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Music

2026 Sick New World Festivals in Las Vegas and Forth Worth: Lineups

by jummy84 October 22, 2025

written by jummy84

After a 2025 edition was called off six months to go , the Sick New World festival will be back in 2026 with two huge one-day concerts in Las Vegas and Fort Worth, Texas, with System of a Down headlining both events.

See latest videos, charts and news

The Vegas show will take place on April 25 at the Las Vegas Festival Grounds, and in addition to SOAD, the show will feature Korn, Bring Me the Horizon, Ministry, AFI, Evanescence, Acid Bath, Underoath, Coal Chamber, Knocked Loose, Cypress Hill, KMFDM, the Melvins, Filter, Clutch, Danny Elfman, Marilyn Manson and others.

Fans can sign up now for a pre-sale for the Vegas date that kicks off on Thursday (Oct. 23) at 10 a.m. PT.

The Forth Worth show will take place at Texas Motor Speedway on Oct. 24 with SOAD at the top of the bill, along with Deftones, Slayer — celebrating 40 years of Reign in Blood — Evanescence, Ministry, AFI, Underoath, The Prodigy, Mastodon, Knocked Loose, Power Trip, Down, Melvins, Orgy, Filter, Kittie, Snot, P.O.D. and many more.

Fans can sign up now for a pre-sale that starts on Friday (Oct. 24) at 10 a.m. CT.

Sick New World debuted in 2023 at the Las Vegas Festival Grounds with SOAD as its headliner along with fellow hard rockers Korn, Deftones and Incubus and a similar mix of metal, industrial, hardcore and goth rock. It returned the next year with SOAD again at the top, joined by Alice in Chains, A Perfect Circle, Swans, Primus, Code Orange and Knock Loose, among others.

The 2025 edition, which was to feature Metallica and Linkin Park, was slated to take place in April of that year, but was cancelled in Nov. 2024 due to “unforeseen circumstances.”

Check out the full lineups below.

Billboard’s Live Music Summit will be held in Los Angeles on Nov. 3. For tickets and more information click here.

October 22, 2025 0 comments

Music

iLe’s Boleros Give Women a Powerful Voice » PopMatters

by jummy84 October 22, 2025

written by jummy84

There’s love that’s just lovely, and then there’s the love that digs under your skin and sets your guts on fire. Likewise, the Latin boleros can be gauzily romantic, but on Como Las Canto Yo, the singer iLe is more interested in those whose hearts and intellects are aflame.

Boleros began in Cuba over a hundred years ago and have always been a Latin music staple. Sometimes, they are the slow dance break from the more frenetic mambo or salsa tunes; other times, they are the main event, drawing lovers into their measured, deliberate sway. Sometimes, they celebrate the initial limerence phase of love; other times, they embody Tennyson’s bittersweet dictum that it is better to have loved and lost than never to have loved.

On her latest album, the Puerto Rican singer iLe cherry-picks some classic and deep-cut boleros, mostly choosing ones that tell the story of ill-fated love. Her vocal outpouring makes the songs seem like cousins to flamenco or Portuguese fado, whose goal is to express deep and powerful emotions.

Boleros from the golden age of mambo often feature lush orchestral embellishment, but iLe leaned toward the stripped-down street sound side of the genre. In most songs, her powerful voice plays off just a guitar or a couple of instruments, making it seem more raw and urgent.

In some songs, such as the initial single “Un Amor de la Calle”, which was popularized in 1975 by the late star Hector Lavoe, iLe tells the story of a betrayal by an untrustworthy lover. It’s a heartfelt, straightforward tale told in slow, sultry tones. With soft percussion and a sparely played electric guitar, iLe conjures an arrangement as richly textured as an orchestra. The protagonist is resolute and angry, but it’s a bittersweet moment, capped with a bitter laugh—the siren saying farewell and good riddance. “I thought you were sincere / And I gave you my life / Without any conditions / But it was all a dream.”

Elsewhere, this same ambivalent goodbye to a lover is expressed in more poetic terms, such as “Moon’s Lament”. iLe fills the air with her voice, only accompanied by an acoustic guitar, evoking a quiet night that reverberates with sadness and solitude. The song’s lovely vocals celebrate a love even when it’s slipped away. “A drunken song of bitterness / That the sea murmurs/How to erase this long sadness / That your goodbye leaves behind / How can I forget you if deep inside / You are there.”

Deviating from the classics, iLe sings “No Te Detangas (Don’t Stop)” written by her grandmother, Flor Amelia de Gracia. In contrast to what one might imagine of a song written by a grandmother, this one expresses unequivocal sexual desire. She sings it with clarity and tenderness, accompanied by a sweet acoustic guitar and a dawdling, hand-slapped conga. “Don’t stop / In such a delicious moment / Don’t stop / In such a glorious moment / Like a tattoo I want to carry you / All over my body.”

One of iLe’s vocal touchstones is La Lupe, the Cuba-born singer known for her electric performances, who exploded in New York City in the 1960s, performing with Tito Puente. She tackles two of her songs here. In “El Verdugo (The Executioner)”, she is accompanied by a small combo, but successfully distills the song’s essence, a master class of technique. Where La Lupe was over the top, iLe unreels her stunning voice with perfect control. She works up to a sustained, blow-you-away vocal crescendo. “You are the executioner / Of the love that knew how to lead you / To a path of happiness / That you have never crossed again.”

She follows up by switching gears with “Pepito,” the 1961 hit by the trio Los Machucambos. The quaint tune has a playfulness not heard elsewhere, a sweet tribute to the trio’s long career.

iLe was featured on Adrian Quesada’s experimental Boleros Psicodelicos albums, and her “Si te Contara” has a similar anything-goes, retro-futuristic vibe. The big band sound with horns and vibraphone is processed to sound muffled, giving it the flavor of vintage vinyl, though her voice is front and center, singing confidently to a former lover. “If you knew, would you care / If you were told that there is no light or joy left in me / That your memory is the greatest harm I do to myself / For living dreaming that you will return repentant.”

The next tune takes a very different experimental turn. For “Un Poco Mas (A Little More)”, iLe completely remakes an old tune as an a capella exercise, but only accompanied by a chattering cloud of hand-played percussion. In another surprise turn, she covers La Lupe’s “Puro Teatro”, again showcasing her voice, only accompanied by a church-y electric organ.

In the penultimate song, iLe pays a beautiful tribute to the groundbreaking Puerto Rican female songwriter Sylvia Rexach with the gently heartbreaking “Yo Era un Flor (I Was a Flower)”. The narrator is a flower speaking to a passing butterfly, telling her story, a parable for young women who give themselves to someone who quickly moves on.

The narrator’s sad humility is heartbreaking, but the beauty of its expression—poetically and vocally—embodies what Brazilians call saudade, a bittersweet mix of feelings—a sadness that is still somehow uplifting in its beauty, a reminder of the privilege of feeling and being alive. “I was a flower / That grew in the weeds / And was offered a fleeting love / A nightingale took my chalice / Destroying my soul / And leaving me plunged in pain / I was a flower / That lost its color.”

iLe ends Como Las Canto Yo by putting romantic love aside and taking up a political message. A performer not shy about speaking out politically, she sings the Puerto Rican anthem, “La Borinqueña”. Accompanied by a single martial-sounding drum, she resurrects the song’s original lyrics written in 1868, when the island undertook its first armed rebellion against Spain. Puerto Rican poet Lola Rodriguez de Tío wrote the initial words.

The call to arms within the lyrics was tamed down when the island became a United States territory. Still, iLe goes back to the earlier, angrier lyrics, no doubt feeling the rise of sentiments against Latinos in the United States. “Wake up, Borinqueño / The signal has been given / Wake up from that dream / It’s time to fight.”

iLe’s journey to bolero warrior began in her pre-teens when her older brothers asked her to sing along with their fledgling rap group. What started in their living room in San Juan became Calle 13, one of the best-selling Latin music groups known for taking up social justice causes. Born Iléana Mercedes Cabra Joglar, her little sister was dubbed “PG-13” by a cousin who observed her singing with them in clubs where she was too young to be in the audience.

At age 25, she released her 2016 solo debut, the Grammy-winning iIlevitable, under her new stage name, iLe. The album surprised many fans since it featured a retro big band sound, including some boleros. On her latest, iLe revisits the past, but refashions it in unexpected ways and, along the way, empowers women in a genre that often gives men dominance.

Across her three solo albums, iLe has proven to be an artist constantly looking to explore new sounds. With Como las Canto Yo, which means “how I sing them”, she shows that even with the confines of a single genre, she can create a variety of soundscapes for her stunning vocal instrument and put her own mark on Latin music.

October 22, 2025 0 comments

Music

“I Traveled Back Into The ’70s” to See David Bowie Perform

by jummy84 October 22, 2025

written by jummy84

Any one who has ever seen or heard Janelle Monáe knows that she’s very much out there in the best ways possible. Now, we know just how far out there she is: Circa 1972 at a David Bowie concert.

Yes, as she revealed during in a recent chat with Lucy Dacus for Rolling Stone’s Musicians on Musicians series, Monáe is a time traveler. (So, is that more Bill and Ted or, like, The Time Traveler’s Wife?) And at some point in her early career, she harnessed the space-time continuum itself to go see Bowie and his band perform during the tour for The Rise and Fall of Ziggy Stardust and the Spiders from Mars.

“I traveled back into the 1970s and I saw him do Ziggy Stardust and it was incredible,” Monáe said. I mean, I maybe would’ve instead stopped the bombing of Pearl Harbor, or shuffled Baby Hitler off this mortal coil. Still, a nice concert after some chrono-skipping sounds lovely, too. Check out the clip below.

Tame Impala Unveils New Tunes On ‘Sound Check’

by jummy84 October 22, 2025

written by jummy84

Tame Impala unveils three songs from its just-released album, Deadbeat, as part of the first installment of the new live video series Sound Check at Cherry Lane Theatre. Filmed at the A24-owned New York venue, the episode sports the live debut of album opener “My Old Ways” plus the pre-release singles “Dracula” and “Loser.”

With Tame Impala’s first tour since March 2023 about to begin next week, fans can get a sneak preview of the Kevin Parker-led group’s current live setup in the Sound Check video, which finds Parker encircled onstage by guitarist/keyboardist Dominic Simper, guitarist/keyboardist Jay Watson, guitarist/keyboardist/percussionist James Ireland, keyboardist/percussionist Julien Barbagallo and bassist Cameron Avery.

The three-song set was directed by Sean Durkin (The Iron Claw). After “Dracula,” one of the musicians says to Parker off-camera, “good harmonies. Did you do a wrong lyric in one of the verses?” “I fucked up,” Parker admits.

Deadbeat is the follow-up to 2020’s The Slow Rush and is expected to debut in the upper reaches of the Billboard 200 this week. After Tame Impala’s fall shows conclude Nov. 17 in Los Angeles, the group will be back in action with a spring tour of Europe and the U.K., beginning April 4 in Porto, Portugal.

Parker will also be on the DJ decks for three early December shows in Australia opening for Justice, with whom he collaborated on the French electronic duo’s hit 2024 album, Hyperdrama.

October 22, 2025 0 comments

Music

They Are Gutting a Body of Water: Lotto Album Review

by jummy84 October 22, 2025

written by jummy84

Since 2017, They Are Gutting a Body of Water have evolved from Doug Dulgarian’s shoegazey, slowcore-influenced solo project into a dense, maximalist quartet that can best be described as the soundtrack to a hypothetical Mario Kart Level of Hell. The band’s fusion of drum ’n’ bass and breakcore with harsh, dense layers of guitar and bass is often accompanied by rounded, N64-inspired tones, creating a world both playful and sinister in its embrace of the synthetic. Their sound feels massive yet insular in its precision: During live sets, they prefer to play facing each other in a tight circle. On Lotto, TAGABOW’s fourth studio album, the band pulls the plug on hyperreality and abandons electronic elements in favor of a more straightforward, live approach: finally letting the screens go black, pulling the blinds up. It’s their rawest album yet, both in subject matter and in sound.

Though Dulgarian has previously delved into themes of numbness and isolation, the lyrics have tended to be evasive, allowing his terse, imagistic motifs to slip quietly beneath the crashing riffs. Lotto strips his words bare from the jump. The album opens with “the chase,” a first-person account of suffering through fentanyl withdrawal. “Boosting Gillettes in a hopeful exchange for a sharp but tranqless synthetic isolate,” he mutters, “a substance that’ll make me sob pathetic to my girlfriend up high in miracle’s castle.” Even when the lyrics are fuzzier and sparser, Dulgarian’s voice comes through clearer than ever. On “rl stine,” dedicated to an unhoused friend, he allows certain phrases to come to the forefront of speaker-busting guitar swells: “I know that hurts/Greet the day with a sweet reserve.” Lotto’s vignettes become all the more gut-wrenching in their pointed swings toward clarity.

Still, Lotto is not a pessimistic album; it’s the band’s most hopeful work, in both its brutal honesty and its conscious pursuit of staying grounded. Dulgarian notes that the album is “rife with perceivable mistakes, ebbing and flowing with the most humanity [he] can place on one record.” This sentiment was always present in TAGABOW’s music (“Evolve, or die,” he sang on 2022’s “webmaster”), but it comes alive in these pared-back arrangements. On the instrumental standout “slo crostic,” Dulgarian, bassist Emily Lofing, and guitarist PJ Carroll each take turns riffing off Ben Opatut’s walloping drums before coming together into a relatively simple yet undeniably hooky finish. It feels unrehearsed, or at least looser and more laid-back than ever. Closer “herpim” explores the band’s new steadfast approach with lyrics that describe an airplane emergency over ambulance-like guitars and a looming, hoarse bassline. “We couldn’t land where we intended ‘cause there’s storms,” Dulgarian announces through loudspeaker fuzz, “but now we have to so I need you to buckle in.” The instruments fade out one by one, concluding the album with a few muted drums and the sound of a door opening.

October 22, 2025 0 comments

Music

Rina Sawayama sends “big love” to Sabrina Carpenter but calls out “cultural insensitivity” of ‘SNL’ performance

by jummy84 October 22, 2025

written by jummy84

Rina Sawayama has shared her thoughts on Sabrina Carpenter’s Saturday Night Live performance, praising the star but commenting on the performance’s martial arts theme.

READ MORE: Sabrina Carpenter – ‘Man’s Best Friend’ review: pop’s bawdy troubadour hits the melodic G-spot

Carpenter performed the song ‘Nobody’s Son’ from her latest album ‘Man’s Best Friend’ on SNL on October 18. The performance had a martial arts theme, with Carpenter herself wearing a short white robe and black belt and dancers acting out a fight sequence.

The singer was making her hosting debut on the long-running show, serving as her own musical guest, and also performed her single ‘Manchild’, made reference to the controversy over the ‘Man’s Best Friend’ album cover, and poked fun at her friend Taylor Swift’s song ‘The Fate Of Ophelia’.

The following day, Sawayama posted a clip of the performance on her Instagram Stories, and wrote, “Big love to Sabrina but fellow artists creative teams … if we are clearly referencing a culture, please can you do so with the research, respect and care it deserves. Shoes on tatami is jail.”

Tatami are soft mats used in traditional Japanese rooms, and etiquette dictates that people shouldn’t wear shoes on them.

Sawayama was born in the Japanese city of Niigata and moved to London with her family when she was five years old. While adjusting to life in the UK, she tried to “preserve” her Japanese culture, in part by listening to Japanese artists, and in 2019 Vogue Japan named her one of its women of the year.

At Glastonbury Festival two years ago, she spoke out against The 1975 frontman Matty Healy, previously a director at her record label Dirty Hit, following a controversial podcast appearance on which he mocked the appearance of rapper Ice Spice and said that he watched a racially charged pornography series.

Introducing her song ‘STFU!’, she said: “I wrote this next song because I was sick and tired of microaggressions. So, tonight, this song goes out to a white man who watches [pornography series] Ghetto Gaggers and mocks Asian people on a podcast. He also owns my masters. I’ve had enough.”

She then seemed to call Healy out again during her set at NOS Alive in Portugal a couple of weeks later.

Not long after, former collaborator Charli XCX unfollowed Sawayama, with fans speculating that it was related because Charli was dating, and is now married to, Healy’s bandmate George Daniel.

Charli then addressed the drama on X (Twitter), writing: “Look – this all got a bit crazy – me and Rina spoke about things on the phone just now. My unfollowing (which happened a couple of weeks ago) was over a personal disagreement between friends which we’ve now spoken about.”

In 2024, Sawayama – who released her most recent album ‘Hold The Girl’ in 2022 – said that she couldn’t release her next album “under my current conditions”, admitting: “I feel really trapped and don’t know what to do.”

She told The Independent that, since the previous summer, she had “felt intense racist misogyny in a way that I’ve never felt before,” adding: “In public and private I feel as though I’ve been repeatedly gaslit, disrespected, ignored, even cyber-bullied for calling out blatant racist and sexist behaviour.”

October 22, 2025 0 comments

Music

Neil Young, Joan Baez Not Playing TPUSA Halftime

by jummy84 October 22, 2025

written by jummy84

For anyone eagerly awaiting an “alternative” to the Super Bowl halftime show featuring Bad Bunny, the “All-American Halftime Show” appears to be on, and for the same day, Feb. 8.

But contrary to what you may have seen on social media, Joan Baez and Neil Young, at the very least, will not be part of it.

AI slop continues to seep into social media, with Boomer-era musicians continually depicted in false photos. As Rolling Stone has previously reported, bogus images of classic rockers in hospitals or singing at the graves of other rockers have flooded the internet — fooling some fans in the process and provoking laughs in just as many. (No, Steven Tyler did not visit Robert Plant in a hospital after he “collapses on stage.”)

The lineup for Turning Point USA‘s “All-American Half-Time Show” — “celebrating faith, family and freedom” — hasn’t yet been announced. (One can, however, go to TPUSA’s website to vote for which category of music you’d like to see and hear, which includes, tellingly, “Anything in English.”) But that hasn’t stopped the AI machine from churning out at least one fake TPUSA half-time ad announcing that Baez and Young will be co-headlining “a heartfelt and patriotic alternative to the Super Bowl 60 halftime event” that will “honor the enduring legacy of Charlie Kirk.” To ram home the point, a football field and large American flag are shown in the background. In overblown language familiar to anyone who tracks such things, the post adds, “With Joan’s golden voice and Neil’s grace-filled harmony, the All-American Halftime Show will turn the world’s biggest stage into a moment of hope and homecoming.”

Reps for Young and Baez declined to comment, much like reps for Bob Dylan, Phil Collins, Bruce Springsteen, and others who have passed on making statements about AI imagery that’s hoodwinked whatever percentage of their fan bases.

The inclusion of Baez and Young, two particularly devoted Trump bashers, is especially amusing in light of Young’s new anti-Trump protest song “Big Crime” and Baez’s criticisms of the president. And let’s not forget their participation in the L.A. stop of this year’s Bernie Sanders and Alexandria Ocasio-Cortez “Fighting Oligarchy” tour, where they were also joined by Maggie Rogers. There, Baez sang the folk song “Ain’t Gonna Let Nobody Turn Me Around” with updated Trump-era lyrics ( “Ain’t gonna let no white supremacists turn me around”) and Young led the crowd in a sing-along of “Rockin’ in the Free World.”

Another bogus post claims that “six legends” of country, including Willie Nelson, will be partaking in the same bizarro-universe halftime show. “More AI horseshit about Willie,” a rep for Nelson tells Rolling Stone. “They obviously don’t know anything about Willie, do they?”

To quote one commentator on the Young-Baez fabrication: “I don’t think so, but nice try, dingbats.”

October 22, 2025 0 comments

Music

Superstar Q+A with Kali Uchis | Billboard Latin Music Week 2025

by jummy84 October 22, 2025

written by jummy84

Kali Uchis does a superstar q&a with Billboard’s Associate Editor of Billboard Español, Isabela Raygoza at Billboard’s Latin Music Week 2025.

October 22, 2025 0 comments

Music

Samantha Crain Is at Peace While Observing » PopMatters

by jummy84 October 22, 2025

written by jummy84

Language quenches Samantha Crain’s flaming fire. An exceptionally potent songwriter, Crain finds that her spirit, affections, desires, and disposition live and reign in language. Her nuanced writing is something that she sees as both a gift and a demand.

Crain was born, raised, and attended school in Shawnee, Oklahoma, east of Oklahoma City, retaining familial and ethnic ties to the Choctaw Nation Reservation in southeastern Oklahoma, particularly in the town of Clayton. “I spent half of my life there (in Clayton) as well,” said Crain. “When we weren’t in school, we were hanging out with cousins, aunts, uncles, and grandparents, and were between these two places. One was deeply rooted in the tribe there. The other was a normal Midwest town.”

At an early age, Crain, 39, developed a strong sense of reverence for private space and inner solitude. “For whatever reason, I had to grow up pretty fast,” said Crain. “I was precocious and did not have a lot of friends. My lived experience was different than the people I was around. I tended to be a loner, and I didn’t interact with too many people.”

She was also inclined to enjoy quieter pastimes, such as journaling, writing, or listening to music, mostly her dad’s records spinning at home. “My dad’s records were a lot of 1960s, 1970s folk music,” said Crain. “Neil Young. Bob Dylan. Joni Mitchell. Peter, Paul and Mary. When CDs and Walkmans came along, it became whatever pop music was around at the time. I was influenced by both sides of things, the records at the house, and the pop music on the radio, before the Internet.”

Her father and her uncle played music as a hobby. The prospect of playing music as a profession first occurred to her when she saw the joy it brought to those performing at local DIY music shows, which she first attended around the time she started driving. “At these DIY shows in Oklahoma City, there were these people not too much older than me playing songs that they’d written with the guitar. I was always interested in writing poetry and stories in my spare time, and music was another extension of that (interest). In secret, I started teaching myself in my bedroom, from a guitar chords book, and putting poems to chords.”

Crain began performing at open mic nights in the Oklahoma City area. There was a local art magazine that listed events in its rear classified section. She’d grab a magazine, head straight to its back pages, and circle the open mic happenings. Nights when she didn’t have to work or didn’t have to be at school the following day, she’d drop in at an event, play some covers, and work through a couple of originals, in diverse phases of completion or incompletion.

“Once I’d had enough songs to play 30 or 45 minutes, I started booking my own tours,” she said. “In the early Internet age, there were coffee shops and record stores that you could call or send an email to, and let them know when you were coming through town and on what day. The vibe was to help the artist out, and you didn’t need a fan base to get booked.”

Music became more than just a preoccupation; it became the root and foundation of her life. Beginning with her first record, Kid Face, released in 2013, Crain has delivered us into the authority of her songwriting.

“There was a gigantic sense of creative freedom (making Kid Face) and there were no extra voices in my head,” said Crain. “Just me and friends making songs together in a basement… before you have all of these opinions and others weighing in on your art. There is something really pure about that which you always want to get back to. It is hard to get back to the innocence of pure, childish creativity.”

One of her most haunting songs, “Joey”, a track from the starkly brilliant A Small Death (2020), evokes commanding imagery and the profound pain of someone hurt and neglected by the one they most love. It is one of her most intensely personal songs and also one of her most universal. “At first, I modeled my songwriting more on literary figures than songwriters,” said Crain. “It was sort of my introduction to writing through poets and fiction writers. I was reading a lot of Edna St. Vincent Millay (1892-1950) and Southern Gothic writers, and modeling a lot of my song lyrics more on literary writers.”

Thus, some of her finest songs, such as “Tough for You” and “An Echo”, seem imbued with a strong sense of isolation. Though in recent recordings, she has added greater pop sensibilities to the lyrical and musical equations. “I’ve started studying songwriters I like, which has helped me understand song structure a bit more. I’m at the point where I’ve developed what I feel is my voice within songwriting. There is nothing better than time. The longer you spend on a subject – for me, it’s making records and writing songs – there is going to be personal, emotional, and spiritual growth. It’s because of the sheer time dedicated to something.”

Indeed, the continuous practice of music allows Crain to always be learning more about her own motivations, intentions, and ambitions. “I’ve learned there are going to be hard nights and records that people don’t like,” said Crain. “There are going to be nights people don’t show up, but you do it because it’s your purpose in life. I’m not the best at it or special, but I know that this life serves me as much as I serve it. There are good records and bad records. Good days and bad days on tours. It’s not that I’m resilient. I’m devoted to this life that has devoted itself to me.”

Recently, Crain released Gumshoe, a songwriting and sound mixture that combines 1960s folk inspirations, lingering literary influences, and cool structural tinges of pop music. Crain’s smoothness and proficiency as a songwriter on this project and others are predicated on one of her chief personality traits: relentless observation. “If there is a group of people, I’m on the outskirts listening to other people’s conversations. I’m not antisocial; I just prefer to watch or listen and don’t need to be doing an activity. Give me a chair or a porch, and I’ll watch or observe. Sometimes, I’ll make notes in a little notebook.”

Collecting observation is not just fertile earth for songwriting, she explained, but a quiet exercise that helps settle a mind seething with all sorts of extraneous noise. “People, nature, plants, creeks, conversations. I feel at peace existing within those inspirations. The best thing creatively for me is to be in a peaceful state and able to observe. That’s when my creativity is at its peak. I get disconnected from the creative part of my brain when my anxiety is at a high. I write best when I’m at peace and observing.”

Fresh off a three-month tour, Crain avowed that the very best nights of it were the ones when her faith in herself was at its utmost and when any remaining self-doubt departed. On those nights, she energetically poured herself into the set, and in response, a reciprocal force, purely and generously transmitted, emerged.

“It’s not applause. It’s not a lot of people coming to the merch table. It’s not people dancing. It’s when we are all tapped into each other at the same time and moments that go beyond the audience-performer and transcend community.”

October 22, 2025 0 comments

Music

The Doors 60th Anniversary Concert to Feature Robby Krieger, Perry Farrell, Billy Idol

by jummy84 October 22, 2025

written by jummy84

A concert celebrating the 60th anniversary of The Doors will feature the legendary band’s original guitarist Robby Krieger alongside Perry Farrell, Billy Idol and his longtime guitarist Steve Stevens, Sum 41’s Deryck Whibley, Stone Temple Pilots’ Robert DeLeo, and several more musicians. The show will take place at the Greek Theater in Los Angeles on October 30th.

Get Tickets to A 60th Anniversary Doors Celebration Here

The evening, dubbed “A 60th Anniversary Doors Celebration,” will include a full performance of the album Morrison Hotel, as well as a selection of other Doors classics. Tickets are on sale now via Ticketmaster or StubHub.

In addition the aforementioned acts, the concert will feature Greg Gonzalez (Cigarettes After Sex), Fantastic Negrito, Chris Goss (Masters of Reality), Kevin Martin (Candlebox), John Doe (X), Carmine Appice (Vanilla Fudge), Stephen Adler (Guns N’ Roses), Adam Kury (Candlebox), and Orianthi.

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