“It made people feel uncomfortable. It made for a lot of misunderstandings and just made life hard”: Ghost’s Tobias Forge explains the struggles of being a masked, anonymous metal musician
(Image credit: John Phillips/Getty Images | Press)
Ghost architect Tobias Forge has revealed the struggle of trying to keep your identity secret while fronting a popular band.
Until 2017, the singer/multi-instrumentalist, who fronts Ghost under a mask and has used several “Papa” monikers during their career, was totally anonymous, despite the skyrocketing success of the occult metal outfit. His identity was revealed when four of his former backing musicians, or “nameless ghouls”, sued him in a payment dispute.
In a new interview with Planet Rock, Forge reflects on the measures he took to keep his name and appearance unknown, saying they made the people around him “uncomfortable”.
“It did make life easier,” the frontman says of his self-described “outing” as the man behind Ghost. “Because, before that, we had to put in a lot of extra effort in order for me to not be visible. And it did create a few image-keeping upsides but a lot of practical downsides. It was just uncomfortable. It made people feel uncomfortable. It made for a lot of misunderstandings and a lot of… it was just making life hard.”
Despite the great efforts Ghost went to, Forge admits he didn’t feel totally anonymous before 2017. “Before I was outed and started doing interviews like this [out-of-character], I didn’t feel completely anonymous. Post-2017, I don’t feel super famous. So, that transgression, or crossing that moment and outspokenly setting my name to things, it did not mean that everybody started recognising me.”
In a 2015 interview with Loudwire, speaking as a “nameless ghoul”, Forge said that Ghost’s members only revealed their role in the band to close friends and family “in order to just function socially”.
“It’s surprisingly important for everyone to know what you do,” he said. “Generally people don’t care unless you refuse them to know. And if you refuse them to know, they will really care what you do. We had to tell Mum, basically, what we do.”
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When asked if there was ever a period of time where Ghost’s identities were secret even to those closest to them, he answered, “To begin with, it wasn’t really that important. Whatever we did was not something that everyone was interested in in the first place, Mum included.”
On Wednesday (March 5), Ghost announced their new album Skeletá for an April 25 release and Forge debuted his new persona of Papa V Perpetua. The character, who replaces Forge’s outgoing character Papa Emeritus IV behind the mic, will make his live debut at the start of Ghost’s six-month world tour, which kicks off in the UK on April 15. See all dates and details below.
Papa V Perpetua will also appear at Black Sabbath’s Back To The Beginning event in Villa Park, Birmingham, on July 5. The concert will feature the final shows by Sabbath’s original lineup and their singer Ozzy Osbourne.
Ghost’s Tobias Forge – banning phones, Papa V, Skeletá & more – YouTube
UK: Apr 15: Manchester AO Arena Apr 16: Glasgow OVO Hydro Apr 19: London The O2 Apr 20: Birmingham Utilita Arena
Europe: Apr 22: Antwerp Sportpaleis, Belgium Apr 23: Frankfurt Festhalle, Germany Apr 24: Munich Olympiahalle, Germany Apr 26: Lyon LDLC Arena, France Apr 27: Toulouse Zenith Metropole, France Apr 29: Lisbon MEO Arena, Portugal Apr 30: Madrid Palacio Vistalegre, Spain May 03: Zurich AG Hallenstadion, Switzerland May 04: Milan Unipol Forum, Italy May 07: Berlin Uber Arena, Germany May 08: Amsterdam Ziggo Dome, Netherlands May 10: Lodz Atlas Arena, Poland May 11: Prague O2 Arena, Czech Republic May 13: Paris Accor Arena, France May 14: Oberhausen Rudolph Weber Arena, Germany May 15: Hannover ZAG Arena, Germany May 17: Copenhagen Royal Arena, Denmark May 20: Tampere Nokia Arena, Finland May 22: Linköping Saab Arena, Sweden May 23: Sandviken Göransson Arena, Sweden May 24: Oslo Spektrum, Norway
USA: Jul 09: Baltimore CFG Bank Arena, MD Jul 11: Atlanta State Farm Arena, GA Jul 12: Tampa Amalie Arena, FL Jul 13: Miami Kaseya Center, FL Jul 15: Raleigh PNC Arena, NC Jul 17: Cleveland Rocket Mortgage FieldHouse, OH Jul 18: Pittsburgh PPG Paints Arena, PA Jul 19: Philadelphia Wells Fargo Center, PA Jul 21: Boston TD Garden, MA Jul 22: New York Madison Square Garden, NY Jul 24: Detroit Little Caesars Arena, MI Jul 25: Louisville KFC Yum! Center, KY Jul 26: Nashville Bridgestone Arena, TN Jul 28: Grand Rapids Van Andel Arena, MI Jul 29: Milwaukee Fiserv Forum, WI Jul 30: St Louis Enterprise Center, MO Aug 01: Rosemont Allstate Arena, IL Aug 02: Saint Paul Xcel Energy Center, MN Aug 03: Omaha CHI Health Center, NE Aug 05: Kansas City T-Mobile Center, MO Aug 07: Denver Ball Arena, CO Aug 09: Las Vegas MGM Grand Garden Arena, NV Aug 10: San Diego Viejas Arena, CA Aug 11: Phoenix Footprint Center, AZ Aug 14: Austin Moody Center ATX, TX Aug 15: Fort Worth Dickies Arena, TX Aug 16: Houston Toyota Center, TX
Mexico: Sep 24: Mexico City Palacio De Los Deportes
Louder’s resident Gojira obsessive was still at uni when he joined the team in 2017. Since then, Matt’s become a regular in Prog and Metal Hammer, at his happiest when interviewing the most forward-thinking artists heavy music can muster. He’s got bylines in The Guardian, The Telegraph, NME, Guitar and many others, too. When he’s not writing, you’ll probably find him skydiving, scuba diving or coasteering.
Ronnie Romero was singing with Spanish metal band Lords Of Black when Ritchie Blackmore hand-picked him to become singer in the resurrected Rainbow. Since then, he has performed with Michael Schenker, ex-Whitesnake guitarist Adrian Vanbenberg and, as a member of Elegant Weapons, with Judas Priest’s Richie Faulkner. Now the Chilean vocalist is about to start his first ever UK headline tour, hoping to dispel his reputation as a gun for hire.
How did Ritchie Blackmore come to ask you to join Rainbow ten years ago?
I was in a Rainbow cover band in Spain, and Candy, Ritchie’s wife, saw me singing those songs on YouTube. They called me. I couldn’t believe it. Since I was a kid, Ritchie was my biggest hero in rock music.
In that four-year period you did around fifteen shows. Do you have a favourite memory?
The shows were great, but I will always remember the time we spent together personally. Like rehearsals. Him telling stories over a few beers. Ritchie is a great storyteller.
Few people get to meet The Man In Black these days. What’s he like?
People think of him as an angry, unfriendly guy, and that’s not Ritchie. I knew him at a period of time when he was in a very good place. He’s married and he has a beautiful family. He has an incredible sense of humour.
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The same question about Michael Schenker, whose album Immortal you sang on in 2021?
Compared to Ritchie, on the personal side he’s a bit more distant, but professionally he was very cool and smart. Ritchie likes to jam, whereas Michael is very regimented. Two different worlds, but I enjoyed them both.
At around the same time, you joined the band Vandenberg. Here is where it all starts to get confusing.
After we recorded the Vandenberg album [2020] I was told there would be no touring, so I joined Michael. And suddenly there were lots of Vandenberg shows. I stayed with Michael. That’s the short version of the story.
Other acts you’ve been involved with include Sunstorm and the Intelligent Music Project, the latter entering the Eurovision Song Contest. For someone aiming to establish themselves as a credible artist, a very strange choice.
[Laughing] I agree. That’s no environment for a rock musician. I was dragged into Eurovision, unfortunately. And I really regret it. Right now I’m dropping the other things I’ve done unless they’re studio projects. I’m really, really focusing on my solo career, apart from Elegant Weapons, the side-band of [Judas Priest guitarist] Richie Faulkner.
The title of your 2023 solo album, Too Many Lies, Too Many Masters, is appropriate and seems to emphasise your previous statement.
After three years with Michael, I want to step aside from being seen as the singer of another guy. I’m intrigued to know how people will react to an album and a tour in my own name. I’m told the [ticket] sales are really good.
Too Many Lies was preceded by a pair of solo covers albums. Again, not conducive to being taken seriously as a creative force.
The record label [Frontiers] wanted to keep my name out there. I wasn’t sure about that. It was a moment that made me think: “Okay, from now on it must be the real thing.”
What should we expect on this solo tour?
We’ll mostly play my own material, but I know people will expect to hear some Rainbow and Schenker and I’m happy to do that stuff. DL
Peter Engel, the TV executive best-known for changing the landscape of young adult programming in the early ‘90s, has died at the age of 88.
Engel’s family confirmed his death to Variety, noting that he passed away in his Santa Monica home.
Born in Manhattan in 1936, Engel began his career as an NBC Page at the network’s famed 30 Rock location. He relocated to Los Angeles in 1967 and eventually worked his way up to producer. His early TV credits included the series How to Survive a Marriage and The Paul Williams Show in the late ‘70s. Still, it would be a decade later that Engel truly left his mark on television.
“Brandon Tartikoff, the president of NBC, said he wanted me to do a live-action show on Saturday morning,” Engel recalled in a 2016 interview. “I said, ‘No! Get someone else! I don’t want to do a Saturday morning show!’”
Tartikoff’s initial concept was called Good Morning, Miss Bliss, inspired by his real-life sixth grade teacher. Despite his initial skepticism, Engel agreed to helm the project, which initially ran on the Disney Channel in 1989. When the show failed to find an audience, Engel reworked it into a spin-off for NBC’s Saturday morning slot. The new series, focused more on the students than the teacher, was called Saved by the Bell.
With a cast of characters that included Zach Morris (Mark-Paul Gosselaar), A.C. Slater (Mario Lopez), Kelly Kapowski (Tiffani-Amber Thiessen) and Screech Powers (Dustin Diamond), Saved by the Bell became an unexpected success. The sitcom clicked with kids across America, making it a ‘90s pop-culture phenomenon.
The success of Saved by the Bell led NBC to create TNBC, an entire block of Saturday morning programming dedicated to young-adult audiences. Engel was one of the driving forces behind TNBC and modeled more shows – including California Dreams, Hang Time and City Guys – off of the Saved by the Bell formula.
As TNBC’s popularity began to wane, Engel moved away from the programming. His last show in the block ended in 2001 and TNBC was retired by the network a year later.
In 2003, Engel transitioned to reality television with the comedian competition series Last Comic Standing. The series ran for nine series on NBC and helped propel the careers of Iliza Shlesinger, Amy Schumer and Doug Benson (among others). Engel released his autobiography, I Was Saved by the Bell: Stories of Life, Love, and Dreams That Do Come True, in 2016.
Daryl Hall has extended his 2025 U.S. solo tour with Squeeze‘s Glenn Tilbrook, adding a series of summer dates to follow his previously announced spring shows.
The new leg of shows begins on July 11 in Mashantucket, Connecticut, and concludes on July 25 in Atlantic City, New Jersey. These dates will take place after a series of U.S. tour dates in March and April, plus a handful of shows in the United Kingdom in May.
Tickets for Hall’s July shows go on sale to the general public on Friday. You can see his full 2025 concert itinerary below.
Daryl Hall Praises Glenn Tilbrook: ‘He Has Smart Music’
Hall praised praised Tilbrook’s songwriting and intellect in a recent interview with UCR. “I’m not necessarily going to put myself in this, but I think his music, there’s a certain sense of intelligence within the pop area, right?” he said. “Which is few and far between, really, with songwriters. I certainly relate to that. I think I share that to some degree and I bond with him in that way. I really think his music, he has smart music. I like his chord choices and his lyrics, everything, they stick with you in an unusual way.”
The former Hall & Oates member released his latest solo album, D, in 2024, marking his first solo effort since 2011’s Laughing Down Crying. Hall cowrote and coproduced the album with former Eurythmics member Dave Stewart.
Meanwhile, Squeeze is in the middle of a U.S. tour supporting Heart.
Daryll Hall and Glenn Tilbrook 2025 Tour Dates March 22 – Houston, TX @ Arena Theatre March 25 – San Antonio, TX @ Majestic Theatre March 28 – Thackerville, OK @ WinStar World Casino March 30 – St. Louis, MO @ Stifel Theatre April 1 – Erie, PA @ Warner Theatre April 3 – Waukegan, IL @ Genesee Theatre April 5 – Mt. Pleasant, MI @ Soaring Eagle Casino & Resort May 17 – Glasgow, UK @ SEC Armadillo May 19 – London, UK @ Royal Albert Hall May 21 – Birmingham, UK @ Symphony Hall May 23 – Manchester, UK @ O2 Apollo May 25 – Brighton, UK @ Brighton Centre July 11 – Mashantucket, CT @ Foxwoods Resort Casino July 13 – Hammondsport, NY @ Concerts at Point of the Bluff July 15 – Lowell, MA @ Lowell Memorial Auditorium July 17 – Port Chester, NY @ The Capitol Theatre July 19 – Bethlehem, PA Wind Creek Bethlehem July 21 – Montclair, NJ @ The Wellmont Theater July 23 – Huntington, NY @ The Paramount July 25 – Atlantic City, NJ @ Ovation Hall
Tate McRae’s evolution from a young dancer in Calgary to an international pop sensation is a testament to her multifaceted talent and dedication.Born on July 1, 2003, in Calgary, Alberta, McRae’s early years were deeply influenced by her mother’s profession as a dance instructor.This familial connection to dance led her to begin training at a young age, setting the foundation for her future in the performing arts.
McRae’s initial rise to prominence came through her exceptional dance abilities.In 2016, at just 13 years old, she became the first Canadian finalist on the American reality television series “So You Think You Can Dance,” showcasing her prowess on a global platform.This achievement not only highlighted her dance skills but also opened doors to broader opportunities in the entertainment industry.
Transitioning from dance to music, McRae began sharing original songs and covers on her YouTube channel in 2017.Her debut single, “One Day,” garnered significant attention, leading to a record deal with RCA Records in 2019.This marked the beginning of her ascent in the music industry, blending her emotive songwriting with her expressive dance background.
McRae’s discography includes three studio albums: “I Used to Think I Could Fly” (2022), “Think Later” (2023), and “So Close to What” (2025).Each album reflects her artistic growth and versatility.Notable singles like “You Broke Me First” and “Greedy” have achieved significant chart success, with “Greedy” peaking at number three on the Billboard Hot 100.These tracks have resonated with audiences worldwide, cementing her status in the pop music landscape.
Throughout her career, McRae has been recognized with numerous awards and nominations.She won the Juno Award for Artist of the Year in 2024 and received multiple nominations at the Billboard Music Awards and iHeartRadio Music Awards.Her ability to connect with audiences through both her music and dance has solidified her status in the industry.
Beyond her musical achievements, McRae has ventured into collaborations that showcase her versatility.Notably, her work with choreographer Sean Bankhead has been likened to the iconic collaborations of Britney Spears during her “Darkchild” era, highlighting McRae’s dynamic performance style.Additionally, her relationship with fellow artist The Kid Laroi has garnered media attention, reflecting her prominence in contemporary pop culture.
McRae’s influence extends beyond the stage and studio.She has been an advocate for mental health awareness, using her platform to encourage open conversations about well-being.Her commitment to authenticity and vulnerability in her art continues to inspire a new generation of artists and fans alike.
As she embarks on her Miss Possessive Tour in support of her latest album, “So Close to What,” McRae’s trajectory suggests a continued impact on the global music scene.Her ability to seamlessly blend emotive storytelling with captivating performances ensures her place as a beloved figure in the industry.
Brian Kachejian was born in Manhattan and raised in the Bronx. He is the founder and Editor in Chief of ClassicRockHistory.com. He has spent thirty years in the music business often working with many of the people who have appeared on this site. Brian Kachejian also holds B.A. and M.A. degrees from Stony Brook University along with New York State Public School Education Certifications in Music and Social Studies. Brian Kachejian is also an active member of the New York Press.
Feature Photo: Ode/A&M, Public domain, via Wikimedia Commons
# 10 – Don’t Pull Your Love Out – Hamilton, Joe Frank & Reynolds
The opening track on this brand-new list, Don’t Pull Your Love Out by Hamilton, Joe Frank & Reynolds, stands as a quintessential heartbreak anthem of the early 1970s. Released in April 1971 as the group’s debut single, the song quickly became a chart-topping success, peaking at No. 4 on the Billboard Hot 100 and reaching No. 1 on the Cash Box Top 100 Singles chart. Written by Dennis Lambert and Brian Potter, the song captures the desperation and emotional turmoil that often accompany the end of a relationship, making it an ideal starting point for a list focused on songs about falling out of love.
Recorded in December 1970 at ABC-Dunhill Studios, “Don’t Pull Your Love Out” features the trio’s signature vocal harmonies, accompanied by strong horn arrangements by Jimmie Haskell. Produced by Steve Barri, the track also credits drummer Joe Correro Jr. and keyboardist Larry Knechtel, both of whom were prolific session musicians. However, the band members, particularly Joe Frank Carollo, have emphasized that they played a significant role in the song’s instrumentation, dispelling rumors that session musicians exclusively performed it.
Lyrically, the song revolves around the pain of an impending breakup. The pleading refrain, “Don’t pull your love out on me, baby / If you do, then I think that maybe / I’ll just lay me down and cry for a hundred years,” encapsulates the singer’s fear of losing his partner and the emotional devastation it would bring. The urgency of the lyrics is heightened by the upbeat rhythm and driving horns, creating a juxtaposition that makes the song memorable. The narrator’s offer to sacrifice his pride, love, and even material possessions to keep the relationship alive is a common theme in songs about unrequited love. Still, the execution in this track feels particularly raw and earnest.
The second song on this list, “No More ‘I Love You’s’” by Annie Lennox, delivers a powerful and haunting exploration of the complexities of love lost. Originally written and recorded by David Freeman and Joseph Hughes of The Lover Speaks in 1986, the song achieved new life and commercial success when Lennox covered it in 1995 for her Medusa album. This version reached No. 2 on the UK Singles Chart and helped solidify Lennox’s reputation as a master of emotional interpretation. The song’s themes of emotional withdrawal and shifting dynamics in a fading relationship fit seamlessly into this list of the 10 Best Rock Songs About Falling Out of Love.
Lennox’s rendition is both ethereal and raw, capturing the melancholic essence of the original while adding her signature emotive power. The song’s iconic chorus, “No more ‘I love you’s,’ the language is leaving me,” speaks to the emotional exhaustion that accompanies the end of a relationship. In this song, love isn’t just lost; it’s beyond the reach of words and language. The sense of finality and loss is highlighted by the recurring imagery of “monsters,” which, as Lennox’s haunting vocals suggest, are the inner demons and heartbreaks that torment the soul in the wake of love’s dissolution.
The instrumentation in Lennox’s version is lush, with layered backing vocals and orchestral arrangements that create an almost operatic atmosphere. Produced by Stephen Lipson, the track elevates the emotions of the original by adding rich textures and Lennox’s powerful voice, which stands at the forefront of the song. The “do-be-do-be-do-do-do” hook, borrowed from the original, is given new life here, adding an otherworldly feel that contrasts the song’s somber theme.
Lyrically, “No More ‘I Love You’s’” presents a bleak picture of love’s demise, where affection’s language has lost meaning. The verses describe the narrator’s inner turmoil, once filled with desire and despair, now muted as those feelings have faded into silence. The phrase “the language is leaving me” suggests the painful realization that the words that once held meaning in love no longer suffice. This theme of emotional isolation mirrors the narrative of love slipping away, a theme that will continue to resonate throughout this list of songs about falling out of love.
As the second track in this collection, No More “I Love You’s” is a striking reminder of how deeply the end of a relationship can shake a person’s emotional core, leaving them adrift in a world where even the simplest words lose their power. Lennox’s version remains a timeless tribute to the sorrow that comes when love fades, standing tall among the most poignant heartbreak anthems in rock history.
“Late for the Sky,” the title track from Jackson Browne’s 1974 album Late for the Sky, is an emotionally charged exploration of the dissolution of a relationship. As the opening song on this album, Browne sets a deeply melancholic tone that encapsulates the sense of growing apart and inevitable loss. Written by Browne himself, the song is widely regarded as one of his finest achievements, both for its lyrical depth and for capturing the complexity of love and heartache. This song, perfect for a list of the best rock songs about falling out of love, dives headfirst into the feelings of isolation, regret, and longing accompanying the end of a relationship.
Recorded in Los Angeles and produced by Browne and Al Schmitt, Late for the Sky features the core lineup of musicians who contributed to much of Browne’s early work: David Lindley on guitar and violin, Doug Haywood on bass, and Larry Zack on drums. The album was recorded in early 1974 at Elektra Sound Recorders, and the production is stripped down, allowing Browne’s poignant lyrics and understated delivery to take center stage. Lindley’s guitar work, with its fluid, weeping lines, complements the sorrowful tone of the song, adding layers of emotional resonance.
Lyrically, “Late for the Sky” is a reflection on a relationship that has reached its end, where both partners are left grappling with feelings of disillusionment. Browne captures the sense of detachment that often marks the final stages of love with lines like, “You never knew what I loved in you / I don’t know what you loved in me.” These lyrics speak to the profound confusion when the connection that once brought two people together fades into obscurity. As Browne asks in the chorus, “How long have I been sleeping? / How long have I been drifting alone through the night?” he expresses the sense of being lost, not just in the relationship but in life itself.
This song does not shy away from the emotional weight of falling out of love. It delves into the complexity of those moments when words fail, and silence takes over. Browne’s introspective lyrics and haunting vocals create a feeling of intimacy that draws listeners into the story of heartbreak. Unlike other songs on this list, Late for the Sky isn’t just about a break-up—it’s about the emotional unraveling that happens long before the actual separation occurs, making it a profound and fitting entry in this collection of songs about love lost.
The perfect break-up anthem, It’s Too Late by Carole King, is a heart-wrenching reflection on love that has quietly unraveled. Featured on her seminal album Tapestry (1971), this song captures the essence of falling out of love, making it a perfect addition to any list of the best rock songs about the end of relationships. Released as a single in April 1971, It’s Too Late quickly climbed the Billboard charts, securing the number one spot on the Billboard Hot 100 and Adult Contemporary charts, where it stayed for five weeks. Co-written by Toni Stern, who penned the poignant lyrics, and King herself, who composed the melody, this song embodies the melancholic realization that sometimes love cannot be saved, no matter how hard we try.
The recording sessions for It’s Too Late took place at A&M Studios in Los Angeles, produced by Lou Adler. King’s rich piano arrangement carries the track. At the same time, the musicianship of key contributors like Danny Kortchmar on guitar, Charles Larkey on bass, and Joel O’Brien on drums adds depth to the song’s complex emotional landscape. King’s voice, warm yet aching, conveys the weary resignation of someone who has given everything to a relationship that can no longer be salvaged. The sparse yet powerful production lets King’s songwriting and emotional delivery take center stage.
Lyrically, It’s Too Late portrays the final stages of a relationship in which both parties recognize that their connection has faded. The song opens with the line, “Stayed in bed all morning just to pass the time / There’s something wrong here, there can be no denying,” immediately setting a tone of quiet realization. The chorus, with its heartbreaking declaration, “Something inside has died, and I can’t hide, and I just can’t fake it,” reveals the emotional exhaustion of holding on to something that no longer exists. Unlike many breakup songs that dwell on anger or blame, It’s Too Late takes a more introspective route, acknowledging that both people have changed and grown apart. The song offers a mature reflection on love’s inevitable shifts, making it resonate with listeners on a deeply personal level.
The soft rock sensibilities of It’s Too Late perfectly complement its bittersweet message. While King’s lyrics express sorrow, there’s also an element of acceptance, underscored by the line, “Still I’m glad for what we had, and how I once loved you.” This sentiment—gratitude for the past even as the present crumbles—distinguishes It’s Too Late as one of the most reflective and honest portrayals of falling out of love. The song’s enduring appeal and its central place on Tapestry have ensured its legacy as one of the definitive break-up songs of its era, and its relevance remains undiminished today.
From his Rebel Yell album (1983), Billy Idol’s Eyes Without a Face stands out as a haunting ballad of heartbreak and disillusionment. Released in April 1984 as the second single from the album, the song reached No. 4 on the Billboard Hot 100, becoming Idol’s first top-ten hit in the United States. Unlike the more hard-hitting rock and punk-infused tracks that dominate Rebel Yell, this song reveals a softer, more introspective side of Idol. The title, borrowed from a 1960 French horror film, suggests a sense of emptiness and detachment, mirrored in the lyrics and the musical arrangement.
The recording sessions for Eyes Without a Face took place in 1983 with Keith Forsey producing and Billy Idol collaborating closely with guitarist and co-writer Steve Stevens. The song’s blend of synthesizers, guitars, and a pulsing bassline creates an atmospheric backdrop contrasting the typical rock anthems on Rebel Yell. Perri Lister, Idol’s partner at the time, contributes ethereal background vocals, singing the haunting French refrain “Les yeux sans visage” (eyes without a face), deepening the song’s melancholy and loss mood. Stevens’ guitar solo is a highlight, shifting the tone mid-song and injecting an unexpected intensity before returning to the reflective chorus.
Lyrically, Eyes Without a Face tells the story of a broken relationship, where the protagonist wrestles with disillusionment and the loss of connection. Idol reflects on the pain of deception and betrayal, capturing the complex emotions of falling out of love. The line, “It’s easy to deceive, it’s easy to tease, but hard to get release,” exposes the tension between the facade of affection and the absence of real emotional depth. By referencing the once-alive love that is now “gone from your eyes,” Idol paints a vivid picture of alienation. The song’s cinematic quality, blending both rock and ballad elements, allows Idol to express the confusion and heartbreak inherent in the end of a relationship.
Eyes Without a Face is a fitting opener for a list of songs about falling out of love. It sets the tone by illustrating how deep emotional wounds can be hidden behind a mask of indifference, perfectly capturing the haunting nature of disconnection and loss.
# 5 – I Keep Forgettin’ (Every Time You’re Near) – Michael McDonald
“I Keep Forgettin’ (Every Time You’re Near)” marks Michael McDonald’s seamless transition from The Doobie Brothers to his solo career. Released in 1982, the track was the lead single from his debut album If That’s What It Takes, and it quickly became one of his defining songs. Written by McDonald and Ed Sanford, the song climbed to No. 4 on the Billboard Hot 100, while also charting on the R&B and Adult Contemporary charts. Its blend of smooth soul, R&B, and yacht rock sensibilities made it an instant classic, and it remains a standout in McDonald’s catalog for its combination of heartfelt lyrics and a slick, groove-driven arrangement.
Musically, “I Keep Forgettin’” is built around a memorable bassline laid down by Louis Johnson (from The Brothers Johnson), and features contributions from notable session musicians such as Steve Lukather on guitar, Greg Phillinganes on clavinet, and Jeff Porcaro on drums. The song also includes backing vocals from McDonald’s sister, Maureen McDonald, whose harmonies help create the song’s textured and layered sound. The crisp production, overseen by McDonald and Ted Templeman, reflects the meticulous craft that defined much of 1980s pop music. Yet, its emotional resonance sets it apart from the polished excesses of the decade.
Lyrically, the song captures the bittersweet pain of trying to move on from a failed relationship. McDonald’s smooth, distinctive voice conveys the confusion and emotional turmoil of seeing someone who was once so close but now feels distant. The repeated line, “I keep forgettin’ we’re not in love anymore,” emphasizes the protagonist’s inability to fully let go, despite the reality of the breakup. The song’s groove contrasts with the heavy emotional weight of the lyrics, a juxtaposition that gives it a unique depth. The chorus, filled with longing and frustration, explores the tension between memory and the present moment, a theme that resonates deeply in the context of songs about falling out of love.
“I Keep Forgettin’” serves as the perfect starting point for this list. It introduces the listener to a world where love, once so certain, has crumbled, leaving behind only echoes of what once was. The song’s smooth yet aching delivery embodies the complexities of heartbreak, setting the tone for other tracks that explore the emotional turmoil of love lost.
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# 4 – Boats Against the Current – Eric Carmen
Eric Carmen’s “Boats Against the Current” is a poignant reflection on love’s inevitable dissolution. The title track from his 1977 album Boats Against the Current, the song is deeply inspired by The Great Gatsby and draws on the line “So we beat on, boats against the current, borne back ceaselessly into the past.” Released as part of Carmen’s second solo album after the Raspberries disbanded, the track explores themes of regret, loss, and the endless struggle to hold onto something that has already slipped away. With its sweeping soft rock style and emotional weight, the song epitomizes the feeling of a relationship falling apart despite the best efforts to save it.
Recorded at Crystal Sound, Studio 55, Sound Factory, and Brother Studio in Los Angeles, Boats Against the Current highlights Carmen’s skill as a vocalist and producer, as he crafted the soundscape to match the melancholy tone of the lyrics. The album, which peaked at number 45 on the Billboard 200, reflects Carmen’s transition into more introspective material, with this title track being one of the most striking examples of his songwriting prowess. The lush production, featuring rich arrangements and Carmen’s distinct, aching vocals, helps to build the sense of emotional turmoil at the heart of the song.
Lyrically, “Boats Against the Current” describes the aftermath of a relationship in which both parties realize it’s over, but they are still going through the motions, sailing in separate directions. The line “I know it’s over, you know it’s over, we’re just goin’ through the motions” captures the heartbreaking reality of two people who are no longer aligned but cannot let go. The idea of “boats against the current” is a metaphor for their futile attempts to revive something irreparably broken, making this song an ideal choice for a list focused on falling out of love. Carmen’s emotive delivery, coupled with the gentle instrumentation, evokes a deep longing, frustration, and acceptance, marking it as one of the most resonant tracks about love’s end.
Leonard Cohen’s Dance Me to the End of Love, first performed on his 1984 album Various Positions, is one of his most poetic explorations of love, loss, and longing. The song blends Cohen’s signature lyrical depth with a rich musical arrangement, creating an emotional and reflective piece. While not explicitly about falling out of love, the song evokes a sense of finality and the fragility of love, making it a poignant addition to any collection of songs about the end of a romantic connection. Its universal themes of love’s endurance through difficult times have given it a timeless quality, and over the years, it has been covered by many artists.
Recorded in 1984, the album Various Positions was produced by John Lissauer and marked a return to Cohen’s more spiritual and introspective songwriting. Musicians contributing to the album include Ron Getman on guitar, Bill Ginn on keyboards, and John Crowder on bass, with background vocals by Jennifer Warnes, whose voice complements Cohen’s gravelly delivery. The recording sessions took place in both Montreal and New York City, lending the album an international atmosphere fitting for Cohen’s worldly, philosophical lyrics.
Lyrically, Dance Me to the End of Love is a meditation on love’s endurance and its eventual fading. The lines “Dance me to the end of love” and “Raise a tent of shelter now, though every thread is torn” convey a sense of fragility and longing, as if the speaker is desperately clinging to a love that is slowly unraveling. The metaphor of dancing, intertwined with references to weddings and children, suggests a journey through life’s stages, from passion to inevitable loss. Cohen’s ability to craft such a multifaceted exploration of love’s end elevates this song to one of the most poignant in the rock and folk genres.
# 2 – By The Time I Get To Phoenix – Glen Campbell
“By The Time I Get to Phoenix” is one of the most poignant songs about falling out of love, blending heartbreak with a sense of resignation. Written by Jimmy Webb and popularized by Glen Campbell in 1967, the song tells the story of a man who has made the painful decision to leave his partner, chronicling his physical and emotional journey. Campbell’s version, featured on his album of the same name, topped charts in Canada and climbed to number two on Billboard’s Hot Country Singles chart. Its commercial success and critical acclaim made it one of the most celebrated torch songs of its time, earning Campbell two Grammy Awards.
Recorded in the legendary Capitol Records Studios in Hollywood and produced by Al De Lory, the song features Campbell’s smooth, emotional vocals against a lush orchestral arrangement. Campbell was accompanied by renowned session musicians group members known as the Wrecking Crew. The instrumentation—marked by strings, gentle percussion, and Campbell’s signature guitar work—perfectly complements the melancholy and reflective nature of the song.
Lyrically, “By The Time I Get to Phoenix” explores the disconnect that builds up in a relationship as love fades. The narrator’s departure is presented through a vivid travelogue, with each city representing another stage of emotional distance. The refrain, “By the time I get to Phoenix,” echoes the progression of a man who is physically leaving while his partner remains emotionally unaware of the finality of his decision. The song’s slow build from Phoenix to Albuquerque and then to Oklahoma, where she will finally realize he’s gone, reflects the inevitability of their separation. Frank Sinatra famously called it “the greatest torch song ever written,” highlighting its place as one of the most heart-wrenching songs about love lost.
As the final song on this list of the 10 Best Rock Songs About Falling Out of Love, B.B. King’s “The Thrill Is Gone” stands as a haunting testament to the deep sorrow that comes with the end of a relationship. Originally written by Roy Hawkins and Rick Darnell in 1951, King’s version, recorded in 1969 for his album Completely Well, is widely considered the definitive rendition. The strings added by producer Bill Szymczyk, along with King’s signature soulful guitar, bring a polished and contemporary sound that elevated this slow 12-bar blues song to a broader audience, marking it as a crossover success.
“The Thrill Is Gone” reflects the universal experience of realizing that a love that once felt all-consuming has vanished, leaving behind only emptiness. King’s somber delivery of the line “The thrill is gone, baby, it’s gone away from me” perfectly encapsulates the sense of despair and emotional isolation. The emotional weight of this song mirrors the heartbreak explored in other songs on this list, such as Jackson Browne’s “Late for the Sky.” Both songs grapple with the painful realization that love has withered, though King’s is imbued with a more resigned acceptance, while Browne’s song clings to a hope that love can be revived.
King’s emotional guitar playing amplifies the melancholy tone of the lyrics, especially during the instrumental breaks. The guitar becomes an extension of his voice, as if each note is another sigh of disappointment and pain. Comparing this to Annie Lennox’s “No More ‘I Love You’s,’” both songs share the theme of emotional distance and the heartache of realizing that love has died, but while Lennox’s song has a whimsical yet eerie atmosphere, King’s song is raw and grounded in the blues tradition.
Lyrically, “The Thrill Is Gone” doesn’t just speak to the end of a romantic relationship, but also serves as a reflection on freedom from pain. The final lines—”I’m free from your spell”—mark a bittersweet turn in the narrative. Though the loss is palpable, there is also a hint of relief at the end of a toxic bond, similar to the way Carole King’s “It’s Too Late” expresses a sense of finality and the unavoidable truth that sometimes love cannot be saved. Both songs recognize that the only way forward is to let go.
By closing the list with “The Thrill Is Gone,” we emphasize the deeply emotional, often painful process of falling out of love. Whether it’s B.B. King’s mournful blues or Carole King’s soft rock ballad, each song on this list captures the complexity of lost love from a different perspective.
Elton John has expressed his love for Kneecap, praising the Irish hip-hop trio’s energy and political lyricism.
The legendary pop singer-songwriter voices his appreciation for the band in a new appearance on BBC Radio 6’s Breakfast Show, hosted by Nick Grimshaw, saying that it was footage of their live performances that first turned his head.
“I saw a video of them and I just was so knocked out by the energy they had and the vitality they had,” he says (via NME). “They were just extraordinary and what they talk about is political, and there’s not many bands that do that. So, I love them, I love the energy, I love everything about them.”
The comments are similar to ones John made in September. He told the three-piece to their faces during an episode of his Rocket Hour podcast: “I find that your music tackles controversial subjects and you’ve said, unless we make a topic of it, unless we make fun of it, it’s never going to get any better.”
He continued: “I think you’re very brave to speak out, and you come from a humorous place – and it just makes me happy. Now, you wouldn’t think an old softie like me would be interested in Kneecap, but I am, because the energy, the music, the power – the power, the power. Not many people have that power.”
John has never made any bones about supporting younger generations of musicians. Over the weekend, he made headlines by performing Pink Pony Club with Chappell Roan at his Academy Awards viewing party.
He’s also offered kind words about heavy metal superstars Metallica. In 2021, he called the band’s 1991 single Nothing Else Matters “one of the best songs ever written”, drawing tears from frontman James Hetfield. John teamed with Miley Cyrus and others to cover Nothing Else Matters for the Metallica Blacklist compilation the same year.
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Kneecap released their debut album Fine Art last June and swiftly became one of hip-hop’s biggest names. An eponymous documentary about the group won a BAFTA Award last month, with writer/director Rich Peppiatt taking home the prize for Outstanding Debut.
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Rather in the same way that it’s hard to explain the genius of the TV series Breaking Bad to someone who has never seen it (“It’s about this dying chemistry teacher who sells crystal meth…”), Big Big Train’s approach to music is tough to articulate to the uninitiated. With their superficial Genesis feel set to pining, wistful tales of steam trains, they’re a band who continue to progress with every release, as their uniquely branded, mid-20th century prog gathers an unstoppable momentum.
Released last year, their seventh full-length release, English Electric Part One, was a defining moment, and the dexterity shown on such tracks as The First Rebreather and Judas Unrepentant ensured that it was rated as one of the albums of the year.
Although recorded during the same sessions, there was a tangible concern that Part Two might fail to equal the high benchmark set by its predecessor. Fortunately, this companion verifies the theory that Big Big Train are a band for whom eloquent inspiration and a prolific brilliance comes naturally.
Part Two’s sentimental theme certainly isn’t something new to the band – their first album was, after all, entitled Goodbye To The Age Of Steam – and it’s been at the core of their unique, nostalgia-infused music ever since. Indeed, they’re so proficient at lyrically conveying that feeling of the demise of a golden era that, even if you weren’t born in those times, they still manage to generate a feeling of soulful longing in the listener. It’s Boy’s Own stuff, complete with mental images of coal fires, the wonders of engineering and the multi-dimensional characters that populate the tales.
Take, for example, the opener East Coast Rider, a 15-minute track that delves into the history behind the 1930s train, Mallard. It’s a topic that certainly won’t enthral every listener, but the lush orchestrations and multiplicity of textures that have been beautifully layered throughout the song undoubtedly will. Cleverly constructed and free of the kind of meandering, musical flabbiness that can sometimes infiltrate prog tracks of this magnitude, it sets the tone for the remainder of the album.
The sizeable elephant in the room is the similarity of David Longdon’s vocals to Peter Gabriel’s – something that anyone hearing the band for the first time will revel in pointing out. Yet this is clearly something natural and it must be a constant frustration for Longdon that the comparison repeatedly crops up. After all, how many singers are there within the metal genre who sound like Robert Plant? Musically there are similarities too, but these aren’t in the way that certain bands in the early 80s just tried to be imitators. Genesis are merely one of several influences that have helped shape the band’s sound, and with the musicians behind Big Big Train all being of a similarly high calibre, they’ve evolved into something truly distinctive.
(Image credit: Bob Venables)
English Electric Part Two is an album that possesses a precise balance between upbeat moments of swagger and mellower, almost mournful segments, which ensures that everything flows impeccably.
A perfect example of the latter is the inspired Swan Hunter. Complete with an utterly mesmerising brass section, and lyrics dealing with the decline of a North East shipping yard and the bond between father and son, it’s thematically reminiscent of the sentiments expressed on Sting’s album The Soul Cages. With that subject matter, this could be a potentially depressing tale, but with the band’s skilful delivery, it’s actually unexpectedly uplifting.
Elsewhere, Leopards and Worked Out are affectionate ballads, while Keeper Of Abbeys is a track of such intense splendour – replete with painstakingly created interwoven melodies – that the magnitude of what Big Big Train have again managed to produce is tricky to fully grasp.
For a band who have now been in existence for over 20 years to be creating albums as perfect as this is in itself utterly remarkable. The fact that this is their second release of such a calibre within the space of a year can only reinforce the opinion that what we’re dealing with here is an act of rare, often indescribable brilliance.
Despite forming in 2010, German electronicore crew Electric Callboy went viral in the pandemic with their silly videos – the one for recent single Elevator Operator features a mermaid in a magic lift.
“People finally saw that even if it’s funny music, it’s well made, that we invested time and passion in it,” explains founding member and co-vocalist Kevin Ratajczak.
Jinjer have spawned YouTube reaction videos thanks to Tatiana Shmayluk’s incredible voice. As the Ukrainians release their stunning new album, Duél, she remembers developing her style by listening to Lamb Of God’s Randy Blythe and other male screamers.
“I wanted to be as good as them, so you even cannot tell that it’s a girl singing,” she says today.
Slaughter To Prevail are taking over the deathcore scene, with new album Grizzly on the horizon. And frontman Alex Terrible has even wrestled a Russian brown bear called Tom…
“It sort of became our Eddie from Iron Maiden pretty naturally,” he says.
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After appearing on Eurovision, Ireland’s Bambie Thug is on a mission to bring their “ouija-pop” to the world.
“When I first started writing, I was writing these cheesy love songs,” they confess. “I was obsessed with Barbie movies and fairy tales growing up. But I moved on from that. Thank God for the darkness!”
Meanwhile, Bloodywood are bringing Indian metal to the world with their new album, Nu Delhi.
“We want to get as far as possible and get as many people who are like-minded together, have a great time musically, but also create a community that can actually have an impact on the world,” says rapper Raoul Kerr.
Cover stars aside, in honour of Iron Maiden’s 50th birthday, we remember their 50 greatest moments! From the birth of Eddie to sword fights and… nuns? It’s all here.
Elsewhere, we celebrate the life of late Amen frontman Casey Chaos, get some Life Lessons from Sabaton’s Joakim Broden, and meet Venamoris – the dark project from Dave and Paula Lombardo.
Bring Me The Horizon’s Oli Sykes has reunited with You Me At Six for a shot of emo nostalgia, performing the song Bite My Tongue with the Surrey band during a Sheffield show.
You Me At Six originally tapped Sykes for Bite My Tongue in 2011, letting him handle guest vocals on the track for the album Sinners Never Sleep. On March 3, during a stop on You Me At Six’s farewell UK and Ireland tour at the Octagon Centre in Sykes’ hometown, the Bring Me The Horizon man hopped onstage to help perform the song. Watch footage below.
You Me At Six announced their impending split in May 2024. They confirmed their farewell tour days later, and it’s set to conclude with two huge shows at London’s 12,000-capacity Wembley Arena on April 3 and 4. See the remaining dates below.
During an interview with Kerrang!, vocalist Josh Franceschi said the band were breaking up because they’d done “everything [they] wanted” to during their near-20-year career.
“We always wanted to go out on our own terms,” he said. “No one’s in the dark about what’s happening, and that means we can enjoy it more. If we were to rock up to Slam Dunk [festival 2024], and be like, ‘This was our last gig, see you later,’ drop the mic and walk off… I think we’re better than that. And I want people to remember our band as being their band. We owe them some respect.”
They’re also preparing to headline Reading and Leeds festival and will tour the US in the autumn, with support from Motionless In White, The Plot In You and Amira Elfeky. See dates and details via their website.
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You Me At Six: Bite My Tongue *Live With Oli Sykes* [Octagon Centre, Sheffield, 3/3/2025] – YouTube
Mar 4: Newcastle NX Mar 6: Dublin 3Olympia Mar 7: Dublin 3Olympia Mar 8: Belfast Telegraph Building Mar 10: Exeter The Great Hall Mar 11: Cardiff Students’ Union Great Hall Mar 13: Cardiff Students’ Union Great Hall Mar 14: Cardiff Students’ Union Great Hall Mar 15: Southampton O2 Guildhall Mar 17: Nottingham Rock City Mar 18: Nottingham Rock City Mar 20: Newcastle NX Mar 21: Glasgow Barrowlands Mar 22: Glasgow Barrowlands Mar 23: Glasgow Barrowlands Mar 25: Leeds O2 Academy Mar 26: Leeds O2 Academy Mar 28: Manchester O2 Apollo Mar 29: Manchester O2 Apollo Mar 30: Birmingham O2 Academy Mar 31: Birmingham O2 Academy Apr 02: London O2 Academy Brixton Apr 03: London OVO Arena Wembley Apr 04: London OVO Arena Wembley
![You Me At Six: Bite My Tongue *Live With Oli Sykes* [Octagon Centre, Sheffield, 3/3/2025] - YouTube](https://img.youtube.com/vi/_OoAlEP9vNQ/maxresdefault.jpg)