On February 28, PAPA ROACH's Jacoby Shaddix (vocalist),Jerry Horton (guitarist) and Anthony "Twan" Esperance (touring guitarist) took part in a "Riff Sessions" acoustic performance at the studios of Detroit's WRIF radio station. You can now watch the set below.

Featured songs:

00:00 - Intro
02:56 - "Even If It Kills Me"
11:04 - "Scars"
17:58 - "Leave A Light On (Talk Away The Dark)"
24:34 - "Last Resort"

Last month, PAPA ROACH released a brand-new version of its latest single, "Even If It Kills Me", via the band's own label, New Noize Records/ADA. The group and Joshua Landry again produced "Even If It Kills Me (Reimagined)". The original single reached No. 1 at U.S. Rock Radio, marking PAPA ROACH's 13th appearance at the top of the charts.

"Even If It Kills Me (Reimagined)" is a fresh take on its heavier counterpart, showcasing the hit song in a new light, with a melodic arrangement and signature vocals delivered by Shaddix.

PAPA ROACH recently completed the European leg of the "Rise Of The Roach" tour. The trek saw PAPA ROACH bring its biggest-ever production and journey deep through their vast music catalogue, including a celebration of the 25th anniversary of the band's iconic breakthrough album "Infest". Special guests for the global tour were WAGE WAR in Europe and will include RISE AGAINST and UNDEROATH in the U.S.

PAPA ROACH are two-time Grammy-nominated, platinum-selling leaders in alternative hard rock music. PAPA ROACH are not unfamiliar with calling attention to mental health and have been doing so since the seminal release of their first hit single "Last Resort". Since then, the band has gone on to create 10 studio albums, their most recent, 2022's "Ego Trip", on their own label New Noize Records.

In a new interview with U.K. radio veteran Paul Stephenson of VRP Rocks, BAD COMPANY drummer Simon Kirke spoke about the British supergroup's Rock And Roll Hall Of Fame nomination, which was announced in February 2025 after decades of eligibility. Asked how it feels to finally be nominated, Simon said (as transcribed by BLABBERMOUTH.NET): "Well, it's the first time we've been nominated, and a very good friend of mine is Nicko McBrain from IRON MAIDEN. And he sent me a congratulatory text. He said, 'By the way, Simon, MAIDEN have been nominated 11 fucking times and we haven't been inducted ever. So our management wrote to the Hall Of Fame and said, 'Stop nominating us. Bollocks. Fuck off.

"What can I say? If I was truly honest, I would say it's about time because we've been around for so long," Simon continued. "And hello? How about FREE, which superseded BAD COMPANY? A lot of people have a lot of affection for FREE.

"As I see it, there are 14 nominees, and it's the first four [in the fan vote] that get inducted," Kirke added. "That's my belief. We are behind PHISH who have a huge social media presence. I've never really heard PHISH, quite honestly — they're like the younger version of the GRATEFUL DEAD, but they've got just under 200,000 [fan] votes. We have about 180,000, so we're second. I'm told by an insider that we are gonna get in. we will actually know on Monday or Tuesday. So, yeah, I've already spoken with Paul [Rodgers, BAD COMPANY singer] about what song we're gonna play, and it's gonna be 'Can't Get Enough'. And, yeah, I'm happy — I'll be happy for Mick [Ralphs, BAD COMPANY guitarist], 'cause Mick had a stroke several years ago and he is in not good shape. And as long as he holds out when we get on that stage in November, we're gonna give a shoutout to Mick. Because he wrote the damn song — he wrote 'Movin' On' and he wrote a lot of the hits and he deserves it."

Asked what Paul's reaction was to BAD COMPANY's Rock Hall nomination, Simon said: "I met him a few weeks ago on the West Coast. I was playing in a charity golf tournament in Palm Springs, and he winters in Palm Springs. So we actually got together, and I said, 'What do you think?' He said, 'About fucking time.' We are pleased and we are honored, but there was always this nagging — every year that passed, we didn't even get a nomination. 'Cause there's two steps — nomination, then induction. And we weren't even nominated for all those years. And it was beginning to gnaw at me. But anyway, Paul was 'Yeah, about the time. What are we gonna play?' And I said, 'Well, 'Can't Get Enough',' because Mick won't be there; he can't travel. And it seemed to be the right thing to do. So, yeah, that's it."

Asked if he ever got a reason why BAD COMPANY hadn't been nominated earlier, Simon said: "No. Well… Hmm. There are several reasons. One of them being, I think because BAD COMPANY had three lineups, it kind of diluted our currency, if you will. If you can imagine a band like CREAM and they change Ginger Baker or they change Jack [Bruce] or Eric [Clapton], God forbid, a couple of times, it would kind of dilute and muddy the waters of the committee. So as I'm told by this insider, they wanted to do a FREE-BAD COMPANY doubleheader, as it were, like [when] THE FACES and THE SMALL FACES were inducted, but for some reason it didn't show up. There was also a political thing that I can't really go into without gettingkind of into hot water, but it was a combination. I think the main thing was the triple lineup… It just wasn't a clear-cut 'Let's induct BAD COMPANY.' There were factors that now have dissipated. And it looks like we're gonna get it. [I] hope so."

The 2025 inductees into the Rock And Roll Hall Of Fame will be announced on a live episode of "American Idol" on Sunday, April 27.

In a statement to Billboard about BAD COMPANY's nomination, Rodgers said: "BAD COMPANY fans and friends have been lobbying for this nomination persistently for years and they never gave up, so big thanks to them. According to them, BAD COMPANY fits all of the criteria and then some to be inducted."

Kirke, for his part, told the publication: "I think it's been a long time coming. It has rankled me a bit. We've been around a long time and we've influenced a lot of bands, and I think it's a place that we deserve. I'm just pleased that we're at least on the ballot. I'm happy and I'm honored, and fingers crossed that we make it."

Back in November 2023, Kirke was asked by "The Bob Lefsetz Podcast" how he felt about BAD COMPANY not having been inducted into the Rock And Roll Hall Of Fame. He responded: "I think it's such a travesty, quite honestly. And not just that, but FREE — FREE certainly should be [in the Hall], because FREE has been around since 1968, and the two bands have been responsible for influencing a lot of bands who are already in the Hall. So I feel pretty bad about it. But I'm not gonna go on too much about it. It's just I think we should be in. Certainly FREE. And I think Paul Rodgers should be in on his own merits, as one of the great rock vocalists of all time. If Eric Clapton and Rod Stewart and Jeff Beck can be inducted as solo artists, then certainly Paul Rodgers should be in there. That's my two cents."

Later in the chat, Kirke offered one possible explanation for why BAD COMPANY had been overlooked by the Rock Hall.

"I think because of BAD COMPANY's changing lineups over the 50 years that we'd been together, it kind of devalued our currency a little bit," he said. "You had the Brian Howe era, you had the Paul Rodgers era, one and two, when Paul rejoined the band, we had Robert Hart. So I honestly don't know why we have not been nominated — not even inducted; you have to be nominated first, as you know."

In September 2023, Rodgers told SiriusXM's "Trunk Nation With Eddie Trunk" that he wasn't bothered by his absence from the Rock Hall. "Well, it doesn't affect my daily life. It doesn't affect what I do in any way at all," he said. "It's one of those things. But I remember years and years ago, Ahmet Ertegun, who was the head of Atlantic Records [and a co-founder of the Rock And Roll Hall Of Fame], said to me, 'Paul, we're making this museum of rock and roll. Do you guys wanna be part of it?' And I said, 'What, a museum of rock and roll? What's it called?' He said, 'Well, it's called the Rock And Roll Hall Of Fame.' I said, 'Well, I don't think rock and roll belongs in a museum.' So it's my bad, I guess. And he asked me a couple of times, and I kind of like refused, I guess, basically. So, you know, there you go. Onwards and upwards."

Born and raised in London, THE BEATLES perked a teenage Simon's interest in rock music, and he picked up the drums — leading to a gig with a local band called THE MANIACS, on which Simon supplied drums and lead vocals (something quite uncommon at the time).

Simon worked out a deal with his parents after graduating high school, that if he couldn't "make it" as a drummer in a band within a two-year period, that he would begin a college career. Just a few months before the deadline, Simon landed a gig with a group called the BLACK CAT BONES. The drummer befriended the group's talented guitarist, Paul Kossoff, who in turn convinced Simon to leave the group with him and begin a new outfit with singer Paul Rodgers. Soon ex-JOHN MAYALL'S BLUESBREAKERS bassist Andy Fraser signed on and FREE was officially formed in 1968. Mixing blues with hard rock, the group would prove to be quite influential, especially on the strength of their classic 1970 release, "Fire And Water", and its strutting, anthemic hit single "All Right Now".

When the band broke up, it didn't take Simon long to find another gig, joining Paul Rodgers in a new band, BAD COMPANY, which was quite similar stylistically to FREE. Joined by ex-KING CRIMSON bassist Boz Burrell and ex-MOTT THE HOOPLE guitarist Mick Ralphs, BAD COMPANY was the first group signed to LED ZEPPELIN's record label, Swan Song. Their debut album, 1974's "Bad Company", would go on to become one of hard rock's all-time classics, as it birthed such long-standing rock radio standards as "Can't Get Enough", "Ready For Love" and the title track, written by Paul and Simon himself. The group hails as one of the all-time top rock outfits. Kirke is the only member of BAD COMPANY who's been in every lineup of the band.

In a new interview with Brazil's 92.5 Kiss FM radio station, JUDAS PRIEST's Scott Travis was asked how it feels for him to be considered one of the best heavy metal drummers of all time. He responded (as transcribed by BLABBERMOUTH.NET): "[Laughs] I didn't know that, but thank you very much. And it's an honor — obviously, it's an honor. And yeah, you've gotta kind keep it up, you've gotta practice and try and stay in shape. And luckily health is a big issue and I've been healthy and that's by the grace of God. So I'm very appreciative of that. But yeah, it's a great honor and it's one of those things that are given to you or put upon you and it takes a long time, I guess, to win that sort of honor. So I'm very proud of it."

The 63-year-old Travis went on to say that he is "a diehard" heavy metal fan "forever" even though he has been playing professionally for more than three decades. "In other words, since I was a teenager, a young boy, a heavy metal fan, and I still to this day — I mean, that's the music of my choice," he explained. "So I understand that most heavy metal fans, they stick with you for life and they're very dedicated and I have a lot of respect for that."

Asked to name the drummers that inspired him the most, Scott said: "It's a series of what I call the legends of legends — John Bonham and Alex Van Halen and Tommy Aldridge and Neil Peart from RUSH, Ian Paice from DEEP PURPLE. And it's funny, I can go back and listen to any of those drummers and the bands, of course, they're playing with, and just still be, like, 'Wow, that's really great. It's really cool, some of the things they did,' and [it] still inspire[s me]. Even though it might be a song that I've heard a hundred or two hundred or five hundred times, you can still listen to it and go, 'Wow, I understand now why they were so influential on my career.'"

Last August, JUDAS PRIEST shared a video in which Scott explained why he holds his drumsticks upside down. He said at the time: "It is wrong, isn't it? Well, that's a good question. So, many, many years ago, two of my favorite drummers, Neil Peart of RUSH and Tommy Aldridge, who's played Ozzy [Osbourne] and a bunch of other bands, WHITESNAKE, I noticed they were always playing — so they would have the butt end on the left hand, which is normally the snare, and then they would play the tip on the ride cymbal for clarity. So I kind of stole that idea, and then I just figured that if it works on this hand, it's good enough on this hand, and when you have to buy your own drumsticks, which I used to do, they last longer, because, obviously, that's thicker than that. That's what she said. And so that's where it got started, really."

Three years ago, Travis told "Drumtalk", the video podcast by German drummer and videographer Philipp Koch, about the fact that the intro to the title track of JUDAS PRIEST's 1990 album "Painkiller" has become one of the most iconic drum intros of all time: "Me personally, I always loved the drum intro of certain songs. We all know 'Rock And Roll' by LED ZEPPELIN and 'Walk This Way' by AEROSMITH, and, of course, 'Hot For Teacher', which is VAN HALEN. So, anyways, I grew up like that, always understanding that, 'Man, if ever I could come up with a signature drum intro — no guitars; just drums — and make it really impactful.' And sometimes I get emotional, now that I've been playing for so long, that I was able to come up with something."

He continued: "[I recently saw a video featuring] 'Top 15 drum intros'. And, of course, it's subjective. I don't know who made the list; I think it was some rock magazine. So, naturally, I watch it, and it had 'Where Eagles Dare' [by IRON MAIDEN], it had 'Rock And Roll', and number two was 'Painkiller'. And I was, like, 'Oh my God. Thank you so much.' And number one, which I'm happy to take a backseat, was 'Hot For Teacher' — Sir Alex Van Halen. If I'm second place to old Alex, then, man, that's fantastic. Again, that's one opinion and one little something someone made up. But nonetheless, I didn't make it, so I'm happy that people appreciate 'Painkiller' and it has become a signature JUDAS PRIEST song, which I never in a million years would have imagined that."

Back in 2020, Travis told Invisible Oranges that he wrote the "Painkiller" intro at Miraval Studios in France in early 1990 as producer Chris Tsangarides and engineer Patrice Roullion were testing microphone placements.

"We were set up at the studio… Studio Miraval in Nice, France," Travis recalled. "The drums are all set up and they're in a big room and then, of course, the control room is at the other end of the studio. I used to just go and warm up first thing in the morning and just work on the next song we were gonna do the next day, and just start playing it with my own headphones on. It was just a cool place — very comfortable to just go and play whatever you wanted. I knew we were gonna be working on the 'Painkiller' song and it was meant to be a fast-paced upbeat song. And I was just messing around doing the intro type stuff."

He continued: "I don't know what those notes I play with my feet [are called]… between my feet and my hands. Technically, it's four with the feet, one with the hand. So it's not a quad but I don't know, septuplet, quintuplet... Shows you how educated I am on drumming, right? [I was] just out there messing around, doing a flurry of things like that, exercises and whatnot. I had the 'Painkiller' idea in my head and they really liked what I was doing and they said, 'Hey, just do some more of that, some stuff like that.' And I just kind of whipped it up…

"As a young drummer or just as a drummer, period, I always… I don't wanna say dreamt because that sounds corny, but I always was hoping that I could come up with a signature drum intro, and I think every drummer wants that. Rarely does a drummer get to do an intro and especially one that really sticks. Given the fact that it exists now, I'm kind of blown away. It's cool."

Scott's long and very influential drumming career has also included acclaimed work with FIGHT and RACER X.

In a new interview with Ned of Iowa's Rock 108 radio station, PAPA ROACH frontman Jacoby Shaddix once again spoke about how he feels about the supposed nu metal resurgence in recent years, partly thanks to a whole new wave of exciting revivalists. He said (as transcribed by BLABBERMOUTH.NET): "Dude, it's sick, man, because although the '80s hair metal never really had this major resurgence — I mean, MÖTLEY CRÜE had a second wind — but nu metal, for real, is having like a second go-around right now. It's so dope. And it's cool because there's this underbelly of bands that were listening to our bands back in the day that we're now sharing the stage with all these guys — BEARTOOTH and BRING ME THE HORIZON, to name a couple — that were fans of this genre of music. And so you could hear how our music inspired them and influenced it and then they just flipped it on its head and did their own thing. And it's just really cool to have this moment. Watching our brothers in DEFTONES have another moment in their career. And ourselves experiencing that right now, it's so dope, man. It really is. It's so cool."

Shaddix previously talked about nu metal's comeback less than two years ago during a pre-show press conference at the Hellfest festival in Clisson, France. He said at the time: "Nostalgia is such a powerful thing, and it's so cool to see that that era is making its way back around. And part of it is because, you know, time. And the other part of it is this new generation of bands that were little kids that were listening to bands like PAPA ROACH or KORN or DEFTONES or LIMP BIZKIT or LINKIN PARK, those were the bands that they were listening to, so this music kind of influenced them. And now bands like OF MICE & MEN or BRING ME THE HORIZON, you can hear elements of nu metal in that music. And that's frickin' sick."

As for PAPA ROACH's own "departure" from the nu metal sound, Shaddix said: "It was necessary. It's always about evolution. And for a while I really despised the title of nu metal because everybody was trying to compare us to LIMP BIZKIT or compare us to LINKIN PARK, and we were, like, 'No, we're our own thing.' And we've proved that we are our own thing, throughout the years. And now, as we look back, as older men, I look back proud on being part of that movement. It's just dope that it's finally kind of getting some respect in pop culture. I think that in the time, people just kind of looked down upon the genre. And now, as the years have gone on, there's some respect upon it, which is… it's dope."

Back in 2019, Jacoby said that "it was always a weird thing" for him and his bandmates to be lumped in with all the "nu metal" groups around the time of the release of PAPA ROACH's full-length debut, 2000's "Infest". "With the nu metal kingpins, the top dogs were LIMP BIZKIT at the time, and I wasn't on the same page as Fred [Durst]," he told the KUPD radio station. "I considered myself more of a punk rocker at that time. But we weren't a punk band — we knew that we weren't a punk band. But all the bands that we played with from 1993 up to 1999, they were all the local punk groups and the emo bands, and we were the odd man out all the time. But now, I look back on it, and I'm, like, yeah, we were a nu metal band for a few years — we were definitely a nu metal band. But for us, we kind of outlived the tag of nu-metal and just became more of a rock band."

Asked how PAPA ROACH managed to survive the nu metal phase when so many other bands fell by the wayside, Shaddix said: "For us, it's a trip, 'cause there's a lot of bands — we've seen waves of bands come and go. In the nu metal era, a lot of bands just dissipated or fell apart. And there was the garage rock revolution — THE HIVES, THE STROKES, THE VINES — that kind of sound came and had its time and then it kind of went away. And then screamo came in. And then after that, it was, like… I get lost. We just keep seeing people come and go. And we're, like, all right, cool. We're still here doing our thing. We said it from the beginning — we're the cockroaches; we're gonna be around for a while."

Pressed about whether it was hard for PAPA ROACH not to try to change its sound with the times over the years, Jacoby said: "Oh, yeah. For us, even from the beginning, from where we started, we were more like a funk-punk band when we first started — more like [RED HOT] CHILI PEPPERS meets… I don't even know; just some oddball shit. CHILI PEPPERS meets MR. BUNGLE — that was kind of where we sat in the beginning. And then we got into heavier, more metal style. And that's kind of when I got into rapping, and that's when we started doing that — we became a nu metal band. And then for us, after that, we discovered classic rock, and that was a big evolution for us. I was listening to QUEEN. I've always been a LED ZEPPELIN fan. THE WHO, SUPERTRAMP — all these classic groups. THE CLASH as well. And we were discovering the old stuff, and then it influenced our band again. So then we had guitar solos in our music and our guitar player grew his hair out, and we were just like a rocker band. And we toured with MÖTLEY CRÜE… And then I fell in love with hip-hop music again, and, really, we broke all the walls down again and kind of brought it full circle in a sense. Some of the modern music we're doing now has elements of the old school, but elements of the new school. We love a wide range of music. And so, for us now, I just don't give a fuck anymore. I just wanna make music that gets me off and is inspiring to me and makes me wanna walk into the studio and get on the mic and throw down. And sometimes we hit the mark, and sometimes we don't hit the mark. But for any career band, that's gonna be the story."

Nu metal thrived during the remarkable decade from 1994 to 2004 when mainstream charts, magazines, radio and TV were all taken over by a host of diverse artists performing their own brands of hard rock, hip-hop and heavy metal.

Essentially a fusion of rap and alternative rock (arguably born out of RAGE AGAINST THE MACHINE),nu metal inexplicably swept the airwaves and peaked for a brief period, with Gregory Heaney of AllMusic describing the genre as "one of metal's more unfortunate pushes into the mainstream." Along the way, several bands associated with nu metal, including KORN, DEFTONES and SLIPKNOT, took a somewhat defensive stance against being labeled as such. Even those less apologetic nu metal groups eventually changed their sound, effectively disowning the genre that they helped pioneer.

In a new interview with Dylan Gowan of Banger TV, DREAM THEATER drummer Mike Portnoy spoke about the band's sixteenth studio album, "Parasomnia", which came out on February 7, 2025 via InsideOut Music. The LP marks DREAM THEATER's first release with Portnoy since 2009's "Black Clouds & Silver Linings". When Gowan noted that "Parasomnia" comes across as one of the heavier albums in DREAM THEATER's catalog, Portnoy concurred. "Yeah, I think sometimes people overlook the importance of the metal side to DREAM THEATER, especially with me in the band," he said (as transcribed by BLABBERMOUTH.NET). "It's a really important aspect. It always has been. If you look at the very, very first song from the very first album 'A Fortune In Lies', I was playing thrash, double bass, thrash beats right outta the gate. And we've always had songs like that, whether it be 'The Glass Prison' or 'Panic Attack' or 'A Nightmare To Remember'. It's been a big part of the band's sound, and, to be honest, I think it's a big part of the band's success."

He continued: "There's a lot of prog bands or prog metal bands that are still kind of underground and still play smaller shows or maybe don't sell as many records because maybe they haven't tapped into the metal side. But the fact that the metal side is such a big, big part of our sound, I think is what elevates DREAM THEATER to be the cream of the crop in terms of ticket sales and record sales in the prog universe. I think it's that metal side that does it. The fact that we could play these big metal festivals like Aftershock or Louder Than Life or Hellfest or Graspop [Metal Meeting], the fact that we could pull off gigs like that as a prog metal band speaks a lot for that metal side. And when writing 'Parasomnia', we just naturally fell into it. Maybe it was the dark subject matter of sleep disorders and nightmares and things like that, maybe that helped us gravitate towards it."

Portnoy added: "But, yeah, if I had to describe 'Parasomnia', the album, to somebody, I would say it kind of has the darkness and heaviness of 'Train Of Thought' with the cinematic approach of '[Metropolis Pt. 2:] Scenes From A Memory'."

Portnoy co-founded DREAM THEATER in 1985 with guitarist John Petrucci and bassist John Myung. Mike played on 10 DREAM THEATER albums over a 20-year period, from 1989's "When Dream And Day Unite" through 2009's "Black Clouds & Silver Linings", before exiting the group in 2010.

Mike Mangini joined DREAM THEATER in late 2010 through a widely publicized audition following the departure of Portnoy. Mangini beat out six other of the world's top drummers — Marco Minnemann, Virgil Donati, Aquiles Priester, Thomas Lang, Peter Wildoer and Derek Roddy — for the gig, a three-day process that was filmed for a documentary-style reality show called "The Spirit Carries On".

"Parasomnia" was produced by Petrucci, engineered by James "Jimmy T" Meslin, and mixed by Andy Sneap. Hugh Syme returns once again to lend his creative vision to the cover art.

In a recent interview with Japanese music critic and radio personality Masa Ito of TVK's "Rock City", Portnoy was asked what he has added to DREAM THEATER since he rejoined the progressive metal giants in October 2023 after a 13-year absence. He responded: "It is not really for me to say. I can't sit here and pat myself on the back and kind of tell all the things I bring to the band. I think it's more for the fans or the listener to kind of come up with that opinion. But I think it's pretty well known what I bring to the band. It's been this way since the beginning of the band 40 years ago."

Mike continued: "I was always contributing in every area — not just the drums, but collaborating on the music and the lyrics and the melodies and the production and the merchandise and the fan club and everything that goes into being in a band. I'm a very hands-on type of person, so for the first 25 years of the band, I oversaw all of that stuff. And then when I left the band, the guys had to kind of figure out how things were gonna get distributed amongst themselves. And however they decided that, that's the way they continued without me. And now coming back in the band, I've had to be very, very respectful of what they've been doing all the years without me. It's a very different organization than when I left in 2010.

"When I left in 2010, I was a control freak. and overseeing everything and very protective of everything," Portnoy added. "But now coming back, I need to respect that they've been touring for all these years without me and making records without me, so they have perhaps different ways of doing things. So, I had to come in very respectful and kind of tippy-toe my way around each area to see how much they wanted from me. There are some areas where they put complete control back into my lap. There's other areas that maybe they wanted to retain some control and maybe ask me to take a step back. So, it's been a learning process over the past year or so how the new chemistry was going to function. And it's been very easy, I think. We're all older and wiser at this stage of our lives. When I left the band in 2010, I was in my early 40s. Now I'm in my late 50s. And I think as you get older and you have more life experiences, you learn more, you learn how to behave in a more mutually beneficial way and try to be respectful of other people's opinions and ideas. And that's a lot of the stuff I learned all the years outside of DREAM THEATER. I did so many other bands and projects and albums, each one of which had a very different chemistry that I would have to adapt to. So I think adapting to all those different situations throughout the years really helped me to be more of a team player than maybe I was the first time around."

DREAM THEATER kicked off the North American leg of its 40th-anniversary tour on February 7 at The Met in Philadelphia, Pennsylvania. The trek was "An Evening With Dream Theater" and was the first tour of North America since Portnoy's return to the lineup, joining Petrucci, singer James LaBrie, Myung and keyboardist Jordan Rudess. The tour concluded on March 22 in New York City.

Provogue is proud to spotlight a blistering new cut from the upcoming Gary More Live From Baloise Session, due out May 23. Taken from his unforgettable 2008 performance in Basel, Switzerland, Moore’s explosive take on the Jimmy Rogers classic, “Walkin’ By Myself”, is now available on all platforms. Listen to the blistering performance below.

More than a cover, “Walkin’ By Myself” becomes a full-throttle showcase of Moore’s unmatched energy and feel for the blues. As he tears into the track, you can hear echoes of his deep respect for the genre’s pioneers — yet the delivery is all Moore: gritty, impassioned, and unmistakably powerful.

Captured in stunning fidelity during the Baloise Session, this rendition brims with urgency. It’s a reminder that even late in his career, Moore was still pushing boundaries and channelling the same raw emotion that made him a legend.

Backed by longtime collaborators Pete Rees (bass), Vic Martin (keys), and Thin Lizzy icon Brian Downey (drums), Moore breathes new life into Rogers’ anthem of self-reliance. Each note he pulls from his Les Paul speaks volumes, and the crowd’s reaction says it all — this was a moment.

This latest release is a perfect teaser for Live From Baloise Session, a distillation of Moore’s late-career brilliance. While we lost him far too soon, recordings like this prove his fire never faded. The blues may be timeless, but few have walked its path with the same ferocity and soul as Gary Moore.



Gary More Live From Baloise Session will be released on CD/Blu-Ray, 2LP blue and also marble yellow flame (web exclusive) as well as being available digitally. Pre-order the upcoming release here.

We didn’t know it then, but when Moore took the stage for the Baloise Session on November 13, 2008, he was less than three years away from his untimely passing at the age of 58. Yet this very special performance – captured for the Live From Baloise Session reminds us that the guitarist played with untouchable skill and molten soul, right to the end.

It’s hard to imagine a finer showcase for Moore’s cask-seasoned talent than Baloise Session. Far from the mud and melee of a traditional festival, the event held in Basel, Switzerland – formerly known as AVO Session – is an intimate encounter with A-list artists, where discerning music-lovers sit at lamp-lit tables modelled on the vintage after-hours clubs of New York, soaking up the set with no distractions.

From Ray Charles and James Brown to Elton John and Eric Clapton, an invitation to the Baloise Session is the stamp of an all-time musical great – and there’s no doubt that Moore belongs in that number.

Gary Moore at full throttle was simply the greatest spectacle in rock ‘n’ roll. From his formative years out on the boards of late-’60s Dublin with Skid Row, through his ’70s gunslinger shifts for Thin Lizzy – onto an ever-evolving solo career that rewrote the book for blues, rock, metal and more – the Irishman attacked every show like it was both his first and last, shrugging off his hallowed reputation and earning his place amongst the greats all over again.

One setlist could never contain it all. Live From Baloise Session, however, is a fist-tight, fat-trimmed distillation of everything that made Moore the blues master, hitting all the marks you’d hope to see from a late-period live set by this deathless artist.

With no fuss or fanfare, the bandleader – flanked by Pete Rees on bass, Vic Martin on keys and fabled Thin Lizzy drummer Brian Downey – walks from the wings, plugs his Les Paul into twin Marshall stacks and fires up “Oh, Pretty Woman” (the fiery Albert King cover that was a highlight of Still Got The Blues). As a statement of intent, it’s stinging, and as Moore soothes and strangles his first solo of the night, you’re reminded of Joe Bonamassa’s sage observation: “Gary’s approach to soloing was like placing a brick on a car’s gas pedal — the brick would go down, and he would never stop!”

Strapping on a Gibson ES335, Moore then tears into his own “Since I Met You Baby” (a spring-heeled groove from 1992’s After Hours, whose studio version featured a guesting B.B. King).

This vintage Baloise Session performance serves as a reminder of all the Irishman did in his lifetime to leave his beloved genre in the best health. The likes of Gary Moore will not come again, but while this deathless music plays, he still walks amongst us, his power undimmed.



Tracklisting:

“Oh, Pretty Woman”
“Since I Met You Baby”
“Thirty Days (To Come Back Home)”
“I Love You More Than You’ll Ever Know”
“Don’t Believe a Word”
“Still Got the Blues”
“Walking by Myself”
“The Blues Is Alright”

LINKIN PARK has shared an official visualizer for the band's new single "Unshatter". The track, along with the previously released new song "Up From The Bottom", is taken from the deluxe edition of LINKIN PARK's comeback album, "From Zero", due out May 16 via Warner.

"Unshatter" and "Up From The Bottom" mark the band's first new music since the release of the "From Zero" last November.

"From Zero (Deluxe Edition)" 2CD is a limited pressing. It features a four-panel softpak packaging with 16-page booklet and showcases three new songs, five live tracks recorded around the world and all new, expanded packaging.

The band comments: "'Up From The Bottom' was created in between tours this year, infused with the electricity of those first shows back after a long hiatus. 'Let You Fade' was a song that began during the 'From Zero' sessions but found its final shape in sessions after the album's release. 'Unshatter' was an early track we made while recording 'From Zero'; Emily's huge vocal in the bridge was one of the moments that gave us an indication of what was possible together.

"We are so grateful for the incredible reception to 'From Zero'. This new chapter, our continuing journey, and the connection between the band and fans has been more than we could've hoped for. Thank you for listening."

"From Zero (Deluxe Edition)" track listing:

CD1

01. From Zero
02. The Emptiness Machine
03. Cut The Bridge
04. Heavy Is The Crown
05. Over Each Other
06. Casualty
07. Overflow
08. Two Faced
09. Stained
10. IGYEIH
11. Good Things Go

CD 2

01. Up From The Bottom
02. Unshatter
03. Let You Fade
04. The Emptiness Machine (Live)
05. Heavy Is The Crown (Live)
06. Over Each Other (Live)
07. Casualty (Live)
08. Two Faced (Live)

LINKIN PARK kicked off the 2025 leg of its "From Zero" world tour on January 31 at Estadio GNP Seguros in Mexico City, Mexico. The trek will resume on April 26 at Austin, Texas's Moody Center.

In late January, LINKIN PARK released an a cappella/vocals-only version of "From Zero", dubbed "From Zero - A Cappellas".

The original version of "From Zero", issued last November, marked LINKIN PARK's first full-length effort since 2017's "One More Light", which was the last LINKIN PARK album before the death of lead vocalist Chester Bennington. "From Zero" features LINKIN PARK's new singer Emily Armstrong and drummer Colin Brittain, who have joined returning members co-vocalist and main producer Shinoda, guitarist Brad Delson, bassist Dave "Phoenix" Farrell and DJ/visual director Joe Hahnin the band's new lineup. Guitarist Alex Feder is filling in for Delson at all LINKIN PARK concerts for the foreseeable future.

Last fall, Shinoda told KROQ's Kevan Kenney about the emotions surrounding LINKIN PARK's return: "It's really complicated. For me, two years ago it was very overwhelming, and I think the best thing that we did was to just basically let things happen in the order and at the timeline that they were gonna happen, let things happen organically and not push too hard. And I feel like what ended up evolving was we just naturally kind of found each other, we found this new lineup, we found Emily and Colin in particular, and the music just kind of came into focus based on what we were having the most fun doing."

When Kenney suggested that "From Zero" "sounds almost like a return to [LINKIN PARK's] roots", Shinoda said: "I love that there's such a strong LINKIN PARK DNA in the record. It does really feel like LINKIN PARK, but I think there's a part of it that's the old sound and part of that's every era of the band, to me, on the record."

Farrell chimed in: "I don't know if I know well what the LINKIN PARK DNA is. It's kind of like when you're too close to something, you just do it and then other people tell you. They almost interpret it and then you kind of say, 'Okay, cool. I'm glad that came across.' But I think in any and all of that creation of an album or working on new music or new stuff or when there's — I don't know — interstitials or whatever you might wanna call it, for me those things are just like us doing us and figuring that out and moving forward. And in this process, one of the things that was so fun and rewarding and cool and energizing was just how when we started gradually integrating Emily and Colin, it felt like LINKIN PARK. It just felt like it fit for me and for us. And those were the coolest moments in the entire process, was just feeling like things were kind of jelling and coming together and we were having a blast doing it the whole time. So at this stage being ready to finally have the album out, having people be excited about it, that feels great."

LINKIN PARK announced its new lineup during a September 2024 one-hour global livestream of a concert in Los Angeles showcasing Armstrong and Brittain.

Photo credit: Jimmy Fontaine

In a career defined by evolution, Joe Bonamassa is ready to turn the page once again. The blues-rock virtuoso has just announced "Breakthrough", his most adventurous and genre-blending studio album to date, out July 18 via his own J&R Adventures. At the heart of the announcement is the release of the album's powerful title track — "Breakthrough" — a soulful, hard-hitting anthem about letting go, moving forward, and finding your fire again, available today on all streaming platforms.

Crafted across multiple continents and infused with a world's worth of inspiration, "Breakthrough" marks a bold new chapter for Bonamassa — one that leans on fiery solos, emotionally rich storytelling, groove-driven arrangements, and stylistic exploration. Produced by longtime creative partner Kevin Shirley (IRON MAIDEN, THE BLACK CROWES, JOURNEY),the album was shaped by sessions in Greece, Egypt, Nashville, and Los Angeles, resulting in a vibrant sonic tapestry that shifts effortlessly from funky blues and Texas swing to acoustic ballads and swaggering hard rock.

"I think this album, 'Breakthrough', marks a shift in the styling of Joe Bonamassa's recording output," says Shirley. "While there are plenty of guitar solos on this record, his emphasis has been on songs primarily. Each time Joe undertakes a new recording project, he seems to access a different part of his vast library of music genre from the jukebox in his head! This album is a round-the-world musical trip — from LITTLE FEAT funkiness to Texas swing, from hard rock power to acoustic singer/songwriter-style songs."

The newly released single "Breakthrough", co-written with long-time collaborator Tom Hambridge (Buddy Guy, ZZ TOP, LYNYRD SKYNYRD),captures the emotional core of the record — an uplifting anthem about transformation, persistence, and letting go of the weight that holds us back. With gritty vocals, melodic guitar lines, and lush instrumentation, the track embodies Bonamassa's signature blend of power and finesse while ushering in a bold new direction.

"Breakthrough" follows the success of Bonamassa's recent singles "Still Walking With Me" and "Shake This Ground", both of which hinted at the adventurous spirit behind the full album. "Shake This Ground" delivered a moody, introspective edge, while "Still Walking With Me" leaned into warmth, gratitude, and classic soul. Each track reflects a different facet of Bonamassa's evolving songwriting approach, rooted in emotional honesty and anchored by his unmistakable guitar work.

The album announcement caps a stretch of extraordinary momentum for Bonamassa. Next up, Bonamassa recently began his extensive European spring tour, followed by a June run with his powerhouse supergroup BLACK COUNTRY COMMUNION (featuring Glenn Hughes, Jason Bonham and Derek Sherinian). After another round of summer dates across Europe — including sold-out shows in Ireland — he'll return stateside for his just-announced 2025 U.S. summer tour, a limited amphitheater run featuring stops at the Greek Theatre, Red Rocks and more iconic venues.

With over 50 albums, 28 No. 1 Billboard Blues albums, and a lifelong commitment to evolving the genre, Bonamassa shows no signs of slowing down. Whether headlining iconic venues, mentoring rising artists through Journeyman Records or supporting music education via his Keeping The Blues Alive Foundation, Bonamassa continues to shape the future of blues-rock with every note.

"Breakthrough" track listing:

01. Breakthrough
02. Trigger Finger
03. I'll Take The Blame
04. Drive By The Exit Sign
05. Broken Record
06. Shake This Ground
07. Still Walking With Me
08. Life After Dark
09. You Don't Own Me
10. Pain's On Me

Bonamassa is one of the most celebrated performing musicians of today. As a four-time Grammy-nominated artist and 15-time Blues Music Award nominee (four-time winner),he achieved his 28th No. 1 album on the Billboard Blues chart with his most recent live album and concert film, "Live At The Hollywood Bowl With Orchestra". Only in his mid-40s, Bonamassa has become a living legend with an astounding multi-genre catalog. He has released more than 50 albums, including studio and live recordings, as well as collaborative albums with his adventurous side projects: BLACK COUNTRY COMMUNION and ROCK CANDY FUNK PARTY.

A prolific writer who is always on the hunt to expand his eclectic musical horizons, Bonamassa has a limitless work ethic whether it's in the studio, on the road, or working with other artists to spur new music. In recent years, he has produced an immense number of albums, including Joanne Shaw Taylor, Marc Broussard, Larry McCray, Jimmy Hall and others for his independent labels Journeyman Records and KTBA Records, and has also launched Journeyman LLC, a full-service artist management, record label, concert promotion, and marketing company that builds awareness for independent artists worldwide.

Photo by Ian Potter (courtesy of Noble PR)

British heavy metal veterans DIAMOND HEAD will release "Live And Electric", a live album that delivers every nuance of that four-letter word thanks to a song selection that covers the band's seminal career, on July 11 via Silver Lining Music.

The official music video for the LP's first single, "Helpless", created by Jay Shredder, can be seen below.

DIAMOND HEAD founding member and lead guitarist Brian Tatler recalls of the song: "In September 1979 the song 'Helpless' began life as a riff I was playing by an obscure punk band. I was playing it at the 5th fret and singer Sean Harris said, 'Play it at the 2nd fret but play it faster,' and the song took shape. It has always been a powerhouse live and one of the songs that has never left the set list. METALLICA covered 'Helpless' on their '$5.98 E.P. – Garage Days Re-Revisited' in 1987 which introduced it to a whole new set of metal fans."

Recorded in 2022 on DIAMOND HEAD's tour with SAXON, "Live And Electric" takes in performances from Aberdeen, Blackburn, York, Cambridge, Cardiff and Bexhill, creating in the process an unmistakably British energy which is superbly recorded and mixed by Jay Shredder, with singer/frontman Rasmus Bom Andersen mastering. By now, the rock and metal scene knows all about Tatler, whose riffs have genuinely defined a genre as well as influencing one of the world's biggest-ever rock bands, METALLICA, but the contribution of Andersen to these DIAMOND HEAD performances is explosive as he bursts with power, presence and personality.

"It's the first DIAMOND HEAD live album for twenty years and the first time in DIAMOND HEAD's career that we were able to record all fourteen shows and then go through them to find the best performances," Brian says. "In the past we would only record one specific show and so all the pressure to get it right on the night would build up and make everyone very nervous. Somewhere in the middle of this tour things began to gel and fortunately these shows were captured for posterity."

The seamless way in which old classics such as "The Prince" and newer stormers like "Belly Of The Beast" thunder down the tracks is a testimony to the lock-tight no-nonsense foundation that Paul Gaskin (bass),Andrew "Abbz" Abberley (rhythm and lead guitar) and Karl Wilcox on drums add to the alchemy and the balance of respect plus reinvigoration for treasures "It's Electric", "Helpless" and "Am I Evil?" is electrifying. "Live And Electric" is a true roots representation of Britain's metal communities, and a wonderful live celebration of DIAMOND HEAD's distinctly British heavy metal music which feels as fresh, vital, and important now as it ever has before.

"Live And Electric" track listing:

01. The Prince (Live At The Bexhill De La War Pavilion)
02. Bones (Live At St David's Hall, Cardiff)
03. The Messenger (Live At The Cambridge Corn Exchange)
04. In The Heat Of The Night (Live At The York Barbican)
05. Set My Soul On Fire (Live At The Bexhill De La War Pavilion)
06. It's Electric (Live At The Bexhill De La War Pavilion)
07. Dead Reckoning (Live At The Aberdeen Music Hall)
08. Death By Design (Live At The Aberdeen Music Hall)
09. Sweet And Innocent (Live At The Aberdeen Music Hall)
10. Helpless (Live At The Aberdeen Music Hall)
11. Belly Of The Beast (Live At The Aberdeen Music Hall)
12. Am I Evil? (Live At King George's Hall, Blackburn)

DIAMOND HEAD is:

Brian Tatler: Lead, Rhythm Guitars
Rasmus Bom Andersen: Vocals
Karl Wilcox: Drums
Andrew "Abbz" Abberley: Rhythm, Lead Guitars
Paul Gaskin: Bass

Photo by Jay Shredder

Rock And Roll Hall Of Famer Sammy Hagar has released a personal new single, "Encore, Thank You, Goodnight.", via Big Machine Rock. The track, a melodic rock anthem written by Hagar and guitar legend Joe Satriani, was inspired by a dream and brought to reality by introspective lyrics, powerful chords and rhythmic guitar and drums. The single is now available globally across all platforms, accompanied by an official lyric video on YouTube.

Inspired by a vivid dream Hagar had about the late Eddie Van Halen, the song marks a full-circle moment in his storied career. "Encore, Thank You, Goodnight." features Hagar on vocals, Michael Anthony on bass, Joe Satriani on guitar and Kenny Aronoff on drums. The production — handled by Hagar, Satriani and Eric Caudieux — delivers a sound that is at once nostalgic and forward-looking. According to Hagar, the dream that sparked the song came about a year after Eddie's passing and left a lasting impact. Rather than being a somber farewell, the song is a celebration and expression of appreciation — for the fans, and for the unforgettable chapter they shared in VAN HALEN.

"This song is my final bow to that part of my life," says Hagar. "It's not meant to be anything more than a 'thank you' — with love, with respect, and with one hell of a guitar solo." Hagar also shared that Satriani's contribution to the track brought a unique emotional energy. "Joe was the perfect partner to help me shape the sound — he brought in that big, emotional, guitar-driven energy that feels like Eddie's spirit but is entirely of Joe's creation. With Michael Anthony's thundering bass and stellar VAN HALEN-esque background vocals and Kenny Aronoff's relentlessly powerful driving rhythms, the song really came together on all levels."

The release week will be a monumental one for Hagar and the band, with:

On April 27, the official "Encore, Thank You, Goodnight." music video, directed and edited by ZZ Satriani, will premiere live during Hagar's headline set at the Stagecoach festival's Palomino Stage and globally during a YouTube video premiere.

On April 30, fans at the launch of Hagar and the band's Las Vegas residency will experience the song's first live performance at the kick-off show at Dolby Live at Park MGM.

"Encore, Thank You, Goodnight." will be serviced to classic, active and mainstream rock radio on April 25. A full digital campaign will launch across social platforms, showcasing behind-the-scenes footage, TikTok and Instagram reels, fan-generated content and more. A seven-inch collector's edition vinyl will be available for pre-order, along with bundles and exclusive merchandise drops.

For more than four decades, Hagar has been recognized as one of the best and most accomplished lead singers and songwriters in rock music. From breaking into the industry with the seminal hard rock band MONTROSE to his multi-platinum solo career to his ride as the frontman of VAN HALEN, CHICKENFOOT and his latest supergroup THE CIRCLE, Hagar has amassed 25 platinum albums on sales surpassing 50 million worldwide. Along his journey, he has set the tone for some of the greatest rock anthems ever written, with songs like "I Can't Drive 55", "Right Now" and "Why Can't This Be Love", and earned the highest respect of the music industry with a Grammy Award and induction into the Rock And Roll Hall Of Fame. Since opening his flagship Cabo Wabo Cantina in 1990, he's turned a lifelong passion for great food, music and spirits into a thriving and iconic lifestyle brand encompassing restaurants and spirits. A pioneer in the spirits industry, he launched Cabo Wabo Tequila in 1996 and catapulted it into the No. 2-selling premium tequila brand in the United States. In 2010, Hagar sold his interests in Cabo Wabo Tequila to Gruppo Campari in a nine-figure deal that's widely credited as the start of the celebrity-owned spirits trend. He now owns an award-winning portfolio of top-shelf spirits and beer which includes Sammy's Beach Bar Rum, a partnership with Rick Springfield, Santo Spirits, a partnership with Guy Fieri, and Red Rocker Brewing Co. Never one to hit the brakes, Sammy's also expanded his successes into publishing, TV, radio and beyond, including five seasons of his hit TV show "Rock & Roll Road Trip With Sammy Hagar" and as host of "Sammy Hagar's Top Rock Countdown", a weekly syndicated radio show on more than 90 U.S. stations. He's a No. 1 The New York Times bestselling author, a dedicated philanthropist, donating millions back to local communities through The Hagar Family Foundation, and as the first Honorary Ambassador to Los Cabos, an honor he was bestowed in 2022 in recognition of his longtime investment in the people and economy of Mexico.

Photo credit: Rob Shanahan

In a new interview with Femmetal - Goddesses Of Metal, Anneke Van Giersbergen spoke about the upcoming reunion shows from her former band THE GATHERING to celebrate the 30th anniversary of the Dutch rockers' "Mandylion" album. She said (as transcribed by BLABBERMOUTH.NET): "Well, actually, I'm quite excited… This idea came kind of spontaneous. We were having conversations, we had just coffee and talking about life, other things, and then we talked about 'Mandylion' turning 30 and because time flies, we didn't really think about it. And then we said, 'Maybe we can do something nice with it,' because it's such an important album for us personally because we had a great time at the beginning of THE GATHERING career with me, of course. And we said, 'Well, if we do something, we have to do it now, because next year it's not such a good reason because now 'Mandylion' is 30 years old, and let's do something nice.' And so we made this plan, and we made these ideas for these shows. And then a lot of people wanted to come to the shows. I mean, I know THE GATHERING is still a popular band and I know it's alive — people really like THE GATHERING's music now and back then. But we didn't expect this many people to react on it and want [to buy] a ticket [to see us perform live again]. And so we are so happy. And we're gonna make a few beautiful shows and gonna have lots of fun playing together again, 'cause it's been a long time. It's been 10 years, I think."

When the interviewer inquired about the possibility of a show from THE GATHERING in Spain, Anneke said: "Everybody's asking. I mean, it's fantastic. It's a great problem to have, that a lot of people want us to come to their country. But we focus on these shows here, and a lot of people are traveling for it, so that's really, really wonderful. And then we'll see. But we just focus on these shows and take it from there."

Asked which THE GATHERING song she is most excited to play again, Anneke said: "It's kind of a wide variety of atmospheres on this album ['Mandylion'], but I like songs like 'On Most Surfaces' [from 1997's 'Nighttime Birds'], because they're heavy and we can let all the energy flow on this one. I like the more heavy songs as well, but 'In Motion #1' and '[In Motion] #2' are, for instance, very, very melodic — they're carrying you through a story — and I also like that so much. So, different vibes on the album, and I like all of it. But I like also the heavy songs, especially for playing live, 'cause I can sing really loud and headbang and have fun."

The "Mandylion" lineup of THE GATHERING will reunite for five exclusive sold-out shows in August at Doornroosje in Nijmegen, the Netherlands. Prior to those gigs, THE GATHERING will play "one try-out show" at club Dynamo in Eindhoven, the Netherlands on June 29.

Upcoming shows:

June 29 - Eindhoven, Netherlands @ Dynamo
August 27 - Nijmegen, Netherlands @ Doornroosje
August 28 - Nijmegen, Netherlands @ Doornroosje
August 29 - Nijmegen, Netherlands @ Doornroosje
August 30 - Nijmegen, Netherlands @ Doornroosje
August 31 - Nijmegen, Netherlands @ Doornroosje

Fans can expect to hear all "Mandylion" tracks as well as more songs from the band's Anneke era.

THE GATHERING previously said in a statement: "After so many years, we are very excited to celebrate this anniversary together, an album that still means so much to us."

The lineup for the Nijmegen concerts will consist of the following musicians:

* Anneke Van Giersbergen - vocals
* Hugo Prinsen Geerligs - bass
* Frank Boeijen - keyboards, backing vocals
* Hans Rutten - drums
* René Rutten - guitar
* Jelmer Wiersma - guitar

In November 2014, THE GATHERING celebrated its 25th anniversary with a one-time special show at Doornroosje in Nijmegen. All past and present members of THE GATHERING — from 1989 until 2014 — appeared on stage and performed in this unique show together.

Van Giersbergen announced her departure from THE GATHERING in 2007. She has since released several albums on her own and with her AGUA DE ANNIQUE solo project.

In 2005, Century Media celebrated the 10th anniversary of "Mandylion" by releasing a special deluxe edition of the album. The double-CD set featured new artwork, a 16-page booklet with song-by-song liner notes from the band and never-before-seen photos from the album's recording sessions. CD2 contained the first demo recordings THE GATHERING did with Van Giersbergen in June 1994 and early 1995. "Solar Glider" was a previously unreleased instrumental while "Third Chance" appeared two years later in a different version on the "Nighttime Birds" album.

In a 2007 interview with PopMatters, Van Giersbergen stated about her decision to leave THE GATHERING and launch AGUA DE ANNIQUE: "I had been in THE GATHERING for 13 years, and I had never done anything for 13 years in my life. It's been my whole adult life, so to leave that, on one hand, was a very clear decision and a very strong feeling, and I was ready. In 13 years, things had changed in my personal and musical life. It was difficult as well, because the guys, they were like brothers, so to leave that and to change that relationship has been a long process and was probably one of the hardest things I did.

"I told them at the beginning of March, and so we really took some time to assess the situation," she continued. "Also, the guys, they wanted to see what their plans would be next. Of course they were not happy with my decision, but they are respectful and they have good spirits to continue. Of course, I put a big stamp on the sound and the look of THE GATHERING, but on the other hand I'm not the only singer in the world, so it's going to change, but it's not going to stop."

Regarding her reasons for leaving, Anneke said, "There were a lot of physical reasons, but they all came out of one big feeling in my heart that it was time to change. I was supposed to do this record besides THE GATHERING, and I was given time and it was all okay, but I like to do other small projects and work with other people a lot. I had some plans, and the feeling became stronger to develop that more seriously and also especially to be with my family a little bit more. Now, I can direct everything I do from this one agenda, and it feels very good to be the director of your own life. In a way THE GATHERING was officially a bigger band, and we were day and night constantly working with it, and it was quite intense, all the processes. So a lot of small things became one big feeling, like, 'Okay, I'm ready.'"