Kitchens of Distinction was a crucial band for a decade as the shoegaze genre emerged and established itself in the late-80s and 90s. The English trio consisted of Patrick Fitzgerald on vocals and bass, Julian Swales on guitar, and Daniel Goodwin on drums. But they didn’t earn the recognition of their contemporaries in the genre, even though they worked to pioneer the sound.

They released four albums before disbanding in 1996, and during that time the press labeled them a “gay band”. Fitzgerald was openly gay in 1980s England, and his lyrics often explored that aspect of his life. But critics forced them into a category that mainstream listeners at the time would avoid. Instead of being recognized as one of the major influences on a fledgling genre, Kitchens of Distinction remained fairly underground.

Still, they had a dedicated following during their time. Their first single, “The Last Gasp Death Shuffle”, was released in 1987, ending up as NME‘s Single of the Week. The band signed a record deal, released two more singles, and put out their debut album, Love Is Hell, in 1989.

Kitchens of Distinction had a unique way of making themselves sound bigger than they were. Fitzgerald’s vocals were passionate, his lyrics verbose, and he soared over Swales’ accompanying wall of guitar. Swales was the only guitarist, but his technical skill with the instrument made it sound like they had three or four.

Shoegaze Pioneers Kitchens of Distinction Challenged the Comfortable Mainstream, Which Cost Them a Wider Audience

Kitchens of Distinction had a style that effectively helped put shoegaze on the map. The trio were often compared to Cocteau Twins, especially the effects-heavy guitar sound. They may not have known they were laying the groundwork for shoegaze in the coming years, but their distinct style became a precursor to the genre.

The band was often highlighted in NME in the beginning. Their singles and first album performed well, but a mainstream audience just didn’t embrace them. Much of that was the “gay band” label, perpetuated by some of Patrick Fitzgerald’s more inflammatory, politically charged lyrics.

One song in particular was deemed much too strong by mainstream listeners. “Margaret’s Injection” was included on the Elephantine EP from 1989, and depicted a violently fatal fantasy about then-Prime Minister Margaret Thatcher. However, those who objected to the song probably wouldn’t be welcomed in a Kitchens of Distinction fan club anyway.

In any case, for a band that did so much to influence emerging shoegaze bands, they never got the attention they deserved. Kitchens of Distinction disbanded in 1996, after being dropped by their U.K. and U.S. labels.

Ultimately, they were wildly misunderstood as artists. They created music that challenged the status quo and brought difficult, personal subjects to light. Fitzgerald often wrote what he knew, which included the hostility and tragedy that gay people experienced in the 80s. To reduce Kitchens of Distinction to just a “gay band” or just “shoegaze” does them a disservice.

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In the world of rock, there have historically been strange friendships. Oftentimes, artists from entirely different genres will become acquainted, and it can be shocking. Artists often relate to other artists on a personal level rather than a professional level. This can create some unexpected friendships, and here are three examples from rock history that still don’t make sense.

Bono and Noel Gallagher

Britpop legend Noel Gallagher met iconic Irish singer Bono in 1995. Bono, who famously fronts U2, and Gallagher, guitarist and co-vocalist for Oasis. In a 2018 issue of Q, Bono recalled meeting Noel Gallagher in a basement flat in the mid-90s, during the rise of Oasis’ fame. Apparently, the two bonded over “talking sh*te”, which sounds like a traditional dynamic between a British and an Irish man. Historically, the Irish and the British have clashed, but somehow, these two became good friends. In 2017, Noel Gallagher’s High Flying Birds served as the opening act on U2’s Joshua Tree anniversary tour. During this time, Gallagher stayed in a guest house on Bono’s property in Killiney, County Dublin.

The Original Hollywood Vampires

In the 1970s, a secret drinking club in Los Angeles featured some of the most unexpecting friendships. They called themselves The Hollywood Vampires, and they gathered at the Rainbow Bar and Grill in an upstairs loft. This drinking club featured some of the most prolific rock stars of the era such as Alice Cooper as president, and Keith Moon of the Who as vice president. Others attached to this drinking clubs history includes John Lennon, Ringo Starr, Micky Dolenz of The Monkees, John Belushi from Saturday Night Live, singer-songwriter Harry Nilsson, and more. From these names alone, it’s hard to believe these guys all got along. But they most certainly did.

Paul McCartney and Kanye West

In the 2010s, no one expected legendary Beatles member Paul McCartney to collaborate with one of the most influential hip-hop artists of the 21st century. Beyond that, they collaborated on more than one track. Their first, “Only One”, was a 2014 ballad with McCartney on a Wurlitzer keyboard while Kanye West sang about his late mother. They followed up with “FourFiveSeconds” in 2015, which featured Rihanna. On this track, McCartney provided backing vocals and acoustic guitar. The collaboration was a massive hit for all three involved, peaking at No. 4 on the Billboard Hot 100. That same year, West sampled McCartney’s Wings’ song “When The Wind Is Blowing”. He combined it with an interpolation of Noel Ellis’ “Dance With Me” to create a rap track called “All Day”.

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Lauryn Hill showed up two hours late to a concert, again. She then reportedly performed for less than one hour, and fans are livid about it.

Parade reports that the acclaimed R&B singer was doing a show with her Fugees bandmate Wyclef Jean at the Hollywood Bowl on Nov. 8, 2026. The pair were joining forces to celebrate three decades of the Fugees’ iconic album, The Score.

The gig was advertised for 7:30 p.m. However, some attendees reported that the set didn’t start until around 9:37. The Hollywood Bowl has a 10:30 p.m. cutoff time, so that left only 53 minutes for the show. This did not sit right with some fans, who Parade quoted.

“I’m not understanding what’s so hard for her,” one person reportedly wrote on social media. “Same album for like 30 years and has yet to show up on time.” Someone else added, “I was there. To make your fans wait 2 hours for a 50-minute performance is utterly disrespectful.”

“I went, and it was definitely a two-hour wait,” a third person wrote in an Instagram post. They then joked, “DJ was tired as hell trying to fill the time.” To be fair, not every audience member was upset. “I was there, and it was a long wait, but the show was well worth it,” one person asserted. “They were both great with hit after hit.”

This is far from the first time Lauryn Hill has shown up late to a concert

Notably, Lauryn Hill is almost as infamous for showing up late to concerts as she is famous for her illustrious music career. It’s happened multiple times over the years, and even—sort of—happened last year at the 2025 Essence Festival.

However, in this specific situation, the event organizers took responsibility for Hill’s delayed performance time. “Family is family and around here we protect our own no matter what the PEOPLE have to say. Let’s be very clear— WE don’t play about Ms. Lauryn Hill. Not for clicks. Not for headlines,” Essence Fest organizers wrote in a statement.

“She arrived on schedule, stepped on that stage, and delivered the kind of performance only a legend can,” they added. “The delay? Not hers. We will take that.”

“The moment? One for the books. The legacy? Still unmatched. Put some respect on her name. Keep the takes, but keep her out of them,” the statement concluded. “All love and deep, profound admiration for Ms. Lauryn Hill.”

Photo by Kevin Mazur/Getty Images for The Recording Academy

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Bill Ward, legendary Black Sabbath drummer, once had a doomy supergroup—Day of Errors— that we might not have heard the last of. The band has some unreleased music that, Ward teased, could eventually see the light of day.

Roughly a decade ago, Ward formed the three-piece band Day of Errors with Nick Diltz (All Hail the Yeti) on bass/lead vocals and Joe Amodea on guitar/vocals. Diltz left the band in 2017 and was replaced by Kill Devil Hill singer Jason “Dewey” Bragg. That November, Day of Errors dropped their first two songs: “Day Of Errors” and “Blaspheming At Creation”. They released another song, “Ghost Train”, in 2019.

Now, after years of silence, Ward has offered an update on Day of Errors’ unreleased music and whether or not a full album will ever surface. “[Day of Errors came after there was a problem with some negotiations that I had with Black Sabbath,” Ward told Matt Zaniboni of Metal Express Radio, offering some background on the band. “So I just wrote a bunch of songs in a reaction to feeling the emptiness of having to go through a dispute. And I just wrote what I thought were really hardcore songs.”

Bill Ward’s Day of Errors project may just release their long lost full-length album after all

“At some point, I’d like to release Day of Errors, where there’s a lot of music that hasn’t come out from that album, and I’d like to get it out,” Bill continued. “It’s not easy for me to just get an album out. There’s a lot that we have to do to do that and to get it out.”

“Most times we kind of run at a loss in terms of how the music business is,” Ward added. “So, unless we’re unbelievably popular, we run into all kinds of financial problems. And I’m not trying to cry poor me or anything. I’m just talking about the realism of making records these days and still wanting to play music and being in a band.”

“Day of Errors stuff is really good,” Ward finally offered. “We released a couple of things. We released ‘Blaspheming At Creation’, and Dewey’s singing on that, and that’s a Day of Errors song. And I think we released ‘Ghost Train’ and a couple of other things. But, yeah, I’d like to make sure that if I’m somewhere else, then other people can take over and release Day of Errors at some point.”

Next up, Ward will release a new solo album that he’s in the process of getting mastered.

Photo by Chelsea Lauren/WireImage

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Alt-pop singer Sombr paused his November 8, 2026 show in Ohio to confront someone in the crowd who kept flipping him off throughout the night. The 21-year-old’s rise to mainstream attention has been beset with online discourse and social media call-outs, allegedly concerning how he’s treated fans in the past. This incident, however, seemed to catch Sombr with a different mindset.

During the concert, he singled out the guy who kept making the rude gesture. According to posts from fans who were there, security removed the man from the venue. Sombr addressed the man in the crowd while also directing security to his location.

“[This guy] right here just keeps flipping me off and flipping me off every night,” he said, per reports from PopCrave. “Man, I don’t know why you’re coming to my concert if you’re gonna keep flipping me off.”

From the sound of it, the guy had been to multiple shows on Sombr’s You Are The Reason Tour. He’d allegedly spent hundreds of dollars on tickets just to flip the bird at a singer who wasn’t even old enough to drink until four months ago. Sombr had the man removed from the concert, but not before one last request.

Sombr Requests Rude Fan Stop Flipping Him Off At His Shows

Sombr calls out an audience member who flipped him off during his Ohio concert. https://t.co/GxsFi0xaWf

— Pop Crave (@PopCrave) November 9, 2026

As security escorted the offending man from the venue, Sombr added what sounded like a genuine plea for him to reconsider flipping the bird multiple shows in a row.

“It’s all love, but just please, please don’t flip me off at my show,” Sombr said. He then followed it up with, “It’s this guy with the shades and the leather jacket right here, that guy,” singling out the man for security.

Sombr’s heartfelt plea continued. “Please just don’t, don’t flip me off, man,” he added. “It’s really making me sad, man. I don’t appreciate it. This is a safe space. I want everyone here to be kind to each other.”

Fans Online Have Mixed Reactions

Reactions online appear mixed. Fans in the r/SombrOfficial subreddit shared their perspectives of the exchange, with many thinking it was a joke or publicity stunt at first. But then many saw security escorting the man from the concert, which changed their opinion.

“I thought it was meant to be some kind of joke as well, it made me sad when I realized it wasn’t,” on person commented on a thread about the concert. They brought up Sombr’s past interactions with fans as a reason they might have justified the behavior. But Sombr’s reaction and genuine plea made them think he’s learning from the past.

“I was so pleasantly surprised to see that he’s clearly grown up fast and his stardom has made him a really down to Earth, grateful guy,” they wrote. “I hope he doesn’t let idiots like that get him down. People are allowed to change and need the space and support to do so.”

One person on Instagram had a different perspective. “OK, so back in the 80s and 90s when we were at concerts, especially if they were alternative punk etc. flipping the band off was considered a compliment,” they wrote.

Photo by Kevin Mazur/Getty Images for AEG

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Kanye West finds himself in hot water once again with another lawsuit over music he did with Ty Dolla $ign. In a report from AllHipHop, producers Jae Deal and Marlon “Marlonwiththeglasses” Barrow are suing the duo for allegedly stealing one of their songs.

They claimed that their song “Vultures” can be traced back to 2018 as “Joint 2”. During a phone call with Ty Dolla, he heard the song in the background of his phone call with Barrow. Immediately, he took an interest and asked to come by Barrow’s studio to listen further. Then, he eventually asked for a copy of the song for future use, according to the suit.

Barrow sent an MP3 of the song via text, but withheld all stem recordings and higher quality files until they reached a formal agreement for use. However, years later, they found that Ty Dolla $ign allegedly sent the song to Kanye West and used it as the basis for their song “Vultures”. Moreover, neither producer received any credit or compensation for their involvement in the work.

Both Deal and Barrow allegedly went on to attempt takedowns of the song for copyright purposes. According to their complaint, they were offered a larger buyout in October 2024. But still, they insisted on proper credit on top of their compensation.

Kanye West And Ty Dolla $ign Allegedly Stole ‘Vultures’ Song From Two Producers Back in 2018

“This action is not only about unpaid licensing fees and the lack of appropriate credit, but also about the essential right of any artist to determine when, how, and by whom their creative work is used,” the lawsuit stated.

This isn’t the only lawsuit Kanye West is facing over this era of music either. Back in late October 2026, an unnamed producer took him to court in another instance of alleged unpaid work. He claimed he’s owed at least $220,000 for his work on Vultures 2 with Ty Dolla $ign and Ye’s BULLY for the use of AI vocals.

The producer made it abundantly clear that he wanted to remain anonymous because he feared for his safety. Moreover, he believed that if his information went public, something would also happen to his family. Decisions on his anonymity won’t be made until November 18th. Neither Kanye West or anyone on his team made any comments on the lawsuit or the allegations. However, in the past, he’s given mixed signals on his feelings about the use of AI in his music.

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There’s nothing quite like timeless music. In recent years, nostalgia for 2000s emo has soared tremendously. Defining bands have capitalized on this resurgence of the third wave of emo lately, with millennials embracing their youthful angst of the 2000s. These 3 emo albums from the 2000s haven’t aged poorly whatsoever. In 2026, they still hit way too hard after all these years.

‘Transatlanticism’ by Death Cab For Cutie

Among the emo bands that get the most recognition for their 2000s contributions, Death Cab For Cutie is often overlooked. Many consider this 2003 album to be the band’s peak in their early emo era. Later on, the band adjusted and catered more to an indie rock audience. Transatlanticism is a concept about a long-distance relationship. This emotional album will still tug on your heartstrings and remind you of the confusing feelings in your early experiences with love. It’s hard not to be transported back to the early 2000s while listening to this record.

‘Three Cheers For Sweet Revenge’ by mY cHEMICAL rOMANCE

Many would include The Black Parade on this list, but it’s the album’s predecessor that got us to fall in love with My Chemical Romance. Their breakout hit, “I’m Not Okay (I Promise)”, not only shifted the direction of 2000s emo, sound-wise, but visually as well. They helped incorporate gothic fashion trends into this new era of emo, and it became an iconic move for the band. They solidified their signature all-black aesthetic with the music video for the album’s second single, “Helena”. This heavy-hitting single opens the album, and once it pulls you in, you have to give the album a full listen.

‘Infinity On High’ by Fall Out Boy

By 2007, Fall Out Boy was already at the forefront of this new era of emo. On February 6, 2007, they released their third album, Infinity On High. Ultimately, they officially claimed their place among the leading acts in the country with this release. This is indicated by the album’s opening track, “Thriller”, featuring Jay-Z. Consequently, this introduced rap fans to this new era of emo.

With music written by Patrick Stump and lyrics written by Pete Wentz, the album was a massive commercial success. Upon release, it debuted at No. 1 on the Billboard 200. They released five successful singles from the album. Among them, “This Ain’t A Scene, It’s An Arms Race” and “Thnks Fr Th Mmrs” remain among their most-streamed hits. The band has recently returned to their signature 2000s sound with a new single, “ACES”. It was released on November 9, along with a 2027 world tour announcement.

Photo by Naki/Redferns

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Nick Cave may have started to soften his stance on AI after filmmaker Andrew Dominik used it to bring still images of Elvis Presley to life for a music video of the Bad Seeds song “Tupelo”. But as of a November 2026 post on his blog The Red Hand Files, that may have just been because Dominik was also a friend. Cave is back to condemning generative AI in all its forms, but specifically when used for songwriting.

In response to a reader-submitted question about his stance on AI, Cave admitted that he’s not quite sure about the future of artificial intelligence. Really, no one knows for sure how the technology will affect global society moving forward. If it will “save the world, annihilate it, or do something in between,” as Cave wrote.

“But song generator platforms are, in my view, indicators of this nascent technology’s demonic potential to hollow out human endeavor and sever our connection to the divine,” Cave continued.

Nick Cave May Have Changed His Mind About AI For a Little Bit Last Year, But He’s Back to Opposing it Full-FOrce

Back in July 2025, Nick Cave admitted that changing one’s once-rigid opinions could be a sign of strength. These comments came in response to a fan-submitted question asking if changing an opinion is a sign of weakness. They were also related to Andrew Dominik’s “Tupelo” film.

“As I watched Andrew’s surreal little film, I felt my view of AI as an artistic device soften. To some extent, my mind was changed,” Cave wrote. He admitted that the footage was “uncanny”, as the video used AI to make still images move. But he also found it “deeply affecting”.

However, Cave’s overall stance on AI in songwriting has become rigid once again. He’s been in strong opposition of the technology for several years. Barring the near-change of heart in 2025, it looks like he still is.

“[AI song generators] mock creation itself by rendering humanity unnecessary, taking the fruits of human striving and reducing them to mere products. It is, perhaps, our final, most soul-destroying humiliation,” Cave continued.

AI Platforms ‘Promise to Rid the World of Artists Altogether,’ Says Cave

Another fan-submitted question added another layer to the conversation. Cave then addressed the concept of separating the art from the artist, which he said was not possible. “They are as inseparable as the waves from the sea they rise from,” he wrote.

But AI platforms have muddied those waters. “With the advent of song generation platforms, the thorny issue has been upended,” he wrote. “At last, the artist can be separated from the art. Not just that, the artist—that flawed, messy, broken, woeful, joyful problem—can be removed from the equation altogether, like so much dross.”

Cave then singled out the AI platform Suno by name, calling it “the Great Cancellator”. This platform, he wrote, “which has never loved or laughed or grieved, never experienced joy or loss or heartbreak, never felt boredom or its adjacent epiphany, produces an imitation of the soul—a song—in fifteen seconds flat. This is an affront to any songwriter who has lived and struggled in this world and earned the right to create a song.”

Concluding this issue of The Red Hand Files, Cave returned to the separation of art from artist. In the context of AI platforms, this concept goes a step further. It completely obliterates the need for an artist at all.

“For those eager to rid the world of problematic artists—for these censorious forces remain persistent—it is surely cause for celebration, as these platforms promise to rid the world of artists altogether.”

Photo by Don Arnold/WireImage

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Former boxing champion Adrien Broner was found nearly unresponsive at a rap concert over the weekend, and now new details of the situation have emerged.

On Nov. 8, TMZ reported that Broner was spotted, seemingly unconscious, on a livestream from a Los Angeles hip-hop concert. The show had happened on Saturday night. In the footage, Broner was shown to be slumped over on a couch before EMS responders carried him down some stairs. They eventually got him into a wheelchair, and he was taken away.

However, it was unclear what his condition was, or if he had been taken to the hospital. Those questions now seem to be answered.

Adrian Broner is reportedly doing OK after passing out at a concert over the weekend

In a new report, TMZ says that a source close to the situation explained that Broner was not experiencing a medical emergency. He was, essentially, just really drunk.

A Los Angeles Fire Department spokesperson reportedly told TMZ that, a little before 10 PM, they received a medical distress call. Multiple apparatus were dispatched to the scene. Crews were reportedly on the scene for less than 10 minutes. Department records revealed no ambulance transportation took place.

While Broner was not taken to the hospital, a source confirmed that he is doing ok.

It was reported that Adrian Broner was robbed while unconscious

Notably, Broner’s inebriation was not the only headline from the situation. TMZ also reports that the boxer was robbed while he was passed out. Apparently, his bag—worth between $50,000 and $100,000—was stolen.

Rumors began surfacing that Blueface and his crew might have been involved. This is something the rapper vehemently denies. On Sunday night, Blueface took to his Kick stream to clarify what happened. Setting the record straight, he asserted that no one from his entourage has the bag or was involved in the robbery.

Blueface responds to Deenthegreat’s claims and the circulating clips accusing his crew of stealing AB’s bag while he was blackout drunk at Skilla Baby’s concert, explaining what his crew member meant and denying that any of his guys have the bag. pic.twitter.com/MwKhlsZfre

— 0YCC (@oycmap) November 8, 2026

Blueface said that he and Broner were supposed to be on stage together that night. However, due to Broner’s condition, that never happened. The rapper said he was one of the people to find Broner unconscious and that it was very scary. He added that he’d never seen Broner like that before.

At this time, Broner does not appear to have issdued any personal comments on the siturion,.

Photo by Roc Canals / Getty Images

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Oasis are notoriously thorny with everyone. The media, fans, even the Gallaghers themselves, they’ll all receive quite a bit of snark if they’re not avoiding the spotlight entirely. Consequently, it’s not all that surprising that they’re opting to forgo one of the crowning moments of their career.

In a new report from Rolling Stone, Noel and Liam Gallagher decided against attending their Rock & Roll Hall of Fame induction. Instead, Noel is going to perform at Goldie’s EFG Jazz festival in London. It’ll mark his first solo show since he reunited with his brother back in 2025.

As for Liam, it’s not yet known if he has other plans or if he’s just being generally standoffish about the whole affair. However, he’s made it abundantly clear in the past that he just doesn’t care that Oasis received such an honor.

“As much as I love Mariah Carey and all that, I want to say: Do me a favor and f**k off,” Liam Gallagher told The Sunday Times. “It’s like putting me in the rap hall of fame. I don’t want to be part of anything that mentally disturbed. Besides, I’ve done more for rock and roll than half of them clowns on that board. So it’s all a load of bollocks.”

Oasis Decides Against Accepting Award or Performing at Rock & Roll Hall of Fame

Liam Gallagher didn’t just save this snark for the media to quote. He scoffed at the honor on X with a petty tweet that showed how much he thinks of the Rock & Roll Hall of Fame. “Reverse psychology vibes in the area Oasis RnR hall of farmers I mean famers,” he wrote at the time.

In replies to fans, Liam Gallagher continued his trademark sarcasm. For instance, in one, he quipped that even his mother told him to stop being so mean. Then, he mused about the idea that attending might not be that bad in reality.

“Well I was speaking to my mummy last night when the news broke,” Gallagher shared. “She thinks I may have been a little hasty with my perception of the organization. She’s told me to stop being a d**k and go to the awards and behave and you never know you might enjoy it.”

At the very least, Oasis wouldn’t be the only acts that decided against showing up at the Hall of Fame. They would join Paul McCartney, Van Morrison, David Bowie, Joni Mitchell, and many more legends in skipping the event.

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When you’re arguably the biggest artist in the world, you’ll rarely receive a hostile crowd. Haters is one thing, but usually they’re drowned out in a sea of supporters, especially at a concert. But on this day 7 years ago, Drake received a heavy downpour of boos despite operating at his most successful.

Every year, Tyler, The Creator hosts his annual Camp Flog Gnaw festival. Back in 2019, he left his headliner as a surprise. Fans online and attending the festival were feverishly anticipating a miraculous Frank Ocean comeback. Given the Odd Future connection and their general friendship, why else would Tyler keep it a surprise?

However, Drake was another artist that his fans would’ve never expected so it made sense. Still, they were dead set on believing that Frank Ocean would eventually make a monumental appearance at the festival.

Even when Tyler, The Creator personally came out to introduce the Toronto MC as the surprise headliner, there were initial cheers. The crowd rapped along to “Started From The Bottom” and they all seemed to have a great time. Did they expect Drake to just come for a couple songs and eventually bring Ocean out?

Regardless, when it became clear that the Toronto MC was, in fact, the final act at Camp Flog Gnaw, they grew extremely restless. He even dug out underrated classics (“Feel No Ways”) and album cuts (“Wu-Tang Forever”) instead of the usual hits. But still, they were resistant. When the crowd denied his request to continue and chanted ‘Frank’ instead, he cut his set off early and thanked everyone on his way out.

Drake Got Booed Because He Wasn’t Frank Ocean at Camp Flog Gnaw 7 Years Ago Today

Ultimately, the Take Care rapper took the backlash in stride. In an Instagram story after the event, he trolled the fans by vowing to headline for 10 more years out of spite. “Plot twist…just signed a 10 year residency at Camp Flog Gnaw,” he wrote (captured by Pitchfork). “Sorry kids see you EVERY SINGLE YEAR till you are 30.”

Meanwhile, Tyler, The Creator was particularly upset with his fanbase for hating on Drake. He thought bringing him out was a really cool idea and shouldn’t have been derailed by people who came up with the idea that Frank Ocean was going to show up.

“I thought bringing one of the biggest artists on the f**king planet to a music festival was fire!,” he wrote (captured by outlets like Variety). “But flipside, a lil tone deaf knowing the specific crowd it drew. Some created a narrative in their head and acted out like a**holes when it didnt come true… This n***a did feel no ways! Song is beautiful.”

Additionally, Tyler, The Creator thanked Drake for showing up and lamented that his audience was ungrateful. “That s**t was like mob mentality and cancel culture in real life and I think that s**t is f**king trash,” he added.

Photo by CHRIS DELMAS/AFP via Getty Images

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On April 24, 2002, Dashboard Confessional helped spark the third wave of emo in the early 2000s. Their performance on MTV Unplugged 2.0 became one of the most legendary performances in the show’s history. The show returned in the early 2000s, after a successful run in the 90s with defining artists such as Nirvana and Alice In Chains. When Dashboard Confessional performed in April 2002, you could feel we’re officially tapping into a new decade and new music movement.

One notable feature of this performance is the crowd. At the time, emo hadn’t entirely infiltrated the mainstream just yet. With this, “scene kids” weren’t in full swing yet, and the audience looked like average college-aged kids at the turn of the century. Watching them belt out each word along with frontman Chris Carrabba predicted the ultimate reign of emo in the 2000s. After releasing the performance on December 17, 2002, the album shot to No. 1 on the Independent Albums chart and No. 1 on the US Heatseekers Albums chart.

25th Anniversary Tour Announcement

On November 9, 2026, Dashboard Confessional announced a 15-date tour celebrating 25 years of their legendary MTV Unplugged 2.0 performance. The tour will run from March 12, 2027, in Chicago, through April 3, wrapping up in San Francisco. They’ll also make stops in Toronto, Brooklyn, Atlanta, and Los Angeles.

In a statement to Rolling Stone, frontman Chris Carrabba expressed his excitement along with the tour announcement. “Dashboard Confessional’s Unplugged was a pivotal and unifying moment for the band and our fans.” He went on to add, “I’m so excited to celebrate that moment in time. I’ve recently done some thrillingly small solo acoustic shows in Nashville, New York, and Los Angeles — the energy around those shows was, fittingly, electric. I’m excited to carry that spirit into bigger venues with the band arrangements from our original Unplugged performance.”

Aside from their anniversary tour, Dashboard Confessional has more to be excited about in 2027. Ahead of the tour, the band will tour Australia and New Zealand with The Fray, continuing their Summer of Light Tour. Following the anniversary tour, they’ll perform at the Welcome To Rockville festival in Daytona Beach, Florida. In October 2027, Dashboard Confessional supports Hilary Duff as she continues her Lucky Me Tour across the US. They’ll be playing selected dates on the tour, alongside Tegan and Sara.

Photo by Scott Gries/ImageDirect

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Chris Brown is certainly no stranger to making headlines, and at least this time it’s for a really wholesome reason.

In a new viral video, the singer is seen spending time with beatmaker Ellison “Red” Anderson, a musician living on the streets. Red shows Breezy some stuff he’s been working on with his electronic keyboard, and the two do a little musical ideation together.

Eventually, Brown makes it known that he is hooking Red up with some new clothes and other gear, as well as a phone. He tells Red that his number, as well as the numbers for some of the people on his team, will be on the phone. This was they can communictate directely.

Chris Brown surprised viral homeless artist Ellison “Red” Anderson with brand-new gear and a new phone with his PERSONAL NUMBER saved in it so they can stay in touch and work on music together in the future pic.twitter.com/6eQWOmyZ30

— Killa (@KillaKreww) November 9, 2026

At one point, Red reveals that he recently lost his girlfriend of nine years to liver cirrhosis. Before Brown heads out, It’s also shared that Red is planning to visit his son. Check out the heartwarming clip above.

Chris Brown is currently on a headlining tour with Usher, whom he may or may not be beefing with

In other Chris Brown news, the singer is currently out on the co-headlining 2026 R&B Tour with Usher. That trek is at the tail end of a record-setting run of shows in Georgia, as the pair are the first artists to perform five shows at Mercedes-Benz Stadium during a single tour stop. This breaks Beyoncé’s previous record of four concerts.

Mercedes-Benz Stadium initially announced two concerts. More dates were added due to overwhelming demand. So far, they have played shows on Nov. 5, 6, and 8. There is another tonight (11/10) and one final show on Nov. 11.

However, the very first show of the mini-residency reportedly got off to a rough start. It started hours after it was supposed to, both headliners had shorter sets, and they never performed together. TMZ reported that fans were pretty upset about it, with some even calling for ticket refunds.

Amid all that, a rumor sparked that Chris Brown and Usher were beefing. No real evidence has emerged, beyond some noting that Usher called the concert “my show” when it’s technically a co-headliner event.

Brown had openly refuted the rumors. In a social media post, he called the “internet” talk “cap” by using a blue hat emoji. “Don’t fall for it,” he added. Usher has not addressed the specualtions.

Photo by Henry NICHOLLS / AFP via Getty Images

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The beef between Eminem and Mariah Carey was one of the most random feuds in hip-hop history. It all stemmed from an alleged relationship that only lasted around 6-7 months. Carey maintained for years that nothing ever happened between the two, but Em frequently brought it up and trashed her at any opportunity. Funnily enough, you could easily argue the R&B legend had the best diss track out of all of Eminem’s relentless shots.

You would think when Mariah Carey eventually married Nick Cannon that the beef would subside. However, the slander was nonstop and even he felt some of Eminem’s wrath. After a while, Cannon felt like he had to intervene accordingly. In an interview with Maury Povich, he addressed his occasional spats with Eminem. Ultimately, for the Wild’n Out host, it was just about him sticking up for his wife at the time.

“He disrespected my woman, man. You can’t come at my wife and don’t expect to get this work,” Nick Cannon said. “I think he he and Mariah had a professional relationship, which he professed to be a personal relationship. And so that was way before me. So then by the time we got married, he had some some harsh words because I guess he was still in his feelings.”

Nick Cannon Reflected on Ugly Feud With Eminem after Defending Mariah Carey’s Honor

By 2016, Cannon and Carey divorced. While that might be another reason the beef might die out, his smoke with Eminem continued for years. A decade after their initial conflict, Cannon reflected on their spat on T.I.’s ExpidTIously podcast. This prompted Eminem to throw more shots on Fat Joe’s “Lord Above”, which prompted three diss tracks on Nick Cannon’s end.

By the end of it all, Eminem had the last word on “Canceled: Invitation”. This doesn’t mean that the multi-hyphenate was against getting back in the ring if Slim Shady was ever ready to spar again. But his invitation naturally went to his freestyle sketch comedy show Wild’n Out.

“I’m one of those cats that matches energy. I don’t do it — I overdo it,” Nick Cannon told Billboard in 2020. “Even in high school, I was a little guy, but if you made fun of me, I was gonna make fun of you, your momma, and that’s the same energy of Wild ‘N Out. It was a month of social commentary, but if you’ve ever heard me speak on this matter, I always give that dude his props as an icon in hip-hop. I think he knows better now. If he keeps talking about me, I’m gonna keep talking back.”

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There’s no denying, Kurt Cobain was a cultural icon of the 1990s. Not only did Nirvana take alternative rock into the mainstream in September 1991, but they also introduced fans to underground music of the 70s and 80s. This gave some of Cobain’s major influences a platform in the 90s to join the mainstream. Notably, bands such as Pixies, Sonic Youth, and Melvins directly influenced the band and get the most recognition for doing so. Here are 3 bands that Kurt Cobain also loved that deserve another listen and more credit.

The Vaselines

The Vaselines are a Scottish alternative rock band, formed in 1986. The duo, based in Glasgow, featured songwriters Eugene Kelly and Frances McKee. Kurt Cobain once claimed The Vaselines are “his favorite songwriters in the whole world.” Nirvana covered a handful of songs from the group, including “Son Of A Gun” and “Molly’s Lips”, included on their 1992 compilation Incestide. They later covered “Jesus Doesn’t Want Me For A Sunbeam” live on MTV Unplugged in November 1993.

Beat Happening

It’s general knowledge that Cobain emerged from the underground scene in the Pacific Northwest. He notably lived in Olympia, specifically during Nirvana’s formative years. One of his favorite local groups was Beat Happening, an indie pop band from Olympia. The band formed in 1982, with band leader Calvin Johnson co-founding K Records that same year. It’s an independent record label out of Olympia that later released early releases by artists such as Modest Mouse, Built To Spill, Beck, and more.

Cobain loved K Records so much that he got their shield logo tattooed on his forearm. He did so to remind himself where he came from as a youth, hanging around the local DIY scene in Olympia.

Cheap Trick

As much as Cheap Trick gets their due recognition in the world of classic rock, they don’t get nearly enough credit for their influence on alternative rock. Countless alternative bands of the 90s, including Nirvana, openly admitted their love for Cheap Trick. This may be lesser-known, though, as the band had a variety of different sounds in their heyday. It’s often overlooked, but Cheap Trick’s influence contributed heavily to the creation of grunge and even predicted it in songs such as “Auf Wiedersehen”.

In the liner notes of the 1992 compilation Incesticide, Cobain stated: “I’ll be the first to admit, we’re the 90s version of Cheap Trick.” He used this mentality to explain to producer Steve Albini which direction he wanted Nirvana to go for their third album, In Utero. Albini was notably a massive Cheap Trick fan, and it was known by anyone who worked with him.

Photo by Jeffrey Mayer/Getty Images

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It’s undeniable that L7 were one of the most important bands of the 90s alternative rock movement. Now, decades later, the grunge icons are hanging it up. But not before frontwoman Donita Sparks does a little reflection on their legendary career, as well as on their friendships with bands like Nirvana and Pearl Jam.

Speaking to Guitar World, Sparks discussed the band’s legacy, starting with what the early days of the Seattle grunge scene were like. “Sub Pop [records] did well, mainly because of Nirvana and Soundgarden,” she said. “When they signed us, they said, ‘You’re in the inner circle of Sub Pop now.'”

Sparks quipped that “everyone got huge, except for Mudhoney,” and added, “There was so much hype, especially in the UK. We’d show up to a club and instead of saying ‘L7’ it would say ‘Sub Pop Artist’ or ‘Sub Pop’s L7.’ It was like the label was getting bigger than the bands were.”

L7 signed to Sub Pop Records in the late 80s

In 1992, L7 released Bricks Are Heavy, their third—and possibly most crucial— album. Butch Vig produced the record, fresh off having just done Nirvana’s Nevermind. When asked how his production style impacted L7’s music, Sparks explained, “We always had a very powerful sound on stage. You can’t put that in a bottle. Producers and engineers would go to an L7 show, after they worked on our record for months, and be like, ‘What the f**k?'”

“Butch was great because he encouraged our melodic stuff,” she continued. “When we started, we wanted to play hard music sans melody because we were tough cookies; then melody came in. Nirvana and the Pixies gave me more confidence to throw my musical roots into the stew. I love a lot of 50s/60s pop; I love a lot of country.”

Among her reflections, Sparks shared about playing a big benefit show in the mid-90s with Pearl Jam and Neil Young & Crazy Horse. “We met Neil Young that night,” she recalled. “I remember Pearl Jam asked us on stage because they were singing ‘Rockin’ in the Free World’, but I f**ked up my verse by one line!”

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Finally, Sparks spoke about L7’s Last Hurrah farewell tour, which they’re currently on. The run comes after longtime bassist Jennifer Finch died in July, following a battle with aggressive brain cancer.

“The finality is starting to hit me,” Sparks said. “The emotion becomes overwhelming at times. I can hold it together until I get backstage – but every once in a while, there’s a little weepiness. We’re doing meet-and-greets for the first time to supplement the tour. People are saying how long they’ve followed us. One woman said, ‘You’ve taken me from puberty to menopause!'”

Photo by Gie Knaeps/Getty Images

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On Saturday, November 7, 2026, Richard Lloyd lost his battle with cholangiocarcinoma, a form of bile duct cancer. He had been diagnosed earlier this year in March. Lloyd is best known as a founding member and guitarist for the foundational punk rock band, Television. They were a band at the center of the punk rock movement in New York City in the mid-to-late 90s. Television pioneered art punk, standing out among the other punk acts from “The Big Apple” at the time.

Their 1977 debut album, Marquee Moon, has been widely acclaimed for decades, inspiring countless artists. Following their sophomore release, Adventure, they disbanded in 1978. In 1991, the band briefly reunited and released a self-titled album in 1992. Following this, the band called it quits once again until another reunion a decade later in 2001.

Lloyd’s guitar work allowed their other guitarist, Tom Verlaine, to front the group as the singer as well. Lloyd also played solos, splitting the lead guitar role in half, but his role was mainly to hold down the rhythmic side of the band. Additionally, he greatly contributed to the arrangement of their tracks. To this, he claimed in his final interview that he didn’t receive the credit he deserved.

Lloyd’s FInal Interview

In December 2025, Richard Lloyd was interviewed for the final time. Andrew Daly of Guitar World conducted the final interview. Lloyd detailed how he learned guitar from someone who was learning directly from Jimi Hendrix. At one point, his friend put him on the phone with Hendrix himself to prove this to be true. He also took Lloyd to a Jimi Hendrix concert around the same time. Additionally, he discussed joining John Lee Hooker on stage, learning a thing or two in the moment ahead of his own career.

On the band’s debut album, Lloyd claims he contributed more than he received credit for. On the album’s opening track “See No Evil”, Lloyd stated, “Tom was fooling around with octaves, and I came up with the rest. There have been debates on that – I didn’t get a penny for the songwriting, nor the other ones that I was responsible for. A real drag, because publishing is where you can actually make a living.”

When asked to elaborate, Lloyd said, “Tom went by the argument that everything is the melody and the lyrics, and that there was nothing deserving of credit for what he called ‘the arrangement.’ I debated that. For instance, with “Guiding Light”, I wrote the part that runs through the whole song. That was the final straw. I said, ‘You’ll either give me credit for this, or you can come up with something else because I won’t play it if you don’t give me credit.’ I got half credit on that. I fought him over “See No Evil” and “Friction”, but he went behind our backs – you’d find out he put it under his own name.”

Lloyd expressed that despite this, he kept Television as his main priority throughout his career. Even at times when working with Verlaine would “drive him nuts”, he’d drop his solo efforts for any reunion with the band.

Photo by Michael Putland/Getty Images

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Clawfinger, an infamous rock band from the 90s, refuses to perform one of its biggest songs these days. Their singer explains why they made that decision, and I, for one, wholeheartedly support the decision to leave this one in the past.

Hailing from Sweden, Clawfinger is a rap-metal band that dropped their debut album, Dead Dumb Blind, in 1993. The very first track on that record is titled “N****r,” and yes, it’s exactly the n-word you think it is. Listening to the lyrics, the song feels like it’s discouraging use of the word while also using it so, so, so much.

It is quite the conundrum, because the song is also one of their most popular. Right now, on Spotify alone, that song has more than 7.5 million streams. However, any fans who actually want to hear the song live should not hold their breath.

During a recent interview on the IMPACT Metal Channel, Clawfinger frontman Zak Tell was asked if he thinks Clawfinger would ever perform the song again. “I do not know,” he replied. “Times have changed since we released that song. There’s a whole new wokeness, and people are a lot more aware.”

One of Clawfinger’s biggest hits is a condemnation of racism with a very controversial title

He then mentioned the “Black Lives Matter” movement and offered some additional context on why the band doesn’t play the song. “I think one of the problems today is that things get taken out of context,” Tell said. “Nobody cares about the big picture; nobody cares about background. People get stuck up on words and small things instead of seeing the big picture.”

“I mean, we’re totally fine with the song,” he continued. “We know what we stand for. We know we’re not a bunch of racist idiots. The problem is everyone else out there who doesn’t know.”

Tell lamented that a “10-second TikTok clip” featuring only the “chorus” creates a misconception of the song. “It gets taken totally out of context,” he said. “I think it creates more problems than it creates solutions. And also it’s about being respectful to the fact that the times have changed, and people do see things differently. And maybe it’s a topic that’s more important than a three-and-a-half-minute song. It deserves to be addressed properly.

“Maybe we shouldn’t be the people addressing it anymore, if we ever should have been. But maybe now and here is not our time and place to be the agitators,” Tell added. “It’s not really our job to educate people about it, I feel.

“So it’s mostly just out of being respectful that we chose not to play it anymore,” Tell concluced. “Not because we don’t believe it’s a good song, ’cause we do. But it’s not our time and place anymore, the way the world is now. Maybe in the future that’ll change and people will understand the bigger picture more, and realize that it’s okay to say basically anything, as long as your intentions are good. But I don’t see the world working that way right now. Unfortunately.”

Photo by Mick Hutson/Redferns

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In early November, Olivia Rodrigo released her first Christmas song, inspired by “Christmas Wrapping” by The Waitresses. But some fans online claim that she lifted some of it from Robbie Williams’ 2012 hit song “Candy”. Amid calls for copyright claims and writing credits, Williams sent a message to both the fans raising suspicions and to Rodrigo herself.

Essentially, Williams said he wasn’t “going after” Rodrigo about the similarities between their songs. That’s allegedly what people online were calling for, but Williams proved he had a different mindset. In his expletive-laden way, of course.

“I love Olivia Rodrigo,” he began his post on Instagram. “It sounds to me as though she may have accidentally stumbled across a musical echo of mine in one of her new songs. And do you know what? I couldn’t care less.”

He continued, “I don’t know whether there’s technically a publishing issue, a copyright issue, or no issue whatsoever. And I don’t want to know. I’m not going after her. Because I think at some point, some f***ing sanity has to prevail.”

Williams went on to explain that there’s so much music in the world that an artist will “inevitably find [themselves] somewhere somebody else has been.” That’s how songs with similar melodies, riffs, or chords come about.

“Genuine theft is genuine theft. Artists deserve to be protected,” he added. “But there’s a difference between protecting your work and treating every vaguely familiar sequence of notes as a winning lottery ticket.”

Robbie Williams Posts Sweary Insights into Music Copyright issues After Fans Claim Olivia Rodrigo Copied One of His Hits

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The post continued, “We all stand on the shoulders of people who came before us. Sometimes consciously. Sometimes without even knowing it. If we keep punishing people for accidentally arriving somewhere somebody else has already been, eventually we’re going to frighten the creativity out of everyone.”

Robbie Williams concluded his response with a concise message for Olivia Rodrigo. “Olivia, if you’re reading this,” he wrote, “I think you’re f***ing brilliant.”

Elsewhere in the post, Williams addressed the fact that the same accusations have been levied against him in the past. “I’ve had plenty of people coming after me over the years because something I’ve released apparently sounds like something somebody else released,” he wrote. “And sometimes I listen and think, fair enough, I can hear that. Other times I think, are you having a f***ing laugh?”

The lengthy post provided some enlightening insight into how copyright infringement has turned into “ambulance chasing” in the music industry. Essentially, seeking out similarities between songs and filing an infringement lawsuit for writing credit and an easy royalty payout. Robbie Williams’ perspective echoes many others in that space, but the copyright infringement trials and accusations are often louder than those opinions.

However, Williams’ post had a bit of levity in it as well. He first explained that he’s been a fan of Olivia Rodrigo since her 2021 single “Brutal”. He wrote, “What a f***ing record. I wish I’d made it”, before adding, “Also, I can’t believe how much she swears on stage. And that’s coming from me.”

He noted that her penchant for swearing is making him “look like a Victorian schoolmistress.” Of course, Williams concluded his post by bringing that up again, writing, “Please stop swearing so much. It makes me feel like I have to keep up. And frankly, I’m already swearing much more than is necessary.”

Photo by Josh Chadwick/Getty Images

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Silly Goose has gone viral multiple times for their bizarre, high-energy pop-up concerts across the US. The band is known for their pop-up concerts in parking lots of gas stations or fast food restaurants. Typically, these locations are outside of concerts at large venues in the area. They’ll catch the attention of concert-goers leaving a concert, creating a high-energy metal show atmosphere wherever they can, whether they’re welcomed or not. Now, the metal band, which is reviving nu-metal, has aimed to capitalize on a famous unconventional show location.

Back in May of 2013, a hardcore punk band named Live Without performed in a spot that went viral on the internet. The punk band performed inside a Denny’s restaurant in Houston, Texas. At the beginning of the set, their frontman Kris famously announced, “What the f*ck is up, Denny’s?” seconds before their set. With this, the crowd and pit opened up, and the band became internet legends.

The video went viral, and has inspired multiple bands to perform in outrageous locations since. Also, the expression “What the f*ck is up, Denny’s” became an internet meme and a common thing to say ahead of any band’s set. A decade later, on October 26, 2023, iconic pop-punk band Blink-182 performed a surprise one-song concert at a Denny’s in Long Beach, California. They sought corporate approval for the concert, which promoted their 2024 album One More Time.

Silly Goose’s Denny Performance After Crashing a Corporate Conference

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On November, 7, 2026, Silly Goose finally got their chance to continue the Denny’s concert legacy. The bands frontman, Jackson Foster, crashed the restaurant’s corporate conference in September. He campaigned for a collaboration with the restaurant chain called “Goose Slam.” At a Denny’s location in Norcross, Georgia, Silly Goose filmed a music video for “Goodnight”, a single from their album released back in May.

Normally, Silly Goose doesn’t ask for permission for their pop-up shows. At times, this has resulted in a clash with the owners of these establishments. For this performance at Denny, it marks the first time the band has been granted permission beforehand. The band has also announced “Goose Fest”. It’s an upcoming festival that’ll take place on January 16th in the bands home city, Atlanta, Georgia.

Photo credit: Instagram/sillygooseatl

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