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2 àâã 2025
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2 àâã 2025
GEORGE LYNCH Plays First Two Shows With His New Band GEORGE LYNCH & THE MOB (Video)
 Legendary guitarist George Lynch played the first two shows with his new project dubbed GEORGE LYNCH & THE MOB on Friday, July 25 at the Angel City Music Hall - Manchester, New Hampshire and on Saturday, July 26 at the Jam At The Dam in Monroe, Connecticut.
Joining Lynch on stage at these shows were vocalist Andrew Freeman (LAST IN LINE),drummer Brian Tichy (WHITESNAKE, FOREIGNER, OZZY OSBOURNE) and bassist Jaron Gulino.
Fan-filmed video of the Jam At The Dam concert can be seen below (courtesy of John Mauceri).
Tichy was previously a touring member of George's long-running band LYNCH MOB in 2010, 2012–2013, 2015, 2020 and 2025; Gulino was in LYNCH MOB from 2022 to 2025; and Freeman played with LYNCH MOB in 2003, 2010 and 2019.
In a recent interview with Talking With Cars, legendary guitarist Lynch spoke about his upcoming touring activities following the completion of LYNCH MOB's "The Final Ride" farewell tour celebrating the band's 35-year legacy. He said: "Well, LYNCH MOB did its last show March 22nd, earlier this year. And so that's it for touring for LYNCH MOB. So I have another entity partially put together, which will probably be a revolving door of different people. But right now I'm just tentatively calling it GEORGE LYNCH & THE MOB, so people can identify with my name and the fact that there's still the LYNCH MOB aspect to that name without the bad connotations."
Asked if GEORGE LYNCH & THE MOB will feature a "rotating" lineup of musicians, George said: "Most likely, yeah. Because we aren't gonna be touring solidly enough to really keep a band together. So it'll just be probably a basket of different people that'll rotate in and out on a need-to basis or whenever they're available."
He continued: "The interesting thing is I've played with so many people in LYNCH MOB that a lot of those people are still friends of mine. They're familiar with me and the material and what people wanna hear. So it's easy. So we've got a couple shows coming up in the summer here. And it is Jaron [Gulino] still on bass from LYNCH MOB. And, we've got Brian Tichy on drums for the next couple shows, and then a vocalist to be determined. We don't know who yet. But we do have a LYNCH MOB record coming out. So, it's being mixed right now. It's all done. It's been done for a second, and it's gonna be a double album — it's gonna be, well, actually two albums. Two separate albums but packaged together. So it's a live album — full live show — and then also a studio album. And that's it. It's mixed right now. So, [it will be out] later in the year."
LYNCH MOB, the band formed by George in 1989 after his exit from DOKKEN, played its "final" concert on March 22 at the Medina Entertainment Center in Medina, Minnesota.
In February, George was asked by the Iron City Rocks podcast how he felt about completing one final trek with LYNCH MOB. George said: "Well, it's a mixed bag. I thought that it would make sense to go out with a band that, or a version of the band, which this is, that has remained intact for a while. LYNCH MOB has a history of having a revolving door, so that's been frustrating for me because when I first put the band together in '89, I was hoping for the exact opposite… And, of course, that did not happen. But we have a great time, and when we spend time together and tour, it's just really a dream, fun band. We joke around a lot. We work hard and the band — we bring it when we get on stage and we get in the studio. I thought, 'Well, that's the way to go out.' And also, on the other side of the coin, I'm not getting any younger. I didn't want to be that guy up there on crutches, having to sit down. I wanted people to remember it with some sense of vitality. Yeah, so I think we're kind of ending on a positive note, I would say. And we gave ourselves quite a long window. We decided this last year, and it gave us an eight-month, nine-month window. So it's a long, slow kind of fade into the sunset… And we've got, actually, two records [in the works] — we've got a live album and a live DVD and a studio record."
Asked if he was planning on getting involved in more recording projects in the future once the LYNCH MOB tour was done, George said: "Well, I love being in the studio, and I have a pretty nice studio situation, both in California, where I have my own studio, and in New Mexico, where I have found a home out there and a really wonderful venue, where I'm working now, actually. So, as long as I have something to say, I'll try to say it musically. But I will say that I've sort of spent my — I've done a lot of recording, I've written a lot of songs in the last group of years, since COVID and so forth, so I find myself kind of treading over old ground and saying the same thing, and I don't like that. And I think on occasion I've gotta slow down in my output a little bit. So, as I mentioned, we are working on a LYNCH MOB 'Final Ride' studio record. And beyond that, I've got other records in the pipeline that I am obligated — well, I can do, let's say; I don't know how obligated I am. If I don't wanna do 'em, I don't have to do 'em. One is a fourth THE END MACHINE record for Frontiers. And the other one is a third 'Heavy Hitters' album, which is a series of records that [ex-DOKKEN bassist] Jeff Pilson and I have been doing for Cleopatra Records, which are covers, and that's always really fun to do. I enjoy working with Jeff. I'll be working with Jeff Pilson on both those records. So that might be something that I decide to finish up. But, having said that, those are obligations consistent with my past work, doing THE END MACHINE records and 'Heavy Hitters' records and LYNCH MOB records and various other projects, with KXM and so forth, that I have been doing. But what I'm thinking is I would really like to — not to be super self-indulgent, but do something different. And that requires kind of banking a bunch of experiences and exposure, different kinds of music and styles and saying something unique. Or doing a master guitar record, what I consider would be my magnum opus guitar record. That's easier said than done, but maybe I need [to do something like that]. I don't know. I'm not sure what I wanna do yet. But I'm gonna let this touring schedule ride out and then I'm gonna sort of collect my thoughts [about what my next step will be]."
LYNCH MOB was formed in 1989 after Lynch parted ways with his former band DOKKEN. Their debut release, "Wicked Sensation", was met with critical and fan acclaim and went on to be certified gold in sales by the RIAA. The band would continue on through the years with a cast of talented players joining Lynch throughout their musical journey over the course of six more studio albums.
LYNCH MOB's eighth studio album, "Babylon", came out in October 2023. Joining revered guitarist and band founder for the LP were vocalist Gabriel Colón, bassist Jaron Gulino (TANTRIC, HEAVENS EDGE) and drummer Jimmy D'Anda (ex-BULLETBOYS).
In August 2020, Lynch announced that he was ending LYNCH MOB due to the racial insensitivity of the moniker, saying he would no longer record or perform under that name. Two years later, George had a change of heart, explaining that he had to "live with the fact that [the name LYNCH MOB] has some negative connotations that I probably have to continue explaining for the rest of my life, and I don't mind doing that. But it is a brand that I built, and I'm just gonna stick with it. As far as a marketing thing and a brand thing and a business thing and a working thing, and it keeps my band guys working and it keeps the fans happy, it makes sense."
George Lynch Fan Page🎸🎸🤘
Buy tickets today here: https://www.eventbrite.com/e/jam-at-the-dam-2025-tickets-1338765837659
Posted by Jam At The Dam on Wednesday, July 23, 2025
🎸 CT Ready to Rock! 🎶 The wait is over—here's your 2025 lineup! 🎤We can’t wait to Jam at the Dam with everyone this...
Posted by Jam At The Dam on Friday, May 2, 2025 | 0 | |
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2 àâã 2025
Watch: AC/DC Drummer PHIL RUDD Returns To Live Stage, Plays Rock Anthems Alongside Classical Orchestra In New Zealand
 After years away from the spotlight, AC/DC's iconic drummer Phil Rudd made his triumphant return to the stage. On July 26, 2025, Rudd appeared at Spark Arena in Auckland, New Zealand, performing live as part of the "Full Metal Orchestra" — a massive rock-meets-classical show featuring members of the Auckland Philharmonic, conducted by Sarah-Grace Williams. Together with Jon Toogood (SHIHAD) and a stellar lineup of rock vocalists, Phil delivered versions of AC/DC classics like "Thunderstruck", "Back In Black" and the anthemic "It's A Long Way To The Top (If You Want To Rock 'N' Roll)". Video of his appearance can be seen below.
"Full Metal Orchestra", which brings together the "raw power" of rock and metal music with the "sheer might" of a 29-piece classical orchestra, was powered by award-winning producer Jol Mulholland.
"Think METALLICA meets Mahler, AC/DC a deux, and [BLACK] SABBATH with strings — this is a symphonic experience like no other," organizers Duco Touring and Liberty Stage said when they announced the concert back in April.
"You'll witness massive metal anthems from the likes of METALLICA, IRON MAIDEN, BLACK SABBATH and AC/DC and more — amplified by soaring orchestral arrangements, searing guitars, powerhouse vocals, and epic visuals."
Duco Touring founder David Higgins told Stuff about Rudd's participation in the event: "Phil Rudd was always in my mind as the dream 'get' as one of the world's best known rock stars, living right here in New Zealand."
The now-71-year-old Rudd told Stuff three months ago: "It's going to be massive, fueled, we'll take off the roof…you wait. It's going to be thumping, boom boom, bang. It's exciting, like nothing else I've ever done, putting the best raw banging rock songs with a classical orchestra."
"Full Metal Orchestra" marked Rudd's first public performance since last November when he played AC/DC's classic song "T.N.T." with a local party act in New Zealand.
In a November 2023 interview with New Zealand's Stuff, Rudd said that he was unable to join his AC/DC bandmates at the Power Trip festival in California that year, but that he was "look[ing] forward to playing with them again in the future."
Sitting behind the drum kit for AC/DC's appearance at Power Trip in October 2023, on the spring/summer 2024 European tour, the spring 2025 North American tour and the summer 2025 European tour is Matt Laug. The 57-year-old Laug is an American drummer who has played with many bands/artists such as Alanis Morissette, Alice Cooper, SLASH'S SNAKEPIT and Vasco Rossi. Matt moved to Los Angeles after graduating from South Florence High School in 1986 and after attending college in L.A., Matt became a sought-after studio drummer. In 2001, Laug supported AC/DC as part of SLASH'S SNAKEPIT on the North American and European legs of the "Stiff Upper Lip" tour.
When AC/DC announced in September 2023 that Laug would play drums for the band at Power Trip, it offered no explanation for the absence of Rudd, who rejoined AC/DC for the recording of the group's comeback album, "Power Up", which came out in November 2020.
Rudd was ousted from AC/DC when he was sentenced to eight months of home detention by a New Zealand court in 2015 after pleading guilty to charges of threatening to kill and drug possession. He was replaced on the band's "Rock Or Bust" tour by Chris Slade, who had previously served as AC/DC's drummer between 1989 and 1994, playing on the album "The Razor's Edge".
Rudd, who appeared on all but three of AC/DC's 18 previous studio albums, toured in support of his 2014 solo debut, "Head Job". It was the release of that album that led indirectly to Rudd's arrest, with the drummer allegedly so angry at a personal assistant over the way the record was promoted that he threatened to have the man and his daughter killed.
During an appearance on a November 2020 episode of Dean Delray's "Let There Be Talk" podcast, Rudd confirmed that the seed for his return to AC/DC was planted at the funeral of AC/DC rhythm guitarist Malcolm Young in 2017. Rudd, singer Brian Johnson and bassist Cliff Williams all attended the ceremony. At the time, the three musicians were considered former members of AC/DC, with Johnson and Williams both having left in 2016 for health reasons, while Rudd was sidelined in 2015 with various legal issues.
"Angus and I had a good chat at Mal's funeral and caught up," Rudd recalled. "[After I played on the 'Rock Or Bust' record] there was crazy shit going on, but since then, I'd got my shit together and put a little band together, I went to Europe and was doing a bit of playing and stuff and did [a solo] album. The guys knew I was still playing, so when I caught up with Angus at the funeral, we were sort of chatting away and somehow, he just sort of [asked me] if I was up for [doing a new AC/DC] album. And he started writing the next day. He went in the studio and started writing straight away."
Angus told Rolling Stone that it was indeed Malcolm's funeral that helped heal old wounds.
"[Phil] was there and in good shape," the guitarist said. "He was keeping himself well together. He was getting therapy and sorting himself out. It was really good."
Johnson added that he and the rest of AC/DC welcomed Rudd with open arms. "I speak for all the boys with Phil," he said. "We defend Phil to the hilt. What happened up there, that's not the Phil we know. That was just something else. He's really looking brilliant now and doing everything great."
ON SALE NOW 🤘 Mānuka Phuel Full Metal Orchestra brings together the raw power of rock and metal with the sheer might of...
Posted by Ticketmaster New Zealand on Wednesday, April 30, 2025 | +3 | |
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1 àâã 2025
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1 àâã 2025
DEF LEPPARD's JOE ELLIOTT On OZZY OSBOURNE: 'He Was A Great Guy And An Iconic Rock Artist'
 In a new interview with Fox 13 Seattle's "Good Day Seattle", DEF LEPPARD singer Joe Elliott reflected on his friendship with Ozzy Osbourne who died last week at the age of 76. He said (as transcribed by BLABBERMOUTH.NET): "Well, we toured with Ozzy in '81. He was touring the U.S. the whole summer of '81, and we were the opening act. And I have to say that Ozzy [and his] band, which was Randy Rhoads [on guitar], Rudy [Sarzo on bass] and Tommy Aldridge on drums, they were great with us. [Ozzy's wife and manager] Sharon was fantastic with us. We got full lights, full sound, the whole stage — none of that shenanigans that headline acts can pull on a support band. They were really nurturing towards us. They wanted us to succeed. So there's always been a lot of love between both camps. And, of course, over the years since then, we've met [Ozzy] many times. I think we've had more Indian meals with Ozzy than we ever did shows with him. [Laughs] If we were in the same town, it was always we'd go out and eat together."
Joe continued: "We crossed paths [with Ozzy] many times. But we were also kids that grew up with BLACK SABBATH and watching them play, and then all of a sudden you're touring with an ex-member of BLACK SABBATH who's got his own career. And then he becomes somebody that you see at award shows or just in a restaurant or whatever. And he was a great guy. He was very vulnerable, but he was a great guy and he was an iconic rock artist. He was crazy — he was. He did some incredibly weird things, but he made fantastic music and had a fantastic fanbase that loved him to death. And that was very obvious from that final show that Ozzy and BLACK SABBATH did just a couple of weeks ago [in Birmingham, United Kingdom]. You could tell how almost love there was for him throughout that entire day."
In a separate interview with KPTV Fox 12, Elliott and DEF LEPPARD guitarist Phil Collen were asked if BLACK SABBATH and Ozzy Osbourne were an influence on DEF LEPPARD when their band first started out. Phil replied: "I remember seeing BLACK SABBATH on the SABBATH '[Vol] 4' tour. Actually, BLACK OAK ARKANSAS was the opening act at the Rainbow Theater in London [in March 1973]. Tommy Aldridge was actually the drummer in BLACK OAK ARKANSAS, and he was opening up for SABBATH and obviously years later he's in Ozzy's band. So [Ozzy] obviously saw something in [Tommy] back then. But it was great. We grew up [on LED] ZEPPELIN, [DEEP] PURPLE, SABBATH and all of that stuff. And it was just mind-blowing. Like I said, I was so glad to see that SABBATH that early, and then, obviously, years later tour with Ozzy."
Phil continued: "I was in a band called GIRL [before I joined DEF LEPPARD], and we were on the same record label as Ozzy, and that's where he met [his wife and manager] Sharon. So it went back right there — [with Ozzy's band consisting of] Randy Rhoads, Rudy Sarzo, Tommy Aldridge. It was just wonderful. And then obviously DEF LEPPARD toured with that same band on the 'Blizzard Of Ozz' tour in the U.S., and we actually would be in connection with each other all the time, we'd be in contact."
Added Joe: "[Ozzy] was a lovely guy. Sharon was a great manager for him. And I don't think that SABBATH were a huge influence on DEF LEPPARD, but we were big fans — still are. It was more a case of we just happened to be blessed with the opportunity, both Phil's band at the time and LEPPARD, to tour with Ozzy and to just experience their enthusiasm and how nurturing they were towards us.
"A lot of headline bands, they'll kind of stamp on an opening act by not letting them have soundchecks or giving them no lights. Ozzy gave us the full stage — lights, soundchecks, everything," he explained. "They wanted us to succeed. And so there's always been a lot of love between their camp and ours. And it's just very sad. But I'm really happy he got to do that final show in Birmingham, just 17, 18 days ago. I think he was ready after that. I think he'd said all he had to say."
Elaborating on his impressions of the "Back To The Beginning" event, which marked Ozzy and SABBATH's final performance, Joe said: "It was amazing. The love towards Ozzy you could see, I mean, we were doing our own show, which is why we couldn't be there. Sharon did ask if we could do it, but we sent a message instead that they put on the screens. But we were keeping an eye on it on YouTube, and you could even tell through a laptop how much love there was heading towards that stage when Ozzy sat in that throne. It was kingly — it really was. It was like watching the king of rock getting worshipped by his loving audience. And I felt really happy for him. I'm glad he got to do it."
As previously reported, DEF LEPPARD paid tribute to Ozzy by performing a cover of BLACK SABBATH's "Changes" during their July 22 concert in Saratoga Springs, New York.
"We all know just a few hours ago we lost our beloved Ozzy Osbourne," Elliott said during the band's show at Saratoga Performing Arts Center. "So tonight we're celebrating Ozzy."
"Changes" originally appeared on SABBATH's 1972 album "Vol. 4", and was re-recorded by Ozzy in 2003 as a duet with his daughter Kelly, featuring revised lyrics.
Ozzy died on July 22, his family announced in a statement.
"It is with more sadness than mere words can convey that we have to report that our beloved Ozzy Osbourne has passed away this morning. He was with his family and surrounded by love. We ask everyone to respect our family privacy at this time," the family said.
No cause of death was given, but Osbourne had battled a number of health issues over the past several years, including Parkinson's disease and injuries he sustained from a late-night fall in 2019. | +6 | |
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1 àâã 2025
FOGHAT Celebrates 50th Anniversary Of 'Fool For The City' With Reissue Featuring Never-Before-Released Live Album
 It's become commonplace to hear the words, "I can't believe it's been 50 years since that album came out!" That exclamation comes this year for legendary rockers FOGHAT — Roger Earl (founding drummer),Bryan Bassett (guitar),Scott Holt (lead vocals/guitar) and Rodney O'Quinn (bass) — whose platinum-selling fifth album, "Fool For The City" (which gave us the rock anthems "Slow Ride" and the title track) was originally released on September 15, 1975.
To celebrate this illustrious occasion, Rhino Records is releasing the 50th-anniversary edition of "Fool For The City" on September 12, 2025. This special reissue available as a double-vinyl or double-CD version, features the newly remastered original tracks, as well as an electrifying bonus disc featuring a never-before-released live album recorded during two live performances at the Aragon Ballroom in Chicago in 1975. Pre-order info will soon be available on FOGHAT's online store and Rhino's official web site.
A limited number of autographed CDs and vinyl can be pre-ordered now on TalkShop.Live, which will include an exclusive insert signed by Roger Earl and producer Nick Jameson. On Wednesday, August 6 at 4:00 p.m. PT/7:00 p.m. ET, Roger Earl and producer Nick Jameson will appear on the site's Rock & Roll Channel with their good friend and host Steve Harkins for an in-depth discussion about "Fool For The City" and the incredible bonus material on the 50th-anniversary package.
Captured and performed by multi-talented bassist/producer Nick Jameson — the mastermind behind both "Fool For The City" and 1977's legendary "Foghat Live" — these raw, high-energy recordings have been resurrected nearly 50 years later. Mixed and mastered by Jameson himself at a studio in Reykjavik, Iceland, the result is a time capsule of pure rock fury. The CD edition will also include two bonus live tracks and a brand new interview with founding drummer Roger Earl and Jameson, diving into the making of "Slow Ride" and the magic behind the "Fool For The City" sessions.
"Nick is a genius," says Earl. "He worked tirelessly to make these live tracks as powerful as his original live mixes — and we are absolutely thrilled with the results." Check out more from him about the album in the video below.
"From the iconic album cover, to the first 30 seconds of the opening track, 'Fool For The City', 50 years later, is still as relevant today as in 1975," declares bassist Rodney O'Quinn. "A go-to album while cruising down the highway of life. "
Lead/slide guitarist Bryan Bassett who has mixed, produced and mastered all of FOGHAT's releases since 2000 says: "Included in this release are several 'live' recordings from the band in 1975. The mixes for these live tracks were done by the multi-talented producer/engineer/ musician Nick Jameson who was the producer on the original 'Fool For The City' record. An awesome set of rare bonus tracks for your FOGHAT collection. "
As singer Scott Holt exclaims: "'Fool For The City', birthplace of 'Slow Ride', as well as one the greatest most iconic album covers ever, the music inside this masterpiece continues to excite and entertain and 50 years on, still being embraced, consumed, treasured, streamed and played on radio stations all over the world! FOGHAT has an embarrassingly rich catalog, but the body of work that is 'Fool For The City' is a standard of great American rock and roll! And now, remastered with bonus live tracks?!? What a great time to be alive and rocking out to FOGHAT!"
"I am absolutely thrilled that the four merry lads who created 'Slow Ride' can at long last be heard performing together live," says Nick Jameson. "This performance happened mere weeks after we recorded the 'Fool For The City' album, and we were at the absolute top of our game. And I'm so happy that 'Fool For The City' once again sounds the way it did when it was first released. Love always to Dave and Rod; they live on in this music!"
And the party doesn't stop there. FOGHAT wants their legions of loyal fans to help celebrate. They're being invited to design their own version of the iconic "Fool For The City" album cover for a chance to win big. The Grand Prize is a trip for two to Las Vegas, Nevada to hang out with the band at their September 13 show at the Cannery Hotel & Casino. Second- and third-place winners will score exclusive band merchandise. All entries will be showcased in a special 50th-anniversary tribute video and on FOGHAT's social media. Fans should submit their designs by August 15 on the band's web site. Download the original background here and let your imagination run wild.
FOGHAT is still making chart-topping music and touring all over North America and Europe 50 years later. Their latest album, "Sonic Mojo", was released November 10, 2023, and remained on the Billboard Top 10 Blues Albums chart for 34 weeks, including two weeks at No. 1. It is the first time the band has ever landed at No. 1 on any of Billboard's charts after a new album release. Even "Slow Ride" had never reached No. 1. "Sonic Mojo" is available in various formats, including a single CD boasting 12 electrifying tracks in a stunning six-page digipak and digital copies. For vinyl enthusiasts, there's a limited edition 180-gram, neon purple vinyl version featuring 11 tracks and a gatefold jacket, as well as extra special CD and vinyl bundles. The album's four singles, "Drivin' On", "She's A Little Bit Of Everything" (co-written by the late Kim Simmonds from SAVOY BROWN),"Black Days & Blue Nights" and "I Don't Appreciate You" are streaming on all digital outlets and the band's official YouTube page.
FOGHAT's journey began in 1971, and their legacy is written in rock and roll history with their classic hits "Fool For The City", "Slow Ride" and "I Just Wanna Make Love To You", eight gold records, one platinum record and one double-platinum record. Through ups and downs, tragedies, and triumphs, one thing remains constant: FOGHAT's unwavering dedication to music. It's all about the music, always has been and always will be.
Here is the track listing for the 50th-anniversary edition of "Fool For The City":
Original Album:
01. Fool For The City
02. My Babe
03. Slow Ride
04. Terraplane Blues
05. Save Your Loving (For Me)
06. Drive Me Home
07. Take It Or Leave It
1975 Live Recording:
01. Fool For The City
02. Home In My Hand
03. My Babe
04. Honey Hush
05. Slow Ride
06. I Just Wanna Make Love To You
07. Wild Cherry *
08. Maybellene *
* CD only
Photo credit: Arnie Goodman | +1 | |
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1 àâã 2025
Watch: DREAM THEATER Performs At Ancient Amphitheater In Plovdiv, Bulgaria During Summer 2025 European Tour
 Fan-filmed video of DREAM THEATER's July 20 concert at the Roman amphitheater of Philippopolis in Plovdiv, Bulgaria can be seen below. The iconic amphitheater, which was only discovered after a landslide in the 1970s, is one of the world's best-preserved ancient theaters.
Featured songs:
Act 1:
00:00:00 Pre-show
00:00:47 Night Terror
00:10:26 Strange Deja-Vu
00:14:03 Through My Words
00:15:18 Fatal Tragedy
00:21:51 Panic Attack
00:28:26 Under A Glass Moon
00:34:31 Hollow Years '96 (demo, extended with John Petrucci and Jordan Rudess solo)
00:48:21 Take The Time (shortened with extended guitar outro)
Act 2:
00:57:28 As I Am
01:04:53 The Enemy Inside
01:11:19 James LaBrie speaks
01:12:02 Midnight Messiah
01:19:35 Peruvian Skies (w/ "Wish You Were Here" and "Wherever I May Roam" snippets)
01:30:36 The Count Of Tuscany (w/ "Rhapsody In Blue" snippet)
01:50:44 The Spirit Carries On
01:54:33 Pull Me Under
DREAM THEATER kicked off the spring/summer 2025 leg of its "40th Anniversary European Tour" on June 3 at Logomo in Turku, Finland.
DREAM THEATER's summer/fall 2025 "An Evening With Dream Theater" U.S. tour will celebrate the band's recent chart-topping sixteenth studio album, "Parasomnia". The tour is scheduled for 30 cities across the United States, kicking off September 5 in Reading, Pennsylvania and running through October 25, when it wraps in Long Island, New York. The tour will make stops in Orlando, Floria; Detroit, Michigan; Kansas City, Missouri and Providence, Rhode Island, among others. DREAM THEATER will be performing its latest album in its entirety as well as classics and fan favorites from the band's catalog in what promises to be an unforgettable evening of music.
"Parasomnia" came out on February 7, 2025 via InsideOut Music. The LP marked DREAM THEATER's first release with drummer Mike Portnoy since 2009's "Black Clouds & Silver Linings".
"Parasomnia" was produced by guitarist John Petrucci, engineered by James "Jimmy T" Meslin, and mixed by Andy Sneap. Hugh Syme returned once again to lend his creative vision to the cover art.
Portnoy co-founded DREAM THEATER in 1985 with 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".
The North American leg of DREAM THEATER's 40th-anniversary tour kicked off 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, bassist John Myung and keyboardist Jordan Rudess. The tour concluded on March 22 in New York City.
PLOVDIV 🇧🇬 WOW! Thank you for sharing two amazing nights with us in this gorgeous venue!
So many incredible pictures by...
Posted by Mike Portnoy on Tuesday, July 22, 2025
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1 àâã 2025
HATEBREED's Longtime Bassist CHRIS BEATTIE Sues Band Over Split, Accuses JAMEY JASTA Of Greed
 According to Billboard and Law360, HATEBREED's founding bassist Chris Beattie has filed a lawsuit against the band, claiming he was the "driving force behind [HATEBREED's] sound and identity until his sudden and baseless expulsion" from the group last November.
The complaint, which was filed at Connecticut Superior Court in New Haven and which has been obtained by BLABBERMOUTH.NET, also accuses HATEBREED frontman Jamey Jasta (real name: James Shanahan) of displaying "increasingly erratic" behavior in the months leading up to Chris's "abrupt termination", "culminating in a unilateral decision to cut Beattie off from his career, fans, touring, and substantial expected revenue."
In the lawsuit, Beattie claims that he "contributed significant labor, musical talent, recording and management duties, promotion, and financial resources, without which HATEBREED would not and could not have achieved its current level of recognition and profitability." He adds that "the band functioned pursuant to a longstanding, implied agreement and understanding that Shanahan and Beattie were equal co-owners in the band and entitled to their designated share of profits, royalties, and intellectual property rights."
In September 2015, Shanahan, Beattie and drummer Matthew Byrne entered into an agreement concerning the distribution of proceeds from the sale of HATEBREED merchandise, according to the complaint. Under the merchandise agreement, "Beattie, Byrne, and Shanahan agreed they were each entitled to 25% of the sales and revenue from merchandise while the other two members of the band received 12.5%, accounting for the remaining 25% of sales," the lawsuit reads. "Shanahan and/or band manager Steve Ross maintained a specific HATEBREED bank account and managed the band's income and distributions to other members, including Beattie."
According to Beattie, he and other band members "had no insight into how the money was managed, and most often received payment via wire transfers. Those transfers often came with no explanation or breakdown of the amount being transferred."
The complaint goes on to say that "HATEBREED continued to operate in accordance with the longstanding implied agreement and understanding the primary members, including Shanahan, Beattie, and Byrne, were co-equal owners in the band. In addition, the three, along with band manager Steve Ross, played a critical role in all major decision-making on behalf of the band. For example, each of Shanahan, Beattie, Byrne and Ross were responsible for and often discussed managerial decisions such as how much other band members were paid for certain shows, booking and scheduling, distribution, and the band's public image and branding, among other things. Despite this understanding and practice that the three primary band members be involved in such decision-making and entitled to equal shares in profits, at some point Shanahan became more secretive with respect to decision-making and the band's finances."
Prior to his termination, Beattie claims that he "began to notice that there were substantial delays in receiving his share of merchandise sales following HATEBREED performances. When Beattie did receive payments purporting to reflect his share of merchandise sales, those payments were substantially lower than what he anticipated under the merchandise agreement. Because of this, Beattie began requesting financial information about the band from Shanahan. Despite his repeated requests in 2023 and 2024, Beattie never received any financial information confirming that the portion of the proceeds he received constituted 25% of sales as promised."
According to Beattie, he was notified last November by Shanahan that he was "terminated" from his role as HATEBREED's bassist. "Beattie's termination followed weeks of erratic behavior by Shanahan, including berating and belittling tour and road crew and publicly posting about being stressed, burned out, and generally having too much on his plate," the lawsuit claims. "In terminating Beattie from the band, Shanahan cited to an alleged incident that occurred on or around November 9, 2024 just prior to a HATEBREED concert at the Toyota Oakdale Theater in Wallingford, Connecticut. There, a Live Nation security guard at the venue falsely reported that Beattie had harassed her upon entering the theater prior to his performance. These allegations were patently untrue. Beattie never harassed any Live Nation employee and more likely, she mistook him for someone else.
"Despite Beattie's denying the incident, Shanahan abruptly terminated Beattie from HATEBREED, despite his thirty-year tenure in the band and the implied agreement that he would remain part of HATEBREED. Shanahan had no justified reason for Beattie's termination. Shanahan had structured a false narrative about Beattie — not supported by any evidence — to other band members following the Oakdale show in an effort to discredit Beattie's reputation and persuade the other band members to justify Shanahan's desire to kick Beattie out of the band."
Beattie goes on to say that the fallout from his "termination has had a significant negative impact on his career, reputation, and health and well-being." He also accuses HATEBREED of continuing "to sell merchandise using Beattie's likeness in its online store. HATEBREED and Shanahan also continue to promote the band using Beattie's likeness. For example, as of the date of this filing Beattie is still featured prominently on HATEBREED's profile picture for its Instagram account, and Beattie appears on HATEBREED's website and social media pages."
Beattie is seeking financial damages from HATEBREED and Jasta — including compensatory damages and damages for emotional distress — saying that he has been cut off from touring profits and has lost brand deals since being ousted.
This past May, Chris opened up about his departure from HATEBREED, telling Drew Stone of The New York Hardcore Chronicles Live!: "Obviously, the last year was the 30th anniversary of the band, so we had big stuff going on for that, which was all completely amazing. We had a great year. Tours, shows were successful, and then we jump to right now where I'm not in the band anymore."
Chris went on to say that his exit from HATEBREED was "completely unexpected. We had just celebrated 30 years," he explained. "It was awesome. Successful tour. Left on a high note. We did great stuff. And like I said before publicly, it was not my decision to leave the band. Someone saw an opportunity to get me out of the picture, and that's where I am now."
Beattie continued: "Everything went really well that year, but there was stuff going on behind the scenes, and it became a chore to get in touch with anyone. And I was the middle man, basically, for bandmembers and crew members, and that became a chore for me. And I had started asking a lot of questions, and it became problematic. I became a problem within the [organization]."
Regarding where he stood with HATEBREED right now, Chris said: "We're trying to work it out. There's attorneys involved now. They're spending a lot of time having to deal with that and all the details of that. And I've gone back and forth.
"Obviously, when something like that happens, you're upset," he continued. "You go through all these crazy emotions. You put 30 years into something like that. But I don't wanna shit on the legacy of what I did. And I could be that guy. I could come out here and I could talk all kinds of shit, but I don't want [to]… I don't wanna be that guy. We made good music. We had great times together. Things changed. Dynamics changed.
"It's hard to be away from your family when you're touring. Everyone understands that. And the feedback from people when you play, you inspire them, you touch their life, you have a positive, lasting impact on someone, that always kept me in the game. And when shit wasn't going right in the band and whatnot, you look at that man that's the realest shit you could possibly get. People would come up to us all the time and be, like, 'Man, I was ready to kill myself. And your music changed me.' How do you respond to that? It's real deep shit.
"So I'm just hoping for the best," Chris added. "Hopefully we'll be able to sort this out. I don't want us to go down some shitty road. We've all seen bands do that, so hopefully it could end on decent terms and be able to move ahead."
Asked if he thought there was any chance of him being able to work things out with HATEBREED and return to the band, Beattie said: "My time is done with HATEBREED… It's done. My family comes first. I'll leave it at that. I can't go back to that. But there is a legacy. With all the time that I haven't been in the band now, which, it's weird to say, but people know me from that band everywhere I go. You can't shake that kind of shit. The identity is still there. So it's good. It's hard to talk about too, but here we are. New doors open."
When Beattie went public with his departure from HATEBREED five months ago, he wrote in a statement: "I just want to take the time to let everyone know that I am doing just fine and I sincerely appreciate everyone who has reached out.
"I was under the impression a joint announcement would be agreed upon in advance, but since that was not the case I wanted to address your concerns in my own post.
"At this time I am unable to discuss the specifics surrounding my departure from HATEBREED on November 13, 2024. However, I want to clarify that the decision to leave the band was not mine and that my departure was uncalled for and based on misleading and wrongful statements that will be subject to future actions."
Earlier this month, HATEBREED released its first new music in nearly five years, "Make The Demons Obey". The track was the first taste of new HATEBREED material after the group's "Weight Of The False Self" album which came out in 2020.
This past April, HATEBREED announced it was resurrecting the annual "Summer Slaughter" tour for 2025, which kicked off on July 8 in St. Petersburg, Florida and ran through July 28 in Grand Rapids.
Last month, HATEBREED guitarist Wayne Lozinak left the band's European tour following a brain tumor diagnosis. He will undergo a craniotomy — a surgical procedure that involves opening the skull to access the brain — on August 4.
In the meantime, HATEBREED has continued its European and American tours, with touring bassist Matt Bachand of SHADOWS FALL stepping in on guitar, and Carl Schwartz of FIRST BLOOD and TERROR joining the group on bass duties.
Lozinak has been a key part of HATEBREED's sound since rejoining the band in 2009.
Photo credit: Jeremy Saffer
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TRANS-SIBERIAN ORCHESTRA's 'Beethoven's Last Night' To Be Made Available On Vinyl For First Time
 TRANS-SIBERIAN ORCHESTRA's acclaimed rock opera "Beethoven's Last Night" will make its vinyl debut on September 12 as the band celebrates the album's 25th anniversary.
The 2LP set will be available in two distinct editions. A special version featuring a lenticular cover — with dynamic 3D-style artwork — will be offered through Rhino.com and TRANS-SIBERIAN ORCHESTRA. A red vinyl edition will also be available from stores and online retailers.
"Beethoven's Last Night" (2000) tells a dramatic tale that imagines the final hours of Ludwig van Beethoven as he faces down the devil. Drawing on his most iconic melodies, the album blends classical themes with hard rock and theatrical storytelling. It introduces a vivid cast of characters — Fate, her son Twist and Mephistopheles — who drive the narrative to its dramatic conclusion.
TRANS-SIBERIAN ORCHESTRA was founded by the late Paul O'Neill, whose vision of a rock opera fused with classical themes and elaborate live productions reshaped the concert experience. With over 10 million albums sold, TRANS-SIBERIAN ORCHESTRA has helped a new generation rediscover the power of the rock opera. Since launching its annual winter tour in 1999, TSO has grown into one of the world's top live acts, performing for more than 100 million fans. The band has also donated over $11 million to charity through ticket sales and community initiatives, reflecting O'Neill's belief in music as a force for good.
Ever since TRANS-SIBERIAN ORCHESTRA embarked on their first tour — a modest seven-show run of theaters in the Northeast and Midwest — in 1999, the group's lineup has featured four members of SAVATAGE, the pioneering metal group from which TSO spawned: bassist Johnny Lee Middleton, drummer Jeff Plate and guitarists Al Pitrelli and Chris Caffery.
Two and a half decades and hundreds of sold-out arena shows later, all four musicians still tour with the band each winter, albeit as members of different touring troupes — Pitrelli and Middleton are the longtime anchors of "TSO West," while Plate and Caffery are stalwarts of "TSO East." In 2015, vocalist Zachary Stevens — who fronted SAVATAGE from 1993 to 1999 and is performing with the group as part of its 2025 reunion — began touring with TSO East as well.
TSO released a series of rock operas. There's 1996's "Christmas Eve And Other Stories", 1998's "The Christmas Attic", 2004's "Lost Christmas Eve", 2009's "Night Castle", 2012's "Dreams Of Fireflies" and 2015's "Letters Of The Labyrinth". More than 10 million TSO albums have been sold.
"Beethoven's Last Night" 2LP track listing:
LP One
Side One
01. Overture
02. Midnight
03. Fate
04. What Good This Deafness
05. Mephistopheles
06. What Is Eternal
07. The Moment
Side Two
01. Vienna
02. Mozart
03. The Dreams Of Candlelight
04. Requiem (The Fifth)
05. I'll Keep Your Secrets
LP Two
Side One
01. The Dark
02. Fur Elise
03. After The Fall
04. A Last Illusion
05. This Is Who You Are
Side Two
01. Beethoven
02. Mephistopheles' Return
03. Misery
04. Who Is This Child
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Watch: PRIMUS Performs Cover Of BLACK SABBATH's 'N.I.B.' In Honor Of OZZY OSBOURNE
 PRIMUS paid tribute to Ozzy Osbourne by performing a cover of the BLACK SABBATH classic "N.I.B." during the Les Claypool-fronted outfit's July 28 concert at Saenger Performing Arts Theater in New Orleans, Louisiana. Handling lead vocals for the track was Puddles Pity Party, the sad clown alter ego of Atlanta entertainer Mike Geier. Check out fan-filmed video of the performance below.
PRIMUS is currently on the "Onward & Upward Tour", which is the first to feature new drummer John Hoffman alongside Claypool and guitarist Larry "Ler" LaLonde.
The night after Ozzy's death, PRIMUS paid musical and visual tribute to the legendary heavy metal singer during a concert at Hartford HealthCare Amphitheater in Bridgeport, Connecticut by teasing BLACK SABBATH's "Iron Man" and playing a snippet of Osbourne's classic "Crazy Train" while images of the Prince Of Darkness appeared on the screens behind the band. Later in the set, BLACK SABBATH's "Paranoid" served as the intro to "HOINFODAMAN".
Ozzy famously teamed up with PRIMUS to record a version of "N.I.B." for 2000's "Nativity In Black II" compilation, the second of a series of a series of BLACK SABBATH tribute albums. Their collaborative track also appeared on Osbourne's 2005 box set "Prince Of Darkness".
Ozzy died the morning of July 22, his family announced in a statement.
"It is with more sadness than mere words can convey that we have to report that our beloved Ozzy Osbourne has passed away this morning. He was with his family and surrounded by love. We ask everyone to respect our family privacy at this time," the family said.
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HELLOWEEN's MICHAEL KISKE Says Having Three Lead Singers In The Band 'Has Only Benefits'
 In a new interview with Spain's Stairway To Rock, HELLOWEEN vocalist Michael Kiske once again spoke about how the German metallers have managed to pull off the seemingly impossible by uniting returning Kiske and guitarist/vocalist Kai Hansen with singer Andi Deris, guitarists Michael Weikath and Sascha Gerstner, bassist Markus Grosskopf and drummer Daniel Löble. Regarding what it's like to have three lead singers in the band, Kiske said (as transcribed by BLABBERMOUTH.NET): "It's unusual for me. I mean, not anymore, but in the beginning it was a bit unusual, this idea, but it has only benefits, really. You don't have to sing that much. I mean, live it's not all just on your shoulders. You have other people singing. You have off time. When someone is getting sick, you can switch the songs a little, have the others sing more and stuff like that. But also, I think, unless someone hates a particular singer and only wants to hear one, if that's not the case, it's even more entertaining because it's more colorful. The whole theatrical thing is just more interesting when you have more than one singer. I mean, we didn't try to become AVANTASIA [German metal project featuring a revolving cast of musicians, including several vocalists]. It was just because of Kai and I got back into the band and nobody got fired. This is why we do it all together now. And it just happened that the band had three vocalists over the years, over the career. That's why that took place. But there have been other bands where you're used to it, like KISS always had two singers, main lead singers. LINKIN PARK always right from the start had two vocalists and stuff. It's just unusual the way we're doing it, that everybody comes together and does this whole thing now. But I think it's great. It's also more interesting live. There's just more happening."
Asked how he and the other members of HELLOWEEN deal with the inevitable ego clashes when it comes to sharing lead vocals, Kiske said: "Not really a problem. The egos are not that big anymore. [Laughs] It is great. Of course when a songwriter writes a song, he might have particular things in in his head, and if somebody tries to change something, it's always a bit personal. It's your baby. But it never really gets bad. It never gets out of hand. The songwriter doesn't have to say yes to anything if he doesn't like it. And in terms of the vocals, it helps a lot that Andi and I, we really get along great. So there is no ego fight going on at all. It's always about what's cool for the song. I often move things over to him. It's, like, 'I gave a song a try. I didn't like it much. You should give it a try.' Or the other way around. I mean, so far it has not been the slightest problem, really. It was more a little bit with Kai sometimes in terms of he would love to sing all his songs today, when he writes something, which is a bit sad. Because it has a specific magic when I sing his shit. It sounds like the old days, which is something we should use. It wasn't any problem this time [with HELLOWEEN's upcoming album 'Giants & Monsters']. This time he was very smooth, but on the first production [since the reunion, 2021's 'Helloween'], we had long discussions because he wanted to sing [the song] 'Skyfall', like almost everything. And I already did vocals for it, and it sounded great, and everybody loved it. It's not that we don't want him to sing, and I love it when he sings — he has his own voice and stuff like that — but it just sounded good. Everybody felt like, 'That's just the way it's gotta be.' And I know he wrote it for my voice because I know when he was writing the song, like in the early stages, he said it to me, 'Oh, it's gonna sound so cool when you sing this,' blah, blah, blah. Somehow down the line he changed his mind. But that was actually the only time where we had a long discussion where everybody felt, like, 'No. You should sing this and this, but that should be Michael. It sounds great. It sounds the way it should.' But with Andi, I don't have that. But it's also I can sing everything Kai writes; it's kind of natural to me. I don't know. It's probably because we grew up with the same type of bands. So everything he writes, I can sing and it and it works. But often when Andi writes a song, you can hear that's an Andi song. He just has to sing it. It's just his kind of thing. So I don't even try. Sometimes he wants me to, and then I give it a try. And sometimes it works and then it's cool and stuff. But since we are so different, it is easy to hear, 'Ah, that's something for Michael,' or, 'This is something for Andi.' I was honestly surprised myself that it was not a problem at all with who sings what. Just a little bit with 'Skyfall'. But that wasn't a fight. It was just talking, talking, talking."
"Giants & Monsters" will arrive on August 29 via Reigning Phoenix Music (RPM). The LP, now available for pre-order, follows HELLOWEEN's self-titled No. 1 2021 record and promises to be the most versatile and dynamic release of the band's career. Mixed at the legendary Wisseloord Studios (IRON MAIDEN, JUDAS PRIEST, DEF LEPPARD) in Hilversum, Netherlands, "Giants & Monsters" reaffirms HELLOWEEN's position at the pinnacle of the metal world.
Written by HELLOWEEN guitarist Sascha Gerstner, the LP's second single, "Universe (Gravity For Hearts)", is a stunning, cinematic journey that does more than evoke the vast mystery of the cosmos. It reminds us of the boundless possibilities that lie beyond our world. The universe is an endless expanse, a place where it's easy to get lost in thought, but also where we can tap into unknown energy and find the strength to overcome life's greatest challenges.
HELLOWEEN's latest single is a wild, emotional ride and a powerful reminder of something we too often forget: never stop dreaming.
"Everything in the universe is connected, and what looks like infinite stars could in reality be moments, hearts, and choices," explains Gerstner.
"Universe (Gravity For Hearts)" opens with spacey guitar work and Michael Kiske's signature high-pitched yet deeply soulful vocals, just before a thunderstorm of guitars, bass, and drums launches the 8.5-minute epic into full motion. It's a high-speed musical escape from everyday life, crafted in the unmistakable style only the German metal legends can deliver.
Breathing room is a rare commodity in HELLOWEEN's world, and their new track is no exception. With relentless drumming, intergalactic guitar tapping, and a jaw-dropping solo section, "Universe (Gravity For Hearts)" confidently joins the ranks of iconic long-form tracks like "Halloween", "Keeper Of The Seven Keys" and 2021's "Skyfall".
"Giants & Monsters" pushes the boundaries of HELLOWEEN's sound, thanks to the instincts of producers Charlie Bauerfeind and Dennis Ward, as well as the band's relentless pursuit of excellence. Per example, drummer Dani Löble recorded all tracks using three different drum kits to capture the perfect vibe for each song, a testament to their attention to detail and love of experimentation.
The band's chemistry continues to drive their success. "What keeps motivating us is the fact that we're extremely different. It generates creative energy," says guitarist Michael Weikath. Guitarist/vocalist Kai Hansen adds: "We try not to take ourselves and everything around us too seriously." Singer Andi Deris sums it up: "In the end, we're just seven guys who want to make music and enjoy the incomparable force that arises when we're together. HELLOWEEN is way more powerful than the sum of its parts."
"Giants & Monsters" track listing:
01. Giants On The Run
02. Saviour Of The World
03. A Little Is A Little Too Much
04. We Can Be Gods
05. Into The Sun
06. This Is Tokyo
07. Universe (Gravity For Hearts)
08. Hand Of God
09. Under The Moonlight
10. Majestic
In a recent interview with Hakos Pervanidis of the Metal Hammer Greece TV program TV War, Deris and Hansen were asked if they would agree that "Giants & Monsters" sounds "more focused and direct" than 2021's self-titled effort. Hansen said: "Yeah, I would agree. I mean, we have diversity, but we've grown together as HELLOWEEN and the individual members, so you could hear the differences between the songs and the songwriters still, but there's a straight red line. And we're more connected now."
Deris chimed in: "So far I'm happy to say that there were lots of little things being put into your song by the other guys, which was much easier this time. Honestly, we had so much more time, actually, so everybody had tons of time to listen to each and everybody's tracks and come up with own ideas. Kai, for example, he added I would say a whole new song into my song. 'Giants On The Run', the whole middle part is a new song which Kai put in, and it's just perfect; it fits. That's something I love and I always wanted to have, but, honestly, back in the day, like [on] the [previous] album, everybody was minding his own business. You have to write super songs for the new upcoming album and the expectations are so high because Michael [Kiske, HELLOWEEN singer] and Kai are back. And so there was no mindset to actually put your shit into the other songs and vice versa. And this time it just played out easily because the pressure was gone. I think when you just had such a successful album, it takes away so much pressure because you know you were on the right track. So play with it. Don't stress it. Just play with it. And that was a lot of fun."
Regarding the "Giants & Monsters" album title, Deris said: "The first title says it all. It's 'Giants On The Run', and it talks about us as mankind. We are actually giants. We are gods inside. But then you could come up with a conspiracy theory. Are we on purpose, purposely put down that the god side, that giant thing that we all have inside, is not allowed to express itself or to come out? But at the end of the day, everybody, each and every individual I know, they are much bigger inside with their dreams, with their possibilities they would like to have, than they're actually allowed to have or allowed to be in our society. And there you could come up with that conspiracy theory. Are we held down on purpose? I personally think when I listen to my inside, I know everybody from the band and all my friends I know, they're so much bigger inside. They're great, great people. And they have great ideas, but in our world, you're not allowed to express it."
Kai added: "It takes all efforts. You have to fight the monsters. That's the point. And I think the title leaves a lot room a for interpretation. You could say the giants is your great ideas that you might have, your aims, your goals. But then here come the monsters, the demons you have to fight and everyday struggle. Then you could go to the Anunnaki, the return of the gods from outer space, giant people and so on. There's a lot of room for fantasy, I think."
Andi continued: "But I just went back also to the Bible. I said, 'Okay, look, it's even written in the Bible.' There were giants walking on earth, and who says that the giants are not still here in ourselves? I mean, we are still the giants, and as Kai said, you constantly have to fight the demons, the monsters in your life. And I thought that's a super metaphor. And I think everybody knows what I'm talking about because sometimes when you're with yourself thinking about yourself, your own life, you realize you would be much more if only you are allowed to be."
Asked if HELLOWEEN purposely approached songwriting this time around in a way where the vocals and the first chorus come in very early in each song, Andi said: "Yes and no. I mean, honestly, if it would destroy the song, I'd rather not, me personally. I think everybody in the band would agree, because if the song yells for it and shouts for it — keep it short; otherwise it's getting boring — then I keep it short.
Hansen added: "It's good to have that on the commercial tracks, all the — how do you say it? — the hit singles. It's very hard. Personally, I don't mind if it takes longer to go into the chorus if it makes sense for a song. So there is no general thought or rule when you approach songwriting to say, 'Oh, no, the chorus has to come after one minute or so.'"
Deris continued: "If we talk about looking what the commercial side would be, and back in the days, I remember you've been forced by the record company to put it short into maximum three-minute songs because otherwise it couldn't be a single. Fuck it. I mean, honestly, no. If I have to keep it short, then probably, because I'm a stubborn asshole, I would do the opposite. But nobody tells me what to do, so I just personally write the way I feel. But then again, it's very important, when we have guys in the band who say, 'This is a great song, and I could hear it even better when we not keep it that short.' For example, 'Giants On The Run'. [Kai's] part is at least three minutes and stretches the song to eight minutes something, which used to be something like round five minutes, and it's totally worth it. But if it's not worth it, why would you? That was another question: 'Do you always have to write these long songs?' And Kai said, 'No.' It's just what it is. When you're in the process of songwriting and it yells for another part and here's an idea, and yeah, I could do this lyrics, so I need another part, otherwise the story is not round, and maybe you end up with 10 or 12 minutes."
Hansen added: "And it's fun to do those long songs. To me, it's fun. It's a kind of challenge, but I don't do it on purpose to say, 'I need a long song.' It's just if the song gives it to you, then you do it."
Deris explained: "And if the story is two sheets of paper. You can't possibly put all the lyrics in a three-minute song; that's not possible. So then you've got different feelings depending on the lyrics itself. Suddenly there's a romantic section, for example. Ah, yeah, definitely you have to go down and do something romantic around it arrangement-wise. You probably cannot go all metally with that romantic thing. And so it cries, it, it yells, it shouts for another part."
On the topic of how they balance fans' expectations with being creative and trying new things with their music, Hansen said: "It's a challenge and it's always like a walk on the edge. Because if you consider that you want people to be pleased with what you're doing, but on the other hand, when you do your thing, you should not consider that. You should not write with that purpose in mind, because, first of all, you have to be a fan of what you're doing. To me, it's a very egoistic process. I write for myself, and I want to be a fan of what I'm doing. And then I'm glad if other people think so too."
Deris added: "Yeah, that's my way too. I don't wanna say I don't give a fuck, but when you are writing, there should be nothing in the back of your mind. It's just you and your music. And as Kai said, if you goosebump goes up, it's great for yourself, first of all. And then when you finish the song, on the second thought or second guess would be, 'Would they like it out there?' But during the songwriting process, it's not important. You are important because you have to actually give your thoughts, your feelings into whatever you do in the very moment. And yes, sometimes it's not good enough that the people would say, 'Yeah, I love it.' But I always say that the possibility that I am completely happy with my song and my goosebump goes up, considering myself a super-normal guy, so when I say I love it, my goosebumps go up, because I consider myself a mediocre guy, I would say the normal person out there would feel the same [as] I do. That's what I always hope."
Hansen continued: "You develop a feeling. I mean, when you write a song, and you trust yourself, if you like it, then there will be a lot of others that would like it too."
Deris concurred, saying: "No guarantee, but that's the way to work."
Last December, Deris told Spain's MariskalRockTV about the musical direction of the new HELLOWEEN material: "I love two or three songs from Kai. [They're] super crazy, and I love 'em to death. Weiki [guitarist Michael Weikath] has a great song as well. My songs are certainly always good. [Laughs] [That's a] joke, joke, joke. But I think we have lots of great songs, definitely. Super-nice hooks, lots of positive sing-alongs. So, yeah, I think this is something that we probably may need in the times to come. [Laughs] Very positive, I have to say. So I would say 80 percent of the album is super positive. Sometimes very fast and heavy, but positive. Good, good mood. And we have a ballad. Finally, we have a ballad."
Earlier in December, Deris was asked by The Metal Command how the material for HELLOWEEN's next album compares to that on "Helloween". He said: "I'd say it's much more easy listening, because there's less constructed stuff on it. It's more flowing with the wind, so to say. It's very, very positive, so I would rather say it's more happy, happy HELLOWEEN than the other album. I think it's a bit more… yeah, the flow is, for my taste, not as edgy as the last album, which was cool — I like edgy stuff — but we should have more or less some counterpart to edgy, more exhausting things. The last album, for me, was great to listen through — it was edgy, it was heavy, it was complicated here and there — but after listening to it, then I needed a pause. It was exhausting. After [listening to 'Helloween'], I needed some break, put it that way. I loved it, and I still love it, but it's demanding. I think the next album will be much more easy listening, I think much more enjoyable to sing along [to]; there are lots of parts in there. So I would rather describe it as a more happy, happy HELLOWEEN album. That would be the best description."
Andi continued: "It's hard to describe, because there are lots of speedy and heavy things on it. But when I listen through it, I feel good. I mean, that's a good sign. Not that I felt bad when I listened to the last album — that's not what I mean. It's fun. I listen to it, and it's fun. Definitely."
Regarding what he and his HELLOWEEN bandmates learned from the making of "Helloween" that they improved upon this time around, Andi said: "Yeah, I think the main keyword would be confidence. The last album, we had to get to know each other in that new setup, lineup, how to work with [each other], how to work here and blah, blah, blah, and this time we just realized, okay, actually everybody has such great ideas; just don't control each other. We don't need to actually stick in a studio for pre-production for two months because everybody did it for himself. Let's just listen to it and say, 'Wow, cool.' So this time we've been some lazy backs, actually, and just said, you know, pre-production we just do ourselves back at home, everybody in his own studio, and we just take the technique we are given. Internet is great, and you can have live sessions online, and that made life so much easier because everybody is just relieved that you [are] still at home. You still work hard, but you're at home. And as we all know, when you're at home, work doesn't hurt that much as being back in the studio again somewhere in the world, but not with your family. And nowadays you can actually have your family life, you have your eight, nine hours per day in the studio, you yourself decide when you make a break or when you go and have a meal with your lady or go down to the beach, in my case. That makes life so much easier and much more enjoyable than sitting in a fricking studio again and again and again, each and every day for two months, just for a pre-production, which you could easily do at home together. So this time, I have to say there's confidence that we earned for each other that helped a lot to make things even more easygoing. And I think that's exactly what you listen, when you go through the songs and you listen to them — you feel that easiness: 'Wow. Wow. Okay, cool.' I love it. So that's the way to go."
Upon its release in June 2021, "Helloween" landed in the Top 10 in more than 10 countries, including Germany, Spain, Finland, Sweden, Switzerland and Austria. The cover artwork for the LP was painted by artist Eliran Kantor, who has previously worked with HATEBREED, SOULFLY, TESTAMENT, ICED EARTH and SODOM, among others.
Produced by Charlie Bauerfeind and Dennis Ward, the last HELLOWEEN LP was recorded in part at the H.O.M.E. Studios in Hamburg (where everything started in 1984). The same recording console used for such HELLOWEEN albums as "Master Of The Rings", "Time Of The Oath" and "Better Than Raw" was utilized to record the band's new material. The effort was mixed at the Valhalla Studios of Ronald Prent (IRON MAIDEN, DEF LEPPARD, RAMMSTEIN).
"Helloween" saw the legendary German power metallers going "back to the roots," with the band recording fully analog and Löble playing the drum kit previously used by HELLOWEEN's original drummer, the late Ingo Schwichtenberg, on the legendary "Keeper Of The Seven Keys" recordings.
HELLOWEEN released a new live album, "Live At Budokan", on December 13, 2024 via Reigning Phoenix Music (RPM). The colossal effort immortalized HELLOWEEN's September 16, 2023 performance at Tokyo's legendary Nippon Budokan.
"Live At Budokan" was made available in a plethora of formats: 2CD-digipak and 3LP vinyl in trifold with the first print run of both coming as "deluxe edition" including embossed cover artwork, as well as Blu-ray, DVD and digital. Each version is meticulously crafted to suit the metal community's diverse tastes, ensuring every fan can relive the raw, unfiltered energy of HELLOWEEN in their preferred medium.
This release celebrated the grand finale of HELLOWEEN's epic world tour from 2022 to 2023. Spanning over 30 countries on three continents, the tour was nothing short of a triumph, drawing massive crowds and showcasing the band's undying appeal, the sold-out concert in Tokyo is the crowning glory of the cycle.
HELLOWEEN is:
Michael Kiske - vocals
Andi Deris - vocals
Kai Hansen - guitars, vocals
Michael Weikath - guitars
Sascha Gerstner - guitars
Markus Grosskopf - bass
Daniel Löble - drums
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HEAVEN BELOW’s New Album, The Majestic Twelve, Available Tuesday; Lyric Videos Streaming
 The rock powerhouse that found massive success in the late 2000s, Heaven Below, is set to release their long-anticipated new full-length album, The Majestic Twelve, on Tuesday, July 22. The album will be available on vinyl, CD, and all major streaming platforms.
The Majestic Twelve marks a defining moment in their evolution and will mark the band’s first full-length album release since Good Morning Apocalypse in 2016. A concept-driven record inspired by hidden truths and the shadows of history, the album blends aggressive riffage, haunting melodies, and rich storytelling, a sonic journey that appeals to fans of both classic and contemporary rock.
Led by vocalist/guitarist Patrick Kennison (Lita Ford, Union Underground), the band’s current lineup features the electrifying Nikki Stringfield (The Iron Maidens) on guitar, John Younger on bass, and Shad Wilhelm on drums. Known for their high-octane sound and cinematic flair, Heaven Below returns with a record that blends razor-sharp riffs, soaring melodies, and deeply thematic lyrics that touch on mystery, conspiracy, and resilience.
“Since the addition of guitarist/vocalist Nikki Stringfield, the creative output of the band has elevated beyond my expectations. It feels daring but natural,” says Kennison.
The Majestic Twelve marks a bold new chapter for Heaven Below, pushing the boundaries of hard rock with concept-driven storytelling and standout performances from each member. With tracks ranging from thunderous anthems to haunting ballads, the album showcases the band’s signature blend of heavy hooks and lyrical depth.
With The Majestic Twelve, Heaven Below reaffirms their commitment to making music that isn’t just heard — it’s felt. This is rock with purpose, forged in fire and delivered with heart.
Tracklisting:
“Zeta Reticuli”
“Nightmare Rising”
“See Me Die Again”
“Machine Gun Preacher”
“A Call To Arms” : I Antebellum, II Proelium, III Armistice
“Suffer The Masses”
“The Killer Is Me”
“Almost Human”
“Pandoras Box”
“Slow Suicide”
“Goodnight Eternity”
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OZZY OSBOURNE Laid To Rest In Grounds Of His U.K. Mansion
 Ozzy Osbourne was reportedly laid to rest earlier today (Thursday, July 31) at the grounds of his mansion in Buckinghamshire, England.
According to Daily Mail, the private service at the 250-acre estate was attended by Ozzy's family members, as well as Elton John and Ozzy's BLACK SABBATH bandmates, Marilyn Manson, Rob Zombie, Zakk Wylde and members of METALLICA, among other close friends and relatives.
TMZ.com has shared a few photos of some of the musicians arriving at Ozzy's estate for the burial ceremony.
A huge floral arrangement in the grounds of the mansion spelled out a tribute to the legendary heavy metal singer, with the words "Ozzy Fucking Osbourne" on the banks of the Osbourne lake.
An insider told The Sun that British singer Yungblud — whose real name is Dominic Harrison — would give a reading at Ozzy's funeral.
Yungblud became friends with Ozzy and Ozzy's wife/manager Sharon Osbourne after they appeared in the music video for his 2022 song "The Funeral".
After Ozzy's death, Elton called Osbourne a "dear friend" who "secured his place in the pantheon of rock gods".
Back in 2011, Ozzy spoke about what he wanted his funeral to look like, telling The Times: "I want to make sure it's a celebration, not a mope-fest. I'd also like some pranks — maybe the sound of knocking inside the coffin, or a video of me asking my doctor for a second opinion on his diagnosis of 'death'. There'll be no harping on the bad times. It's worth remembering that a lot of people see nothing but misery their whole lives. So by any measure, most of us in this country — especially rock stars like me — are very lucky. That's why I don't want my funeral to be sad — I want it to be a time to say, 'Thanks'."
Ozzy also addressed his death in his 2010 autobiography "I Am Ozzy". He wrote at the time: 'Eventually death will come, like it comes to everyone. I've said to Sharon: "Don't cremate me, whatever you do.' I want to be put in the ground, in a nice garden somewhere, with a tree planted over my head. A crabapple tree, preferably, so the kids can make wine out of me and get pissed out of their heads. As for what they’ll put on my headstone, I ain't under any illusions. If I close my eyes, I can already see it. Ozzy Osbourne, born 1948. Died, whenever. He bit the head off a bat.'"
On Wednesday, July 30, Ozzy fans had a chance to pay their respects to the BLACK SABBATH legend as his funeral cortège traveled through his original hometown of Birmingham, United Kingdom. The event also gave his family the opportunity to see the flowers, tributes and other memories his fans had left around the city.
Ozzy and his fellow BLACK SABBATH bandmembers Terence "Geezer" Butler, Tony Iommi and Bill Ward were given the Freedom Of The City on June 28 in Birmingham.
Ozzy died the morning of July 22, his family announced in a statement.
"It is with more sadness than mere words can convey that we have to report that our beloved Ozzy Osbourne has passed away this morning. He was with his family and surrounded by love. We ask everyone to respect our family privacy at this time," the family said.
No cause of death was given, but Osbourne had battled a number of health issues over the past several years, including Parkinson's disease and injuries he sustained from a late-night fall in 2019.
Ozzy's death came a little more than two weeks after he took the stage for his final performance with BLACK SABBATH at Villa Park in the band's original hometown of Birmingham, United Kingdom. They performed four songs for more than 40,000 people in the stadium and 5.8 million more on a livestream. Ozzy also played a five-song solo set while seated in a bat-adorned throne.
Formed in Birmingham in 1968, BLACK SABBATH is widely recognized as one of the most influential heavy metal bands of all time, with a career spanning decades and over 75 million albums sold worldwide. Their impact on the genre remains as significant today as it was in the early 1970s, with their music shaping generations of metal musicians.
Ozzy's family reality television show "The Osbournes" won a 2002 Primetime Emmy.
In 2006, Osbourne and the other members of the original BLACK SABBATH were inducted into the Rock And Roll Hall Of Fame. Ozzy was also inducted into the Rock Hall as a solo artist in 2024.
Osbourne won several Grammys, including one in 1993 for his solo song "I Don't Want To Change The World".
Ozzy and Sharon started their annual tour — Ozzfest — in 1996 after he was rejected from the lineup of what at the time was the top touring music festival, Lollapalooza. The first traveling version of Ozzfest in 1997 included MARILYN MANSON and PANTERA as part of the lineup.
Osbourne leaves behind his wife, three children from his first marriage (including an adopted son from his first wife's previous relationship),and three with Sharon: Jack, Kelly and Aimee.
Photo credit: Ross Halfin
Today we laid to rest a beloved friend. I am eternally grateful that you let me into your life Ozzy. Your inspiration and love will always be with me. Thank you Sharon and family for a reverent, beautiful ceremony. Your legacy lives on.
— Marilyn Manson (@marilynmanson) July 31, 2025 | +13 | |
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Samurai Pizza Cats
