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Gojira, Spiritbox, Babymetal and a host of other modern metal greats have been confirmed for the soundtrack to WWE 2K25.

2K, the publisher of the annual pro-wrestling videogame franchise, unveiled the songs set to appear on the 2025 iteration in an Instagram post on Thursday (February 20). They include Only Pain by Gojira, Suffocate by Knocked Loose featuring Poppy, Hurt You by Spiritbox, Curse by Architects, Ratatata by Babymetal featuring Electric Callboy, and It’s Supposed To Hurt by House Of Protection.

Tracks by Eminem, Jelly Roll, Amyl & The Sniffers and others will also show up in the game, which is set to come out on March 14.

2K write on social media: “The #WWE2K25 soundtrack slaps harder than a finishing move!”

Rock and metal used to feature prominently in WWE’s annual videogame series, which was known as SmackDown vs Raw until 2011. The likes of Trivium, Three Days Grace and Disturbed featured on early entries, before the series took a more pop- and hip-hop-oriented focus. Last year, the game’s soundtrack was compiled by pop superstar Post Malone.

Gojira, Spiritbox and Knocked Loose x Poppy were all recently nominated for the Grammy Award For Best Metal Performance, along with Judas Priest and Metallica. Gojira ultimately took home the prize, winning for the first time with a rendition of revolutionary song Ah! Ça Ira that they performed with opera singer Marina Viotti at the 2024 Olympic Games opening ceremony. The Frenchmen will headline Bloodstock Open Air in Derbyshire in August.

Spiritbox will release their long-anticipated second album, Tsunami Sea, on March 7. The band are the cover stars on the new issue of Metal Hammer, which you can order online now and have delivered directly to your door. Inside, the band talk all about their new record, as well as their journey so far and collaborating with such stars as Megan Thee Stallion.

Architects release their new album – The Sky, The Earth & All Between – on February 28. The singles Seeing Red, Curse, Whiplash and Blackhole are now streaming.

2025 is set to be a massive year for metal. Yes, again. With confirmed releases from the likes of Architects, Spiritbox, Killswitch Engage and Machine Head, the year already has some impressive heavy hitters, but add to that rumoured new releases from the likes of Ghost, Babymetal and Sleep Token and we’re looking at a seriously big swing for the metal spectrum. 

But which albums should you be most excited about? We’ve dug through pages and pages of rumours and studio updates from across the internet – as well as just doing it old fashioned and calling artists direct – to find out which albums are coming our way in 2025, and the 50 metal albums you definitely need to hear. 

1. A.A. Williams – Title TBC (Expected: late 2025)

No release date has been confirmed for A.A. Williams’ third album, but work is underway on it. “I’ll be hiding myself away over the winter months to explore new ways of working,” she told Hammer. “I’m looking forward to challenging myself, to take myself to places I’ve not yet been both musically and lyrically. I can’t wait to see what emerges.”

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2. Anthrax – Title TBC (Expected: Early 2025)

Anthrax’s 12th has been much discussed, but often delayed due to constant tours. The band finally hit the studio in 2024 with producer Jay Ruston though, with drummer Charlie Benante telling Hammer one song “revolves around the journey we’ve been on in the band” and has the “same epic feel” as In The End from 2011’s Worship Music.

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3. Arch Enemy – Blood Dynasty (Expected: March 28)

Melodeath has been having a resurgence recently, so Arch Enemy’s 12th album is perfectly timed. Early singles Dream Stealer and Liars And Thieves suggest the Swedes are making fine adjustments to their sound rather than overhauling it. Speaking to Hammer, guitarist Michael Amott explained, “Something we did do was throw out the rule book. Let’s be a little more free in the arrangements. As we’ve become better musicians and songwriters, we’ve missed a bit of that chaotic thing that was part of our early style. We wanted to do that a little bit on the album.”

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4. Architects – The Sky, The Earth & All Between (Expected: February 28 2025)

Singles Seeing Red, Curse and Whiplash suggest Architects are going back to basics after the more electronic underpinnings of 2022’s The Classic Symptoms Of A Broken Spirit. But with former Bring Me The Horizon keyboardist Jordan Fish lending some production help there’s likely still surprises in store. Speaking about their November single, drummer Dan Searle hinted: “Whiplash marks the beginning of a new era for Architects.”

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5. Avatar – Title TBC (Expected: Late 2025)

Avatar are eyeing up the end of the year for the follow-up to 2023’s Dance Devil Dance. “Every album is based on wherever we were at that given time,” frontman Johannes Eckerström told Summa Inferno. “We never really worry about what we have already done. We go for the next great thing.”

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Babymetal hinted at a new album to come in 2025 when announcing UK and European tour dates. “In 2025, Babymetal will enter a new era,” they wrote. “The Metalverse will expand and we will travel to a world we have never experienced, with new songs.” When’s it coming? Only the Fox God knows.

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7. Backxwash – Only Dust Remains (Expected: March 28)

After concluding a semi-autobiographical, emotionally charged trilogy, trap metal star Backxwash is plotting a new album for March 2025. On Halloween, she posted an update on Instagram: “The record will mark a new direction, and we’re so excited to share more info with you soon!”

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8. Black Label Society – Title TBC (Expected: Late 2025)

Zakk Wylde has plenty going on in 2025. Touring with Pantera at the start of the year, he’s then set to hit the road with Sabbath covers band Zakk Sabbath before popping up at the massive farewell show for Ozzy Osbourne/Black Sabbath in July. But he hasn’t forgotten about his regular gig with BLS. “We’ve been recording a batch of stuff while we’re home,” he told YouTuber Scott Lipps, but added the album wouldn’t materialise until “late 2025, maybe early 2026”.

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9. Bloodywood – Nu Delhi (Expected: March 21)

Returning with new single Nu Delhi in October, Bloodywood’s mash-up of nu metal and bhangra remains potent as ever. Of album number two, the band’s founder, guitarist and main composer Karan Katiyar told Hammer: “It’s a risky new sound we’re doing, going heavier and darker but also more fun, if you can believe that.” Considering the band also released a Babymetal collab in December, it’s safe to say this one will make massive ripples for the Indian band.

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10. Bury Tomorrow – Will You Haunt Me With That Same Patience (Expected: May 16)

Unlike their metalcore buddies Architects, Bury Tomorrow went heavier with their last album, 2023’s The Seventh Sun – and recent single Villain Arc suggests they’ll go heavier still. “This track was written to highlight the brutal elements of the band,” says vocalist Dani Winter-Bates.

Former Genesis, Frank Zappa and Weather Report drummer Chester Thompson has teamed up with Neal Morse (Transatlantic, Flying Colors) to form a brand new outfit, Cosmic Cathedral, who will release their debut album, Deep Water, through InsideOut Music on April 25.

“I am super excited for people to hear this album,” exclaims Thompson. “There was great communication between all the players. One of my favorite projects I’ve ever been a part of!”

Joining the pair are guitarist and vocalist Phil Keaggy (Glass Harp) and bassist Byron House, who featured on Morse’s 2003 solo album Testimony. The band have shared their first new music, Introduction and Launch Out, Pt. One, the opening section to the 38-minute-long Deep Water Suite. Morse describes the band’s sound as “prog meets yacht rock meets The Beatles” with an definite jazz fusion influence.

“These guys are real groovers: even if they’re playing proggy stuff, it has more of a Steely Dan feel to it, but when Phil and I start singing it sounds like The Beatles! In Deep Water, the New Revelation section is based on a jam that turned into something that could have been on a Sting album! So there’s a lot of variety here.”

“The album is a musical feast- full of creative imagination and heartfelt lyrics,” adds Keaggy. “In my opinion, this recording is one of the highlights of my musical career!”

Deep Water will be available as a limited CD Digipak, gatefold 2LP and as a digital album. Yiu can see the new album artwork and tracklisting below.

Pre-order Deep Water.

Cosmic Cathedral: Deep Water
1. The Heart Of Life
2. Time To Fly
3. I Won’t Make It
4. Walking In Daylight
5. Deep Water Suite I: Introduction
6. Deep Water Suite II: Launch Out, Pt. One
7. Deep Water Suite III: Fires Of The Sunrise
8. Deep Water Suite IV: Storm Surface
9. Deep Water Suite V: Nightmare In Paradise
10. Deep Water Suite VI: Launch Out, Pt. Two
11. Deep Water Suite VII: New Revelation
12. Deep Water Suite VIII: Launch Out, Pt. Three
13. Deep Water Suite IX: The Door To Heaven

Bernie Leadon‘s frustration with life in the Eagles reached a dramatic breaking point around the time of 1975’s One of These Nights, after a discussion over the band’s creative direction led to him pouring a beer over Glenn Frey‘s head.

According to his bandmates, the founding Eagles guitarist and multi-instrumentalist had grown increasingly displeased with the band’s shift away from country and towards rock music. “We were getting more and more rocked out, and I think Bernie was less and less happy about that,” One of These Nights producer Bill Szymczykk explained in the History of the Eagles documentary.

“Glenn and I always wanted the band to be a hybrid, to encompass bluegrass and country and rock and roll,” Don Henley agreed. “There was a part of Bernie that really resisted that. After a while it became a real problem, particularly between Bernie and Glenn.”

Henley also suggested the band’s growing commercial success was an issue for Leadon: “To Bernie, success on any scale was synonymous with selling out. He wanted us to remain sort of an underground band.”

Read More: Top 20 Eagles Songs Not Sung by Don Henley or Glenn Frey

For his part, Leadon admitted to being overwhelmed by the band’s skyrocketing career: “You’d have to remember how young we were, the fact that nobody had anything when we started, and you got all this stuff coming at you, meanwhile you’re touring all the time. It’s a lot.”

According to Frey, things came to a head at a concert at the Orange Bowl in Miami. “We were backstage and we were talking about what our next move what our next move was gonna be. I was animated and adamant about what we needed to do next, here there and everywhere, and Bernie comes over and pours a beer on my head and says, ‘you need to chill out, man.'”

Leadon’s account differs slightly. In a 2025 interview with Rock History Music, he says the beer pouring happened during a 1975 band meeting. “I said, ‘I’m gonna leave the band.’ It was about four months till the end of the year. I said ‘let’s do good shows, to prove how good we can do them, and then I’ll be gone.'” His departure became official in December 1975, and he was replaced by Joe Walsh the following month.

(In the History of the Eagles documentary, Frey doesn’t specify the date of the show, just the city and venue. There is no record of Eagles playing the Orange Bowl on the 1975-76 One of these Nights tour, although they did play there on July 7, 1974.)

Leadon says the beer attack wasn’t premeditated. “I have no idea, it was a spontaneous thing. I take that incident now quite seriously,” he declares in History of the Eagles. “That was a very disrespectful thing to do. Obviously it was intended to be humiliating to him, I would say, and is something I’m not really proud of. It did illustrate a breaking point.”

He also insists the issues weren’t just related to the Eagles’ evolving sound. “That’s an oversimplification,” he told Rolling Stone in 2008. “It implies that I had no interest in rock or blues or anything but country-rock. That’s just not the case. I didn’t just play Fender Telecaster. I played a Gibson Les Paul and I enjoyed rock & roll. That’s evident from the early albums. …I just wanted some time to regroup. I suggested we take some time off. They weren’t excited about that idea.”

How an Apology Letter Helped Bernie Leadon Reconnect with the Eagles

Although all seven current and former members of the Eagles, including Leadon, performed together at the group’s 1998 induction into the Rock and Roll Hall of Fame, it took much longer for him to make peace with Frey.

In the mid-2000s, after being unable to connect with him directly, Leadon sent a certified letter to Frey’s office, apologizing for his actions. “I became a recovering alcoholic and when you do recovery work, one of the things you do is you realize who you harmed and then you become willing to make amends to them,” he told Rock History Music.

“I didn’t hear anything back for like five, six years,” he recalled. “And then the request came to do the [History of the Eagles] documentary.” He was asked about the incident while being interviewed for the documentary, resulting in the “that was a very disrespectful thing to do” quote above.

Soon after recording that interview Leadon was approached by Eagles manager Irving Azoff, who asked if he’d be interested in being a guest star on the band’s career-spanning 2013-2014 History of the Eagles tour.

“So then Glenn called me, and in the course of that conversation he said, ‘I got your letter and appreciated it.’ And the fact that called me was evidence that he felt better about things. The fact that I cleared that up with him and apologized was the reason that it became possible to consider having me [join the tour.]”

In a 2013 Rolling Stone interview, Leadon said he had no regrets about leaving the Eagles, while pointing out that he may have been right about the band needing a break. “It was a great time in my life, but everything since then has been great, too. What’s funny is that a year after I left, they did wind up taking a long break.”

He did admit to Rock History Music that he would prefer if the incident didn’t define his legacy. “After Wikipedia became established and I looked at my own entry [on the site], it basically said, ‘Bernie Leadon left the band because he poured a beer on Glenn Frey’s head,’ which I thought, ‘Well, that’s kind of a funky legacy.’ They don’t talk about my guitar playing, they just talk about me pouring a beer on Glenn’s head.”

Some artists thrived in the ’80s — Michael Jackson, Prince, Madonna, etc. Others, arguably, did not. Even the most devoted of Bob Dylan fans don’t typically point to the ’80s as his best decade of musical output.

For one thing, Dylan’s conversion to Evangelical Christianity and religious music at the tail end of the ’70s left many people confused. He would return to secular music in 1983, but reception to the albums he released in these years varied. “Empire Burlesque puts the snarl back in Bob Dylan‘s music,” Rolling Stone said of the 1985 release. A year later, the same publication would describe Knocked Out Loaded as a “conceptual mess,” “ultimately a depressing affair.”

But that doesn’t mean there were not great Dylan songs to come out of the ’80s. In the below list, we’ve ranked 20 of them, taken from Dylan’s seven studio releases and two live ones.

20. “Tight Connection to My Heart (Has Anybody Seen My Love)”
From: Empire Burlesque (1985)

Even with an ’80s vibe, you know you’re in for a treat when Mick Taylor is on guitar and Sly and Robbie is your rhythm section, as is the case for “Tight Connection to My Heart (Has Anybody Seen My Love).” “I really enjoyed playing with him because he’s been an idol of mine since I was 14 or 15,” Taylor would later say. “I think his songs are brilliant, you know?”

19. “Had a Dream About You, Baby”
From: Down in the Groove (1988)

Down in the Groove was recorded over a period of at least four years, which is probably why the album as a whole doesn’t sound all that smooth. “Had a Dream About You, Baby” is a fun, rocking little number that comes at the end of side one. Of particular merit here is the guitar part by none other than Eric Clapton.

18. “Pressing On”
From: Saved (1980)

Saved, the second release in Dylan’s trilogy of Christian albums, expanded on themes he first wrote about for 1979’s Slow Train Coming. Considering Dylan was born and raised Jewish, he was surprisingly not all that bad at writing gospel music, as evidenced by a song like “Pressing On,” which has subsequently been covered by artists like John Doe and Alicia Keys.

17. “Brownsville Girl”
From: Knocked Out Loaded (1986)

“Working with Dylan is not like working with anybody else,” playwright Sam Shepard, who co-wrote “Brownsville Girl” with Dylan, told The Village Voice in 2004. “He had that little snatch of a chorus and melody lines that he’d laid out. He had ’em on tape and then he would play them on guitar. The way I found my way into it with him was to follow this story that started to evolve. All these characters started to pop into the story. Traveling around, visiting these characters, tracking people down. We met outdoors, in Malibu. Most of the writing was outdoors.”

16. “Dark Eyes”
From: Empire Burlesque (1985)

One of the tracks on Empire Burlesque is not like the others. “Dark Eyes” closes the album, but it sounds little like the rest of it. Sparsely arranged, it’s much more like Dylan’s old folk catalog than his overall ’80s output, which makes for a refreshing change.

15. “You Wanna Ramble”
From: Knocked Out Loaded (1986)

Dylan didn’t write this one, Little Junior Parker did — just one of a handful of covers on Knocked Out Loaded that the Los Angeles Times called in 1986 “a strange, intriguing lot.” Dylan’s version is an upbeat start to the album, even with that infamous thin ’80s drum sound.

14. “What Can I Do for You?”
From: Saved (1980)

The interesting thing about Dylan’s period of religious writing is that while many of his songs’ themes derived from biblical stories and lessons, the lyrics could still be interpreted in any number of secular ways. “What Can I Do for You?” is clearly in reference to Dylan’s own personal salvation — “You’ve chosen me to be among the few” — but it also can be thought of in a more worldly way, accepting one’s own identity and learning to be kinder to others.

13. “I Want You,” Live With the Grateful Dead
From: Dylan & the Dead (1989)

Not everyone likes or appreciates the style of the Grateful Dead. Fair. But in the second half of the ’80s, Dylan found himself in an awfully depressing position. “I had no connection to any kind of inspiration. Whatever was there to begin with had all vanished and shrunk,” he wrote in his autobiography Chronicles: Volume One. “Everything was smashed. My own songs had become strangers to me, I didn’t have the skill to touch their raw nerves, couldn’t penetrate the surfaces. It wasn’t my moment of history anymore. There was a hollow singing in my heart and I couldn’t wait to retire and fold the tent.” Enter the Grateful Dead, who toured with Dylan in 1987 and breathed new life into many of those older songs, which resulted in the 1989 live album Dylan & the Dead.

12. “Sweetheart Like You”
From: Infidels (1983)

Infidels could be described as Dylan’s triumphant return to mainstream music, but interestingly it was made using a lot of the same people that contributed to his Christian albums. An extra special thank you should be paid to Mark Knopfler of Dire Straits, who co-produced Infidels, and Mick Taylor, who plays the compelling guitar solo here on “Sweetheart Like You.” “Are you in love at the moment?” Rolling Stone asked Dylan in 1984, the year after Infidels was released. “I’m always in love,” he replied.

11. “Everything Is Broken”
From: Oh Mercy (1989)

At the tail end of the ’80s, Dylan released arguably his strongest album of the decade. And don’t just take our word for it — Oh Mercy went to No. 30 in America, Dylan’s highest-charting album in years. “Everything Is Broken” is one of Dylan’s listicle type songs, spurred along by a 12-bar blues arrangement. “With Bob, I wanted to make sure that his voice was captured powerfully, rendered with sincerity, and be viewed as great as it ever was,” producer Daniel Lanois said to MusicRadar in 2011. “The thing you have to ask yourself is, ‘What does a guy like Bob Dylan need?’ Here’s a man who has everything, who’s done everything. Well, he needs a friend and a curator, a guy who will say, ‘Bob, this one is better than that one. This one is really great — let’s do it.’ A friend is what he really wants from somebody who works with him.”

10. “Silvio”
From: Down in the Groove (1988)

Not for nothing: in 2024, Barack Obama named Dylan’s “Silvio” as one of his favorite songs of the summer. Talk about a deep cut. But this writer thinks the former president was onto something. “Silvio,” with its “hoo! hoo!” backing vocals by the Grateful Dead and upbeat tempo, is an exceptionally bright spot in an otherwise perplexing album.

9. “Tombstone Blues,” Live With Carlos Santana
From: Real Live (1984)

Carlos Santana ripping a guitar solo onstage with Dylan — it’s more likely than you’d think. In 1984, Dylan and Santana set out on a tour of Europe, where guests like Joan Baez, Chrissie Hynde, Bono, Van Morrison and more made guest appearances. But only one guest landed a spot on Dylan’s 1984 live album Real Live: Carlos Santana on an invigorating version of “Tombstone Blues.”

8. “Don’t Fall Apart on Me Tonight”
From: Infidels (1983)

“Don’t Fall Apart on Me Tonight” is a strong enough song lyrically we can look past that persistent ’80s drum sound — such were the times. As far as Knopfler was concerned, Dylan was king in terms of songwriting, both on the ’60s albums Knopfler grew up with and on Infidels. “Bob’s musical ability is limited, in terms of being able to play a guitar or a piano,” Knopfler told Guitar Player in 1984. “It’s rudimentary, but it doesn’t affect his variety, his sense of melody, his singing. It’s all there. In fact, some of the things he plays on piano while he’s singing are lovely, even though they’re rudimentary. That all demonstrates the fact that you don’t have to be a great technician. It’s the same old story: If something is played with soul, that’s what’s important.”

7. “Slow Train,” Live With the Grateful Dead
From: Dylan & the Dead (1989)

In 1995, Dylan spoke at Jerry Garcia‘s funeral, offering some beautiful words about someone he clearly thought was as talented as they come, if not more so. But the most poignant thing Dylan said that day happened after the service. John Scher, longtime promoter for the Dead, left Garcia’s funeral with Dylan, who turned to him and said: “‘You know what, John?’ I said, ‘What, Bob?’ He said, ‘The guy lying there [referring to Garcia], he’s the only one in the world and knows what it’s like to be me.’ Which was pretty profound.”

6. “License to Kill”
From: Infidels (1983)

Dylan was by no means the only artist to be disillusioned by a lot of what was going on in the ’80s, capitalistically speaking, but his words certainly held particular weight. In “License to Kill” he sang that “Man has invented his doom / First step was touching the moon.” “I have no idea why I wrote that line, but on some level, it’s like just a door into the unknown,” he said to Rolling Stone in 1984. “I mean, what’s the purpose of going to the moon? To me, it doesn’t make any sense. Now they’re gonna put a space station up there, and it’s gonna cost, what – $600 billion, $700 billion? And who’s gonna benefit from it? Drug companies who are gonna be able to make better drugs. Does that make sense? Is that supposed to be something that a person is supposed to get excited about? Is that progress?”

5. “Masters of War,” Live
From: Real Live (1984)

In 1966, Dylan famously said the following at one of his concerts, just before launching into a song called “I Don’t Believe You:” “It used to go like that but now it goes like this.” Some people think of Dylan’s penchant for reworking his older songs — trying out new arrangements, using new lyrics, etc. — as a detriment to his catalog. Others, including this writer, feel the opposite. Below is a raucous version of “Masters of War,” an entirely different ballgame than the 1963 original that’s just as worthy.

4. “Every Grain of Sand”
From: Shot of Love (1981)

Even the most dedicated of Dylan fans have their complaints about 1981’s Shot of Love. But if there is one track that fans seem to agree is one of Dylan’s best written, it’s “Every Grain of Sand,” which closes the album. Look past the slightly schmaltzy arrangement to the lyrical content, a compelling piece about what redemption, religious or otherwise, can mean to one person. “Sometimes I turn, there’s someone there,” Dylan sings, “other times it’s only me.”

3. “When the Night Comes Falling From the Sky”
From: Empire Burlesque (1985)

It’s remarkable how one of the single most ’80s-sounding songs of Dylan’s entire career is one of his most catchy, at least as far as we’re concerned. “When the Night Comes Falling From the Sky” barrels ahead at full steam and demonstrates that Dylan clearly wasn’t opposed to trying out new technology. “I don’t know how to do the thing with the studio where you use it as another instrument,” he admitted to Rolling Stone in 1985. “A lot of kids can. But it’s too late for me.” Au contraire.

2. “What Was It You Wanted”
From: Oh Mercy (1989)

“If you’ve ever been the object of curiosity,” Dylan wrote in Chronicles, “then you know what this song is about. It doesn’t need much explanation.” Make of that what you will. Suze Rotolo, Dylan’s girlfriend in New York City during the early ’60s and a formative figure in his life, once called “What Was It You Wanted” “the essence of Bob Dylan,” a song that “showcases his acerbic wit and his ability to twist multiple meanings around his finger.”

1. “Most of the Time”
From: Oh Mercy (1989)

To be fully transparent, this writer prefers the acoustic version of “Most of the Time” that appeared on The Bootleg Series Vol. 8: Tell Tale Signs: Rare and Unreleased 1989–2006. Even so, it’s staggeringly powerful lyric-wise, ’80s drum sound notwithstanding, and thanks to Lanois’ production has a bit of a dream-like quality to it.

Dirty Honey guitarist John Notto has a simple but profound revelation in the tour documentary accompanying their new live album Mayhem and Revelry, out today. “Something clicked tonight in my mind,” he says backstage at London’s Electric Ballroom. “I was like, ‘Oh yeah, it’s just rock ‘n’ roll. It’s just supposed to be simple fun.'”

The punchline comes from lead singer Marc Labelle, who replies incredulously, “You’re just learning this now?” But Notto’s epiphany, self-evident as it may sound, makes sense given his musical upbringing. “The bands that really swindled my soul and captured my imagination weren’t simple rock ‘n’ roll bands,” he tells UCR. “It was Queen, Pink Floyd, Allman Brothers, even Hendrix, and if you look at it, a lot of what Guns N’ Roses does.” Conversely, he adds, “there’s that realization of, ‘Oh, I’m in the AC/DC, Aerosmith thing. Even Aerosmith, over their 50-year career, gets a little out there, and we were starting to do it on the last record. But yeah, it’s exactly what you said: don’t overthink it.”

“The other angle of it,” Notto continues, “is just all the stress that goes with it on the road. Like, why didn’t this show up on time? Hey, tour manager, what’s wrong with this? And just thinking [about] the future, all that stuff, so much that makes it unfun. And then we had so much fun on stage, I just had that moment where I was like, ‘At the end of the day, this part is simple.'”

Split between North American and European shows on the band’s 2023-2024 Can’t Find the Brakes tour, Mayhem and Revelry presents Dirty Honey as seasoned road warriors, blending precision and spontaneity to create a live album that actually feels live. Notto proudly notes that the 16-track LP has no overdubs. “Nobody went back in to do a fix-it session,” he says. “We just basically just listened the crap out of 60 shows and found something where any discrepancies were listenable — where everybody played well enough and the song had spirit.”

Notto’s fiery blues-rock chops are matched by his scholarly knowledge of classic rock’s forebears, which informed the sound and aesthetic of Mayhem and Revelry. “Hopefully, you can comfortably put it on the proverbial shelf next to the other classic live albums and it’ll hold up,” he says. “That’s really what I was excited about, because I knew that live, we are a different beast that I think has another gear, and that’s what all of my favorite bands had. So to show that, I felt, was really important.”

Watch Dirty Honey’s ‘When I’m Gone (Live)’ off ‘Mayhem and Revelry’

Although Dirty Honey’s 2023 sophomore album Can’t Find the Brakes showed them expanding their sonic palette with smoldering ballads (“Roam”) and long-form jams (“Rebel Son”), Notto acknowledges that his band’s bluesy, hip-swiveling hard rock is less cerebral than the likes of Pink Floyd or late-period Guns N’ Roses. “For me, there’s a lot of the rock ‘n’ roll that I did love that is more about that motor that doesn’t change,” he explains. “And that’s a lot of the blues that influenced all that stuff. AC/DC and the Rolling Stones, to me, are the bands that most stuck to that tradition.”

To illustrate his point, he cites a live video of AC/DC in California in 1979, when the group was at the peak of its powers with Bon Scott. “They are just cooking,” he raves. “The intensity with which the bass player plays those staccato root notes over and over, the intensity him and the drummer have — I’ve never seen anyone do that. Anyone who covers them and thinks that AC/DC is simple, I’m like, ‘But you ain’t doing it. You’re not doing it.'”

Any conversation about Dirty Honey — or classic rock in general — invariably circles back to Led Zeppelin. Notto cites them in relation to Mayhem and Revelry, but not for the reasons one might expect. “I’m not listening to How the West Was Won going, ‘It needs to sound just like this,’ although that was a reference point, but more from an instrumentation standpoint,” he says. “That is the amount of instruments we’re dealing with. Zeppelin live is the same [as us], really. If you try to make it sound like Aerosmith live, that’s tough because they’ve got two guitar players, they have a keyboard player. The later it gets, they’ve got background singers. They have more things going on. So as much as they might be an influence as a band, comparing the mix, it gets difficult.”

By contrast, Mayhem and Revelry is the sound of four guys schooled on rock ‘n’ roll tradition capturing its simple, fun spirit. “We’re selling realness,” Notto declares. “It’s real amps. It’s no tracks. It’s expressive playing that deviates from the album page and comes back.”

2025 Rock Tour Preview

Nothing ignites a rock fan’s imagination quite like the words “original lineup reunion.” While death, drama, and decades of separation have made many classic reunions impossible, a surprising number of influential bands still have all their key members walking the planet—even if they’re no longer sharing stages. This article celebrates those legendary groups whose defining lineups remain intact in the biological sense, contemplating what it might mean for each to recapture their chemistry in today’s world.

The Police could once again blend punk energy with reggae rhythms and jazz sophistication if Sting, Andy Summers, and Stewart Copeland decided to reunite their power trio. Talking Heads might bring their art-school funk back to life if David Byrne, Tina Weymouth, Chris Frantz, and Jerry Harrison could overcome decades of creative differences. R.E.M.’s jangly guitar rock could fill arenas once more if Michael Stipe, Peter Buck, Mike Mills, and Bill Berry decided to step back into the spotlight together. The prog-rock innovation of Genesis could be revisited if Peter Gabriel, Tony Banks, Mike Rutherford, Steve Hackett, and Phil Collins managed to align their busy schedules.

The quintessentially British storytelling of The Kinks might find new relevance if the Davies brothers could set aside their legendary tensions and reunite with Mick Avory and John Dalton. Supertramp’s jazz-tinged progressive pop could soar again if Roger Hodgson and Rick Davies found common ground alongside John Helliwell, Bob Siebenberg, and Dougie Thomson. Journey’s arena rock anthems could reach new emotional heights if Steve Perry’s unmistakable voice joined Neal Schon, Jonathan Cain, Ross Valory, and Steve Smith once more.

While time marches on and the likelihood of these reunions diminishes with each passing year, the magic these musicians created remains timeless. Their records continue to inspire new generations, and the chemistry they shared can never truly be replicated. Perhaps that’s why the prospect of these reunions remains so tantalizing—a chance to experience, even briefly, the recapturing of lightning in a bottle. Though many of these musicians have moved on to different creative pursuits or simply enjoy their well-earned retirement, rock fans worldwide continue to hold onto the possibility, however remote, of seeing these classic lineups take the stage one more time. After all, in rock and roll, you should never say never.

# 10 – KISS

Few bands defined spectacle quite like KISS. From their explosive stage shows to their larger-than-life personas, they set the gold standard for rock and roll theatrics. While the band has undergone numerous lineup changes over the decades, the four original members—Paul Stanley, Gene Simmons, Ace Frehley, and Peter Criss—are all still alive, making a reunion not just possible but a dream scenario for longtime fans.

Formed in New York City in 1973, KISS quickly became one of the most recognizable bands in rock history. Their early lineup solidified when Paul Stanley (rhythm guitar, vocals) and Gene Simmons (bass, vocals) joined forces with Ace Frehley (lead guitar, vocals) and Peter Criss (drums, vocals). By combining hard rock anthems with outrageous makeup, fire-breathing, and platform boots, they built an empire that went far beyond music. Their 1975 album Alive! turned them into superstars, and hits like Rock and Roll All Nite, Detroit Rock City, and Beth made them household names.

Despite their success, internal conflicts and creative differences led to Criss departing in 1980 and Frehley following in 1982. While both rejoined for the massively successful 1996-2000 reunion tour, tensions eventually resurfaced, and they exited once again. Over the years, KISS continued with different lineups, but Stanley and Simmons remained the driving force behind the band.

The idea of a full reunion with the original four members is something fans have speculated about for years. The recent End of the Road farewell tour, which wrapped in 2023, seemed to signal the band’s final bow, but given KISS’s history, anything is possible.

Read More: Complete List Of Kiss Band Members

# 9 – Black Sabbath

Black Sabbath’s original lineup—Ozzy Osbourne (vocals), Tony Iommi (guitar), Geezer Butler (bass), and Bill Ward (drums)—formed in Birmingham, England in 1968. They pioneered heavy metal with their dark, thunderous sound and remain one of the most influential bands in rock history.

The classic lineup last performed together at their hometown of Birmingham in 2017 as part of their farewell tour, minus Bill Ward who had departed over contractual disputes in 2012. However, all four original members are still alive in 2024, with Ozzy at 75, Iommi at 76, Butler at 74, and Ward at 75.

While Ozzy has faced some health challenges in recent years due to Parkinson’s disease and various injuries, he’s expressed interest in performing again. A reunion of these metal pioneers would be particularly meaningful now, as it would give fans one last chance to see the complete original lineup together. The chemistry between Ozzy’s haunting vocals, Iommi’s legendary riffs, Butler’s thundering bass, and Ward’s powerful drumming created metal magic that newer generations of fans have never witnessed firsthand.

Read More: Complete List Of Black Sabbath Band Members

# 8 – Grand Funk

Grand Funk Railroad, formed in Flint, Michigan in 1969, was one of the most commercially successful American rock bands of the 1970s. Their classic lineup featured Mark Farner (vocals/guitar), Don Brewer (drums/vocals), and Mel Schacher (bass), who created their signature energetic blend of blues rock and hard rock that earned them the nickname “The American Band.”

This power trio last performed together in 1998 during a reunion tour. Encouragingly, all three original members are still alive and active in music: Farner (75), Brewer (75), and Schacher (73). While Brewer continues to tour with a different version of Grand Funk Railroad (alongside longtime member Bruce Kulick), and Farner performs as a solo artist, the original trio hasn’t shared a stage in over two decades.

A reunion would be particularly exciting because their raw, high-energy sound defined American arena rock in the early ’70s. The combination of Farner’s soulful vocals and guitar work, Brewer’s powerful drumming (and lead vocals on hits like “We’re an American Band”), and Schacher’s distinctive bass lines created some of rock’s most memorable anthems. Their return would give younger fans a chance to experience classics like “I’m Your Captain (Closer to Home)” and “Some Kind of Wonderful” performed by the lineup that made them famous.

Read More: Complete List Of Grand Funk Railroad Band Members

# 7 – Talking Heads

Talking Heads emerged from the New York punk scene in 1975, founded by the core trio of David Byrne (vocals/guitar), Chris Frantz (drums), and Tina Weymouth (bass). Jerry Harrison (keyboards/guitar) joined in 1977, completing the classic lineup that would pioneer art-punk and new wave music. A Talking Heads reunion would be a momentous cultural event. Their innovative blend of punk, funk, world music, and avant-garde pop created landmarks like “Psycho Killer,” “Once in a Lifetime,” and “Burning Down the House.” The band’s evolution from nervy minimalists to expansive funk-rock pioneers showcased their remarkable musical versatility.

All four members remain active and creative. David Byrne (72) continues his eclectic solo career and Broadway success with “American Utopia.” Tina Weymouth (74) and Chris Frantz (73), still married, performed with Tom Tom Club and various projects. Jerry Harrison (75) works as a respected producer and occasional performer. Though they haven’t performed together since their 2002 Rock & Roll Hall of Fame induction, the creative tension between Byrne’s distinctive vision and the rhythm section’s funkier instincts could still produce fascinating results. Their influence on alternative music remains immeasurable, and audiences would eagerly welcome these art-rock innovators back to the stage.

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# 6 – R.E.M

R.E.M. formed in Athens, Georgia in 1980 when University of Georgia students Michael Stipe (vocals), Peter Buck (guitar), Mike Mills (bass/keyboards), and Bill Berry (drums) began making music together. This lineup remained intact until Berry’s departure in 1997, producing some of alternative rock’s most influential albums.

An R.E.M. reunion would be particularly meaningful since the classic lineup hasn’t performed together since Berry left the band due to health concerns. Their distinctive sound—jangly guitars, cryptic lyrics, and vocal harmonies—created timeless songs like “Losing My Religion,” “Man on the Moon,” and “Everybody Hurts.” The chemistry between these four musicians defined college rock and helped alternative music cross into the mainstream.

All four members are still active in various capacities. Michael Stipe (64) pursues photography and occasional solo work. Peter Buck (67) plays with various bands including The Baseball Project and Filthy Friends. Mike Mills (65) collaborates on classical projects and session work. Bill Berry (66) returned to farming after leaving the band but has made rare appearances with his former bandmates.

Though R.E.M. officially disbanded in 2011, the respect and friendship among all four members suggests a reunion remains possible. The prospect of hearing Berry’s distinctive drumming on classics like “The One I Love” or “Orange Crush” again would make this one of rock’s most anticipated reunions.

Read More: Complete List Of R.E.M. Band Members

# 5 – Genesis

Genesis began in 1967 as a group of students at Charterhouse School in England. The classic progressive rock lineup solidified by 1971 with Peter Gabriel (vocals), Tony Banks (keyboards), Mike Rutherford (guitar/bass), Steve Hackett (guitar), and Phil Collins (drums). This configuration created the band’s most ambitious and theatrical work before Gabriel’s departure in 1975.

A reunion of the Gabriel-era Genesis would be extraordinary for progressive rock enthusiasts. Their elaborate compositions, imaginative lyrics, and theatrical performances yielded masterpieces like “Supper’s Ready,” “The Musical Box,” and “Firth of Fifth.” Gabriel’s flamboyant costumes and Collins’ intricate drumming defined this era, while Banks’ orchestral keyboards, Rutherford’s versatility, and Hackett’s atmospheric guitar work created their distinctive sound.

All five musicians remain active and respected. Peter Gabriel (74) continues his solo career and humanitarian work. Phil Collins (73), despite health challenges limiting his drumming, toured until recently. Tony Banks (74) composes classical pieces and film scores. Mike Rutherford (73) still performs with Mike + The Mechanics. Steve Hackett (74) actively tours, performing classic Genesis material.

The lineup briefly reunited for a 1982 one-off concert, and various partial reunions have occurred, but the full classic lineup hasn’t performed a complete show in nearly 50 years. Given Collins’ health issues and Gabriel’s selective performing schedule, a full reunion seems challenging but would represent an unparalleled opportunity to experience one of progressive rock’s most innovative bands in their original formation.

Read More: Complete List Of Genesis Band Members

# 4 – Supertramp

Supertramp formed in London in 1969, but it was the classic lineup that solidified in 1973 that created their most successful and enduring work. This configuration featured Roger Hodgson (vocals/keyboards/guitar), Rick Davies (vocals/keyboards), John Helliwell (saxophones/keyboards), Bob Siebenberg (drums), and Dougie Thomson (bass).

A reunion of this classic Supertramp lineup would be particularly significant given their decades-long separation. Their distinctive blend of progressive rock, pop sensibilities, and jazz influences created timeless albums like “Crime of the Century,” “Crisis? What Crisis?” and the blockbuster “Breakfast in America.” The complementary songwriting styles of Hodgson and Davies gave Supertramp a unique dual personality, with Hodgson’s ethereal compositions like “Dreamer” and “The Logical Song” balancing Davies’ more grounded approach on songs like “Bloody Well Right.”

All five members are indeed still alive and active to varying degrees. Roger Hodgson (74) continues to tour as a solo artist performing Supertramp classics. Rick Davies (79) has led various incarnations of Supertramp without Hodgson since their 1983 split. John Helliwell (79) still occasionally performs with Davies’ version of the band. Bob Siebenberg (75) has also remained with Davies’ Supertramp lineup. Dougie Thomson (73) has largely stayed out of the spotlight since leaving the band in 1982.

The prospects for a reunion have been complicated by the sometimes tense relationship between Hodgson and Davies. However, the musical magic this lineup created—characterized by distinctive keyboard sounds, Helliwell’s melodic saxophone, and the rock-solid rhythm section of Siebenberg and Thomson—remains beloved by fans worldwide. A reunion would allow audiences to experience the full spectrum of Supertramp’s catalog performed by the musicians who defined their classic sound.

Read More: Complete List Of Supertramp Band Members

# 3 – Journey

Journey formed in San Francisco in 1973, but the band’s commercial peak came after Steve Perry joined as lead vocalist in 1977. The classic lineup that created their most successful albums solidified in 1981 with Perry (vocals), Neal Schon (guitar), Jonathan Cain (keyboards), Ross Valory (bass), and Steve Smith (drums).

A reunion of this specific Journey lineup would be momentous for rock fans worldwide. Their distinctive arena rock sound—characterized by Perry’s soaring tenor vocals, Schon’s melodic guitar work, and Cain’s keyboard arrangements—created some of rock’s most enduring anthems, including “Don’t Stop Believin’,” “Open Arms,” and “Separate Ways (Worlds Apart).” This lineup crafted the perfect blend of hard rock muscle and pop sensibility.

All five members remain alive and musically active, though on separate paths. Steve Perry (75) emerged from decades of near-seclusion with a 2018 solo album. Neal Schon (70) continues to lead the current version of Journey. Jonathan Cain (74) performs with Journey and as a solo artist. Ross Valory (75) was with Journey until 2020. Steve Smith (70), a respected jazz drummer, has played with various acts including occasional Journey reunions without Perry.

Relations between Perry and his former bandmates have been complicated since his 1998 departure. Perry’s health concerns and reluctance to tour have made a reunion seem unlikely, despite the unmistakable chemistry these five musicians shared. Yet the continuing popularity of Journey’s catalog with new generations of fans suggests that should these five musicians ever share a stage again, the response would be nothing short of phenomenal.

Read More: Complete List of All Current and Former Journey Band Members

# 2 –  The Police

Formed in London in 1977, The Police quickly established themselves as one of the most innovative bands of the new wave era. The classic lineup of Sting (bass/vocals), Andy Summers (guitar), and Stewart Copeland (drums) created a distinctive sound blending punk, reggae, and jazz influences. A reunion of The Police would be electrifying for music fans worldwide. Their remarkable chemistry produced timeless hits like “Roxanne,” “Message in a Bottle,” and “Every Breath You Take.” Each member brings extraordinary talent: Sting’s unmistakable vocals and melodic basslines, Summers’ textured guitar work, and Copeland’s dynamic, jazz-influenced drumming.

All three members remain active musicians. Sting (Gordon Sumner, 72) continues his successful solo career, Andy Summers (81) pursues photography and jazz projects, and Stewart Copeland (72) composes for film and orchestras. Their brief 2007-2008 reunion tour demonstrated they can still deliver their catalog with precision and energy. The tension that fueled their creativity—and eventually led to their 1986 breakup—might actually make a new reunion even more compelling. These three musicians who changed rock history still have the capability to recapture the magic that made them legends.

Read More: Complete List Of The Police Band Members

# 1 – The Kinks

The Kinks formed in North London in 1963, with brothers Ray Davies (vocals/rhythm guitar) and Dave Davies (lead guitar) as the creative core. Drummer Mick Avory joined shortly after, and while Pete Quaife was the original bassist, John Dalton became the longtime bassist in 1969, completing the classic lineup that created some of the band’s most beloved albums.

A reunion of The Kinks would be particularly meaningful given the legendary tension between the Davies brothers. Their distinctively British sound—combining hard-edged guitar riffs, music hall influences, and Ray’s observational storytelling—produced timeless classics like “You Really Got Me,” “Waterloo Sunset,” and “Lola.” The band’s influence spans multiple genres, from garage rock to Britpop to power pop.

All four members are still active to varying degrees. Ray Davies (80) continues occasional solo work and writing. Dave Davies (77) performs solo and has expressed openness to reuniting. Mick Avory (80) has participated in Kinks-related projects over the years. John Dalton (81) has played with various Kinks tribute bands featuring former members.

The fractious relationship between the Davies brothers has prevented a full reunion since the band’s dissolution in 1996, though they’ve occasionally appeared together. Recent years have shown warming relations between Ray and Dave, raising hopes among fans. A reunion of these British Invasion pioneers would be a triumphant capstone to one of rock’s most distinctive catalogs.

Read More: Complete List Of The Kinks Band Members

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10 Iconic Rock Bands Whose Classic Lineups Could Still Reunite article published on Classic RockHistory.com© 2025

presents an in-depth history of these songs from various bands across all musical genres

Welcome to this week’s Tracks Of The Week. Six brand-new and diverse slices of progressively inclined music for you to enjoy.

So perhaps unsurprisingly the band of the moment, Solstice, won last week’s Tracks Of The Week with their new single Firefly, but the folk proggers were pushed all the way by John Lodge’s reflective Whispering Angels with Dim Gray in third.

The premise for Tracks Of The Week is simple – we’ve collated a batch of new releases by bands falling under the progressive umbrella, and collated them together in one post for you – makes it so much easier than having to dip in and out of various individual posts, doesn’t it?

The idea is to watch the videos (or listen if it’s a stream), enjoy (or not) and also to vote for your favourite in the voting form at the bottom of this post. Couldn’t be easier, could it?

We’ll be bringing you Tracks Of The Week, as the title implies, each week. Next week we’ll update you with this week’s winner, and present a host of new prog music for you to enjoy.

If you’re a band and you want to be featured in Prog‘s Tracks Of The Week, send your video (as a YouTube link) or track embed, band photo and biog to us here.

KARMAKANIC – COSMIC LOVE

Swedish prog outfit Karmakanic return with their first new album for nine years when they release Transmutation, through Jonas Reingold’s own label, Reingold Records on March 7. The melodic prog of Cosmic Love is the first music from the new album, featuring the unmistakable strains of John Mitchell on vocals and Randy McStine on guitar. The star-studded album also features guest spots from Steve Hackett, Simon Phillips, Craig Blundell and more…

“How do you choose a single for a prog album,” laughs Rengold. “You don’t. Some things aren’t meant to be overthought – just felt. I love writing uplifting tracks celebrating the forces that truly unite us. So get on board, get started – join me in the Cosmic Love.”

“It was an absolute pleasure to work with Jonas,” adds Mirchell. “We’ve discussed collaborating a few times over the years and we’ve become good friends. So it was great to finally fly to Vienna and make it happen. I’m so happy with how it’s all turned out.”

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ANDRE DRAGE – IN BETWEEN IS ALWAYS FORWARD

You may know drummer Andre Drage from Norwegian metal trio Draken, but he’s creating a far different sound on his new solo album Journeyman, which is released through his own Drage Records on March 14. Here he draws inspiration from prog, ambient music, Norwegian folk and the music of Malawi, creating a sound that will delight fans of Frank Zappa, Mahavishnu Orchestra, Soft Machine and Gong.

“I wrote In Between Is Always Forward at a time where I had to make many compromises in my life to reach new musical goals and personally develop,” says Drage. “The song itself is a prog, jazz, and funk hybrid about finding a way to balance life’s obligations with the pursuit of music and art.”

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EARTHSIDE – FROZEN HEART – BURNING WORLD

US prog quartet Earthside celebrate the start of their very first US headline tour with a standalone release of Frozen Heart – Burning World. Typically epic and cinematic in scope, the track is the only one from sessions for their recent acclaimed second album Let The Truth Speak, accompanied, as ever, with atypically eye-catching video.

“Not for any lack of quality—if anything, it may even be among our individual favourites from the full batch of material,” the band explain. “We really wanted a Closest I’ve Come – vibe track on LTTS, but nothing we were generating like that was gripping us—at least until Frank’s entrancing, icy intro came out of the ether one day in practice, and the rest of the song just poured from it. Unfortunately, the track just came together too late in the writing process for us to feel ready to record it with the others—and on a record that didn’t have much room for another odyssey track. But in celebration of Earthside’s long-awaited headline tour, we wanted to give the song the proper recording it deserved.”

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DAVE FRANCIS – KITTENS & RAINBOWS

You may know prog bassist Dave Francis by his other name and other band – Dave Rowe from The Mighty Ra! Francis released his debut solo album Beautiful Insanity back in 2023 and will be releasing a second later this year. The playful Kittens & Rainbows is the first taster form that album.

“This tongue-in-cheek prog anthem, and its accompanying video, makes an affectionate but humorous dig at some of the genre’s more pompous traits, whilst retaining musical respect for the classic prog rock format,” says Francis. “Fans of The Mighty Ra should enjoy this tasteful teaser, which serves as a suitable appetiser for things to come!”

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BJØRN RIIS – GONE

Prolific Airbag guitarist Bjørn Riis will release his latest solo album, his fifth, through Karisma Records on April 11. It’s called Fimbulvinter, a title that refers to Norse mythology and the tale of the long winter that leads up to Ragnarok – the end of the world and a new beginning. Riis plays all instruments and sings the vocals, although the album also features contributions from Airbag’s Henrik Bergan Fossum (drums), Arild Brøter from Pymlico (drums) and Kai Christoffersen. New single Gone is the first music to be taken from the album.

“Gone was the first track I wrote for the album,” says Riis. “It’s one of those songs you just want to play loud in your car going fast on the highway! I wanted it to have that pop and monumental feel to it, while dealing with a somewhat serious matter. It’s about the fear of not being enough, of being rejected and dealing with that by wanting to escape and flee. I’m playing all of the instruments, with Kai Christoffersen on drums and my long-time collaborator, Vegard Kleftås Sleipnes, mixing and co-producing.”

DEREV – CYCLONE

Toronto prog quintet Derev will release their debut full-length album, Troubled Mind, on March 26. The yearning, epic tones of Cyclone is the second single to be taken from the upcoming album, and Derev will be touring throughout Ontario and Quebec over the coming months to support the new album.

“Building on the narrative, this song revolves around the negative thoughts that plague our minds, constantly reminding us of our perceived unworthiness and shortcomings,” the band state. “This mental state, “Imposter Syndrome” makes us doubt our skills and successes, leaving us feeling unworthy, ashamed, and fearful of being exposed.”

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Tim Henson of Polyphia claims that Machine Gun Kelly made the guitar “cool” again.

Talking to Guitar World, the virtuoso player extends a shout-out to the rapper-turned-pop-punk-musician, whose 2020 album Ticket To My Downfall topped charts after he switched genres following a feud with Eminem.

“I’d say guitar music got cool [after the pandemic],” Henson says (via Guitar.com). “You know, maybe we had a little bit to do with that, maybe we didn’t.

“Around that time, Eminem did the thing with MGK, and kind of made him switch genres. And then MGK got a number-one record with a guitar on the cover, which is really cool. So, shout out MGK for making guitar cool again!”

Later in the interview, Henson is asked which new guitar players have caught his eye lately, and he names viral sensation Spiro Dussias. “Dude, there’s that guy, Spiro – you know what I’m talking about. I don’t know how to say his last name. I just recognise the Instagram handle, but that guy is fucking crazy. And there’s definitely a few others that are escaping me.”

He adds that he hopes to get Dussias for a feature on the next Polyphia album, which will follow 2022’s Remember That You Will Die. “But as we start to book these sessions this year, to bring in all the incredible talent that is out there, to vibe them out on the new music, I’m definitely going to be hitting up Spiro just to see what kind of insanity he can bring,” he declares.

Earlier this month, Henson told Guitar World that the next Polyphia album will feature Babymetal, plus Serj Tankian of System Of A Down. He also described their upcoming music as “heavy”.

“I think last year was really eye-opening for us in terms of how we should start composing for the live performance,” he explained. “Playing a nylon-string to 80,000 people is a little like… when you think of a nylon-string, you think of a dude in a coffee shop, right? So, it’s a little disconnect there. We’re excited to really hone that in and really make the music bigger for that kind of audience now.”

Machine Gun Kelly released his latest album, Mainstream Sellout, in 2022. Last year, he unveiled a signature guitar shaped like a razorblade, which received a divided response. He subsequently defended the design on X (formerly Twitter), writing: “I’ll never explain my art, because true art is conversational and always up for interpretation.

“But I will say, most of you constantly interpret it wrong. And then blame me for your version of what you think my art is. Ultimately I’m sad at how people perceive me in general. Peace.”