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Dave Grohl Preps For Super Bowl Commercial By 'Learning Something New'

Dave Grohl is  set to be a part of Super Bowl LVII ... unfortunately not performing at halftime (c'mon NFL) but in a commercial for Crown Royal  ... the whiskey brand has released a teaser of the commercial - that will air in the their quarter of the big game - where Dave 'learns something new' ... the internet is buzzing with theories - many of which point to - Dave learns things that were invented in Canada 

 

Check it out below:

 

Dave Grohl Preps For Super Bowl Commercial By 'Learning Something New'

Dave Grohl is  set to be a part of Super Bowl LVII ... unfortunatley not performing at halftime (c'mon NFL) but in a commercial for Crown Royal  ... the whiskey brand has released a teaser of the commercial - that will air in the thir quarter of the big game - where Dave 'learns something new' ... the internet is buzzing with theories - many of which point to - Dave learns things that were invented in Canada 

 

Check it out below:

 

Listen to U2's Re-Recorded version of 'With Or Without You' from 'Songs Of Surrender'

This March - U2 will release ‘Songs Of Surrender’  -  an album of “reimagined and re-recorded” songs from across their catalog.  This week - the band has  U2 shared the second song from the set -  a modern spin on their classic hit ‘With Or Without You'  ... The song was initially released in March of 1987 as the lead single from their fifth album, ‘The Joshua Tree’.  

 

Take a listen below: 

 

Jack White's Daughter Joins Him on Stage for 'The Hardest Button to Button': Watch

On Jan. 16, Jack White welcomed his 16-year-old daughter, Scarlet, on stage during an intimate show at The Blue Room of Third Man Records in Nashville, Tenn.

 

This was not the first collaboration between the father-daughter duo. Scarlet is credited for playing bass on the track “Into the Twilight,” from Jack White’s Fear of the Dawn album.  

 

Karen Elson - Jack's ex-wife- posted footage of the performance on IG, sayong - “What a sweet moment with her papa bear.” See below

 

 

 

 

Hear Green Day's Cover of Elvis Costello's "Alison" from Nimrod 25th Anniversary Box Set

Ahead of the release of the Nimrod 25 – 25th Anniversary Edition, a retrospective box set celebrating their 1997 album - Green Day have released on of the demos from the set that didn't make the album - a cover of Elvis Costello’s 1977 ballad “Alison.”

 

Billie Joe Armstrong - the Green Day frontman - notably performed “Alison” alongside Elvis Costello during a 2006 taping of the VH1 Classic series Decades Rock Live.

 

 

Dave Grohl Plays Foo Fighters/Nirvana Rarity "Marigold" For The First Time In 12 Years- WATCH

 Letters To Santa: The 24 Hour Comedy And Music Marathon has been an annual Chicago charitable tradition since 2002. This year’s installment ran from 6pm on December 19-20, with performers including Jeff Tweedy, Ty Segall, Bonnie “Prince” Billy,  among others. Dave Grohl was also recruited to do a virtual performance at the gig.... and Dave went deep into the vault for this special night - performing "Marigold" (the only song released by both Nirvana and Foo Fighters) and “New Way Home”

 

 

 

 

“New Way Home” was from the Foo's album The Colour And The Shape while "Marigold" was first released in 1992 under Grohl’s pseudonym Late!, then released as the B-side to Nirvana's “Heart-Shaped Box” single in 1993 and finally it was on the Foo's 2006 acoustic live album Skin And Bones, making it the only track to be released by both Nirvana and Foo Fighters and the only Nirvana song Grohl sings on.

 

Oh and by the way - he played the whole thing using his daughter Violet's guitar ;)

Christmas Memory - Stream Foo Fighters SNL Christmas Medley

Five years ago - Foo Fighters were the musical guest on ‘Saturday Night Live’ and performed a Christmas medley full of classics new and old.

 

 Foo Fighters performed twice, the second of which was a Christmas medley which included their classic track ‘Everlong’, ‘Christmas (Baby Please Come Home)’, and ‘Linus and Lucy’.

 

David Byrne Debuts New Holiday Song "Fat Man's Comin'": Stream

We are always on the lookout for new holiday music to pair the tried and true classics - and this year we've got a new one - thanks to David Byrne and his newly-released song called “Fat Man’s Comin’.”

Byrne recalls writing the bones of the track  about ten years ago while he was working on his collaborative album with St. Vincent’s Annie Clark but a song telling  “the story of a fat man in rather odd attire who breaks into people’s homes and leaves mysterious packages” wasn’t quite right for that project.  

 

“I always wanted to write a holiday song.  I wouldn’t call it a Christmas song, as the visitation of Santa (formerly known as St. Nicholas, who mainly did punishing) seems to have evolved to be a more secular consumer moment than a religious or spiritual affair.”

 

“Fat Man’s Comin'” is exclusively available on Bandcamp through the end of December - with a pay-what-you-can model ... and keeping in the holiday spirit - all proceeds will go to Byrne's good news only publication - Reasons to Be Cheerful

 

 

Read Dana Spiotta's Introduction to the New Novel - Kurt Cobain: The Last Interview

Nirvana lead singer and guitarist Kurt Cobain changed American music in just the 7 short years the band was together.  He was also a  feminist, LGBTQ+ ally, antiracist, and champion of eccentric musical visionaries. 

In the new book - Kurt Cobain: The Last Interview - Melville House compiles released and never before heard interviews - showing the grunge god's funny, thoughtful, sarcastic, impassioned, and even kind sides.  It is a collection of interviews that provides a look at a man who was too often misunderstood.

 

The book will make a perfect holiday gift for the music fan in your life - or yourself (get it HERE).  Read Dana Spiotta's intro to the book below: 

 

It is one of the jobs of the young to rail against the failures of the previous generation. You can trace a particular line of concern from Holden Caulfield in 1951 to Nirvana in 1991: phonies, conformists, squares, the establishment, the Man, the mainstream, yuppies, corporate culture, poseurs, fakes, sell-outs. The concern comes down to an ideal of authenticity, with maybe the worst sin being hypocrisy. Capitalism has always absorbed and appropriated dissent and resistance, which is why they have to constantly be reinvented in subculture. Nirvana and Kurt Cobain’s version in the 1990s was perhaps an apex, and also when tensions within that concern became unsustainable. Afterward, future critiques would have to be differently conceived.

 

Cobain, like other kids growing up after Vietnam, after Watergate, after the counterculture, absorbed a jaded, knowing quality. An obsession with irony coexisted with an obsession with authenticity. Satire became ubiquitous: Mad magazine (full of “take-offs” ridiculing everything from blockbuster films to TV ads), Wacky Packages (stickers on cards that kids collected that had fake advertisements for joke versions of products) and Saturday Night Live, which in 1975, its inaugural year, featured Jerry Rubin, the Yippie, in a fake commercial selling wallpaper with hippie and anti-establishment slogans on it. The joke was that Jerry Rubin had sold out, and somehow his knowingness made it okay, but that cynical stance contained a form of surrender. That version of the left seemed to give up. And in fact, Reagan and Thatcher were just around the corner.

 

Punk rock offered a giant refusal to that cynicism while still cloaking itself in irony. In 1977 the Sex Pistols released the ironically titled single, “God Save the Queen.” Johnny Rotten famously sneered as he asked his audience, “Ever get the feeling you’ve been cheated?” The sneer insured that the joke was complicated: the Pistols were cheating the audience because they defiantly refused to please, but also that the culture had cheated all of them and left them with a kind of nihilism. There was a lot of spitting going on: gobs at the band and gobs back to the audience. As punk developed, it retained its nihilist refusal, but it also had a more egalitarian side. Lester Bangs wrote about the Clash inviting their fans to share their hotel room with them. They were not arena-rock gods, they were just a garage band. Virtuosity on your instrument was not the point, but being politically virtuous was. And it is this strain of punk purity that carried into the 1980s as a counter to the materialist corporate culture of the Reagan years. 

 

There were always traps contained in that youthful fervor for authenticity: how to identify authenticity, first of all, and then how easily markers of authenticity can become just another pose, full of clichés (the hallmarks of hackery). Kurt Cobain, in these interviews that start in 1990, the year before Nirvana made the big time, and end two months before he died in 1994, had internalized the punk rock of the 1980s in the indie/alternative “underground,” and we see him grapple with trying to be true to his punk-rock ethics. But it was impossible: one must have the irony, the ambivalence of not caring, of admitting your own complicity in the system. At the same time, one had to care, and follow very strict rules for not selling out. You had to be like Calvin Johnson, maybe, obscure but respected. Kurt Cobain might have been the last person who believed in punk, and he grew weary navigating these tensions. Besides, there was something art-school and elitist in cultivated obscurity, wasn’t there? Punk should not be elite (this is the problem with a subculture often defined by what it is not). 

 

One of my favorite threads of punk ethos perhaps came from the Stooges and was picked up on by the Replacements: proud loser-dom. It was a sly form of anti-capitalism, of resistance to the 1980s worship of avarice and material, amoral success. This is illustrated in the famous Sub Pop T-shirt that said loser in all caps and extends to Beck’s 1994 hit, “Loser.” And we can hear this self-deprecation when Cobain says Nirvana is “lazy” and “illiterate” and would lose an argument about any topic because they “took too much acid and smoked too much pot.” This is self-deprecation as liberation and subversion—the bullied kids appropriating the words that once were hurled at them. But it is also a kind of pose, as if they didn’t want to get caught caring about anything too much. You can’t criticize my songs ’cause I already said I suck and can’t play. Like all of these threads, it’s complicated. Kurt Cobain may not have been schooled in music or literature, but he was good. He was proud of the albums, if not proud of anything else. 

 

But his humility was also real. After the traumatic divorce of his parents (“the legendary divorce is such a bore” he professed in “Serve the Servants”), he led an itinerant existence, even living in his car sometimes. He was a high school dropout, worked as a janitor, but was mostly unemployed. The thing that saved him, the place he began and finished, was music. He was a true believer in music as a space where he could be himself. He began with total commitment to writing songs, playing his guitar, and performing. And he knew how he wanted the music to sound. He wanted it to be like the music he loved: raw and hard but with pop hooks and lyrics you could hear over and over and still find oddness and interest in them. As much like the Beatles as Black Flag, which turned out to be very appealing to a big audience. The problem was what the world did with the music, with selling the music, and with promoting the music. Ultimately, in his interviews, you can see him trying to work that part of it out. He doesn’t want an “image.” And, as in his lyrics, he manages sarcasm and ambivalence while also exposing how much he cared, a lot, about everything, and constantly. While this worked in his songs, it was harder to pull off in his life. In interviews, he often lied or obscured while also being almost compulsively honest, vulnerable, a person in pain who kept confessing and pouring his heart out even as he felt betrayed by the press and unnerved by his fans.

He continued to do interviews even after the infamous Vanity Fair article that portrayed his relationship with Courtney Love in a cruel, harsh light. He became wary, defensive, angry, yet he still kind of believed that he could break through, regain control. He passionately voiced his complaints. Why didn’t he just shut it all out, become a recluse? He must have wanted, on some very deep level, to be understood. He must have believed that he could be understood. He could not be indifferent or ambivalent no matter how he professed it.

He denied he had ambition, but then admitted it. He wanted to make records and have an audience. He just wanted to do it on his terms, like his punk heroes. At first, his terms meant being on an indie label versus a major label. But this felt unsustainable. Nirvana were not some coddled middleclass kids in suburban garages. They were not even vaguely making a living on Sub Pop. And distribution (a now vintage consideration) sucked. Nirvana thought they could stay true to their vision while getting the advantages of a major label. That worked for Sonic Youth, who also signed with Geffen Records and gained just enough success to still maintain their indie cred, but Nirvana instantly became world-wide superstars selling millions of records, which was hard to reconcile with punk-rock bona fides. Nirvana complained about MTV but wanted to use MTV as much as MTV used them. They complained of playing big stadiums (arena rock, yuck) and the lack of intimacy and connection. But their audiences were too big now. And who exactly was in the audience? Those same kids that used to bully them when they were in high school. Cobain goes back and forth about this new audience: at first, they are not his true fans. They frighten him. Then he tries to control them. After the runaway success of Nevermind, he even puts this in the liner notes to Insecticide:

 

If any of you in any way hate homosexuals, people of different color, or women, please do this one favor for us—leave us the fuck alone! Don’t come to our shows and don’t buy our records.

 

And this points to what was probably the most interesting and enduring and new thing about Kurt Cobain’s punk ethos. He really wasn’t going to be just another rock god, he wasn’t going to exploit women, he wasn’t going to dog-whistle the cliches of rock and roll masculinity. He was a backwater white boy, but he was not a stereotype, not racist or sexist or homophobic. His sensibility was gay, he declared, and he liked strong, smart women. He was fragile, in constant physical pain, and he admitted it. He was highly married and he didn’t date models. He liked being a dad. It even extended to how he looked, or how he presented himself. Like Johnny Rotten, Cobain had great style, but it came out of his own contradictions. He was very pretty, but he didn’t comb his hair, and he wore grandpa sweaters. He wore dresses—not sleek glamour man-dresses like Bowie had once worn, but thrift-store castoffs. And he also wore hospital gowns (his own, which, come on, is really punk). So his style, as it were, came out of his vulnerability, his wearing it all on his sleeve. Or on his T-shirt. He famously wore a T-shirt on the cover of Rolling Stone that said corporate magazines still suck. (Does that give him cover? No, not really. Is self-reflexivity ever really an out? But it is better than nothing.) He also used his shirts as billboards for other, lesser-known artists. As if to say, if you are all going to stare at me, I might as well use the space for good. He wore a Daniel Johnston T-shirt, and when he was on MTV Unplugged, he wore a T-shirt for the proto-riot grrrl band Frightwig. Like REM before him, Nirvana used their fame to promote other artists while also giving credit to their influences (and proving their own cred). Despite MTV wanting the grunge hits and Pearl Jam cameos for Nirvana’s Unplugged set, Cobain insisted on playing three Meat Puppets songs and having them join the set. He also covered songs he learned from the Vaselines, and Leadbelly, and sang (what was then) a more obscure Bowie track. You could hear devotion in his singing: heart out, heartbroken, heartfelt. He tried to accept his contradictions vis-à-vis MTV, interviews, and his own fans. “Come as you are, as you were, as I want you to be.” In his last interview, he said, “I get a few hours to try and subvert the way they view the world.” These tensions are never really resolved. They must be lived in. Or through.

 

In the 2020s, punk is sometimes seen as just another retro “aesthetic,” like goth or glam. One pose among many, and it is an expression of sensibility more than ethos. And, of course, artists are expected to pay even more attention to image, marketing, and self-promotion. The always contradictory notion of authenticity is not just quaint, but not even legible. Selling a lot of songs/books/tickets is a sign of quality, and it is fine to do ads, consider yourself a brand, make Marvel movies, etc., because you need to reach people in a noisy world, and you need to make a living if you want to continue being a maker/creator. And there is something refreshing in the lack of pretense about being commodified (not just your work, but you, the maker/creator). Resistance and subculture no longer have to be obscure because there are other values involved beyond the sense of self: virtual communities with horizontal reach that don’t need to breakthrough mainstream gatekeepers to be viable. There is the possibility of a real egalitarian leveling of access, which is subversive and anti-corporate. You can take the “sub” out of subculture, or you can say everything is subculture, that there is no mainstream to rail against. Maybe there are just streams: streams of music, of films, and somehow, for some people, streams of revenue. Is it better to be an artist now, or was it better to be stuck on the 120 minutes that MTV allowed late at night for “alternative” music? The answer is, I’m afraid, that it is never a good time to be an artist. But here is 1990s-era Kurt Cobain to tell you that there was something valuable at stake in the struggle to live inside those underlying tensions and contradictions.

Watch: Nandi Bushell and Shane Hawkins Jam to "Everlong," "Smells Like Teen Spirit" and More

Earlier this fall - rock royalty gathered at London's Wembley Stadium to pay tribute to Taylor Hawkins  ...  Nandi Bushell - the tween drumming sensation - who caught Dave Grohl's attention - was among those paying tribute  took to the late drummer.  This week  - she shared  a heartfelt shoutout to another young musical prodigy: Hawkins’ 16-year-old son Shane.

 

Check out this video montage of the two jamming to the Foo Fighters’ classic “Everlong” and Nirvana’s “Smells Like Teen Spirit” — incidentally enough, both songs feature Dave Grohl drumming on their studio versions.

 

Watch: Brandi Carlile Performs with Elton John at his Dodger Stadium for Farewell Show

Elton John played his last American show at Dodger Stadium last night (Nov. 20) and he brought out a host of famous friends to help say farewell - including  Brandi Carlile. 

 

Carlile joined Sir Elton John for “Don’t Let the Sun Go Down on Me” -  From his  1974 album Caribou.  

 

 

“To feel the energy from the best fans, not only in Dodger Stadium again, but this time around the world from those watching live at home, will be truly extra special for me,” John said in a statement about the final Dodger Stadium show. “I’m thrilled to celebrate this momentous evening globally. I hope everyone feels the power and joy of performing on a stage as iconic as Dodger’s. Just like I did almost 50 years ago.”

 

Jack White shares 'Seven Nation Army' live video from rooftop Soho gig and announces live album

Jack White has announced a new live album of his 2021 Soho rooftop performance in London.  Last September, White played a surprise set on the rooftop of Damien Hirst to celebrate the grand opening of his new Third Man Records store down the road

 

The ‘Live From Marshall Street’ bonus LP is released alongside his two solo albums – ‘Fear Of The Dawn’ and Entering Heaven Alive’ – in a triple vinyl collectors’ set and can be ordered here.

Here's a  clip of ‘Seven Nation Army’ from the gig -

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Rough Trade (@roughtrade)

Watch The Breeders Play Pixies' Gigantic With Dave Grohl At VetsAid

Joe Walsh put together an all-star lineup of Ohio musicians over the weekend for a big ol' jam at the Nationwide Arena in Columbus.  The show - a benefit for VetsAid, the veterans’ charity he founded in 2017 - featured  Walsh’s James Gang (playing their first full set in 16 years), Nine Inch Nails, the Black Keys, and the Breeders.   Oh yeah - Dave Grohl, a native of Warren, Ohio, was on hand to sit in with some of the performances. 

Grohl played guitar and did backing vocals during the Breeders opening set  - as Kim Deal sang her Pixies classic “Gigantic” 

 

 

Grohl also played a second drum set on two of the four songs from Walsh’s finale set -  “Life’s Been Good” and “Rocky Mountain Way” and with the James Gang for their set-closing rendition of “Funk #49.”

 

 

 

 

Dave Grohl Makes Surprise Appearance During Lionel Richie's Rock Hall Performance

After being introduced into the Rock and Roll of Fame by Lenny Kravitz, Lionel Richie, the Commodores musician and American Idol judge, began the his musical medley with “Hello” on piano ... but he quickly switched the mood  - jumping  into the Commodores’ “Easy,”  with a surprise appearance by his buddy Dave Grohl.  Check out the performance below  - 

 

 

Grohl has been a longtime fan of Richie’s, the two most recently worked togeher on  Foo Fighters’ comedy-horror film Studio 666 where Richie chastised Grohl for stealing “Hello.” 

Future Islands add their signature spin on new cover of Wham!'s 'Last Christmas'

November 1 has (somehow) become the new first day of Christmas season.   The jack-o’-lanterns still haven't finished rotting on the stoop  - but peppermint spice lattes are out, they are selling christmas trees, and bands are releasing holiday songs.   This year ( to save you from tears) Future Islands have dropped a new cover of Wham!'s 1984 classic, “Last Christmas.”

 

Staying true to the original version for the most part, but it's vocalist Samuel T. Herring distinctive style that gives the cover it's flare.  Check out Future Island’s “Last Christmas” below and go ahead and check out of Whamageddon before December even starts ! 

 

 

Uh - have you been pronouncing Adele's name wrong?

Adele is one of the most famous musicians in the world - and it turns out many of us have been pronouncing her name wrong ... 

 

Druing a recent Q&A to promote the release of the video for her new song "I Drink Wine" - the 34 year old Emmy, Grammy and Oscar winner set the record straight about her moniker.  

 

After a fan  asked her a question about songwriting - she quipped - "Love that - She said my name perfectly!"  Turns out the correct pronunciation is "uh-dale," not "ah-dell"  ... and now we know

 

check out the video for I Drink Wine - 

 

The ABCs of The Grateful Dead: New Illustrated Book Aims to Introduces Kids to the Grateful Dead

The release of a new children's book titled The ABCs of The Grateful Dead  has been announced.  The book - an alphabetical history of the Grateful Dead - aims at at introducing a new era of fans to the band.   Howie Abrams wrote the book and features vibrant illustrations by  Michael “Kaves” McLeer.

 

 

What do you think A is for? 

The book is due to be released on Nov. 22 via Permuted Press. 

 

Watch Eddie Vedder & The Earthlings cover The Cure's 'Just Like Heaven' in Las Vegas

Eddie Vedder& The Earthlings closed out a brief run of dates w last night (October 7) at Dolby Live at Park MGM in Las Vegas. The set featured songs from Vedder’s third solo album Earthling but it was a first time cover during the encore that highlighted the set  

 

Beforehand playing the Cure’s “Just Like Heaven” - Vedder told the crowd that the song was on the playlist for the COVID-era dance parties he held with his wife Jill in their garage - yes - they invested in disco lights and smoke machines. “I will always have great memories of those incredible dance parties ... The kids would come in and check on us and kind of get embarrassed and have to leave, but we had a fuckin’ blast. This is one of the ones that we would play. We’ve never played it before — we only played it about an hour ago right before we came out, but we’re gonna try it now.”

 

Check out some fan captured footage below - 

 

 

 

Bruce Springsteen Joined The Killers OnStage For Three Songs At Madison Square Garden (WATCH)

The Killers Imploding The Mirage tour was delayed (a few years) but is off to a rousing start .. Lindsey Buckingham came out with the band in Los Angeles and this Saturday - they performed in New York City at Madison Square Garden, and this time they had Bruce Springsteen come out for a three song encore - “Badlands,” “A Dustland Fairytale” and wrapped up the night with “Born To Run.”

 

Watch videos of the performance below

 

 

 

 

Eddie Vedder Sang Temple of the Dog & Joined Stevie Nicks Onstage at Ohana Fest (WATCH)

Eddie Vedder's Ohana Festival was another epic weekend of music. 

 

Friday night - Vedder joined Stevie Nicks on stage during her headlining set at for a performance of “Stop Draggin’ My Heart Around” - from her first solo album Bella Donna.  The song was originally a duet withTom Petty - but Friday . Vedder filled in for the late Petty. 

 

 

 

Saturday night - Vedder co headlined with Jack White  ... and Eddie Vedder and the Earthlings (featuring Red Hot Chili Peppers’ Chad Smith and Josh Klinghoffer, ex-Jane’s Addiction bassist Chris Chaney, and Andrew Watt) played mostly new material ... they were joined at one point by ex Heartbreaker Mike Campbell. 

 

Near the end of the set - Eddie played an emotional rendition of Temple of the Dog’s “Hunger Strike” 

 

 

 

 

Stream 'Do I Love You (Indeed I Do)' - the first single fromBruce Springsteen's soul music cover album

 Bruce Springsteen's 21st studio album - Only The Strong Survive - features a collection of fifteen soul music greats titled and will be released on November 11 - sung by the Boss himself.

 

Only The Strong Survive celebrates soul music gems from the legendary catalogues of Motown, Gamble and Huff, Stax and many more. The album l also features guest vocals by Sam Moore, as well as contributions from The E Street Horns, full string arrangements by Rob Mathes, and backing vocals by Soozie Tyrell, Lisa Lowell, Michelle Moore, Curtis King Jr., Dennis Collins and Fonzi Thornton.

 

 

Bruce Springsteen commented:

“I wanted to make an album where I just sang. And what better music to work with than the great American songbook of the Sixties and Seventies? I’ve taken my inspiration from Levi Stubbs, David Ruffin, Jimmy Ruffin, the Iceman Jerry Butler, Diana Ross, Dobie Gray, and Scott Walker, among many others. I’ve tried to do justice to them all—and to the fabulous writers of this glorious music. My goal is for the modern audience to experience its beauty and joy, just as I have since I first heard it. I hope you love listening to it as much as I loved making it.”

 

Watch Springsteen's "Do I Love You (Indeed I Do)" video directed by Thom Zimny here:

 

Pre-order Only The Strong Survive here: https://brucespringsteen.lnk.to/OnlyTheStrongSurvive

 

 

Watch Pearl Jam Play 'Rockin' In The Free World' With Chad Smith at Madison Square Garden

Midway through the closing of their emotional September 11th show in New York City show - Pearl Jam were joined onstage Red Hot Chili Peppers drummer Chad Smith for their traditional set closer of “Rockin’ In The Free World”.  

 

Chad perched himself at a tiny drum kit next to former RHCP Josh Klinghoffer, who has been playing with Pearl Jam over the past year. 

 

 

To end the night - the band played a scorching version of  “The Star-Spangled Banner,” on the 21st anniversary of September 11, terrorist attacks.

 

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Pearl Jam (@pearljam)

 

Brandi Carlile Announces She'll Perform a Record Release Show via IMAX Livestream

Brandi Carlile has announced she will celebrate the release of her new album - In the Canyon Haze - with a live performance broadcasted to IMAX Theaters on September 28. Find tickets HERE

 

“I’ve made a terrifying and beautiful commitment to livestream a complete performance of my new project In the Canyon Haze to IMAX theatres across the country ... The music and harmonies are complex and lush…anything could happen. You will hear these songs like you’ve never heard them before and I expect that it’ll be one of the most potent and welcome challenges of my career to bring this to you in such stark detail. Live is live. Rock and roll is a risk and I’m here for it!”

 

On In the Canyon Haze, Carlile reimagines the songs featured on her 2021 album In These Silent Days through the vantage point of Laurel Canyon in LA. Catherine Carlile, the Grammy award winner's wife - appears on the record’s first single, You and Me on the Rock (In the Canyon Haze)”.   Her bandmates Phil and Tim Hanseroth produced In the Canyon Haze, which features a stunning cover of David Bowie’s “Space Oddity.”

 

While we wait for the 28th - revist WRNR's exclusive release show of In These Silent Days 

 

Watch Pearl Jam Pay Tribute to Queen Elizabeth with Debut Cover of The Beatles' "Her Majesty" in Toronto

 Pearl Jam paid tribute to Queen Elizabeth II of the United Kingdom after her passign at their  Scotiabank Arena show in Toronto this week by mixing a debut cover of The Beatles’ 1969 song  “Her Majesty” into their set

 

 The track - which initially appeared on the 1969 classic Abbey Road,was the fourth song of the night - after  “Daughter,” “Come Back,” and “Sometimes” 

 

A seated Vedder strummed his guitar and grabbed the mic before addressing the audience directly: “This is a little one I’m going to borrow from Paul McCartney for about 90 seconds.” 

 

Check out fan captured footage of the cover below 

 

Robert Smith's 2012 rant about the monarchy eerily almost predicted The Queen's date of death

With Queen Elizabeth II's death on Thursday, there have been a lot of tributes to her, but don't hold your breath on getting one from from The Cure's Robert Smith.

 

Smith, who's been a longtime anti-monarchist, actually had the slogan "Citizens Not Subjects" - which dates back to the Declaration of Independence -- embedded on the back of his guitar in 2012 

 

Smith has not been shy about talking about his hatred of the monarchy over the years, and when asked about his guitar at the Hurricane Festival in 2012, Smith didn't hold back. At one point Robert offered quip that is more than a little eerie now: "The Queen's gonna die on... September the 7th. Then there'll be a huge uprising, and I'll be made King."

 

He was close! (She died on September the 8th).