A new sex toy in the image of Ghost frontman Papa V Perpetua sold out in a matter of minutes after going on sale this week.
Part of the band’s new “Mama’s Day Collection” (Mother’s Day in North America is celebrated on the second Sunday in May) of memorabilia, the so-called “Ghildo” was available in a limited run of 666.
Measuring 7-inches in length and 2-inches in girth, the purple silicone toy comes in a fetching velvet drawstring pouch and features Papa V Perpetua’s face at what can best be described as the business end.
Retailing for $129 (about £100), the item was sold exclusively through Rockabilia. But according to Metalsucks, they sold out in minutes.
Ghost are no strangers to unusual merchandise. They previously sold the Phallos Mortuus box set, a bible-bound package containing a sizeable Papa Emeritus dildo and a bronze butt plug.
Papa V Perpetua was unveiled as Tobias Forge’s latest persona ahead of the band releasing their sixth album Skeletá this year.
The Swedish outfot are currently out on the road in support of the highly-rated record.
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Ghost remaining 2025 world tour dates
Europe:
May 04: Milan Unipol Forum, Italy May 07: Berlin Uber Arena, Germany May 08: Amsterdam Ziggo Dome, Netherlands May 10: Lodz Atlas Arena, Poland May 11: Prague O2 Arena, Czech Republic May 13: Paris Accor Arena, France May 14: Oberhausen Rudolph Weber Arena, Germany May 15: Hannover ZAG Arena, Germany May 17: Copenhagen Royal Arena, Denmark May 20: Tampere Nokia Arena, Finland May 22: Linköping Saab Arena, Sweden May 23: Sandviken Göransson Arena, Sweden May 24: Oslo Spektrum, Norway
USA:
Jul 09: Baltimore CFG Bank Arena, MD Jul 11: Atlanta State Farm Arena, GA Jul 12: Tampa Amalie Arena, FL Jul 13: Miami Kaseya Center, FL Jul 15: Raleigh PNC Arena, NC Jul 17: Cleveland Rocket Mortgage FieldHouse, OH Jul 18: Pittsburgh PPG Paints Arena, PA Jul 19: Philadelphia Wells Fargo Center, PA Jul 21: Boston TD Garden, MA Jul 22: New York Madison Square Garden, NY Jul 24: Detroit Little Caesars Arena, MI Jul 25: Louisville KFC Yum! Center, KY Jul 26: Nashville Bridgestone Arena, TN Jul 28: Grand Rapids Van Andel Arena, MI Jul 29: Milwaukee Fiserv Forum, WI Jul 30: St Louis Enterprise Center, MO Aug 01: Rosemont Allstate Arena, IL Aug 02: Saint Paul Xcel Energy Center, MN Aug 03: Omaha CHI Health Center, NE Aug 05: Kansas City T-Mobile Center, MO Aug 07: Denver Ball Arena, CO Aug 09: Las Vegas MGM Grand Garden Arena, NV Aug 10: San Diego Viejas Arena, CA Aug 11: Phoenix Footprint Center, AZ Aug 14: Austin Moody Center ATX, TX Aug 15: Fort Worth Dickies Arena, TX Aug 16: Houston Toyota Center, TX
Mexico:
Sep 24: Mexico City Palacio De Los Deportes
Stef wrote close to 5,000 stories during his time as assistant online news editor and later as online news editor between 2014-2016. An accomplished reporter and journalist, Stef has written extensively for a number of UK newspapers and also played bass with UK rock favourites Logan. His favourite bands are Pixies and Clap Your Hands Say Yeah. Stef left the world of rock’n’roll news behind when he moved to his beloved Canada in 2016, but he started on his next 5000 stories in 2022.
Max Cavalera has hailed heavy metal as “the most positive thing in the world”.
As a founder of metal heroes Sepultura and also the brains behind acts such as Soulfly, Killer Be Killed, Cavalera Conspiracy and Nailbomb, the 55-year-old singer/guitarist is well placed to give his opinion on the metal genre.
And in a new interview with Prescription Punk Rock, the Brazilian metal icon does not hold back when singing the praises of the scene.
Cavalera says: “Metal is the most positive thing in the world, but I know it has a negative image. I understand.
“But once you are inside of the metal, it makes you a great person. I think in metal, I hope at least, there’s less racism, there’s less sexism, there’s less prejudice and there’s more friendship. There’s more bond.
“Also because you’re part of something outside of society, I think it’s cool too. It’s a unique thing. You’re part of something that’s special. You feel very kind of proud to be part of something unique like this.”
Max adds that he still gets a thrill when he sees a stranger wearing a heavy metal t-shirt.
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He says: “When you are in the airport and you see another guy in a heavy metal shirt, you go, ‘Oh, fuck, yeah. How’re you doing, man?’
“We have to do that. It’s our code. There’s people that even when they don’t recognise me, I still say, ‘What’s up, man? Fucking cool fucking shirt, man.’ A lot of times, of course, they say, ‘Oh, it’s Max, man. Can we get a picture?’ and this and that.
“But some other times it’s been where the guy probably doesn’t know who the fuck I am, and I just give him props because he is wearing a Celtic Frost shirt. And I’m, like, “Fuck, yeah, dude. Cool shirt, man.’ Let him know.”
Soulfly have a string of tour dates across Europe in June and July.
Scorpions have canceled a trio of shows as singer Klaus Meine battles a condition that has left him “unable to sing.”
The band initially canceled a performance scheduled for April 26 in Buenos Aires, Argentina. At the time, the group revealed that Meine “contracted and suspected laryngitis and is unfortunately unable to sing.” Four days later, the band canceled a gig in Bogota, Colombia, again expressing their apologies to fans.
Most recently, Scorpions canceled their May 3 show in Quito, Ecuador. In a statement, the band noted that the 76 year-old vocalist “has still not recovered from the virus that forced the recent Buenos Aires and Bogota cancellations for Scorpions and was diagnosed with a bacterial bronchitis which caused his unfortunately [sic] inability to sing.”
Scorpions’ trek of Central and South America has two dates remaining: May 6 and May 8 in Aguascalientes and Puebla, Mexico (respectively). The band then has a month off before resuming their tour in Europe for a leg that runs through the end of July. They are not scheduled for U.S. performances until August.
Scorpions’ Tumultuous 2025 Tour
2025 was meant to be a celebratory year for Scorpions, but so far it has been more turbulent than triumphant.
The band announced extensive touring plans to celebrate its 60th anniversary, including a residency in Las Vegas originally scheduled for late February into early March. However, drummer Mikkey Dee’s recovery from life threatening sepsis forced the residency to be postponed, with the rescheduled dates now planned for August.
Elsewhere, the group’s former guitarist, Michael Schenker added to the turmoil when he announced he wouldn’t be rejoining the band for their 60th anniversary tour due to an ongoing feud with his brother, and current Scorpions guitarist, Rudolf.
“Rudolf is just a crazy, weird person. I don’t know what drives him. But I don’t wanna be connected to it,” Michael said at the time, accusing his brother of being “abusive” and a “bully.”
Scorpions Albums Ranked
After more than five decades of rocking like a hurricane, ranking all of Scorpions’ studio albums is no easy task.
“If you’re a Zep fan and really want to go see Zeppelin, you might as well go and see one of the better tribute bands”: The epic life and career of John Paul Jones, the heartbeat of Led Zeppelin and so much more
(Image credit: Dick Barnatt/Redferns)
John Paul Jones is most famous for being the bassist and keyboard player in Led Zeppelin throughout their 12-year lifespan, but he had successful and fascinating career before and after as a session player, arranger and, later, producer. In 2010, he was playing bass alongside Dave Grohl and Josh Homme in Them Crooked Vultures and was the recipient of the Outstanding Achievement honour at that year’s Classic Rock awards – the perfect opportunity to sit down and look back over his stellar journey.
John Paul Jones seems quietly at ease with his standing as one of rock’s elder statesman. It’s exactly 50 years since he joined his father’s dance band, aged just 14, after which he began touring with The Shadows. From 1964 onwards, he played on and directed sessions for The Yardbirds, Donovan, Marc Bolan, Cat Stevens, Marianne Faithfull, Tom Jones, The Walker Brothers and many more. The Rolling Stones even brought him aboard for the string arrangement on She’s A Rainbow.
His seat at the high table of rock was secured, however, when he formed Led Zeppelin with Jimmy Page in 1968. Page may have been more flashy, Plant more God-like and Bonham more thunderous, but it was bass and keyboardist Jones who provided the band with its distinctive textures and mighty eclecticism.
Since then Jones has worked with a dizzying array of artists, including REM, Peter Gabriel, Ben E King, Butthole Surfers, Heart, The Datsuns and Sonic Youth. The past 18 months have seen him return to high-profile rock via membership of supergroup Them Crooked Vultures, alongside Dave Grohl and Josh Homme. Now 64, age has failed to dim either his resolve or his musicianship. “Getting older gives you more freedom,” he laughs. “People either assume you know what you’re doing, or else they just don’t care. So do what you like!”
You turned professional in 1962, then became session player, musical director and arranger for people like Andrew Loog Oldham and Mickey Most. So how did you get involved with them?
This feature was originally published in Classic Rock issue 153 (December 2010) (Image credit: Future)
I used to stand on the corner of Archer Street in Soho every Monday, where all the musicians were at. Eventually I saw Jet Harris and asked him if he wanted a bass player. I’d seen him for a couple of weeks, but just couldn’t bring myself to ask. But when I did, he said: “I don’t need anyone, but they do.” And he pointed to the band he’d just left, which was [jazz-rock combo] the Jett Blacks. I went to audition for them, but Jet heard the audition too. This was when he was just starting The Shadows with Tony Meehan and he said: “No, you’re coming with us!” So I never got to actually play with the Jett Blacks. I was just 17 at that point. Suddenly the whole thing happened for me.
Then I started doing a lot of sessions and watching a lot of arrangers, picking it up as I went along. When somebody asked if I could arrange, I said: “Yeah, of course.” My Dad once told me: “Never turn down work.” And I didn’t. So I went out and bought a book, which taught you how to orchestrate. Forsyth’s Orchestration, it was called. The thing to remember is that, in those days, sessions weren’t like they are today. We’d do two or three a day, for a start, and you didn’t usually know who you were going to be playing with until you actually saw them. Back then they used to do the vocals at the same time. So you’d be standing in a little box and you could see them through the glass.
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There’s a myth that musicians of today aren’t as adept as those of your era.
It’s just not true though. It’s like saying that people aren’t as adept because they use samplers or turntables. People say, “Oh, they’re not real musicians.” Oh yeah? Well, here’s a turntable and a sampler – go and make a fucking killer record! It’s different skills, that’s all. You’ve still got to have it all up there [taps head], to know what sounds good and how to put it all together. It’s just that you don’t necessarily do it by playing guitar.
John Paul Jones in 1965 (Image credit: Mark and Colleen Hayward/Redferns)
One of your earliest charges was Nico.
I don’t think I actually did her record; I did her test. She sang Blowin’ In The Wind in the most unusual manner. I wasn’t quite sure what to make of it, to be honest, but she was certainly something unusual. Very imposing too, about a head taller than me. When I heard her later stuff, it sort of made sense, though the music was so austere. I remember the session well, because Ari, her son, was with her and spent the whole time just tearing the studio apart. He was wild, running around and causing havoc.
You worked with an unknown Marc Bolan too. Was there any indication he was a superstar-in-waiting?
He definitely had something; he was different. I worked with him with John’s Children. They were ahead of their time, really. They wanted a track for me to put instruments to, which was just the German army marching. It was pretty strange. But Marc knew what he wanted to do, even then. It was never dull.
What about arranging She’s A Rainbow for the Stones?
The session itself was good, apart from all the hanging around and waiting for various Stones to show up. I was like, “Okay, well, it’s Monday today, will they be in tomorrow?” Then, come Friday, I’d get a call saying they’d be in next week. And so it went on.
In early 1968 you played on Donovan’s Hurdy Gurdy Man. Various players, including Donovan himself and engineer Eddie Kramer, attest that Jimmy Page played guitar, while John Bonham is rumoured to be on drums.
That’s one of those false rumours that’s been going around for years. Jimmy wasn’t on it. There was me on bass, Alan Parker on guitar, Clem Cattini on drums and Donovan on acoustic guitar. Eddie Kramer should know better, because he engineered that session and took pictures too. I know poor old Clem was trying to prove to the back-royalties organisation that he played on it. Nobody would believe he was the drummer, but I booked him!
NEW 📀 Hurdy Gurdy Man – Donovan {Stereo} Summer 1968 – YouTube
One of the deciding factors was recording a ‘muzak’ session. As soon as it would start to get interesting, the producer would say: “Stop, that’s too much. This has got to be wallpaper music. It’s for people to hear while they’re going up and down in a lift”. I hated that session. In the end I’d just had enough; it was hard work. I was just feeling burnt out. And you probably know the story about my wife reading one of the music magazines and telling me that Page was looking for people to form a band with. She was sick of me moping about and wondering what I was going to do next. So in the end I gave him a call. It was scary joining Zeppelin, because being a session musician meant you were paid well. To then go into a band was no guarantee of making money. I had no idea if it would work or how long it would last.
In the very early days of Led Zeppelin, you were almost dismissed by the British music press as an irrelevance.
At the first Albert Hall show, it was generally thought that we were an American band. Nobody really wanted to know about us, press-wise, in England. They didn’t really get it. We were different from the other bands. We weren’t a white-boy blues band, or straight-ahead rock or Sabbath-type band, so we ended up going to America. We were bigger there than we were in England at the beginning. Then when we came back here, suddenly they were all over us.
Did you ever get to see anything other than the inside of planes and hotel rooms when you were touring with Zeppelin in the 70s?
I once read that The Beatles toured America and never left their hotel room, and that made quite an impression on me. I thought, I can’t do that. Robert had the hardest time, but I could sneak around without being recognised. I was able to walk about because I looked different on every tour we went on – short hair, long hair.
No one really expects you to be in a mall in the middle of Denver, so people are looking at you and saying to each other: “That guy looks a bit like John Paul Jones from Led Zeppelin. But it can’t be.” So you can get away with it. And when I was walking the streets, I didn’t have bodyguards or anything like that. I was very inconspicuous; I’m pretty good at melting into the crowd. I’d end up at people’s houses and I used to turn up at gigs in a VW bus full of hippies. It was a case of, “Follow the limousines, he’s with the band!”
Led Zeppelin in 1969: (from left) John Bonham, Robert Plant, Jimmy Page, John Paul Jones (Image credit: Michael Ochs Archives/Getty Images)
Is there any reason why none of the members of Led Zeppelin has ever written a book?
There have been plenty of offers. Lots of people want to write books with us. One of the things you have in the back of your mind is that people don’t really want to know about the music, for whatever reason. And I don’t want to be dishing dirt on the band. And I’m too busy to be honest, too busy playing it to write about it.
Post-Zeppelin, you worked with a highly eclectic bunch of people; everyone from REM and Brian Eno to Butthole Surfers, Diamanda Galas and The Datsuns.
I never like to make the same record twice. And I can never do the same thing for any long period of time. I know it sounds strange, but to me all these different people are kind of the same. It’s all music that I like. If I feel I can do something for someone, then I’ll do it. And you learn something from every experience. Has it made me a better musician? Oh yes.
Your string arrangements for REM on Automatic For The People – songs like Drive and Everybody Hurts – were pretty radical for them in 1992.
They flew me over to Atlanta, where I met some members of the Atlanta Symphony Orchestra. I didn’t conduct it, because I prefer to have a conductor there if I’m arranging. It was a great thing to do, I had a really good time on that one. REM just sent stuff over for me to do. It was as simple as that. Everyone knew what they wanted.
That same year you produced Independent Worm Saloon for the Butthole Surfers.
I had an American agent at the time, who said that Butthole Surfers were looking for a producer and my name had come up. So I left Georgia and flew to California, where I found a studio about half an hour outside of San Francisco. Not too far away so that everyone got cabin fever, but not too near so you’re always looking for people. So we all holed up and made this record, which I’m quite proud of, actually. Gibby’s amazing. He’s a very big talent and highly unusual.
Butthole Surfers – Who Was In My Room Last Night? – YouTube
Is there anyone you’re still gagging to work with?
That’s a very difficult one to answer. I would have thought it’d be interesting to work with Neil Young. There’s just something about what he does and the way he does it. Should he ever knock on my door, I’d probably say yes. He’s another person who doesn’t like to stand still.
When you took up Dave Grohl’s invitation to become part of Them Crooked Vultures, were you inundated with other offers too?
[Laughing] No! Though during the ’80s, I couldn’t get arrested. Nobody was interested. I think that was probably down to the baggage of Led Zeppelin. It was like Paul McCartney after The Beatles. When Dave called, I was still doing something with Jimmy Page. Then when that fell through I rang him up. Dave had to convince Josh I was serious, but he didn’t believe him: “Yeah, right. And I’ll call Obama.” I still don’t think he believed him until I walked into the studio for the first time. Then Josh suddenly went: “Oh shit, now what do we do?”
Did Them Crooked Vultures act as some sort of compensation for Zeppelin fans disappointed at the lack of activity following the O2 reunion?
Y’know, if you’re a Zep fan and really want to go see Zeppelin, you might as well go and see one of the better tribute bands. Even when we played the O2 we didn’t play the same as we did in the old days, because you just can’t. I like to think it’s because one is endlessly creative, but it’s more because you can’t remember things! It’s as simple as that.
Actually, Jason [Bonham] did. I remember in rehearsal getting to a point in one song where Page and I were stuck, wondering where we went from there. Jason said: “Well, in 1972 at the Forum you did it this way; in 1973 you did it this way and segued into this or that…” We played one number [For Your Life] where I said: “Y’know, I really can’t remember what I’m supposed to play on this.” Page went: “I’m finding this difficult too. Jason, why can’t we remember how to do this?” And Jason just said: “Because you’ve never played it on stage before!” We’d only played it once before, which was the day we recorded it – thirty-seven years ago.
John Paul Jones onstage with Them Crooked Vultures in 2010 (Image credit: John Shearer/WireImage)
Will there be a second Vultures album?
I think there will, but we just couldn’t fit it in before Josh and Dave went back to their day jobs. We do mean to, and it may be in a year or so. The will is definitely there, but they’ll have to finish what they have to do first. It was always thus. It was never going to be just a one-off, but at the same time it was never going to be a full-time thing. The Vultures sit somewhere in the middle. But yes, there’s certainly more to come.
Are there any fears that, with the Foo Fighters and QOTSA both back on the agenda, the Vultures might lose momentum?
We try not to think about this stuff. If it doesn’t happen this week, it’ll happen next week. It’s not a worry in that sense. We know what we want to do and we all seem to want the same thing. We never actually talk about the music. We don’t discuss anything, we just do it. It works out easier that way: don’t plan it, just get on with it. It really is a true democracy in that respect.
Aside from all that, what are your immediate plans?
I’m at the Royal Opera House in February, participating in an opera by composer Mark-Anthony Turnage called Anna Nicole [based on the life of the troubled late US glamour kitten Anna Nicole Smith]. I’ll be playing in the pit for some of the time, with the basses, and I’m also on stage playing with a jazz trio with [drummer/composer] Peter Erskine.
Knowing what you know now, is there one piece of advice you would have offered the John Paul Jones of the early 70s?
That’s a tough one. I can’t say: “Don’t say yes all the time,” because that’s actually the fun of it. Let me think… Probably: “Get it in writing.”
Originally published in Classic Rock magazine issue 153, December 2010
Freelance writer for Classic Rock since 2008, and sister title Prog since its inception in 2009. Regular contributor to Uncut magazine for over 20 years. Other clients include Word magazine, Record Collector, The Guardian, Sunday Times, The Telegraph and When Saturday Comes. Alongside Marc Riley, co-presenter of long-running A-Z Of David Bowie podcast. Also appears twice a week on Riley’s BBC6 radio show, rifling through old copies of the NME and Melody Maker in the Parallel Universe slot. Designed Aston Villa’s kit during a previous life as a sportswear designer. Geezer Butler told him he loved the all-black away strip.
After his first attempt was cut short by weather, Gene Simmons played the first full show of his 2025 solo tour Saturday evening in Beaver Dam, Kentucky.
The Kiss star’s Friday night show near Atlanta was cut short after six songs due to bad weather, but Simmons and his band got their full show in the next night, mixing Kiss classics with Van Halen and Led Zeppelin covers and other fun surprises.
You can see the complete set list and fan-shot video from the show below.
Simmons took some flak for offering a $12,495 “roadie for a day” fan experience, in which a fan gets to accompany him and his crew all day as they prepare for the show, on this tour.
“This is not for everybody and it ain’t cheap,” Simmons explained to Buffalo’s WIVB, placing some of the blame for the high cost on the need for insurance. “It’s also a different world than what I grew up in. Nowadays, if you get a papercut… everybody gets sued.”
Simmons’ tour is currently scheduled to conclude on May 15 at the Fallsview Casino in Niagara Falls. You can get complete show, ticket and paid roadie information at his official website.
This November Simmons will briefly reunite with his Kiss bandmates for a special unmasked performance at the weekend-long Kiss Army Storms Las Vegas event.
Watch the Gene Simmons Band Perform ‘Deuce’
Watch the Gene Simmons Band Perform ‘House of Pain’
Gene Simmons Band May 3, 2025 Beaver Dam Kentucky Set List
1. “Deuce” 2. “Shout It Out Loud” 3. “Are You Ready” 4. “War Machine” 5. “I Love It Loud” 6. “House of Pain” (Van Halen cover) 7. “Ace of Spades” (Motorhead cover) 8. Jam 9. “Parasite” 10. “Cold Gin” 11. “Bad Reputation” 12. “Charisma” 13. “Spit” / “Whole Lotta Love” (Led Zeppelin cover) 14. “And Your Bird Can Sing” (The Beatles cover) 15. “Calling Dr. Love” 16. “Rock and Roll All Nite”
It’s hard to imagine Metallica fronted by anyone other than James Hetfield, but there was a point when Papa Het considered stepping back from the microphone to focus on playing guitar.
In late 1982 and early 1983, Metallica were making a name for themselves on the LA scene as a heavier antidote to the emerging Sunset Strip hard rock scene. But Hetfield was unsure of his abilities as a vocalist, and the idea was floated of getting in a different singer to allow him to focus on playing guitar.
“I liked James, but no one knew his power at the time,” the band’s late original manager and record label boss Jon Zazula (aka Jonny Z) told Metal Hammer in 2017. “He was Metallica’s singer, but they had ideas of going further with a lead singer.”
They had a candidate in mind: John Bush, frontman with local heavy metal heroes Armored Saint. The latter were were already creating a buzz on the LA scene.
“We were already doing really well,” Bush told Metal Hammer in 2017. “We were playing the Troubadour [West Hollywood nightclub] and headlining. Saint were rolling; we were playing clubs and generating good attendance at shows.”
Bush himself knew who Metallica were. He’d seen their second-ever gig, opening for Saxon at Sunset Strip club the Whisky A Go Go in March 1982. The line-up at the time included guitarist Dave Mustaine and bassist Ron McGovney alongside Lars Ulrich and James Hetfield. Bush admitted being underwhelmed by the competition the first time he saw them.
“It was in their early stages,” he told Hammer in 2017. “James had these leopard pants and he was just holding the mic and singing – no guitar. It’s safe to say that he was pretty green and pretty insecure about his position. Later I saw Metallica open for Y&T. They were on then. James was playing guitar at that point and they were way better.”
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The feeling was mutual. “Lars was in love with the way John sang for Armored Saint, and I guess Armored Saint was the one band from the LA area that stood out as not a poser hair band, so he took to John and wanted him to do the job,” recalled Jonny Z.
“It was before they started recording Kill ’Em All,” Bush told Metal Hammer. “Jonny Zazula was the one who called and asked if I was interested.”
Today, it might look like a no-brainer, but circumstances were different back then. While Metallica were on the rise, they were far from the trailblazers they became. At the time, Armored Saint were equally popular, if not more so.
“When Metallica came to me, they were still a local band who were gaining some traction,” said Bush. “And that’s what Armored Saint was. So it made no sense for me to say, ‘I’m out of here, I’m going to join this band,’ when I was happy in my band and we were doing well.
“I was flattered, of course. But I explained my reason for wanting to stay with Armored Saint and I said, ‘Thank you very much. It’s a huge compliment but I’m going to stay with my band.’”
It was down to Zazula to break the news to the rest of the band. Other names were mooted, including Jess Cox of UK NWOBHM band Tygers Of Pan Tang and even Lars Ulrich himself. “There was a point where James was joking about, and said, ‘Lars is a great frontman! Get him up there!’” said Zazula.
In the end, Hetfield opted to remain as the band’s frontman, though it wouldn’t be the only time Metallica tapped up a member of Armored Saint to join them – bassist Joey Vera was approached to replace Cliff Burton’s after the latter’s death in September 1986 (the job would eventually go to Jason Newsted).
Armored Saint with Metallica in the mid-80s: John Bush, first row second left (Image credit: Press)
Despite releasing a string of acclaimed albums between 1983 and 1991, Armored Saint never truly climbed beyond the level of beloved cult band. They disbanded in 1992, after John Bush left to join Anthrax, another group who had been given their big break by Jonny Z.
“I was the one to call John for Anthrax,” the latter told Hammer. “Really, that was the great call. I called him and said, ‘Lightning doesn’t strike twice.’ And that became a reality.
Bush himself left Anthrax in 2005, having re-joined the reunited Armored Saint six years earlier. He finally got a chance to sing with Metallica at one of the latter’s 30th anniversary gigs in San Francisco in December 2011, performing The Four Horsemen and Seek And Destroy.
Asked in 2017 if he regretted turning down the chance to join Metallica all those years ago, he replied: “No, I never do. I don’t really believe that it was ever my destiny to be in Metallica. It’s as simple as that. I don’t believe that it was anybody’s destiny to be the voice of Metallica other than James. Talk about a guy who’s had incredible growth as a singer. He’s James Hetfield – enough said.”
David Lee Roth made a triumphant comeback from a five-year stage absence Saturday night at the M3 festival, delivering a strong set of Van Halen classics with the help of an killer eight-piece band.
You can see video and the full set list from the show below.
“We’ve reached the end of my first retirement,” the singer joked at one point. “How many retirements did Rocky have, nine?”
Roth made great use of a new four-piece group of backing vocalists, a brilliant addition to his live show and a textbook example of turning a recent weakness into a strength. And yes of course they did “I’m the One” complete with the big a capella breakdown.
It was Roth’s first official show since he opened for Kiss on March 10, 2020 in Lubbock Texas just before the COVID-19 pandemic shut down the tour. When Kiss returned to the road a year and a half later they did so without the former Van Halen singer.
Roth announced an early 2022 Las Vegas residency in October 2021, but wound up canceling all of those shows, citing unspecified health concerns.
“I am throwing in the shoes. I’m retiring,” the singer revealed to the Las Vegas Review Journal at the time. Roth further added that he was “encouraged and compelled to really come to grips with how short time is, and my time is probably even shorter,” adding that “my doctors, my handlers, compelled me to really address that every time I go onstage, I endanger that future.”
Roth has reportedly played a handful of private shows since that time, in addition to posting a variety of previously unreleased songs, countless dance videos and occasionally trading barbs with his buddy Sammy Hagar on YouTube.
Although there’s only one other confirmed date on Roth’s 2025 schedule so far – Sept. 12 at the Mountain Winery in Saratoga, California – the singer seemed to hint at more at the end of the set. After repeatedly congratulating his band for playing “a perfect fucking show,” he told the crowd. “See you on the road… I’ll see you on the road!”
Watch David Lee Roth Perform at the M3 Festvial
David Lee Roth April 3, 2025 M3 Festival Set List
1. “Panama” 2. “Drop Dead Legs” 3. “You Really Got Me” 4. “Unchained” 5. “Dance the Night Away” 6. “Runnin’ with the Devil” 7. “Mean Street” 8. “Atomic Punk” 9. “And the Cradle Will Rock…” 10. “Jamie’s Cryin'” 11. “I’m the One” 12. “Everybody Wants Some!!” 13. “Romeo Delight” 14. “Hot for Teacher” 15. “Ain’t Talkin’ ’bout Love” 16. “Jump”
Feature Photo: Selbymay, CC BY-SA 4.0 , via Wikimedia Commons
Royal Blood launched out of Worthing, England, in 2011 with a sound that defied their stripped-down lineup. The duo — consisting of Mike Kerr on vocals and bass guitar and Ben Thatcher on drums — built their reputation not on a traditional rock ensemble, but on innovation, aggression, and an unmistakably thick sound crafted almost entirely from bass guitar and effects. Kerr’s unique playing technique, which simulates both guitar and bass tones simultaneously, helped carve out an identity that set them apart in the modern rock landscape. Their chemistry, both musically and onstage, quickly led to a buzz in the UK scene before major industry players took notice.
Before Royal Blood officially formed, Kerr and Thatcher had played together in earlier projects, but it wasn’t until the band was stripped down to just the two of them that things began to click. They signed with Warner Chappell Music in 2013, and momentum built rapidly after Arctic Monkeys drummer Matt Helders wore a Royal Blood T-shirt at Glastonbury — a moment that helped catapult their name into mainstream conversation. Their self-titled debut album Royal Blood was released in 2014 and immediately caught fire. Driven by tracks like “Out of the Black,” “Come On Over,” and “Figure It Out,” the record became the fastest-selling British rock debut in three years and landed at number one on the UK Albums Chart.
Their sophomore release, How Did We Get So Dark?, arrived in 2017 and debuted at number one in the UK, solidifying the band’s status as one of Britain’s most vital new rock acts. With songs like “Lights Out” and “I Only Lie When I Love You,” Royal Blood continued to evolve their sound while maintaining the pounding energy and tight arrangements that defined their first album. Their live performances grew more ambitious as they began playing larger venues and festival stages across Europe and North America. Their dynamic presence on stage — Kerr’s snarling vocals and Thatcher’s relentless drumming — became just as synonymous with their brand as their recorded output.
In 2021, the band released their third studio album Typhoons, which marked a notable stylistic pivot. Infused with dance-rock, electronic textures, and disco grooves, the record introduced a new rhythmic sensibility while preserving the heaviness that fans expected. Singles such as “Trouble’s Coming,” “Boilermaker,” and the title track showed that Royal Blood were not afraid to experiment. Most of the album was self-produced, with contributions from Queens of the Stone Age’s Josh Homme on “Boilermaker,” adding to the album’s layered intensity. The shift earned critical praise and commercial success, further proving the band’s ability to stay fresh without compromising identity.
Their fourth studio album, Back to the Water Below, was released in 2023. This time, the band handled production entirely on their own. The album’s lead single, “Mountains at Midnight,” continued their streak of delivering high-octane rock anthems, but also emphasized a return to more stripped-back, guitar-driven territory. Their supporting role on Muse’s Will of the People tour, along with their own headlining shows, reaffirmed their position as a dominant force in contemporary rock — particularly impressive given their two-man configuration.
Royal Blood’s impact goes beyond their recordings. In 2015, they received the Brit Award for Best British Group, presented to them by none other than Jimmy Page — a symbolic moment recognizing their place in the lineage of great British rock duos and bands. Over the course of their career, they’ve been nominated for multiple NME and Q Awards and have repeatedly topped rock radio charts across Europe and the U.S. Their contribution to The Metallica Blacklist project in 2021, covering “Sad But True,” demonstrated their respect within the global rock community, and their ability to reinterpret legacy tracks with their own sonic signature.
Outside of music, Royal Blood has largely kept a low profile, allowing their albums and performances to define them. But their influence has been felt among emerging musicians looking to redefine what a two-piece band can do. Their minimalist setup never limited their ambition — in fact, it forced them to push harder, dig deeper, and innovate in ways most traditional rock outfits never had to. They continue to be admired for their ability to evolve album after album without diluting their original intensity, a rare feat in today’s genre-hopping music landscape.
Complete List Of Royal Blood Songs From A to Z
All We Have Is Now – Typhoons – 2021
Better Strangers – Royal Blood – 2014
Better Strangers (Live from Bonnaroo 2015) – Royal Blood (10th Anniversary Edition) – 2014
Blood Hands – Royal Blood – 2014
Boilermaker – Typhoons – 2021
Careless – Royal Blood – 2014
Cheap Affection – How Did We Get So Dark? (Super Deluxe Vinyl) – 2017
Come On Over – Royal Blood – 2014 / Out of the Black EP – 2014
Don’t Tell – How Did We Get So Dark? – 2017
Either You Want It – Typhoons – 2021
Everything’s Fine – Back to the Water Below (Deluxe Edition) – 2023
Figure It Out – Royal Blood – 2014
Figure It Out (Live from T In the Park 2015) – Royal Blood (10th Anniversary Edition) – 2014
Half the Chance – How Did We Get So Dark? (Super Deluxe Vinyl) – 2017
High Waters – Back to the Water Below – 2023
Hold On – Typhoons – 2021
Hole – Royal Blood (Japanese Edition) – 2014 / Out of the Black EP – 2014
Hole – Royal Blood (10th Anniversary Edition) – 2014
Hole in Your Heart – How Did We Get So Dark? – 2017
Honeybrains – Back to the Water Below (Japanese Edition) – 2023
Hook, Line & Sinker – How Did We Get So Dark? – 2017
How Did We Get So Dark? – How Did We Get So Dark? – 2017
How Many More Times – Back to the Water Below – 2023
I Only Lie When I Love You – How Did We Get So Dark? – 2017
King – Typhoons (Deluxe Digital Edition) – 2021
Lights Out – How Did We Get So Dark? – 2017
Limbo – Typhoons – 2021
Little Monster – Royal Blood – 2014 / Out of the Black EP – 2014
Little Monster (Live from Reading Festival 2015) – Royal Blood (10th Anniversary Edition) – 2014
Look Like You Know – How Did We Get So Dark? – 2017
Loose Change – Royal Blood – 2014
Loose Change (Live from Reading Festival 2015) – Royal Blood (10th Anniversary Edition) – 2014
Love And Leave It Alone – Royal Blood (Japanese Edition) – 2014
Love And Leave It Alone – Royal Blood (10th Anniversary Edition) – 2014
Mad Visions – Typhoons – 2021
Million and One – Typhoons – 2021
Mountains at Midnight – Back to the Water Below – 2023
Oblivion – Typhoons – 2021
One Trick Pony – Royal Blood (10th Anniversary Edition) – 2014
Out of the Black – Royal Blood – 2014 / Out of the Black EP – 2014
Out Of The Black (Live From Reading 2015) – Royal Blood (10th Anniversary Edition) – 2014
Pull Me Through – Back to the Water Below – 2023
She’s Creeping – How Did We Get So Dark? – 2017
Shiner in the Dark – Back to the Water Below – 2023
Sleep – How Did We Get So Dark? – 2017
Sleeptalker – Royal Blood (10th Anniversary Edition) – 2014
Space – Typhoons (Japanese/Deluxe Digital Edition) – 2021
Supermodel Avalanches – Back to the Water Below (Deluxe Edition) – 2023
Tell Me When It’s Too Late – Back to the Water Below – 2023
Ten Tonne Skeleton – Royal Blood – 2014
Ten Tonne Skeleton (Tom Dalgety Mix) – Royal Blood (10th Anniversary Edition) – 2014
The Firing Line – Back to the Water Below – 2023
There Goes My Cool – Back to the Water Below – 2023
Triggers – Back to the Water Below – 2023
Trouble’s Coming – Typhoons – 2021
Typhoons – Typhoons – 2021
Waves – Back to the Water Below – 2023
Where Are You Now? – How Did We Get So Dark? – 2017
Who Needs Friends – Typhoons – 2021
You Can Be So Cruel – Royal Blood – 2014
You Want Me – Royal Blood (Japanese Edition) – 2014
You Want Me – Royal Blood (10th Anniversary Edition) – 2014
Album Song Count (Running Total)
Royal Blood (2014): 24 songs (counting all editions)
How Did We Get So Dark? (2017): 12 songs (including bonus tracks)
Back to the Water Below (2023): 13 songs (including bonus tracks)
Out of the Black EP (2014):
Check out our fantastic and entertaining Royal Blood articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com
Brian Kachejian was born in Manhattan and raised in the Bronx. He is the founder and Editor in Chief of ClassicRockHistory.com. He has spent thirty years in the music business often working with many of the people who have appeared on this site. Brian Kachejian also holds B.A. and M.A. degrees from Stony Brook University along with New York State Public School Education Certifications in Music and Social Studies. Brian Kachejian is also an active member of the New York Press.
“This is my first band since Deep Purple. It’s out of this world – I’m back in a rock band, a real rock band”: How Deep Purple, Led Zeppelin and a modern blues icon came together to form Black Country Communion
(Image credit: Rob Monk/Future)
Featuring ex-Deep Purple bassist/co-vocalist Glenn Hughes, blues guitar star Joe Bonamassa, keyboard king Derek Sherinian and drummer Jason Bonham, Black Country Communion have established themselves as one of the greatest supergroups of the last two decades. In 2011, as they geared up to release their second album, the four members sat down with Classic Rock to talk about how it was on the way to becoming bigger than any of them could have imagined.
What began as a brief side-project for Glenn Hughes, Joe Bonamassa, Jason Bonham and Derek Sherinian has grown into something closely resembling the real deal: a contemporary classic rock group comprised of four musical over-achievers with their collective artistic compass pointing to some time in the early 1970s.
There is also another component to the group: the man whose vision it was the persuaded them to work together, producer (“don’t call me ‘svengali”) and co-songwriter Kevin Shirley. Like the band, whose combined CV includes time with Led Zeppelin, Deep Purple, Black Sabbath and Dream Theater, Shirley’s resumé also includes some of the biggest names in rock: Led Zeppelin, Iron Maiden, the Black Crowes, Journey… The full list is huge and impressive.
According to Shirley, “The master plan was begun before we even started. To the point where we scripted the ‘no touring until we had enough for a two-album set’. We had a little hiccup at the beginning of the second record, which was the result of many managers in the room, but other than that it’s been pretty much like clockwork.” Well, almost. With so many super-egos involved, ‘clockwork’ was never going to be an accurate description of how things work in Black Country Communion. But, as we learn, it’s been amazingly close – so far, anyway.
This feature originally appeared in Classic Rock issue 160 (June 2011) (Image credit: Future)
How did this whole journey begin for you?
Glenn Hughes: John Bonham was my good friend, and I had Jason on my knee when he was a kid, though he doesn’t remember that. I met Joe at a NAMM show five years ago. Joe and I started to hang out and write a couple of vignettes, nothing heavy, just kind of bluesy Americana. Then he invited me to sing a couple of songs with him at the House Of Blues. He loved Medusa from Trapeze, and he liked Mistreated from Purple. And Joe’s audience, you know, they’re a blues audience. But when I went on there and did my shtick they went fucking mad! Kevin Shirley ran backstage, sweating going: “I can see it! I can fucking see it now! We’ve gotta get Jason and Derek…” Me and Joe went, okay. Then the next day, a conference call and the band is born.
Derek Sherinian: Any time Kevin gives me a call I always make myself available. I’ve known Glenn for a long time, and of course I knew who Jason was. I’d never heard of Joe before. I think I’d heard his name, but I didn’t know anything about him. So I just went down there blindly to see if there was some kind of vibe, and we ended up doing a whole album.
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Jason Bonham: I was doing the weekly grocery shop in Florida, where I live, and Kevin called me. I knew Glenn, I know Joe, I didn’t really know who Derek was. I didn’t do any homework, I didn’t listen to any of the songs, and kind of just went in there with that: “Okay, we’ll see what happens.” I think I was six hours late the first day. And then they had bets the second day what time I’d get there. I didn’t take it very seriously at all. I kind of had a bee in my bonnet about how it was being put together. I was still kind of upset that my dream hadn’t come true.
Black Country Communion in 2011: (l-r) Joe Bonamassa, Glenn Hughes, Derek Sherinian, Jason Bonham (Image credit: Rob Monk/Future)
With Led Zeppelin, you mean?
Bonham: Yeah. And I was still kind of in a bitter place. So I was a little bit off. Not so much with everybody – Kevin. I didn’t kind of get the deal. And I made quite a bit of a problem. I’ve since very much apologised to the guys. You know, the old, ‘You’re exploiting the talents of Led Zeppelin. How much kick-back you getting?’ kind of vibe. And then when I heard the album I was like, hey, well, this is pretty good. I’m so pleased with my drumming on it. But I couldn’t really imagine it being a success, I don’t know why. I just didn’t really get it, until people started to go: “Oh my god. This album’s fantastic!” And it just grew on me. You know, on the new album the song Cold is one of my… I’m getting goose bumps talking about it. That is to me just beautiful, beautiful writing.
Joe, you and Kevin had a longstanding relationship before BCC. How does it work and why?
Bonamassa: First of all, we wouldn’t be having this conversation without Kevin. He really is the fifth member. He basically took those ramshackle tracks [on the first album] and made something out of it. I mean, you should have seen the look on my face when I heard the first record! I didn’t even remember doing it, we’d just cut it so quickly. He was the guy who kind of gave the mandate at the very beginning. Like, “Let’s get in our time machine, go back to 1970-71 but make it new and make it original and make it in 2010. Because I think there is a gap where bands are not doing that anymore.” You can’t buy any new music that sounds like the old school. There’s old school bands doing new music but there’s not like a brand new band. So I thought it was really clever of him to come up with that, and I was like, “Yeah, that should be fun”. And it’s been a blast.
With this second album, the band have suddenly got something to live up to. Did that make it more difficult for you?
Hughes: Kevin said to us: “I want you all to go write music for the next album.” I don’t write for a project, I just write every day because I like to write. It makes me feel good. So I wrote a lot of songs. But Joe doesn’t write on the road, so I said: “I need you for two weeks,” right after the two live shows. But he went up to Hogmanay with his girlfriend and I had him for three days. We went in with no pre-production, we went in cold again. And Jason and Derek hadn’t really heard what I’d been writing. They’d heard little bits and pieces. We just huddled together and I shared my music with the guys, and built the songs from there.
Black Country Communion- Man In The Middle – YouTube
Bonamassa: We’d done Black Country, the first one, then four months later I’m in the studio again doing what would become [this year’s solo album] Dust Bowl. Then as soon as I get off the road after nine months of hard touring, Glenn’s ringing like: ‘So, Joseph, on Monday you’re going to come to my house and we’re going to start writing…’ I’m like, whoa! Fellas! Man, I’m not a machine! Give me a second to get my head-space! [laughs] But it did work out well. I warned Glenn: “I won’t be able to bring in half the record this time, but I will be able to commit to like doing two [new songs],” which took a little bit of the pressure, and he and I collaborated on some other songs. But it was basically ideas that he had gestated.
Bonham: It was a much better experience. Like we were a big fucking family, honestly. I felt in a completely different place. I didn’t want to say to Kevin: “You were right and I was wrong,” but I did. Me and Kevin had a really good chat and we both left hugging, and since then we’re getting on in leaps and bounds and speak to each other quite often. The strangest thing, I haven’t stopped listening to it since we finished it. I listen to it on a daily basis. Which is really bizarre for me.
Let’s talk about some of the songs on the new album, starting with the opener, The Outsider.
Hughes: I wrote that riff at the start of the song. Joe freaked when he heard that. But it’s so simple – it’s five notes, it’s a scale, you know? I wrote a song called Good Man. It broke down into a half-time on the chorus, with a really acoustic, almost Crosby, Stills & Nash vibe. And it sounded fantastic. But when we got into the chorus after playing that intense lick, it just went somewhere else.
The Battle For Hadrian’s Wall is something of an epic.
Bonamassa: I brought in Ordinary Son and I wrote The Battle For Hadrian’s Wall. Live, I may have to lower the key just slightly on …Hadrian’s Wall. I kind of sang myself into a corner on that one.
Bonham: In my head I was still thinking of a Zeppelin song at the end when the drums come back in. I kept thinking: “What would dad do in an environment like this?” I remember Kevin saying something like: “Don’t worry what your dad would do, just do what Jason would do.” And I was like: “Well, yeah, you’re right.” But in my head I use him as a building block.
Black Country Communion onstage in 2012 (Image credit: Future)
How about Save Me?
Bonham: That actually started back with me, Jimmy Page and John Paul Jones, one of the days we were working in 2008, when we got together just as a three-piece to see what we could come up with. I remember one day, the greatest day of anyone’s kind of life, Jimmy Page turns to you and says: “Hey, you got any ideas?” Like, what? “Er, yeah. Hold on a minute…” Rush to the computer and suddenly go through all of my favourite Zeppy kind of riffs that I had flying around my head. And that was it. I had the basis of the song, of the main riff, but I never got to finish it. Glenn took my idea and finished it. I was so stoked when I first heard it. And Derek came up with the chorus chords, and Joe with the bridge.
The tag, like the Indian part, was through a friend called Chris Blackwell who played with Robert [drumming in Plant’s 90s backing band]. I contacted him a long, long time ago: “You haven’t got any more ideas like Calling To You [from Plant’s Fate Of Nations], have you?” And he sent me an idea of a song. And that was just the one part of the song I really liked. So I said, you know what, we need that kind of part there. So I had to give him a writing credit on it. It’s like a collection of bits and piece that kind of all stem back to the boys [Zeppelin], I suppose.
Hughes: I said to Jason when he played it to me: “Can I have that?” And he said: “Yeah. Write something that’s gonna make me cry.” He’s really emotional, that boy. So I wrote something… But these songs sort of wrote themselves. Kevin is in the studio, directing, conducting us with the headphones on. We know what key we’re in and we’ve run through it once in the control room with acoustic guitars. Then we go out there and the tape is rolling, and the magic, I swear, just happens.
What can we expect from the shows this summer?
Hughes: This is my first band since Purple. It’s been fucking 34 years, for Christ’s sake! Come on! It’s out of this world. I’m back in a rock band again. And I’m in it for the right reasons now; I’m not in it for the drugs and the booze and the blow and the birds. I’m really enjoying being in a rock band, a real rock band, a great band. I said to Joe early last year: “We have got to do shows before the end of this year, and we’ve got to do it in England.” It wasn’t hard to convince him.
Bonamassa: Well we certainly had that not-knowing-what’s-going-to-happen-next thing at those gigs in Wolverhampton and London [laughs]. I felt we didn’t have enough material. There’s no reason for me in Black Country Communion to be singing [solo song] …John Henry, you know? Now that we have a second record we’ll have a really comfortable hour-and-a-half of all of the band stuff, and we can still throw in a [Led Zep’s] No Quarter cos that was one of my favourite songs to play. Then you have a real show, and it won’t be like a 20-minute guitar solo.
Black Country Communion – The Battle For Hadrian’s Wall – Live Over Europe – YouTube
Glenn, Joe told us he was taken aback at the start of the first show in Wolverhampton when you just ran on from the wings all guns blazing. That he felt he had to try and keep up.
Hughes: [Smiles] That’s a work in progress. Jason won’t look at you onstage. And I like to engage everybody but Joe won’t look at me either. He’s never had anybody engage him [onstage]. His manager’s going, ‘Push him! Push him!’ Kevin’s going, ‘Give him a fucking…’ you know? But we’re a work in progress, we’re like two gigs! So God knows what happens after three months. I see us being another Purple, Zeppelin, where live the songs will morph into longer things, because we have the musicianship in the band. Jason Bonham, pound for pound, right now has gotta be the best musical rock drummer we have – period. He is fucking insane!
How do you see BCC proceeding from here?
Bonamassa: Our next real challenge is to go out there and make a real live show out of it. Everybody was kind of running on adrenalin those first two gigs, but now let’s make sure we can keep that spirit three or four weeks into the tour when the novelty of it wears off and we’re grinding it out on the road.
Bonham: I’d love to give it the proper attention that it needs. To make sure the albums get toured and the band gets seen all over the world. I just hope the band gets a chance to progress and be what it could be. At the same time, you can’t really ask Joe to give up such a successful solo career. Glenn is a hundred per cent into it. I’m a hundred percent into it. Obviously we’d all like to do more, but I’m totally behind whatever the decision is of the band. We will play to our best ability at every show we play.
Hughes: I said to Joe at dinner last week: “Joe, I need you to invest your time into this band as well as your solo career.” And he told me very frankly: “I absolutely love this band. I love being the guitar player. I don’t have to be the leader, and I love being your partner.” My dream is to establish ourselves even more so next year. I shouldn’t really talk about next year, cos I’m in the program and we’re supposed to deal with today and stuff. But I know that I’ve got tour dates coming up with BCC. I’ve got my own full European tour in the fall. But Black Country to me, truly, is my first love. When people think of Glenn Hughes I want them to think of Black Country Communion. Glenn has actually found a band again and he’s not fucked up and he’s focused and he’s hungry to be part of it.
Now is our time. What the beautiful thing about those two shows and the second one you saw was – if we were that good on those first two shows, my fucking word, how is it gonna go after like three weeks?
Originally published in Classic Rock issue 160, June 2011
Mick Wall is the UK’s best-known rock writer, author and TV and radio programme maker, and is the author of numerous critically-acclaimed books, including definitive, bestselling titles on Led Zeppelin (When Giants Walked the Earth), Metallica (Enter Night), AC/DC (Hell Ain’t a Bad Place To Be), Black Sabbath (Symptom of the Universe), Lou Reed, The Doors (Love Becomes a Funeral Pyre), Guns N’ Roses and Lemmy. He lives in England.
From Tatooine to Mandalore, these are the Star Wars Day deals worth travelling the Outer Rim for – save big on Star Wars Lego, clothing and collectibles this May the 4th
(Image credit: Lego, Star Wars)
If there’s one day that every sci-fi fan has circled in their calendars, it’s not Boonta Eve or the Wookiee-favourite Life Day – no, it’s May the 4th, officially known as Star Wars Day! Today, fans across the galaxy (and right here on Earth) will don their Jedi robes and stormtrooper helmets, celebrating all things Star Wars with enthusiasm that can be felt across the stars. Sites such as Amazon and Logo are ready to join the intergalactic party, rolling out epic deals on everything from Star Wars-themed Lego sets to an array of out-of-this-world memorabilia.
Now, with an entire galaxy packed with Star Wars treasures, you might feel like you need to make a few hyper jumps just to track them all down. But fear not, my fellow Jedi! I’m here to guide you on this thrilling quest through the cosmos of collectables.
Below, I’ve curated a list of my top picks for Star Wars merch that’s sure to get your heart racing faster than a Podracer at full speed. With these stellar selections, finding a fantastic deal this Star Wars Day will be easier than winning a game of holochess against Chewie!
Okay, let’s start with Lego. With so many cut-price sets, there’s no time like the present to start building your collection. Lego is celebrating Star Wars Day with some special discounts and even some brand-new sets to build. Lego Insiders members can get access right now, and it’s easy and totally free to get set up. You can check out all the deals over at the Lego site.
Moving over to Amazon, I’ve picked out the incredible Black Series Sabine Wren Premium Electronic Helmet. Sabine is a fan favourite who made her debut in the animated Star Wars Rebels, but has recently made the jump to live action, showing up in the Ahsoka mini-series. A trademark of the character is her very cool Mandalorian helmet, and now you can snag one for yourself at a heavily discounted price. Over at Amazon, you can pick one up for only $73.99, down from $99.99.
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Of course, as you’d expect, there is much more on offer, so I highly recommend heading over to Amazon and Lego to see what else is available. Not sure where to start? You might also enjoy our guide to the best Lego sets for adults, which includes everything from band logos and guitars to Beatles sets and our favourite Star Wars models.
Daryl’s a Senior Deals Writer on Louder’s sister sites MusicRadar, Guitar World and Guitar Player. He has a passion for anything that makes a sound, in particular guitars, pianos and recording equipment. In a previous life, he worked in music retail, giving advice on all aspects of music creation, selling everything from digital pianos to electric guitars, and entire PA systems to ukuleles. He’s also a fully qualified sound engineer with experience working in various venues in Scotland.
