The Black Keys have announced the first leg of their their No Rain No Flowers North American tour, to take place in May and June.
It follows the dramatic cancellation of their planned 2024 International Players road trip, which led to the pair firing their management amid suggestions of poor tickets sales at arena level.
But on the bright side, Dan Auerbach and Patrick Carney reported, it offered them the opportunity to record a new album – which may share its name with the optimistically-titled tour. The first track, “The Night Before,” arrives on Feb. 7.
“After the tour was canceled, the consensus was, ‘Shit happens, and you just have to move through it,’” drummer Carney said in a statement. “We were already on a creative streak, and the best thing we could do, rather than sit at home, was just go back in the studio. Get back to work. So, that’s how the record started.”
Auerbach added: “Writing and recording has always been therapy for us, from the very beginning. We communicate best that way. It has always been the thing that’s brought us together, so I’m not surprised at all that we ended up back there so quickly after the last album.”
The theater-capacity tour follows a series of one-off appearances between February and April. Tickets go on sale at 10 a.m. local time on Feb. 7. Support comes from Hermanos Gutiérrez on the May dates (except the first) and from The Heavy Heavy on the June dates.
The Black Keys’ No Rain No Flowers 2025 Tour Dates
5/23: Durant Choctaw Casino & Resort Durant: Grand Theater, OK 5/25: Colorado Springs Ford Amphitheater, CO 5/27: Morrison Red Rocks Amphitheatre, CO 5/29: Bonner Kettlehouse Amphitheater, MT 5/30: Boise Outlaw Field at the Idaho Botanical Garden, ID 5/31: Bend Hayden Homes Amphitheater, OR 6/01: Berkeley Greek Theatre at UC Berkeley, CA 6/03: Los Angeles The Greek Theatre, CA 6/07: Austin Moody Amphitheater at Waterloo Park, TX 6/08: Rogers Walmart AMP, AR 6/11: Wilmington Live Oak Bank Pavilion, NC 6/12: Raleigh Red Hat Amphitheater, NC 6/14: Asbury Park Stone Pony Summer Stage, NJ
Top 25 Rock Albums of 2024
Once again, reports of the genre’s death have been greatly exaggerated.
Our Top 10 Cher Songs list takes a look at one of music’s most iconic singers. In addition to being an iconic singer, she is an award-winning actress. She is known as the Goddess of Pop. She rose to fame by being one half of the folk-rock duo Sonny & Cher in 1965. By 1967, the duo sold 40 million records. She started her solo career in 1966 while she was still with Sonny Bono. As a solo artist, she sold an impressive 100 million records. She has won several awards. She is one award shy of being an EGOT (Emmy, Grammy, Oscar, Tony). She has an Emmy, Oscar and Grammy awards. She has also won Golden Globe and Billboard Awards. Cher is the only singer to have hits in six consecutive decades.
Let’s get to know Cher, the artist, a little bit better. Cher was born Cherilyn Sarkisian on May 20, 1946. Cher met Sonny Bono in 1962. He introduced her to Phil Spector, and he used her as a background singer. She is a backup singer on hit songs such as The Ronettes’ “Be My Baby” and The Righteous Brothers’ “You’ve Lost That Lovin’ Feelin’.” Her first single is the rock song “Ringo, I Love You.” She performed the song under the name Bonnie Jo Mason. Unfortunately, radio stations rejected the song because they thought she was a man. People thought her deep contralto vocals belonged to a man.
Cher released her debut album All I Really Want To Do in 1965. The album peaked at number 16 on the charts. Sonny Bono produced the album. It is a cover album. The album received positive reviews. It features the single “All I Really Want To Do.” She released her second album The Sonny Side of Cher in 1966. The title of the album is a play on their names. Similar to her debut album, it’s a cover album. The album peaked at number 26 on the charts. It features the singles “Where Do You Go” and “Bang Bang (My Baby Shot Me Down).”
Cher released her eponymous album in 1966. This is another cover album. This album was more of a French style than her previous ones. The album peaked at number 59 on the charts. It wasn’t as successful as the other two albums. It features the single “Alfie.” She released her fourth album With Love, Cher in 1967. Like her other albums, this is a cover album. It peaked at number 47 on the charts. It features the singles “Behind the Door,” “Mama (When My Dollies Have Babies),” “Hey Joe” and “You Better Sit Down Kids.”
She released her fifth album Backstage in 1968. She changed up her style of music for this project. She experimented with different genres of music as well as different themes for the songs. The album didn’t match the success of her other albums. This is the first album not to have hit singles. The album features the singles “The Click Song” and “Take Me for a Little While.” Her sixth album 3614 Jackson Highway was the first album she did without Bono. The album came out in 1969 and peaked at number 160 on the charts. It features the singles “For What It’s Worth,” “I Walk on Guilded Splinters” and “Lay, Baby Lay.”
In 1971, Cher and Sonny starred in The Sonny & Cher Comedy Hour. It was a hit variety show and turned into a full-time show. She released her seventh album Gypsies, Tramps & Thieves in 1971. The album had positive reviews. It was her first successful album in the 70’s. The album peaked at number 16 on the charts. It features the hit singles “Gypsies, Tramps & Thieves” and “The Way of Love.” The album sold over 500,000 copies. It was one of her biggest hits at the time. She changed her fashion style when she released this album. She used to dress like a hippie. Once she worked with fashion designer Bob Mackie, her style was more glamorous.
Cher released her eighth album Foxy Lady in 1972. It peaked at number 43 on the charts. It didn’t do as well as her last album. It features the singles “Living in a House Divided” and “Don’t Hide Your Love.” She released her ninth album Bittersweet White Light in 1973. This is the last album she did with Bono. The album didn’t do well on the charts. It peaked at number 140 on the charts. It features the single “Am I Blue.” She released her tenth album Half Breed in 1973. The album peaked at number 28 on the charts. It features the number one single “Half Breed.” The album sold over 500,000 copies.
She released her eleventh album Dark Lady in 1974. The album had moderate success. It peaked at number 69 on the charts. It features the singles “Dark Lady,” “Train Of Thought,” “I Saw A Man and He Danced with His Wife” and “Rescue Me.” She released several albums that didn’t do well on the charts until she released her fifteenth album Take Me Home in 1979. The album peaked at number 25 on the charts. It features the singles “Take Me Home,” “Wasn’t It Good” and “It’s Too Late (To Love Me Now).” The album sold over 500,000 copies.
She released a couple of albums that didn’t fare well on the charts. She took a break from singing to pursue her acting career. She starred in the movies Silkwood, Mask, and Suspect. She won the Cannes Film Festival Award for the movie Mask. She released her eighteenth album Cher in 1987. The album peaked at number 32 on the charts. It features the singles “I Found Someone,” “We All Sleep Alone,” “Skin Deep,” “Bang-Bang” and “Main Man.” This album sold over one million copies.
Cher is just as known for her personal life as well as her professional life. She has been linked to celebrities such as Val Kilmer, Eric Stolz, Tom Cruise, Ron Duguay, Gene Simmons, Josh Donen, and Ritchie Sambora. She released her nineteenth album Heart of Stone in 1989. This is one of the biggest albums of her career. It reached number 10 on the charts. It is her first solo album to reach number 10 on the charts. It features the singles “After All,” “If I Could Turn Back Time,” “Just Like Jesse James,” “Heart of Stone” and “You Wouldn’t Know Love.” The album sold over four million copies.
Fresh off the success of Heart of Stone, she starred in the movie Mermaids in 1990. It was a box office hit. She recorded the hit single “The Shoop Shoop Song (It’s In His Kiss)” for the soundtrack. She released her twentieth album Love Hurts in 1991. It peaked at number 48 on the charts. It features the singles “Love and Understanding,” “Save Up All Your Tears,” “Love Hurts,” “Could’ve Been You” and “When Lovers Become Strangers.” The album sold over one million copies.
In 1996, Cher released her twenty-first album It’s a Man’s World. It peaked at number 64 on the charts. It features the singles “Walking in Memphis,” “One by One,” “Not Enough Love in the World,” “The Sun Ain’t Gonna Shine Anymore” and “Paradise.” The album sold over one million copies. She released her twenty-second album Believe in 1998. The album received mixed reviews. It peaked at number four on the charts. “Believe” is one of the best selling singles of all time. The album features the singles “Believe,” “Strong Enough” and “All or Nothing”
She released her twenty-fourth album Living Proof in 2001. It peaked at number nine on the charts. It features the singles “The Music’s No Good Without You,” “Song for the Lonely,” “Alive Again,” “A Different Kind of Love Song.” “When the Money’s Gone” and “Love One Another.” The album sold over one million copies. She released her twenty-fifth album Closer to the Truth in 2013. The album peaked at number three on the charts. It received positive reviews. It features the singles “Woman’s World,” “I Hope You Find It,” “Take It Like a Man” and “I Walk Alone.” The album sold over 500,000 copies.
Cher is a multi-talented artist who was able to sustain success through the 60’s and beyond. There aren’t too many acts that were able to accomplish this feat. She was able to make it in a male dominated industry and thrive. This Top 10 Cher Songs list will feature her hit singles. Do you think you know what will be number one on the list?
# 10 – Love and Understanding
The first song on our Top 10 Cher Songs list is the pop-friendly “Love and Understanding” from the Love Hurts album. This song has a pop and rock sound. This is an emotional song about needing love. It doesn’t matter if you have material things if you don’t have love in your life. It’s the type of song Diane Warren would write for other artists.
The song has a good, socially conscious message. The lyrics are poignant without sounding sappy. The music is melodic and energetic. It has impressive orchestral synths and guitar riffs. You don’t hear too many socially conscious songs with rock beats. Cher’s vocals are sincere and convincing. She doesn’t sing this in her signature deep contralto voice. She uses a higher register when she sings the pre-chorus. She shows control in her voice because she’s able to switch octaves effortlessly.
# 9 – I Found Someone
The next song on our Top 10 Cher Songs list is the cathartic “I Found Someone” from the Cher album. This is a therapeutic song about her telling her ex that she has found someone to replace him. The new guy she’s with has taken away the pain that her ex caused. This song is relatable to anyone who wants to prove that they can move on from a bad relationship to a good one. It’s hard to believe that this song is a remake because she sings the song as if it were written for her personally.
Cher is famous for having an active love life so it could have easily been about one of her own relationships. The song starts off slowly in the first verse and then soars in the hook. Cher sounds really passionate in this song. She is noticeably shouting in the hook once the music gets louder, but it doesn’t take away from the song.
# 8 – If I Could Turn Back Time
This remorseful song is on the Heart of Stone album. This has a pop rock and soft rock sound. This is a regretful song about regretting the pain she has caused someone. This is Cher’s comeback song. She had a lot of pitfalls in her career and this is one of the songs that help put her back on the charts. Here is some trivia about the song. Cher didn’t want to sing this song at first. Songwriter Diane Warren had to beg her to sing the song. Cher eventually changed her mind and sang the song. It’s a good thing Cher changed her mind because the song would go on to be one of her biggest hits in her career.
It’s hard to believe that she didn’t want to sing this song because the song is really catchy and upbeat. The song has an appealing chorus and is easy to sing. She proved that a female could do a rock song in a male dominated genre. The music is amazing. The guitar riffs are incredible and make the song sound even better. Cher sings in time with the music. Her tone is perfect for the track. She sings with full-throated glory. She even belts throughout the song. She proves that women with deep voices can belt.
# 7 – One By One
This love song is from the It’s a Man’s World album. This song has a pop rock and r&b sound. This is an emotional song about loving one another. This has a deep and meaningful message about loving one another. Cher sounds different in the verses. She sings in a higher octave than her other songs. She sings the verses softly and sensually. She sounds more like herself when she sings the chorus. She’s a little hard to understand in some of the lyrics so you might want to look at the lyrics to know what she is saying. Despite that little flaw, her vocals are on point with the rhythmic music. The music is perfect for moving around in your seat or on the dance floor.
# 6 – Strong Enough
This liberating song is from the Believe album. This song has a disco sound. This is a strong-willed song about her wanting to end a bad relationship. She wants to be free from the toxic relationship. This song is relatable to people in bad relationships who want to be free. This sounds like an updated version of Gloria Gaynor’s “I Will Survive” because they have the same message. The music is very dance-friendly. It starts off with a slow piano beat and then soars into a bouncy disco beat. This beat is guaranteed to get you out of your seat. The music is jubilant and irresistible. Cher’s vocals are very strong. You can feel the anger and bitterness in her voice while she is singing. “Believe” overshadows this song, but it’s just as good as that song.
# 5 – Believe
This bittersweet song is from the album of the same name. This song has a dance pop sound. This is an anthemic song about moving on from a painful relationship. This is another one of Cher’s comeback songs. This song earned her a place in the Guinness Book of World Records. This is a different type of song for her because she didn’t use Auto-Tune for her voice in the past. This is the first big hit to use Auto-Tune. She didn’t need to use Auto-Tune because her voice is fine on its own. This song is perfect for the club scene. The beat is fire and great for dancing. The verses of the song are bittersweet while the chorus is uplifting. You probably thought this song was going to be number one on this Top 10 Cher Songs list because it’s one of the biggest hits of her career. It’s a great song, but other songs came before it on the list.
# 4 – The Shoop Shoop (It’s In His Kiss)
This passionate song is from the Mermaids soundtrack. This has a pop and soul sound. This is an energetic song about how to tell when a man loves a woman. It’s in his kiss. This is a cover song. It has an old school Motown vibe to it. The music is uplifting and powerful. It has a 60’s vibe to it. She cleverly combined 60’s and 90’s music to get this sound. There’s no way to sit still through this song. Cher’s vocals are fire in this song. Her voice is so strong and powerful throughout the song. She sings in time with each beat change. She impressively belts throughout the song. Everything about this song is flawless from the catchy music to her amazing vocals.
# 3 – After All ft. Peter Cetera
This optimistic song is from the Heart of Stone album. It is also featured in the movie Chances Are. This song has a pop and adult contemporary sound. This is a soulful song about people in topsy-turvy relationships finding their way back to each other. The music is soft and romantic. The melody is very loving. It is perfect for slow dancing. It can make the perfect wedding song. Cher and Peter have great vocal chemistry with each other. Their voices blend well with each other. They bring out the best in each other. She sings in a higher octave in the hook. This song is in Peter’s comfort zone because he usually sings songs like this. Cher is out of her comfort zone because she didn’t sing songs like this. They manage to make the unlikely pairing work. This is a great pop rock love song. It’s too bad they didn’t sing more songs together.
# 2 – Save Up All Your Tears
This anthemic song is from the Love Hurts album. This song has a pop rock and soft rock sound. This is a bitter song about her telling the guy who hurt her that he would want her when she’s gone. The music is incredible. It’s a very guitar-driven rock track that is sure to please rock music fans. The guitar solo clearly stands out in the song. Cher’s vocals are aggressive and sassy. She sings this in a higher octave than she does in her other songs. Her vocals are heartfelt and passionate. She takes a lot of amazing vocal risks in this song. She holds a lot of notes, and she belts throughout the song. Everything about this song works and could have easily been number one on this list.
# 1 – Take Me Home
The number one song on our Top 10 Cher Songs list is the sexy “Take Me Home” from the album of the same name. This song has a disco sound. This is a seductive song about her wanting her lover to take her home. The melody of this song is spectacular. It sounds like something Donna Summer would have done. The music is funky and beautifully arranged. It was perfect for its disco genre. It’s a very dance friendly song. Cher sings this song is Donna Summer fashion. She sings the song with a lot of soul. She sings this in a higher octave. She belts throughout the song. She also holds notes throughout the song. This is an old school song, but it still works today. It is flawless and deserves to be number one.
Feature Photo: Raph_PH, CC BY 2.0 , via Wikimedia Commons
Queens of the Stone Age emerged from the deserts of California in 1996, led by Josh Homme, with a distinct sound that blended elements of stoner rock, heavy metal, and experimental rock, breaking away from the confines of the genres they were associated with. Their music was defined by Homme’s mastery of innovative guitar tones, which often ranged from hauntingly atmospheric to raw, gritty riffs, and their ability to create complex rhythmic structures. Unlike many of their contemporaries, Queens embraced a fluid lineup, with Homme’s leadership at the core, and their willingness to evolve allowed them to shape an entirely unique musical identity. From their breakthrough album Songs for the Deaf (2002), which explored the intersection of hard rock and experimental soundscapes, to the more atmospheric and melancholic …Like Clockwork (2013), the band’s music has always been a mix of hard-driving anthems and deep, introspective moments.
What set Queens of the Stone Age apart from other rock bands was their ability to blend heavy riff-driven rock with elements of electronic and progressive music, creating a signature sound that was both innovative and commercially accessible. This fusion, led by Homme’s distinctive guitar work, was exemplified in hits like “No One Knows” and “Go With the Flow,” songs that became anthems not just in rock, but also in pop culture. With collaborations from high-profile musicians, such as Dave Grohl and Josh Homme’s work in Them Crooked Vultures, the band continuously evolved while maintaining a core sense of musical experimentation. Their approach to songwriting — emotionally charged, yet experimental — alongside their ever-shifting lineup, has left an indelible mark on the rock scene, ensuring that their legacy will continue to influence generations of musicians to come.
Josh Homme
Josh Homme is the visionary leader, guitarist, and primary songwriter behind Queens of the Stone Age, and his distinctive voice and innovative guitar playing have defined the band since its inception in 1996. Homme’s creative direction steered the band through its early stoner rock roots, while his willingness to experiment with different genres — including elements of hard rock, electronic music, and even blues — propelled the band to the forefront of rock music. Homme’s versatility extends beyond guitar, as he frequently plays piano, synthesizers, and bass, creating a layered, textured sound that defines the band’s evolving musical identity. His work on albums like Songs for the Deaf (2002) and Lullabies to Paralyze (2005) showcased his ability to merge raw energy with more atmospheric, experimental elements, while …Like Clockwork (2013) explored darker and more introspective themes.
In addition to his work with Queens of the Stone Age, Homme is involved in several notable musical projects. He is the founding member of Them Crooked Vultures, a supergroup featuring Dave Grohl and John Paul Jones, and he has also collaborated extensively with artists such as Arctic Monkeys, Iggy Pop, and the Eagles of Death Metal. Homme is also the owner of Third Man Records, which serves as a hub for vinyl releases, live recordings, and his solo work. Through his multiple musical ventures, Homme has earned his place as one of the most influential figures in rock music.
Troy Van Leeuwen
Troy Van Leeuwen joined Queens of the Stone Age in 2002, bringing with him a diverse musical background that included stints with A Perfect Circle and Sweethead. His contributions as guitarist, lap steel player, keyboardist, and synthesizer player significantly shaped the band’s sound, especially on albums like Songs for the Deaf (2002) and Lullabies to Paralyze (2005). Van Leeuwen’s versatile playing style allowed him to blend seamlessly with Homme’s vision, adding layers of complex textures to the music while maintaining the band’s raw, rock-driven energy. His skill on instruments like the lap steel guitar brought a unique sonic element to the band’s music, expanding their palette beyond traditional rock sounds.
Before joining Queens of the Stone Age, Van Leeuwen had already established himself as a sought-after musician, collaborating with various bands and projects. His ability to switch between multiple instruments and adapt to different musical styles has made him an essential part of the band’s evolution. In addition to his work with Queens, Van Leeuwen has worked as a member of various groups, including his solo projects, and continues to contribute to the broader rock music scene.
Michael Shuman
Michael Shuman joined Queens of the Stone Age in 2007 as the band’s bassist and backing vocalist, shortly after the departure of Nick Oliveri. Shuman’s contributions were first heard on Era Vulgaris (2007), where his bass work became an integral part of the band’s evolving sound. Shuman’s bass lines are known for being melodic yet heavy, providing a strong foundation for the band’s music while allowing for sonic exploration. On albums like …Like Clockwork (2013) and Villains (2017), Shuman’s contributions to the band’s more electronic-driven and experimental songs helped create a deeper, more atmospheric texture to the music.
Outside of Queens of the Stone Age, Shuman is also a member of Mini Mansions, a side project where he plays bass and vocals. Mini Mansions’ more pop-oriented and experimental sound allows Shuman to explore different musical territories and collaborate with artists like Alex Turner of Arctic Monkeys. His work in both bands has solidified Shuman’s reputation as a versatile and dynamic musician in the modern rock scene.
Dean Fertita
Dean Fertita, who joined Queens of the Stone Age in 2007, plays multiple instruments within the band, including keyboards, synthesizers, guitar, and percussion. Fertita’s multifaceted contributions expanded the band’s sound, particularly on albums like Era Vulgaris (2007) and …Like Clockwork (2013), where his synths and keyboard textures helped create a more atmospheric and experimental vibe. Fertita’s ability to contribute to both guitar and keyboard parts allowed Queens of the Stone Age to incorporate more layered and expansive sounds, adding to the band’s dynamic range.
Before his tenure with QOTSA, Fertita had already established himself as a member of The Raconteurs and the Dead Weather, two other high-profile rock bands that showcased his talent in a variety of musical genres. Fertita’s ability to seamlessly integrate into multiple projects while adding his unique touch to each has made him an invaluable asset to Queens of the Stone Age, helping them experiment with new sounds while maintaining their hard rock roots.
Jon Theodore
Jon Theodore joined Queens of the Stone Age in 2013, replacing Joey Castillo as the band’s drummer. Theodore’s technical drumming style, previously honed through his work with The Mars Volta, made him an ideal fit for the band’s more intricate rhythms and polyrhythmic structures. His drumming on albums like …Like Clockwork (2013) and Villains (2017) is characterized by its precision and fluidity, adding depth and complexity to the band’s rhythm section. Theodore’s ability to play with both power and finesse has been instrumental in shaping the band’s sound during his time with them.
Before joining QOTSA, Theodore had an extensive career, performing with The Mars Volta, where his drumming was central to the band’s progressive and experimental sound. He has also been involved with other projects, including One Day as a Lion, alongside Zack de la Rocha of Rage Against the Machine. Theodore’s work outside of QOTSA has helped him maintain a reputation as one of the most innovative drummers in rock music today.
Alfredo Hernández
Alfredo Hernández was the drummer for Queens of the Stone Age during the band’s early years, specifically from 1998 to 1999. Hernández contributed to the band’s second studio album, Queens of the Stone Age (1998), which marked the beginning of the band’s exploration of hard rock and stoner rock, and helped define the group’s distinctive sound. His drumming was instrumental in shaping the band’s raw, gritty approach to rock music, characterized by driving rhythms and minimalist patterns that would become a hallmark of the band’s sound. Hernández’s tenure was brief, and he left shortly after the album was completed.
After his departure from Queens of the Stone Age, Hernández played with various other bands, most notably with Kyuss Lives!, a reformation of his earlier band Kyuss. His experience with Kyuss, along with his time in Queens, cemented his reputation as a talented drummer in the desert rock scene. Hernández’s contributions during his time with QOTSA remain an important part of their early legacy.
Nick Oliveri
Nick Oliveri was a pivotal member of Queens of the Stone Age, serving as the bassist, co-lead vocalist, and backing vocalist from 1998 until 2004. His aggressive bass lines, powerful stage presence, and distinctive vocal style played a key role in shaping the band’s sound, particularly on albums like Rated R (2000) and Songs for the Deaf (2002). Oliveri’s contributions on tracks like “Feel Good Hit of the Summer” and “No One Knows” showcased his ability to add both intensity and melody to the band’s hard rock style. His vocal contributions on songs like “Go With the Flow” demonstrated his dynamic range, which added a unique contrast to Josh Homme’s vocals.
Oliveri’s time with the band ended in 2004 due to personal conflicts and his departure from the group marked a significant turning point for Queens of the Stone Age. After leaving QOTSA, Oliveri pursued a solo career, most notably with his band, Mondo Generator. He also briefly played with other groups, including the reformation of Kyuss and the supergroup Eagles of Death Metal, collaborating again with Homme. Despite his departure from QOTSA, Oliveri remains an influential figure in the desert rock scene.
Gene Trautmann
Gene Trautmann served as the drummer for Queens of the Stone Age from 1999 to 2001, following Alfredo Hernández’s departure. Trautmann’s drumming was featured on Rated R (2000), the band’s second album, which was a significant step forward in their musical evolution. His playing on songs like “The Lost Art of Keeping a Secret” and “Leg of Lamb” contributed to the album’s tight and dynamic rhythms, providing a solid backbone for the band’s harder, more experimental sound. Trautmann’s time with the band was relatively short, but he made a noticeable impact during his tenure.
After his departure from Queens of the Stone Age, Trautmann continued to work as a session drummer and contributed to other projects, including stints with bands such as Eagles of Death Metal and Desert Sessions, another Homme-led side project. His experience with multiple musical projects further showcased his adaptability and skill as a drummer in the rock genre.
Mark Lanegan
Mark Lanegan, known for his distinct gravelly voice and his work with the grunge band Screaming Trees, became a key member of Queens of the Stone Age from 2001 to 2005. Lanegan’s contributions on Songs for the Deaf (2002) were critical in expanding the band’s sound, particularly with his powerful, haunting vocals on tracks like “Song for the Dead” and “Hangin’ Tree.” He also added keyboards on the band’s Lullabies to Paralyze (2005), further showcasing his versatility as an artist. Lanegan’s deep, soulful voice provided a stark contrast to Homme’s higher-pitched vocals, adding a layer of emotional depth to the band’s music.
Lanegan had a prolific career outside of Queens of the Stone Age as well, releasing solo albums and working with a variety of artists, including Isobel Campbell, Greg Dulli (The Afghan Whigs), and even forming the collaborative group Mad Season. His work with QOTSA remains a significant part of his musical legacy, and his contributions were crucial to the band’s sound during his tenure. Lanegan passed away in 2022, leaving behind an indelible mark on rock music.
Dave Grohl
Dave Grohl, best known as the frontman of Foo Fighters and former drummer for Nirvana, briefly joined Queens of the Stone Age in 2001, playing drums on Songs for the Deaf (2002). Grohl’s powerful drumming on songs like “No One Knows” and “Go With the Flow” gave the album its hard-hitting and energetic rhythm, which became a defining feature of the band’s sound during this era. Grohl’s contributions helped the band achieve widespread commercial success, and his presence in the studio added a unique dimension to the album’s recordings. Grohl also participated in live performances, helping to solidify the band’s reputation as a powerhouse live act.
After his time with QOTSA, Grohl returned to his main project, Foo Fighters, but continued to collaborate with Homme in other ventures, such as Them Crooked Vultures. His time with Queens of the Stone Age marked a significant point in both bands’ histories and showed the synergy between two of rock’s most influential figures.
Joey Castillo
Joey Castillo was the drummer for Queens of the Stone Age from 2002 to 2012, playing on albums like Lullabies to Paralyze (2005) and Era Vulgaris (2007). Castillo’s drumming style was essential in driving the band’s aggressive, hard-rocking sound, and his rhythms helped create the foundation for some of the band’s most well-known songs. His contributions on tracks like “Little Sister” and “Make It Wit Chu” showcased his ability to combine groove-heavy beats with raw, powerful energy. Castillo was known for his intense live performances, which helped cement the band’s reputation as one of the most electrifying live acts in rock music.
After leaving Queens of the Stone Age in 2012, Castillo continued his musical career, joining other projects such as the Circle Jerks and performing with other rock bands. His drumming style remains highly regarded within the hard rock and punk scenes.
Alain Johannes
Alain Johannes joined Queens of the Stone Age in 2005, contributing bass, guitar, and keyboards to the band during the recording of Lullabies to Paralyze (2005) and Era Vulgaris (2007). Johannes, a long-time collaborator with Homme, was part of the band’s expanding sonic palette, adding layers of texture with his versatile musicianship. He played a crucial role in shaping the more experimental and atmospheric elements of those albums. His contributions on Lullabies to Paralyze added a darker, moodier tone to the band’s sound, particularly in songs like “Burn the Witch.”
Before his time with Queens of the Stone Age, Johannes was a key member of the band Eleven and also worked with various artists, including Chris Cornell and PJ Harvey. His diverse musical background allowed him to contribute to the band’s evolving sound during his time with them.
Natasha Shneider
Natasha Shneider was a keyboardist and backing vocalist for Queens of the Stone Age from 2005 to 2006. Shneider’s contributions on Lullabies to Paralyze (2005) added an atmospheric, ethereal element to the band’s music, complementing Homme’s intense guitar work. Her work on tracks like “Little Sister” and “In My Head” gave the band a broader, more textured sound, particularly with her keyboards and backing vocals. Shneider’s involvement with the band was brief, but her contributions were instrumental in shaping the sonic diversity of Lullabies to Paralyze.
Before her time with Queens of the Stone Age, Shneider had worked with various artists and as a member of the band Eleven. She also collaborated with Homme on several projects, including his work with Desert Sessions. Tragically, Shneider passed away in 2008, leaving behind a legacy of unique contributions to the music world.
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Music is to be taken seriously, Swedish supergroup Soen believe – and they illustrated their argument with their fourth album, Lotus. In 2019, tying in with its release, Martin Lopez and Joel Ekelöf told Prog about their intentions.
Today we’re able to instantly spread a message worldwide through our phones – yet we dread the idea of speaking to our neighbour next door. Our devices trick us into projecting a virtual, and often deceitful, image of ourselves while we detach from our genuine selves.
The topic is explored on Swedish prog metallers Soen’s fourth album, Lotus. Drummer Martin Lopez and singer Joel Ekelöf are eager to explain their message.
“People’s confidence depends on what others think of them, instead of what they’re capable of,” drummer Martin Lopez says. “Kids are constantly judged because of social media. At the same time, culture disappears, because social media takes over the time that we could spend reading a book or listening to music.”
Vocalist Joel Ekelöf adds: “People go to new places just to take the perfect Instagram picture and Facetune it to make a perfect image of themselves; then they want to live up to that image. That’s unhealthy. What we want to get through is that if you try to be true to yourself – stand up for yourself, instead of being evaluated by others – you’ll feel you have self-value.”
While exploring the darkest twists and turns of society, Soen always try to find a semblance of hope – hence the album’s title. “The lotus is something beautiful that grows up in the mud,” Ekelöf explains. Their duality is explored both musically and visually: the sleeve art depicts a copper pyramid, and within it a series of symbols and their opposites, creating a strong sense of contrast.
“That’s has always been part of our music,” Lopez says. “Dynamics – hard parts mixed with mellow, the tense parts and the soothing parts – like a sort of yin and yang. In the past people used symbols much more. I can only take Sweden as an example, but my grandparents knew what symbols stood for and they’d use them as guides. We’ve totally lost this.”
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The album definitely has that sort of Pink Floyd vibe, which I love
Martin Lopez
The album is intended to make personal connections through the band’s self-analytical lyrics. “We’ve all gone through a lot of shit,” Lopez says. “You start talking to your friends and family about it, then you try to channel it somehow. Music is the best way to do it, both writing lyrics and playing. It’s the same way some people do yoga or take drugs or go to a football game and start a fight. This is therapeutic for us.”
Lotus was excellently produced by David Castillo, who worked with Soen on their previous album, Lykaia. “We gave him free hand to use whatever he needed, mixing up both analog and digital equipment, but always keeping the live sound of the band, because it needed to be raw,” Lopez explains.
Ekelöf adds: “We had a really clear picture about what we wanted to do with the songs, but we gave David the possibility to elaborate on our ideas. We told him what kind of sound we wanted and how the songs were supposed to be. He’s been able to influence how we could get to our ideas.”
Despite defining themselves as a heavy band, Soen’s music is rooted in more traditional prog sounds. You can feel Pink Floyd in the quieter tracks of the album like Lotus or Covenant. Lopez agrees: “We listen to all kinds of music along with prog. To be a complete musician you need to listen to everything that’s good. The style of our guitar player is very David Gilmour-ish and the music structures are made for that kind of melodic guitar playing, so the album definitely has that sort of Pink Floyd vibe, which I love.”
A lot of bands are commanded by computer… you could have just stayed home and listened to the album
Martin Lopez
“The old prog is still very relevant – Jethro Tull, Yes, Genesis, Pink Floyd all have strong songs and melodies,” Ekelöf says. “Their style feels like going on a musical adventure. That kind of prog is the kind I can relate to, more than modern bands who are very focused on technique.
“We’re not inspired by that fast, technical ‘look-what-I-can-do’ kind of prog,” Lopez says. “We go for emotion in music and put value in the music we make. We have a modern approach to our sound, which has to be bass- and drum-driven – but at the same time we get a lot of the melodies and warmth from music from the 70s.”
Those considerations carry into live performances, he explains. “A lot of metal bands are commanded by a computer. The drummer follows a click track and everything is so perfect that you could have just stayed home and listened to the album. We go up there and we do make mistakes; we go slower sometimes, faster sometimes.
“But that’s the essence of being a musician – to play what you feel that night for your audience and make it special, because they’re not going to hear that show again. If you play with backing tracks and follow a click track, you play the same boring, essence-less show every night.”
If you’re not serious in your music, you cannot be honest
Martin Lopez
“I hope we can show young kids an alternative,” adds Ekelöf. “If they come to one of our concerts, they’ll see real musicians playing live music, for real, without backing tracks; no bullshit. Some kids have never heard live music – they go to DJ sets instead.”
Lopez notes: “When you’re serious – like we are – you open the doors for people to judge you and complain about you, because it’s you: this is what you are, this is what you believe in, this is what you’re saying
“If you’re always silly and joking around, you’re showing that either you have nothing to say, or you don’t dare to say it. If you’re not serious in your music, you cannot be honest. And when you’re honest with your music and your lyrics, that’s when you can start making people feel something real.”
Feature Photo: Renan Katayama, CC BY-SA 2.0 , via Wikimedia Commons
Kylie Minogue, a trailblazing performer from Melbourne, Australia, has enjoyed a career that spans over four decades, redefining pop music with her distinct voice, charisma, and ability to adapt to changing trends. Born on May 28, 1968, Minogue’s artistic journey began as a child actor on Australian television, where she gained recognition for her role as Charlene Robinson on the soap opera Neighbours. This role not only catapulted her to fame in Australia but also introduced her to international audiences, setting the stage for her transition to a music career that would establish her as one of the most successful pop icons of all time.
Minogue’s foray into music began with her debut single, “Locomotion,” in 1987, which became a chart-topping hit in Australia and marked the start of her collaboration with Stock Aitken Waterman, a powerhouse production trio in the UK. This partnership led to the release of her debut album, Kylie (1988), which featured hits like “I Should Be So Lucky” and “Got to Be Certain.” The album achieved massive success, particularly in the UK and Australia, and paved the way for her follow-up, Enjoy Yourself (1989), further cementing her status as a pop sensation.
Over the course of her career, Minogue has released 15 studio albums, showcasing her ability to evolve musically while maintaining her signature style. Albums such as Rhythm of Love (1990) and Let’s Get to It (1991) signaled her transition to a more mature sound, while her 1994 self-titled album marked a departure from her earlier bubblegum pop image. However, it was her 2001 album Fever, featuring the global smash hit “Can’t Get You Out of My Head,” that brought her unparalleled international success. The track became an anthem, topping charts in over 40 countries and solidifying her as a global pop powerhouse.
Minogue’s discography is a testament to her versatility, with other standout albums including Light Years (2000), Aphrodite (2010), and Golden (2018), which saw her infusing country influences into her pop repertoire. Her most recent album, Disco (2020), demonstrated her enduring ability to captivate audiences with its celebration of dance music, debuting at number one in the UK and Australia. Across her extensive catalog, she has delivered timeless hits such as “Spinning Around,” “Love at First Sight,” and “All the Lovers,” earning her a reputation for consistently producing chart-topping music.
Minogue’s contributions to music have been widely recognized, with numerous awards and accolades to her name. She has won multiple ARIA Music Awards, Brit Awards, and a Grammy Award for Best Dance Recording for “Come into My World.” Her induction into the ARIA Hall of Fame in 2011 was a testament to her influence on the Australian music industry. In addition to her musical achievements, she was awarded an Order of the British Empire (OBE) and the Order of Australia (AO) for her services to music and charity.
Beyond her musical achievements, Minogue has made significant contributions to philanthropy and cultural initiatives. A breast cancer survivor, she has been a vocal advocate for cancer awareness and research, using her platform to inspire and educate others. Additionally, her ventures into acting and fashion have further demonstrated her multifaceted talents, with roles in films like Moulin Rouge! and Holy Motors and collaborations with major fashion designers.
Kylie Minogue’s enduring appeal lies in her ability to reinvent herself while remaining authentic and relatable. Loved by fans for her charm, resilience, and dedication to her craft, she has become an icon of perseverance and creativity. Her influence on pop music and culture is undeniable, and her legacy as one of the most successful and beloved artists of her generation continues to inspire new audiences worldwide.
(A-B)
“10 Out of 10” – Tension (2023) “100 Degrees” – Kylie Christmas (2015) “2 Hearts” – X (2007) “2000 Miles” – Kylie Christmas (2015) “Absolutely Anything and Anything at All” – Non-album single (2015) “After Dark” – Body Language (2003) “All I See” – X (2007) “All I Wanna Do Is Make You Mine” – B-side to “Especially for You” (1988) “All the Lovers” – Aphrodite (2010) “Almost a Lover” – B-side to “Red Blooded Woman” (2004) “Always and Forever” – Unreleased (2001) “Always Find the Time” – Rhythm of Love (1990) “Any Which Way” (Scissor Sisters) – Night Work (2010) “Aphrodite” – Aphrodite (2010) “At Christmas” – Kylie Christmas: Snow Queen Edition (2016) “Automatic Love” – Kylie Minogue (1994) “B.P.M.” – B-side to “I Believe in You” (2004) “Baby” – B-side to “Love at First Sight” (2001) “Beautiful” (with Enrique Iglesias) – Kiss Me Once and Sex and Love (2014) “Bette Davis Eyes” – BBC Radio 2: Sounds of the 80s (2014) “Better than Today” – Aphrodite (2010) “Better the Devil You Know” – Rhythm of Love (1990) “Bittersweet Goodbye” – Light Years (2000) “Black and White” (with Garibay featuring Shaggy) – Kylie + Garibay (2015) “Boombox” – Boombox (2008) “Boy” – B-side to “Can’t Get You Out of My Head” (2001) “Break This Heartbreak” (with Garibay) – Sleepwalker (2014) “Breathe” – Impossible Princess (1997) “Burning Up” – Fever (2001) “Bury Me Deep in Love” (with Jimmy Little) – Corroboration (2001) “Butterfly” – Light Years (2000)
(C)
(D)
(E-F)
“Edge of Saturday Night” (with The Blessed Madonna) – Godspeed/Tension II (2024) “Enjoy Yourself” – Enjoy Yourself (1989) “Especially for You” (with Jason Donovan) – Ten Good Reasons (1988) “Everybody Hurts” (Helping Haiti) – Non-album single (2010) “Everybody’s Free (To Feel Good)” – Kylie Christmas (2016) “Every Day’s Like Christmas” – Kylie Christmas (2015) “Every Little Part of Me” – Golden (2018) “Everything is Beautiful” – Aphrodite (2010) “Falling” – Kylie Minogue (1994) “Feels So Good” – Kiss Me Once (2014) “Fever” – Fever (2001) “Fine” – Kiss Me Once (2014) “Fine Wine” – Disco (2020) “Finer Feelings” – Let’s Get to It (1991) “Flower” – The Abbey Road Sessions (2012) “Fragile” – Fever (2001)
(G)
“GBI (German Bold Italic)” (with Towa Tei and Haruomi Hosono) – Sound Museum (1997) “Get Outta My Way” – Aphrodite (2010) “Getting Closer” – B-side to “The Loco-Motion” (1987) “G-House Project” (with Gerling) – When Young Terrorists Chase the Sun (2001) “Give It to Me” – Fever (2001) “Give Me Just a Little More Time” – Let’s Get to It (1991) “Giving You Up” – Ultimate Kylie (2004) “Glad to Be Alive” – B-side to “The Loco-Motion” (1987) “Glow” (with Garibay) – Sleepwalker (2014) “Go Hard or Go Home” – B-side to “All the Lovers” (2010) “God Only Knows” (with Brian Wilson and various artists) – Non-album single (2014) “Golden” – Golden (2018) “Golden Boy” – Kiss Me Once (2014) “Good as Gone” – Tension II (2024) “Good Life” – B-side to “Please Stay” (2000) “Good Like That” – B-side to “In Your Eyes” (2001) “Gotta Move On” – Hits+ (2000) “Got to Be Certain” – Kylie (1988) “Green Light” – Tension (2023)
(H)
“Hand on Your Heart” – Enjoy Yourself (1989) “Hands” – Tension (2023) “Harmony” – B-side to “In Your Eyes” (2001) “Have Yourself a Merry Little Christmas” – Kylie Christmas (2015) “Heart Beat Rock” – X (2007) “Heartstrings” – Aphrodite (2010) “Heaven and Earth” – Enjoy Yourself (1989) “Heavenly Body” – Tension (2023) “Hello” – Tension II (2024) “Hey Lonely” – Disco (2020) “Higher” (with Taio Cruz) – Rokstarr (2009) “Hold on to Now” – Tension (2023)
(I)
“I Am the One for You” – Greatest Remix Hits 4 (1998) “I Believe in You” – Ultimate Kylie (2004) “I Don’t Know What It Is” – B-side to “2 Hearts” (2007) “I Don’t Need Anyone” – Impossible Princess (1997) “I Feel for You” – Body Language (2003) “I Guess I Like It Like That” – Let’s Get to It (1991) “I Miss You” – Kylie (1988) “I Love It” – Disco (2020) “I Should Be So Lucky” – Kylie (1987) “I Talk Too Much” (with Just Jack) – Overtones (2007) “I Was Gonna Cancel” – Kiss Me Once (2014) “I Wish It Could Be Christmas Everyday” – Kylie Christmas: Snow Queen Edition (2016) “If I Can’t Have You” (with Garibay, featuring Sam Sparro) – Kylie + Garibay (2015) “If I Was Your Lover” – Kylie Minogue (1994) “If Only” – Kiss Me Once (2014) “If You Don’t Love Me” – B-side to “Confide in Me” (1994) “If You Were with Me Now” (with Keith Washington) – Let’s Get to It (1991) “I’ll Still Be Loving You” – Kylie (1988) “Illusion” – Aphrodite (2010) “I’m Gonna Be Warm This Winter” – Kylie Christmas (2015) “I’m Over Dreaming (Over You)” – Enjoy Yourself (1989) “I’m So High” – Light Years (2000) “In Denial” (with Pet Shop Boys) – Nightlife (1999) “In My Arms” – X (2007) “In Your Eyes” – Fever (2001) “Into the Blue” – Kiss Me Once (2014) “It’s the Most Wonderful Time of the Year” – Kylie Christmas (2015) “It’s No Secret” – Kylie (1988)
(J-L)
“Je ne sais pas pourquoi” – Kylie (1988) “Jump” – Impossible Princess (1997) “Just Imagine” – Tension (2023) “Just Wanna Love You” – B-side to “Hand on Your Heart” (1989) “Keep on Pumpin’ It” (with Visionmasters & Tony King) – Non-album single (1991) “Kids” (with Robbie Williams) – Sing When You’re Winning and Light Years (2000) “King or Queen” – B-side to “2 Hearts” (2007) “Kiss Bang Bang” – Tension II (2024) “Kiss Me Once” – Kiss Me Once (2014) “Kiss of Life” (with Jessie Ware) – Disco: Guest List Edition (2021) “Koocachoo” – Light Years (2000) “Last Chance” – Disco (2020) “Lazy” (with The Vaccines) – A Shaun the Sheep Movie: Farmageddon (2019) “Les Sex” – Kiss Me Once (2014) “Let It Snow” – A Kylie Christmas (2010) “Let’s Get to It” – Let’s Get to It (1991) “Lhuna” (with Coldplay) – Non-album single (2008) “A Lifetime to Repair” – Golden (2018) “Lights Camera Action” – Tension II (2024) “Light Years” – Light Years (2000) “Like a Drug” – X (2007) “Limbo” – Impossible Princess (1997) “Limpido” (with Laura Pausini) – 20 – The Greatest Hits (2013) “Live a Little” – Golden (2018) “Live and Learn” – Let’s Get to It (1991) “The Loco-Motion” – Kylie (1987) “Look My Way” – Kylie (1988) “Looking for an Angel” – Aphrodite (2010) “Lost Without You” – Golden (2018) “Love” – Golden (2018) “Love Affair” – Fever (2001) “Love at First Sight” – Kylie (1988) “Love at First Sight” – Fever (2001) “Love Is the Drug” – Radio 1 Established 1967 (2007) “Love Is Waiting” – Kylie Minogue (1994) “Love Takes Over Me” – B-side to “Some Kind of Bliss” (1997) “Love Train” – Tension (2023) “Loveboat” – Light Years (2000) “Loving Days” – Body Language (2003) “Low Blow” – Golden (2018)
(M-N)
(O-P)
“Obsession” – Body Language (2003) “Ocean Blue” – B-side to “On a Night Like This” (2000) “Off with His Shirt” – Galavant: Season 2 (Original Soundtrack) (2016) “Oh Santa” – Kylie Christmas (2015) “On a Night Like This” – Light Years (2000) “On oublie le reste” – Jenifer featuring Kylie Minogue, Nouvelle Page (2019) “One Boy Girl” – Rhythm of Love (1990) “One Last Kiss” – Golden (2018) “One More Time” – Tension (2023) “The One” – X (2007) “Only You” – Kylie Minogue featuring James Corden, Kylie Christmas (2015) “The Other Boys” – Nervo featuring Kylie Minogue, Jake Shears, and Nile Rodgers, Collateral (2015) “Padam Padam” – Tension (2023) “Paper Dolls” – B-side to “Spinning Around” (2000) “Password” – Light Years (2000) “Physical” – Light Years (2001) “Please Stay” – Light Years (2000) “Promises” – Body Language (2003) “Put Your Hands Up (If You Feel Love)” – Aphrodite (2010) “Put Yourself in My Place” – Kylie Minogue (1994)
(R)
“Radio On” – Golden (2018) “Raining Glitter” – Golden (2018) “The Real Thing” – Sample People (2000) “Real Groove” – Disco (2020) “Really Don’t Like U” – Tove Lo featuring Kylie Minogue, Sunshine Kitty (2019) “Red Blooded Woman” – Body Language (2003) “The Reflex” – Kylie Minogue and Ben Lee, Undone: The Songs of Duran Duran (1999) “Rendezvous at Sunset” – B-side to “Can’t Get You Out of My Head” (2001) “Rhythm of Love” – Rhythm of Love (1990) “Right Here, Right Now” – Let’s Get to It (1991) “Right Here, Right Now” – Giorgio Moroder featuring Kylie Minogue, Déjà Vu (2015) “Rippin’ Up the Disco” – X (2007) “Rollin’” – Golden (2018)
(S)
“Santa Baby” – B-side to “Please Stay” (2000) “Santa Claus Is Coming to Town” – Kylie Minogue featuring Frank Sinatra, Kylie Christmas (2015) “Say Hey” – Impossible Princess (1997) “Say Something” – Disco (2020) “Say the Word – I’ll Be There” – B-side to “Word Is Out” (1991) “A Second to Midnight” – Kylie Minogue and Years & Years, Disco: Guest List Edition (2021) “Secret (Take You Home)” – Body Language (2003) “Secrets” – Rhythm of Love (1990) “Sensitized” – X (2007) “Sexercize” – Kiss Me Once (2014) “Sexy Love” – Kiss Me Once (2014) “Shelby ’68” – Golden (2018) “Shocked” – Rhythm of Love (1990) “Shoulda Left Ya” – Tension II (2024) “Should I Stay or Should I Go” – Jools Holland featuring Kylie Minogue, Sirens of Song (2014) “Silence” – B-side to “Put Your Hands Up (If You Feel Love)” (2011) “Sincerely Yours” – Golden (2018) “Skirt” – Non-album single (2013) “Sleeping with the Enemy” – Kiss Me Once (2014) “Slow” – Body Language (2003) “Slow Motion” – Body Language (2003) “So in Love with Yourself” – Dannii Minogue, Girl (1997) “So Now Goodbye” – Light Years (2000) “Some Kind of Bliss” – Impossible Princess (1997) “Somebody to Love” – Tension (2023) “Someday” – Body Language (2003) “Someone for Me” – Tension II (2024) “Sometime Samurai” – Towa Tei featuring Kylie Minogue, Flash (2005) “Soul on Fire” – B-side to “Slow” (2003) “Sparks” – B-side to “Into the Blue” (2014) “Speakerphone” – X (2007) “Spinning Around” – Light Years (2000) “Spotlight” – Disco (2020) “Stars” – X (2007) “Starstruck (Kylie Minogue Remix)” – Years & Years featuring Kylie Minogue, Night Call (2021) “Stay Another Day” – Kylie Christmas: Snow Queen Edition (2016) “Stay This Way” – Hits+ (2000) “Step Back in Time” – Rhythm of Love (1990) “Still Feels Like the First Time” – Zoot Woman featuring Kylie Minogue, Absence (2017) “Still Standing” – Body Language (2003) “Stop Crying Your Heart Out” – BBC Radio 2 Allstars, Non-album single (2020) “Stop Me from Falling” – Golden (2018) “Story” – Tension (2023) “Supernova” – Disco (2020) “Surrender” – Kylie Minogue (1994) “Sweet Music” – Body Language (2003)
(T)
“Taboo” – Tension II (2024) “Take Me with You” – Other Sides (1997) “Tears” – B-side to “Did It Again” (1997) “Tears on My Pillow” – Enjoy Yourself (1989) “Tell Tale Signs” – Enjoy Yourself (1989) “Tension” – Tension (2023) “The Magic Roundabout” – Doogal (Music From The Motion Picture) (2005) “Things Can Only Get Better” – Rhythm of Love (1990) “Things We Do for Love” – Tension (2023) “This Girl” – Impossible Princess (1997) “This Wheel’s on Fire” – Absolutely Fabulous (2016) “Through the Years” – Impossible Princess (1997) “Tightrope” – B-side to “In Your Eyes” (2001) “Till You Love Somebody” – Disco (2020) “Time Will Pass You By” – Kylie Minogue (1994) “Timebomb” – Non-album single (2012) “Too Far” – Impossible Princess (1997) “Too Much” – Aphrodite (2010) “Too Much of a Good Thing” – Let’s Get to It (1991) “Turn It into Love” – Kylie (1988)
(U-Z)
Check out our fantastic and entertaining Kylie Minogue articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com
“At first people thought, ‘Knucklehead Americans!’ and now they’re starting to figure it out”: How Five Finger Death Punch silenced the haters with The Wrong Side Of Heaven Volumes 1 and 2
(Image credit: Mick Hutson/Redferns)
Five Finger Death Punch guitarist Zoltan Bathory may have been born in Eastern Europe, but his band are an American success story. In 2013, between the two volumes of that year’s The Wrong Side Of Heaven And The Righteous Side Of Hell albums, we met up with Zoltan and singer Ivan Moody in their HQ to talk war, alcoholism and controversy.
Nine times out of 10 when you go to a rehearsal space you’ll find yourself in a room that’s barely big enough to contain the whole band, let alone any visitors. There’s a 50/50 chance it’ll be soundproofed with old mattresses that carry a vague aroma of damp dog, and slightly greater odds that you’ll be able to hear the horrible indie band bleeding through the walls from next door. Clearly we are not dealing with that kind of band today. We are dealing with a one in 10. Their name is Five Finger Death Punch.
Let’s have a poke around before they arrive, shall we? Say hi to the crew, guitar techs, drum tech, soundman, a nice guy, Buddhist, sitting outside this vast warehouse in the Palm Springs desert, under the shade of a tent that bears the band’s logo. By 10am it’s 106˚ here, but thankfully there are industrial fans inside to cool the place down a little while we check out the stage set-up, all skulls and gargoyles and brass-knuckles and grenades and guns and bullets… Oh so many bullets. The mic stand alone looks like it could take on a small army.
And that might be a problem, boys and girls, because doesn’t it seem, on the surface at least, that 5FDP are a little too into this whole war thing? War Is The Answer and fuck yeah, isn’t America great?! Let’s bomb Syria for bombing Syria and then have a pop at Iran just for a laugh. Coca-cola and Armageddon! Have you seen the Pride video for Christ’s sake?
While the band’s rise to success has been nothing less than astonishing – their last album, The Wrong Side Of Heaven And The Righteous Side Of Hell, Volume 1, hit the Billboard charts at number two – isn’t it possible that they’re just a bunch of knuckleheads who got lucky?
It’s one thing to attempt a courteous interview, but quite another to endorse a band with a collected IQ that perhaps fails to reach double digits. The band – frontman Ivan Moody, drummer Jeremy Spencer, bassist Chris Kael, and guitarists Jason Hook and Zoltan Bathory – are disarmingly nice when they arrive, easy company, all smiles, but that could soon change. Some bands throw a hissy fit when you question their motives or their lyrics, so it’s probably best to start off with some easy ones. Ivan’s up first and we’ve heard he doesn’t talk much, doesn’t like doing interviews. Which is a good start.
Five Finger Death Punch in 2013 (from left): Jason Hook, Ivan Moody, Chris Kael, Zoltan Bathory, Jeremy Spencer (Image credit: Press)
It looks like you’re set to become one of the biggest metal bands in the world. you even had Trivium and Killswitch Engage open for you last year. Where do you go from here?
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Ivan: “Higher and higher, further and further. Why stop now? It took us so long to get here and I’ve always said that we didn’t come to lose.”
How do you develop your stage shows and where do you see yourselves taking them? Are we talking Rammstein and Kiss?
“It’s funny that you mention Rammstein, that’s really our goal. I want to have production like Ramstein, but at the end of the day, it comes down to what we do as individuals on stage. I just saw Social Distortion in Vegas and they probably had seven lights, the whole stage was like a punk rock stage, and it was great! It comes down to the band and the crowd reaction. You can have million dollar stage set-up but if you suck people will tell you about it.”
This feature originally appeared in Metal Hammer issue 250 (October 2013) (Image credit: Future)
You recently spoke about having alcohol problems. How are you dealing with that now, and where did it stem from?
“It goes way back in my family. My grandfathers were massive alcoholics; one took his own life and the other died from alcohol poisoning. In my family it was never looked down upon. I never quit, but I’ve weaned myself off the excess of drinking. I got tired of waking up and not knowing how I got to my room, or where my shoes were, or why I had a black eye and my bandmates wouldn’t talk to me. It started interfering with my every day life. The guy who talked me out of drinking so much was Jonathan Davis from Korn. He pulled me up on his bus one night and basically told me that I had the opportunity to be something bigger and that there were millions of people listening to me, so now was the moment to get it together. He told me that he loved what I did with music and on stage, and that was really an honour, but he told me to quit the sauce. I started crying.”
Was that the moment you decided to get it together?
“Absolutely. Jeremy went into rehab and that was a big eye-opener for me. We were up at his house one night, drinking and being stupid, and he was laying out on the patio and I didn’t notice that he’d fallen asleep. All of a sudden I realised he’d stopped breathing and I had to shake him awake! He’s one of my favourite people on earth and the moment I thought about losing another person to such an idiotic thing… When JD pulled me up on his bus it was a real moment for me because I grew up on Korn and almost idolised them to a degree.”
Five Finger Death Punch onstage at the Metal Hammer Golden Gods awards in 2013 (Image credit: Kevin Nixon/Metal Hammer)
Do you ever get tired of being asked your world views?
“I don’t, but my grandfather told me a long time ago, there’s three things you should never talk about in public: religion, politics and aliens, because everyone’s opinion will be different.”
But you do talk about it. You seem to have an awful lot of songs about war.
“There’s always been war, it’s in our nature.”
America’s starting most of them!
“Let’s be clear about that: American politicians do a lot of that shit. Americans ourselves – the people who live and work their asses off – don’t get to make those decisions and we don’t hear about it until after it’s done. If anybody in the world thinks that we, as a society, promote or embrace that kind of mentality, they’re lying to themselves. I hope the world understands that it’s not us, it’s the people who are in power. We want to apologise to the world! But we can only do so much, and I believe that there will come a time when there will be a revolution in this country, when the politicians are gonna have to change their ways. We’re not going to take the corruption any more. It’s not like it’s not on the ‘to do’ list, it’s just that we’re trying to do it correctly.”
Do you think that comes across? On first glance at the band it’s all ‘war and America, fuck yeah!’
“Well the title, War Is The Answer, is tongue-in-cheek. At the time we’d just gone over to Iraq and it just seemed like it was so out of our hands. That’s why I always promote the military, because I have a serious respect for somebody who, whether they believe in the politics involved or not, is willing to give their life to save the most basic freedoms for the rest of us. But when you’re lied to and told that you’re doing something like that, and then come back and find out the whole thing’s a façade…
“Both times we went to Iraq and Kuwait, we got the same feeling from all the soldiers: we didn’t sign up for this, we just came because we thought this was our duty. When they come back they’re all just heartbroken. There’s a lot of corruption in politics and it’s not just America, I get tired of hearing that. It’s not like the rest of the world is perfect and it’s just America fucking everything up. We have just as much respect for other cultures as anybody else, but it sometimes feels like we’re pissed on because of the decisions in Congress. We can’t overthrow the place, but it’ll happen eventually.”
How was it playing to the troops?
“Amazing. It was one of our best experiences as a unit. Me, Jeremy and Jason were drunks at the time and when we went there for three and a half weeks there was no liquor allowed so it was a real chance for us to get to know each other again and to dry out. It was an honour to meet those men and women who are there sacrificing their lives for something that some of them don’t even believe in.”
Do they mosh?
“Absolutely! We had the military police tell us, ‘No moshing’ and they were just standing there, they couldn’t move, so I went over to the MPs and said, ‘Dude, you’ve got to let them move around a little bit!’ He goes, “OK, fine, a couple of songs,” and the next thing you know there’s dust everywhere and so much energy! Once he gave them the word, they were all over it!”
People accuse you guys of being too macho. Does that ever get you down?
“Macho, huh? Fuck, that’s ridiculous! I don’t even know where to go with that. I never considered myself macho and I grew up anti-jock. I can see as an outsider you might perceive that, but at the end of the day that’s not who we are at all.”
You’ve very much into martial arts, though. Is that something you’d compete in?
“No, the last time I got in a real fight I had 27 staples put in my stomach, 13 stitches in my throat and another 17 in my back and my arm. I got stabbed in a bar fight in Vegas. I went to practice four days later and I couldn’t sing, and the guys told me that if I kept being that way then they were gonna have to let me go. That’s the other reason I admire those who do martial arts; I don’t have the patience they do. My bodyguard, John, trains navy Seals, he’s a fucking assassin, but he’s the most calm and tactful person you’ve ever met in your life. I’m not that guy. People see me on stage and that’s my temperament. That’s why I love what I do because I don’t have to be that angry on a daily basis, that’s why that macho thing kinda threw me. It’s not who I am, it’s somebody I left in a closet a long time ago. That would be the same as saying that about Phil Anselmo. What’s macho about it? It’s a source of release and it was either that or prison. I’d rather be here.”
It seems that you’re open to discussion rather than being ‘fuck you if you don’t like it’. It’s a pleasant surprise.
“If you really listen to my lyrics and not just let it go in one ear and out the other, you’d be surprised. It’s my job to open my chest and to let the world know everything about me. I think the closer I get to my heart, the more it’s relatable.”
Does that also leave you vulnerable, like someone reading your diary?
“Yes, and that’s the reason I don’t do a lot of interviews. I feel like just about everything I have to say is on that album. Sometimes I feel like I don’t have anything to myself, so I leave that to Jeremy and Zoltan. You’re gonna have fun with Zoltan!”
Five Finger Death Punch’s Zoltan Bathory in 2013 (Image credit: Will Ireland/Total Guitar)
With a name like Zoltan Bathory you’d be forgiven for expecting to meet a wizard, but he’s Hungarian and just has a cool name. He breaks the ice by joking about his accent: “I said I’m a Hungarian not a hung Aryan!” and it’s difficult not to like him immediately. He likes to talk and, having been totally thrown by Ivan, we’ll not make the mistake of approaching him like we might be dealing with the village idiot. Which is probably just as well since he turns out to be a genius. And possibly a wizard!
Most bands seem to break Europe first but you did it the other way around. Why do you think that is?
Zoltan “I don’t know why, but from day one there was an instant connection. I guess, if you look at the art of war, you don’t move away from the water and the resources, and this was our place. Now that we have so many fans in America I feel like the band is stable and now we can go away and stay in Europe for a year and we’ll still have the fanbase here.”
Do you think it’s because, from the outside, the band comes across as very all American and overly patriotic? At first glance, that’s what The Pride video is.
“That could be part of it. The first record was more European-sounding, I mean, I’m European, I grew up there, but now it’s a more American-sounding band. And you’re right, on the surface when you look at this band you may look at it that way unless you read the interviews and get to know us. I was asked so many times, ‘What is this war thing?’ I’m into Eastern philosophy so I look at war in a different light. A Buddhist monk is probably in the biggest war you can imagine because he’s fighting the whole time he’s meditating. I’m a martial artist and life is war. Since you’re born you fight for something, even if it’s a social position. That’s just how we are.”
But on the surface it’s difficult to tell if you’re Bill Hicks fans for instance, or just really into war.
“As an artist, it’s not your place to pick sides. If you do, you’re preaching and that’s not your job. Your job is to push buttons and make people aware. You can nudge people’s perceptions so they’re like, ‘Let’s think about it this way or that way.’ For example, you mentioned The Pride’s video and you see all this corporate advertising and your natural reaction is ‘Fuck that shit!’ But I’m not saying ‘Yay, corporate America’ or ‘No, corporate America’, I’m just pushing a button.
“If you take it one way, it’s about surviving and it’s natural that the strong survive. If someone builds a corporation in some way they become the alpha dog and it wasn’t a physical thing, like being stronger. Somehow he figured out how to get ahead, so is that right or wrong? Should he be condemned? It’s not my job to tell anyone how to live, and no one can tell me how to live or what to say.
Five Finger Death Punch – The Pride (Lyric Video) – YouTube
“If I was into war in that gung-ho way, even then I’d have the right to do that. This right goes both ways. That’s what we do and many people don’t understand that yet. You have to understand sarcasm in the first place. A lot of people misunderstood what American Capitalist is about and capitalism is the closest to nature. I grew up in a communist system and I can tell you why it doesn’t work. The idea that you will stay in line and not want to advance won’t work, because we are by nature a certain way. The point of that record is that, within the system, this is a lesser evil, and it’s your job to be as strong as you can be.”
How does part two of The Wrong Side Of Heaven relate to part one?
“It’s not a concept record, just a body of work. We had so much music that was dear to us – we couldn’t decide which songs to use. We called the label and said, ‘We have a good problem! We have too many songs!’ They said, ‘No, pick 12!’ So it was like, ‘OK, you fucking pick them!’”
You let the label choose?
“No! We were being sarcastic! We wouldn’t do that. We’re actually an indie label band, we’re the only band on the label, and there’s three employees. We have full artist control.”
You have a very diverse crew – a Buddhist sound-guy, ex-military bodyguard… is that diversity important to you?
“That’s the idea. When you put a crew together, that matters. Most of them have a serious education and a lot of them are martial artists. I would say I’m a Buddhist. Buddha prohibited his students from writing down his teachings because he was against anything organised; he didn’t want such a thing as Buddhism. I’m going by the original idea… it’s more of a path.”
That’s probably not the outside perception of who you are!
“Perception is interesting. Existence and perception are chained together. If you don’t perceive, technically, it doesn’t exist. By perceiving you make the world. I’ll never know what’s in your head or what you see, I’ll only know what I see. If you lost your perception then, to you, the world ceases to exist.”
How did your thinking come about? Doing acid or reading?
“Ha ha! I read millions of books and spent long years with monks. I seek knowledge and to understand what’s around me on a deeper level, so I’ve read everything from Einstein’s work to Eastern philosophy. Before the Aztecs there were Toltecs, a Mesoamerican culture, and they had knowledge of things like astronomy that today we’re like, ‘How the fuck did these guys know?’ Then you read these books and compare them to eastern philosophy like Himalayan Buddhism or Hindi and the concepts and ideas are very similar. It wasn’t like ‘I’m gonna buy a book and then buy into the idea’ – I bought all the books and read everything I could.”
Five Finger Death Punch at the Metal Hammer Golden Gods awards in 2013 (Image credit: Will Ireland/Metal Hammer)
Doesn’t it bother you that this band is seen as stupid when you’re clearly not?
“To a degree it’s entertaining. I worked in the space industry for many years and I have worldwide patents in space and aviation.”
What are you messing around with rock’n’roll for then?
“Because this is a vehicle. Music is a very, very deep therapy. It’s very meditative. And with music, everything that you create, you did not create! You never invented anything and you never created anything. Let’s take a cellular phone: the technology to make a cellular phone was exactly the same 20 million years ago and it’s exactly the same in the way that no one discovered America, it was always there. You didn’t discover physical laws, they were the same laws a billion years ago, you just came to understand them. And you didn’t write that song, you came upon that combination of chords. Those notes and rhythms were possible a billion years ago and we just stumbled across that combination. The potential to put those notes in that order was always there.”
Do you believe in an after life?
“Information and matter cannot be destroyed. All the information and matter you contain has to go somewhere. It fits Einstein’s idea of relativity, but let’s not even talk about Einstein. If we take today’s understanding of physics then we cannot destroy energy, information or matter, it transforms, but it has to go somewhere. So there is a form of afterlife, but it’s not like you sit up and go, ‘Oh, I’m a ghost.’”
This must be the first Metal Hammer cover story to discuss physics!
“That’s my point. Some of the people who read the magazine have never been exposed to that and maybe never question it. When something falls on the floor: ‘Oh, it’s gravity.’ Once it has a name you no longer question it. Most of the things in the world, we gave them a little box, gave them a name, and we’re comfortable with that. An artist’s job is to go, ‘Is that really true? I’m not telling you what’s in the box, but is it what you think it is?’
Five Finger Death Punch – House Of The Rising Sun – YouTube
“Take our album cover: it’s a typical metal record cover, but how many people really look at it? It has the angel/devil concept and there are two angels, both with machine-guns, which we did to push buttons in the God debate. One of them is Justice holding the scale and the other one is Liberty, but Justice is usually blindfolded. In this image Justice is looking at you and we blindfolded Liberty. The people who are there mentally will get it and some people will not think a fucking thing of it.
“You can give someone the key to the universe, but if they don’t understand then the key will be lost. I can give a caveman my phone and he wouldn’t know what the fuck to do with it. I can present lyrics, music and information and some people will get it and some won’t. At first people thought, ‘Knucklehead Americans!’ and now they’re starting to figure it out.”
Originally published in Metal Hammer issue 250, October 2013
A veteran of rock, punk and metal journalism for almost three decades, across his career Mörat has interviewed countless music legends for the likes of Metal Hammer, Classic Rock, Kerrang! and more. He’s also an accomplished photographer and author whose first novel, The Road To Ferocity, was published in 2014. Famously, it was none other than Motörhead icon and dear friend Lemmy who christened Mörat with his moniker.
Rihanna, the globally celebrated icon of music, fashion, and philanthropy, hails from the island nation of Barbados, where her remarkable journey began in the parish of Saint Michael. Discovered as a teenager by American record producer Evan Rogers during a trip to Barbados, Rihanna’s life took a transformative turn. In 2005, she signed with Def Jam Recordings under the mentorship of Jay-Z, launching a career that would redefine pop, R&B, and global stardom.
Her debut album, Music of the Sun (2005), marked the beginning of her meteoric rise. Featuring the hit single “Pon de Replay,” the album showcased her Caribbean roots and undeniable talent. Rihanna quickly followed up with A Girl Like Me (2006), which delivered the chart-topping single “SOS” and cemented her presence on the international stage. Her ability to merge pop sensibilities with dancehall influences became a hallmark of her early career.
In 2007, Rihanna released Good Girl Gone Bad, the album that catapulted her to superstardom. Anchored by the smash hit “Umbrella,” featuring Jay-Z, the record earned her first Grammy Award and became a cultural phenomenon. The album also included hits like “Don’t Stop the Music” and “Disturbia,” solidifying her reputation as a musical trendsetter unafraid to experiment with her sound and style. This era also marked a shift in her image, as she embraced a bold, edgy persona that resonated with fans worldwide.
Rihanna’s prolific output continued with Rated R (2009), a darker and more introspective album featuring hits like “Rude Boy,” and Loud (2010), which brought vibrant anthems such as “Only Girl (In the World)” and “What’s My Name?” Her ability to evolve with each album reached new heights with Talk That Talk (2011) and Unapologetic (2012), the latter earning her a Grammy for the single “We Found Love.” Over the years, Rihanna has released eight studio albums, each showcasing her versatility, from the sultry R&B of Anti (2016) to the dance-driven sounds of her earlier works.
Beyond her impressive discography, Rihanna is celebrated for her groundbreaking ventures outside of music. In 2017, she launched Fenty Beauty, a cosmetics brand that revolutionized the industry with its emphasis on inclusivity. The brand’s success further established her as a business mogul, paving the way for ventures like Savage X Fenty, her lingerie line, which redefined standards of beauty and representation in fashion. Her influence extends into philanthropy as well, with her Clara Lionel Foundation focusing on education, disaster relief, and social justice initiatives.
Rihanna’s accolades are as impressive as her career trajectory. She has won nine Grammy Awards, 13 American Music Awards, and numerous Billboard Music Awards. She is one of the best-selling music artists of all time, with over 250 million records sold worldwide. Her influence has earned her titles such as “The Most Streamed Female Artist of All Time” and spots on Forbes’ lists of the world’s most powerful women.
Beloved for her unapologetic authenticity, Rihanna remains a cultural force who transcends music. From her trailblazing artistry and fashion ventures to her humanitarian efforts, she has reshaped what it means to be a modern-day icon. Her fearless approach to life and career continues to inspire millions, solidifying her legacy as a multifaceted artist and changemaker.
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.
Twenty eight years after Joe Satriani put together the first G3 tour, he reunited with the other two guitarists – Steve Vai and Eric Johnson – for a US tour last year.
The G3 concept, which for a while in the early 2000s was an annual event with a varying cast, had lain dormant for the previous six years so there is a sense of coming full circle.
G3: Joe Satriani, Eric Johnson, Steve Vai – Crossroads (Official Video) – YouTube
Listening to three axemen, who were in their prime, on the first G3 tour playing their respective sets with the same skill and dedication in their mid-to-late 60s is an almost humbling experience.
Johnson’s set is perhaps the most intriguing because he has remained the most inscrutable and elusive of the three, not to mention being the oldest at 70. They only give away their ages on the choice of encores: Crossroads as done by Cream, Hendrix’s Spanish Castle Magic and Steppenwolf’s Born To Be Wild.
Hugh Fielder has been writing about music for 50 years. Actually 61 if you include the essay he wrote about the Rolling Stones in exchange for taking time off school to see them at the Ipswich Gaumont in 1964. He was news editor of Sounds magazine from 1975 to 1992 and editor of Tower Records Top magazine from 1992 to 2001. Since then he has been freelance. He has interviewed the great, the good and the not so good and written books about some of them. His favourite possession is a piece of columnar basalt he brought back from Iceland.
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.
Following the release of their sole, self-titled studio album in June 1989, Anderson Bruford Wakeman Howe embarked on an extensive and well-received world tour.
With the Chris Squire-led Yes languishing in a singerless limbo in Los Angeles, the offshoot tour was the closest fans would get to the Yes live experience throughout 1989 and early 1990.
Recorded at the Shoreline Amphitheater in Mountain View, California on September 9, 1989, An Evening Of Yes Music Plus was originally broadcast on the King Biscuit Flower Hour radio show and as a pay-per-view concert film, before being commercially released in 1993 on double CD and in 1997 on the then-new DVD format. While the former was reissued in 2006, this is the first time the audio and visual elements have been brought together in one package.
An Evening Of Yes Music Plus does what it says on the tin, mixing a cross-section of songs by their then-former band with a decent helping of tracks from the ABWH album and a scattering of solo songs. The first half-hour features each of the four musicians taking time in the spotlight for what amount to ‘solo’ sets.
ABWH – Close to the Edge (Shoreline Amphitheatre, Mountain View, CA. 1989) – YouTube
Jon Anderson’s acoustic medley takes in a plaintive Time And A Word, Yes’s 80s megahit Owner Of A Lonely Heart and ABWH stinker Teakbois. Steve Howe fuses his instrumental workout Clap with Yes’s Mood For A Day; and Rick Wakeman goes full solo with a fluid Gone But Not Forgotten and busy, bright renditions of Catherine Parr and Merlin The Magician. By contrast, Bill Bruford’s sample-heavy electronic drum solo sounds like an antiquated music shop demo recording of space-age percussion.
Also impressive is the anthemic Order Of The Universe, where even Bruford’s syn-drum break works
Unsurprisingly, the Yes canon is heavily represented, with And You And I, Close To The Edge, Starship Trooper and Roundabout all rolled out. But it’s the ABWH songs, freed from the dated late 80s sonics of their recorded counterparts, that benefit most from the live treatment.
There’s a strong version of Birthright, featuring a more pronounced acoustic feel; and a sparkling, organic Brother Of Mine, with bassist Jeff Berlin –standing in for regular ABWH member Tony Levin, sidelined with hepatitis – on fluent form. Also impressive is the anthemic Order Of The Universe, where even Bruford’s syn-drum break works, despite sounding enjoyably like laser sound FX from a vintage arcade game.
Within 18 months of this recording, the quartet had been re-absorbed into the main band in time for the Union debacle. Yet this remains a fine reminder of an excellent, if fleeting, part in the Yesstory.
An Evening Of Yes Music Plus is on sale now via Esoteric Recordings.
The surviving members of Nirvana reunited at FireAid, rocking through four of the grunge giant’s classic tracks. The unannounced performance marked Dave Grohl’s return to the stage following public acknowledgement in September that he fathered a child out of wedlock.
Four different women took turns handling vocals during the FireAid performance. First up was St. Vincent, a three-time Grammy winner who is up for another four awards this year. The singer – real name Annie Clark – led Grohl, bassist Krist Novoselic and guitarist Pat Smear through an emphatic rendition of “Breed.”
Next up during the FireAid set was singer Kim Gordon. The Sonic Youth frontwoman wasted little time, delivering a vocal onslaught while performing “School.”
The third vocalist of the set was Joan Jett. The punk legend added her signature sound to “Territorial Pissings,” the Nevermind album cut that remains a favorite among Nirvana fans.
While the first three vocals had all notably fronted Nirvana during the band’s 2014 induction into the Rock & Roll Hall of Fame, the fourth and final singer of the night was different.
Violet Grohl, Dave’s 18 year-old daughter and an aspiring musician, took the mic for the band’s last song. In a night already full of emotion, the sight of Violet leading her father and the rest of the group through a poignant rendition of “All Apologies” carried extra weight. The tune ended with Violet and Dave sharing the song’s famous refrain – notably the only time during the set that the drummer approached a microphone (he did not address the crowd).
Clips from the performance can be found below.
Grunge Pre-Nirvana: 20 Things That Set the Stage For ‘Nevermind’
The bands, people, places and trends that paved the way for grunge’s landmark album.
