and-pop business mentality. I don’t need to dominate the world, I don’t need to be Taylor Swift to be counted as a success. I don’t need a global reach, I just need to provide myself a good life.”

Yet the only artists that might genuinely sway Ek’s investments would be ones with a global reach on the caliber of Swift. She has pulled her catalog from Spotify before, in 2014 just after releasing her smash album “1989.”

“Music is art, and art is important and rare. Important, rare things are valuable. Valuable things should be paid for,” she said, before eventually returning to Spotify in 2017.

It’s hard to imagine her, or other comparable pop acts, taking a similar stand today, especially as the major labels’ fortunes are so bound up in Spotify revenues. Spotify reported a $10 billion payout to rights holders in 2024, roughly a quarter of the entire global recorded music business. Its stock has surged 120% over the last year, but in the second quarter of 2025, the firm missed earnings targets and dropped 11% this week, for the stock’s worst day in two years. “While I’m unhappy with where we are today, I remain confident in the ambitions we laid out for this business,” Ek said in an earnings call.

This recent, small exodus most likely didn’t contribute to that. But it might add to a creeping sense among young listeners that Spotify is not a morally-aligned place for fans to enjoy beloved songs.

“I actually think Spotify will eventually go the way of MySpace. It’s just a get-rich-quick scheme that will pass, become uncool, one that had its day and is probably in decline,” Saunier said. “They wrote an email to me seemingly to do face saving, which makes me think they’re more desperate than we think.”

Acts like Kneecap, Bob Vylan and others have been outspoken around the war on Gaza, at real risk to their careers — proof that young fans care deeply about these issues. While Ek would argue that Helsing helps Ukraine and Europe defend itself, others may not trust his judgment.

“Maybe it’s silly to expect cultural or moral leadership from Daniel Ek, but I don’t want it to be silly,” McDonald said. He thinks fans and artists can morally stay on Spotify, but hopes they build toward a more ethical record industry.

“It’s hard to see what ‘stay and fight’ consists of, but if everyone leaves, nothing gets better,” he said. “If we’re going to get a better music business, it’s going to come from somebody starting over from scratch without major labels, and somehow building to a point where we have enough leverage to change the power dynamic.”

King Gizzard’s Mackenzie looks forward to finding out how that might work. “I don’t expect Daniel Ek to pay attention to us, though it would be cool if he did,” Mackenzie said. “We’ve made a lot of experimental moves in music and releasing records. People who listen to our music have been conditioned to have trust and faith to go on the ride together. I feel grateful to have that trust, and this feels like an experiment to me. Let’s just go away from Spotify and see what happens.”

Twelve years after a breakup that didn’t stick — and one year shy of the 20th anniversary of its biggest album — My Chemical Romance is on the road this summer playing 2006’s “The Black Parade” from beginning to end.

The tour, which stopped Saturday night at Dodger Stadium for the first of two concerts, doesn’t finally manifest the long-anticipated reunion of one of emo’s most influential bands; My Chem reconvened in 2019 and has been performing, pandemic-related delays aside, fairly consistently since then (including five nights at Inglewood’s Kia Forum in 2022 and two headlining appearances at Las Vegas’ When We Were Young festival).

Yet only now is the group visiting sold-out baseball parks — and without even the loss leader of new music to help drum up interest in its show.

“Thank you for being here tonight,” Gerard Way, My Chem’s 48-year-old frontman, told the crowd of tens of thousands at Saturday’s gig. “This is our first stadium tour, which is a wild thing to say.” To mark the occasion, he pointed out, his younger brother Mikey was playing a bass guitar inscribed with the Dodgers’ logo.

So how did this darkly witty, highly theatrical punk band reach a new peak so deep into its comeback? Certainly it’s benefiting from an overall resurgence of rock after years dominated by pop and hip-hop; My Chem’s Dodger Stadium run coincides this weekend with the return of the once-annual Warped Tour in Long Beach after a six-year dormancy.

Then again, Linkin Park — to name another rock group huge in the early 2000s — recently moved a planned Dodger Stadium date to Inglewood’s much smaller Intuit Dome, presumably as a result of lower-than-expected ticket sales.

The endurance of My Chemical Romance, which formed in New Jersey before eventually relocating to Los Angeles, feels rooted more specifically in its obsession with comic books and in Gerard Way’s frank lyrics about depression and his flexible portrayal of gender and sexuality. (“GERARD WAY TRANSED MY GENDER,” read a homemade-looking T-shirt worn Saturday by one fan.) Looking back now, it’s clear the band’s blend of drama and emotion — of world-building and bloodletting — set a crucial template for a generation or two of subsequent acts, from bands like Twenty One Pilots to rappers like the late Juice Wrld to a gloomy pop singer like Sombr, whose viral hit “Back to Friends” luxuriates in a kind of glamorous misery.

Gerard Way, from left, Mikey Way and Ray Toro perform as My Chemical Romance.

(Etienne Laurent / For The Times)

For much of its audience, My Chem’s proudly sentimental music contains the stuff of identity — one reason thousands showed up to Dodger Stadium wearing elaborate outfits inspired by the band’s detailed iconography.

In 2006, the quadruple-platinum “Black Parade” LP arrived as a concept album about a dying cancer patient; Way and his bandmates dressed in military garb that made them look like members of Satan’s marching band. Nearly two decades later, the wardrobe remained the same as the band muscled through the album’s 14 tracks, though the narrative had transformed into a semi-coherent Trump-era satire of political authoritarianism: My Chemical Romance, in this telling a band from the fictional nation of Draag, was performing for the delectation of the country’s vain and ruthless dictator, who sat stony-faced on a throne near the pitcher’s mound flanked by a pair of soldiers.

The theater of it all was fun — important (if a bit crude), you could even say, given how young much of the band’s audience is and how carefully so many modern pop stars avoid taking political stands that could threaten to alienate some number of their fans. After “Welcome to the Black Parade,” a bearded guy playing a government apparatchik handed out Dodger Dogs to the band and to the dictator; Way waited to find out whether the dictator approved of the hot dog before he decided he liked it too.

Fans react as My Chemical Romance performs.

(Etienne Laurent / For The Times)

Yet what really mattered was how great the songs still are: the deranged rockabilly stomp of “Teenagers,” the Eastern European oom-pah of “Mama,” the eruption of “Welcome to the Black Parade” from fist-pumping glam-rock processional to breakneck thrash-punk tantrum.

Indeed, the better part of Saturday’s show came after the complete “Black Parade” performance when My Chem — the Way brothers along with guitarists Frank Iero and Ray Toro, drummer Jarrod Alexander and keyboardist Jamie Muhoberac — reappeared sans costumes on a smaller secondary stage to “play some jams,” as Gerard Way put it, from elsewhere in the band’s catalog. (Its most recent studio album came out in 2010, though it’s since issued a smattering of archived material.)

Gerard Way of My Chemical Romance performs.

(Etienne Laurent / For The Times)

“I’m Not Okay (I Promise)” was blistering atomic pop, while “Summertime” thrummed with nervy energy; “Na Na Na (Na Na Na Na Na Na Na Na Na)” was as delightfully snotty as its title suggests. The band reached back for what Way called his favorite My Chem song — “Vampires Will Never Hurt You,” from the group’s 2002 debut — and performed, evidently for the first time, a chugging power ballad called “War Beneath the Rain,” which Way recalled cutting in a North Hollywood studio “before the band broke up” as My Chem tried to make a record that never came out.

The group closed, as it often does, with its old hit “Helena,” a bleak yet turbo-charged meditation on what the living owe the dead, and as he belted the chorus, Way dropped to his knees in an apparent mix of exhaustion, despair, gratitude — maybe a bit of befuddlement too. He was leaving no feeling unfelt.

It’s another dry, sweltering morning in Las Vegas, and the guitarist Zoltan Bathory has just left his Gothic castle. Bearded and dressed in black, with a bundle of dreadlocks piled high on his head, he’s now piloting a small boat across a man-made lake filled with tap water, on his way to breakfast at a nearby café.

The newly renovated replica castle is a recent project and perk of Bathory’s 20-year career as guitarist and founder of the multiplatinum heavy metal band Five Finger Death Punch. But last year, as the metal act began planning to celebrate those two decades of action, Bathory discovered that their longtime former label, Prospect Park, had quietly sold the masters to the first seven 5FDP albums.

The group, which retained 50% ownership in the masters but not “administrative rights,” was not informed before the sale.

“We were not privy to the deal. It was completely behind curtains. That’s the annoying part of this,” says Bathory. “I wish they had a conversation because we could have done a deal together, or maybe we would have bought it. We didn’t even get an option. We found out from somebody else. Well, wait a minute, what’s going on?”

With that anniversary coming up in 2025, 5FDP adjusted after finding inspiration in the example of pop superstar Taylor Swift, who responded to the sale of her catalog with a hugely successful series of “Taylor’s Version” rerecordings of entire albums. Swift re-created four of her records, each one topping the Billboard Top 200, before she finally bought back the rights to her catalog this year.

Five Finger Death Punch decided to follow that lead, and in January began rerecording the band’s most popular songs. The first batch of new recordings arrived under the title “20 Years of Five Finger Death Punch — Best of Volume 1,” released Friday, to be followed by “Best of Volume 2” later this year.

“When this happened, it came up immediately: ‘Well, this happened to Taylor and what did she do?’” Bathory says of the plan. “She battle-tested it. And she’s a big artist. ‘OK, that’s your move? Now this is our move.’”

It is just the latest chapter in a sometimes turbulent career for the musicians, as the band rose to become one of the most successful hard rock/metal bands of their generation, boasting 12 billion streams, surpassed only by Metallica and AC/DC. During its first decade, 5FDP released four platinum-selling albums in the U.S., beginning with its second release, 2009’s explosive “War Is the Answer.”

The unexpected sale of their masters — to the independent music publisher Spirit Music Group — was perhaps the final round in a frequently contentious relationship with Prospect Park founder Jeff Kwatinetz. In 2016, the label sued Five Finger Death Punch in Los Angeles Superior Court, alleging breach of contract over a coming greatest hits package and the recording of a new album.

That lawsuit got ugly, including an accusation in its initial filing that the band was “attempting to cash in before the anticipated downfall of their addicted bandmate,” a blunt reference to singer Ivan L. Moody’s period of self-destruction at the time. The band countersued. The cases were settled out of court the following year.

A request for comment sent to Kwatinetz through his attorney was not returned by press time, but he told Billboard last month that the band’s current management stopped cooperating, so “I sold my half.”

As he settles into the small lakeside café over a glass of organic matcha tea and avocado toast, Bathory expresses little real anger over the suits and the sale, and looks back cheerfully at the band’s long relationship with the label. The guitarist says he actually enjoyed their heated discussions, reflecting not only their conflicts of the moment, but a shared history as the band rose from clubs on the Sunset Strip to stadiums around the world.

“With our former label president, this is probably the funniest relationship. In the past, we were suing each other for various [issues],” Bathory says with a smile. “We get on the phone, and we’re talking about a lawsuit, and he’s like, ‘You guys lost this injunction.’ And I’m like, ‘Oh, f— you.’ ‘Oh, f— you!’ We had this back and forth, and then it’s ‘How’s the kids?’ And then we just talk about albums and music and whatnot for like an hour.

“And then, ‘OK, see you in court.’ ‘F— you,’” he adds with a laugh. “It’s a game of life. And I believe in the way of the samurai. The saddest day in the samurai’s life is when your worst opponent dies, because that’s the guy who kept you on your toes.”

Sessions for the new recordings unfolded quickly from 5FDP’s current lineup that also includes baseball bat-wielding singer Moody, longtime bassist Chris Kael, and two newer members, drummer Charlie Engen and lead guitarist Andy James.

The musicians recorded their parts separately, re-creating songs some of them had by now performed live nearly 1,000 times around the world. The resulting tracks are not exact replicas of the originals, but are faithful to their spirit while leaving room for the natural evolution that happens through years of touring.

The result on “Best of Volume 1” is a potent representation of the band’s history, opening with the snarling riffs of “Under and Over It.” The first volume includes 13 rerecordings and three live tracks. When played side-by-side with the originals, the new self-produced songs never sound like tired retreads but are powered by some contemporary fire in the band’s performances.

The first public glimpse in the project was a rerecording of “I Refuse,” a power ballad from 2018, this time as a duet with Maria Brink (of In This Moment), released as a single in May.

Once news of the project, and its inspiration, began to spread, Five Finger Death Punch began to hear from a new constituency: Swifties.

“What’s kind of crazy is that I see Taylor Swift’s fans on our social media and bulletin board going, ‘Yeah!’ That’s the most bizarre thing,” Bathory says of the new voices cheering the band forward. “We are so far away from each other in style. But it seems like it hit a chord. I guess people who don’t necessarily understand or are privy to the music business and how it works still feel like this is not right.”

While the band is also six songs into recording its next album of new material, Bathory says the new best-of recordings are expected to be fully embraced by the band’s famously intense following.

“Our fans are pretty hardcore,” Bathory says. “They’re very engaged, and they know exactly why we did this. So I think, just to support the band, they will switch [their allegiance to the newer versions] anyway. But these recordings are going to live next to each other.”

Founded in 2005, Five Finger Death Punch was the culmination of the rock star dreams of Bathory that began as teen in Hungary, first as a fan of British punk rock, before turning to metal after discovering Iron Maiden (with early singer Paul Di’Anno). He built his own electric guitar to look like one used by the L.A. heavy metal band W.A.S.P., with a skull-and-crossbones painted onto the surface.

Rock music wasn’t played on TV or the radio in the then-communist country, so Bathory and his friends traded cassette tapes of any punk and metal they got their hands on. “Somebody always somehow smuggled in a record, and we would all copy it,” he remembers. “It created this subculture where we didn’t just look at it as music. It was the sound of the rebellion.”

Bathory also dressed the part, drawing attention for his Def Leppard T-shirt with the Union Jack flag, studded leather jackets and belts, and long hair. Kids who adopted that look and spoke in the language of Western hard rock actually risked arrest, he says.

“I’ve been chased around by the cops so many times,” he recalls with a laugh.

By his early 20s, Bathory moved to New York City with his guitar, about $1,000 in his pocket, and no English-speaking skills. While living in low-budget squalor, he slowly taught himself English, first by translating a random copy of the Stephen King novella “Rita Hayworth and Shawshank Redemption.” He played with bands that got nowhere, and after six years relocated to Los Angeles, and things started to change.

For a year, he played bass in the L.A. hard rock band U.P.O., which enjoyed some chart success, then formed Five Finger Death Punch, with a name inspired by the 1972 kung fu film “Five Fingers of Death” and Quentin Tarantino’s two “Kill Bill” epics.

Zoltan Bathory, founder and guitarist of the heavy metal band Five Finger Death Punch, pilots a small boat on the man-made lake outside his Las Vegas house.

(Steve Appleford)

“I knew exactly what I wanted. There was a vision,” says Bathory.

That vision got clearer when he first saw singer Moody performing with the nu metal band Motograter. It was Bathory’s good fortune that Motograter would soon break up. He reached out to Moody in Denver.

“He was special — his performance, his voice. That star quality thing is a real thing,” notes Bathory of the growling, emotional singer. “You could tell he was a rock star, right? I’m like, OK, that’s the guy.”

In their first years as a band, the quintet played more than 200 shows annually. “We played every little stage that exists,” Bathory says.

Sitting beside the guitarist now in the café is Jackie Kajzer, also known as radio DJ Full Metal Jackie, who first spotted the band on MySpace. She soon caught an early set at the Whisky a Go Go and was immediately sold on their sound and potential. She was also a junior manager at the Firm, a leading management company at the time representing Korn, Limp Bizkit and Linkin Park.

Kajzer urged the company to sign the ominously-named Five Finger Death Punch, and after two showcase performances on the Strip, it did. The metal band was soon added to the side stage of the high-profile 2007 Family Values Tour, followed the next year by the traveling Mayhem Festival, leaving a powerful impression among new fans and fellow artists.

“When you find something that makes you feel something, it makes it worth fighting for,” says Kajzer, who has remained part of the band’s management team ever since, now at 10th Street Entertainment. “I had never felt it before. PS: I’ve never really felt that again, that same early feeling. You believe in it and you want to shake everyone else and make them get it as well.”

Five Finger Death Punch’s recording career began by uploading a few songs at a time — early versions of “Bleeding,” “Salvation,” and “The Way of The Fist” — to MySpace, then an essential platform for new acts, or what Bathory now remembers with a laugh as “the center of the universe.”

“It was extremely hard, but in the beginning we knew we had something because there was this instant interaction,” Bathory says of fan response. “We were all in bands before — many, many bands. We all recognized that, OK, there’s something different here. We didn’t have to convince people. It just started happening and it was growing really fast.”

Zoltan Bathory, stands beneath a Turkish lamp in his Las Vegas house.

(Steve Appleford)

“The ones that make it, they’re here for decade after decade,” he says of the larger metal scene, which enjoys a seemingly eternal audience. “The family [of fans] is extremely loyal and they’re there forever. Once you’re in, you’re in.”

The band’s first album, 2007’s “The Way of the Fist,” was largely recorded in Bathory’s apartment near the Sunset Strip. It reached halfway up the Billboard Top 200 album chart and eventually went gold, with 500,000 copies sold. While even greater success follower, there has also been the usual ups and downs in the life of a metal band, with group members coming and going, troubles with substance abuse, and arguments over creative choices.

After two decades together, the singer and the guitarist have survived.

“It’s still a tornado. It’s a band, a bunch of guys, so I don’t think it’s ever going to change. We built this freaking thing like it was a battleship,” says Bathory with a grin, sitting in the castle beneath an ornate Turkish lamp.

“It’s always going to be that we fight and argue, but at the end of the day, we always figure things out. We always climb the next mountain.”

The Steve Miller Band has pulled the plug on its 2025 tour a month before it was set to kick off. Why? In the band’s words: “Blame it on the weather.”

The California rock group announced Wednesday that it has called off the remainder of its 2025 tour, including several shows in New York and concerts in Southern California, citing several extreme weather conditions.

“The combination of extreme heat, unpredictable flooding, tornadoes, hurricanes and massive forest fires makes these risks for you our audience, the band and the crew unacceptable,” the “Fly Like an Eagle” group said in a statement shared on its social media pages.

The Steve Miller Band announced its tour in March. In May, the group revealed that the slate of live shows would take its members across North America, starting with the East Coast in August. Shows in San Diego, Inglewood and Anaheim were set for November. While the announcement comes amid climate crises, including the fatal floods in the Northeast and Texas, the band did not specify which areas or weather events posed a risk to its tour plans.

Wednesday’s statement also left the possibility of future live performances pretty open-ended: “Don’t know where, don’t know when…We hope to see you all again.”

Though the group concluded its statement by wishing fans “peace, love and happiness,” it was met with division in the comments section. On Instagram, several followers said that they understood the rock band’s decision to call off the tour, while others wrote that they found the justification “odd” and speculated on reasons for the abrupt cancellation.

A representative for the rock group did not immediately respond to The Times’ request for additional information.

Just a day before its sudden announcement, the group continued to promote the tour on social media. On Tuesday, the band’s X (formerly Twitter) and Instagram pages published a photo of Miller, 81, receiving his star on the Hollywood Walk of Fame in 1987.

“Catch him and the band on tour starting next month,” said the caption accompanying the photo. The post at the time directed followers to the band’s website to purchase tickets.

Fans visiting the website are now met with the cancellation notice.

The Steve Miller Band was founded in the 1960s and is led by its namesake Grammy-winning vocalist and guitarist. It is also known for songs such as “Jungle Love,” “Abracadabra,” “Take the Money and Run” and “Space Cowboy.”

For much of the first 30-plus years of its existence, hardcore music was, for the most part, predictable. While there were outliers such as Bad Brains and Orange 9mm, many acts never veeredfar from the sound set in place by bands like Minor Threat in the early 1980s. Subgenres like metalcore (and other styles of music with “core” added) blossomed into their own scenes and sounds, but the central tenets of hardcore remained fairly constant — often with hordes of angry fans deriding anything that stepped too far in one way or another.

But over the last five to 10 years, the latest generation of musicians from punk rock’s slightly more aggressive cousin has expanded into new sonic territory. Bands like Baltimore’s Turnstile, Kentucky’s Knocked Loose and Santa Cruz’s Scowl have pushed the genre in new directions — gaining acclaim and popularity outside the hardcore scene, sometimes at the expense of its die-hard fans.

“It’s very awesome to be a part of that wave,” Knocked Loose vocalist Bryan Garris says. “I think there are a lot of bands that are bringing in new things and opening a lot of doors for everybody else. It’s like the generic saying, ‘A rising tide raises all ships.’ I truly believe there’s room for everybody to win, so it feels really good that all these brand-new opportunities are opening for everyone. You see younger hardcore bands really going for it right off the bat, and we’re very fortunate to be a part of the era that’s taking it to new heights.”

That’s why it’s only fitting for Knocked Loose to be headlining this weekend’s Sound and Fury Festival, bringing two full days of the best modern hardcore to Exposition Park. Since its inception in 2006, Sound and Fury quickly established itself as the event for hardcore and hardcore-adjacent music (from the heavier side of emo bands like Anxious to more extreme, metal-leaning acts) first in Los Angeles and then across the country. Just as the festival’s lineup and footprint has expanded both in size and musical variety over the years, Knocked Loose has seen its own popularity skyrocket as the band has continued to push the boundaries of what hardcore could be.

“From a sonic perspective, all these bands bringing in new influences to hardcore was pretty polarizing at first,” Garris says. “You had all these bands that toured and participated in the hardcore world but didn’t sound like a traditional hardcore band — and people really made that extremely controversial for an annoying amount of time. Once that barrier was broken, it allowed for so many unique artists and bands to bring new things to the table. Bills and touring packages became more diverse, and I think the coolest thing is when you put a tour package together that makes sense on paper but sonically makes no sense at all. It keeps things interesting and doesn’t create such a monotonous atmosphere at a show.”

Kentucky hardcore band Knocked Loose headlines this year’s Sound and Fury Festival

(Brock Fetch)

For Knocked Loose, one of the biggest steps outside of “traditional hardcore” it could possibly take was collaborating with pop-turned-metal artist Poppy on last year’s “Suffocate” — a gamble that paid off handsomely, introducing the band to a whole new audience and earning the group its highest-charting single and a Grammy nomination for metal performance. It’s a track that Garris still considers “definitely one of [his] favorite songs” while also allowing the band to get “weirder” and experiment in ways it might not normally consider.

While the band is already considering how it can continue to push the envelope even further without losing what makes Knocked Loose work at its core, the group is mindful of its history in the hardcore scene both as fans and artists. No scene is quicker to disown an act for its commercial success, and Garris (along with guitarists Isaac Hale and Nicko Calderon, bassist Kevin Otten and drummer Kevin Kaine) is fully aware of the line the band walks.

“We’ve never been writing a song and felt like we had to check in with how [hardcore fans] would feel about it, but when it comes to how we present the band, that’s where we keep hardcore in mind,” Garris says. “That’s where we come from and what we’re used to. Even though we know the band is obviously not going to be playing crazy small DIY, no-barricade hardcore shows anymore, it allowed us to create an experience on a much bigger stage. Then we do things like play Sound and Fury or put hardcore bands that we like on our bills because we still feel very passionately about these things. We’re very fortunate to be able to play these massive shows and have conversations about [pyrotechnics] and lights, but we’re still hardcore fans and that’s never changed.”

With acts like Knocked Loose, Scowl and England’s Basement on the bill this year, Sound and Fury continues to show why it’s arguably America’s preeminent hardcore festival, bringing together dozens of rising bands with just enough nostalgia acts (such as this year’s Forced Order reunion and Poison the Well) to remind the younger generations of those who came before. It’s a lineup you won’t see anywhere else, with a DIY hardcore vibe that fit just as well when hardcore fans and artists Sean Riley, Robert Shedd and Todd Jones held their initial event at the Alpine in Ventura 19 years ago.

“There are a lot of festivals in the mainstream rock atmosphere where the lineups are essentially the same,” Garris says. “For example, two years ago or so, every major rock fest in America was headlined by Metallica. That’s no diss at all, but Sound and Fury is such a different thing and the lineups feel so organic and exciting. They’re very good about scratching an itch that you didn’t know you had.”

“I think [hardcore fans] are seeking more context than what they’re getting from the mainstream — and since most of the people here arrive through that filter, it makes for a very open and welcoming space,” Riley adds. “So whether it’s being straightedge and eschewing drugs and alcohol, or whether you are someone who likes wearing corpse paint in public, or you’re a person who likes to dance at shows, this is a place you can come and be yourself without judgment. Combine that with hardcore shows being, in my opinion, the rawest form of live-music experiences you can find, it’s a freeing experience.”

Although Riley is the only one of the three original founders still working on Sound and Fury — currently teamed with Martin Stewart and Madison Woodward — he’s made sure to keep it as true to the hardcore ethos as possible year after year. Despite numerous venue changes and growth that many corporate festivals could only wish to have, Sound and Fury today is as instrumental to and beloved by the hardcore scene in Los Angeles and beyond as it’s ever been. It’s found a way to speak to multiple generations of hardcore kids (and adults), and now some of its biggest fans are the ones onstage.

“[Sound and Fury] has never been our ‘day job,’ but more of something we do in our off time that can hopefully inspire people — knowing how empowering and meaningful this DIY world has been for us and our lives outside of this music scene,” Riley says. “We’ve seen attendees start bands that play the fest, put out zines that they sell at the fest, start businesses or become food vendors that operate at the fest, and even people who now help us run the fest and have actual ownership stakes in the festival. Seeing it grow year after year in a very organic way really validates our approach and hopefully means it’s serving its purpose.”

“When we were preparing our year, [Sound and Fury] was one of my most anticipated shows of the year because I am such a fan of the festival,” Garris adds. “I’ve gotten to watch the festival grow from a fan’s perspective, and I remember going to the fest when it was like 1,000 people total. To see what it is now is amazing. It’s setting the bar for hardcore every single year and taking it to new places, because it was never supposed to be that big. The people that put it together care so much to protect the festival and to scale it to these unimaginable places — all while keeping it feeling DIY and like a hardcore festival. We’re just so excited to be a part of it.”

Or, as Scowl vocalist Kat Moss put it, “I would argue Sound and Fury is the best hardcore festival ever.”

Liam Payne fans have been left in tears just moments into Netflix’s Building The Band, his final project, which he filmed in the weeks leading up to his tragic death

Liam Payne fans have been left inconsolable as his final Netflix project has been released. Building The Band, which Liam filmed for Netflix just weeks before his death, has finally been released on the streaming platform.

The programme will show Liam at his best, helping other emerging musicians discover their talent and helping them navigate life in a band. But following his heartbreaking death in October last year, there had been speculation as to whether the show would still air.

Netflix later confirmed that they had shown the programme to Liam’s family, who had given their blessing and had watched the entirety of the show. On the programme, Liam sits alongside pal Nicole Scherzinger, who helped create mega-band One Direction when she was a guest judge on The X Factor, as well as former Destiny’s Child singer, Kelly Rowland.

As the show opened, host and Backstreet Boys star AJ McLean shared a very moving tribute to Liam. He said: “When we came together to film Building The Band, we never imagined we’d soon be saying goodbye to our friend, Liam Payne.

“Liam is a guest judge in later episodes and through his presence, we see his deep love for music and his unwavering commitment to helping others find their voice. It’s through that spirit that we dedicate this series to Liam and his family.” Since the first episode dropped earlier today, fans have taken to social media to share their heartbreak and tears.

One said: “I’m already broken.” A second went on to add: “I’m not strong enough to watch the show. The last work, the last performance, the last smile… I can’t do it, not yet. My mind keeps dragging me back to the pain, to the brutal truth that he’s gone. Maybe one day I’ll be brave enough but right now I just can’t.”

“I miss you so much, my love, wherever you are. I hope you’re being free and happy,” said another. Meanwhile, a fourth devastated fan typed: “You’re so deeply missed Liam.” Another commented: “Ahhh… I don’t think I can bring myself to watch Building The Band just yet. The trailer alone broke me, and I can’t even imagine how much harder the full show will hit. I’m sorry, Liam. One day, I promise. I’m so proud of you, and I know you were proud of it too.”

But in the first four episodes of the series, this is the only mention of Liam. As the credits rolled, the only judge who was named was Nicole Scherzinger.

As the fourth episode came to an end, host AJ revealed that the winning band would receive $500,000 as the cameras panned to Nicole and Kelly Rowland, with Liam being absent from the shot.

In October, Liam sadly died aged just 31, after falling from the third-floor balcony of his hotel room in Buenos Aires, Argentina. In the weeks leading up to his death, he had been in Manchester filming the series. Netflix had ensured that Liam’s legacy will be cemented on the programme and he will remain a firm key feature on the show.

A source said: “Even though Liam had filmed a substantial amount of material for the show, the decision was made shortly after his passing to continue the project, honour his legacy and amazing story as a One Direction member and bring this series to audiences.”

Building The Band episodes one to four are available to stream now on Netflix.

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Liam Payne’s final work project, Netflix’s Building The Band, has finally been released for viewers and features an emotional tribute to the late musician who died last year

Liam Payne fans have been left disappointed as the first episodes of his final TV project, Building The Band, have been released. The late One Direction singer filmed the Netflix show last year, just weeks before his tragic death.

He had been holidaying in Buenos Aires, Argentina, when he sadly fell from the balcony of his third-floor hotel room and suffered injuries incompatible with life. But prior to his tragic death, Liam had been happily filming the series alongside his pal Nicole Scherzinger and Destiny’s Child star, Kelly Rowland.

The programme, which was a huge career move for the 31-year-old, saw him helping emerging musicians hone in on their talent and offering advice to them, something he was extremely passionate about. Today, the first four episodes of the series were released on the streaming platform.

But, there was only one mention of Liam, right at the start, during a moving tribute by host and Backstreet Boys star, AJ McLean. He said it when filming the show, they could have never expected to have lost Liam so soon after.

As the credits started to roll throughout the first four episodes, only one judge was credited – Nicole Scherzinger, meaning that Liam will feature in later episodes of the series.

Taking to X, formerly known as Twitter, one fan said: “I didn’t know that all four episodes of building the band were available, I thought only ep 1 is released. Is Liam in any one of them, or is he in the episodes that are gonna be released on the 16th?”

A second added: “The tribute to Liam Payne at the start of Building The Band is lovely, don’t get me wrong. But I expected to see a bit more of him in the clips.” Meanwhile, a third went on to tweet: “Building the Band has already premiered, and in these first 4 episodes, Liam hasn’t appeared yet, but there is a small tribute at the beginning.

“We will see Li as a judge in the second part, which premieres on JULY 16, the day that marks 9 months since the worst tragedy. I won’t be able to handle it.” Show runner, Cat Lawson has since praised Liam for his contribution to the show.

She said: “The show is dedicated to Liam. We all loved him and he was amazing in the show,” before explaining that his death last year had affected everybody he worked with on the programme, saying: “You get to know people really quickly [on these shows] and he was a glorious person.”

As the show opened, host and Backstreet Boys star AJ McLean shared a very moving tribute to Liam. He said: “When we came together to film Building The Band, we never imagined we’d soon be saying goodbye to our friend, Liam Payne.

“Liam is a guest judge in later episodes and through his presence, we see his deep love for music and his unwavering commitment to helping others find their voice. It’s through that spirit that we dedicate this series to Liam and his family.”

Episodes one to four of Building The Band are available to stream on Netflix, now.

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok, Snapchat, Instagram, Twitter, Facebook, YouTube and Threads.

In a time of exploding success and creativity in rock music, Creedence Clearwater Revival was quite possibly the finest singles band of the late 1960s and early 1970s. Formed in suburban El Cerrito in Northern California by frontman John Fogerty, his brother Tom on guitar, bassist Stu Cook and drummer Doug Clifford, CCR put up an absurd number of all-timers in the space of about 2 1/2 years, including most of the 20 collected on “Chronicle,” the 1976 greatest-hits LP that still sits on the Billboard 200 album chart today, nearly half a century later.

The band’s instantly identifiable sound — which the members began developing first as the Blue Velvets and then as the Golliwogs — combined blues, rock, psychedelia and R&B; John Fogerty’s voice, preternaturally scratchy and soulful for a guy in his early 20s, gave the music a feeling of sex and grit even as he flexed his commercial pop smarts as a producer and hook-meister.

For all their popularity, Fogerty refused to play Creedence’s biggest hits for decades due to a prolonged legal battle with his old label, Fantasy Records, over the rights to his songs — a feud that reached a kind of apex when Fantasy’s head honcho, Saul Zaentz, sued Fogerty for plagiarizing himself with his solo song “The Old Man Down the Road,” which Zaentz said sounded too much like CCR’s “Run Through the Jungle.” (Fogerty eventually won; Zaentz died in 2014.)

Yet two years ago, Fogerty regained control of his publishing, and now he’s made an album of Taylor Swift-style rerecorded versions of the band’s songs called “Legacy: The Creedence Clearwater Revival Years,” due Aug. 22. Ahead of a concert Sunday night at the Hollywood Bowl, where he’ll be accompanied by a band that includes his sons Shane and Tyler, Fogerty, 80, called from the road to tell the stories behind five of his signature tunes.

‘Proud Mary’ (1969)

After charting in 1968 with covers of Dale Hawkins’ “Susie Q” and Screamin’ Jay Hawkins’ “I Put a Spell on You,” Fogerty scored his first hit as a songwriter with this funky and propulsive country-soul jam.

“Proud Mary” came as a bolt of lightning and inspiration from heaven. I’d received my honorable discharge from the Army in the middle of 1968, and I was overjoyed — I mean, absolutely euphoric. It meant that I could now pursue music full-time. So I went in the house with my Rickenbacker guitar and started strumming some chords, and the first line I wrote was “Left a good job in the city / Working for the man every night and day.” That’s how I felt getting out of the Army.

But what is this song about? I really didn’t know. I went to my little song book that I’d only started writing in a few months before — it was a conscious decision to get more professional — and, lo and behold, the very first thing I’d ever written in that book was the phrase “Proud Mary.” I didn’t know what it meant — I just wrote it down because that was gonna be my job. I’ve got this little book, and I’m gonna collect my thoughts.

At the very bottom of the same page was the word “riverboat.” I remember saying to myself, “Oh, this song’s about a riverboat named Proud Mary.” How strange is that? Who writes a song about a boat? But after that I was off and running — finished the song within the hour, and for the first time in my life, I was looking at the page and I said, “My God, I’ve written a classic.” I knew it was a great song, like the people I admired so much: Hoagy Carmichael or Leiber & Stoller or Lennon & McCartney. I felt it in my bones.

Where did the narrator’s accent come from? “Big wheel keep on toinin’” and all that?
Howlin’ Wolf was a huge inspiration to me when I was 10, 11, 12 years old. He said things like that a lot, and I guess it went into my brain. I didn’t do it consciously — it just seemed right to me when I was writing the song.

CCR had five singles that got to No. 2 on the Billboard Hot 100, including “Proud Mary.” Do you recall what was at No. 1 when “Proud Mary” reached No. 2?
Let’s see, this was early 1969 — I’d love to think that it was [Otis Redding’s] “Dock of the Bay.”

“Everyday People” by Sly and the Family Stone.
No kidding. How cool.

Did you know Sly?
I never met Sly Stone. I really loved the records. I was at Woodstock, and he was a couple acts after me. I watched Janis [Joplin] and then some of Sly, and then we retired to our Holiday Inn — must have been 4 in the morning by then.

Ike and Tina Turner remade “Proud Mary” for themselves.
It’s almost a different song. First time I heard it, I was driving in my car — was one of those times you pump your first and go, “Yeah!”

‘Lodi’ (1969)

This twangy account of a musician fallen on hard times first appeared on the B-side of the “Bad Moon Rising” single.

My mom and dad loved traveling from our little town of El Cerrito. We would drive up San Pablo Avenue — I don’t think there was a freeway back then — and cross the Carquinez Bridge into Vallejo and keep going up into the northern-central part of California and all those wonderful places like Stockton and Tracy and Modesto. I got to know all these towns like Dixon and Davis, and I heard my parents talk about Lodi. As a youngster, that was one of the words I saved in my book, like I was talking about earlier. I told myself, “That’s important, John — you need to save that and remember it.”

As I started to get a little older, I remember playing on campus at Cal Berkeley with a ragtag group of guys — a local dance kind of thing for the students. The guy from Quicksilver Messenger Service with the afro [David Freiberg], he was there too playing with his band, and they did a song where it sounded like he was saying “Lodi.” I was heartbroken. When he got done with his set, I went over and asked the gentleman, “What was that song you were doing? Was it called ‘Lodi’?” He said, “Oh, you mean ‘Codeine.’” Boy, did I crack up. Here I am, the farmer boy thinking about Lodi, and he’s the downtown guy talking about drugs.

Anyway, all that meandering my family did through the Central Valley was very important to me. There came a time when I was inspired to write a song framed in a place that was kind of out of the way. I was 23 or so, but I was picturing a much older person than myself — maybe Merle Haggard when he gets older. There he is, stuck in this little town because he’d drifted in and he doesn’t have the money to get out.

‘Fortunate Son’ (1969)

Immediately adopted as an anthem among those opposed to the Vietnam War, Fogerty’s searing protest song was later inducted into the Library of Congress’ National Recording Registry.

You said in 2014 that you weren’t entirely satisfied by your lead vocal.
I still feel the same way. The basic tracks for “Down on the Corner” and “Fortunate Son” were both recorded, and one afternoon I went over to Wally Heider’s studio to finish the songs. For “Down on the Corner,” I did the maracas and the middle solo part, then sang all the background vocals, then sang the lead. So I’d been singing at the top of my lungs for probably an hour and a half, then I had to go back and finish “Fortunate Son.” I was screaming my heart out, doing the best I could, but later I felt that some of the notes were a little flat — that I hadn’t quite hit the mark. I always sort of cringed about that.

There’s an argument to be made that the raggedness in your voice is what gives the song its urgency.
I know that in the case of the Beatles, John would just sit in the studio screaming and screaming until his voice got raw enough, then he’d record some takes. Perhaps the fact that it was a little out of tune made it — what’s the word? — more pop-worthy. I don’t know.

“Fortunate Son” was heard at President Trump’s recent military parade, despite your asking him not to use it during his 2020 campaign.
I didn’t watch other than a few seconds. I was trying to find the Yankee game and came across the parade. I was expecting it would be like the Rose Bowl Parade on New Year’s morning, but it seemed really kind of sleepy. Somebody emailed me later that night and told me. I thought it was strange — thought it would be something that someone would be wary of.

Because of the cease-and-desist — and because the song is literally about a person of privilege avoiding military service.
I thought to myself: Do you think somebody did it on purpose? Are they doing it as some weird kind of performance art? I might be giving too much credit to the thought that went into it.

“Fortunate Son” is one of the great rock songs about class, which is a concept that Trump has deeply reshaped in his time.
He’s a rich guy but he manages to make himself look like the underdog and the victim. I’m from the ’60s — the hippie era — when young people were much more unified in the sense that everybody should be equal and everyone should be tolerant and respectful of each other. It’s a little different now, even though I’m very happy that people are protesting and making noise and pointing out injustice — I’m thrilled that’s going on instead of just standing by and watching somebody get lit on fire.

But we’re so polarized in America now. I’m hopeful, though. You didn’t ask me the question, but I am. I think we’re all starting to get tired of that. It doesn’t work very well — what we’re doing right now is certainly not working. If we fire everybody and quit all knowledge and science and education and manners and morality and ethics and kick out all the immigrants — well, I guess you and me are probably gone along with everybody else. I mean, it’s just such complete negativity. As Americans, that’s not us — that’s not how we roll.

‘Run Through the Jungle’ (1970)

With worries about the spread of gun ownership in his head, Fogerty devised one of his eeriest productions for this swampy psych-rock number.

I was trying to do a lot with a little — certainly got the band cooking and got a good groove going. For the intro, I wanted to create maybe a Stanley Kubrick movie soundscape, but of course I didn’t have a symphony orchestra or synthesizers or any of that kind of stuff. I had to imagine: How do I use these rock ’n’ roll instruments — basically guitar and piano and a little bit of percussion and some backward tape — and create that ominous, rolling vibe?

Along with the Beach Boys’ Brian Wilson, you were one of the few rock and pop musicians of that era who produced your own records.
To me, it was natural. I remember a time in the little shed that Fantasy had built outside the back of their warehouse to use as a recording studio — I was working there one day, had the earphones on and I was at the mic. This was Golliwogs time, probably ’65 or ’66, and I was trying to get something accomplished that was not getting accomplished. I said out loud, “Well, I guess Phil Spector’s not gonna come down here and produce us, so I’m gonna have to learn how to be a producer myself.”

Saul Zaentz famously took you to court for self-plagiarism. Is there anything at all in your mind that connects “Run Through the Jungle” and “The Old Man Down the Road”?
Other than both of them having a very deep footprint within the blues, which is what has influenced me greatly in my life, I never thought they were even similar. The whole thing was preposterous.

‘Have You Ever Seen the Rain’ (1970)

After CCR’s “Pendulum” LP — which included this tender ballad that now boasts more than 2 billion streams on Spotify — Tom Fogerty quit the group; the remaining three members went their separate ways less than two years later.

I loved my band — I thought it was the culmination of everything I’d been working for — and to watch it sort of disintegrating, I just felt powerless. That’s why I use the strange metaphor of rain coming down on a sunny day: We had finally found our sunny day, and yet everybody seemed to be more and more unhappy. I just felt completely befuddled by what was going on — I didn’t know what to say or do that was gonna fix it.

Up to that time, I’d thought the way to fix it was: Well, I’ll just write more songs and we’ll have more success — that’ll take care of all our problems. That’s how I felt — pathetically so — even as far as my relationship with Saul Zaentz and the horrible contract. I thought if I just showed that I was a great songwriter and could make these records that perhaps he would have some empathy and go, “I should treat John better because I want to have more of these songs.” When I say that now, it sounds utterly foolish.

In spite of the pain you were in at the time, this song is one of your sweetest.
That’s true. It’s like an atom bomb going off in your backyard — it’s so horrible that you just sort of cling to your positive human emotion. Even if it’s painful, you try to feel rather than be numb.

“Have You Ever Seen the Rain” has been covered widely: Willie Nelson, Johnny Cash, the Ramones, Rod Stewart. You have a favorite rendition besides yours?
I really liked Bonnie Tyler’s version.

NEW YORK — “Don’t Look Back in Anger” is good advice for the Britpop band Oasis, who launch their surprising reunion tour today in Cardiff, Wales.

Led by brothers Liam and Noel Gallagher, the reunion marks the end of the siblings’ long-held feud, one that led to Oasis disbanding in 2009. For many fans, this news is almost too good to be true. They’re anxiously awaiting whether the Gallaghers will indeed make it through the entire run of international dates and even perhaps extend the reunion.

Whether they’re in it for the long haul or will call it quits at some point sooner (hopefully not before they reach the Rose Bowl Sept. 6 and 7), here’s a look at a few other very famous — but very brief — band reunions.

The Beach Boys

DISBANDED: Technically, they never broke up. Read on.

HOW LONG THE REUNION LASTED: A few months in 2012.

WHAT HAPPENED: There is no linear history when it comes to the Beach Boys, but here’s the abridged: Band members came and went, and the band’s visionary, the late Brian Wilson, retired from touring in 1964 following a breakdown caused by stress and exhaustion. His place was soon filled by Bruce Johnston, who remained with the group for decades. Wilson also infamously feuded with his cousin and bandmate Mike Love over songwriting credits for years.

The question here is: Can a band that never broke up reunite? In this case, yes: The band — with both Wilson and Love — got together for a new album, “That’s Why God Made the Radio,” and world tour in 2012, celebrating the band’s 50th anniversary. It wasn’t the whole original lineup, however: Drummer Dennis Wilson died in 1983, and guitarist Carl Wilson died in 1998.

CHANCES OF GETTING BACK TOGETHER: The force behind the band, Brian Wilson, died last month at age 82, but Love continues to tour under the Beach Boys name.

Led Zeppelin

DISBANDED: 1980

HOW LONG THE REUNION LASTED: Good question. The band played a few one-off events in the mid-1980s throughout the ’00s, never embarking on a reunion tour. So, a few days? A few hours?

WHAT HAPPENED: Led Zeppelin disbanded immediately following the death of drummer John Bonham in 1980, reuniting only for a select few events in the decades that followed. Most notably, their first show back was a complicated set at Live Aid in 1985 in Philadelphia. Lead singer Robert Plant, guitarist Jimmy Page and bassist John Paul Jones’ last performance together was in 2007 at the Ahmet Ertegun Tribute Concert held in London’s O2 Arena. There, Bonham’s son Jason Bonham played the drums. Page and Plant had a separate band together that released a couple of albums in the ‘90s.

CHANCES OF GETTING BACK TOGETHER: Highly unlikely. The band has successfully evaded reunion requests in the past, including one from President Bill Clinton. In 2013, Clinton asked the British rock greats to get back together for the 2012 Superstorm Sandy benefit concert in New York City. He asked; they said no.

Nirvana

DISBANDED: 1994

HOW LONG THE REUNION LASTED: A series of one-off performances in the 2010s and 2020s.

WHAT HAPPENED: Nirvana disbanded following the death of frontman and principal songwriter Kurt Cobain. Its members pursued other projects — most notably, drummer Dave Grohl founded the Foo Fighters. But two decades after Cobain’s death, in 2014, Nirvana was inducted into the Rock & Roll Hall of Fame, so bassist Krist Novoselic, touring guitarist Pat Smear (of the Germs) and Grohl got together for a short set — joined by Lorde, St. Vincent, Joan Jett and Kim Gordon on vocals for a reunion dubbed “Hervana.”

CHANCES OF GETTING BACK TOGETHER: Maybe there could be a few more gigs here and there? Novoselic and Grohl reunited for a few one-off performances in the years that followed, most recently coming together for the Fire Aid benefit concert in Los Angeles and the 50th anniversary celebrations for “Saturday Night Live,” both this year. At the latter, Post Malone took over vocal duties.

Oasis

DISBANDED: 2009

HOW LONG THE REUNION IS SUPPOSED TO LAST: If the band makes it through their full run of reunion shows, July through November. So, five months.

WHAT HAPPENED: Good question. The band — and in particular, the Gallagher brothers — have not released a public statement giving specific reasons for the reunion. But the initial tour announcement did seem to allude to past tensions. “The guns have fallen silent,” Oasis said. “The stars have aligned. The great wait is over. Come see. It will not be televised.”

In 2019, Liam Gallagher told the Associated Press he was ready to reconcile.

“The most important thing is about me and him being brothers,” he said of Noel. “He thinks I’m desperate to get the band back together for money. But I didn’t join the band to make money. I joined the band to have fun and to see the world.”

Fans had long theorized a reunion might be on the horizon, too: In the wake of the 2017 bombing that killed 22 at an Ariana Grande concert in Oasis’ hometown of Manchester, Liam Gallagher performed at a benefit concert. He criticized his brother’s absence, but a spokesperson said Noel Gallagher couldn’t attend because of a long-standing family trip. Benefit organizers said Noel Gallagher approved the use of Oasis’ music and donated royalties from “Don’t Look Back in Anger” to the British Red Cross’ One Love Manchester fund.

CHANCES OF GETTING BACK TOGETHER: It’s happening. A better question is: What are the chances of a new album? That’s impossible to know.

Outkast

DISBANDED: They never officially disbanded, so call it a hiatus. They never released another album after 2006’s “Idlewild,” and 2007 is frequently cited as the year they officially took a break.

HOW LONG THE REUNION LASTED: A few months in 2014? They announced reunion dates in January 2014, played their first in April, and ended that October.

WHAT HAPPENED: At the top of 2014, Outkast — the innovative Atlanta-based hip-hop duo consisting of Big Boi and André 3000 — announced they would tour festivals around the world to mark 20 years of their band, following a near-decade-long hiatus. The dates began at Coachella, where the duo headlined both Friday night shows. Then they made their way to their home state of Georgia for the CounterPoint Music & Arts Festival, which the AP described as “an energetic show that kept the crowd jamming in the late hours.”

Once the reunion shows were done, so was Outkast. Big Boi continued to release solo records, and André 3000 would follow suit … almost 10 years later, when he released his debut solo full-length album, the flute-forward “New Blue Sun,” in 2023.

“New Blue Sun” has “no bars,” he joked to AP shortly after it was released. It’s a divergence from rap because “there was nothing I was liking enough to rap about, or I didn’t feel it sounded fresh.”

CHANCES OF GETTING BACK TOGETHER: When asked about new Outkast music, André 3000 told AP, “I never say never. … But I can say that the older I get, I feel like that time has happened.”

The Velvet Underground

DISBANDED: 1973, more or less.

HOW LONG THE REUNION LASTED: A few months in 1993.

WHAT HAPPENED: Here’s another opaque one for you, as band reunions so often tend to be: John Cale was ousted in 1968, Lou Reed left in 1970 and the Velvet Underground slowly dissolved from there, releasing their final album, “Squeeze,” in 1973. In 1990, Cale and Reed joined forces to release an album in homage to Andy Warhol, “Songs for Drella,” opening the door for a future reunion. There were a few one-off performances, and then the band toured Europe in 1993, including a performance at Glastonbury.

CHANCES OF GETTING BACK TOGETHER: It is pretty much impossible. Reed died in 2013. Guitarist Sterling Morrison died in 1995. And Nico died in 1988.

Sherman writes for the Associated Press.

The BBC issued a formal apology after broadcasting a controversial performance from the rap-punk group Bob Vylan at England’s Glastonbury festival.

Bob Vylan — outspoken critics of Israel’s war on Gaza — led its crowd at last weekend’s festival in a chant of “Death to the IDF,” or Israel Defense Forces.

The BBC’s director- general Tim Davie wrote to staff in an internal memo on Thursday. “I deeply regret that such offensive and deplorable behavior appeared on the BBC and want to say sorry — to our audience and to all of you, but in particular to Jewish colleagues and the Jewish community,” Davie said. “We are unequivocal that there can be no place for antisemitism at the BBC.”

The broadcaster announced several policy changes for future festival broadcasts, including keeping “high risk” acts off live broadcasts and live streams.

Bob Vylan’s set led to some backlash within the music industry and beyond. The comments prompted local police to open a criminal investigation, and the band’s U.S. visas were revoked for its upcoming performances. The band’s agency, UTA, reportedly dropped them as well.

The band’s singer, who performs as Bobby Vylan, wrote on Instagram after the set that “teaching our children to speak up for the change they want and need is the only way that we make this world a better place,” adding, “Let them see us marching in the streets, campaigning on ground level, organising online and shouting about it on any and every stage that we are offered.”

The Northern Irish rap trio Kneecap, a fellow Glastonbury performer, has also come under scrutiny for its outspoken criticism of Israel’s war on Gaza. The band’s Glastonbury set was not broadcast live. The group’s Liam Óg Ó hAnnaidh, who performs as Mo Chara, had been charged with supporting a proscribed organization for allegedly waving a flag from the terror group Hezbollah at a London concert in 2024 (Chara denied the charge). U.K. prosecutors also recently dropped charges against Kneecap after a 2023 concert where Chara allegedly said, “The only good Tory is a dead Tory. Kill your local MP.”

Foo Fighters are celebrating the anniversary of an old album with the release of a new song.

Nearly 30 years to the day after Dave Grohl’s stadium-filling rock band dropped its self-titled debut on July 4, 1995, the group on Wednesday revealed “Today’s Song,” its first piece of original material since 2023’s “But Here We Are” LP, which itself followed the death of Foo Fighters drummer Taylor Hawkins in 2022.

“I woke today screaming for change / I knew that I must,” Grohl sings over a subdued organ part, “So here lies the shadow / Ashes to ashes, dust into dust.” Later, the frontman sings about “waiting for someone to repair you” as the song explodes with the band’s signature guitar theatrics and bludgeoning drums.

In a statement, Grohl, 56, said, “Over the years, we’ve had moments of unbridled joy, and moments of devastating heartbreak. Moments of beautiful victory, and moments of painful defeat. We have mended broken bones and broken hearts. But we have followed this road together, with each other, for each other, no matter what. Because in life, you just can’t go it alone.”

Referring to former members of the band, he added, “It should go without saying that without the boundless energy of William Goldsmith, the seasoned wisdom of Franz Stahl, and the thunderous wizardry of Josh Freese, this story would be incomplete, so we extend our heartfelt gratitude for the time, music, and memories that we shared with each of them over the years. Thank you, gentlemen.” (Freese, who took over as drummer following Hawkins’ death, was fired from the band in May for reasons he’s said remain unknown to him.)

“And… Taylor,” Grohl continued. “Your name is spoken every day, sometimes with tears, sometimes with a smile, but you are still in everything we do, everywhere we go, forever. The enormity of your beautiful soul is only rivaled by the infinite longing we feel in your absence. We all miss you beyond words. Foo Fighters will forever include Taylor Hawkins in every note that we play, until we do finally reach our destination.”

A spokesperson for Foo Fighters declined to specify who played drums on “Today’s Song,” though the playing recalls Grohl’s work on the band’s debut, which he recorded as a one-man band, and as the drummer of Nirvana. Earlier this week, Foo Fighters released a cover of Minor Threat’s early-’80s hardcore classic “I Don’t Wanna Hear It,” which the band said combined music recorded in 1995 with vocals recorded in 2025.

“Today’s Song” comes less than a year after Grohl — who has three daughters with his wife, Jordyn Blum — wrote in an Instagram post that he’d fathered a daughter with a woman outside of his marriage.

“I plan to be a loving and supportive parent to her,” he wrote. “I love my wife and my children, and I am doing everything I can to regain their trust and earn their forgiveness.” Grohl’s oldest daughter, 19-year-old Violet, performed Nirvana’s “All Apologies” with Nirvana’s surviving members at January’s FireAid concert; his second-oldest daughter, Harper, designed the single artwork for “Today’s Song.”

Foo Fighters are scheduled to play a series of concerts in Asia in October before headlining Mexico City’s Corona Capital festival in November.

Following the success of Louis Theroux’s series called Boybands Forever, the journalist is planning a girl group version, but one iconic group has reportedly shunned his approach

Louis Theroux is used to interviewing the best in the business. However, one band has reportedly shunned his advances to tell their story.

The popular journalist is creating a new bombshell BBC documentary on girlbands following on from last year’s successful production of Boybands Forever. It’s thought Louis had seen the iconic band as being instrumental in any production.

However, a TV insider has claimed that the quintet – made up of Victoria Beckham, Emma Bunton, Melanie C, Melanie Brown MBE and Geri Horner – aren’t prepared to bare all just yet.

While last year’s boyband version saw Robbie Williams open up on his turbulent time in Take That, the source says the Girl Power group aren’t looking to follow suit.

Talking to the Sun, a source said: “The difference is that the Spice Girls are fast approaching 30 years since the release of their debut single Wannabe and have a string of projects in the pipeline.

“Many of the issues that Robbie brought up on Boybands Forever were wholly justifiable, and most viewers sympathised with his situation when he was in Take That.

“But none of the Spice Girls want to do the same, and they feel it wouldn’t be fair on their loyal fans to spoil the magic of Girl Power so close to their anniversary year. They want 2026 to be a moment when they celebrate the group’s achievements.”

While the Spice Girls are reportedly steering clear of the offering, other groups from the era are expected to feature. With it thought chats will be conducted face to face, members of groups such as Eternal, Atomic Kitten, Girls Aloud, Sugababes and All Saints are rumoured to be taking part.

Boybands Forever, which was released at the back end of last year, was a series that focused on boybands of the 90s and early 2000s. Among those who featured, as well as Robbie Williams, was Simon Cowell.

Prior to its release, Louis said of the series: “It involves some of the icons of modern British pop – and we see them through their highs and lows.” He added: “It’s how they came together, the experience of sudden fame, the opportunity and temptations that came their way, conflicts within the groups, between the groups, and between the boys and their managers.

“It’s a gripping fable about getting everything you dreamed of, and it not being what you imagined, centred on a generation of young men, and their managers, who were wildly successful and also immensely vulnerable, having the times of their lives and also in some cases cracking up.”

READ MORE: FatFace’s ‘cool’ summer dress that ‘doesn’t crease’ and will ‘pack well for holidays’

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As the manager of Guns N’ Roses during the band’s debauched heyday, Alan Niven has no shortage of colorful stories.

The LAPD fetching Axl Rose from his West Hollywood condo and bringing him directly to the stage so Guns N’ Roses could open for the Rolling Stones at the L.A. Coliseum.

Slash going off script and taking a Winnebago for a joyride — and then standing in rush hour traffic and brandishing a bottle of Jack Daniels — while filming the “Welcome to the Jungle” music video.

Guitarist Izzy Stradlin carrying a $750,000 cashier’s check that Niven had to take from him and hide in his own shoe for safekeeping during a raucous trip to New Orleans.

About 15 minutes into a thoughtful Zoom conversation, the garrulous Niven poses a question of his own: “Why was I managing Guns N’ Roses?”

Given what he describes, it is a good question.

“Because nobody else would do it,” he says, noting that the band’s former management firm “could not get away fast enough” from the group. “No one else would deal with them. Literally, I was not bottom of the barrel, darling — I was underneath the barrel. It was desperation.”

Case in point: his very first Guns N’ Roses band meeting. On the way into the house, Niven says, he passed by a broken toilet and “one of the better-known strippers from [the] Sunset Strip.” Stradlin and Slash were the only ones who’d shown up. Once the meeting started, Stradlin nodded out at the table and Slash fed “a little white bunny rabbit” to a massive pet python.

“And I’m sitting there going, ‘Keep your cool. This may be a test. Just go with it and get through it.’ But that was my first GNR meeting.”

These kinds of stranger-than-fiction anecdotes dominate Niven’s wildly entertaining (and occasionally jaw-dropping) new book, “Sound N’ Fury: Rock N’ Roll Stories.” With brutal honesty and vivid imagery, he describes the challenges of wrangling Guns N’ Roses before and after the band’s 1987 debut, “Appetite for Destruction.” These include mundane business matters (like shooting music videos on a budget) and more stressful moments, such as navigating Rose’s mercurial moods and ensuring that band members didn’t take drugs on international flights.

But “Sound N’ Fury” also focuses extensively on Niven’s time managing the bluesy hard rock band Great White, whose lead singer, the late Jack Russell, had his own struggles with severe addiction. To complicate the entanglement, Niven also produced and co-wrote dozens of the band’s songs, including hits “Rock Me” and “House of Broken Love.”

Niven mixes delightful bits of insider gossip into these harrowing moments: firing for bad behavior future superstar director Michael Bay from filming Great White’s “Call It Rock ’n’ Roll” music video; Berlin’s Terri Nunn sending President Reagan an 8-by-10 photo with a saucy message; clandestinely buying Ozzy Osbourne drinks on an airplane behind Sharon Osbourne’s back.

And his lifelong passion for championing promising artists also comes through, including his recent advocacy for guitarist Chris Buck of Cardinal Black.

Unsurprisingly, Niven says people had been asking him for “decades” to write a book (“If I had $1 for every time somebody asked me that, I’d be living in a castle in Scotland”). He resisted because of his disdain for rock ‘n’ roll books: “To me, they all have the same story arc and only the names change.”

A magazine editor paid him such a huge compliment that he finally felt compelled to write one.

“He said, ‘I wish I could write like you,’ ” Niven says. “When he said that, it put an obligation on me that I couldn’t shake. Now I had to be intelligent about it and go, ‘Well, you hate rock ‘n’ roll books, so what are you going to do?’ ”

Niven’s solution was to eschew the “usual boring, chronological history” and structure “Sound N’ Fury” more like a collection of vignettes, all told with his usual dry sense of humor and razor-sharp wit.

“If you tell the stories well enough, they might be illuminating,” he says. “I saw it more as a record than I did a book. And you hope that somebody will drop the needle in at the beginning of the record and stay with the record until it’s over.

“For me, dialogue was key — and, fortunately, they were all more f— up than I was,” he adds. “So my memory of the dialogue is pretty good. … There’s some dialogue exchanges in there that imprinted themselves for as long as I live.”

One of the artists that doesn’t get much ink in “Sound N’ Fury” is another group known for its hedonistic rock ‘n’ roll behavior, Mötley Crüe.

“The fact that people are still interested in what you’ve got to say about things that happened 30 years ago is almost unimaginable,” Alan Niven says.

(ECW Press)

Niven promoted and facilitated distribution of the independent release of the band’s 1981 debut, “Too Fast for Love” and helped connect Mötley Crüe with Elektra Records. He doesn’t mince words in the book or in conversation about the band, saying he feels “very ambivalent about the small role I played in the progression of Mötley Crüe because I know who they are. I know what they’ve done to various people. I know how they’ve treated certain numbers of women. And I am not proud of contributing to that.

“And on top of that, someone needs to turn around and say, ‘It’s a thin catalog that they produced,’ in terms of what they produced as music,” he continues. “There’s not much there and it’s certainly not intellectually or spiritually illuminating in any way, shape or form. They are brutish entertainers, and that’s it.”

Still, Niven says he didn’t hesitate to include the stories that he did in “Sound N’ Fury,” and by explanation notes a conversation he had with journalist Mick Wall.

“He sent me an email the other day saying, ‘Welcome to the club of authors,’ ” he recalls. “And I’m going, ‘Yeah, right. You’ve been doing it all your life. I’m just an enthusiastic amateur.’ And he said, ‘Welcome to the club — and by the way, it’s cursed.’”

Niven pondered what that meant. “A little light bulb went on in my head, and I went, ‘Ah, yes, the curse is truth,’ because a lot of people don’t want to hear the truth and don’t want to hear what truly happened.

“There are people in the Axl cult who won’t be happy. There will be one or two other people who won’t be happy, but there’s no point in recording anything unless it’s got a truth to it.”

Niven says when the book was done, he didn’t necessarily gain any surprising insights or new perspectives on what he had documented.

“The fact that people are still interested in what you’ve got to say about things that happened 30 years ago is almost unimaginable,” he says. “I never used to do interviews back in the day. But at this point, it would just be graceless and rank bad manners not to respond.

“Occasionally people go, ‘Oh, he’s bitter,’” Niven continues. “No, I am not. I don’t think the book comes off as bitter. Many times I’ve said it was actually a privilege to go through that period of time because I didn’t have to spend my life saying to myself, ‘I wonder what it would have been like to have had a No. 1. To have had a successful band.’ Well, I found out firsthand.”

Niven stresses firmly that management was more than a job to him.

“It was my way of life,” he says. “People who go into management and think it’s a job that starts maybe at about half past 10 in the morning once you’ve had your coffee and then you check out at six, they’re not true managers.

“They’re not in management for the right reasons,” he adds. “Rock ‘n’ roll is a way of f— life. It’s 24/7, 365. And that was my approach to it.”

Thousands of fans chanted ‘free Palestine’ and waved Palestinian flags as the Irish trio performed in the UK.

Irish-language rap group Kneecap has performed at the Glastonbury Festival in front of tens of thousands of fans chanting “Free Palestine”, defying United Kingdom Prime Minister Keir Starmer who said he did not think it was “appropriate” for the band to appear.

The group’s Liam O’Hanna on Saturday also gave a “shout-out” to Palestine Action Group, which UK Interior Minister Yvette Cooper announced last week would become a banned group under the Terrorism Act of 2000.

“The prime minister of your country, not mine, said he didn’t want us to play, so f*** Keir Starmer,” said O’Hanna, who appeared on stage wearing his trademark Palestinian keffiyeh in front of the capacity crowd, including many people waving Palestinian flags.

“This situation can be quite stressful but it’s minimal compared to what the Palestinian people are [facing],” O’Hanna, who performs under the name Mo Chara, added, referring to the backlash the band has faced for its outspoken support of Palestinians in Gaza.

He is facing charges under the British Terrorism Act of supporting a proscribed organisation for allegedly waving a flag of Lebanon’s Hezbollah armed group at a concert in London in November last year.

O’Hanna has said he picked up a flag that was thrown onto the stage without knowing what it represented.

The rapper is on unconditional bail before a further court hearing in August.

“Glastonbury, I’m a free man!” he shouted as the trio took to the stage at Glastonbury’s West Holts field, which holds about 30,000 people.

The trio also thanked festival organisers Michael and Emily Eavis for resisting pressure to cancel their appearance, including from Starmer.

Several Kneecap concerts have been cancelled since the band’s performance at the Coachella Valley Music and Arts Festival in California in April, where they accused Israel of committing genocide against the Palestinians, enabled by the United States government.

At least 56,412 Palestinians have been killed and 133,054 wounded in Israel’s war on Gaza, according to Gaza’s Ministry of Health.

Ireland’s people and government have been some of the most outspoken critics of the war, as well as Israel’s deliberate starvation of Gaza’s population, which many people see as having parallels to the English occupation of Ireland.

The BBC, which broadcasts dozens of Glastonbury performances, did not show Kneecap’s set live, but said it planned to make it available online later.

The broadcaster said it would not be re-airing the live performance of British rap punk duo Bob Vylan who appeared on stage before Kneecap and led chants of “Free, free Palestine” and “Death, death to the IDF [Israeli army]”.

A BBC spokesperson said the comments were “deeply offensive”, and that they would not be available to rewatch on BBC iPlayer.

The BBC also reported that UK Culture Minister Lisa Nandy spoke to the BBC director general, Tim Davie, seeking an “urgent explanation” after the chants were aired live.

According to the BBC, Avon and Somerset Police also said that they would be reviewing footage of both Kneecap and Bob Vylan’s sets to “determine whether any offences may have been committed that would require a criminal investigation”.

The bands were among about 4,000 performers across 120 stages to appear at this year’s festival, which also featured headliners including Neil Young, Charli XCX, Rod Stewart, Busta Rhymes, Olivia Rodrigo and Doechii, as well as a surprise appearance by Britpop band Pulp.

PILTON, England — Irish-language rap group Kneecap gave an impassioned performance for tens of thousands of fans on Saturday at the Glastonbury Festival despite criticism by British politicians and a terrorism charge against one of the trio.

Liam Og O hAnnaidh, who performs under the stage name Mo Chara, has been charged under the Terrorism Act with supporting a proscribed organization for allegedly waving a Hezbollah flag at a concert in London in November. The rapper, who was charged under the anglicized version of his name, Liam O’Hanna, is on unconditional bail before a further court hearing in August.

“Glastonbury, I’m a free man!” O hAnnaidh shouted as Kneecap took the stage at Glastonbury’s West Holts field, which holds about 30,000 people. Dozens of Palestinian flags flew in the capacity crowd as the show opened with an audio montage of news clips referring to the band’s critics and legal woes.

Between high-energy numbers that had fans forming a large mosh pit, the band members led the audience in chants of “Free Palestine” and “Free Mo Chara.” They also aimed an expletive-laden chant at U.K. Prime Minister Keir Starmer, who has said he didn’t think it was “appropriate” for Kneecap to play Glastonbury.

The trio thanked festival organizers Michael and Emily Eavis for resisting pressure to cancel Kneecap’s gig and gave a shout-out to Palestine Action, a protest group that the British government plans to ban under terrorism laws after its members vandalized planes on a Royal Air Force base.

The Belfast trio is known for anarchic energy, satirical lyrics and use of symbolism associated with the Irish republican movement, which seeks to unite Northern Ireland, which is part of the U.K., with the Republic of Ireland.

More than 3,600 people were killed during three decades of violence in Northern Ireland involving Irish republican militants, pro-British Loyalist militias and the U.K. security forces. Kneecap takes its name from a brutal punishment — shooting in the leg — that was dealt out by paramilitary groups to informers and drug dealers.

The group has faced criticism for lyrics laden with expletives and drug references, and for political statements, especially since videos emerged allegedly showing the band shouting, “up Hamas, up Hezbollah,” and calling on people to kill lawmakers.

Members of the group say they don’t support Hezbollah or Hamas, nor condone violence, and O hAnnaidh says he picked up a flag that was thrown onto the stage without knowing what it represented. Kneecap has accused critics of trying to silence the band because of its support for the Palestinian cause throughout the war in the Gaza Strip.

A performance at the Coachella Valley Music and Arts Festival in April — where the band accused Israel, with U.S. support, of committing genocide against the Palestinians — sparked calls for the group members’ U.S. visas to be revoked.

Several Kneecap gigs have since been canceled as a result of the controversy.

The BBC, which airs many hours of Glastonbury performances, didn’t show Kneecap’s set live, but said it would “look to make an on-demand version of Kneecap’s performance available on our digital platforms” afterward.

About 200,000 ticket holders have gathered at Worthy Farm in southwest England for Britain’s most prestigious summer music festival, which features almost 4,000 performers on 120 stages. Headline acts performing over three days ending Sunday include Neil Young, Charli XCX, Rod Stewart, Busta Rhymes, Olivia Rodrigo and Doechii.

Glastonbury highlights Friday included a performance from U.K. rockers the 1975, an unannounced set by New Zealand singer Lorde, a raucous reception for Alanis Morissette and an emotional return for Scottish singer Lewis Capaldi, two years after he took a break from touring to adjust to the effect of the neurological condition Tourette syndrome.

Dixon writes for the Associated Press.

British pop star Liam Payne’s final TV appearance is finally on the horizon, less than a year after he died suddenly in Argentina.

Netflix on Tuesday released the trailer for its upcoming singing competition series “Building the Band,” which features the late One Direction singer as one of its guest judges. The series, set to premiere July 9, could bring a sense of closure for fans of Payne, who began his singing career as a contestant on the competition series “X Factor.”

In the teaser, Payne offers his wisdom to aspiring singers, urging them, “I need to feel the connection between you guys.” The singer knew a thing or two about group chemistry: during his second “X Factor” foray in 2010, judges Simon Cowell and Nicole Scherzinger decided Payne should join fellow contestants Harry Styles, Niall Horan, Zayn Malik and Louis Tomlinson to form One Direction. Despite losing the crown, the quintet went on to become a pop sensation best known for songs including “What Makes You Beautiful” and “Story of My Life.”

“Building the Band” reunites Payne with Scherzinger, whose role is judge and mentor. Destiny’s Child alum Kelly Rowland also serves as a guest judge. Backstreet Boys singer and Payne’s friend AJ McLean is the show’s host. The series features 50 singers who work with the veteran musicians to form six bands.

Netflix confirmed Payne’s posthumous appearance earlier this month as it released a first look and announced the series’ premiere date. The streamer wrapped production on “Building the Band” before Payne’s death and received support from the singer’s family to push forward. Payne’s “family reviewed the series and is supportive of his inclusion,” Netflix said in a statement to Deadline.

Payne died Oct. 16 after falling from a balcony at a Buenos Aires hotel. He was 31. Shortly after his death, officials determined the singer died from multiple traumas and internal and external bleeding caused by the fall. Officials announced in December that Payne also had traces of alcohol, cocaine and a prescription antidepressant in his system when he fell.

Two hotel workers and Payne’s friend Rogelio “Roger” Nores were three of five people charged for their alleged involvement in the singer’s death but were cleared of those charges in February. Appeals court judges ruled at the time that Nores did not have a role in Payne’s “obtaining and consuming alcohol” and that he could not have taken actions to prevent Payne’s death.

The two remaining suspects — charged in December with allegedly supplying Payne with narcotics before his death — will stand trial, officials announced earlier this month.

SHOCKED fans, former co-workers, loved ones and friends flooded social media with sad tributes to Liam Payne after news of his death emerged.

Harry Styles’ mum Anne was among the first from One Direction’s camp to share her reaction, posting a photo of Liam and writing ‘Just a boy…’ alongside a broken heart emoji.

Britain’s Got Talent judge Amanda Holden shared an image of the pair together with the words: “Such an awful tragedy.

“Sending love to his family and all those who loved him.”

X Factor star Olly Murs told fans he was “devastated” and “lost for words”.

He wrote on social media: “Liam shared the same passions as me, the same dreams so to see his life now end so young hits hard, I’m truly gutted and devastated for his Family and of course his son Bear losing a dad x”.

Liam Gallagher said he was “very sad” and told his followers on X: “Life is precious Kids, you only get to do it once, go easy.”

Former X Factor presenter Dermot O’Leary has also expressed his shock and spoke on This Morning.

He said: “I remember him as a 14 year old turning up to audition on The X Factor, and blowing us away singing Sinatra. He just loved to sing.

“He was always a joy, had time for everyone, polite, grateful, and was always humble.”

BBC Radio 2 presenter Zoe Ball reacted to the “devastating news” on her show and told fans she hugged her own son Woody tight this morning.

JLS band member Marvin Humes reflected on his memories with the singer, sharing: “I first met Liam in 2008 with the JLS boys whilst auditioning for X Factor..he was 14 years old..

“We instantly clicked and looked at him as a little brother..that year it worked out for us but not for him and then 2 years later he went back to audition and One Direction was born..the rest is history..

“Absolutely heartbroken by the tragic news..Liam you wanted to be a global superstar and you did it bro..just can’t believe that things have ended this way..it’s shocking..my thoughts and prayers are with all your family and friends brother..RIP.”

Niall Horan’s brother Greg shared an emotional tribute to Liam, praising him as a “top young man”.

He added: “You will be forever missed. Liam, words can’t describe how much I want to grab my brother and mind him now while the world shows their memories of you and him and the boys.

“My heart goes out to your family parents and sisters and your son Bear and your 1D brothers.

“10th October we met and we started out that evening as 5 families into one big one 1D family thank you for all the laughs bro watch down on all your family and mind them lots of love kiddo x x x 1D 4 LIFE x x x”

German DJ Anton Zaslavski, otherwise known as Zedd, has taken to X with a devastated statement.

The producer, who worked with Liam on his 2017 hit Get Low, wrote: “RIP Liam… I can’t believe this is real…absolutely heartbreaking…”

American singer, Charlie Puth, who was friends with Liam and also collaborated with him on a song called Bedroom Floor, has posted a series of Instagram stories dedicated to him.

Alongside photos of the two of them together in their younger days, Charlie wrote: “I am in shock right now. Liam was always so kind to me.

“He was one of the first major artists I got to work with. I can not believe he is gone…

“I am so upset right now, may he rest in peace. I am so sorry…”

Irish singer duo Jedward also took to social media, saying: “RIP Liam Payne. Condolences to friends and family.”

In another tweet, they added: “Sending strength to Cheryl and his son Bear. And all the One direction Family. RIP Liam Payne.”

American media personality Paris Hilton shared: “So upsetting to hear the news of Liam Payne passing. Sending love and condolences to his family & loved ones. RIP my friend.”

ITV weather presenter Alex Beresford shared a news video about Liam’s tragic death on Instagram, adding: “Can’t believe this! RIP Liam.”

Meanwhile Love Island star Molly Marsh penned: “I’m so taken aback, rest in peace.”

James Cordon also paid his own tribute, describing the star as a “loving and kind soul”.

The Gavin and Stacey actor wrote on Instagram: “Talking about Liam in the past tense is utterly heart-breaking.

“I will treasure the moments I got to spend with him. My thoughts are with his family today x.”

Payne previously appeared on Cordon’s The Late Late Show in America.

Former Little Mix star Jade Thirwall – who won X Factor with her bandmates one year after One Direction took part – described him as “the first friend I made in this industry”.

She said: “We fell out of touch as the years went by, but back in 2008 he was the first friend I made in this industry.

“Both of us so young, so ambitious, both hoping we’d ‘make it’. I hope you are at peace now”.

Camila Cabello described his death as a “tragedy” and said he “made an impression” on her when she was a young girl.

When an author decides to tackle the story of a popular and important band like Talking Heads, the contours of which are familiar to many of its fans, the remit should be to illuminate the unexplored corners, the hidden details and anecdotes that provide a more full-bodied narrative and ultimately bring the band into sharper relief than ever before. Unfortunately, Jonathan Gould has almost completely ignored this directive in “Burning Down the House,” his new Talking Heads biography. This lumpy book, full of redundant stories and unnecessary detours that provide little illumination but plenty of needless bulk, lacks participation by the group’s members and is not the biography that this great and important band deserves.

As fans of the Heads already know, three of the four members met as students at the Rhode Island School of Design in the mid-’70s, children of privilege with artsy aspirations and not much direction. David Byrne came from Baltimore by way of Scotland, a socially awkward dabbler in conceptualist experiments with photography and a veteran of various mediocre cover bands. It was drummer Chris Frantz who enlisted Byrne to join one such band; bassist Tina Weymouth, Frantz’s girlfriend and the daughter of a decorated Navy vice admiral, played bass. They were an anti-jam band and pro-avant; the first decent song they came up with was a shambolic version of what became “Psycho Killer,” with Weymouth contributing the French recitatif in the song’s bridge.

For the emergent Heads, timing was everything. When Frantz signed the lease on a spacious loft on Chrystie Street in East Village in October 1974, he had unwittingly found the practice space where the three musicians would hone their craft. The loft was also a short walk to CBGB, soon to become the proving ground of New York’s punk revolution and the Heads’ primary live performance venue at the start of their career.

In March 1975, Byrne, Weymouth and Frantz attended a gig by Boston’s Jonathan Richman and the Modern Lovers at the Kitchen, an arts collective space in Soho, and it showed them a new way to approach their music. Richman, “who dressed like a kid that everyone laughed at in high school,” influenced the band’s preppy visual template and Byrne’s clenched singing voice. Within a year of moving to the city, Talking Heads had found its look, sound and favored club. When Frantz bumped into Modern Lovers bassist Ernie Brooks in a West Village Cafe, Frantz inquired about keyboardist Jerry Harrison; Brooks gave him Harrison’s number, Harrison joined the band and the classic Talking Heads lineup was complete.

What followed was a contract with Seymour Stein’s label Sire and the band’s collaboration with producer Brian Eno, beginning with its second album, “More Songs About Buildings and Food.” By the time the band released 1980’s groundbreaking “Remain in Light,” Eno’s role had expanded beyond his production duties. He was now writing songs with Byrne, which created friction within the band. When Byrne allegedly reneged on songwriting credits (the album listed “David Byrne, Brian Eno and Talking Heads,” rather than the individual band members), it created a rift that never healed, even as the band was selling millions of copies of its follow-up “Speaking in Tongues” and the soundtrack to the Jonathan Demme concert film “Stop Making Sense.” The final act was recriminatory, as Byrne commanded an ever greater share of the spotlight while the other members quietly seethed. The band’s final album, “Naked,” was its weakest, and Talking Heads dissolved in 1991, after Byrne removed himself from the lineup to explore outside projects.

Author Jonathan Gould

(Richard Edelman)

Gould does a serviceable job of telling the Heads’ story in a book that arrives 50 years after the band’s first gig at CBGB. Curiously, for someone who has tasked himself with explaining Manhattan’s late ‘70s downtown renaissance, Gould regards many of the key players in that scene with derision bordering on contempt. Gould refers to Richard Hell, a prime architect of New York punk, as a mediocrity whose “singing, songwriting and bass playing remained as pedestrian as his poetry.” Patti Smith’s music “verged on a parody of beat poetry,” while the vastly influential Velvet Underground, a band that made New York punk possible, is hobbled by its “pretensions to hipness, irony and amorality.” Even Chris Frantz’s drumming is “exceptionally unimaginative.” Gould is also careless with his descriptors. Jonathan Richman’s band displays a “willful lack” of commercial instinct, the Heads assert a “willful conventionality” to their stage appearance, Johnny Ramone is a “willfully obnoxious” guitarist and so on.

It’s hard to fathom how a biographer intent on cracking the code of one of rock’s seminal bands can do so with so much contempt for the culture that spawned it. An inquiring fan might want to go to Will Hermes’ 2011 book “Love Goes to Buildings on Fire” for a more nuanced and knowledgeable portrait of the creative ferment that made the Heads possible. As for a biography of Talking Heads, we are still left with a lacuna that Gould has unfortunately not filled.

Weingarten is the author of “Thirsty: William Mulholland, California Water, and the Real Chinatown.”

Douglas McCarthy, the singer of the pioneering U.K. proto-industrial band Nitzer Ebb, has died. He was 58.

The band confirmed the news on its social media accounts. It did not list a cause of death.

“It is with a heavy heart that we regret to inform that Douglas McCarthy passed away this morning of June 11th, 2025,” Nitzer Ebb wrote. “We ask everyone to please be respectful of Douglas, his wife, and family in this difficult time. We appreciate your understanding and will share more information soon.”

McCarthy founded the group Nitzer Ebb in Essex, with David Gooday and Bon Harris. The band released its first single, “Isn’t It Funny How Your Body Works,” in 1985, on its own independent Power of Voice Communications label.

The band drew aesthetics from the experiments of post-punk and the nascent goth movement of the time, with admiration for sinister yet seductive acts like the Birthday Party, Bauhaus and Malaria.

McCarthy and his bandmates paired that sensibility with the new potential of electronic music, crafting a harsh and antagonistic style that moved like club music but hit like punk. The style came to be known as EBM (electronic body music), and their 1987 Geffen debut LP, “That Total Age,” played a formative role in the industrial wave to come, anticipating the rise of acts like Nine Inch Nails and Rammstein and, later, Cold Cave and Gesaffelstein.

With howled, deadpan lyrics like on “Join in the Chant,” McCarthy set a template for how punk’s urgency could lock into dance music’s meticulousness. Other cuts, like “Let Your Body Learn,” became fixtures in acid house and techno DJ sets.

The band followed it up with 1989’s “Belief,” with famed producer Flood, and released three more LP’s before dissolving in 1995. McCarthy worked with former tour mate Depeche Mode’s Alan Wilder on the side project Recoil, and collaborated with techno producer Terence Fixmer.

McCarthy revived Nitzer Ebb in 2007 and released the return-to-form LP “Industrial Complex” in 2010. McCarthy also released “Kill Your Friends,” a solo album, in 2012.

While Nitzer Ebb toured regularly into the present day, McCarthy faced health issues late in life, dropping off a 2024 European tour citing liver cirrhosis.

“After years of alcohol abuse, I was diagnosed with cirrhosis of the liver,” McCarthy said on Instagram last year. “For more than two years I haven’t been drinking, but recovery is a long process that can at times be extremely hard to predict.”