When compiling a list of the most influential songwriters of the past century, two legends inevitably rise to the top—Bob Dylan and Joni Mitchell. Now in their 80s, both artists continue to leave their mark on music, occasionally stepping back into the spotlight to share new creations or reflections on their iconic careers.

But decades ago, before they became the towering figures we know today, one profoundly influenced the other, reshaping ideas about songwriting, expression, and the limitless possibilities within a song.

Bob Dylan has often been painted as a bit of a musical curmudgeon—a storyteller with a sharp tongue and a knack for calling it like he sees it. His 1965 single, “Positively 4th Street”, is a prime example. Beneath its catchy melody lies a biting critique, a lyrical takedown aimed at unnamed individuals who had clearly gotten under Dylan’s skin.

The track, which climbed to No. 7 on the Billboard Hot 100, plays like one long, poetic insult. It’s not heavy on metaphor or abstract imagery—instead, it’s raw, direct, and dripping with disdain. Released between two of Dylan’s most celebrated albums, Highway 61 Revisited and Blonde on Blonde, the song followed the smash hit “Like a Rolling Stone” but stood out for its bluntness.

This was Dylan at his most unfiltered. And it struck a chord—not just with fans, but with a young, aspiring songwriter named Joni Mitchell.

Joni Mitchell, two years Dylan’s junior, found something revelatory in “Positively 4th Street.” It wasn’t just another hit song—it was a door flung wide open. Reflecting on the moment years later, Mitchell said, “There came a point when I heard a Dylan song called ‘Positively 4th Street’ and I thought, ‘Oh my God, you can write about anything in songs.’ It was like a revelation to me.”

For Mitchell, Dylan’s unapologetic honesty and conversational style broke down barriers. It showed her that songwriting wasn’t confined to love ballads or abstract poetry—it could be deeply personal, raw, and real. This realization would shape her own approach to music, giving her the freedom to craft songs filled with vulnerability, insight, and her unmistakable voice.

Just three years later, Mitchell released her debut album Song to a Seagull in 1968, marking the beginning of her legendary career—a journey that may have taken a different path had she not heard Dylan’s cutting anthem.

When rock ‘n’ roll legend Chuck Berry teamed up with AC/DC’s guitar dynamo Angus Young, the stage didn’t just ignite—it exploded with raw energy. This rare meeting of two guitar icons fused decades of musical brilliance into a single, unforgettable moment.

From the first chord, Berry’s trailblazing riffs melded effortlessly with Young’s gritty, high-voltage sound. The audience was sent into a frenzy when both legends busted out Berry’s signature duckwalk, a moment that felt like a living tribute to rock’s rebellious roots. It wasn’t just a performance—it was a celebration of rock ‘n’ roll’s evolution, where Berry’s bluesy foundation collided head-on with Young’s hard-hitting edge.

As their guitars battled and harmonized, it was clear this wasn’t merely a duet—it was a dialogue between eras. Berry, the father of rock, and Young, its electric prodigy, wove a sonic tapestry that was both timeless and explosive.

With every screaming solo and earth-shaking riff, the crowd’s energy soared. By the end, the atmosphere crackled with the magic only legends can create—a powerful reminder that rock ‘n’ roll’s spirit is eternal.

Classic rock fans were in for an unforgettable night at the Big Ears Festival in Knoxville, Tennessee, when Led Zeppelin’s iconic bassist and multi-instrumentalist, John Paul Jones, took the stage to deliver a mesmerizing performance that bridged the past and present.

With dramatic flair, Jones made a striking entrance, rising from beneath the stage as the haunting notes of “Your Time Is Gonna Come” echoed from his pipe organ. The audience was instantly transported back to rock’s golden age, wrapped in nostalgia but ready for something new.

Seamlessly transitioning to the piano, Jones delivered a hauntingly powerful version of “No Quarter,” the atmospheric classic from Led Zeppelin’s 1973 Houses of the Holy. Throughout the set, he kept things fresh, switching effortlessly between instruments. From the gritty twang of the lap steel guitar on “When the Levee Breaks” to the soulful piano strains of “Since I’ve Been Loving You,” Jones showcased his remarkable versatility, reminding fans of the depth and range that made Led Zeppelin legendary.

But the night wasn’t just about revisiting old favorites. Jones brought a modern edge to the set, performing new material from his recent collaborations. He shared the stage with acclaimed cellist Anssi Karttunen and experimental guitarist Thurston Moore of Sonic Youth fame, blending rock roots with bold, avant-garde sounds that pushed musical boundaries.

Though Jones hasn’t embarked on many solo tours in recent years, his work with Dave Grohl and Josh Homme in the supergroup Them Crooked Vultures has kept fans eager for more.

As the final notes faded and the crowd roared in appreciation, it was clear that John Paul Jones hadn’t just revisited his past—he’d redefined it, proving that his musical journey is still very much alive and evolving.

In 1994, fourteen years after the tragic passing of Led Zeppelin’s powerhouse drummer, John Bonham, Jimmy Page and Robert Plant reunited—not to bask in nostalgia, but to forge a daring new musical path. The spark for this reunion came from an invitation to perform on MTV’s iconic Unplugged series. Yet, determined to break free from the shadows of their legendary past, Page and Plant chose a fresh direction, notably excluding bassist John Paul Jones from the project. They aptly named it Unledded, signaling both a departure from Zeppelin’s legacy and a leap into uncharted sonic territory.

Unledded became a groundbreaking fusion of East and West, blending reimagined Led Zeppelin classics with global sounds. The duo collaborated with an Egyptian orchestra, an Indian vocalist, and the London Metropolitan Orchestra, layering their iconic songs with lush, cinematic textures. But the project’s true soul emerged in Marrakesh, Morocco, where Page and Plant delved deep into the rich musical traditions of the Gnawa—a group descended from sub-Saharan Africans brought to Morocco as slaves centuries ago.

These sessions birthed three mesmerizing new tracks, created in collaboration with local Gnawa musicians. Their hypnotic rhythms, played on the traditional guembri and punctuated by metallic castanets, brought an earthy, bluesy pulse that echoed the rawness of the Mississippi Delta. “We’d never met the Gnawa when we went there,” Plant recalled in a 1994 interview. “But they were very patient, and smiling is a great currency.”

Gnawa music, rooted in spiritual healing and prayer, resonated deeply with Plant. “They play a kind of music which is much more akin to the music of the Mississippi Delta than it is to do with Arab music,” he reflected. “It’s haunting, seductive, and quite alluring.”

Through Unledded, Page and Plant didn’t just revisit their past—they transcended it, weaving together diverse musical threads to create something entirely original, soulful, and timeless.

On June 28, 2014, former Led Zeppelin frontman Robert Plant took the Pyramid Stage at Glastonbury Festival, Worthy Farm, Pilton, England, delivering a powerful and emotional set alongside his band, the Sensational Space Shifters.

Blending his gritty blues style with iconic Led Zeppelin classics, Plant offered the crowd a fresh yet nostalgic experience. Despite decades of legendary performances under his belt, Plant appeared genuinely moved and humbled by the audience’s overwhelming response, especially during electrifying renditions of “Whole Lotta Love” and “Rock and Roll.”

The setlist was a heartfelt nod to his Zeppelin roots, featuring fan favorites like “Babe I’m Gonna Leave You,” “Black Dog,” “What Is and What Should Never Be,” “Going to California,” and more. Each song carried a raw emotional edge, breathing new life into the classics and leaving many in the crowd on the verge of tears.

Glastonbury, the world’s second-largest outdoor music festival, is renowned not only for its stellar musical acts but also for its vibrant blend of dance, comedy, theater, and circus performances. Amidst this eclectic celebration, Plant’s performance stood out as a poignant reminder of his enduring influence and his ability to connect deeply with fans, old and new.

On Friday, June 28, rock fans in Las Vegas got an unforgettable surprise when Aerosmith’s Steven Tyler joined Paul McCartney on stage during the encore at T-Mobile Arena. McCartney, currently touring North America in support of his 2018 album Egypt Station, welcomed Tyler to perform The Beatles’ 1968 classic “Helter Skelter.”

Introducing the guest, McCartney told the crowd, “We have a special guest for you: Mr. Steven Tyler,” before the duo launched into a fiery rendition of the iconic track, trading vocals and adding an improvised outro.

Tyler was already in Vegas for Aerosmith’s Deuces Are Wild residency at the Park Theater, and the moment was even more special given Aerosmith’s history with “Helter Skelter”—they recorded their own version during the 1975 Toys in the Attic sessions, later releasing it in 1991 on Pandora’s Box. The song has also been a staple in their live performances.

After the show, Tyler posted a clip of the performance on Instagram with the simple caption: “NEED I SAY MORE?”—and really, he didn’t.

On June 3, 2002, Buckingham Palace hosted an unforgettable musical moment during the “Party at the Palace,” a grand celebration marking Queen Elizabeth II’s 50 years on the throne. A stellar lineup of music icons, including Brian May, Paul McCartney, Roger Taylor, Eric Clapton, Rod Stewart, and others, united to perform The Beatles’ timeless anthem, “All You Need Is Love.”

This powerful tribute not only celebrated John Lennon’s enduring influence but also paid homage to late music legends like George Harrison and Freddie Mercury. Originally written by Lennon, “All You Need Is Love” made history on June 25, 1967, when it was broadcast live via satellite during the “Our World” program—reaching over 400 million viewers across 25 countries, the first global live performance of its kind.

In 2013, John Fogerty, the iconic frontman of Creedence Clearwater Revival, released the album Wrote a Song for Everyone, a collaborative project featuring reimagined versions of his classic songs alongside various renowned artists. One standout track from this album is a duet with Bob Seger on the timeless song “Who’ll Stop the Rain.”

Originally penned by Fogerty, “Who’ll Stop the Rain” was released in 1970 as part of Creedence Clearwater Revival’s album Cosmo’s Factory. The song has been interpreted as a reflection on the turbulent events of the era, including the Vietnam War and societal unrest. Over the years, it has been covered by numerous artists, but the collaboration between Fogerty and Seger brings a unique blend of their distinctive vocal styles to the track.

Wrote a Song for Everyone features Fogerty teaming up with a diverse lineup of musicians, including Foo Fighters, Miranda Lambert, and Keith Urban, to revisit his extensive catalog. The album received critical acclaim for its fresh takes on classic songs, with Rolling Stone ranking it among the 50 best albums of 2013.

The duet with Bob Seger on “Who’ll Stop the Rain” stands out as a highlight, showcasing the synergy between two legendary rock voices and offering a renewed rendition of a song that continues to resonate with audiences decades after its original release.

At 90 years old, Adele Springsteen proved she’s still got the moves when she joined her son, Bruce Springsteen, for a heartwarming moment at Madison Square Garden. The rock legend was performing a sold-out show when he spotted his mom in the crowd and took a break from his performance of “Ramrod” to dance with her.

While Bruce rocked out with his iconic energy, his mom Adele was right there, shaking her hips to the music. The crowd went wild as they saw her on the big screen, dancing along with her son. Bruce even kissed her and joked, “She’s still got the moves!” before returning to the stage to finish his jam.

This touching moment shows just how close the Springsteens are, despite the struggles Bruce faced with his father growing up. Adele has always been Bruce’s biggest supporter, even helping him launch his career by buying him his first guitar at 16.

Throughout Bruce’s career, Adele has been a familiar face at his East Coast shows and has even joined him on stage before. At 90, she continues to enjoy life and rock out with her son, creating unforgettable memories for both of them and the audience.

During the star-studded 30th Anniversary Rainforest Foundation Benefit concert, Bruce Springsteen closed the show with one of rock’s most iconic songs, Journey’s “Don’t Stop Believin’.”

In a memorable moment, Sting introduced the finale, recalling a conversation with Bruce: “I asked him, ‘What do you want to close with?’ He responded, ‘This song,’ and I said, ‘I don’t know that song.’ He replied, ‘Everyone in the country knows it but you.’”

The event took place on December 12, 2019, at the Beacon Theater in NYC, bringing together a legendary lineup that included Lady Gaga, Shirley Bassey, Debbie Harry, Annie Lennox, John Mellencamp, D.M.C., Ricky Martin, Shaggy, and many others. Robert Downey Jr. hosted the unforgettable night, which was filled with 80s nostalgia and electrifying performances.