Steve Miller is heading back to the stage with a deeper purpose—and some very special company. As a longtime Jazz at Lincoln Center board member, Miller is teaming up with country icon Marty Stuart and his powerhouse band, The Fabulous Superlatives, for two Music From Appalachia concerts on December 7 and 8 at Lincoln Center’s Rose Theater. The second show will also be livestreamed on the Jazz at Lincoln Center Facebook page.

This event is more than a concert—it’s a musical exploration. After previous shows highlighting the legacies of Miles Davis, T-Bone Walker, and the blues triangle of the Mississippi Delta, Chicago, and Texas, Miller is now turning his focus to the unique blend of mountain music and blues that came out of Appalachia.

“The blues came over with the slaves and developed primarily in the Mississippi Delta,” Miller explained to Billboard. “But Appalachian blues is fascinating—it grew out of coal mining communities where African and European musical traditions collided. You had Scots-Irish folk music mixing with Delta blues, banjos and fiddles blending with blues guitars. It’s a sound shaped by shared labor, hardship, and storytelling.”

The setlist will feature timeless songs like “In the Pines,” “Old Hat,” “No Hard Times,” “John Henry,” “The Great Speckled Bird,” and “The Unseen Hand.” Mississippi’s Pastor Evelyn Hubbard will join on organ, and both the performances and musical arrangements will be archived as part of Jazz at Lincoln Center’s expanding blues education efforts.

Miller’s collaboration with Stuart goes beyond the stage—they’ve shared performances at the Metropolitan Museum of Art and in Nashville, building chemistry through mutual respect. “They’re one of the best live bands on the planet,” Miller says. “It’s a thrill to work with them and give them a new platform outside the Americana world.”

And the collaboration won’t stop there. The Steve Miller Band will tour next summer with Marty Stuart and The Fabulous Superlatives, promising more genre-crossing moments and spontaneous jam sessions. “They’re already asking to do ‘Jet Airliner’ and ‘Going to the Country,’” Miller laughs. “It’s going to be a blast—and I’ll be getting mandolin lessons along the way.”

In addition to performing, Miller has been combing through his archives as he approaches his 50th recording anniversary. Despite some reluctance, he’s discovered “three or four CDs’ worth” of unreleased material—studio gems and live cuts he now plans to release next year. “I’m a perfectionist, so some of it drives me crazy,” he admits, “but others find it really interesting. So I’m letting go and putting it out.”

After the tour and archival releases, Miller plans to take a well-earned break to reflect, write, and reset. “I’ve been touring nonstop for 16 years,” he says. “Now I want to think about what’s next—how I want to go out, what kind of music I want to leave behind.”

On March 26, the storied stage of Carnegie Hall lit up with an unforgettable fusion of rock royalty. Bruce Springsteen and Flea joined forces for a searing rendition of “Because the Night,” honoring Patti Smith in a night that celebrated her legacy and gave back to the next generation of musicians.

The event, People Have the Power: A Celebration of Patti Smith, gathered an all-star lineup to pay tribute to the punk poet laureate. Proceeds from the night supported music programs for at-risk youth, staying true to Smith’s spirit of activism and artistic empowerment.

Springsteen and Flea were joined by longtime Patti Smith collaborator Tony Shanahan, Bob Dylan’s touring guitarist Charlie Sexton, and Rolling Stones drummer Steve Jordan. The chemistry onstage was electric, and every note of “Because the Night” pulsed with decades of shared rock history.

The song itself has a storied past—originally written by Springsteen in 1977 but left unfinished, it found new life when producer Jimmy Iovine handed the track to Smith. She completed the lyrics and transformed it into one of her most iconic anthems. “That song would still be in my archives if it weren’t for her,” Springsteen once reflected.

The night was packed with surprises and emotion. Johnny Depp and Alison Mosshart teamed up for a mesmerizing performance of “Dancing Barefoot,” while Karen O, Michael Stipe, and Matt Berninger brought their own unique voices to the tribute. Celebrities like Scarlett Johansson, Sean Penn, and Jim Jarmusch read Smith’s poetry, adding layers of depth and reverence to the evening.

Capping off the celebration, Smith herself returned to the stage to lead the ensemble in a powerful performance of “People Have the Power,” turning the hall into a chorus of unity and inspiration.

It was more than a tribute—it was a love letter to one of music’s most fearless voices, and a reminder that great songs, like “Because the Night,” are timeless when passed from one legend to another.

After a nine-year hiatus from North American stages, AC/DC has officially launched their long-awaited PWR UP tour, kicking things off with a thunderous performance in Minneapolis on April 10. The six-week trek will span 13 explosive shows across the continent, wrapping up on May 28 at Huntington Bank Field in Cleveland.

The tour marks a new era for the band, featuring a refreshed lineup: the iconic Brian Johnson back on vocals, Angus and Stevie Young on guitars, drummer Matt Laug, and new bassist Chris Chaney—best known for his work with Jane’s Addiction and Alanis Morissette.

At their opening night in U.S. Bank Stadium, fans were treated to a hard-hitting set that paid tribute to their Back in Black era with five tracks from the 1980 classic. The night launched with crowd-pleasers “Highway to Hell” and “If You Want Blood (You’ve Got It),” instantly reigniting the band’s raw, electrifying energy.

Following the North American run, AC/DC heads to Europe for a 12-show leg across 10 countries, starting June 26 in Prague and wrapping up August 21 in Edinburgh—marking their first return to Scotland in a decade. Tickets for the European dates, including Edinburgh, are still up for grabs.

The tour celebrates the band’s 2020 album Power Up, their 17th studio release. Critics praised the album for staying true to their no-frills rock roots—NME called it “a joyous celebration of unbridled heavy rock” in a four-star review.

Meanwhile, Power Up fever has even inspired pop stars: Dua Lipa surprised fans with a fiery cover of “Highway to Hell” during a Melbourne concert last month.

AC/DC is back, and louder than ever—proving that real rock and roll never dies.

The Go-Go’s lit up Coachella with a dazzling return on Friday, marking their first live appearance since 2022. The legendary all-female rockers delivered a high-energy set filled with fan favorites, surprise moments, and emotional tributes.

A standout highlight came when Green Day frontman Billie Joe Armstrong hit the stage to perform “Head Over Heels,” thrilling the crowd with an unexpected collaboration. The set leaned heavily into their beloved 1981 debut Beauty and the Beat, while hits like “Vacation,” “Our Lips Are Sealed,” and “We Got the Beat” had the audience singing along. The latter track even featured a playful nod to Chappell Roan’s “HOT TO GO!”

Before Coachella, the band warmed up with an intimate show at the Roxy in West Hollywood, where they honored late Blondie drummer Clem Burke. Burke had filled in for drummer Gina Schock during the band’s 2022 tour while she recovered from surgery. With Schock now back behind the kit, the Roxy show became a touching tribute to Burke’s memory, with emotional words from Belinda Carlisle, Kathy Valentine, and Schock herself.

These back-to-back performances weren’t just about nostalgia—they were a celebration of resilience, legacy, and the unbreakable bond within the Go-Go’s family.

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In a heartwarming moment that left fans delighted, Sir Paul McCartney made a surprise appearance alongside his son, James McCartney, during a 2013 performance at London’s intimate Ambassadors Theatre. The concert was meant as a warm-up gig ahead of James’s highly anticipated U.S. tour, and already boasted a special guest: Rolling Stones legend Ronnie Wood, who had joined James on guitar for a song. But the night took an even more memorable turn when Paul himself unexpectedly stepped onto the stage, settling behind the piano to accompany his son and Wood for a rousing rendition of the track New York Times.

The audience was thrilled by the rare sight of the two McCartneys performing together, and the chemistry between father and son was palpable. After the performance, Paul returned to the crowd to enjoy the rest of the evening alongside his wife Nancy and daughters Stella and Mary, showing support not just as a legendary musician, but as a proud family man.

At the time, James, then 35 years old, was gearing up to release his debut full-length album titled Me. Speaking about the deeply personal project, James shared his vision: “For my first album, I wanted to create something that felt honest and revealing—something intimate that expressed who I really am, both musically and emotionally. I wanted to say, ‘This is me.’”

The father-son bond extends beyond live performances. Paul had also visited the studio during the making of Me, lending his experience and encouragement. The pair even shared a behind-the-scenes moment on social media, posting a photo of themselves at the mixing desk earlier that year. Their musical partnership isn’t new—James has previously contributed to some of his father’s albums, including 1997’s Flaming Pie and 2001’s Driving Rain.

With his album nearing release, James was set to hit the road for an ambitious 47-date tour across the United States, kicking off on April 6 in Portland, Oregon. As he stepped into the spotlight, backed by a rich musical legacy and a little help from his famous father, James McCartney was ready to carve out his own path.

In a moment that’s equal parts hilarious and heartwarming, a Kiss fan convention in Detroit back in 1995 took an unexpected turn when a 10-year-old girl grabbed the mic and belted out one of the band’s cheekiest tracks—“Let’s Put the X in Sex.”

During the band’s Worldwide Convention Tour, the pint-sized rockstar joined Paul Stanley, Gene Simmons, Bruce Kulick, and Eric Singer on stage for an impromptu, high-energy rendition of the 1988 single. The crowd didn’t quite know what to expect, but she quickly won them over with her fearless delivery and infectious enthusiasm. Every time she hit the line “Love’s like a muscle and you make me wanna flex,” she threw in a triumphant bicep pump, sending the audience into fits of laughter and wild applause.

The band, clearly loving every second, backed her with big grins and roaring guitars. While the girl’s name wasn’t mentioned in the footage, Simmons made sure to tell the crowd her age after the performance, capping off the already unforgettable moment.

That 1995 convention tour was more than just a nostalgic trip—it was a cultural reset for Kiss. After years of distancing themselves from their ‘70s face-painted era, these events let them reconnect with fans through acoustic sets, memorabilia exhibits, and up-close Q&A sessions.

Reflecting on the conventions, Simmons wrote in Kiss and Make-Up: “We realized Kiss had become more than music—it was part of people’s lives. We met girls named Beth, teenagers counting down to their own ‘Christine Sixteen’ moment.”

The Detroit stop wasn’t the only memorable one—during the Los Angeles event, founding drummer Peter Criss made a surprise appearance, laying the groundwork for the full-blown original lineup reunion that followed in 1996.

Now, nearly 30 years later, Kiss is preparing to revisit that convention magic. This November, they’ll host Kiss Army Storms Vegas—a multi-day fan event at Virgin Hotels Las Vegas featuring a rare “unmasked” performance, celebrity guests, and immersive Kiss experiences. It marks their first time on stage since wrapping up their farewell tour in 2023.

And as for that little girl who once rocked a stadium with a grown-up anthem? If she shows up in Vegas, she’ll be rocking it as a 40-year-old woman—proof that Kiss memories really do last a lifetime.

Confidence has always been Adam Levine’s calling card. The Maroon 5 frontman once boldly declared, “I have a high self-opinion—I don’t need to hide that.” It’s that unapologetic swagger that’s carried him through chart-topping hits, packed arenas, and even a successful run as a coach on The Voice.

But even the most self-assured stars get a reality check once in a while—and Levine got his from none other than Sir Paul McCartney himself.

During a recent interview on The Howard Stern Show, Levine and Maroon 5 guitarist James Valentine looked back on a nerve-wracking yet unforgettable moment from 2014, when the band performed a Beatles tribute live on national television. The occasion? The Night That Changed America: A Grammy Salute to The Beatles, a celebration of the Fab Four’s iconic Ed Sullivan Show debut.

Maroon 5 opened the star-studded show with classics “All My Loving” and “Ticket to Ride,” performing in front of two living legends—Paul McCartney and Ringo Starr.

“Listen, man, I’ve only been truly scared a handful of times in my life,” Levine confessed. “That was definitely one of them. I mean, c’mon… that’s Paul and Ringo. You can’t play it cool around them.”

But the real moment came after the performance. Levine ran into McCartney, who leaned in close and, with a cheeky smile, said in a classic British lilt: “You know, we did it better.”

Levine burst out laughing. “I was like, ‘Of course you did—you’re Paul McCartney!’” he recalled. “It was perfect. It was honest, it was funny, and it totally broke the tension.”

But Sir Paul didn’t stop there. Months later, at a party, McCartney approached Levine again—this time to clear the air. “‘Hey, man,’ he said, ‘I hope I didn’t offend you with that comment. I’ve been thinking about it.’” Levine, floored by the thoughtfulness, quickly reassured him: “Dude, you’re Paul f—ing McCartney. I’m not offended. I’m honored you even spoke to me.”

It was a moment of humility, humor, and mutual respect—and a reminder that even rock gods don’t take themselves too seriously.

At Sir Paul McCartney’s unforgettable concert in Buenos Aires on May 17, an unexpected young star stole the spotlight. Amid thousands of fans filling the La Plata Stadium, 10-year-old Leila Lacase held up a sign that caught the legend’s eye. Curious, McCartney invited her onstage, expecting to autograph the stuffed monkey she clutched in her arms.

But Leila had a different plan.

With charming confidence, she looked up at the former Beatle and simply said, “I want to play the bass with you.” The crowd burst into laughter, charmed by her boldness. McCartney, clearly amused and intrigued, replied, “You want to play bass with our band? Like, the real bass? Well, I didn’t see this coming.”

Moments later, a roadie handed Leila a white bass guitar, strapping it over her shoulders. Then came the real surprise—she could actually play. As McCartney and his band launched into Get Back, Leila plucked along and even stepped up to the mic when Paul lowered it, effortlessly taking over lead vocals.

The stadium erupted. It wasn’t just adorable—it was electric.

What started as a sweet moment became a full-blown jam session between a rock legend and a rising star in the making. McCartney was clearly delighted, watching her with pride and surprise as she held her own on the world’s biggest stage.

In a show filled with unforgettable moments, this one stood above the rest—a reminder that music’s magic knows no age. And for Leila Lacase, it was more than just a dream come true. It was the night she got back with a Beatle—and proved she just might be one to watch.

At Farm Aid 30, Neil Young didn’t just return to the stage—he reopened a conversation long left unspoken. Beneath the golden haze of stage lights and the weight of time, he did the unthinkable: brought Alabama back into the world after nearly 40 years of silence.

It wasn’t a throwback moment. It was a reckoning.

Backed by Promise of the Real, Young delivered the song not as a legend basking in past glory, but as a man confronting his own legacy. There was no fanfare, no theatrics—just a voice that carried decades of reflection and a guitar that cut like a truth that refused to fade.

From the first lyric, the crowd felt it—this wasn’t just a song dusted off for nostalgia. This was a message revived with a new edge, its meaning deeper now in a world still grappling with the issues it once called out. The years had only sharpened its relevance.

The performance was hauntingly bare. Every syllable felt carved out of stone, soaked in honesty, humility, and reckoning. Young wasn’t just singing; he was owning, questioning, and evolving—live, in real time.

The field of thousands went still. Phones lowered. Voices hushed. What unfolded wasn’t a concert moment, but something more intimate—more necessary. A collective breath held in reflection.

And when the final chord faded, the silence lingered before giving way to quiet applause and tearful reverence. No roar of excitement—just the kind of stillness that follows something sacred and real.

Neil Young didn’t just perform Alabama. He gave it back to the world—older, rawer, truer. A reminder that while some songs grow quiet, the truths inside them never stop speaking.

Benson Boone’s meteoric rise hit a new high on Friday, April 11, as the 22-year-old singer delivered a jaw-dropping Coachella debut — complete with a surprise appearance by Queen’s legendary guitarist, Brian May.

Just a few years ago, Boone seemed destined to be an American Idol champion — even Katy Perry had him pegged as a frontrunner during season 19. But in a bold move, he walked away from the spotlight of reality TV, determined to chart his own course. That decision paid off. Fast forward to 2024, Boone’s hit “Beautiful Things” cracked the U.S. Top 10, he opened for Taylor Swift in London, and now, he’s headlining one of the world’s biggest festivals with rock royalty by his side.

Boone’s Coachella set had all the drama fans have come to expect — glitzy outfit, gravity-defying backflips, and high-octane vocals. But nothing prepared the crowd for what came next.

Wearing a flowing cape, Boone sat at a grand piano while a choir opened Queen’s iconic Bohemian Rhapsody. Halfway through the performance, he leapt from the piano bench and channeled his inner Freddie Mercury. As the iconic guitar solo kicked in, Brian May himself emerged from below the stage, Stratocaster in hand, and brought the house down with a blistering live solo.

The audience might have taken a moment to register the music legend before them, but social media didn’t miss a beat. TikTok and Twitter exploded with disbelief and admiration. “Why aren’t people LOSING IT over Brian May?” one commenter asked. Another joked, “That crowd didn’t deserve him.”

Despite the lukewarm in-person reaction, the performance was pure rock theater. Boone gave the classic Queen track the grand spectacle it deserved, while May added his signature magic. The two bowed to each other at the end, an intergenerational moment of mutual respect.

One fan summed it up best: “Freddie would’ve loved this.” And based on the night’s energy, it’s hard to disagree.

@bensonboonenation

Benson Boone covers Bohemian Rhapsody with Brian May at Coachella #bensonboone #coachella

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