ATHENS, Greece (AP) — Popular Greek singer-songwriter Dionysis Savvopoulos was buried Saturday at Athens’ First Cemetery in a state-sponsored funeral, four days after his death at age 80.
Savvopoulos had died of a heart attack after battling cancer since 2020.
Thousands came to pay their respects to a well-beloved, if sometimes controversial, artist as he lay in state at a chapel of the Athens Metropolitan Cathedral Saturday morning. Hundreds made the nearly 2-kilometer (1.2-mile) walk behind the hearse to the cemetery.
The presence of a Greek navy band playing mournful music was indicative of the change in Savvopoulos’s status, from someone lionized by anarchist-leaning leftists in the 1960s and 1970s and dismissed by the establishment as a long-haired freak, to a figure embraced by the same establishment and cultural mainstream.
Savvopoulos never changed his musical style — a blend of rock, folk-rock, jazz and Greek popular music — to conform to mainstream tastes. Always a political animal, he didn’t shy away from criticizing the left and its illusions, especially on his 1989 album “The Haircut,” whose sleeve showed him beardless with long locks. A few of his songs drew the enmity of some of his longtime admirers. The beard grew back but his politics remained moderate.
Conservative Prime Minister Kyriakos Mitsotakis, the first of many who eulogized Savvopoulos during the funeral service, used the lyrics of the 1972 song “Messenger Angel” to portray the artist as a speaker of uncomfortable truths that many did not want to hear. “If he had no pleasant news to tell/better tell us none,” he quoted the song’s ending.
Others who joined in eulogizing Savvopoulos were former President Katerina Sakellaropoulou, fellow musicians, artists and literary figures, some from his hometown of Thessaloniki, and one of his two grandsons.
Lily Allen is sending a message to her fans after dropping her album, West End Girl.
“Thank you for all the love on West End Girl 🤍,” Allen, 40, wrote via Instagram on Sunday, October 26, alongside a series of photos featuring the singer celebrating the album.
Allen confirmed to Vogue on Monday, October 20, that West End Girl is “inspired by what went on in the relationship” with her estranged husband, David Harbour. “That’s not to say that it’s all gospel,” she added. (The pair separated in 2024 after four years of marriage.)
Since the release of West End Girl — her first album in seven years — Allen has detailed her lyrical inspiration.
“Intimacy is inherently messy. There are usually agreed-upon boundaries in relationships, but whether those boundaries are adhered to or not is becoming a grey area all of a sudden,” Allen told The Times of London in a Saturday, October 25, profile. “Dating apps make people disposable and that leads to the idea that if you are not happy, there’s so much more to choose from right in your pocket.”
In West End Girl, Allen insinuates that her partner — whom fans are presuming is the Stranger Things actor, 50 — was unfaithful during their marriage. (Harbor has not addressed the claims. His rep did not respond to Us Weekly’s request for comment.)
“So I read your text, and now I regret it / I can’t get my head round how you’ve been playing tennis,” Allen sings in the “Tennis” chorus. “If it was just sex, I wouldn’t be jealous / You won’t play with me and who’s Madeline?”
Lily Allen pulls no punches on her new album, West End Girl. The 14-track record, which was released Friday, October 24, chronicles the breakdown of Allen’s four-year marriage to David Harbour and heavily insinuates that the Stranger Things star, 50, cheated on the singer, 40, prior to their 2024 separation. Allen opens the album with […]
“I know none of this is your fault / Messaging you feels kind of assaultive,” she sings. “Saw your text, that’s how I found out / Tell me the truth and his motives.”
Allen, for her part, revealed to The Times that Madeline is a “fictional character” and a construct of multiple people, rather than a representation of one specific person.
“I just feel we are living in really interesting times — in terms of how we define intimacy and monogamy, people being disposable or not,” she said. “The way we are being intimate with each other is changing as humans. Lots of young women are not finding the idea of marriage or even a long-term relationship that attractive any more.”
Allen continued, “I don’t know [that] it’s necessarily bad. Lots of people from my parents’ generation stayed together forever and were miserable. You didn’t have endless choice so you may have worked at something harder. But now you don’t have to.”
One of David Harbour’s former partners is seemingly offering her support to Lily Allen after the release of the pop star’s new breakup album, West End Girl. “West End Girl 24.10.25,” Allen recently captioned a series of promotional images onto her Instagram. Alison Sudol, who dated 50-year-old Harbour before his marriage to 40-year-old Allen, celebrated […]
Harbour, for his part, has relayed that he plans to remain tight-lipped about his relationship with Allen. In April, the actor told GQ, “I’m protective of the people and the reality of my life. There’s no use in that form of engaging [with rumors] because it’s all based on hysterical hyperbole.”
Allen was previously in a relationship with Sam Cooper, whom she wed in 2011. The exes split in 2018 after welcoming daughters Ethel, now 13, and Marnie, now 12.
When Sudan Archives thinks back to her first dance floor, her mind goes to church not to a nightclub. Born Brittney Denise Parks, the daughter of a pentecostal preacher at the Church of God in Christ in Cincinnati, Ohio, the 31-year-old musician recalls the elation of her father’s congregations, who would raise their hands to the sky and talk in tongues. “People dance and then they go up and down the aisle to get the holy spirit, and it reminds me of dance culture,” says Parks. She compares religious devotion to the club kids in front of their altar: the DJ and the decks. “Church is not like a rave but it’s kind of similar,” she says.
At a launch party for her third album, The BPM, in London, Parks, dressed in a red unitard with floral gold earrings shining amid her long locs, played to a crowd seeking a release. The singer and violinist had been sick of looking out onto audiences standing still and staring at her, so it must have been a relief that people were dancing. “You can’t really tell people what to do, you have to make a product to make them,” she says about the album, which is faster-tempoed than her previous work fusing post-house beats with trap, techno and her signature violin. It’s sexy, sweaty and vulnerable in equal parts with Parks singing about rebounds, homesickness and hedonism: “Ketamine and LSD complements my body,” the lyrics go on Touch Me. “I had a lot of spiritual moments on psychedelics,” she says.
Barry Brecheisen/Getty Images
Parks honed her skills as a violinist learning to play hymns by ear for the church choir, but it was the house parties she frequented as a teenager in the mid-west that taught her how to be a musician. She watched as friends and strangers experimented with beats: looping and sampling tracks on their Roland SP-404s — the same scrappy, lo-fi machines she continues to use today. When her parents got divorced, her stepfather, who worked with the Atlanta music label LaFace, encouraged the singer and her twin sister Cat to form a pop duo, N2. But the rules were too much for Parks, who preferred the DIY energy of the house parties and festivals she’d come back from high. At 19, she was kicked out and moved to Los Angeles, where she found a new home at the Low End Theory, an experimental hip hop and electronic music club night and launchpad for producers, at The Airliner in Lincoln Heights.
“There were all types of shows to go to,” Parks says about LA. “Even if I didn’t have time to go to all of them just being around it probably did something to me.” The city laid the groundwork for her brash experimentation and the genre-defying artist she would become. A serendipitous meeting at Low End Theory got her signed at Stones Throw, who put out her first self-titled EP in 2017, where Parks gracefully mixed R&B, hip-hop and experimental music with traditional African fiddling, jazz, folk, pop and techno.
ATHENS, Greece — Popular Greek singer-songwriter Dionysis Savvopoulos was buried Saturday at Athens’ First Cemetery in a state-sponsored funeral, four days after his death at age 80.
Savvopoulos had died of a heart attack after battling cancer since 2020.
Thousands came to pay their respects to a well-beloved, if sometimes controversial, artist as he lay in state at a chapel of the Athens Metropolitan Cathedral Saturday morning. Hundreds made the nearly 2-kilometer (1.2-mile) walk behind the hearse to the cemetery.
The presence of a Greek navy band playing mournful music was indicative of the change in Savvopoulos’s status, from someone lionized by anarchist-leaning leftists in the 1960s and 1970s and dismissed by the establishment as a long-haired freak, to a figure embraced by the same establishment and cultural mainstream.
Savvopoulos never changed his musical style — a blend of rock, folk-rock, jazz and Greek popular music — to conform to mainstream tastes. Always a political animal, he didn’t shy away from criticizing the left and its illusions, especially on his 1989 album “The Haircut,” whose sleeve showed him beardless with long locks. A few of his songs drew the enmity of some of his longtime admirers. The beard grew back but his politics remained moderate.
Conservative Prime Minister Kyriakos Mitsotakis, the first of many who eulogized Savvopoulos during the funeral service, used the lyrics of the 1972 song “Messenger Angel” to portray the artist as a speaker of uncomfortable truths that many did not want to hear. “If he had no pleasant news to tell/better tell us none,” he quoted the song’s ending.
Others who joined in eulogizing Savvopoulos were former President Katerina Sakellaropoulou, fellow musicians, artists and literary figures, some from his hometown of Thessaloniki, and one of his two grandsons.
Country music legend Rodney Crowell moved to Nashville in the early ’70s to kick off a legendary songwriting and solo career. The two-time Grammy winner’s 20th album, “Airline Highway,” features collaborations with notable country and blues stars. Here is Rodney Crowell “The Twenty-One Song Salute.”
Country music legend Rodney Crowell moved to Nashville in the early ’70s to kick off a legendary songwriting and solo career. The two-time Grammy winner’s 20th album, “Airline Highway,” features collaborations with notable country and blues stars. Here is Rodney Crowell with “Rainy Days in California.”
Country music legend Rodney Crowell moved to Nashville in the early ’70s to kick off a legendary songwriting and solo career. The two-time Grammy winner’s 20th album, “Airline Highway,” features collaborations with notable country and blues stars. Here is Rodney Crowell and special guest Ashley McBryde with “Taking Flight.”
UPDATE 5/24/23 2:20 p.m. ET — Miley Cyrus has reiterated her interest in taking a step back from touring in a candid social media note. “For clarity, I feel connected to my fans NOW more than ever. When I win, WE win,” she wrote via Instagram on Wednesday, May 24. “Even If I don’t see […]
“25 years later., my music has reached a whole new generation of fans and I couldn’t be happier about that,” she added. “In the year 2000 I remember feeling purpose in hoping some kid would dust off the Whoa, Nelly ! vinyl one day in a record shop and think it was cool or inspiring , so I never could have guessed that there would be so many new ways to discover “old” music in 2025!”
Furtado opened up about how happy she felt about so many people listening to her music over the various decades before announcing her plans to step away from the stage.
“To have so many people rediscovering my music has been surreal and joyful . It’s been so fun embracing this opportunity , getting out on stages again and seeing up close , the true lasting power of good music . It’s made me really believe in magic,” she wrote.
Furtado continued, “All this aside , I have decided to step away from performance for the foreseeable future and pursue some other creative and personal endeavours that I feel would better suit this next phase of my life. I have enjoyed my career immensely , and I still love writing music as I have always seen it as a hobby I was lucky enough to make into a career . I’ll identify as a songwriter forever.”
Nelly Furtado.(Photo by Dia Dipasupil/Getty Images for SiriusXM)
The “Maneater” singer concluded the post by sharing her gratitude for her fans, her collaborators and anyone else who helped her make her “pop dreams come true.”
“I’m grateful for all the years of fun , community and wonder,” she wrote. “Endless gratitude to anyone who has ever listened and vibrated with my music and attended any of my shows . I love you and your open hearts.
Earlier this year, Furtado spoke about how the pressures of her career affected how she is expected to look.
Hitting back at body-shamers, the “Say it Right” singer candidly spoke about self-love via an empowering Instagram post.
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“This year I became aware of the aesthetic pressure of my work in a brand new way, while simultaneously I experienced new levels of self-love and genuine confidence from within,” she wrote in the post’s caption. “For whoever cares, I have never had any face or body surgeries or augmentation, besides for veneers on the top row of my teeth, quite recently.”
In the post, Furtado also denied ever having “face or lip injections or fillers.”
“My New Year’s message for 2025, is express yourself freely, celebrate your individuality and know that it’s perfectly OK to be OK with what you see in the mirror, and it’s also OK to want something different,” she continued. “We are all cute little humans just bouncing around the earth looking for hugs.”
“I needed to do some growing. I had to get my (expletive) together.”
“We’re just seeing, I think, a big question mark of humanity being asked in real time every day,” Miguel said. “I needed to go away and recalibrate and just get in touch with my anger and figure out how best to move forward with that in a productive way … I’m really glad that I did because it’s what informed this album.”
“CAOS” is a sharp departure from the superstar’s vibey, sensual sound that made him a hit-making staple in R&B. The singer-songwriter’s fifth studio project, morphed from his 2023-scrapped “Viscera” LP, dropped Thursday, coinciding with his 40th birthday. He wrote on all 12 tracks and handled the bulk of production with Ray Brady. The lone feature belongs to the legendary George Clinton of the Rock & Roll Hall of Fame honorees Parliament-Funkadelic.
Led by the singles “RIP,” “New Martyrs (Ride 4 U),” “El Pleito,” and “Angel’s Song,” the album radiates his trendsetting fusion of alternative rock, R&B and electronic sounds, but in unfamiliar, darker tones. The music evokes feelings of urgency, protest and rebellion.
“ This album is the most angsty, angry album I’ve ever made. But I think underlying and underwriting the message and the themes is this core need to express discontentment in a healthy way that creates the feeling and the future that I want.”
Miguel also faced internal plights: divorce, family death and industry disillusionment.
“The value of my work became about outside appreciation as opposed to internal gratitude,” said the artist who’s earned four top 20 tracks on the Billboard 100. The admission comes from a Grammy winner who’s created new-day classics such as “Adorn,” and “Sure Thing” and fan favorite mood-setters like “All I Want is You” and “Skywalker.”
“When you see something in culture be really successful … you can start comparing … and it’s such a slippery slope,” said Miguel, who released bits of music during his hiatus, like the EPs “Te Lo Dije” and “Art Dealer Chic 4,” and songs “Don’t Forget My Love” with Diplo in 2022 and “Sweet Dreams” with BTS’s J-Hope earlier this year. “It’s about connecting more deeply and having a deeper conversation with my audience, as opposed to wanting to make the big song.”
During his hiatus, Miguel and Nazanin Mandi divorced. The singer began dating Mandi at 19 years old before marrying in 2018. They divorced four years later.
“It was a painful thing to go through” said Miguel, who wrote “Always Time” to address the breakup. “Some things you do have to let go, if you really, really love it, and I think that was a good indication that I needed to take some time for myself.”
Last month, in celebration of his son’s first birthday, Miguel publicly revealed he was a first-time father with filmmaker and former Vogue China editor Margaret Zhang. “Angel’s Song” is dedicated to his child.
“CAOS,” Spanish for chaos, also features another turn from the genre-bending artist: Spanish-language songs. While 2019’s “Te Lo Dije” featured Spanish recordings of previous songs, this project contains original tracks like “El Pleito” and “Perderme.”
“It was always floated as ‘You should lean into Latin as a marketing (tactic).’ … It just didn’t feel natural,” said Miguel, whose mother is African American and father is Mexican American. “Here I am now, and it’s more about my identity and who I am and who am proud to be.”
Miguel, serving as this year’s scholar-in-residence at NYU’s Steinhardt School, is also focusing on his S1C venture geared toward providing Black, Mexican and Latino creators with development and financial support. He also appreciates the futuristic-R&B sound that swelled during his absence, which he’s largely credited with helping to introduce.
“I love that I can hear my influence in some of the music today,” said Miguel, who gained younger fans in 2023 after “Sure Thing” went viral on TikTok and Instagram more than a decade after its release. “You’re like, OK, we were in the right place.”
Despite grappling with staying true to yourself and your music, not being captive to the charts, Miguel feels appreciated by his fans, and centers himself in gratitude.
“I’m so lucky to have found a core audience who really rides with me through all of my evolutions,” he said. “I do think that I’ve been appreciated. And I think that there’s opportunity for it to be more, and more importantly, deeper.”
Follow Associated Press entertainment journalist Gary Gerard Hamilton at @GaryGHamilton on all his social media platforms.
Copyright 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.
LONDON — Bon Jovi will embark on their first tour in four years in 2026 — and it’s more than just a victory lap.
In 2022, singer Jon Bon Jovi saw a doctor who said one of his vocal cords was atrophying. He had major surgery and has been in extensive rehab since. These new shows — kicking off with four nights at New York’s Madison Square Garden in July before heading to Edinburgh, Scotland; Dublin and London — are the result of all the work.
In an interview with The Associated Press at Wembley Stadium, where Bon Jovi will close their “Forever” Tour in September 2026, frontman Jon Bon Jovi discusses the forthcoming gigs, his band and their latest collaborative album, “Forever (Legendary Edition).”
This interview has been edited for length and clarity.
BON JOVI: It’s a lot of hits that you know. But I think more than ever, I’m really in touch with the idea of gratitude and joy, and this idea of this energy that happens between me and that audience. And it’s been so long since I’ve done it that I can really re-appreciate how much that means to me. And that’s really the only motivation for me to want to do it anymore. It’s just to go out there and say, “Touch.” You know? It’s gonna be good.
BON JOVI: I agree with you. I agree. You know, that optimism and tribalism but with joy as the underlying thing, you know, that fact that brings you together.
BON JOVI: Well, it’s home. I get to sleep in my own bed at night, which was integral to this equation, that I would play a bunch of nights there to start it as long as I was going home at night. And then we’ll go and do these ( U.K. and Ireland shows) and that’s going to be it. That’s it for the year. Just get my feet back in the pool, you know, and get in there slowly, wait around, and after I have that joy and good health then we could talk about doing some work. But this should be about, don’t even bring a suitcase. We’re just going out for the weekend.
BON JOVI: Really, really good. I could go tonight. I can tell that I woke up this morning at 7 a.m. and you’re ready to talk and you go, “Yeah, it just works.”
BON JOVI: Well, the truth is, here’s a band of brothers who at this stage and phase of their lives could have said, “We’ve had it. We’re done. Good luck to you. We are going to go and do solo projects. We will go and join someone else’s band.” They sat in the rehearsal space to this day with me and said, “We got your back.” And how much more grateful can I be than in my darkest hours, each one of them said, “This ain’t about money, boss, let’s go.” And the bond has just gotten bigger and deeper and stronger.
BON JOVI: It’s amazing, and each of ’em’s contribution has been unique. And from the newest member, Everett Bradley to Phil X, who’s just that guy that wants to play seven nights a week, doesn’t care where he plays, the guy’s nuts. He truly would play seven days a week if he could. And to see him just going, “I’m here, I am here, I’m not going anywhere else,” it’s unbelievable.
BON JOVI: Well, the thing about the “Forever” album is that we were very proud of it, and it was coinciding with the documentary and the 40th anniversary. When I wasn’t up to it physically, I thought we could reimagine the record by having features on it. In this day and age, people know what features are. I learned about that the hard way. But in doing so, I think they took a great record and made it better. And, you know, I called Robbie Williams. He was the first call I made. He said yes, which made it easier for me to call number two, three, four, seven, eight, nine, 10. Because at first, it’s daunting. You call even your dear friends and go, “Hey, would you do this for me?” Each one of them did it. I think that joy in the record is felt and even just raised the level of the bar.
BON JOVI: Oh, it’s fantastic. I mean, I’ve looked up to him my whole life. The E Street Band are our Beatles. They were just 25 miles away from where I was as a kid. You know, Highway 9 was out my window. You know, these are, these are my streets, too. And so, it was fabulous because he loved that song (“Hollow Man.”) Even when it was a demo, he’s like, “That’s a really special song.” So, when I called him on that one instead of the obvious single, he was like, “You know, yeah, I get it, I can do that.”
___
AP Music Writer Maria Sherman contributed to this report from New York.
LOS ANGELES — LOS ANGELES (AP) — Samara Joy’s voice has the ability to transform listeners to the early jazz clubs, filling them with warm nostalgia for legends like Ella Fitzgerald and Sarah Vaughan.
At 25, Joy is a five-time Grammy winning recording artist, whose album, “Linger Awhile” won her best new artist and best jazz vocal album in 2023. She’s been praised by artists like Chaka Khan, Regina King and Quincy Jones and has amassed a large following of her Gen-Z peers on TikTok, introducing a new generation to jazz.
Last year, Joy released “Portrait,” her third and most personal studio album allowing listeners into the tension between excitement and feeling overwhelmed that often follows a whirlwind of accolades and success. Her first original song “Peace of Mind” fully captures this moment.
“I wrote it in a time where I was really questioning whether I could continue or not because I was so exhausted,” said Joy. “I reminded myself through that Sun Ra composition that I have experienced something wonderful, and it doesn’t have to be the end all be all. This is just the beginning … this is just a springboard for all of the other creative ideas that I have and what I feel like I have to offer.”
For Joy, releasing “Portrait” was a creative challenge and a turning point toward trusting her creative instincts.
“It’s taught me a lot about what I can do and to stand firm in the creative vision and the direction that I see for myself,” she said.
Joy sat down with The Associated Press to talk about life post-Grammy wins, how diving into “Portrait” helped her grow as an artist and what it means to make her mark on the classic genre.
This interview has been edited for brevity and clarity.
JOY: This album was a turning point. Because I feel like it was the first time I really had to make a decision about what my path was going to be. With the first two albums, it was just songs that I loved and felt like I could interpret as my own. And this album, “Portrait,” was the first time I felt like I took the reins of creative direction and band mates and songs. And honestly kind of opened up even more to my band mates and said, arrange. I want you guys to orchestrate this next era.
So, it was definitely a big leap, I think, from maybe what people thought I should do after the second album after the best new artist. And I think this album taught me the importance of patience and not rushing to stay relevant or spark up a moment or just stay in that moment. It taught me to just take my time and really wait until you have something you feel like you have to say.
JOY: I never expected to be nominated. I never thought that that was a possibility, at least so early on in my career.
Even thinking about it now, I can see everybody still and still feel the way that I felt that night. It’s a night that I will never ever forget. And I’m thankful. I’m really thankful to everybody who believed in me enough to allow me to have that moment, who voted, who listened to my music, who support me then and still support me now. Which is why I never want to lose sight of what I do this for.
JOY: A couple years ago I did the Hollywood Bowl and it was a birthday celebration for Quincy Jones — Patty Austin, I got the chance to sing alongside of her. And backstage, you know, she was funny and sharp and quick, but she was just very supportive and very honest. And that meant a lot to me from somebody who has been in the industry for as long as she has and collaborated with Quincy Jones and George Benson and James Ingram and all these people to be so encouraging on this new journey as I kind of embark on it.”
JOY: I guess I never thought about it that way. There are so many wonderful artists that I draw inspiration from — Billy Strayhorn, Duke Ellington through the course of their lives contributed to the changing to the evolution of the music that we call jazz. I know that there’s always gonna be a certain sense of nostalgia and a certain artist or song that people can connect to or relate to easily because jazz is not mainstream, at least to me, I don’t think unless it is really, really, really, really watered down, I don’t think it will be.
But it’s an opportunity for me to once again be authentic and show people like, “Have you ever heard of this Abby Lincoln song?” Or maybe this Thelonious Monk song doesn’t have lyrics, but I can put lyrics to them and share a different, you know, a different compositional style. And a different voice in jazz. And so I guess that’s my way of reclaiming it and educating in a way and just introducing people to the sound that they may not recognize at first, but good music is good music.
JOY: I feel very honored and sometimes undeserving because of how new my relationship to their music was initially. I hadn’t really listened to their music or their voices at all growing up and getting introduced to them in college, it just felt like another world had opened up and I felt like I wanna sing, I wanna be able to move people the way that they move me with their voices.
We love all things Red Velvet at THP! This experimental girl group has been a K-pop staple since their 2014 debut. Known for their playful, genre-blending sound, they’ve also mastered a darker, velvety tone that’s perfect for the spooky season. Here are five of their eeriest tracks to add to your Halloween playlist!
‘Psycho’
A standout from The ReVe Festival: Finale, ‘Psycho’ is Red Velvet’s most-streamed track for a reason. From its operatic intro to its darker trap production, the song captures the chaos of a toxic relationship through hauntingly beautiful melodies. Moreover, the Victorian Gothic-inspired video enhances this eerie vibe, showing the members in moments of glamour and despair.
‘Cosmic’
The title track from their most recent EP, Cosmic, is an endearing disco-inspired track that references the supernatural. Lyrically, it tells the story of an alien who crash-lands on Earth, and the narrator who becomes attached to them. Starting as a typical love song, the music video eventually hints at something far more sinister. Inspired by the horror film Midsommar, its floral, pagan imagery nods to a murderous cult. By the end, the alien seems trapped, as scenes of him being pursued by the group quickly flash by. Once again, Red Velvet rewards their fans who look a little closer.
‘Zimzalabim’
Another testament to their genre-crossing abilities, ‘Zimzalabim’ is an experimental track from The ReVe Festival: Day 1. Arguably, it’s their most unsettling track, with its title ‘Zimzalabim’ being used as an incantation throughout. Shifting from upbeat, bass-heavy EDM to dark, unsettling chimes, Red Velvet takes the listener on an unexpected but bewitching journey. However, this is best shown through the almost psychedelic music video, which takes you on a literal rollercoaster ride through genres!
‘Chill Kill’
Their most recent title track, ‘Chill Kill,’ is an erratic take on love and murder. Lyrically, it captures the longing for someone in the midst of tragedy. Sonically, it balances menace and elegance, with heavy bass and bell melodies contrasting with its dance-pop core. Furthermore, the music video expands on the story, showing the group covering up a murder before standing hand in hand as police surround them. Of course, only Red Velvet could give homicide such a hauntingly wholesome twist, proving their knack for pushing artistic boundaries.
‘Russian Roulette’
The title track from their third EP, ‘Russian Roulette,’ is certainly the most upbeat on our list. At first glance, the song focuses on love, comparing winning someone’s heart to a dangerous game of ‘Russian Roulette.’ Although the 8-bit, dance-pop production makes the track seem bubbly and fun, the music video and title allude to something suspicious. The brightly coloured, cartoonish music video starts off innocently before descending into a deadly game of competition and murder. Ultimately, Red Velvet truly shines in this concept, due to their comedic take on a deadly game.
✨ What are your favourite Red Velvet tracks? Are there any that we should add to our list? Be sure to let us know by tweeting us at @thehoneypop or visiting us on Facebook and Instagram!
While open-source crusaders and techno-libertarians are applauding Universal Audio’s recent efforts to move away from its “walled garden” approach to plug-ins, the truth is that most of the good ones still require the presence of an interface or a processor core to load up and run in your DAW of choice. As we mentioned in the write-up of the Apollo Twin, above: “good” is a massive understatement when describing UAD’s most popular plug-ins.
Its digital re-creations of optical mix bus compressors, legendary reverbs, and warm, vibey tape machines are unmatched by any other prosumer-level manufacturer, and the fact that its hardware powers the CPU-hungry algorithms that apply the magical high-end sheen to your mix makes the pricey leap into the UA universe well worth it.
Direct monitoring on the four included XLR unison preamps is crystal clear, nearly latency-free, and loaded with clean headroom for anything you plug into it. A wide array of inputs like a pair of ADAT I/Os and eight line-level 1/4″ jacks can handle sessions of all sizes, and the UA Console app makes routing, monitoring, and plug-in management a breeze. If you go to a major studio, this is the most common interface you’ll see, often with multiple stacked together for even more channels, which you can do with a single cable between devices. —Pete Cottell
Susan Boyle, who became an international sensation in 2009 when she shocked the judges with her powerful rendition of “I Dreamed a Dream” from “Les Misérables,” showed off her new blonde locks on a red carpet this week.
The 64-year-old sported a bob with bangs while attending the Pride of Britain Awards in London on Monday.
“What a wonderful evening at the Pride of Britain Awards! It was such an honour to celebrate so many truly inspiring people,” Boyle wrote on her Instagram. “Everyone looked absolutely fabulous, and it was lovely to catch up with some familiar faces, including the brilliant Anne Hegerty (I’m a huge fan of The Chase)!”
Susan Boyle in 2009 with dark curly hair and now with a blonde bob and glammed-up look(Jeff J Mitchell/Getty Images; Ian West/PA Images via Getty Images)
Susan Boyle went viral with her “Britain’s Got Talent” performance in 2009. (Jeff J Mitchell/Getty Images)
“It’s extra special for me, actually, because last April there, I suffered a minor stroke,” she said after her performance, according to the Huffington Post. “And I fought like crazy to get back on stage, and I have done it.”
In April, Boyle, who is from a small Scottish town, reflected on how far she had come since her viral performance on Britain’s Got Talent, which took place when she was unemployed.
“16 years ago today, my @bgt audition first aired on UK TV, and my life changed forever!” she wrote along with a video of her performance. “I stepped out onto that stage with absolutely nothing except my dream. That was all I had back then. I was an unknown woman from Scotland, and thanks to all of you, I’m known around the world. Here’s to ALWAYS chasing your dreams!”
It’s not, by any means, the hottest take in the literary world to say, “Gee, a lot of Kevin Federline’s memoir was about Britney Spears, huh?” Federline and Spears married in September 2004 after a whirlwind courtship of just a few months. Two years and two kids later, Spears filed for divorce.
Federline is now 47 years old, but damn if that brief marriage nearly two decades back doesn’t take up the majority of ink in You Thought You Knew, his new memoir, which hit shelves Tuesday. Not only does the 228-page tome provide plenty of insight into what Federline thinks of his ex-wife’s past and current mental state, it’s a remarkable case study of he-said, she-said hypocrisy. Federline and ghostwriter Alex Holstein, editor-in-chief of boutique publisher Listenin, deliver a tale of a man who feels he’s been wronged by a woman, while engaging in some of the same behaviors he demonizes her for.
Federline told Vanity Fair that the book in which he accuses his ex-wife of doing hard drugs while breastfeeding their children, shares details of their intimate encounters, and openly questions whether her 13-year legal conservatorship should have been lifted, is in pursuit of a better life for Spears.
“I’m just trying to help,” he says. “This isn’t about hurting or bringing anybody down. It’s about trying to get to a place where it’s like, come on, there is still a path forward that involves you and the kids and people around you that love you, that want to bridge that gap.”
It’s OK when Kevin does it—for varying definitions of “it”—but not Britney. Spears published her own New York Times bestselling memoir, The Woman In Me, almost exactly two years ago. Federline makes appearances, though less prominently than the role she plays in his book. Federline says he has read her memoir, but he hesitated when asked if he felt it accurately depicted their time together.
“Look, I feel like she has the right to tell her story, and I don’t know how accurate all of it was, but I think a lot of people will stay silent on it because they just want to see her get better,” he tells VF. “Like I said, everybody has a right to tell their story.”
Spears has already publicly pushed back on Federline’s allegations. (He says he hasn’t heard from her directly: “I haven’t spoken to her in years. We haven’t been able to communicate like that for a long time.”) Before the book’s publication date, Spears wrote on X, “The constant gaslighting from ex-husband is extremely hurtful and exhausting. I have always pleaded and screamed to have a life with my boys.” She continued, “Relationships with teenage boys is complex. I have felt demoralized by this situation and have always asked and almost begged for them to be a part of my life.”
NEW YORK — NEW YORK (AP) — Taylor Swift, Kenny Loggins, LL Cool J, Pink, Sarah McLachlan and Talking Heads’ David Byrne are among the impressive list of nominees for the 2026 Songwriters Hall of Fame class, an eclectic mix of pop, hip-hop, folk and rock innovators.
Also on the ballot are Charlotte Caffey, Kathy Valentine and Jane M. Wiedlin of The Go-Go’s, Randy Bachman and Burton Cummings of The Guess Who, Gerry Beckley and Dewey Bunnell of America and Gene Simmons and Paul Stanley of the glam rock band Kiss.
News of Simmons and Stanley’s inclusion comes days after the death of Ace Frehley, Kiss’ original lead guitarist and founding member. Frehley, 74, died Oct. 16 in New Jersey.
Rounding out the performer-songwriter category is Richard Carpenter of The Carpenters (notable hits include “Goodbye To Love,” “Top Of The World” and “Yesterday Once More”), Harry Wayne Casey, better known as KC of KC and the Sunshine Band (“Rock Your Baby,” “That’s The Way (I Like It)” and “(Shake Shake Shake) Shake Your Booty”) and guitarist Boz Scaggs.
The Hall annually inducts performers and non-performers alike. The latter category’s nominees this year include disco songwriter Pete Bellotte (known for his work with Donna Summer on “Hot Stuff,” “I Feel Love” and “Love To Love You Baby”), Swedish pop producer of the legendary Cheiron Studios, Andreas Carlsson (Backstreet Boys’ “I Want It That Way,” NSYNC’s “Bye Bye Bye,” Katy Perry’s “Waking Up In Vegas”) and Steve Kipner (Olivia Newton-John’s “Physical,” Christina Aguilera’s “Genie In A Bottle.”)
The list also includes longtime Madonna collaborator Patrick Leonard (“Like A Prayer,” “Live To Tell”), Vini Poncia (The Ronettes’ “Do I Love You?,”), Martin Page (Starships’ “We Built This City”) and the duo Terry Britten and Graham Lyle (Tina Turner’s “What’s Love Got To Do With It.”)
Eligible voting members have until midnight Eastern on Dec. 4 to turn in ballots with their choices of up to three nominees from the songwriter category and up to three from the performing-songwriter category.
Representing country songwriters are Jeffrey Steele (Rascal Flatts’ “What Hurts The Most,” Tim McGraw’s “The Cowboy In Me”), Don Williams’ “Good Ole Boys Like Me”) and Larry Weiss (Glen Campbell’s “Rhinestone Cowboy,” Jeff Beck’s “Hi Ho Silver Lining.”)
R&B-pop songwriters are also prevalent this year with Tom Snow (The Pointer Sisters’ “He’s So Shy,” Deniece Williams’ “Let’s Hear it for the Boy”) and Christopher “Tricky” Stewart (Rihanna’s “Umbrella,” Beyoncé’s “Single Ladies” and “Break My Soul.”)
A few performers are getting another shot at entry. Walter Afanasieff, who helped Mariah Carey with her smash “All I Want for Christmas Is You” and who was previously nominated in the 2025 Songwriters Hall of Fame class, is up for induction again this year.
The Guess Who’s Bachman and Cummings — as well as Bob McDill, known for country classics like Dan Seals’ “Everything That Glitters (Is Not Gold)” — are also returning nominees.
The Songwriters Hall of Fame was established in 1969 to honor those creating the popular music. A songwriter with a notable catalog of songs qualifies for induction 20 years after the first commercial release of a song.
Some already in the hall include Elton John and Bernie Taupin, Brian Wilson, James Taylor, Bruce Springsteen, Tom Petty, Carole King, Paul Simon, Billy Joel, Jon Bon Jovi and Richie Sambora, Lionel Richie, Bill Withers, Neil Diamond, Phil Collins, R.E.M., Steely Dan, Dean Pitchford, Hillary Lindsey and Timbaland.
The 2025 class included George Clinton, The Doobie Brothers, Ashley Gorley, Rodney “Darkchild” Jerkins, The Beach Boys’ Mike Love and Tony Macaulay.
The 2026 inductees will be announced in early 2026.
It’s National Slap Your Coworker Day, but, since we don’t condone violence, let’s make it Invite Your Coworker on a Fun Outing Day instead. And, if you need ideas for things to do together, we’ve got you covered. This week, we’ve got the return of the Alley Theatre’s All New Festival, the regional premiere of a well-received Tracy Letts play, and a couple of ways for you to get a head start on Halloween. Keep reading for these and more on our list of best bets.
In a world where a virus threatens pregnancies, a trainee at a safe-haven clinic is tasked with keeping certain people out in Marisela Treviño Orta’s Womb 2.0, the first staged reading of the 2025 Alley All New Festival on Friday, October 24, at 4:30 p.m. The three-day festival returns with readings of plays in development from playwrights including Treviño Orta, Chisa Hutchinson, Mark Bedard and John Tufts, and Lisa D’Amour. Ahead of seeing former festival selection Born with Teeth by Liz Duffy Adams in London’s West End, Alley Artistic Director Rob Melrosetold the Houston Press the festival is “a way of showing the world that the Alley is a leader in the American theater. When we do something, other folks follow.” Tickets to the festival are free and can be reserved here.
Houston Grand Opera will return to Catfish Row on Friday, October 24, at 7 p.m., when it opens its first production of Porgy and Bess at the Wortham Theater Center since its 1994-95 season. The 1935 show, from composer George Gershwin, librettist DuBose Heyward, and lyricist Ira Gershwhin, tells the story of Porgy, a disabled beggar, and his attempts to rescue his love, Bess, from a world of drugs and violence. Bass-baritone Michael Sumuel, who will play the role of Porgy, recently described him as “just a good man” to the Houston Press, adding that “He’s got this light about him, this hopefulness in spite of what he’s been through, in spite of his disability.” Performances will continue through November 15 at 7:30 p.m. Tuesday through Saturdays and 2 p.m. Sundays. Tickets can be purchased here for $30 to $306.50.
Houston Symphony will return to The Cynthia Woods Mitchell Pavilion on Friday, October 24, at 7:30 p.m. for Hocus Pocus Pops, its annual Halloween concert. Though John Williams will be well-represented on the program – with the march from Superman, “Fawkes the Phoenix” from Harry Potter and the Chamber of Secrets, and the themes from Jaws and Jurassic Park – you can also expect “Der Hexenritt,” or the “Witches’ Ride,” from Engelbert Humperdinck’s Hansel und Gretel; Jules Massenet’s “Menuet de Cendrillon” and a suite of music from Back to the Future. Be sure to get there early, as the pre-show fun, including a little trick-or-treating on the plaza, begins at 6 p.m. The first 100 boys and girls in costume to check in can also walk on stage during the Goblin Parade. The event is free and no ticket is required.
In Greek mythology, Princess Ariadne sailed away with her love, Athenian hero Theseus, after helping him kill the Minotaur and escape Crete, only to have Theseus abandon her on the island of Naxos while she slept. Inspired by the myth, Joseph Haydn composed Arianna a Naxos, a solo cantata that will be at the center of Ars Lyrica Houston’s concert, Love Untamed, on Saturday, October 25, at 5 p.m. at the Hobby Center for the Performing Arts. Mezzo-soprano Erin Wagner will lend her voice to Ariadne on the program, which also features Georg Philipp Telemann’s Triple Concerto for flute, violin, and cello, and a neoclassical miniature by Vittorio Rieti, as well as The Peace of Wild Things by Houston composer David Ashley White. Tickets are available here for $15 to $80.
Celebrate Halloween and take your costume on a dry run (with the possibility of a reward) when Scream on the Green returns to Discovery Green on Saturday, October 25, from 6 to 9 p.m. The free, family-friendly festivities will feature music, games, living sculptures, palm readers and psychics, and a costume contest. Participation in the costume contest requires pre-registration here, but winners in a variety of categories – infant to eight-year-olds, nine to 17-year-olds, adult female, adult male, family or group, and even dog or pet – will take home a prize. At 7 p.m., you can also enjoy a screening of Beetlejuice Beetlejuice, Tim Burton’s “long-imagined” 2024 sequel to his 1988 cult classic about an otherworldly bio-exorcist named Betelgeuse, played by Michael Keaton, who is recruited by a newly deceased couple to scare off the people who bought their house.
Credit: Jeff Grass Photography
When the Houston Chamber Choir performs its latest program, All God’s Creatures, at South Main Baptist Church on Saturday, October 25, at 7:30 p.m., it will world premiere the first installment of its commissioned project, Houston Seasons, “Autumn” by Houston composer Daniel Knaggs and Houston poet Devondra Banks Brown. The concert, the second of the Choir’s season, will be conducted by Artistic Director Betsy Cook Weber and also feature “De Animals a-Comin,” performed by the men’s ensemble; Benjamin Britten’s popular cantata “Rejoice in the Lamb,” with text written by asylum-bound Christopher Smart; “If I Were a Swan,” composed and premiered by Kevin Puts in 2012 from a poem by Fleda Brown; and R. Murray Schafer’s choral song cycle “Medieval Bestiary.” Tickets are available here for $10 to $50.
Montopolis, an Austin-based indie chamber music ensemble, will return to the Museum of Fine Arts, Houston, on Sunday, October 26, at 3 p.m. as part of its Halloween tour to present Montopolis: Ghost Almanac. The group will put on a silent-movie concert, pairing live music and foley effects to a compilation of scenes from classic silent horror works, including F.W. Murnau’s 1922 vampire classic Nosferatu, the Fleischer Studios-produced Betty Boop’s Hallowe’en Party, the Walt Disney-directed animated short The Skeleton Dance, and Robert Wiene’s classic of German Expressionism, The Cabinet of Dr. Caligari, a film about “delusions and deceptive appearances, about madmen and murder.” The show is for all ages, and Halloween costumes are encouraged. Tickets are available here for $5 to $15, with children ages 12 and under free.
As adoring NSWERs from their debut era, we’re so proud of every step that’s led NMIXX to blossom so much on their first full album, Blue Valentine. The album brings their Mixxpop concept to life with so much ambition and perfectly emulates what they’ve brought to K-Pop and the global music scene. Blue Valentine brings us some of the most naturally flowing Mixxpop yet, integrating everything from pop-punk and R&B to reggaeton and hyperpop. It touches so much sonic ground, but NMIXX had been priming us to expect that from the beginning of their career with ‘O.O.’
‘O.O’ made a lot of waves when it first came out in February 2022, for varying reasons. Some people praised the dynamic sound, which combined elements of bold baile funk with bright pop-rock, while others thought it was too mismatched and jarring. As ‘O.O’ lovers, we’ve had a theory that the big switch-up was intentional to drill the idea of Mixxpop into people’s heads right out of the gate, and we feel very vindicated now that Blue Valentine has proven us right.
The girls gave us two new versions of ‘O.O’ at the tail-end of the album: ‘O.O Part 1 (Baila)’ and ‘O.O Part 2 (Superhero).’ The credits divide the credits of the original song, proving that it was made up of two different tracks all along with a few writers contributing to both. Check out the separated credits below!
‘O.O Part 1 (Baila)’ songwriters: Awrii (The Hub), Ayushy (The Hub), Brian U (The Hub), Chanti (The Hub), Charlotte Wilson, Dr.JO, ENAN, Jan Baars, Rajan Muse
‘O.O Part 2 (Superhero)’ songwriters: Brian U (The Hub), Charlotte Wilson, Dr.JO, Ejae (yes, from KPop Demon Hunters!), MarkAlong
Of course, if you’re a hardcore NSWER, you’ve most likely known the separation existed, because NMIXX performed both versions at their NMIXX CHANGE UP : MIXX UNIVERSITY fan meeting in October 2023. This was also probably intentional to reflect how the ones who care and take the time to understand the music will be the ones to learn its real secrets. After all, a lot of debut-era NSWERs became fans after picking up on the backlash and wanting to “get” the song!
The only thing we’d change about NMIXX’s debut era is how much hate the girls got. Musically, we’d change absolutely nothing! Whether you liked ‘O.O’ or not, you knew NMIXX brought a lot of different sounds to the table, and they got to show you two very different sides of what they can do. And as a result, the change-ups since then have felt very smooth, prompting many of the people who hated on ‘O.O’ to celebrate NMIXX’s growth and maturation as they refine their sound.
Hearing Lily’s battle cry of “Do you see it now?” and their chant of “Gonna rock the world” after listening to the new tracks on Blue Valentine felt like such triumphant moments. The two lines, especially Lily’s, call out the people who bashed the big changes on songs like ‘O.O’ and ‘DICE’ right after proving just how beautiful Mixxpop and their concept can be, and point out the growth that artists can show off if you put your initial judgments aside and give them a chance. NMIXX pushed through the negativity and have continued to become one of the most fascinating groups on the global music scene. We couldn’t be prouder of Lily, Haewon, Sullyoon, Bae, Jiwoo, and Kyujin!
What do you think of the new versions of ‘O.O?’ Which one is your fave? Did hearing ‘Baila’ and ‘Superhero’ separately change your view of the original song? Let us know in the comments below or hit us up on Facebook, Instagram, and Twitter! You can also buzz on over to our Reddit community to chat with us.
As adoring NSWERs from their debut era, we’re so proud of every step that’s led NMIXX to blossom so much on their first full album, Blue Valentine. The album brings their Mixxpop concept to life with ambition and tact, drawing from everything from pop-punk and R&B to reggaeton and hyperpop. “I could make the world change, start a new planet,” they sing on the confident ‘Reality Hurts,’ and we think that perfectly emulates what they’ve brought to K-Pop and the global music scene. NMIXX have completely redefined what K-Pop can be while encouraging listeners to expand their own ideas of what’s possible.
NMIXX use the songs on Blue Valentine to explore different aspects of love, including those infuriating hot-and-cold situations and even envy, which is often regarded as admiration in disguise. It all culminates in two new versions of their debut single, ‘O.O’ (which they first performed at their NMIXX CHANGE UP : MIXX UNIVERSITY fan meeting), showing us how the track started off as two different songs that they combined to emphasize the idea of mixxpop. There’s not a single skip on this album, and we bet it’ll land on your list of this year’s best releases!
Inspired by the Valentine theme and the loving messages on NMIXX’sBlue Valentine album, we’re mentally heading to Valentine’s Day and finding the perfect messages for you to write on your V-Day cards! Consider this our love letter to an already-legendary project. You could write these on notes to your crush, frenemies, BFFs, or even yourself if you really wanted to. For simplicity, we’ll reference the lyrics to the English version of ‘Blue Valentine’ and the English translations for the rest of the album by the Genius Korea community.
‘Blue Valentine’
“You’ll always be my blue valentine…”
“I can see it now, can you see it now?”
“I come running every time…”
“Your heart’s getting colder, I’ll keep the fire lit in mine…”
“A spark that never dies…”
“Hot and icy, but I like it…”
“Truth is, we’ll come back together…”
“You might be my end game…”
“I’m falling over and over and over…”
‘SPINNIN’ ON IT’
“It gets harder and harder to erase…”
“Maybe you and I are loco…”
“Why do I want you more?”
“Should I keep loving you or not?” (we picture this as one of those “yes or no” checkboxes people used to give to their crush to see if they liked them back!)
“You are all I need…”
“I’m craving for this obvious story even more…”
“We’ll still be each other’s, whatever…”
“I’m trapped with you…”
“Just gotta ride with me…”
“So truly, we’re endless…”
‘Phoenix’
“Never fear the fall…”
“A bright blue spark…”
“Spread your wings to the sky…”
“Embrace the aurora…”
“I’m never, ever gonna stop it…”
‘Reality Hurts’
“We’re just on another plane…”
“Keep on chasing me…”
“Catch up to me…”
“I’m with my girlies…”
“We’re always gonna bounce back…”
‘RICO’
“Yeah, we loco…”
“Young and wild…”
“We’re so buena…”
“Come and come get some vibe…”
“Me encanta, ay, qué rico…”
‘Game Face’
“From now on, it’s a new phase…”
“Tune into my heart…”
“Leaving everything bad behind…”
“Take a breath, break through what matters…”
“My heart’s heating up nonstop…”
‘PODIUM’
“Even from afar, your gaze is already burning me…”
“I’ve been watching you for a while…”
“I’ve left behind that timid attitude…”
“Be legendary…”
“We rise higher, fly above the flames…”
‘Crush On You’
“My mind goes blank thinking of you…”
“I wanna know how you feel when the silence lingers between us…”
“Do you wanna hold my hand?”
“Thinking of you, my heart starts to pound again like a drum…”
“My feelings keep growing…”
“I got a crush on you…”
“You’re my favorite view…”
“Everything else turns blurry, there’s only you…”
“You make me feel so good…”
“Everyone’s already noticed I’m heading to you…”
“The moment our eyes met, my heart flew to the moon…”
“Anything’s fine if it’s with you…”
“I just wanna be with you…”
“I’m swimming in your ocean blue…”
“Your eyes hold the whole sunset…”
‘ADORE U’
“The chemicals got all tangled up…”
“If I could show my heart, you’d see how much I adore you…”
“I think I’m out of control…”
“I want to give you all of my clumsy love…”
‘Shape Of Love’
“Tell me how to love you well…”
“You will paint me blue, even so, it’s you…”
“I love you in any form…”
“In the end, we’re always together…”
“Crashing into each other, fitting the frame…”
“We’ll forever be clumsy like that…”
“Spent my whole life chasing true love…”
“We wanna be young and wild and free forever…”
“Even if it takes a little while, we will finally see…”
‘O.O Part 1 (Baila)’
“Driving you crazy, huh?”
“Tension goes higher…”
“Watch it, how nice, how nice…”
“Passing that boundary…”
“Quickly, follow me…”
“Don’t be afraid…”
“A vivid dream…”
‘O.O Part 2 (Superhero)’
“Let me rock you out…”
“Fly as my heart desires…”
“Never let you down, be with me…”
“Let me be your superhero…”
“Hold onto me tight…”
“Nothing to be afraid of, never give up…”
“Baby, trust in me and you…”
“Everything is fake, but I ain’t a fake…”
“The real start is from now…”
“I got your back…”
“Finally, we’ll win…”
“Baby, you’re my superhero…”
“Gonna rock the world…”
Will you be using any of these lyrics on a note to your ‘Blue Valentine?’ Which song on NMIXX’s Blue Valentine album do you love most? Let us know in the comments below or hit us up on Facebook, Instagram, and Twitter! You can also buzz on over to our Reddit community to chat with us.
NEW YORK — NEW YORK (AP) — Decades into his career and the unthinkable happened. It was 2022, and Jon Bon Jovi began struggling through his songs. He saw a doctor who said one of his vocal cords was atrophying. He needed major surgery.
Bon Jovi had the procedure, and in the years since, has undergone extensive rehab, leading to the current moment: Next summer his band, Bon Jovi, will embark on their first tour in four years.
The “Forever Tour” kicks off with four nights at New York’s Madison Square Garden before the band heads to Edinburgh, Scotland; Dublin and London.
“There is a lot of joy in this announcement — joy that we can share these nights together with our amazing fans and joy that the band can be together,” Bon Jovi said in a statement. “I’ve spoken extensively on my gratitude but I will say it again, I’m deeply grateful that the fans and the brotherhood of this band have been patient and allowed me the time needed to get healthy and prepare for touring. I’m ready and excited!”
Bon Jovi’s last concert was held on April 30, 2022, in Nashville — as seen in the 2024 Hulu documentary, “Thank You, Goodnight: The Bon Jovi Story.”
An artist presale begins Tuesday at 10 a.m. Eastern. General sales launch Oct. 31, also at 10 a.m. Eastern, via bonjovi.com.
