The legendary Glastonbury Festival returns to Worthy Farm from June 25-29, 2025, with a diverse and powerful lineup featuring some of rock’s most enduring icons. This year, Neil Young and the Chrome Hearts, Rod Stewart, and John Fogerty bring a wealth of classic rock history to the festival’s storied stages, standing alongside a mix of modern superstars and rising talents.
The Saturday night headliner slot belongs to Neil Young, making his long-awaited return to Glastonbury. With a career spanning over six decades, Young has been one of the most influential songwriters and performers in rock history, delivering timeless hits like “Heart of Gold,” “Rockin’ in the Free World,” and “Old Man.” His performances are known for their raw emotion and uncompromising musicianship, making his appearance one of the most anticipated moments of the festival.
Rod Stewart takes the legend slot on Sunday afternoon, a position that has been graced by the likes of Paul McCartney, Elton John, and Dolly Parton in previous years. Stewart’s career has seen him evolve from his blues-rock roots with Faces to becoming one of the biggest solo artists of all time. His hits, including “Maggie May,” “You Wear It Well,” and “Do Ya Think I’m Sexy?” are expected to bring a singalong atmosphere to the Pyramid Stage.
Joining the classic rock contingent is John Fogerty, the voice behind Creedence Clearwater Revival. With anthems like “Bad Moon Rising” and “Fortunate Son,” Fogerty’s set on Saturday promises to bring the swamp rock sound that has influenced generations of musicians. His addition to the lineup further reinforces Glastonbury’s commitment to celebrating rock’s deep roots while embracing new musical horizons.
A Lineup Bridging Generations of Rock, Pop, and Alternative Music
While classic rock has a strong presence, Glastonbury 2025 continues its tradition of embracing a wide range of genres. The 1975 will headline on Friday, marking their first time at the top of the bill after years of building their festival credentials. The band has become known for their genre-blurring mix of indie rock, synth-pop, and experimental sounds.
Olivia Rodrigo, one of the biggest breakout artists of the 2020s, takes the Sunday headline slot, making her the youngest artist to do so since Billie Eilish. Rodrigo’s emotionally charged pop-rock anthems, including “Good 4 U” and “Vampire,” have struck a chord with a new generation of listeners.
Charli XCX leads the Other Stage on Saturday, bringing her electro-pop brilliance to Glastonbury, while The Prodigy will close out the festival on Sunday night, ensuring an explosive finish with their high-energy mix of electronic and punk-infused beats.
New Faces and Returning Favorites
Glastonbury 2025 also welcomes several first-time performers, including Alanis Morissette, Noah Kahan, Gracie Abrams, and Doechii. Morissette’s debut at the festival is long overdue, and her 1995 album Jagged Little Pill remains one of the most celebrated rock records of all time. Meanwhile, indie folk sensation Noah Kahan has quickly risen to prominence with his introspective songwriting, making his set a must-see.
The festival also sees the return of acts that have become fan favorites over the years. Fatboy Slim, Scissor Sisters, Franz Ferdinand, and Wolf Alice are all back to deliver dynamic performances. Wet Leg, who had a breakout year in 2022, will bring their quirky indie rock energy to the Pyramid Stage.
Full Schedule Breakdown
Friday, June 27
Headliner: The 1975
Other notable acts: Loyle Carner, Biffy Clyro, Alanis Morissette, Busta Rhymes, Franz Ferdinand, En Vogue, Fatboy Slim, Supergrass, Gracie Abrams, Wet Leg, and Self Esteem.
Saturday, June 28
Headliner: Neil Young and the Chrome Hearts
Other notable acts: Charli XCX, John Fogerty, Deftones, The Script, Weezer, TV on the Radio, Scissor Sisters, Beth Gibbons, Father John Misty, and Lucy Dacus.
Sunday, June 29
Headliner: Olivia Rodrigo
Legend Slot: Rod Stewart
Other notable acts: The Prodigy, Noah Kahan, Nile Rodgers & Chic, Wolf Alice, The Libertines, Snow Patrol, The Brian Jonestown Massacre, St. Vincent, and Future Islands.
Glastonbury’s Legacy Continues
Since its inception in 1970, Glastonbury Festival has remained the pinnacle of live music events, drawing crowds from around the world to Worthy Farm in Pilton, Somerset. With a lineup that embraces the past, present, and future of music, the 2025 edition continues that legacy, ensuring that rock legends stand shoulder to shoulder with contemporary icons.
For fans of classic rock, this year’s festival is an unmissable opportunity to witness Neil Young, Rod Stewart, and John Fogerty bring their legendary catalogs to life. And with over 100 stages and hundreds of acts still to be announced, Glastonbury 2025 promises to be another unforgettable chapter in the festival’s storied history.
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The concept of not giving up is one of the most universal themes in music, and it’s explored in countless ways across genres. In rock and roll, the idea can take on multiple meanings, whether it’s about not giving up on oneself, on a relationship, or even on society. The resilience and determination that are often expressed through this theme can be channeled in emotional ballads, anthems of defiance, or reflective songs of hope. For this list, we wanted to highlight the best songs that embody the spirit of perseverance, drawing from a wide range of genres beyond just rock, to give a fuller picture of how this powerful message is conveyed.
We’ve included an eclectic mix of artists and styles to showcase how varied the theme of “not giving up” can be. George Benson’s soulful “Never Give Up on a Good Thing” delivers a smooth and heartfelt reminder about holding onto love when times get tough, while the Red Hot Chili Peppers’ “Can’t Stop” offers a frenetic, high-energy push to keep moving forward no matter the obstacles. Peter Gabriel’s poignant “Don’t Give Up,” featuring Kate Bush, takes a softer approach, exploring the emotional support needed to weather life’s storms.
Meanwhile, Survivor’s “Eye of the Tiger” is a classic rock anthem of resilience and determination, forever linked to the underdog triumphs in Rocky III. Tom Petty’s “I Won’t Back Down” declares personal strength and defiance, standing up against adversity with simple but powerful resolve. Bon Jovi’s “It’s My Life” speaks to living boldly on your own terms, refusing to give in to societal pressures.
From the introspective and emotional “Don’t Give Up” to Argent’s “Hold Your Head Up,” with its steady encouragement, this list offers a wide array of perspectives on perseverance. Whether it’s the driving rhythms of Van Halen’s “Dreams” or the soulful determination of Fleetwood Mac’s “Don’t Stop,” each song reflects a different angle of refusing to quit. By bringing together rock, pop, soul, and R&B, we’ve created a list that stretches across genres and decades, showing that the determination to keep going, no matter the challenge, is a message that never goes out of style.
# 10 – Never Give Up On A Good Thing – George Benson
Kicking off this list of rock songs about not giving up is George Benson’s 1981 classic, “Never Give Up on a Good Thing.” This soulful anthem encourages perseverance in love, reminding listeners to hold on to what truly matters. Written by Michael Garvin and Tom Shapiro, the song was released as a single in December 1981. It became a hit, reaching number 14 on the UK Singles Chart and charting in several other countries, including the U.S. and New Zealand. Benson’s smooth vocals, combined with a jazzy, R&B-influenced groove, make this track a standout from his album The George Benson Collection.
The lyrics delve into couples’ struggles in maintaining a relationship, especially during tough times. Benson sings of financial difficulties and emotional strain but emphasizes that love is worth fighting for. The message is clear: true love is rare, and it’s essential not to give up on it, no matter the challenges. The repetitive refrain, “Never give up on a good thing,” serves as both a reminder and a declaration of commitment, making it a relatable and uplifting track for anyone going through a rough patch in their relationship.
Musically, “Never Give Up on a Good Thing” showcases Benson’s exceptional guitar skills and features an array of talented musicians, including Steve Lukather on guitar, Greg Phillinganes on electric piano, and Paulinho da Costa on percussion. Produced by Michael Omartian, the song combines elements of jazz, soul, and pop, creating a rich, layered sound that complements its heartfelt lyrics. It’s a timeless reminder to hold on to love, setting the tone for this list of songs about perseverance and resilience.
“Dreams,” one of Van Halen’s most inspirational tracks, showcases the band’s ability to merge rock with an uplifting message of determination and hope. Released in 1986 as part of their 5150 album, the song marked Van Halen’s transition into a new era with Sammy Hagar as their lead vocalist, following David Lee Roth’s departure. This track stands out not only for its powerful message but also for its soaring musical arrangement and exceptional musicianship. It reached No. 22 on the Billboard Hot 100, proving to be a hit that resonated with fans of the band’s evolving sound.
Lyrically, “Dreams” encapsulates the essence of ambition and the drive to reach for something greater. The lyrics, “We’ll get higher and higher, straight up we’ll climb,” suggest a continual ascent toward personal goals and ambitions. Hagar’s powerful vocals are filled with conviction, as he expresses the song’s uplifting message that dreams are meant to be chased, no matter the obstacles. The positive energy of the song mirrors the sense of not giving up, which makes it fit perfectly into this list.
Musically, the song’s production is driven by Eddie Van Halen’s signature guitar work, though it is his use of keyboards that really defines the sound of “Dreams.” Alex Van Halen’s drumming adds energy, propelling the track forward, while Michael Anthony’s bass creates a solid foundation. Produced by Mick Jones and Donn Landee, 5150 marked a significant shift in the band’s sound, and “Dreams” is a highlight of that evolution. Its anthemic, arena-rock feel, combined with its themes of perseverance, make it one of Van Halen’s most motivational songs, encouraging listeners to never stop pursuing their dreams.
“Never Surrender” by Corey Hart, released in June 1985 as the lead single from his album Boy in the Box, is an anthem of perseverance and resilience. The song’s stirring message of hope and refusal to give up resonated strongly with listeners, propelling it to number one in Canada, where it held the top spot for nine weeks. In the United States, the song became Hart’s highest-charting single, peaking at number three on the Billboard Hot 100 in August of the same year. Its popularity was further cemented when it won the Juno Award for “Single of the Year” in 1985 and earned a Platinum certification in Canada for sales exceeding 100,000 copies.
Produced by Jon Astley and Phil Chapman, the song features a compelling arrangement driven by Hart’s passionate vocal delivery. Its atmospheric, synth-driven sound underscores the powerful lyrics, which encourage listeners to keep fighting through adversity. The song’s memorable chorus—”You can never surrender”—became a motivational mantra for many, reinforcing its timeless appeal. The song continues to inspire, even finding its way into modern pop culture, including appearances in series like Stranger Things, The Goldbergs, and Future Man.
Lyrically, “Never Surrender” reflects a universal theme of overcoming obstacles and standing firm in the face of life’s challenges. Hart’s lines, “If you’re lost and on your own, you can never surrender,” speak to those moments of self-doubt, while the insistence that “no one can take away your right to fight” provides a message of empowerment. This sentiment aligns perfectly with the theme of the list, which focuses on songs about not giving up, making it a fitting addition. Hart’s reimagined piano ballad version of “Never Surrender,” released in 2020 during the COVID-19 pandemic, further highlighted the song’s enduring message of hope and resilience.
Released as the lead single from Crush in 2000, “It’s My Life” marked Bon Jovi’s powerful return to the music scene and introduced the band to a new generation of listeners. Written by Jon Bon Jovi, Richie Sambora, and Max Martin, the track became an anthem of resilience and personal empowerment. The song soared to the top of the charts across Europe, reaching number one in countries like Austria, Spain, and Switzerland, and it peaked at number 33 on the US Billboard Hot 100. Not only did “It’s My Life” become Bon Jovi’s most recognizable hit of the 2000s, but it also revitalized their career after the height of their fame in the 1980s, solidifying their status as rock legends.
Musically, the track is driven by Sambora’s punchy guitar riffs and Jon Bon Jovi’s signature vocals, all complemented by a modern pop-rock production that was co-produced by Luke Ebbin. The song’s infectious energy, catchy melody, and defiant message of living life on one’s own terms captured the spirit of both the band and their fans. The iconic line “Like Frankie said, ‘I did it my way’” pays homage to Frank Sinatra and emphasizes the song’s core theme of individuality and perseverance.
Lyrically, “It’s My Life” resonates as an anthem for those determined to stand their ground and fight through adversity, aligning perfectly with the concept of songs about not giving up. From its opening declaration—”This ain’t a song for the broken-hearted”—to the memorable chorus, the song encourages listeners to seize control of their lives and live with passion, no matter the obstacles. The references to “Tommy and Gina,” characters introduced in their hit “Livin’ on a Prayer,” further reinforce the song’s message of determination and resilience. This makes “It’s My Life” a perfect addition to this list, embodying the spirit of never surrendering.
“Hold Your Head Up” by Argent, released in 1971, became the defining anthem of the British rock band and remains one of the most iconic songs of the era. Written by Chris White and Rod Argent, this track was a major hit across the United States, the United Kingdom, and Canada, reaching the number five spot on all three charts. Not only did the song solidify the band’s success, but it also became their only entry on the Billboard Hot 100. Featured on the album All Together Now (1972), “Hold Your Head Up” carries an empowering message of resilience and strength, making it a perfect fit for this list of songs about not giving up.
The song’s driving force comes from its repetitive, uplifting chorus, which urges the listener—especially women, as highlighted in the lyrics—to maintain their dignity and self-assurance, no matter the circumstances. The powerful refrain, “Hold your head up, woman / Hold your head high,” becomes a mantra of self-confidence. Musically, the song is built on a solid foundation of rhythmic keyboards, steady drumming, and prominent electric guitar, delivering a sense of forward motion that matches the lyrical theme of perseverance.
Compared to other songs on this list, “Hold Your Head Up” leans heavily into the idea of internal strength and facing adversity head-on. While songs like Bon Jovi’s “It’s My Life” emphasize fighting against external obstacles, Argent’s anthem is more focused on self-worth and determination, with a message that transcends time. The repetition in both lyrics and instrumentation reinforces the song’s central theme of never letting life’s struggles bring you down, resonating with anyone who’s faced tough moments. This timeless message keeps “Hold Your Head Up” relevant even decades after its release.
From a production standpoint, the track was produced by Rod Argent himself, ensuring the band’s signature sound remained intact. The song’s success lies in its simplicity, blending rock elements with inspirational lyrics that remain as poignant today as they were in the early 1970s. “Hold Your Head Up” not only gave Argent their biggest hit but also created a rock classic that continues to inspire perseverance and determination.
“Don’t Stop” by Fleetwood Mac is a song that has become synonymous with optimism and hope, making it a perfect addition to this list of songs about not giving up. Written by Christine McVie, it was released in 1977 as part of the band’s massively successful album Rumours. The track became an anthem of resilience, reaching number three on the Billboard Hot 100 and remaining one of the band’s most recognizable songs. The album itself is steeped in themes of heartache, personal struggle, and overcoming challenges, which makes “Don’t Stop” a standout for its message of pushing forward and looking to the future.
Musically, “Don’t Stop” is a bright, upbeat tune featuring McVie’s iconic piano work, Lindsey Buckingham’s rhythmic guitar playing, and the harmonized vocals of McVie and Buckingham. The song’s lively tempo and major key arrangement provide an uplifting backdrop for its positive lyrics. The chorus, “Don’t stop thinking about tomorrow,” encourages a forward-looking mindset, reminding listeners that no matter how tough the present might be, there’s always hope for a better tomorrow.
In the context of this list, “Don’t Stop” shares a thematic connection with songs like Argent’s “Hold Your Head Up,” which also emphasizes resilience. However, Fleetwood Mac’s take is lighter and more hopeful, focusing on the power of positive thinking as a way to overcome obstacles. The song’s historical relevance grew even more when it was famously used by Bill Clinton during his 1992 presidential campaign, further cementing its association with perseverance and hope.
Produced by the band along with Ken Caillat and Richard Dashut, Rumours remains one of the best-selling albums of all time, and “Don’t Stop” played a significant role in its success. The song’s timeless appeal lies in its ability to inspire optimism in listeners, making it a classic example of a rock song that embodies the spirit of never giving up.
“Eye of the Tiger” by Survivor is one of the most iconic rock songs about perseverance and determination, making it a fitting addition to this list of songs about not giving up. Released in 1982 as the lead single from the band’s third album, Eye of the Tiger, the song became a global anthem for overcoming obstacles and achieving success. Written by Survivor’s guitarist Frankie Sullivan and keyboardist Jim Peterik, it was specifically composed at the request of Sylvester Stallone for the soundtrack of Rocky III, solidifying its association with the underdog spirit and fighting through adversity.
The song’s driving beat and powerful guitar riffs instantly pump energy into listeners, while the lyrics paint a vivid picture of resilience and determination. Lines like “Rising up, back on the street, did my time, took my chances” evoke the theme of overcoming setbacks and facing challenges head-on. The metaphor of the “eye of the tiger” represents an unwavering focus and readiness to tackle whatever comes your way, no matter the odds. This makes the song not just a motivational anthem for athletes or those facing physical challenges, but for anyone who needs a reminder to keep pushing forward.
Musically, “Eye of the Tiger” is built around its iconic guitar riff, accompanied by pulsing bass and dynamic drumming that underscore the urgency of the lyrics. The song’s success was staggering: it topped the Billboard Hot 100 chart for six consecutive weeks and earned Survivor a Grammy Award nomination, as well as a place in rock history as one of the most memorable songs of the 1980s.
In the context of this list, “Eye of the Tiger” stands alongside other songs of perseverance, like Fleetwood Mac’s “Don’t Stop” and Corey Hart’s “Never Surrender.” While those tracks take a more reflective or personal approach to overcoming challenges, Survivor’s anthem is full of raw, aggressive energy, capturing the intensity of a personal battle to stay in the game and keep fighting for your dreams.
“I Won’t Back Down” by Tom Petty is a quintessential anthem of resilience and personal strength, perfectly capturing the spirit of standing firm in the face of adversity. Released in 1989 as the lead single from Petty’s debut solo album, Full Moon Fever, the song quickly became one of his signature tracks and has been embraced as a rallying cry for determination. Co-written by Petty and Jeff Lynne, it encapsulates a straightforward but powerful message: no matter the challenges, you must stay true to yourself and refuse to be defeated.
The lyrics are simple yet profound. Lines like “You can stand me up at the gates of hell, but I won’t back down” convey a defiant determination to overcome any obstacle, no matter how daunting. This is reinforced by Petty’s unmistakable voice, which delivers the words with a calm, unwavering resolve. The message is universally relatable, making the song a go-to for moments when listeners need a reminder to hold their ground in difficult situations.
Musically, “I Won’t Back Down” has a steady, mid-tempo beat, driven by crisp guitar riffs and Lynne’s polished production. While it has a laid-back sound typical of Petty’s work, the song’s assertive tone gives it an unmistakable sense of power. Featuring contributions from fellow Traveling Wilburys members George Harrison (who provided backing vocals and guitar) and Lynne, the track became a massive hit, peaking at number 12 on the Billboard Hot 100 and solidifying its place as an enduring classic.
In the context of this list, “I Won’t Back Down” aligns perfectly with other songs about perseverance like Survivor’s “Eye of the Tiger” and Fleetwood Mac’s “Don’t Stop.” While those songs are more energetic or forward-looking, Petty’s anthem takes a grounded, reflective approach to resilience. It’s a reminder that sometimes, staying true to yourself and not yielding is the most important battle of all.
“Don’t Give Up” by Peter Gabriel, featuring Kate Bush, is a deeply emotional and powerful song about hope, perseverance, and the human spirit’s ability to endure hardships. Released in 1986 on Gabriel’s critically acclaimed album So, the song reflects the struggle of facing despair while being reassured by someone offering support and encouragement. Its poignant message resonates with the theme of not giving up, making it an essential addition to this list.
The lyrics tell the story of someone feeling overwhelmed by failure, particularly in the context of economic hardship and unemployment, which was reflective of the social climate at the time. Gabriel’s verses, sung from the perspective of a man who feels defeated, express a sense of hopelessness: “No fight left or so it seems, I am a man whose dreams have all deserted.” However, Bush’s interwoven responses offer a gentle yet firm reassurance, as she repeatedly urges him, “Don’t give up, you still have us.”
Musically, the song is hauntingly beautiful, with Gabriel’s somber, melancholic tone contrasting Bush’s ethereal voice, which adds a comforting layer of warmth and hope. The minimalistic arrangement, featuring synthesizers and subtle percussion, allows the vocals to shine and heightens the emotional impact of the lyrics. The delicate interplay between Gabriel and Bush makes “Don’t Give Up” both heart-wrenching and uplifting, encapsulating the balance between despair and the hope that keeps us moving forward.
In the context of this list, “Don’t Give Up” offers a deeply reflective and emotional take on the theme of perseverance, compared to more upbeat or anthemic songs like Tom Petty’s “I Won’t Back Down” or Survivor’s “Eye of the Tiger.” Its quiet strength and intimate focus on vulnerability make it a standout track about finding hope and support in others when facing personal struggles.
Linkin Park seem to already be working on new music.
A new documentary about the nu metal superstars’ 2025 world tour dates, which was uploaded to Youtube on Wednesday (March 5), ends with guitarist/vocalist Mike Shinoda and lead singer Emily Armstrong recording what sounds like a new song.
Shinoda and Armstrong are seen in a studio in Los Angeles, with Armstrong singing the lyric ‘Sometimes it feels like…’ over thumping rock music before the video abruptly cuts to black.
If the band are indeed at work on something new, it would mark an incredibly fast turnaround, as their comeback album From Zero came out in November. It was their first newly recorded music to come out in seven years: they went on an unofficial hiatus in 2017, following the death of longtime frontman Chester Bennington that July, aged 41.
Linkin Park confirmed their return, as well as the addition of Armstrong and drummer Colin Brittain to the lineup, in September. They embarked on a short world tour towards the end of the year, and will play around the globe more extensively this year. In November, the band announced more than 50 concerts on four continents, with the next leg, a North American run, set to kick off in April.
From June to July, Linkin Park will play across Europe. The shows will include their biggest-ever London date at the 90,000-capacity Wembley Stadium, as well as sets at such festivals as Hellfest and Open’er Festival. See all of the band’s upcoming live plans below.
In an interview with Billboard last year, Shinoda explained why Linkin Park decided to reunite under their established name, despite the major lineup changes they underwent during their seven-year downtime.
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“To call it anything else would be strange and misleading,” he said. “We teach our kids that when you fall down, you have to get back up and you have to go try again, right? The idea of us doing some other thing, with this group of people and the sound of this music, feels like it would have been a resignation, in a way… it would feel like hedging a bet.”
World Tour 2025, Part 2 [LPTV FROM ZERO: Episode 15] – Linkin Park – YouTube
Apr 26: Austin Moody Center, TX ^ Apr 28: Tulsa BOK Center, OK ^ May 01: Grand Rapids Van Andel Arena, MI ^ May 03: Baltimore CFG Bank Arena, ND ^ May 06: Raleigh Lenovo Center, NC ^ May 08: Greenville Bon Secours Wellness Arena, SC ^ May 10: Columbus Sonic Temple, OH * May 17: Daytona Welcome To Rockville, FL *
Jun 12: Nisckelsdorf Novarock, Austria * Jun 14: Hradec Kralove Rock For People, Czech Republic * Jun 16: Hannover Heinz-Von-Heiden Arena, Germany ~ Jun 18: Berlin Olympiastadion, Germany ~ Jun 20: Bern Bernexpo, Switzerland Jun 22: Clisson Hellfest, France * Jun 24: Milan I-Days, Italy * Jun 26: Arnhem Gelredome, Netherlands $ Jun 28: London Wembley Stadium, UK $& Jul 01: Dusseldorf Merkur Spiel Arena, Germany ~& Jul 03: Werchter Rock Werchter Festival, Belgium * Jul 05: Gdynia Open’er Festival, Poland * Jul 08: Frankfurt Deutsche Bank Park, Germany ~& Jul 11: Paris Stade De France, France
Jul 29: Brooklyn Barclays Center, NY + Aug 01: Boston TD Garden, MA + Aug 03: Newark Prudential Center, NJ + Aug 06: Montreal Bell Centre, Canada + Aug 08: Toronto Scotiabank Arena, Canada + Aug 11: Chicago United Center, IL + Aug 14: Detroit Little Caesars Arena, MI + Aug 16: Philadelphia Wells Fargo Center, PA # Aug 19: Pittsburgh PPG Paints Arena, PA # Aug 21: Nashville Bridgestone Arena, TN # Aug 23: St Louis Enterprise Center, MO # Aug 25: Milwaukee Fiserv Forum, WI # Aug 27: Minneapolis Target Center, MN # Aug 29: Omaha CHI Health Center, NE # Aug 31: Kansas City T-Movile Center, MO # Sep 03: Denver Ball Arena, CO # Sep 06: Phoenix Footprint Center, AZ # Sep 13: Los Angeles Dodger Stadium, CA !& Sep 15: San Josa SAP Ceter, CA & Sep 17: Sacramento Golden 1 Center, CA & Sep 19: Portland Moda Center, OR & Sep 21: Vancouver Rogers Arena, Canada & Sep 24: Seattle Climate Pledge Arena, WA &
Oct 26: Bogota TBA, Colombia Oct 29: Lima TBA, Peru Nov 01: Buenos Aires TBA, Argentina Nov 05: Santiago TBA, Chile Nov 08: Rio De Janeiro TBA, Brazil Nov 10: São Paulo TBA, Brazil Nov 13: Brasilia TBA, Brazil Nov 15: Porto Alegre TBA, Brazil
Festival performance * With Queens Of The Stone Age ! With Spiritbox $ With AFI = With Architects ~ With Grandson ^ With Jean Dawson # With Jpegmafia & With Pvris +
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.
“It seems like the metal purists are a little… shy about claiming us,” Chat Pile guitarist Luther Manhole admits.
He’s not wrong. Despite having a sound that crosses over into a variety of scenes – from hardcore to noise rock, alt metal and beyond – and releasing critically acclaimed albums in 2022’s God’s Country and 2024’s Cool World, the Oklahoma City quartet seem to do a pretty good job of pissing people off. Not least because they’re using the iconography of extreme metal.
“Spiritually, our music is as dark as any black metal music or whatever,” snorts bassist Stin. “Maybe the actual delivery system is a little different, but the message and the emotional qualities we’re trying to portray are there. But the elitists don’t like that we have a scratchy twig-looking metal logo. I don’t think it’s stolen valour to have a metal logo, but it pisses off these purists, who think that we’re just hipsters appropriating metal culture or whatever. Get bent – I don’t care!”
In their own words, Chat Pile are just “trying to capture the anxiety and fear of seeing the world fall apart”. But they also have a laissez-faire attitude to sticking to conventions, preferring to have fun. When asked about the future of the band, Stin tells us they intend to get more and more experimental, before sarcastically adding, “If it keeps working for us, great! If not, we’ll be on the [funk-rock also-rans] 311 cruise doing God’s Country in full in 15 years!”
The band’s ability to laugh at themselves and the scene around them was brilliantly evident last year, in the aftermath of Deicide frontman Glen Benton’s infamous tirade against modern metal bands being a “bunch of wannabe Weezer-looking dudes”. It hilariously prompted Chat Pile to post a picture of themselves all over social media, mocked up as the front cover of Weezer’s classic Blue Album.
“I really do get a kick out of pissing off the real purists,” grins Stin, before cackling. “Glen Benton’s such a Facebook grandpa!”
“It’s such high school lunchroom table bullshit to me,” adds Luther. “All these people who think that there should be these ‘rules’ when it comes to the type of music you make, what’s allowed and what’s not allowed. It’s an ancient, outdated mode of thought.”
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Chat Pile’s live shows continue the theme; a mix of utterly crushing, corrosive noise and between-song banter from frontman Raygun Busch about lost 80s movies, such as Michael Keaton’s 1989 comedy The Dream Team. Spouted while wearing nothing but a pair of Y-fronts. You don’t get that at a Cult Of Luna show.
“There’s so many people confused or even let down because we weren’t these ‘dark sex poet leather guys’ or whatever,” Stin says. “We were just ourselves. But it was shocking to people that we didn’t have this stupid macabre persona. To me, it makes what we’re doing all the more real, because we’re not presenting to anybody this sort of imagined, idealised version of our message.”
They may enjoy stirring the pot online and onstage, but Chat Pile are no comedy band, creating a brilliantly harsh and scabrous amalgam of noise rock and groove metal riffs. Their style is inspired by the myriad genres and artists they enjoy, whether from the metal sphere or not. They’re also uninterested in scoring cool points by only name-checking underground artists.
“I listened to Children Of God by Swans yesterday,” Stin tells us. “I was like, ‘You know, there’s riffs you’d hear later in Korn in this shit!’ Even emotionally, they share the similar territory. The difference is that you can be all high and mighty and pretentious about liking Swans, but people treat it like you’d have to be a moron to like Korn. I just don’t agree with that type of thinking.”
The result of this attitude and particular set of influences is Chat Pile’s latest album, Cool World. Compared to God’s Country, it’s more succinct, catchier and immediate without ever sacrificing the manic intensity of their previous work. Songs such as the pummelling Funny Man, the stalking Masc or the brooding, grinding weight of Camcorder feel like a version of Around The Fur-era Deftones fronted by Henry Rollins and produced by Steve Albini. Chat Pile have found a way to have their noise rock cake and still eat big, punk-metal bangers.
“We wanted every song to have some memorable… something, you know?” Luther says. “Otherwise, why is it on there?”
“Nirvana are a big reference point in all this too,” adds Stin. “Because that’s how I got into music, so it’s in my DNA. I can’t really escape it even if I wanted to.”
It’s interesting to hear him mention Nirvana, a noisy underground punk band that became the biggest thing in music. Because, although you can tell that it is absolutely not by design, Chat Pile are starting to cross over. Mainstream outlets such as Pitchfork, The Needle Drop and The Guardian certainly think so, calling them one of the most exciting bands in current heavy music.
“We’re surprised that anybody knows who we are,” laughs Stin. “We started this band to play local shows to our friends. We never thought it would break past the small Oklahoma City scene. So now, to get reviews in Pitchfork or end up on these ‘best albums of the year’ lists, it’s beyond the scope of anything that would have been conceivable to us five years ago. I never saw it coming!”
Cool World is out now via The Flenser. Chat Pile tour the UK from April 20. For the full list of tour dates, visit their official website.
“It has some teeth!” Lady Gaga promises “electro grunge defiance” on her new album Mayhem, inspired by Nine Inch Nails, The Cure, Radiohead, David Bowie and Prince
The 38-year-old New York-born pop superstar has made no secret of her love for rock music, and in a recent broadcast on her SiriusXM channel Gaga Radio, the singer aired Nine Inch Nails’ classic Closer, and cited it as a key inspiration on her forthcoming record.
“Mayhem is utter chaos!” the singer told Elle in January, revealing that influences on her new music span ’90s alternative meets electro-grunge, mixed with industrial sounds, Prince and Bowie melodies, guitar and attitude, funky bass lines and French electronic dance.
In another interview with Elle, the singer added, “There was industrial inspiration with a lot of the sounds. There’s a transitional moment on the album that’s rooted in nineties music. A sort of electro grunge defiance. That era in music which was a response to the music that came before it. And then David Bowie theatrical rock, Prince, Radiohead. I was inspired by so much music that has grown roots in my veins.”
Talking to Apple Music’s Zane Lowe, Gaga also reveals that one song on the record, Perfect Celebrity, “an electro grunge song”, was inspired by The Cure, specifically Never Enough from the English band’s 1990 remix album Mixed Up.
“I used to play [it] in my apartment like a million times,” she notes.
Discussing the distinct characteristics of her previous albums with Lowe, Gaga explains, “Artpop was a vibe. Joanne was a sound, Chromatica had a sound all different [to the rest]. The Fame Monster was more chaotic, The Fame was theatrical pop, Born This Way, to me, had more of a metal-electro New York vibe to it. So I actually made the effort when making Mayhem to not do that, and not try to give my music an outfit, but instead to like allow myself to be influenced by everything.”
Gaga also teases that another song, Can’t Stop The High, which will be available only on a version of the album available from her website, is a “pure electro grunge record, that goes even harder than Perfect Celebrity does.”
“It’s it’s my favourite record in a long time,” she tells Lowe. “I feel like it has some teeth.”
Mayhem is set for release on March 7 via Interscope.
Watch the interview with Zane Lowe below:
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A music writer since 1993, formerly Editor of Kerrang! and Planet Rock magazine (RIP), Paul Brannigan is a Contributing Editor to Louder. Having previously written books on Lemmy, Dave Grohl (the Sunday Times best-seller This Is A Call) and Metallica (Birth School Metallica Death, co-authored with Ian Winwood), his Eddie Van Halen biography (Eruption in the UK, Unchained in the US) emerged in 2021. He has written for Rolling Stone, Mojo and Q, hung out with Fugazi at Dischord House, flown on Ozzy Osbourne’s private jet, played Angus Young’s Gibson SG, and interviewed everyone from Aerosmith and Beastie Boys to Young Gods and ZZ Top. Born in the North of Ireland, Brannigan lives in North London and supports The Arsenal.
You can trust Louder Our experienced team has worked for some of the biggest brands in music. From testing headphones to reviewing albums, our experts aim to create reviews you can trust. Find out more about how we review.
They may have been overtaken as the poster boys of deathcore, but few can challenge Whitechapel for consistency over such a long period. Furthermore, their authentic evolution since their first, blistering forays has culminated in 2019’s The Valley and 2021’s Kin being their most widely praised albums. Nonetheless, having shaken off deathcore’s confines to mine more emotionally intense and melodic seams, the Tennessee sextet have professed a desire to head back to the furious abandon that characterised their early efforts, The Somatic Defilement and classic This Is Exile.
Proving that the more seasoned can still mix it with the young breed, Hymns In Dissonance is a measured but assuredly ugly slab of modern deathcore. But while it spits venom and strikes with serrated blades, it does so with a bit of class. Having exorcised demons on recent outings, frontman Phil Bozeman recaptures the wild abandon of yesteryear with an unhinged arsenal of screams and gutturals as he narrates the tale of a demonic cult.
And while there are some of the meatiest breakdowns the band have summoned in years on the likes of A Visceral Retch and Bedlam’s hammer blows, there’s too much guile among the tri-guitar writing core to make Hymns In Dissonance a juvenile throwback. Diabolic Slumber’s eerie atmosphere lurks before exploding into a wall of tremolo discord, Hate Cult Ritual has classic leads that cut through the blasting and belligerent chants, and Mammoth God’s unsettling, melancholic undercurrent permeates while being pummelled. Finally, Nothing Is Coming For Any Of Us ends in gorgeous guitar harmonies that head into a swift sunrise following the previous 40 minutes of fiendish darkness.
In a field where bands are happy to tinker with the same old tropes, Whitechapel deserve further praise for, once again, keeping their fans on their toes.
Hymns In Dissonance is out March 7 via Metal Blade.
Whitechapel – Hymns In Dissonance (Official Video) – YouTube
Rugby, Sean Bean and power ballad superfan Adam has been writing for Hammer since 2007, and has a bad habit of constructing sentences longer than most Dream Theater songs. Can usually be found cowering at the back of gigs in Bristol and Cardiff. Bruce Dickinson once called him a ‘sad bastard’.
The Sennheiser HD 505 headphones are a breath of fresh air in the headphone market, bringing a tactile soundstage, a broad and lively frequency response, and unparalleled wearing comfort to an impressively low price point. They give a little too much preferential treatment to top-end in places, but otherwise present an ideal on-ramp to better listening.
Pros
+
Expansive soundstage
+
Lively frequency response
+
Comfortable
Cons
–
Cheap elements to construction
–
Could come with more accessories
–
Not hugely travel-friendly
You can trust Louder Our experienced team has worked for some of the biggest brands in music. From testing headphones to reviewing albums, our experts aim to create reviews you can trust. Find out more about how we review.
It’s looking very much like Sennheiser has done it again. The brand is a mainstay across audio for good reason, and the Sennheiser HD 505 – their latest set of open-back over-ear headphones – is a huge addendum to said reason. These headphones truck in the familiar form of the brand’s 5XX series, borrowing some elements from precursor models in service of creating a new market leader for affordable audiophile listening.
They represent great value for money, especially when you consider they ever-so-slightly redefine what’s possible in the entry level. But how do they do it?
Design
The model of HD 505 reviewed here is Sennheiser’s Copper Edition, which brings full swank with its copper-coloured banding around the rim of the earcups and the ends of the headband. It’s a nice-looking set, and a familiar style if you’ve owned a pair of Sennheiser’s HD 5XX series before.
The earcups are similar to the HD 560S, with a comfortable two-axis pivot that enables them to adjust themselves to your head swiftly and comfortably.
To wear, the HD 505 is a breath of fresh air – and in a somewhat literal sense, too. The combination of light chassis and open-back design really does make these headphones something of a transparent wear; apart from the light tension of the headband on your crown, these headphones draw little attention to themselves when worn.
This lightness isn’t just a function of the open-back design letting your ears breathe, either. Sennheiser’s approach to earcup comfort with the HD 505 is similarly refreshing, with exceedingly plush foam pads enrobed in a soft velour-esque fabric.
This comfort is a far cry from the firmer, pleatherette-finished pads that adorn a majority of entry-level headphones, and above and beyond the comfort levels of prior entry-level Sennheisers. However, there’s a world in which that foam loses its plushness somewhat swiftly – though time will only tell if we currently live in it. For now, and in short, the Sennheiser HD 505 is a fantastic choice for extended play.
Features
The black and copper finish on the Sennheiser HD 505 looks fantastic (Image credit: Future/James Grimshaw)
Being a set of wired, passive, open-back over-ear headphones aimed at the nascent audiophile, there isn’t much to the HD 505. You won’t find consumer mod-cons such as active noise-cancelling, built-in microphones or on-board controls – and a good thing too, in my opinion. The HD 505 is here to do one thing well, and at an affable price too.
The specs reflect this commitment, too. These headphones have a stunningly wide frequency range of 12hz to 38.5kHz, and a more-than-welcome input impedance of 120 ohms – a sweet-spot concession between loud low-impedance consumer fare and high-impedance, high-fidelity audiophile fodder. As such, the headphones will play ball with pretty much any device, and sound better doing so too.
The HD 505’s cable is detachable, by way of a proprietary locking connector on one end. In the box, you get the headphones, a 1.8 metre detachable cable replete with screw-on 3.5mm-to-6.35mm jack adapter, and a silky polyester drawstring pouch for carrying the lot if you so wish.
It’s a small shame the HD 505 doesn’t ship with more cables, though; more are available for purchase from Sennheiser, but it’d be nice to be able to swap between different lengths out of the box.
Sound
The Sennheiser HD 505 headphones are wired and come with a soft carry case (Image credit: Future)
The Sennheiser HD 505 are an immersive set of headphones. What they lack in noise cancellation or isolation is, in my view, more-than made up for by the incredible breadth it achieves in its soundstage.
Coilguns’ and Birds In Row’s collaborative EP You & I In The Gap gamely illustrates the HD 505’s tasteful dimensionality here, its off-right roomy screams and hard-panned hardcore instrumentation dropping you right in-between two excellent bands as they track 2024’s secret rager-of-the-year.
Slift’s Ummon is a great all-weather exploration of the HD 505’s lively frequency response, the title track’s intro guitars chiming with a distinct, almost peaky treble, supported by plump, rich mids in the bass beneath. The drop doesn’t carry the same fulsome weight that other headphones or systems might enable, but the low end is nonetheless structured, dimensional and highly gratifying; besides which, temperance is here a benefit to the crystal-clear quad-tracked guitars that rush headily in.
Death From Above 1979’s 20th anniversary remake of You’re A Woman, I’m A Machine does a better job of showing off the HD 505’s subby capabilities. Tasteful, though again overshadowed by a lively upper-mid range, ultimately demonstrating the headphones’ sometimes-itchy preferential treatment of upper-register information.
The alternatives
The Sennheiser HD 505 is a highly competitive set of budget open-back headphones, and heralds an exciting new era of opportunity for music-fans with a little less to spare. You’d usually be looking a little further up the food chain for competitive models – like, for example, the Beyerdynamic Amiron Home, which brings a little more weight in both form and sound.
As for a Sennheiser alternative, the Sennheiser HD 660 S is an old-guard model, but one highly regarded for its balanced and sound. These headphones – and particularly their more recent S2 upgrade – are a little warmer in character than the HD 505, but also a little less ‘smooth’ with respect to soundstage.
James Grimshaw is a freelance writer and music obsessive with over a decade in music and audio writing. They’ve lent their audio-tech opinions (amongst others) to the likes of Guitar World, MusicRadar and the London Evening Standard – before which, they covered everything music and Leeds through their section-editorship of national e-magazine The State Of The Arts. When they aren’t blasting esoteric noise-rock around the house, they’re playing out with esoteric noise-rock bands in DIY venues across the country; James will evangelise to you about Tera Melos until the sun comes up.
Marillion keyboard player Mark Kelly has announced the launch a brand new podcast with his daughter, Tallulah.
The excellently titled Prog & Progeny podcast has already served up its first episode, introducing Tallulah Kelly, who is studying journalism, and discussing Marillion, music and life in general.
“A podcast is something I’ve thought about doing from time to time,” explains Kelly. “Steve Hogarth’s been doing one for a few years now and I’ve appeared on it a couple of times. When he runs out of people to have on it he asks the members of the band to come and talk to him. That was quite fun and I thought ‘Ah yes, that’s be quite a fun thing to do’, and as Tallulah’s doing this journalism course it seemed like a good fit.”
“I’m here to bring a bit of the non-music side of my dad’s life,” adds Tallulah.
You can hear Prog & Progeny on Spotify, via the Apple Podcasts app or wherever you get your podcasts,, but we’ve embedded the first episode below.
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Other acts set to appear at the 13th staging of the hugely popular metal, alt. rock and punk festival, to be staged from October 2-5 at Discovery Park in Sacramento, California, include Gojira, Rob Zombie, Turnstile, Bad Omens, Lamb Of God, Knocked Loose, Kerry King, The Dillinger Escape Plan, Mudvayne, Trivium and Iron Maiden frontman Bruce Dickinson.
In total more than 115 bands have been announced for the weekender.
Blink-182 will headline the festival’s opening night on October 2, hometown heroes Deftones top the bill on October 3, nu metal daddies Korn close the festival on October 4, and Sheffield’s Bring Me The Horizon will bring the weekender to a climax on October 5.
“Aftershock is the biggest rock, punk, and metal festival on the West Coast, and this year, it lined up perfectly for California fans,” says promoter Danny Wimmer. “We’ve got legendary reunions, rare performances, and more California bands on this lineup than any Aftershock before. Year after year, we’ve broken attendance records, and this one is set to be the biggest yet. Trust me, you don’t want to miss it. I hope to see you there.”
Aftershock is offering layaway ticket purchases with just $1 down, plus discounted four-day and single day passes to first responders, active duty military and medical professionals, and nurses.
Feast your eyes on the full line-up below:
(Image credit: Danny Wimmer Presents)
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A music writer since 1993, formerly Editor of Kerrang! and Planet Rock magazine (RIP), Paul Brannigan is a Contributing Editor to Louder. Having previously written books on Lemmy, Dave Grohl (the Sunday Times best-seller This Is A Call) and Metallica (Birth School Metallica Death, co-authored with Ian Winwood), his Eddie Van Halen biography (Eruption in the UK, Unchained in the US) emerged in 2021. He has written for Rolling Stone, Mojo and Q, hung out with Fugazi at Dischord House, flown on Ozzy Osbourne’s private jet, played Angus Young’s Gibson SG, and interviewed everyone from Aerosmith and Beastie Boys to Young Gods and ZZ Top. Born in the North of Ireland, Brannigan lives in North London and supports The Arsenal.
“I want to be a f***ing Medici.” A Banksy original formerly owned by Blink-182’s Mark Hoppus has sold for £4.3million at auction, and the punk rocker wants to use the money to buy work from upcoming artists.
(Image credit: Tristan Fewings/Getty Images for Sotheby’s)
Blink-182 frontman Mark Hoppus has sold an original artwork by world-famous artist Banksy at auction for £4.3million.
Hoppus acquired ‘Crude Oil (Vettriano)’, the British artist’s subversive take on recently-deceased Scottish painter Jack Vettriano’s unfathomably popular work The Singing Butler, in 2011.
In addition to donating a portion of the proceeds to the LA Fire Foundation and two medical charities – Children’s Hospital Los Angeles for their Child Life Program, and Cedars Sinai Haematology Oncology Research – Blink-182’s vocalist/bassist has said that he wants to use money from the March 4 sale of the painting at Sotheby’s Modern and Contemporary Evening Auction to purchase work from young, up-and-coming artists.
The piece, sold to a private collector, had been projected to sell for three to five million pounds. Sotheby’s said the painting is “a quintessential Banksy challenge to power, taste, and authority.”
“We loved this painting the moment we saw it,’ said Hoppus. “Unmistakably Banksy, but different.”
“Coming back to punk rock,” Hoppus stated before the auction, “one aspect of the community I always hold dear is, if you get lucky enough to gain success, you bring your friends with you. Larger bands bring smaller bands on tour. We support one another from within.
“I want to take some of the money from the sale of this painting and use it to buy works from younger, upcoming artists. We were lucky enough to find ‘Crude Oil (Vettriano)’ in our lives, and it’ll help us support more art and artists. I want to be a fucking Medici.”
Hoppus will publish his autobiography Fahrenheit-182: A Memoir via Dey Street Books next month.
The publisher’s synopsis for the book, set for release on April 8, states: “This is a story of what happens when an angst-ridden kid who grew up in the desert experiences his parents’ bitter divorce, moves around the country, switches identities from dork to goth to skate punk, and eventually meets his best friend who just so happens to be his musical soulmate.
“Bassist, songwriter, and vocalist for renowned pop-punk trailblazers blink-182, Mark Hoppus, tells his story in Fahrenheit-182. A memoir that paints a vivid picture of what it was like to grow up in the 1980s as a latchkey kid hooked on punk rock, skateboards, and MTV; Mark Hoppus shares how he came of age and forms one of the biggest bands of his generation.
“Threaded through with the very human story of a constant battle with anxiety and Mark’s public battle and triumph over cancer, Fahrenheit-182 is a delight for fans and also a funny, smart, and relatable memoir for anyone who has wanted to quit but kept going.”
The latest news, features and interviews direct to your inbox, from the global home of alternative music.
A music writer since 1993, formerly Editor of Kerrang! and Planet Rock magazine (RIP), Paul Brannigan is a Contributing Editor to Louder. Having previously written books on Lemmy, Dave Grohl (the Sunday Times best-seller This Is A Call) and Metallica (Birth School Metallica Death, co-authored with Ian Winwood), his Eddie Van Halen biography (Eruption in the UK, Unchained in the US) emerged in 2021. He has written for Rolling Stone, Mojo and Q, hung out with Fugazi at Dischord House, flown on Ozzy Osbourne’s private jet, played Angus Young’s Gibson SG, and interviewed everyone from Aerosmith and Beastie Boys to Young Gods and ZZ Top. Born in the North of Ireland, Brannigan lives in North London and supports The Arsenal.
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