Tour Diary, Vol. 1 “What Came First: The Tour or the Chaos?By: Brandon Yeagley, Crobot Vocalist12/8/2025 By: Brandon Yeagley of Crobot What came first—the tour or the chaos? When life hands you lemons, we all know what to do. But when life hands you a **shit sandwich**—what then? (Can you even print that? IYKYK.) I still say squeeze and clean up the mess when we’re done having fun. I’m thrilled to be typing out my first piece for Sound Fury Magazine, though I’m not sure if beginner’s luck caused our turbulence mid-air or if I’m just a walking hammer busting through writer’s block. Either way, this most recent Crobot U.S. tour with The Atomic Bitchwax left no shortage of stories to tell. Kids, listen up—this ain’t glamorous. It’s rough and mean, just like Bon Scott warned you. But you don’t need a view from the top of rock ’n’ roll to feel it. So take a deep breath and count to ten. *Ahhhhh…* there we go. Now buckle up—it’s a bumpy ride. And I mean that literally: the roads in Wisconsin (and Texas!) suck. That rattling you hear? Probably not our wheels falling off… not this time. Hold on to your lug nuts. --- **The Opening Bell** The tour kicked off in Syracuse, NY at the legendary Lost Horizon—a familiar haunt for a Central PA band. It was the first run ever for our new rhythm section, brothers Willie & Nico Jansen, and the maiden voyage for our latest touring rig, a 2006 Chevy Kodiak shuttle bus. Everyone killed it—even the bus—easily our most comfortable setup in fifteen years on the road. Of course, there’s always something waiting around the corner with the fury of Mike Tyson ready to punch you right in the face. The brothers got the official seal of approval from our die-hard Beardos—fans who’ve seen every Crobot lineup and keep sticking around through every evolution. That means the world. --- **Legends and Lessons** Let’s talk Atomic Bitchwax. I’d listened before, but seeing them live every night was another level. Three people making *that* much noise? Unreal. They roll in, throw down, pack up, and peel out—absolute legends. We leaned into a funkier set list of Crobot tunes this run—groove-driven sets curated by the brothers. Feels right to play what *feels* right, ya dig? --- **The Early Grind** Frankie’s (Toledo, OH) helped shake off the rust, and King of Clubs (Columbus, OH)—shout-out to Ricky—proved once again why it’s one of the best venues in the Midwest. Before hitting the road we’d scrambled for maintenance and a new trailer-brake controller. Most of it got done, though not the oil change—so that was first on the to-do list on our first day off in Columbus. We stayed with our old friend and rock photographer Kris Misevski, who hosted an impromptu morning photo shoot. After the oil change I felt like a real adult: budget updated, payroll done, marketing scheduled. (This is the dirt you came for, right?) DoorDashed some killer Indian food, fixed a couple squeaky pulleys and a worn belt—still winning. Ah, tour life… wind at my back, hair in the breeze. We got this! --- **Motor City Mayhem** Small’s (Detroit)** was next. Pro tip: if a shawarma truck looks “unsuspecting,” it’s *lying*. Choose your pre-show meals wisely—especially if you’re dairy- and gluten-free. Opening act Cherry Drop blew our minds—think Iggy Pop with a mouthful of nails fronting MC5. Motor City mayhem incarnate. Go see them. Then came Pyramid Scheme (Grand Rapids)**—barcade up front, rock ’n’ roll party in the back. My kind of mullet. WC Social Club (West Chicago. IL) followed, always a Crobot stronghold. We swapped book recommendations with Beardos for our unofficial Crobot Book Club—want in? Let us know. Of course, twenty minutes down the road came the dreaded text: *“Did you forget your guitars?”* Yep. Dammit. (And a mic stand, though no one called about that one.) --- **Beer, Bacon, and Broadcasts** Next morning: 6 a.m. acoustic set at WJJO (Madison, WI)**. Early-morning beer requests welcomed. We’ll do anything for our favorite stations. Nico dropped a “shit” on live radio—thank God for the bleep button. Madison never disappoints, especially with **Droids Attack!** on the bill. We’ll be back for beers and curds—well, *they* will; dairy-free life for me. --- **Cornhusker Chaos** Bourbon Theatre (Lincoln, NE)**—one of our all-time favorites. Ramen on the corner, 200,000 Cornhusker fans clogging downtown, but we still threw it down. Amazing venue, amazing staff. We’ll be back. --- **The Maintenance Marathon** Then Denver. We love you, truly. The show at HQ was electric—sweaty, heavy, glorious Dirty Groove Rock. What followed? A full-blown *maintenance day from hell.* Sometimes the road demands every kind of maintenance—vehicle, body, mind, spirit, even making sure your piss runs clear. What was supposed to be a day off became a $5,000 brake-and-rotor reality check. Wake up at 7 a.m., crash at 1:30 a.m., Uber back and forth, kill time in downtown Denver. Not glamorous, but necessary. They also found a power-steering leak and cracks in the exhaust. Add that to the list. Eventually we hit the road again—a few grand lighter and one show (sorry, SLC) down. We wanted to play, truly, but physics and shop hours won. We owe you one, Utah. --- **El Corazón, El Karma** Straight to Seattle. Fittingly, the very stage where a young Willie Jansen once opened for us twelve years ago. We park outside El Corazón and catch a whiff of something… off. Pop the hood: A/C compressor seized, belt screaming. Dinner first, diagnosis later. When we return, the tech from Greg’s Auto, two doors down, tops off our oil and sends us off with hope. Moments later, *snap*—the belt breaks. The same one we’d replaced in Columbus. The universe testing us again. Two and a half hours to showtime, we track down a 24-hour roadside mechanic. The bus won’t move until it’s fixed, but there’s no use drowning in *what-ifs*. Out here you just keep walking—one foot, one riff, one problem at a time. Fans see the lights and the noise. They don’t see the cracked compressors or the quiet faith behind the curtain. But that’s the beauty of it. Because tonight I get to watch Willy and Nico light up like kids on Christmas. They grew up in Seattle, dreamed of this stage. Now they’re on it. That’s what makes every busted belt worth it. When Crobot hits the stage, we play like the world’s on fire—like the gods are watching. Maybe that’s why the road’s so hard—because the *easy* part is the show. If everything came easy, would it taste as sweet? Maybe I’d like to find out… just once. But that’s not what we were made for. This is. The show goes on. Come whatever may—Crobot’s gonna rock the fuck out in Seattle tonight. And what else could possibly go wrong?
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By: Joe Brunker My first introduction to wht.rbbt.obj was through following Chicago radio legend, James Van Osdol. I had heard him talking of this band, or overall entity known as wht.rbbt.obj. They were mysterious to me, on first glance. After listening to their music, I was hooked on their soulsy, bluesy, rock that was pumping through my earbuds. I didn’t know how to describe them, but I knew that I wanted to see them live. So, I messaged them and asked them to play on the bill for my former project's album release show, at Soundgrowler Brewery in Tinley Park, IL. To say I was blown away, would be an understatement after witnessing this entity perform. I was drawn into the lyrical prowess, and the authentic performance of songs that were woven in each bandmate's soul. All of their sounds were converging to tell one awesome story. I was glad to play one more show with them at Outtaspace, with the "rust belt soul" boys of Harlem Hayfield. I have always looked for ways to bring them to a new platform, and promote them whenever I have the chance. My personal favorite from their latest album release, "Oscar Bravo Juliet" is "Monsters of Nothing." However, their entire catalog is phenomenal and you should definitely give them a spin! I am thankful that they were able to interview for this article. I was able to get in touch with the dynamic couple, Frank and River Rabbitte for these answers. So, without further ado, the interview! JOE: So, to start; how long have you all been creating these soulsy rock masterpieces under the moniker wht.rbbt.obj? FRANK AND RIVER: We’ve been operating as wht.rbbt.obj for a few years now — officially, anyway. Unofficially, the fuse was lit long before we admitted what we were building. The songs came first, like coded transmissions… or warnings. We didn’t pick the name from a hat; it arrived like an assignment. Once we heard it, we knew we weren’t just writing tunes anymore — we were opening a door we couldn’t close, and stepping through meant no safe return. Time doesn’t run straight in this band. Some days it feels like we started last Tuesday; some days it feels like we’ve been doing this since before we learned to lie properly. JOE: Where did the name come about? FRANK AND RIVER: The name didn’t come from a baby book or a bar brainstorm — it came from inside the Rabbitte Systems, Ltd. mythos. In that universe, wht.rbbt.obj isn’t a band name, it’s an asset tag — the kind you’d find stamped on a black-budget crate no one remembers authorizing. Every classified file has a codename, every codename has a consequence, and this one felt like the two-word key that unlocks the room nobody is supposed to enter. If you need a pop-culture translation, think less “band name origin story” and more the command line that shuts down the park and quietly opens all the cages. Not to cause chaos… just to see what the world does when the gatekeeper falls asleep. So we kept it. We answer to it. And at this point, we’re not sure if it’s the name of the band… or the project we’re trapped inside. JOE: Are there any particular quirks from the mates that have become part of the performance? FRANK AND RIVER: We’re not the kind of band that builds a show out of cute habits or running jokes. Nothing we do onstage is planned, polished, or designed to “sell the moment.” We don’t do schtick. We do pulse and consequence. If someone shakes, trembles, stares off, or looks like they’re about to burst — that’s not a trick. That’s the cost. We’re not chasing fun. We’re chasing the feeling you only get when you bleed for something real. JOE: What bands, whether local, national, or international inspired your sound and marketing? FRANK AND RIVER: We pull influence the same way thieves pull from unlocked cars — we take what we need in the dark, leave fingerprints only we can recognize, and never pretend we invented fire. Some of our compass points are obvious — danger, blues, cinema, soul, tension, analog ghosts — but the sound isn’t a tribute so much as a crime scene of every artist who ever made us feel something sharp. JOE: Since two of you are married, (River & Francis), did you guys start writing music before or after marriage? FRANK AND RIVER: We wrote together before marriage, after it, and through every chapter that didn’t make it into holiday cards. But the truth is, we don’t write like other couples “collaborate.” We write like other people plan heists. Maps, codes, late-night whispers, stolen hours, alibis, emotional blueprints — the kind of work that could either save you or ruin you, depending on who cracks first. I’m actually typing this from O’Hare, on the way to Paris — and after hearing about that Louvre jewel heist, it hit me: some people steal diamonds from museums… we steal moments from the universe and try to smuggle them back in as songs. Marriage made us a team. Music made us accomplices. The rest is sealed until the statute of limitations expires. JOE: Being in a band; conflicts arise. Whether internal, or external, how do you guys navigate those sometimes turbulent terrains? FRANK AND RIVER: Bands fall apart over ego, silence, or the wrong person thinking they’re the sun. We’re not afraid to call it what it is: every band needs a structure or it becomes a slow-motion collapse. In our world, Frank’s the CEO — the one who keeps the ship funded, focused, and moving forward — and River is the CAO, the Chief Artistic Officer, the final word on the heart, shape, and temperature of the art. There’s a running joke in the studio that I have a one-in-five rule — one great idea for every five I throw on the table. And that’s fine, because we serve the song, not our egos. If the idea elevates the track, we chase it. If it doesn’t? It dies right there on the floor with no funeral. The only way that works is trust — the kind built over years, not weekends. We don’t avoid conflict; we let the art decide who’s right. JOE: If you had to compare your overall sound to any band, or fusion of bands; what would they be? FRANK AND RIVER: We always struggle with the comparison question, because we didn’t build our sound by chasing trends or trying to land somewhere between two existing artists. If anything, we were haunted by a band most people have never heard of — or insist never existed — Vera & The Low Fade. According to rumor, they were a soul-noir group from 1968 who supposedly recorded one lost album above a pawn shop in Joliet before disappearing completely. No lineup. No photos. No credits. Just whispers, collector gossip, and a voice named Vera that people describe like smoke wrapped in silk and scar tissue. Half Motown midnight, half Midwest garage — the kind of music that sounds like it knows something you don’t. Whether they were real or a beautifully-told lie didn’t matter. They became the band we couldn’t find, so we became the band that might have grown from their ashes. If you need a modern map, sure — people say we land somewhere between Jack White’s electricity and Amy Winehouse’s soul-bruise, with a little Portishead static and Gorillaz-grade mood lighting. But honestly? We’re chasing the ghost of a record that never made it to vinyl — and writing like it’s our job to finish what someone else disappeared trying to start. JOE: What has been your favorite milestone, thus far? FRANK AND RIVER: We’ve had some beautiful checkpoints — radio spins in cities we’ve never touched, reviews from writers we respect, a few publications that felt like they had no business knowing our name — but the milestones that matter most aren’t the ones we can screenshot. The real milestone was the first time someone we didn’t know wrote to us and said a song felt like it was about them, not by us. That was the moment it stopped feeling like a hobby or a long shot and started feeling like a signal getting through the static. Awards, playlists, shoutouts — those are nice. But the first stranger who hears themselves in your pain? That’s the only milestone you can’t fake. JOE: What would you say is the overarching theme in your latest album release? FRANK AND RIVER: Oscar Bravo Juliett sounds like an album about love, but it’s really an album about the things we do to survive it. Every track is a different room inside the same building — obsession, forgiveness, relapse, denial, surrender, the ache of wanting to be wanted, the quiet terror of actually being seen. We wrote it like a classified case file: nine exhibits, no instruction manual, no promise that the truth is the version you prefer. If there’s a theme, it’s this: Love will save you, ruin you, resurrect you, and sometimes all three in the same night. JOE: Any big events or shows coming up for you guys in the near future? FRANK AND RIVER: Finishing the NATO call-sign trilogy feels less like closing an album and more like sealing a classified dossier. Oscar Bravo Juliettcompletes the first arc, and now we’re in that charged cocoon phase where everything feels like it’s about to molt — new skin, new color, new threat profile. Right now, the focus isn’t “book as many shows as possible.” We’re hunting for rooms that honor the work — curated spaces with real listeners, real breath, and real consequence. That’s why a Valslist listening-room-style show is on deck; it’s the exact kind of space that demands honesty instead of volume, connection instead of spectacle. We want the next chapter to feel chosen — not stumbled into. A shift is coming — sonically, visually, maybe even operationally. What’s next? Clearance required.   The Prince of Darkness Bids Farewell: Ozzy Osbourne passes, Leaving a Legacy of Rock Immortality9/22/2025 BY: EVAN J. THOMAS There are legends. There are icons. And then there’s Ozzy Osbourne—the godfather of heavy metal, the prince of darkness, and the eternal madman of rock who rewrote the rules of music, madness, and myth. From the soot-stained streets of Aston, Birmingham to the global pantheon of rock royalty, John Michael Osbourne's journey has been nothing short of a heavy metal odyssey. His life is a swirling storm of sonic innovation, personal chaos, cultural impact, and unrelenting survival. Through every reinvention and resurrection, Ozzy didn't just shape the sound of generations—he scorched his legacy into the core of music history. The Birth of Metal: Black Sabbath and the Dawn of Doom In 1968, Ozzy, alongside Tony Iommi, Geezer Butler, and Bill Ward, gave birth to the beast—Black Sabbath, a band that would become ground zero for the heavy metal movement. With sludgy riffs, apocalyptic lyrics, and a voice that sounded like it was echoing from a haunted cathedral, Ozzy helped summon an entirely new genre. Their self-titled debut dropped like a hammer in 1970, and albums like Paranoid, Master of Reality, and Vol. 4 would become sacred texts in the metal bible. Ozzy wasn’t just a vocalist—he was an atmosphere, a warning siren, a prophet of the post-industrial apocalypse. With every shriek and wail, he captured the paranoia, disillusionment, and strange beauty of a world teetering on the edge. The Solo Ascent: Bats, Ballads, and Blizzard of Ozz When he was fired from Black Sabbath in 1979, many wrote him off. Instead, Ozzy launched one of the most successful solo careers in rock history. Teaming up with guitar prodigy Randy Rhoads, Ozzy released Blizzard of Ozz (1980) and Diary of a Madman (1981)—albums that redefined what metal could be: melodic, theatrical, ferocious, and emotionally raw. Songs like “Crazy Train,” “Mr. Crowley,” and “Flying High Again” became anthems. Ozzy went from band member to mythic frontman, blending horror, spectacle, and heartache in equal measure. He was unhinged and unforgettable—a bat-biting, dove-decapitating, rule-defying rock rebel who embodied the chaos of the 1980s. Darkness and Redemption: The Unkillable Icon Ozzy’s story is as much about his darkness as it is about his survival. Drug abuse, near-death experiences, legal troubles, and personal tragedies followed him like shadows. Yet time and time again, Ozzy emerged, battered but unbroken, with music that connected across generations. In the '90s, he helped found Ozzfest, a revolutionary touring festival that became a launchpad for metal’s new blood—Slipknot, System of a Down, Korn, and more. He was no longer just a performer; he was a godfather, a tastemaker, and a bridge between eras. The 2000s saw a new evolution: The Osbournes reality show turned the prince of darkness into an unlikely mainstream celebrity. With Sharon, Jack, and Kelly by his side, the world saw the man behind the myth: vulnerable, funny, and undeniably human. The Final Curtain? Never Say Die. Even as age and illness began to weigh on him, Ozzy’s voice and spirit never faltered. Albums like Ordinary Man (2020) and Patient Number 9 (2022) showed a mature, reflective Ozzy—still powerful, still pushing boundaries, still channeling the pain and poetry of a life lived loud. He’s been inducted into the Rock and Roll Hall of Fame. He’s sold over 100 million records. He’s influenced every headbanger, goth, punk, and outsider who ever found strength in the dark. But most importantly—Ozzy Osbourne never stopped being Ozzy Osbourne. In a world that constantly demands reinvention, he stayed true to his mad, magical core. The Legacy: Madness. Music. Immortality. Ozzy’s legacy isn’t just in riffs or records—it’s in the attitude. He gave voice to the freaks, the broken, the misunderstood. He made it okay to be weird. He made it epic to be defiant. He showed the world that even in the darkest abyss, you could raise hell—and maybe even have a laugh while you’re down there. Whether he’s stalking a stage in leather and crosses or sharing laughs on a couch with his family, Ozzy is, and always will be, a living legend. He didn't just change rock and metal—he became its soul. So here’s to the prince. The madman. The eternal bat out of hell. All aboard the Crazy Train—forever. Your music will live forever. BY: Evan J. Thomas Driving a rock band on tour sounds glamorous, right? You’re the captain of the ship, steering a ragtag crew of eyeliner, leather jackets, and questionable decision-making across the highways of America. Reality check: you’re basically a glorified Uber driver with worse hours, more complaints, and zero tips and be ready to find the next rest stop so everyone can hit the toilets. Rule #1: The Van Is Alive, and It Hates You Forget Teslas and hybrids — you’ll be piloting a 6 to 15-passenger beast that’s older than half the band. The AC only works when you’re going uphill, one seat smells permanently like feet (or the whole RV in this case), while everyone in the RV is on their own time frame. Don’t worry, caffeine and snacks are standard tools of the trade. Rule #2: Band Members Don’t Believe in Time If the call time is 8:00 a.m., prepare to leave around noon. The drummer’s still asleep, the guitarist’s lost a shoe, and the singer is having an existential crisis over which pair of pants says “rockstar but approachable.” You’ll learn to yell “we’re leaving in 5!” about six times before anyone believes you. Rule #3: Your GPS Is a Liar That “shortest route” will take you down a road that looks like the opening scene of a horror movie. Hope you like explaining to the band why you’re parked in front of a barn in Ohio instead of a club in Columbus Rule #4: The Aux Cord Wars The driver should control the music, right? Wrong. You’ll spend half the tour listening to “experimental demos” from the bassist’s side project and the other half enduring a four-hour deep dive into Scandinavian death metal because the guitarist “swears it helps them relax.” Or hope you have an aux cord or do as I did and just listen off your phone speaker. Find a good podcast as well. Rule #5: You’re Also the Babysitter Drivers don’t just drive. You’re the snack provider, argument mediator, emergency therapist, and tour guide as you researched places to see while you have a few hours in a new city. Rule #6: Post-Show Smells Are Real When the show ends, the real horror begins. You’ll be trapped in a metal tube with sweaty humans, two pizza boxes, tacos, coffee and someone’s wet socks. Febreze won’t save you. Nothing will. The Silver Lining Despite all this — the van breakdowns, late nights, endless fast-food receipts, and the creeping suspicion that your left leg has fallen asleep permanently — being the driver comes with front-row access to chaos, comedy, and the kind of memories you’ll laugh about forever (once you’ve caught up on sleep). So buckle up. You’re not just a driver — you’re the unsung hero of rock ‘n’ roll logistics. And when the band finally makes it big, you’ll have the satisfaction of saying, “Yeah, I got them there alive… most of the time.” BY: PHILIP SAYBLACK Collective Soul fans are getting a lot to like from the band this summer. The band will launch a new tour alongside +Live+ Tuesday in Auburn, WA. Along with its launch a brand new documentary focused on the band’s history will be released on VOD and Blu-ray/DVD combo pack. Titled, Give Me a Word: The Collective Soul Story is a presentation that fans of the veteran rock act will certainly enjoy. That is due in large part to the story in question. The music that is shared throughout the course of the nearly 2-hour documentary adds to the appeal. The collective editing and pacing therein puts the finishing touch to the whole. When they are considered alongside the documentary’s story and all of the familiar music, the whole makes Give Me a Word: The Collective Soul Story a presentation that the fans established audiences and more casual listeners alike will find engaging and entertaining. Give Me a Word: The Collective Soul Story, the brand-new forthcoming documentary about Collective Soul, is a presentation that is certain to engage and entertain a wide range of audiences. That includes the band’s established audiences and more casual listeners. The presentation is grounded in…well…the story. The story is told through the comments of the band members past and present, as well as some very well-known celebrities. Among the most notable of those well-known celebrities who share their stories related to Collective Soul are the likes of Matt Pinfield (former MTV veejay), Sammy Hagar (ex-Van Halen, Chickenfoot), and none other than country music legend Dolly Parton. The story follows Collective Soul from its infancy in the early 1990s, working to get its music played at a local college radio station in Georgia to its unlikely meteoric rise to fame in 1994, to legal issues that the band would face due to someone close to the band, to changes in the band’s lineup along the way and band members’ own struggles, to ultimately where the band sits today atop the upper echelons of the rock community. In other words it is a presentation of the band warts and all. The celeb comments added to the story add to the presentation’s interest in their own right. Case in point is Pinfield’s anecdote about how he played one of Collective Soul’s songs for Metallica at one point, earning the band’s interest. That is quite the compliment, that a band the caliber of Metallica would show interest in Collective Soul, even so early on in Collective Soul’s development. Hagar’s comments are of equal interest as he discusses front man Ed Roland’s chops as a songwriter and the overall talent of the band. Perhaps the most eye-opening anecdote of all comes as it is revealed that Dolly Parton covered the band’s timeless hit, ‘Shine’ for a covers album, leading to a Grammy® award win for her. Roland’s reaction as he shares the anecdote will make for plenty of laughs. Between these anecdotes and the rest of the story, the whole of the 1-hour, 42-minute (not counting end credits) proves a presentation that in itself will certainly appeal to a wide range of audiences. The story at the center of this doc is only part of what makes it appealing. Throughout the course of the presentation, audiences get tastes of some of Collective Soul’s biggest hits, including and not limited to: ‘Shine,’ ‘Better Now,’ December,’ ‘Where The River Flows.’ On the surface the inclusion of the songs may not seem like very much, but the aesthetic impact that their inclusion has on the overall presentation adds plenty of secondary appeal. Established audiences will enjoy and appreciate the familiarity while newer audiences will enjoy and appreciate the exposure to music to which they might not have otherwise heard. To that end, the inclusion of so much of the band’s music not only adds to the doc’s appeal in general but also plays a potential latent function; a positive function at that. Putting the finishing touch to the documentary is the general editing and the resultant pacing thereof. Thanks to the editing, the band’s story, told again through so many anecdotes and comments from the band and others, the nearly 2-hour presentation flows from beginning to end fluidly. At no point will audiences feel lost or even the need to fast forward. Thanks to the editing, every comment and anecdote leads to another interesting item, thus keeping viewers fully engaged and entertained in this fashion. Even the music plays into the editing. The music presented throughout matches the album being discussed and the life events from the band related to said album. Again, therein is that aesthetic appeal that partners with the general appeal to make the whole a presentation that moves solidly from beginning to end. When the overall positive impact of the editing and pacing is considered alongside the documentary’s overall content, the whole therein makes Give Me a Word: The Collective Soul Story a presentation that Collective Soul fans established and otherwise will equally enjoy. Give Me A Word: The Collective Soul Story, the brand-new documentary about the noted veteran rock outfit, is a work that fans established and otherwise will appreciate. That is due in no small part to its featured story. The story takes audiences through the life of the band, warts and all, showing all of the band’s highs and lows alike. That includes the highs and lows of the band’s members in their own lives. The music connected with the documentary makes for a rich appeal for audiences because it is the music that served to make the band the global sensation that it is today. The documentary’s editing and related pacing put the finishing touch to the presentation, ensuring collectively that audiences will remain engaged in all of the noted content throughout the doc. Each item examined is important in its own way to the whole of the documentary. All things considered they make Give Me a Word: The Collective Soul Story a presentation that audiences established and otherwise will find enjoyable and worth adding to their music libraries. Give Me a Word: The Collective Soul Story is scheduled for release on VOD and Blu-ray/DVD combo pack Wednesday. More information on the doc is available along with all of Collective Soul’s latest news at: Website: https://collectivesoul.com Facebook: https://www.facebook.com/collectivesoul Twitter: https://twitter.com/collectivesoul  BY: Kathi Gullage This is a review of the “live” stream that was broadcasted on a two hour delay. The overall performance was worth more than the thirty dollar fee to view it. Mastodon was the official opener and they were spot on. Perfect choice to set the pace. They played “Black Tongue” from The Hunter and “Blood And Thunder” off of Leviathan. Their set had quality sound and included a nice axe duet. Their Black Sabbath cover was decent, Vol. 4’s “Supernaut”. Jason Momoa, actor, hottie and heavy metal fan, was the master of ceremonies. “Metal is in all of our DNA and we’re here to celebrate heavy metal!” Rival Sons also had exceptional sound quality, I absolutely love Jay Buchanan’s voice! The band performed “Do Your Worst” off of Feral Roots and sandwiched their Black Sabbath cover in the middle of the set, a nice rendition of Paranoid’s “Electric Funeral”. They wrapped with “Secret” (Just Bring Me a Jar Full of Shine) from Great Western Valkyrie. As much as I dig their bluesy rock sound and enjoyed the set, I wouldn’t classify them as metal. Anthrax fucking killed it as I knew they would! I have always loved these New York Hardcore bangers. They fed us Among The Living’s “Indians” while they jumped around and really had fun out there. Joey Belladonna still hittin those notes. Their Sabbath cover was “Into The Void” from Master of Reality. The crowd responded to the kick ass set with multiple pits. This is what Back To The Beginning is all about. Yet we only got the two songs. Halestorm was a breath of fresh air with a dose of desperately needed female bad assery in the form of the fabulous singer and guitarist Lzzy Hale. Halestorm cranked out “Love Bites (So Do I)” from The Strange Case Of.... Lzzy addressed the crowd, “Where are my women of heavy metal?!? I see you! I feel you! Here’s one for you! It’s new!” and segued into “Rain Your Blood On Me” off their new album Everest. Halestorm’s tribute song was a nod to Ozzy’s solo career with “Perry Mason” from Ozzmosis, and was a fitting song choice. Lamb Of God was hardcore thrash metal in your face from beginning to end. Randy Blythe delivered neck vein popping screaming growls into our veins. They slapped us with “Laid To Rest” from Ashes Of The Wake and Sacrament’s “Redneck”. Lamb Of God delivered one of the more powerful Sabbath covers with another cut from Master Of Reality, “Children Of The Grave”. The earth was still shaking when they exited the stage, and not just from the mosh pits and head bangers. The menagerie of talented musicians and icons known as “Supergroup A” was next up, orchestrated by acting maestro, the talented Tom Morello. First up was a decent rendition of OZZY’s title track, “The Ultimate Sin” featuring Lzzy Hale, Nuno Bettencourt (Extreme), Jake E. Lee (OZZY/Badlands), Dave Ellefson (Megadeth), Mike Bordin (Faith No More) and Adam Wakeman (OZZY). Nuno and Lzzy exited and were replaced by David Draiman (Disturbed) who was disturbingly greeted with a resounding number of boos from the crowd. It didn’t deter Draiman from belting out solid covers of OZZY’s “Shot In The Dark” off The Ultimate Sin (Jake E. Lee fumbled the beginning but quickly recovered) and Sabbath’s “Sweet Leaf”, another Master Of Reality track. For the latter Jake E. Lee was swapped out for Nuno and Scott Ian (Anthrax). For the beloved cut off of OZZY’s Diary Of A Madman, “Believer”, Draiman, Ellefson and Bordin are replaced with Whitfield Crane (Ugly Kid Joe), Frank Bello (Anthrax) and II (Sleep Token). For the final song, Ian and Crane are out and Yungblud is in to cover Sabbath’s ballad “Changes” from Vol. 4. The song was dedicated to the late footballer Diogo Jota. I saw some fans crying during this, overwhelmed with emotion. I appreciate Yungblud’s talents, that he took a risk and chose a ballad, and certainly his activism. However, I wasn't a big fan of this one. I didn’t think I could hear the chorus one more time. It’s rumored that Yungblud gifted OZZY a cross necklace backstage, similar to one the Prince of Darkness bestowed upon him during the shooting of “The Funeral” video. A prerecorded “School Of Rock” skit was played on the giant screens at the venue. Jack Black appeared in a fringed suit, a nod to OZZY circa 1981. He was flanked by Roman Morello (Tom’s son) on guitar, bassist Revel Ian (Scott’s son), drummer Yoyoka Soma and Hugo Weiss on synth. They served up “Mr. Crowley” from Blizzard Of Ozz and it was great, I was entertained. One of the main reasons I wanted to watch Back To The Beginning was to see Alice In Chains. And the moment was upon me. This was the first time drummer Sean Kinney performed since his medical scare back in May. It was opening night of a handful of AIC dates and just as I was walking into the venue, Mohegan Sun Arena, they announced the show was cancelled. Sean apparently was taken from the casino via ambulance for a “non life threatening medical emergency”. The band ended up cancelling all of their dates. The four members took the stage for their too early, too short, fifteen minute set. The crowd was already cheering. They immediately belted out “Man In The Box” from Facelift. Sean looked and played great! I was so relieved! Duvall’s vocals were on point, heard him loud and clear, he had a cool vibe with his fringed jacket and he worked the whole stage. Bass player Mike Inez was OZZY’s bass player from 1989-1993, an appropriate connection to the event. Jerry Cantrell was lookin fine as hell with his black shades and black leather jacket and black leather pants and long blonde locks. His powerful precise riffs poked everyone in the soul. But, as I have encountered at previous Jerry gigs, I. Could. Not. Hear. Him. Sing. Next up was “Would” off Dirt. The fans went nuts. Duvall addressed them, praised the members of Black Sabbath and then stated “We are all head banging, riff loving freaks! We are one tribe! One people!” Their Sabbath cover was one of the best, with Cantrell flawless on his iconic axe, “Fairies Wear Boots”, a cut from Paranoid. And. Then. The. Fukin. Audio. Cut. Out. Right in the middle of the song. I lost my mind and immediately hit the chat to complain with a million other people. We would be redeemed, but we were pretty pissed off in that moment. I was excited to see Gojira’s set with their signature technical metal sound. The French band put on a helluva show at the 2024 Summer Olympics and holds the record for the loudest concert/sound ever recorded at the Stade de France venue. They opened with two from Magma, “Stranded” and “Silvera”. The music thundered through the Gojira loving crowd. However, I couldn’t hear Joe Duplantier’s vocals. The booming sound coming off the instruments overpowered his voice. They brought out mezzo-soprano Marina Viotti to assist in recreating the infamous performance of “Mea Culpa (Ah! Ca ira!)”. Thankfully Marina’s vocals shone through. Their Black Sabbath cover was Vol. 4’s “Under The Sun/Every Day Comes And Goes”. It was a powerful set, but better sound quality could’ve leveled it up. It was time for the obligatory drum solo. This one was cool though. A drum off between Travis Barker (Blink 182), Chad Smith (RHCP), and Danny Carey (Tool) whose kit dwarfed the others. Their accompaniment were Tom Morello (RATM), Nuno Bettencourt (Extreme) and Rudy Sarzo (Quiet Riot/OZZY/Whitesnake). They covered Black Sabbath’s “Symptom Of The Universe” off Sabotage. Barker was the clear winner, he’s a bad ass drummer. “Supergroup B” got their turn at the helm. First up was Billy Corgan (Smashing Pumpkins), Tom Morello (RATM), Rudy Sarzo, Adam Jones and Danny Carey (Tool), and fittingly KK Downing of Judas Priest - since they covered “Breaking The Law” off British Steel. With Billy on vocals, some parts worked, some parts didn’t, but he was very passionate about the assignment. They brought Adam Wakeman in on the keys for their rendition of Sabbath’s “Snowblind” from Sabotage. Morello played with his mouth and “Sabbath Rules” was in big letters on the underside of his axe. An ode to OZZY’s solo career was next with Diary Of A Madman’s “Flying High Again” performed by Sammy Hagar backed by Bettencourt, the tragically underrated Vernon Reid (Living Colour), Sarzo, Chad Smith (RHCP) and Wakeman. The band killed but it wasn’t the best song choice for the Red Rocker. They swap out Reid for Morello to perform the throwback Sammy hit, Montrose’s “Rock Candy”. Sammy is out and Tobias Jens Forge, aka Papa Perpetua (Ghost), is in, Morello is swapped for Reid and Barker replaces Smith for OZZY’s title track “Bark At The Moon”. Again, the band was tight but it wasn’t the right song choice for the vocalist. It’s rumored that it wasn’t one of his top choices. The set was saved with the final surprise guests. We knew one was Steven Tyler (Aerosmith) cuz we heard him yelling “I got no mike! I got no mike!” off stage in his distinct voice. He was backed by Morello, Bettencourt, Ronnie Wood (Rolling Stones), Andrew Watt (producer/musician), Sarzo and Barker. They killed it with a cover of “Train Kept A-Rollin”, an excellent song choice from Get Your Wings. Morello attempted to one-up Wood, but the veteran was ready for him and proved a worthy adversary. Wood exits and Barker is replaced by Smith for “Walk This Way” off Toys In The Attic. Tyler’s voice and the sound quality were on point. They wrapped with a shortened version of “Whole Lotta Love”, Led Zeppelin II. Us livestreamers got little vignettes when the bands changed on the rotating stage. One was a video shot documentary style, “Sounds of Birmingham”. It showcased local business owners and Black Sabbath fans. There were also short vids sent in by fans. I didn’t mind it at first but then they looped the same footage over and over. It got old. Thankfully they had another segment, “Earlier in the Day”, and we finally got to see Jerry Cantrell in all his glory with Alice In Chains perform “Fairies Wear Boots” without the sound being interrupted. Redemption. Pantera was on deck. They dedicated their first song to the lost founding members, Dimebag Darrell and Vinnie Paul. Zakk Wylde and Charlie Benante (Anthrax) are now touring with original band members Phil Anselmo and Rex Brown. They played title track “Cowboys From Hell” and the fans went nuts. Zakk Wylde is a guitar legend and fukin madman on stage. In a kilt. Anselmo’s vocals were washed out, couldn’t hear him at all but they played such bangers it didn’t matter. “Walk” from Vulgar DIsplay Of Power found even Momoa in the pit! Although I couldn’t decipher Phil even when he talked, he somehow got a Black Sabbath chant going back and forth with the crowd. Their Sabbath covers were two from Paranoid, “Planet Caravan” and “Electric Funeral”. Pantera is on tour through the end of September and then Zakk will tour with Zakk Sabbath. It’s him and two other guys doing Black Sabbath songs, dates run November through December. I’m already holding a pit ticket to that gig. The fans were excited to see Tool. People seem to love singer Maynard James Keenan and his crew. I’m not a huge fan but I watched the set objectively. The band, who puts out an album every five to thirteen years, played two of their hits from AEnema with a Sabbath cover in between. The band was tight, sounded great but I could only hear Maynard when he sang the chorus or hit the high notes. Tool performed “Forty Six & 2”, Sabbath’s “Hand of Doom” from Paranoid, and title track “AEnema”. It was a pretty solid set. The godfathers of thrash metal, Slayer, took their respective spots and unleashed a powerhouse six song set. They set it off with “Disciple” from God Hates Us All and “War Ensemble” off Seasons In The Abyss. Multiple pits broke out. Their cover, a song from the self- titled Black Sabbath album, was “Wicked World” and it suited them. They wrapped their set with three of their biggest hits, title track “South Of Heaven”, and two from Reign In Blood, “Raining Blood” and “Angel Of Death”. Their sound came through clear. Nothin fancy here, just pure metal muscle continuously punching you in the face. Another band that was allowed a six song set was up next, Guns N’ Roses. They opened with Axl Rose on the piano for a cover of Sabbath’s “It’s Alright” from Technical Ecstasy. It was a total buzz kill. This is how they followed up from that savage Slayer set? They tried two off of Black Sabbath’s Never Say Die! with the title track followed by “Junior’s Eyes” before attempting another title track, “Sabbath Bloody Sabbath”. They finished their set with two of their greatest hits, Appetite For Destruction’s “Welcome To The Jungle” and “Paradise City”. We all know these songs. I had to really focus to understand what Axl was singing. I could hear everything but the band just didn’t sound great. I’m always happy to see Slash, but I would’ve preferred a bigger helping of Alice in Chains or Anthrax and a shorter GNR set. One more stop before the main event, the thrash metal band everyone knows, Metallica. I’ve seen them live fifteen times and I’ve never seen a bad Metallica show. I’ve seen em in a bar and in a football stadium and they are consistently good. They opened with a Sabbath cover, Sabotage’s “Hole In The Sky”. I’m not usually a fan of covers in general, but they pulled it off. The band then threw down their classic hits that the fans were salivating for, two from Ride The Lightning with “Creeping Death” and “For Whom The Bell Tolls”. Back to Sabbath with “Johnny Blade” from Never Say Die!. They hit the fans with two from Master Of Puppets to close the set, “Battery” which was an excellent song choice and they closed with the title track that put em on the map. Quality sound and performance and I expected nothing less. The Prince of Darkness, OZZY Osbourne himself, emerged in his black leather throne adorned with a giant bat at the top, while a prerecorded version of O Fortuna played in the background. He was met with a stadium full of adoring fans. His formidable five song set included four cuts from Blizzard Of Ozz. He hadn’t performed the first three since 2018: “I Don’t Know”, “Mr. Crowley” and the once controversial “Suicide Solution”. I’ve seen OZZY live a handful of times and I have seen both poor and great performances from him. During this gig, he never got up from the chair, one of his legs continued to bounce uncontrollably the entire time and he kept spraying something in his mouth. Yet it was one of the best OZZY productions I’ve ever experienced. He did “Mama, I’m Coming Home” from No More Tears. At first I kinda eye-rolled cuz I like the heavier stuff but it got emotional. The Prince himself seemed to get choked up and it hit me that this could be the last time I see him perform these songs. Reality check. His final song choice was one of his most notable hits, “Crazy Train”. You were left with all the feels. The other original members of Black Sabbath took their marks, drummer Bill Ward, bassist Geezer Butler, and iconic lead guitarist Tony Iommi. As they emerged a video played on the big screens, the history of Black Sabbath, as “Sabbra Cadabra” from Sabbath Bloody Sabbath played in the background. We only got a four song set, with three from Paranoid, but those four songs were performed flawlessly. “War Pigs”, followed by Black Sabbath’s “N.I.B.”. We lost our shit at the unmistakable opening notes of “Iron Man” and too quickly the set closed with “Paranoid”. The band got a standing ovation. The members exited but left OZZY out there in his throne that he never rose from. I think they did it so the fans could have one on one praise for the Prince of Darkness, but he seemed squirming and uncomfortable. He finally got off stage and then fireworks went off behind the venue. The show was worth the price, with more highs than lows. The event raised over $190 million for charity and allowed people worldwide to see the original members of Black Sabbath perform live for maybe the last time. If/When it’s released to the public, I encourage you to see it.  
CREDIT: Billboard Magazine
Matt Cameron has given Pearl Jam his last kiss. The drummer announced on Monday (July 7) that he’s leaving the band after just more than a quarter century behind the group’s kit. “After 27 fantastic years, I have taken my final steps down the drum riser for the mighty Pearl Jam. Much love and respect to Jeff [Ament], Ed [Vedder], Mike [McCready] and Stone [Gossard] for inviting me into the band in 1998 and for giving me the opportunity of a lifetime, filled with friendships, artistry, challenges and laughter,” he said in a statement posted to Pearl Jam’s social media accounts. “I am forever grateful to the crew, staff and fans the world over. It’s been an incredible journey. More to follow. I thank you all from the bottom of my heart.” The Eddie Vedder-fronted band also shared its own farewell to Cameron on the same post. “From being one of our first musical heroes in the bands Skinyard and the mighty Soundgarden, to playing on our first demos in 1990, Matt Cameron has been a singular and true powerhouse of a musician and drummer,” the rockers shared in a joint statement. “He has propelled the last 27 years of Pearl Jam live shows and studio recordings. It was a deeply important chapter for our group and we wish him well always. He will be deeply missed and is forever our friend in art and music. We love you Matt.” Cameron first joined iconic Seattle grunge band Pearl Jam — which formed in the early ’90s — after drummer Jack Irons left. The first man behind the kit for the Grammy winning group was Dave Krusen, followed by Matt Chamberlain and Dave Abbruzzese. Cameron — who is also known for his work with Soundgarden, Temple of the Dog and others — was with Pearl Jam for the longest out of the four drummers, and also provided backing vocals and written multiple songs for the group. Pearl Jam has landed 14 songs on the Billboard Hot 100 overall in its career thus far, including “Last Kiss,” which peaked at No. 2. Over on the Billboard 200, Pearl Jam has 13 top 10 albums on the all-genre list throughout its career so far, including No. 1 sets Vs. (five weeks, 1993), Vitalogy (one week, 1994), Backspacer (one week, 2009), No Code (two weeks, 1996) and Lightning Bolt (one week, 2013). 
 On July 5, music history will be made and now, fans around the globe won't miss a second. Ozzy Osbourne, the Prince Of Darkness, will take to the stage for his last-ever live performance, joined by the original BLACK SABBATH lineup for the first and last time in two decades. With a lineup that reads like a Hall Of Fame roll call, "Back To The Beginning" isn't just a concert; it's a global celebration of metal, culminating in a final, thunderous farewell to the genre's godfather. BLACK SABBATH's original lineup — Ozzy, Tony Iommi, Geezer Butler and Bill Ward — will reunite for the first time in 20 years to headline the sold-out event. They'll be joined by metal's most iconic and influential acts — METALLICA, GUNS N' ROSES, TOOL, SLAYER, PANTERA, GOJIRA, HALESTORM, ALICE IN CHAINS, LAMB OF GOD, ANTHRAX, MASTODON and RIVAL SONS — all performing as part of this monumental moment, now confirmed for a global livestream. With the concert, which proudly supports charities close to Ozzy's heart selling out in under 16 minutes, those who missed out on being there in person can immerse themselves in what is set to be the greatest heavy metal show ever. Broadcast directly from Birmingham, United Kingdom's Villa Park, fans around the world will be able to watch the entire metal family come together to celebrate Ozzy Osbourne's legacy, as he takes the stage for the last time. Ozzy is set to play his own short set before joining with BLACK SABBATH for their final-ever performance. This won't just be watched, it will be remembered. For fans who've followed Ozzy's 50-year reign, the global livestream offers a front row seat to a once-in-a-lifetime goodbye. They'll have access to the raw livestream from 3:00 p.m. on July 5, and will also have exclusive access to rewatch the concert in its entirety for another 48 hours. Livestream tickets will go on sale at 15:00 on Friday, June 6 at www.backtothebeginning.com. Ozzy's wife and manager Sharon Osbourne said: "We had such an overwhelming demand from fans from around the globe, who couldn't get tickets to the show, and they took to social media, pleading with us to broadcast a livestream of the show. Being this is such a historic event, we just couldn't let them down." "Back To The Beginning" will be captured, produced and distributed by Mercury Studios ("One To One: John & Yoko", "American Symphony", "Metallica Saved My Life"),who are pioneering the way for premium, music-driven storytelling across film, television, podcasts and immersive formats. Mercury has partnered with Kiswe — the global D2C streaming partner behind the record-breaking BTS concert livestream — to deliver this unforgettable moment of music history to fans across the globe. AdvertisementKelly Sweeney, managing director of Mercury Studios, said: "Mercury Studios are incredibly proud to be involved in capturing this monumental milestone at Villa Park. 'Back To The Beginning' will be an unforgettable experience, and our aim is to deliver this moment to fans worldwide, wherever they are, so they don't miss out on seeing music history being made." The all-day event at Villa Park, produced by Live Nation, will be hosted and compered by American actor Jason Momoa, and feature a supergroup of musicians. This past February, Sharon told The Sun that her husband is struggling to walk amid his battle with Parkinsons disease, but that his singing voice is "as good as ever". She said: "[Ozzy's] very happy to be coming back and very emotional about this. "Parkinson's is a progressive disease. It's not something you can stabilize. It affects different parts of the body and it's affected his legs. But his voice is as good as it's ever been." AdvertisementProceeds from the "Back To The Beginning" show will support Cure Parkinson's, the Birmingham Children's Hospital and Acorn Children's Hospice, a Children's Hospice supported by Aston Villa. According to Sharon, Ozzy, who paused touring "for now" in 2023 after extensive spinal surgery and rescheduled his "No More Tours 2" shows from going ahead several times because of illness, the pandemic and logistical issues, will not play any more shows after the Villa Park event. "Ozzy didn't have a chance to say goodbye to his friends, to his fans, and he feels there's no been no full stop," she explained. "This is his full stop." In addition, there will be a performance by a "supergroup of musicians" including Duff McKagan and Slash (GUNS 'N' ROSES),Billy Corgan (THE SMASHING PUMPKINS),Fred Durst (LIMP BIZKIT),K.K. Downing (JUDAS PRIEST),Jake E. Lee (OZZY OSBOURNE),Wolfgang Van Halen (VAN HALEN, MAMMOTH WVH) and Tom Morello (RAGE AGAINST THE MACHINE). "It's an endless amount of people," said Sharon. "They're going to be doing some SABBATH songs, some Ozzy songs, and they'll all mix together. Different little groups will be coming on, but they're all icons." The original lineup of BLACK SABBATH last performed in 2005. Since then, SABBATH has played in partial reunions but never in its original lineup. "For Ozzy right now, it's definitely: 'I love you and good night'," Sharon told Reuters. She added that Ozzy was doing well and excited about the gig. "It's stimulated him," she said. "He's very, very excited and very thankful that he can do it." The legendary BLACK SABBATH frontman was diagnosed in 2003 with Parkin 2 — a very rare genetic form of Parkinson's. During a TV appearance in January 2020, the singer disclosed that he was 'stricken" with the disease which occurs when the nerve cells of the body degenerate and levels of dopamine are reduced. Dopamine is an essential chemical that is produced by these nerve cells which send signals to different parts of the brain to control movements of the body. Ozzy's health issues, including suffering a nasty fall and dislodging metal rods placed in his spine following a quad-bike accident in 2003, as well as catching COVID-19 three years ago, forced him to cancel some of his previously announced tours. While Osbourne's health issues forced him to scrap most of his live appearances, the musician said he would return if his condition improved. Osbourne's previously announced European tour with guests JUDAS PRIEST, originally set for 2019 and then rescheduled three times, was officially canceled in early February 2023. Despite his health problems, Osbourne has performed a couple of times in the last three years, including at the Commonwealth Games in Birmingham in August 2022 and at the NFL halftime show at the season opener Los Angeles Rams and Buffalo Bills game in September 2022.  Dave Grohl released Foo Fighters’ self-titled debut on July 4, 1995, and the band has been building up to the album’s 30th anniversary with a flurry of #FF30 content online — including the release of a Minor Threat cover that combined newly recorded vocals with an instrumental tracked back in ’95. Now the Foos are back with their first new song since the release of But Here We Are in 2023. It’s called “Today’s Song,” and it arrives with a statement from Grohl thanking the former members of Foo Fighters, with special mention for the late Taylor Hawkins.
“Today’s Song” finds Grohl in power ballad mode, reflecting on death and resilience and getting a lot of mileage out of explosive power chords. It’s kind of like a super-charged version of “February Stars,” and it’ll probably bring the house down at Foo Fighters shows. Here’s what Grohl has to say about it: Over the years, we’ve had moments of unbridled joy, and moments of devastating heartbreak. Moments of beautiful victory, and moments of painful defeat. We have mended broken bones and broken hearts. But we have followed this road together, with each other, for each other, no matter what. Because in life, you just can’t go it alone. It should go without saying that without the boundless energy of William Goldsmith, the seasoned wisdom of Franz Stahl, and the thunderous wizardry of Josh Freese, this story would be incomplete, so we extend our heartfelt gratitude for the time, music, and memories that we shared with each of them over the years. Thank you, gentlemen. And… Taylor. Your name is spoken every day, sometimes with tears, sometimes with a smile, but you are still in everything we do, everywhere we go, forever. The enormity of your beautiful soul is only rivaled by the infinite longing we feel in your absence. We all miss you beyond words. Foo Fighters will forever include Taylor Hawkins in every note that we play, until we do finally reach our destination. The current Foo Fighters lineup is listed as Dave Grohl, Nate Mendel, Pat Smear, Chris Shiflett, and Rami Jaffee. No word yet as to who will be replacing the recently fired Freese on drums when Foo Fighters return to the stage for a series of international dates this fall. Speaking of which, you can find the band’s tour dates below along with the new song. ABC/Travis Bell Foo Fighters are up to something, and they’re certainly not Wasting Light. Dave Grohl and company have shared a Facebook post featuring four photos of the band seemingly in the recording studio. We say seemingly, since the photos are all very dark and barely lit. A fan writes in the comments, “You need a decent photographer!!,” to which the Foos responded, “We aren’t known for our photography skills.” The post’s caption doesn’t offer to much info, either — it only includes the year 2025 and #FF30. Notably, the Foos’ 1995 self-titled album turns 30 on Friday. Foo Fighters also just put out a cover of a Minor Threat song on Monday, marking the first new release to follow their 2023 album, But Here We Are. Since then, the band has gone through a fair amount of turmoil between Grohl’s 2024 infidelity scandal and the May firing of drummer Josh Freese. Foo Fighters are set to return to the live stage in October for a tour of Asia. Copyright © 2025, ABC Audio. All rights reserved  |
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