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The death of Beach Boys founder Brian Wilson is an immeasurable loss for music and for California, both the place and the dream of it that Wilson conjured with his regal and tender compositions.

Wilson was the visionary of the defining American rock band, one who competed with the Beatles to move pop music into new realms of sophistication and invention, while writing songs capturing the longing of an ascendant youth culture.

His death leaves only two surviving members of the original lineup — Mike Love and Al Jardine, Wilson’s high school friend who sang lead on early hits like “Help Me Rhonda” and wrote songs for beloved later-period albums like “Surf’s Up” and “Sunflower.”

On the day the world learned of Wilson’s death, Jardine briefly spoke to The Times to remember his lifelong friend and bandmate. The guitarist, vocalist and songwriter — now on tour with his Pet Sounds Band playing Beach Boys hits with a focus on their 1970s output — looked back on six decades of writing and performing with one of the greatest minds of popular music.

Jardine’s conversation was edited for length and clarity.

I just lost my best friend and mentor. It’s not a good feeling, but I’m going to carry on and continue to play our music and perform with the Pet Sounds Band.

Brian was a great friend. We grew up together, we went to high school together. We were both dropouts, which is not a bad thing as long as you have a vision of the future. His and mine was to make music.

We were very good friends and very successful in part because of his great talent. He had an amazing ability to compose, very simple things and very complex things, all at the same time. He was a visionary.

We all grew up together musically, but he grew exponentially. He became a leader, and formed new ways of chord construction, things no one had heard before, and we rose to the challenge with him.

It’s been said that Brian invented the state of California, the state of mind. That’s a cute way of saying it, but he really invented a new form of music in the ’60s and ’70s. It was very sophisticated, but went way beyond that. He was a humble giant, a great American composer.

I don’t think anyone else could walk in his shoes, given all that he went through. I did write some songs he liked, and did help him get through treacherous times. It must be so frightening to be left in the wilderness by yourself and not know how to get home. He said one song I wrote helped him get through that, which is quite a compliment from the great Brian Wilson, who had his own demons to deal with.

Brian Wilson’s band was a reawakening of his professional life. He never enjoyed touring, so this band was a whole new life for him, to experience his own music and an adulation that he never had before.

The Beach Boys — Dennis Wilson, left, Al Jardine, Carl Wilson, Brian Wilson, Mike Love — perform circa 1964 in California.

(Michael Ochs Archives / Getty Images)

His legacy is of course in the music, and any interpreter of that legacy has to be sharp and devoted to it. We have the most devoted people that could be there to do that, so many original members of his band. My son Matthew, he’s Brian’s voice, and the DNA is there. With his arranger, Darian, arranging all vocals, we have all the muscle and genius to pull it off.

When Carl Wilson and I were singing those parts back then, we’d abbreviate things — you can’t do everything you did in the studio with only five of us. Now we’ve got 10 people onstage and I just heard some background parts yesterday that sounded just like we used to — you can hear Carl and Dennis in there.

When we take the band out, I have a little white piano onstage, like the one he played in the past. It’s a symbolic moment, the empty piano.

While the Beach Boys tour was a hit-based performance, with this iteration, we’re more introspective, deeper cuts, performing much of the 1970s catalog. There’s quite a few numbers the public hasn’t heard, exploring the heart and soul of those albums. I was hoping Brian would have been able to join us.

But it’s wonderful, we’re hoping this music should last forever, and be felt at the deep levels that Brian experienced it.

It sure is a great responsibility to play it, but it just feels natural to me. I’ve been doing it for so long, It doesn’t feel weighty. I’m confident, especially with this band being so remarkable. I’m still learning from Brian after all these years.

Fans of Talking Heads and David Byrne can rejoice, as the 73-year-old singer announced his first new album in seven years and tour.

The album “Who Is the Sky?” will hit streaming services and shelves on Sept. 5. Soon after, Byrne will kick off the North American leg of his tour, which features two shows in November at the Dolby Theatre in Los Angeles. In 2026, he’ll touch down in New Zealand before moving on to Australia and Europe.

The 12-song album is led by the single “Everybody Laughs,” released Tuesday alongside a music video directed by multimedia artist Gabriel Barcia-Colombo.

“Someone I know said, ‘David, you use the word “everybody” a lot.’ I suppose I do that to give an anthropological view of life in New York as we know it,” Byrne said in a press release.

“Everybody lives, dies, laughs, cries, sleeps and stares at the ceiling. Everybody’s wearing everybody else’s shoes, which not everybody does, but I have done. I tried to sing about these things that could be seen as negative in a way balanced by an uplifting feeling from the groove and the melody, especially at the end, when St. Vincent and I are doing a lot of hollering and singing together,” he added. “Music can do that — hold opposites simultaneously.”

New York-based ensemble Ghost Train Orchestra arranged the album. It also includes collaborations with the aforementioned St. Vincent, Hayley Williams, and the Smile drummer Tom Skinner. Byrne’s last album was 2018’s “American Utopia,” which eventually took the Broadway stage and in 2020 became a concert film directed by Spike Lee.

But it wasn’t a Byrne tour that fans were expecting.

Talking Heads, for which Byrne served as lead singer between 1975 and 1991, released a teaser on June 2, including their song “Psycho Killer.” Some even noticed that the date included in the short clip, June 5, is an important one in the band’s history.

“The band played their first gig as Talking Heads — opening for the Ramones at the CBGB club — on June 5, 1975,” one fan commented.

Instead of a tour announcement, fans received a music video for the song, highlighted by the appearance of Irish actor Saoirse Ronan.

“They waited until Saoirse Ronan was born to make the video,” another fan joked. “Very professional.”

Sly Stone, a funk pioneer whose influence and impact as leader of the musical group Sly and the Family Stone was as enduring as his career was brief, has died. He was 82.

An agent of change before he vanished from the public eye, Stone died “after a prolonged battle with COPD and other underlying health issues,” according to a statement from his family, which didn’t specify when or where he died.

From his beginnings in a family gospel group and his time as a lively San Francisco DJ, Stone became one of the major innovators in R&B, rock and pop music. There was a keen curiosity, even a restlessness, in the way he kept changing his group’s sound during its short, spectacular stint at the top.

Stone had a capacity for summing up the zeitgeist of an America in social transition, from collective joy (“Dance to the Music”) to racial harmony (“Everyday People”), and from the search for transcendence (“I Want To Take You Higher”) to the broken idealism in which the 1960s ended (“Don’t Call Me Nigger, Whitey”), a timeline in which he created a template for future generations of funk-rock hybrids.

After a musical peak that lasted six years, Stone released a few inconsequential records, spent decades mired in addictions to cocaine and sedatives, was arrested for possession of crack and lived in a camper van, a husk of his younger, vibrant self.

But several recent documentaries and Stone’s 2023 memoir “Thank You (Falettinme Be Mice Elf Agin)” made a renewed case for the relevance of his bountiful vision, even amidst a tragic life.

“When Sly comes on stage, you see older people looking like, ‘What’s this?,’ and younger people losing their minds,” said Questlove, the director of “Summer of Soul” and “Sly Lives! (Aka The Burden Of Black Genius),” in an interview with the Times in 2021. “It’s an absolute lesson in how transformative they were.”

Stone formed Sly and the Family Stone in 1966, bringing in his brother Freddie (guitar) and sister Rose (piano). Stone played keyboards, guitar, bass and drums and wrote, arranged and produced all of the group’s music. The great funk bassist Bootsy Collins once called Stone “the most talented musician I know.”

Sly conceived of the Family Stone as a rainbow coalition of soul, with male and female, white and Black members. Traditional R&B was entering an expansive, transformative phase, which Stone accelerated with his innovations in funk, rock and psychedelia, not to mention fashion: He came to one interview, a reporter noted, in “knee-high fox fur boots, cut velvet knickers and a red satin shirt with 20-inch fringe on the sleeves.”

Between 1967 and 1973, Sly and the Family Stone had nine singles in the Top 40. “Dance to the Music,” the exuberant title song to their second album, hit No. 8 on the Billboard Hot 100. The hits that followed included three No. 1 songs — “Everyday People,” “Thank You (Falettinme Be Mice Elf Again)” and “Family Affair” — as well as a No. 2, “Hot Fun in the Summertime.”

The mass of musicians he influenced ranges from Miles Davis to Janet Jackson, Herbie Hancock to Ice-T. “Everyday People” alone was covered by Aretha Franklin, Joan Jett, the Staples Singers, the Supremes and Pearl Jam, and it was interpolated by Arrested Development on the 1992 hit “People Everyday.” John Legend won a Grammy in 2007 for his cover of “Family Affair.” Prince, who was lavish in his praise of Stone, hired the Family Stone’s horn section to tour with him in 1997.

The group achieved perhaps their greatest renown in August 1969, when they landed a prestigious second-day gig at the Woodstock music festival, playing after Janis Joplin and before the Who.

Like many groups that weekend, they had equipment problems during the set, but resolved them with a bang-up 20-minute medley of “Everyday People” and “Dance to the Music.” “The delirium peaked during Sly & the Family Stone’s set,” journalist Ellen Sander wrote in the liner notes of the 2019 box set “Woodstock — Back to the Garden: The Definitive 50th Anniversary Archive.”

In his occasional interviews, Stone made it clear that he was what, at the time, was called a race man. “Everybody in our group is neutral about race,” he told the New York Times in 1970. “Everybody in the group knows that Blacks have been screwed over by whites — that most whites are prejudiced.”

The band moved to L.A. not long after Woodstock, and quickly found trouble. The Black Panthers lobbied Stone to replace the two white band members with Black musicians. Some band members were doing cocaine and PCP. “It was havoc. It was very gangsterish, dangerous. The vibes were very dark at that point,” Family Stone saxophonist Jerry Martini told author Joel Selvin. Their concerts routinely started hours late, or never started at all.

When the group returned in 1971 with “There’s a Riot Goin’ On” (the title was a reply to Marvin Gaye’s “What’s Going On”), the exuberance of their music had curdled. The songs had a flinty exterior and a troubled tone. Stone wove drum machines into the dense thickets of sound. The cover showed a red, white and black American flag; “Africa Talks to You” was torpid — funk without any swing. The tone is bleak, dissonant, even static.

Years later, “There’s a Riot Goin’ On” was recognized as a prophetic record, one of only a few that described the end of the 1960s’ idealism. It was the last significant music Stone released.

Sylvester Stewart was born March 15, 1944, in Denton, Texas. When he was 3 months old, his parents, K.C. and Alpha Stewart, moved the family to Vallejo, in the Bay Area. The family sang gospel music and were active in the Church of God in Christ, where K.C. was a deacon. “I thought everybody in the world played music,” Stone later said.

While still a youth, Stone cut his first record, a gospel 78 RPM disc with brother Freddie and sisters Rose and Vaetta, as the Stewart Four. A fifth-grade classmate misspelled Sylvester’s name on the school chalkboard, and the mistake turned into a prophetic nickname: Sly.

Before he reached puberty, Stone had mastered several musical instruments. In his teens, he recorded sporadically with various doo-wop and R&B groups. He studied music theory at Vallejo Junior College, then attended the Chris Borden School of Modern Broadcasting. In 1964, he got a job at the R&B station KSOL, where he brought the Beatles and Rolling Stones into the station’s playlist and showed off his slick patter. The station christened him Sly Sloan, but he hated the name, so he introduced himself to listeners as Sly Stone — a taste of stubbornness to come.

By 1966, after playing music in fits and starts, Stone had formed a new band by plucking the best musicians from his band, Sly and the Stoners, and his brother Freddie’s band, which included drummer Gregg Errico and saxophonist Jerry Martini. The brothers Stone enlisted bass guitar wonder Larry Graham, who’d been playing in a local jazz duo with his mother.

Their first album, “A Whole New Thing,” didn’t chart. Clive Davis, the president of CBS Records, who oversaw Epic, advised Stone to try for a more commercial sound. His first attempt was a bull’s-eye: “Dance to the Music,” a shared-vocal funk workout on which Graham begins to introduce his influential “thumping and plucking” style of bass, and trumpeter Cynthia Robinson warns, “All the squares, go home!”

The group’s third album, “Life,” was another dud, though it included top tracks “Life” and “M’Lady.” Soon after it disappeared, Stone recorded “Everyday People,” a jolly song about tolerance that featured an unusual one-note bassline by Graham, and popularized the phrase “different strokes for different folks.” In addition to “Everyday People,” 1969’s “Stand!” included the title track, “Sing a Simple Song,” “I Want to Take You Higher,” “You Can Make It If You Try.” and the playful but pointed six-minute track “Don’t Call Me Nigger, Whitey,” which used a vocoder, delay and distortion to create a menacing artificiality that caught on quickly with Parliament-Funkadelic and was revived by T-Pain.

Stone described the band’s fifth album, 1971’s ominous “There’s a Riot Goin’ On,” as “a very truthful album, made and then released at a very truthful moment in time. That’s what it was all about, because I know the truth always prevails. And that’s exactly what my music is all about.”

But there were other truths, particularly about drug addiction that Stone tried to keep hidden. Band members quit: first Errico, then Graham (who founded the funk act Graham Central Station), and later, Freddie Stone and Martini.

“Fresh,” in 1973, included the band’s final top-20 chart song, “If You Want Me to Stay.” Producer Brian Eno cited “Fresh” as the pivotal and irreversible production moment when “the rhythm instruments, particularly the bass drum and bass, suddenly become the important instruments in the mix.” `”Small Talk,” the following year, had a minor hit, “Time for Livin’,” and a cover photo of Sly, wife Kathy Silva (a Hawaiian actress whom he married onstage at Madison Square Garden) and their young son, Sylvester Jr.

The smiling family photo was deceptive, however. “He beat me, held me captive and wanted me to be in ménages à trois,” Silva later told People magazine. “I didn’t want that world of drugs and weirdness.” She left him in 1976 when his pit bull mauled Sylvester Jr., who was 2 at the time. Stone also had a daughter, Sylvette Phunne Robinson, with Family Stone trumpeter Robinson, and a second daughter, Novena Carmel, now a host for KCRW’s “Morning Becomes Eclectic” program.

Sly and the Family Stone’s next two albums, “High on You” and “Heard You Missed Me, Well I’m Back,” sold poorly. “Back on the Right Track,” in 1979, defied its hopeful title. There was another album in 1983. The adjective “reclusive” became permanently attached to his name.

Rumors persistently popped up, fostered by his absence: He’d recorded new songs, he’d worked with Prince, he had 100 new songs — no, 200 — he was on the verge of a comeback, always on the verge of it. He was convicted on charges of possessing cocaine in 1987. Two years later, he was arrested by FBI agents on a federal charge of unlawful flight to avoid prosecution on the charges. He was arrested again for cocaine possession in 2011, after which he claimed he’d been to rehab seven times.

When Sly and the Family Stone were inducted into the Rock and Roll Hall of Fame in 1993, Stone stepped to the microphone, said, “See you soon,” and split. It was years before the public saw him again.

The Grammys paid tribute to Stone in 2006. After a medley of his hits, sung by John Legend, will.i.am of Black Eyed Peas and Steven Tyler of Aerosmith, among others, Stone came onstage in a white mohawk, sunglasses and a metallic duster, with a cast on his right hand. He hunched over a keyboard, sang a bit of “I Want to Take You Higher” in a distracted manner, seemed to miss a few cues and walked off before the song was over.

He was booked to play Coachella in 2010, shortly after he was reported to be homeless, but he played “an abysmal, confused set,” the Guardian said. Stone came on stage 3½ hours late, and when he talked, he either mumbled or stopped in the middle of sentences. He said he’d been kidnapped and cheated by managers. He started songs, held on for a few bars, then drifted away. “To say that he seemed high was an understatement,” a New Yorker writer observed. The L.A. Weekly called it a “sad spectacle.”

Rarely had a great music artist suffered such a severe, rapid and irreversible downfall. People struggled to explain it.

“He’s had problems because he hasn’t been able to grow up,” Sylvester Stewart Jr., his son, said in 1996, after Stone finished a 45-day stay in rehab. “He’s meant no harm to anyone.”

“Sly never grew out of drugs,” his ex-wife, Silva, said. “He lost his backbone and destroyed his future.”

Still, the story of his musical exuberance and deep personal pain continued to inspire – and haunt – the inheritors of his vision. With his pair of documentaries, director and musicians Questlove used Stone’s life story to probe weighty questions about Black genius and how it’s embraced, exploited and neglected by the culture. The power of Stone’s music is bound up in his private pain.

“Soul music is releasing a demon that turns into a beautiful, cathartic exercise,” Questlove told the Times in 2025. “We never just see it as ‘I’m watching someone go through therapy.’

“Only time will tell,” he said, “if I had to make the Sly story to save my own life.”

His 2023 memoir, largely a study of his early life and craft, alluded to the toll that his drug use took on his output. “I should have stopped sooner,” he wrote. “Much sooner: less dust and powder, fewer rocks and pipes, enough days given back that might have added up to years.”

In the last years of his life, Stone worked on sobriety and lived quietly in the San Fernando Valley. His family, including brother Freddie, were left to speak up for Sly.

“When people ask me questions about what was going on behind the scenes and how did you make such great music, I tell them it was Sly writing what was coming out of his heart and soul,” he told the website Wax Poetics. “He is a true genius.”

Grupo Firme was unable to show up for its previously planned June 1 set at Napa’s La Onda festival.

The Tijuana band announced the cancellation Friday afternoon on social media.

“Currently, the visas of Grupo Firme and the Music VIP [Entertainment] team are in an administrative process by the U.S. Embassy, a situation that makes it impossible for Grupo Firme’s performance at La Onda Fest to go on as planned,” the band wrote in a statement posted on its Instagram stories. “We are sorry for the inconvenience this may cause. Thank you for your understanding and, above all else, the love from our U.S. fans.”

Grupo Firme is the latest international musical act facing visa issues since President Trump took office for his second presidential term. Many of these have been música Mexicana artists.

The group’s news came only a week after Mexican singer Julión Álvarez postponed his May 24 show at AT&T Stadium in Arlington, Texas, after he claimed his work visa had been revoked.

The 42-year-old musician alleged in a May 23 Instagram video that he had received the news of his work visa revocation that day, leaving him and his band unable to travel to Texas for their planned performance. He also claimed he didn’t have a full sense of clarity regarding the ongoing status of his visa and was limited in what he could dispel about the situation.

Also in May, Chicago’s Michelada Fest, a Spanish-language music festival that had programmed several Latin American acts was canceled due to concerns over artists’ visas.

“Due to the uncertainty surrounding artist visas and the rapidly changing political climate, we’re no longer able to guarantee the full experience we had dreamed up for you with all your favorite artists,” the festival’s organizers explained in a statement. “Although we tried to push through, it became clear that we wouldn’t be able to deliver the full lineup as planned.”

The organizers would go on to write that, as an independent outfit, Michelada Fest “can’t afford to take on a big risk with so much uncertainty ahead.”

Grupo Firme, Anitta, Danny Ocean, Tokischa and Luis R. Conriquez were scheduled to perform at the July festival.

In early April, the U.S. State Department canceled the work and tourist visas of the members of the Mexican corrido band Los Alegres del Barranco after the group displayed photos of drug lord Nemesio Oseguera Cervantes at its concert in Guadalajara, Mexico.

During their March 29 show at the University of Guadalajara, the band put an illustrated depiction of Cervantes — a key player in the Jalisco New Generation Cartel, or CJNG — on a mega-screen while playing their song “El Dueño del Palenque.” Videos of the incident were captured on social media.

“I’m pleased to announce that the State Department has revoked the band members’ work and tourism visas. In the Trump Administration, we take seriously our responsibility over foreigners’ access to our country,” said Christopher Landau, the U.S. deputy Secretary of State in April. “The last thing we need is a welcome mat for people who extol criminals and terrorists.”

Outside of the world of Latino artists, British singer FKA twigs announced in April on Instagram that she had to cancel series of concerts for the month in North America — including a slot at Coachella 2025 — due to “ongoing visa issues.”

There was something in the air at Punk Rock Bowling in Las Vegas last weekend.

No, it wasn’t the sound of distorted guitars, punk rockers puking or Nazis getting punched in the face. Though there was plenty of all of that.

It was the buzz surrounding FLAG, the most talked about band at the annual bowling tournament and music festival, now in its 25th year.

FLAG is the hardcore supergroup composed of four former members of Black Flag — Keith Morris, Chuck Dukowski, Dez Cadena, and Bill Stevenson — and Stephen Egerton, Stevenson’s longtime bandmate in the Descendents.

It had been six years since the last FLAG gig, which was also at Punk Rock Bowling. But this was more than a reunion show. It felt like history in the making.

It started Saturday with a panel discussion led by Fat Mike of NOFX at the Punk Rock Museum. Surrounded by photos of their younger selves taken by the late Naomi Petersen, all five members answered questions from Fat Mike, who introduced FLAG as “the best version of Black Flag I’ve ever seen.”

Fat Mike asked each participant to name their favorite album or song, which became something of a referendum on the band’s volatility on and off the stage, with musicians cycling in and out of the band. For instance, Henry Rollins, the band’s best-known vocalist, was Black Flag’s fourth singer.

“When people say, ‘Oh, Henry is my favorite. Ron [Reyes] was my favorite,’” Cadena said, “usually, that’s the first gig that they saw.”

“Why is it a contest?” Morris asked. “Each one of us contributed in the way we contributed. We each had our own personality.”

Keith Morris and Stephen Egerton of FLAG speaking about the band at the Punk Rock Museum.

(Rob Coons)

That those personalities frequently clashed with the band’s enigmatic guitarist and songwriter Greg Ginn is the story of Black Flag. Extreme music attracts extreme people. What’s unusual about these clashes is that they continued long after Ginn pulled the plug on his own band in 1986.

For instance, in June 2003, Rollins and Morris played Black Flag songs together — just not at the same time, Morris clarified during the panel — to raise money and awareness for the West Memphis 3.

It’s probably not a coincidence that later that summer, Ginn put together a Black Flag reunion of sorts at the Hollywood Palladium. The problem?

It featured musicians who’d never been in the band and they played along to prerecorded bass tracks. The shambolic set wasn’t well-received. These shows were also a benefit — for cats — launching a veritable cottage industry of CAT FLAG T-shirts.

Keith Morris, from left, Stephen Egerton, Bill Stevenson, Fat Mike, Dez Cadena and Chuck Dukowski gather to discuss FLAG’s reunion at the Punk Rock Museum over Memorial Day weekend prior to their set at the Punk Rock Bowling festival.

(Rob Coons)

In December 2011, Morris, Dukowski, Stevenson and Egerton played together for the first time at the Goldenvoice 30th anniversary show at the Santa Monica Civic Auditorium, where they were introduced as “Black Flag.”

The old friends had such a blast playing together, they decided to keep it going. Cadena was added to the mix and they played Black Flag songs under the banner of FLAG. The coming-out party for this lineup was an incendiary set at the Moose Lodge in Redondo Beach in April 2012.

Again, it’s probably not a coincidence that Ginn subsequently “reunited” Black Flag and initiated all kinds of legal activity against his former bandmates. At the heart of the issue was who could use the names FLAG and Black Flag. At the end of the day, the courts ruled that FLAG could continue.

Mike Magrann, vocalist and guitarist for L.A. punk band Channel 3, saw both bands play that year.

“It was puzzling,” Magrann said of Black Flag’s set, “because they weren’t honoring their legacy. When FLAG played, they played those songs the way they sounded back then. It brought back that feeling of being a kid on the side of the pit. The real threat of violence is right there. It was unbelievable!”

That ineffable feeling of danger is what drew so many people to FLAG’s Memorial Day performance. Fans came from all over the world just to see the show. Joey Cape of Lagwagon wrapped up a solo tour in Japan and flew directly to Punk Rock Bowling.

Like Cape and Magrann, some of the most hardcore fans were musicians who’d been inspired by Black Flag when they were young. David O. Jones of Carnage Asada drove in from L.A. with Martin Wong, who organized Save Music in Chinatown, and Martin’s daughter, Eloise Wong of the Linda Lindas. They returned to L.A. immediately after the show because Eloise, who is a junior in high school, had a physics test the following morning.

FLAG made it worth the trip. The band ripped through 22 songs, starting with “Revenge” and mixing crowd favorites like “My War” with deep cuts such as “Clocked-In.” Morris held the microphone with both hands like he was blowing on a bugle and urging the crowd to charge.

It was easily the rowdiest pit of the festival, and it swelled to nearly the length of the stage with a steady stream of crowd surfers being passed over the barricade: old men, young women and even small children. During songs like “Gimme Gimme Gimme,” “Wasted” and “Nervous Breakdown,” the roar from the crowd was almost as loud as the band.

There wasn’t any banter from the usually loquacious Morris. Toward the end of the show, he simply said, “Thank you for your participation,” and launched into the next song.

FLAG performs at the 25th Annual Punk Rock Bowling and Music Festival in Las Vegas on May 26, 2025.

(Courtney Ware)

After the obligatory performance of “Louie Louie” at the end of the set, the players took their instruments off the stage and were gone. Fans young and old looked at each other in disbelief, their lives changed, their DNA forever altered by punk rock.

FLAG had done it again. They played the songs the way they were meant to be played. They honored their legacy.

It will be a tough act for Black Flag to follow. In recent years, Black Flag has been much more active. Inevitably, that means more changes to the lineup. Earlier in May, Ginn announced Black Flag will be touring Europe this summer with three new members: all of them young musicians, including a young woman named Max Zanelly as the new vocalist.

Once again, the internet flooded with Black Flag memes keying on the considerable age gap between Ginn, who is 70, and his new bandmates who look many decades, if not generations, younger. Wong, who knows something about the power of young musicians to change the world, is hopeful.

“Everyone wins when there’s more good music in the world,” Wong said. “In a perfect world, the new Black Flag lineup will get Ginn stoked on music and push him forward. But if that doesn’t happen, we get FLAG, the best Black Flag lineup that never happened.”

While Black Flag prepares for its new chapter, is this the end of the road for FLAG?

“I don’t know,” Stevenson said after the panel at the Punk Rock Museum. “We always have fun when we get together. You can tell we love each other. I’m sure we’ll do more. At some point, one of us will be too old to do it, but so far that’s not the case.”

Jim Ruland is the author of the L.A. Times bestselling book “Corporate Rock Sucks: The Rise & Fall of SST Records” and a weekly Substack about books, music, and books about music called Message from the Underworld.

KINGS of Leon have been forced to cancelled their UK and European shows after frontman Caleb Followill suffered a “freak accident” while playing with his kids.

The Grammy-winning group had been due to perform across several countries this summer, including stops in Cardiff and Lancashire, as well as shows and festivals in Spain, Germany, Italy, Switzerland, Croatia, Belgium and Portugal.

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But Caleb, 43, has been sidelined after breaking his foot and requiring emergency surgery, giving the band no choice but to pull out of all appearances in June and July.

In a video posted to the band’s Instagram account, he explained: “Hello to everyone out there, especially our European fans that are coming to see us this summer. Unfortunately I regret to inform you that those shows will have to be cancelled due to a freak accident that happened the other day.”

“I broke my foot pretty bad just playing with my kids… It’s pretty gnarly and I’ll spare all the details. But we’re fortunate enough to have some great doctors here in Nashville that gave me emergency surgery.”

Caleb, who shares two children with model Lily Aldridge, revealed that he’s been told to stay off his feet for around two months.

He added: “I’m on the mend, but they’ve told me that I can’t be on my feet, travelling, or anything for the next eight weeks or so. That’s a big bummer.”

The singer looked visibly frustrated as he continued: “We were so excited. We’ve been preparing for this tour for a long time, we’ve been preparing for a lot of things.”

“We’ve been in the studio recording, we have a bunch of new songs, we were going to debut a few of them on this run. We had a lot of exciting things planned and now we’re going to have to pivot and find a new way to continue the work that we’ve started.”

Despite the disappointment, Caleb ended the message on a more hopeful note.

He said: “I’m very excited for when we do get to show you the stuff we’re doing, and in the meantime we’re going to do whatever work we can while I have these limitations.”

“Exciting stuff is coming, I know this isn’t the message anyone wants to hear, and it’s certainly not the message I want to be sending, but it’s going to be alright. Everything is going to be good. Hopefully, we will see y’all soon.”

The clip ended with a shot of Caleb’s foot in a cast.

His bandmates, Nathan, Jared and Matthew Followill, issued a separate statement, confirming the necessary recovery time.

They said: “Kings of Leon are updating fans that Caleb Followill has recently sustained a serious injury, shattering his heel and requiring a significant emergency surgery, that will prevent him from travelling and performing.

“The anticipated recovery process is expected to take eight weeks, under strict guidance of expert orthopaedic specialists.”

“The band regrets to report that they will need to cancel all upcoming UK and European festival headline shows in June and July of this year.”

The tour had been set to include a high-profile headline slot at Lytham Festival in Lancashire, where they were billed alongside Justin Timberlake and Alanis Morissette.

Organisers have since confirmed the festival will be reduced from five days to four, as it’s too late in the day to book a replacement act.

They also wished Caleb a “speedy recovery”.

More to follow… For the latest news on this story, keep checking back at The U.S. Sun, your go-to destination for the best celebrity news, sports news, real-life stories, jaw-dropping pictures, and must-see videos.

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For nearly six decades, Los Tigres del Norte’s name has been all over the charts, on countless marquees, seven Grammys and, now, one street in New York City.

On Thursday, the historic música Mexicana band showed up to the Sunset Park neighborhood of Brooklyn, surrounded by fans at the grand presentation of the newly minted Los Tigres del Norte Way.

“Starting today, a street in Brooklyn carries the name of Los Tigres del Norte,” the group wrote in an Instagram post Thursday evening. “Thank you for walking with us, today and always.”

The Sinaloense legends’ street sign is located on 5th Avenue and 47th Street in Brooklyn, surrounded by a litany of Latino restaurants.

“We’ve been coming to New York for so many years,” vocalist and accordion player Jorge Hernandez said in a TV interview Wednesday with New York’s Fox 5. “We’ve been able to connect with the community, so that’s why we’ve been selected today to have the street and we are very happy to be honored tomorrow.”

The road naming occurred on the same day as the release of the “La Puerta Negra” artists’ latest five-track EP “La Lotería.” The title track is a sociopolitical corrido that uses the imagery of the popular bingo-like Mexican game to comment on topics like immigration and the past criminality of the current U.S. president.

The band will play its first-ever show at New York’s historic Madison Square Garden on May 24 to wrap up their current East Coast stint before performing June 13 at the Agua Caliente Casino in Rancho Mirage, Calif., and June 15 in Del Mar, Calif.

However, Thursday’s festivities weren’t the first time that the “Jaula de Oro” band was honored with a street-naming ceremony. A strip of W. 26th Street in Chicago is honorarily named after the 12-time Latin Grammy winners. The street runs through the Windy City’s Little Village neighborhood, which is known as the “Mexico of the Midwest” due to upwards of 80% of its residents being of Mexican descent.

Los Tigres del Norte were feted locally in 2014 in the most L.A. way possible — with a star on the Hollywood Walk of Fame.

In June, the group will receive lifetime recognition for its members’ continued immigration advocacy from Monterey County officials ahead of their tour date in Salinas, Calif.

British police say Mo Chara displayed a flag of Lebanon’s Hezbollah at a concert.

A member of the Irish rap band Kneecap has been charged with a “terrorism” offence in the United Kingdom for waving a flag of the armed Lebanese group Hezbollah at a concert in November 2024 in London.

Liam O’Hanna, whose stage name is Mo Chara, is due to appear at Westminster Magistrates’ Court in London on June 18, charged under the Terrorism Act, British police said on Wednesday.

Kneecap has been vocal in its support for the Palestinian cause since the October 7, 2023-led Hamas attacks and Israel’s devastating war on Gaza, equating the struggles of the Irish under British colonial rule to that of Palestinians under that of Israel.

Pro-Palestinian chants are a regular fixture in their gigs. The band says they have been targets of a smear campaign for calling out Israel’s genocidal war.

KNEECAP STATEMENT:

Since our statements at Coachella — exposing the ongoing genocide against the Palestinian people — we have faced a coordinated smear campaign.

For over a year, we have used our shows to call out the British and Irish governments’ complicity in war crimes.… pic.twitter.com/mBojb5QBOP

— KNEECAP (@KNEECAPCEOL) April 25, 2025

The Belfast trio is also well known for its political and satirical lyrics and use of symbolism associated with the Irish Republican movement, which seeks to unite Northern Ireland, currently part of the UK, with the Republic of Ireland.

More than 3,600 people were killed during three decades of violence in Northern Ireland during “The Troubles” involving the Irish Republican Army (IRA), pro-British Loyalist militias and the UK security forces.

Kneecap takes its name from a brutal punishment, which involved being shot in the kneecaps, that was meted out by paramilitary groups to informers and drug dealers.

The band has been praised for invigorating the Irish-language cultural scene in Northern Ireland, where the status of the language remains a contested political issue in a society still split between Protestant British Unionists and Catholic Irish Nationalist communities.

It has also been criticised for lyrics laden with expletives and drug references.

Kneecap came under intense scrutiny and criticism last month during their performance at the music festival Coachella in California when they projected the words “F*** Israel. Free Palestine.” on stage.

“The Irish not so long ago were persecuted by the Brits, but we were never bombed from the f****** skies with nowhere to go! The Palestinians have nowhere to go – it’s their f****** home and they’re bombing them from the sky. If you’re not calling it a genocide what the f*** are you calling it?” read the words projected by Mo Chara.

Kneecap came under renewed scrutiny at the start of this month when UK intelligence said they would investigate comments made by the rap group about UK and Middle East politics.

They were reported to police over footage from a 2024 concert in which a band member appeared to say: “The only good Tory is a dead Tory. Kill your local MP.” Footage from another concert, in 2023, appears to show a member of the trio shouting “Up Hamas, Up Hezbollah” – the UK considers both to be “terrorist” organisations.

In response, Kneecap said it had “never supported Hamas or Hezbollah,” and accused “establishment figures” of taking comments out of context to “manufacture moral hysteria” because of the band’s criticism of Israel’s attacks on Palestinians in Gaza.

Several Kneecap gigs have been cancelled as a result of the controversy, and some British lawmakers have called on organisers of June’s Glastonbury Festival to scrap a planned performance by the group.

For British drummer Zak Starkey, the last few months with rock band the Who have been quite the whirlwind.

Starkey, who the band fired in April and reinstated days later after “some communication issues,” announced Sunday the “Baba O’Riley” group had fired him again. The veteran drummer, son of Ringo Starr, shared his side of the split on Instagram and disputed the band’s separate announcement about his departure.

The Who, in a joint Instagram post with guitarist and songwriter Pete Townshend, said Sunday, “after many years of great work on drums from Zak the time has come for a change.”

“Zak has lots of new projects in hand and I wish him the best,” the post said, before adding that drummer Scott Devours would fill his seat for the band’s remaining farewell shows.

Starkey, 59, added his own text atop the band’s statement for his post. In his caption, he claimed he “was asked” to share his own announcement that he would leave the Who to pursue other projects. “This would be a lie,” he wrote. “I love The Who and would never had quit.”

He added: “So I didn’t make the statement…quitting The Who would also have let down the countless amazing people who stood up for me…thru the weeks of mayhem.”

Starkey, who has played with Oasis and the Icicle Works, among other acts, began performing with the Who in the mid-1990s and said he rarely faced conflict juggling his duties with the band and other endeavors. He also noted that the group has, for the most part, “been sporadic or minimalist in touring.”

“None of this has ever interfered with The Who and was never a problem for them,” he continued in his caption, which offered a timeline of his various musical commitments. “The lie is or would have been that I quit The Who — I didn’t. I love The Who and everyone in it.”

A representative for the Who did not immediately respond to The Times’ request for comment.

In a second Instagram post Sunday, the band noted that it is “heading for retirement” and their now-ex-drummer is younger and must “devote all his energy into making” new endeavors a success.

When the Who announced Starkey’s reinstatement, Townshend said in a blog post to the band’s website the drummer needed “to tighten up his latest evolved drumming style to accommodate our non-orchestral line up and he has readily agreed” and shared more details about the sound issues that seemingly led up to Starkey’s initial firing.

“Maybe we didn’t put enough time into sound checks, giving us problems on stage. The sound in the centre of the stage is always the most difficult to work with,” Townshend wrote. “[The Who co-founder] Roger [Daltrey] did nothing wrong but fiddle with his in-ear monitors. Zak made a few mistakes and he has apologised . Albeit with a rubber duck drummer.”

He added: “We are a family, this blew up very quickly and got too much oxygen. It’s over. We move forward now with optimism and fire in our bellies.”

The Who embarks on its Song Is Over North America Farewell tour in August. The group will make two stops at the Hollywood Bowl on Sept. 17 and 19.

If you’re wondering why so many goths we’re wandering around Pasadena this weekend, look no further than Cruel World. The Goldenvoice celebration of all things postpunk, new wave and alternative landed at Brookside at the Rose Bowl on Saturday for its fourth installment, this time led by New Order and Nick Cave and the Bad Seeds.

It ran smoothly, even when the overcast turned into a hard drizzle, creating a vibe reminiscent of England’s famed Glastonbury Festival. Gen Xers and fans of the era flocked to the converted golf course to hear their favorite artists take the stage once again, with many only appearing occasionally over the course of decades.

But, as is the case with all festivals, some acts had it together, bringing their best to fans and entrancing them in a nostalgia-ridden high. And some just showed up. Here’s a list of the performances we saw at the fest, from best to not-so-great.

1. New Order
In a recent chat with The Times, Bernard Sumner spoke lovingly about New Order’s revival and attributed it partially to the band’s newfound cohesion.

“In the early days, we used to get f— up quite a lot and that f— up the shows,” Sumner said. “We used to play a really good one, celebrate how great it was, and then the next one would be terrible because we celebrated too much.”

He was spot-on with this point, as the band’s performance at Cruel World illustrated. Across entire set, it seemed everything was in the right place for the new-wave icons, who delivered perfection to fans. From the get-go, “Age of Consent” had the entire crowd bouncing around — an impressive accomplishment considering that the band was the last to perform on a wet and muddy day.

But the sky seemingly opened for New Order, who looked all too cool and casual while shouting out, “This is a protest song, and it’s time for a protest song” before treating the audience to “State of the Nation.”

The set would have been incredible enough on its own, gracefully fitting “Sub-Culture,” “Bizarre Love Triangle,” “True Faith” and “Blue Monday” into a one-hour window, but the group brought more than that to the table. After Sumner bowed out to “Temptation,” a minute went by before the band was back out onstage to play Joy Division’s “Love Will Tear Us Apart.”

Emotions ran high in a celebratory and touching performance, as images of the late Ian Curtis and the words “Forever Joy Division” flashed on screens behind the band. Headliners are headliners for a reason, and there was no better group than New Order to lead festivalgoers on a victory lap during its stroll through the past.

Mark Mothersbaugh of Devo performs at Cruel World

(Dick Slaughter)

2. Devo

Devo was incredibly close to topping this list, as the band brought its signature wacky and whimsical show to Pasadena. After being pelted by rain, fans gathered around the festival’s Sad Girls stage to welcome the new-wave quintet.

A tape rolled on the screens, featuring returning character “Rod Rooter,” played by Michael W. Schwartz. In the footage, Rooter meets with the group, pitching the idea of Devo dolls: “We even got your jumpsuits!”

This was followed by another video, once again featuring Schwartz as Rooter, only years later.

“That was me 40 years ago, dispensing invaluable advice to the band that couldn’t shoot straight,” he said, sitting on an indoor bike and wearing a boldly colored tracksuit. “Now here they are, my biggest career regret, Devo.”

All four then danced out onto the stage, wearing all-black suits for “Don’t Shoot (I’m a Man).” It wasn’t long until the musicians donned their signature “devolution” caps, which were later thrown to the crowd as the band launched into “Whip It.” This was followed by a quick outfit change into those yellow jumpsuits, which frontman Mark Mothersbaugh tore off during “Uncontrollable Urge.”

Devo brought everything to the table and gave fans the show they deserved. It’s no wonder Goldenvoice invited the band back after it lighted up the Pasadena stage in 2022, and it likely won’t be the group’s last appearance on a Cruel World lineup.

3. Nick Cave and the Bad Seeds

It was always going to be a great performance from Nick Cave and his ensemble — it’s just their business. Over the entire course of the festival, no one was able to entice a crowd like they were. Throughout the entire set, it felt like gospel was ringing out across the Rose Bowl lawn, and Cave would extend a hand to his adoring worshippers at the stage’s front.

“You’re f— incredible,” he said. “Full of drugs and still able to clap.”

Throughout its one-hour set, the band played everything from lively, invigorating tracks like “Wild God” to mellow, meditative numbers like “Joy.” Of course, the group made sure to fit in “Red Right Hand,” which received an eruption of cheers. Cave would often make a mad dash between his piano and downstage, making a show of it as he danced his fingers across the keys.

But the perfomance’s peak likely came with a live debut of “Hollywood,” a 14-minute song (played in full) off 2019’s “Ghosteen.”

“We’re gonna try this song, we’ve never played it before,” Cave said. “It’s extremely long and it’s written for … Hollywood.”

The song, explained in a post to Cave’s 2018 project “The Red Hand Files,” is a tale referencing a series of images that came to him while sitting in the back seat of a car driving through Oslo, Texas. In it, a narrator finds himself on a beach, looking out at the sun.

Poetically and almost prophetically, the post said, “Malibu is on fire and the animals have been driven down from the hills to the shore.”

Shirley Manson of Garbage performing at Cruel World

(Dick Slaughter)

4. Garbage

Overlapping Garbage and Devo during Cruel World’s sets was a decision that left many attendees divided. It was no surprise that many larger groups split up around 7 p.m. and set off to either the Outsiders or Lost Boys stages.

Even lead singer Shirley Manson felt bummed about missing out on Devo and said she expected a much smaller crowd.

“I’m gonna be very honest with you … in rehearsal yesterday we were really freaking out because, of course, the great Devo!” Manson said. “We are so gutted that we’re playing at the same time as one of our hero bands.”

“We’re amazed that you’re here,” she continued, laughing. “Thank you so much.”

But Garbage put on an excellent performance — it was all smiles among those who had chosen the alt-rock group. A bonus was Manson’s outfit, which was undoubtedly the best of the day.

5. OMD

Orchestral Manoeuvres in the Dark was an unexpected favorite among the lineup. The group came out with high energy and maintained it throughout its entire set. This kept fans on the edge of their seats, as did just the right amount of commentary from the bandto engage them.

“Everybody put two hands up,” lead singer Andy McCluskey said before performing “Talking Loud and Clear.”

“You have to do it with two hands, otherwise you’ll look like Elon Musk!”

It was an expected yet hilarious quip from the band, which has never shied away from making a political statement. Years later, it still felt awkward dancing away to “Enola Gay,” and even more so after the group flashed images of the notorious aircraft and a mushroom cloud on screens.

During “If You Leave,” the screens showed images of Molly Ringwald as Andie Walsh in “Pretty in Pink,” which was a nice nod to the song’s inclusion in the film’s soundtrack.

6. Alison Moyet

A great performance from an incredible artist — it’s no wonder she received an MBE for music service in 2021. During the set, she floated back and forth between songs from her solo career and those she made with Yazoo alongside Vince Clarke, who had previously served as keyboardist for Depeche Mode.

Perhaps the most impressive part of her set was her vocals. It’s no secret that some of these singers’ voices have declined after 40 or so years. But Moyet, though not as crisp, still delivered on the main stage. In fact, the touch of grit to her voice only added to the songs, which she commanded with gravitas.

7. She Past Away

The Turkish postpunk duo took the stage around 2 p.m. and granted festivalgoers a pleasant peek of what was ahead of them. For a group that formed in 2006, it fit in comfortably in the lineup, entrancing listeners with sounds reminiscent of what its new-wave peers were creating in the ’80s. To put a cherry on top, bandmates Volkan Caner and İdris Akbulut adorned their classic black eye shadow and lipstick combo.

She Wants Revenge performing at Cruel World

(Dick Slaughter)

8. She Wants Revenge

Another postpunk outfit from the aughts, She Wants Revenge attracted quite the crowd. Lead singer Justin Warfield strutted around the stage in an all-black, all-leather outfit that featured a belt with golden ankhs hanging below it. As far as presence, the group had it down.

Its performance was solid, and fans applauded when the band whipped out a cover of the Psychedelic Furs’ “Sister Europe” mid-set. Hunter Burgan of AFI was brought out and introduced as not only “one of the raddest bass players ever ripping” but also “a mean sax player.” In a sentimental touch, the song was dedicated to the Furs’ late saxophonist Mars Williams.

9. Death Cult

This one was an odd one. As a preface, the Southern Death Cult was a Bradford, England-born band and a leader of the postpunk movement in the early ’80s. The group garnered a bit of attention, played about 20 shows, split after two years and released one album, titled “The Southern Death Cult.”

After the breakup, frontman Ian Astbury joined forces with guitarist Billy Duffy to form Death Cult in 1983. The band released one EP under this name, simply titled “Death Cult,” before becoming the Cult less than one year later. In 2023, Astbury and Duffy would revive Death Cult for a series of shows across the U.K. and a one-off performance at what was then the Theatre at Ace Hotel. For Cruel World, the pair followed suit and performed under the name Death Cult, while also celebrating the music of the Cult and the Southern Death Cult.

Going into the show, fans were confused about what they would possibly be hearing from the band, who walked out onstage to the theme from “A Clockwork Orange.” Needless to say, most attendees were fans of the Cult, the most well known of the three band iterations, and Astbury was seemingly frustrated that the crowd wasn’t more reactive to tunes from Death Cult and the Southern Death Cult.

It’s no surprise, then, that attendees rejoiced when they heard the Cult’s most popular song, “She Sells Sanctuary,” as well as others from the band.

It didn’t help that the sun had just gone down, leaving the small Lost Boys stage dimly lighted, and there were no visualizers to back the group. This meant fans could hardly make out the band unless they were close to the stage.

It’s not that Death Cult’s musicians were bad showmen. On the contrary, Astbury’s vocals were great, and everyone seemed to be on the same wave, except the crowd. Given all the factors at play, the set was just odd altogether.

10. The Go-Go’s

Fans arrived in droves, eager to hear their favorites from one of the biggest undercards on the lineup. I mean, it’s the Go-Go’s; you don’t want to miss “Our Lips Are Sealed” and “Vacation,” even if you’ve just spent hours in the rain, shelled out $20 on a cocktail and your soles are starting to scream at you.

It’s difficult to put a finger on what exactly went wrong for this performance; the hits were there and the crowd was packed. But every song felt uncoordinated, like the band could have spent a few more hours in rehearsal. The group was not only out of sync from the jump but the entire set was also plagued by feedback and sound mix issues.

“All right, I’m sitting back here motherf— … come on now, I’m working my f— a— off,” drummer Gina Schock said before diving into “Head Over Heels.” “I wanna see some movement out there, OK?”

But the crowd stood still. Even when the band finished off with “We Got The Beat,” the musicians’ attempt to lead a H-O-T-T-O-G-O chant — as they had done just weeks before at Coachella — fell flat on its face.

“You know that one,” Jane Wiedlin pleaded, to no avail.

Chad Smith remembers the night in 2003 when the Red Hot Chili Peppers played for an audience of 80,000 or so amid the rolling hills of the Irish countryside.

After a somewhat fallow period in the mid-’90s, the veteran Los Angeles alt-rock band resurged with 1999’s eight-times-platinum “Californication” and its 2002 follow-up, “By the Way,” which spawned the chart-topping single “Can’t Stop.” To mark the moment, the Chili Peppers brought a crew to document their performance at Slane Castle, where they headlined a full day of music that also included sets by Foo Fighters and Queens of the Stone Age, for an eventual concert movie.

“Everything’s filmed now, but back then it was a big shoot,” Smith, the band’s drummer, recently recalled. “You can get a little self-conscious. At the beginning, I f— something up — nothing nobody would know, but we would know — and Flea kind of looked at me,” he said of the Chili Peppers’ bassist. “We gave each other this ‘Oh s—’ look. We laughed it off, and I don’t think I thought about it after that because the crowd was so engaged. The energy was incredible.”

Twenty-two years later, the Chili Peppers are bringing that 2003 gig to screens again — only this time they’re string puppets.

“Can’t Stop” is director David Fincher’s re-creation of the band’s rendition of that tune at Slane Castle. Part of the just-released fourth season of the Emmy-winning Netflix anthology series “Love, Death + Robots,” the animated short film depicts the Chili Peppers — Smith, Flea, singer Anthony Kiedis and guitarist John Frusciante — as dangling marionettes onstage before a veritable sea of the same. As the band rides the song’s slinky punk-funk groove, we see Flea bust out some of his signature moves and Kiedis swipe a fan’s cellphone for a selfie; at one point, a group of women in the crowd even flash their breasts at the frontman.

The puppets aren’t real — the entire six-minute episode was computer-generated. But the way they move looks astoundingly lifelike, not least when one fan’s lighter accidentally sets another fan’s wires on fire.

So why did Fincher, the A-list filmmaker behind “Fight Club” and “The Social Network,” put his considerable resources to work to make “Can’t Stop”?

“A perfectly reasonable inquiry,” the director, who executive produces “Love, Death + Robots,” said with a laugh. “First and foremost, I’ll say I’ve always wanted a Flea bobblehead — it started with that. But really, you know, sometimes there’s just stuff you want to see.”

Why did David Fincher turn the Chili Peppers into puppets? “First and foremost, I’ll say I’ve always wanted a Flea bobblehead — it started with that. But really, you know, sometimes there’s just stuff you want to see.”

(Netflix)

Fincher, 62, grew up loving Gerry Anderson’s “Thunderbirds” series featuring his so-called Supermarionation style of puppetry enhanced by electronics. But the Chili Peppers project also represents a return to Fincher’s roots in music video: Before he made his feature debut with 1992’s “Alien 3,” he directed era-defining clips including Paula Abdul’s “Straight Up,” Madonna’s “Express Yourself” and “Vogue” and George Michael’s “Freedom! ’90.” (Fincher’s last big music video gig was Justin Timberlake’s “Suit & Tie” in 2013.) In addition to “Thunderbirds,” he wanted “Can’t Stop” to evoke the ’80s work of early MTV auteurs like Wayne Isham and Russell Mulcahy — “that throw 24 cameras at Duran Duran aesthetic,” as he put it.

Fincher said he knew his puppet concept would require “a band you can identify just from their movement,” which seems like a fair way to describe the Chili Peppers. He recalled first encountering the band around 1983 — “I think it was with Martha Davis at the Palladium?” he said — and was struck by a sense of mischief that reminded him of the “elfin villains” from the old Rankin/Bass TV specials.

“I feel like Finch got the spirit of me,” said Flea, 62, who’s known the director socially for years. The bassist remembered discussing “Can’t Stop” with Fincher at a mutual friend’s house before they shot it: “I was talking about how I still jump around onstage and my body still works really good. But I used to dive and do a somersault while I was playing bass — like dive onto my head. And now I’m scared to do it.” He laughed. “Some old man thing had happened where I’m scared to dive onto my face now. Finch went, ‘Well, Puppet Flea can do it.’”

Sketches of Red Hot Chili Peppers drummer Chad Smith and bassist Flea as puppets in Vol. 4 of Netflix’s “Love, Death + Robots.” (Netflix)

After doing a day of motion capture with the band at a studio in the Valley, Fincher and a crew of animators from Culver City’s Blur Studio spent about 13 months working on “Can’t Stop.” Fincher said the hard part was giving the marionettes a feeling of suspension.

“With the mo cap, you’re capturing the action of a character who has self-determination,” he said, referring to a human Chili Pepper, “then you’re applying that to an object that has no self-determination,” meaning a puppet controlled by an unseen handler. “It’s so much trickier than it looks. But that was kind of the fun, you know? I mean, not for me,” he added with a laugh.

Asked if the production involved any use of AI, Fincher said it didn’t. “It’s Blur — it’s a point of pride for them,” he said. But he also shrugged off the idea that that question has become a kind of purity test for filmmakers.

A digital rendering of the Chili Peppers as puppets.

(Netflix)

“For the next couple of months, maybe it’ll be an interesting sort of gotcha,” he said. “But I can’t imagine 10 years from now that people will have the same [view]. Nonlinear editing changed the world for about six weeks, and then we all took it for granted.

“I don’t look at it as necessarily cheating at this point,” he continued. “I think there are a lot of things that AI can do — matte edges and roto work and that kind of stuff. I don’t think that’s going to fundamentally ruin what is intimate and personal about filmmaking, which is that we’re playing dress-up and hoping not to be caught out.”

As he reportedly works on an English-language version of “Squid Game” and a sequel to Quentin Tarantino’s “Once Upon a Time … in Hollywood,” did making “Can’t Stop” lead Fincher to ponder the state of the music video now that MTV is no longer in the business of showcasing the form?

“Well, the audience that MTV aggregated — in retrospect, that was time and a place,” he said. “Remember, the Beatles were making music videos — they just called it ‘Help!’ There was no invention at all on MTV’s part.

“What I do miss about that — and I don’t think we’ll ever see it again — was that I was 22 years old and I would sketch on a napkin: This is kind of the idea of what we want to do. And four days later, $125,000 would be sent to the company that you were working with and you’d go off and make a video. You’d shoot the thing in a week, and then it would be on the air three weeks after that.

“You make a television commercial now and there’s quite literally 19 people in folding chairs, all with their own 100-inch monitor in the back. The world has changed.” He laughed.

“I started my professional career asking for forgiveness rather than permission, and it’s been very difficult to go the other direction.”

The rock band Foo Fighters has let go of drummer Josh Freese, according to a note from the veteran percussionist.

“The Foo Fighters called me Monday night to let me know they’ve decided ‘to go in a different direction with their drummer,’” Freese wrote on Instagram. “No reason was given. … Regardless, I enjoyed the past two years with them, both on and off stage, and I support whatever they feel is best for the band. In my 40 years of drumming professionally, I’ve never been let go from a band, so while I’m not angry — just a bit shocked and disappointed. But as most of you know I’ve always worked freelance and bounced between bands so, I’m fine.”

“Stay tuned for my ‘Top 10 possible reasons Josh got booted from the Foo Fighters’ list,” he joked.

A representative for the band confirmed the departure but declined to comment.

Freese is a session veteran who first came to prominence in the SoCal punk band the Vandals, and later went on to play in Guns N’ Roses, A Perfect Circle and Devo before joining Foo Fighters in 2023. He won the high-profile job after the death of beloved Foo Fighters drummer Taylor Hawkins.

The band previously celebrated Hawkins in a moving tribute concert in 2022, which included Hawkins’ then-16-year-old son Shane drumming in his dad’s place on “My Hero.” More recently, singer Dave Grohl appeared with his former Nirvana bandmate, bassist Krist Novoselic, to perform at the FireAid benefit concert in Inglewood this year.

The group has not announced a new drummer. Its next scheduled performance is in Singapore on Oct. 4.

On a spring afternoon in 2005, the members of OK Go dressed up in tacky suits, gathered in front of a video camera and awkwardly danced their way into history.

The band’s DIY single-shot clip for its song “A Million Ways” — in which the brainy rock quartet moves through three and a half minutes of intricate choreography on the patio behind singer Damian Kulash’s Los Angeles home — became one of music’s first viral videos, racking up millions of downloads (remember those?) and helping to establish a new way for acts to connect with fans as the internet began to supplant MTV and Top 40 radio.

OK Go doubled down on the approach in 2006 with its video for “Here It Goes Again,” another bare-bones production that had the musicians dancing on eight synchronized treadmills, then went on to make increasingly elaborate clips featuring a Rube Goldberg machine, a zero-gravity plane flight and a pack of adorable dogs.

“As soon as the treadmill thing happened, it was like: Holy s—, we’re pop culture now,” Kulash said the other day of “Here It Goes Again,” which won a Grammy Award for best music video and has been viewed more than 67 million times on YouTube.

Twenty years after “A Million Ways,” the mechanics of cultural connection have transformed again thanks to social media and TikTok, where what you encounter as you scroll is guided by the invisible hand of data analysis.

Said OK Go bassist Tim Nordwind with grinning understatement: “The algorithm has become a bit more powerful.”

“Not a big fan of the algorithm as an arbiter of art,” Kulash added. “It’s sad to see optimization in a space that was once the Wild West.”

Yet OK Go is still at it: Last month the group released its latest one-shot video for the song “Love,” for which Kulash and his co-directors installed dozens of mirrors on powerful robotic arms inside an old Budapest train station to create a kind of kaleidoscopic obstacle course.

The band’s methods have grown more sophisticated since “A Million Ways,” and these days it seeks out corporate sponsors to help bring Kulash’s visions to life. But an adventuresome — and touchingly personal — spirit remains key to its work.

“What I love about the ‘Love’ video is the humans in the room,” Kulash said as he and Nordwind sat outside a Burbank rehearsal studio where OK Go was preparing for a tour scheduled to stop Friday and Saturday at L.A.’s Bellwether. (The group’s other members are guitarist Andy Ross and drummer Dan Konopka.) “The robots are only there,” the singer added, “to move the mirrors so that we can experience that magical thing — so simple and beautiful — of two mirrors making infinity.”

A wistful psych-pop jam inspired by Kulash’s becoming a father to twins — his wife, author and filmmaker Kristin Gore, is a daughter of former Vice President Al Gore — “Love” comes from OK Go’s new album, “And the Adjacent Possible,” its first LP since 2014. It’s a characteristically eclectic set that also includes a strutting funk-rock tune featuring Ben Harper, a glammy rave-up co-written by Shudder to Think’s Craig Wedren and a woozy existentialist’s ballad about discovering there’s no “no deus ex machina working away in the wings.” (That last one’s called “This Is How It Ends.”)

“We’re old people who listen to sad ballads,” said Kulash, who’ll turn 50 in October. “That’s what happens when you become an old person, right?”

Wedren, who’s known Kulash since the latter was a teenage Shudder to Think fan in their shared hometown of Washington, D.C., said that “part of the beauty of OK Go is that they’re so musically omnivorous — that all these things that wouldn’t seem to go together always end up sounding like OK Go.” In Wedren’s view, the band “doesn’t get enough credit for how exploratory they are as musicians — maybe because of the genius of the videos.”

If that’s the case, Kulash doesn’t seem especially to mind. He knew nearly two decades ago that the viral success of the treadmill video — which the band recreated onstage at the 2006 MTV Video Music Awards between performances by Justin Timberlake and Beyoncé — threatened to make OK Go “a one-hit wonder whose one hit was an exercise equipment stunt,” as the singer put it. “Or it could be the opening to an opportunity to do more and weirder things.”

Among the weird things the group ended up doing: the 2014 clip for “I Won’t Let You Down,” in which the members ride around a parking lot in Japan on personal mobility devices under the eye of a camera on a drone.

“I remember hearing that Radiohead didn’t play ‘Creep’ for 10 or 15 years because they were too cool for that,” he said. “Had we taken the path of being too cool for treadmills and homemade videos, I can look back and say —”

“We’d have had a much quieter career,” Nordwind chimed in.

There’s a way of looking at OK Go’s emphasis on visuals that depicts the band as a harbinger of an era when “musician” is just another word for “content creator.”

“It’s weird to think about a life in the vertical as opposed to the horizontal,” Nordwind said with a laugh, referring to the respective orientations of videos on TikTok and YouTube.

“What’s difficult about social media is the question of volume — the volume and quality balance is off to me,” Kulash said.

Creators, he means, are expected to churn out content like little one-person factories.

“Day after day,” Nordwind said. “We like to take our time.”

“Also: When I fall in love with a song, I want to hear that song over and over again,” Kulash said. “I will listen to ‘Purple Rain’ until I die. Do people go back and search someone’s feed to replay the TikTok they first fell in love with?

“The relationship that I think people have to their favorite YouTube star or TikToker,” he added, “feels much more like a relationship to celebrity than it does a relationship to art.”

OK Go at its rehearsal studio in Burbank.

(Robert Gauthier / Los Angeles Times)

For Kulash, who made his feature debut as a director (alongside his wife) with 2023’s “The Beanie Bubble,” the pursuit of art is bound up in ideas of effort and limitation, which is why AI doesn’t interest him as a filmmaking tool.

“When everything is possible, nothing is special,” he said. “The reason we shoot our videos in a single shot is not purely for the filmmaking heroics. It’s because that’s the only way to prove to people: This is real — we did the thing.”

OK Go’s dedication to costly and time-consuming practical effects has led to partnerships with a number of deep-pocketed brands, beginning with State Farm, which spent a reported $150,000 to finance the band’s 2010 “This Too Shall Pass” video with the Rube Goldberg machine. (Meta sponsored the “Love” video and in return got a prominent spot in the clip for its Ray-Ban smart glasses.)

Kulash said that kind of product placement was “scary as s—” back in the late 2000s, when the fear of being perceived as sellouts haunted every rock band.

“Now, of course, it’s like a badge of honor,” he added, among influencers eager to flaunt their corporate ties.

To explain his position on the matter, the singer — whose band walked away from its deal with Capitol Records in 2010 to start its own label, Paracadute — tried out an extended metaphor: “On the other side of the planet, tectonic plates are moving and the hot magma of corporate money is coming out of the ground. That’s why the MTV Awards exist, that’s why the Grammys exist, that’s why everything you think of as a celebration of high art exists. It’s all advertising dollars, every last bit of it. You’re protected by these continents of middle-people, which let you feel like you’re marking art. But if you can manage to be one of those microbes at the bottom of the sea that gets its energy directly from the thermal vents of the hot magma money, then you get to make something other people don’t.” He laughed.

“There’s no record label in the world that would ever be like, ‘Hey, why don’t you go to Budapest for three weeks and spend a ridiculous amount of money to make this music video at a time when there’s not even a music video channel anymore?’

“But brands know that’s worthwhile, and we know that’s worthwhile,” he said. “You just have to make sure you don’t get burned by the magma.”

Texas psych-Americana band Lord Buffalo has canceled its upcoming European tour after it claims that drummer Yamal Said was taken off a plane by border patrol agents on Monday.

“We are heartbroken to announce we have to cancel our upcoming European tour. Our drummer, who is a Mexican citizen and lawful permanent resident of the United States (green card holder) was forcibly removed from our flight to Europe by Customs and Border Patrol at Dallas/Fort Worth International Airport on Monday May 12,” the band said in a Wednesday social media post.

According to the group, Said has not been released from custody.

“We are currently working with an immigration lawyer to find out more information and to attempt to secure his release,” the band continued in its post. “We are devastated to cancel this tour, but we are focusing all of our energy and resources on Yamal’s safety and freedom. We are hopeful that this is a temporary setback and that it could be safe for us to reschedule this tour in the future.”

Lord Buffalo later updated the message to announce that Said has secured legal representation.

According to a CBP spokesperson, Said was detained by U.S. Customs and Border Protection while aboard a May 12 flight heading outside of the U.S. due to allegedly having an active arrest warrant. He was subsequently turned over to local law enforcement.

The Times has reached out to Lord Buffalo for comment.

The Texas band is not the first musical act to claim they have needed to postpone or cancel shows due to immigration issues in recent months.

In April, British singer FKA twigs announced in an Instagram post that she had to cancel series of concerts for the month in North America — including a slot at Coachella 2025 — due to “ongoing visa issues.”

Earlier this month, Chicago’s Michelada Fest, a Spanish-language music festival that had acts scheduled from across the globe, was canceled due to concerns over artists’ visas.

“Due to the uncertainty surrounding artist visas and the rapidly changing political climate, we’re no longer able to guarantee the full experience we had dreamed up for you with all your favorite artists,” the festival’s organizers explained in a statement. “Although we tried to push through, it became clear that we wouldn’t be able to deliver the full lineup as planned.”

The organizers would go on to write that, as an independent outfit, Michelada Fest “can’t afford to take on a big risk with so much uncertainty ahead.”

Grupo Firme, Anitta, Danny Ocean, Tokischa and Luis R. Conriquez were scheduled to perform at the July festival.

Imagine you’re on a cruise ship for a four-day excursion to the Bahamas. You’ve got your swimsuit, an adult beverage, and you’re ready to relax. As you make your way to the pool deck, you’re hit with the sound of distorted guitars and in-your-face vocals as legendary L.A. punk band X rips through “Johnny Hit and Run Paulene.”

That was the scene on Little Steven’s Underground Garage Cruise, which set sail from Miami on May 9-13 on board Norwegian Cruise Lines’ Norwegian Gem, and the 1,800 or so passengers were in punk rock heaven.

The lineup featured an array of SoCal-based bands, including Social Distortion, L7, Rocket From the Crypt, the Lords of Altamont and the Dollyrots. They were joined by dozens of other performers across the rock ’n’ roll spectrum, from the hard-stomping Fleshtones to the incorrigible Supersuckers, to Tommy Stinson’s Bash & Pop, to the ageless Linda Gail Lewis — younger sister of music icon Jerry Lee Lewis.

As John Doe of X said, “bands you never thought you’d see on a boat.”

The festival-at-sea concept isn’t new. Sixthman, the company that ran the cruise, has been organizing festivals since 2001 and offers more than 25 curated cruise experiences. Upcoming sailings include Keeping the Blues Alive at Sea Alaska, Chef’s Making Waves Boston, Rock the Bells Cruise and Headbangers Boat.

In many ways, the first Little Steven’s Underground Garage Cruise is an offshoot of Sixthman’s Outlaw Country Cruise, which completed its ninth sailing earlier this year. It was a somewhat somber celebration because both its architect, SiriusXM’s Jeremy Tepper, and its ambassador, Mojo Nixon, died suddenly in 2024.

That cruise drew an eclectic mix of performers such as Steve Earle, Lucinda Williams and Dave Alvin, who share musical DNA with many of the artists on the Underground Garage Cruise and vice versa. For example, Alvin’s former band the Blasters played alongside X during L.A.’s first wave of punk, and Social Distortion’s Mike Ness was often in the front row watching them play.

“Jeremy and Mojo were incredibly close,” Alvin said. “They were like soulmates in a weird way. Cultural, artistic soulmates.”

One surprise guest on the Outlaw Country Cruise was Jello Biafra, who released the album “Prairie Home Invasion” with Mojo Nixon in 1994. He played with Nixon’s backing band the Toadliquors during an emotional tribute to his late friend.

“It’s hard,” Biafra said, “because there is a little bit of a pall over this whole event, because Mojo isn’t here, and everybody’s got their memories bubbling up. I have plenty of that.”

Many of the performers, including some who’d never taken a cruise before, had reservations about what the Underground Garage Cruise would be like.

“I thought there was going to be a lot of crazy drunkenness,” said Donita Sparks of L7. “I was thinking it was a booze cruise, but I haven’t seen a whole lot of that. I haven’t seen a single fight. I’ve seen people laughing and hugging and rocking out to the music. I’ve just seen a lot of joyousness.”

John Reis, vocalist and guitarist of Rocket From the Crypt, was concerned about seasickness and feeling “trapped” but neither proved to be an issue, and he found it easy to “succumb to the vibe.”

“We don’t take certain things all that seriously,” Reis said of Rocket From the Crypt, “and festivals can be very regimented. There’s often a lot of stress involved, mainly with the people putting on the shows. The cruise isn’t like that at all. It’s way more casual.”

Even Ness of Social Distortion was seemingly won over by the cruising lifestyle. “Ease into the day, do what you want. No traffic, no hassles,” Ness said from the stage.

X performs on Little Steven’s Underground Garage Cruise

(Eli Johnson)

Punks of a certain age are all too familiar with the phenomenon of looking forward to a show but, once it’s time to actually leave the house, losing all enthusiasm to drive across town, find parking and wait for opening bands to wrap up their sets. On the Underground Garage Cruise, all shows are a short walk away and run from an hour to an hour and fifteen minutes. No openers. No encores.

Although some shows overlap, unlike most festivals, the bands play several times throughout the course of the cruise. So if you missed a band’s performance on the spacious pool deck, you could catch them later at the 850-seat Stardust Theater or one of the more intimate lounges that provide a clublike setting.

That means you can choose where and when you want to see the band — even early in the afternoon.

“We’ve been doing this a long time,” Eddie Spaghetti of the Supersuckers told the crowd at the band’s 1:15 p.m. gig. “But never this early,” quipped bandmate “Metal” Marty Chandler.

Fans cram the deck of the cruise to watch their favorite bands play on a trip sailing from Miami to the Bahamas

(Rich Johnson)

Performers participated in events offstage as well: autograph signings, a wine tasting with the Dictators, a poker tournament with the Slim Jim Phantom Trio and interview sessions that will eventually make their way to the Little Steven’s Underground Garage channel on SiriusXM. An interview with Mike Ness ended with a surprise short set by Social Distortion, accompanied by keyboardist Ben Alleman on the accordion.

There are, of course, drawbacks to the cruise experience. If you’re not having a good time at a festival, you can always leave and go home. Obviously, you can’t do that on a cruise ship. There are also larger concerns with the cruise industry itself, from the impact these behemoth ships have on the environment to the low wages paid to foreign workers, who do the bulk of the cooking and cleaning.

John Doe said he was conflicted about the gig. “As you grow up, you do things for love or money, right? This is for money. But I love the band X.”

Then there’s the elephant in the room: the perception that cruises aren’t for kids; they’re for elderly people.

A lot of these old punks are, well, old. And if you were in the pit with bands like X, Social Distortion and L7 when they were first making waves, then so are you.

That’s not necessarily a bad thing.

“Rock ’n’ roll is like jazz now,” said Eddie Spaghetti. “Essentially, it’s become a niche art form for older people because most kids don’t like rock ’n’ roll anymore.”

As fans age, their bodies may break down but their passion for the music of their youth remains the same. But a lot of music fans, this writer included, deal with disability, health and/or mobility issues that can put a damper on the typical festival experience. Sixthman, however, excelled at making sure every passenger felt welcome.

For instance, all of the venues on the Underground Garage Cruise had an abundance of ADA seating, with staff designated to assist those who requested it. One staff member I spoke with told me she scans the crowds during the shows and looks for people who might benefit from extra assistance.

That kind of personal attention goes a long way toward explaining why fans, performers and staff members alike think of these cruises as a community. There’s a camaraderie on these trips that you won’t find at your typical festival.

The people you meet at the show aren’t just festivalgoers; they’re your neighbors and sometimes your breakfast companions. The intimidating-looking punk rocker covered in tattoos is a lot more approachable when eating pancakes with his partner at the buffet.

This camaraderie isn’t what leads most fans to sail on a music cruise, but it’s one of the reasons they return year after year. During the Outlaw Country Cruise in February, passengers assembled for a group photo for those who’d sailed on all nine Outlaw Country Cruises.

That camaraderie is important to the musicians too. Everyone I talked to raved about the shows they’d seen. Jonny Two Bags of Social Distortion told me that when he received the schedule, he highlighted the bands he wanted to see — just like any fan. He was especially excited to see Bash & Pop, who he’d played with in the early ’90s.

L7 performs at Little Steven’s Underground Garage Cruise

(Rich Johnson)

Donita Sparks of L7 had fond memories of playing with the Supersuckers in the early ’90s. “We used to sleep on the Supersuckers’ floor in Seattle,” Sparks said, “and we would have a dance party every night.”

That excitement for what L7’s Jennifer Finch called “the buffet of bands” is infectious. It’s also why Little Steven’s Underground Garage Cruise will sail again next April, to Cozumel, Mexico.

“We’re all alive,” Sparks said. “We’re here and we’re still rocking.”

Jim Ruland is the L.A. Times bestselling author of “Corporate Rock Sucks: The Rise & Fall of SST Records” and of the novel “Make It Stop.”

“What the f— is going on?” Bernard Sumner says jokingly.

After crashing on both Zoom and WhatsApp, the founding member of New Order decided to give FaceTime a shot. He materializes, sitting on a couch with a white wall behind him. Mild, inviting eyes hide behind his glasses.

It’s been 45 years since he, now “below 70 and above 20,” founded the group alongside bassist Peter Hook, drummer Stephen Morris and keyboardist Gillian Gilbert. But it’s impossible not to mention New Order in the same breath as its previous ensemble in Joy Division. The story is all too familiar, with the band springing up after a Sex Pistols gig in Manchester.

“Famously, loads of people went … Morrissey was there, and the Buzzcocks were there … and everyone went out and formed a band,” Sumner quips.

And to anyone who has ever heard Joy Division, it makes complete sense. The band’s debut album “Unknown Pleasures” is imbued with the Pistols’ signature sense of “anarchistic rebellion, aggression and energy,” from the very first track. Sumner describes the gig as a pivotal moment in the history of music as it, sonically, gave everything the “kick in the balls” it needed.

“It was really ‘f— the establishment’ … we’d all had a pretty s— time at school and the rebelliousness and didn’t like the establishment,” Sumner says. “It was giving those teachers a kick! F— you and f— your lessons and f— all the s— you’re trying to teach us, because we’re not f— interested.”

“Punk gave us the excuse we really needed,” he adds.

But just a few years after Joy Division graced the music scene, the group came to an untimely demise following the death of lead singer Ian Curtis. And a year after that, New Order appeared with Sumner, Hook, Morris and Gilbert at the helm, and an entirely different sound to back them.

The band began to mix in synthesizers with the typical instrumentation, creating an unforgettable, hypnotic sound — every thump and woosh calls listeners to the dance floor and begs them to move. Sumner says it came from nothing, with no conscious effort being put into the familiar noise that would go on to define decades to come.

New Order performs in front of a buzzing crowd in Sydney, Australia.

(Warren Jackson)

“Four people came together and that’s what we did,” Sumner says. “We got rehearsals, but we had no great plan, we didn’t give a s— about earning loads of money, we didn’t give a s— about being famous.”

In fact, their creative process boiled down to going to rehearsals, talking about what they saw on TV the night before and going to grab a baked potato from Spudulike near the studio.

“Then we’d go, ‘Should we try to write something?’” he recalls. “We go, ‘Yeah, okay,’ and then we switch the amps on, and just see what happened.”

He even tells a story of the first time they worked in New York, and met up with famous producer Arthur Baker. The latter was used to working with session musicians, and while doing so, decided to throw New Order into a studio while he finished up.

“He said, ‘Come up with some ideas,’” Sumner says. “We just couldn’t, because we’d been put on the spot and told to do it, and that had never happened before … the trick was not to think about it.”

However, even with its original and revolutionary style, New Order struggled to etch its name in the charts outside of the indie and indie alternative categories. In the ’80s, they were reliant on radio play and didn’t get much outside of college campuses in America.

Instead, groups like Sumner’s, such as the Smiths and Echo & the Bunnymen, ignored what was going on in the mainstream altogether, leaving the numbers game to pop music.

“We just ignored what was going on in the mainstream,” he says. “We didn’t really like what we were hearing on the radio, so we made our own radio.”

Of course, when the internet came around, it bypassed mainstream radio and absolved the band’s issues with getting airtime. This led to its undoubted success in bridging the gap between generations, with parents sharing the group’s records with their kids.

“Good music is good music, isn’t it? It always floats to the top,” he says. “Buy a New Order record, it’s a good investment for the rest of your life.”

Sumner claims the group is now “more successful” than they’ve ever been and says it comes down to a couple of factors, including cohesion.

“In the early days, we used to get f— up quite a lot and that f— up the shows,” Sumner says. “We used to play a really good one, celebrate how great it was, and then the next one would be terrible because we celebrated too much.”

Bernard Sumner of New Order bows out to fans.

(Warren Jackson)

“Our popularity has increased, really, rather than decreasing, and it usually decreases, doesn’t it?” he jokes.

This relationship between generations that grew up listening to the group and those now is all too apparent when it comes to festivals like Cruel World, which celebrates post-punk, new wave, goth and alt-rock. The event, first hosted in 2022, has brought the likes of Iggy Pop, Duran Duran and Morrissey back to the main stage.

Now, New Order is set to headline the festival on May 17 alongside Nick Cave and the Bad Seeds. It’s an unexpected ’80s revival that has maintained steady enough attendance to point toward becoming a staple, much like many of Goldenvoice’s other feats.

“There must be an appetite for this [era of] music, otherwise they wouldn’t be putting it on,” Sumner jokes. “It’s got soul, it really has got soul.”

As for what’s next in terms of new releases, the group recently had to shut down rumors of an album on the way. It’s been 10 years since its critically-acclaimed album, “Music Complete,” was delivered to fans, who are understandably craving a new project. Sumner says the delay comes down to general motivation to write again, with some members wanting to do so and others not being “too keen.”

“I’m one of the ones that does,” Sumner assures. “That’s all I can say, really.”

Alice in Chains announced on Monday that they will cancel their forthcoming tour as well as any festival appearances. The decision came after a previous show was called off on May 8 because drummer Sean Kinney experienced medical complications.

“After our soundcheck this evening at the Mohegan Sun Arena, Sean experienced a non-life-threatening medical emergency,” the group wrote on X. “We unfortunately have to cancel tonight’s show. We sincerely apologize for the inconvenience.”

Just two days later, the band confirmed on Instagram that they were canceling all upcoming appearances.

“After careful consideration and following the advice of medical professionals, we have made the decision to cancel our upcoming festival performance and the Alice in Chains headline shows,” they wrote.

“While we were all eager to return to the stage, Sean’s health is our top priority at this moment. Although the issue requires immediate attention, his long-term prognosis is positive.”

Kinney is one of the group’s last remaining founding members, alongside lead vocalist Jerry Cantrell. Layne Stanley and Mike Starr passed away in 2002 and 2011, respectively, and were later replaced by current members William Duvall and Mike Inez.

The “Would?” and “Man in the Box” band was slated to perform four shows across the United States before going across the Atlantic for two appearances in Birmingham, U.K. The latter would see them on July 5 as openers in Ozzy Osbourne’s final show and Black Sabbath reunion “Back to the Beginning.”

“We sincerely appreciate your understanding and support at this time,” the band added.

Fans were quick to support the group in their decision. “When a brother and fellow band mate is sick and in need of medical care,” one fan insisted, “the opening line of the statement should’ve been, ‘Without hesitation and with full interest in the well-being of our brother and fellow band mate…’”

Others offered their prayers and shared “get well soon” messages in the comment section on the band’s post.

No further details were shared as to the condition of Kinney and what led to the “medical emergency.”