Robert Plant has consistently taken a tactful stance when it comes to the topic of a Led Zeppelin reunion, often sidestepping speculation without direct comment. His silence was particularly notable following the release of the widely praised Becoming Led Zeppelin documentary, which introduced the iconic band to a fresh generation of fans.

Still, Plant has never distanced himself from Led Zeppelin’s musical legacy when it comes to his live performances. A newly resurfaced video of his 2014 appearance at the Pinkpop Festival in the Netherlands proves just that. Shared recently via the festival’s official YouTube channel, the footage captures Plant and his band, the Sensational Space Shifters, delivering a dynamic nine-song performance featuring five Led Zeppelin staples.

The set kicks off with Babe I’m Gonna Leave You—originally written by American folk artist Anne Bredon but credited to “Trad. arr. Page” on Zeppelin’s debut LP. Plant follows with powerful renditions of Black Dog, Going to California, Ramble On, and Whole Lotta Love.

The rest of the set showcases a blend of blues and folk influences, including a cover of Willie Dixon’s Spoonful, the traditional tune Little Maggie, and two of Plant’s solo tracks: Funny in My Mind (I Believe I’m Fixin’ to Die)—inspired by Bukka White’s Fixin’ to Die Blues—and Tin Pan Valley.

Pinkpop’s YouTube channel also features memorable performances from a diverse lineup of acts such as Soundgarden, Rage Against The Machine, Lenny Kravitz, Sepultura, Rammstein, Korn, Smashing Pumpkins, Faith No More, and Skunk Anansie.

Next month, Robert Plant will return to the stage with Suzy Dian and their band Saving Grace, with scheduled shows across France and Spain. Full tour dates are listed below.

Saving Grace with Robert Plant & Suzi Dian: 2025 tour dates

Jul 10: Saint-Malô-du-Bois Festival de Poupet, France
Jul 13: Lucca Summer Festival, Italy
Jul 15: Antibes Theatre Antique Vienne, France
Jul 17: Vienne Theatre Antique, France
Jul 19: Salon-de-Provence Château de l’Empéri, France
Jul 21: Marciac Jazz in Marciac, France
Jul 23: Carcassonne Festival de Carcassonne, France
Jul 26: Granada Palacio De Congresos De Granada, Spain
Jul 28: Valencia Palau de les Arts, Spain
Jul 30: Barcelona Teatro Liceo – Milleni Concert Series, Spain

What began as a routine episode of The Tonight Show quickly transformed into something unforgettable — a moment of rare vulnerability that silenced a studio and moved the world.

The set glowed in its usual soft hues, the Roots played their final notes, and the stage was set for what viewers expected to be another polished performance. Then Michael Bublé emerged. But this wasn’t the affable crooner the audience knew. There was a stillness in his posture, a gravity in his expression. He took the mic, and everything changed.

From the first bars of Sam Cooke’s “Bring It On Home to Me,” it was clear this was not just music — it was a reckoning. Bublé’s voice, always smooth and golden, now carried the scars of lived experience. His delivery was raw, stripped of artifice. Every syllable felt pulled from somewhere deep inside, each phrase saturated with longing and loss.

The audience, normally quick to cheer, sat in silent awe. Even Jimmy Fallon, famed for his quick wit and constant energy, was visibly shaken. He didn’t crack a joke, didn’t offer commentary. Instead, he stared in stunned silence, visibly moved. When the final note faded into the quiet, Fallon finally found his voice, breathless: “Oh my goodness, COME ON!”

That outburst broke the spell — and then the room erupted. Applause thundered through the studio. People rose to their feet, some wiping away tears. Others simply stood still, overwhelmed. In that moment, it wasn’t just a song they were applauding — it was the raw humanity behind it.

Social media was immediate and explosive. Clips of the performance spread like wildfire, accompanied by hashtags like #BubléUnplugged and #SoulOnStage. Fans and artists alike shared their shock and admiration. “I’ve never seen him like that,” one tweet read. “It wasn’t a performance — it was a release.” Another said, “I felt like I watched someone tell the truth for the first time.”

Behind the performance was a deeply personal choice. Sources close to Bublé shared that he had selected the song as a tribute — a reflection of years spent navigating private heartache, especially his son’s battle with cancer. That pain, that gratitude, that fragile joy — it all found its way into every note he sang that night.

Critics didn’t hesitate to declare it an instant classic. Publications called it “one of the purest expressions of grief and grace on network television.” Seasoned performers took to their platforms to praise the honesty. One iconic singer wrote, “He didn’t just sing — he testified.”

Later that week, Fallon spoke about the moment in his monologue: “We’ve had some unbelievable music on this stage. But every so often, something happens that transcends the show. Michael gave us more than a performance. He gave us a glimpse into something real — and we’ll never forget it.”

For those who witnessed it, live or online, that night redefined what live television can do. Michael Bublé didn’t just share a song — he opened a door to something deeply human. And the world listened.

Two of rock music’s most iconic legends, Bruce Springsteen and Jon Bon Jovi, joined forces for a rare and electrifying live performance at the prestigious MusiCares Person of the Year gala last night. Held at the Los Angeles Convention Center, the annual benefit concert honored a lifetime of artistic achievement and philanthropic efforts.

The star-studded event brought together music industry luminaries to celebrate the honoree — whose name is traditionally revealed at the event — but it was the high-voltage duet by Springsteen and Bon Jovi that stole the show. Performing a medley of their classic hits, including “Born to Run” and “Livin’ on a Prayer,” the two New Jersey natives sent the crowd into a frenzy, receiving standing ovations throughout the set.

“This is more than just a performance — it’s a celebration of resilience, community, and the power of music,” said Springsteen during a brief moment between songs. Bon Jovi added, “To be here with Bruce, honoring someone who has given so much to both music and humanity, is a full-circle moment.”

Proceeds from the evening will support MusiCares, the Recording Academy’s charity that provides critical assistance to musicians in need — including mental health services, addiction recovery support, and financial aid.

Other performers of the night included Alicia Keys, Foo Fighters, and H.E.R., making it one of the most memorable MusiCares events in recent history.

Under a Caribbean sky thick with heat and rhythm, Lucas Jagger found himself caught between two emotions: secondhand embarrassment and undeniable pride.

Before him, on the intimate yet electric stage of the Mustique Blues Festival, his father — yes, that father — was doing what he does best: bending time and logic with nothing but a mic and his legendary swagger.

Mick Jagger, 80 years young and still impossible to ignore, wasn’t about to let a milestone birthday turn him into a spectator. As the beat of “Moves Like Jagger” kicked in, he transformed from aging rock icon to gleeful chaos machine. His limbs moved with the unpredictability of a firecracker; each twirl, thrust, and strut summoned screams from the sunburned, starstruck crowd.

Lucas, parked safely in the VIP section, could only stare as the Rolling Stone rolled back the years in front of hundreds. He half-covered his face, as if shielding himself from the sheer spectacle of it all. Cameras flashed. Videos flew onto social media in real-time. Already, the captions were rolling in: “Mick’s still got it at 80!” and “Legend never rests.”

“He’s doing the thing again,” Lucas muttered under his breath, his tone equal parts awe and dread.

The crowd, though, wasn’t laughing. They were entranced. Some danced along awkwardly, trying to echo that famous looseness. Others simply stood frozen, watching a man who seemed to have no business moving like that at his age — yet did so with zero shame and total joy.

A woman beside Lucas leaned in, smiling knowingly. “You’re witnessing something rare. Most people never see their parents live so fully.”

And with that, Lucas softened. She wasn’t wrong. How many people ever get to say their dad once reinvented cool—and was still doing it on tropical dance floors well into his 80s?

When Mick hit the high point of the performance — all grins, arms flailing, tongue out in that iconic, impish flash — the crowd lost it. Palm trees shook with applause. Phones tilted, filming his every twist. His body glistened under the lights, not with fatigue, but with the kind of sweat only joy produces.

And when the final beat dropped, Mick struck a ridiculous, over-the-top bow, like a rock god performing Shakespeare. The crowd responded with the kind of roar that could echo for miles.

Later that night, walking along the beach under a moon that seemed to wink knowingly, Lucas nudged the man beside him — the one whose hips had defied not just science, but probably good judgment.

“Be honest, Dad… how are you still doing this?”

Mick just laughed, wrapping an arm around his son. “It’s not about how, Lucas. It’s about why. And the answer’s always been the same: the music never stops.”

In that moment, Lucas realized the truth. His father wasn’t just dancing to a song. He was dancing through life — with no plans to sit down anytime soon.

When two rock legends join forces on stage, magic is bound to happen—and that’s exactly what fans witnessed when Sheryl Crow and Joe Walsh teamed up to perform “Still the Good Old Days” and “Walk Away.” Blending classic rock vibes with contemporary energy, their collaboration was a celebration of enduring musical legacy, chemistry, and raw talent.

“Still the Good Old Days” – A Song About Embracing the Moment

Originally featured on Crow’s 2019 album “Threads,” “Still the Good Old Days” is a playful, upbeat duet that features Joe Walsh both vocally and on guitar. The lyrics echo a sentiment that resonates with many: while we might look back fondly on the past, there’s no reason the present can’t be just as good—if not better.

Watching Crow and Walsh perform it live brings a special kind of joy. Their smiles, their harmonies, and the effortless musical banter between them convey a real sense of camaraderie. It’s not just a performance—it’s a conversation between two artists who genuinely enjoy playing together.

“Walk Away” – A Blast from the Past

Joe Walsh took things up a notch with a blazing performance of “Walk Away,” his 1971 hit with the James Gang. Sheryl Crow, backing him on vocals and rhythm guitar, gave the song a fresh edge while honoring its gritty rock ‘n’ roll roots. Walsh’s signature slide guitar solos were as sharp and energetic as ever, proving that age has only refined his edge.

The crowd erupted as the song’s iconic riffs echoed through the venue—reminding everyone why Walsh remains a revered guitar hero.

Sheryl Crow and Joe Walsh’s joint performance of “Still the Good Old Days” and “Walk Away” was a powerful reminder of music’s enduring ability to unite, uplift, and transport us. It was more than a concert—it was a celebration of legacy, artistry, and the simple fact that, when it comes to rock and roll, some things only get better with time.

Nearly four decades later, Queen’s explosive “We Will Rock You” performance at Live Aid 1985 continues to echo through music history—and now it’s been officially crowned the most iconic festival moment of all time.

In a nationwide poll of 2,000 Brits, Queen’s legendary set at Wembley Stadium outshined every other contender, taking the top spot with 27% of the vote. The unforgettable moment saw Freddie Mercury command the stage with electrifying charisma, uniting a global audience in one of rock’s most powerful live moments.

Coming in second was David Bowie’s haunting 2000 Glastonbury headliner, tied at 13% with Kylie Minogue’s emotional comeback at the same festival just a year ago.

U2’s stirring Live Aid performance claimed fourth place, while Adele’s 2016 Glastonbury set followed closely behind. The list also paid homage to historic performances like Jimi Hendrix setting his guitar ablaze at Monterey in 1967 and The Who’s iconic set at Woodstock in 1969.

Also making the cut:

Bob Marley’s politically charged Smile Jamaica concert (1976)

Eminem and Rihanna’s duet of “Love The Way You Lie” at V Festival (2011)

The Rolling Stones rocking Glastonbury in 2013

The poll was launched to celebrate the return of Virgin Media’s V Festival, now reimagined as a virtual experience with headliners including Anne-Marie, Olly Murs, and Dizzee Rascal.

Virgin Media’s Chief Brand Officer, Cilesta Van Doorn, remarked:

“Festivals have always brought people together through music, creating lifelong memories. While we couldn’t gather in person this year, we’re thrilled to reignite that spirit virtually—and honor the moments that have defined generations.”

Some concerts entertain — others ignite. On one unforgettable night in 2016, Dallas became ground zero for a rock and roll detonation, courtesy of Joe Walsh and company. With his trademark sly grin, razor-sharp slide guitar, and an entire career’s worth of attitude strapped to his shoulders, Walsh didn’t just play a show — he unleashed a reckoning.

Sharing the stage with seasoned partners Waddy Wachtel and Joe Vitale, Walsh led a sonic charge that felt less like a trip down memory lane and more like a resurrection. And when they launched into “The Bomber,” it was clear: this wasn’t nostalgia — this was raw, undiluted power.

First appearing in 1970 on James Gang Rides Again, “The Bomber” isn’t your typical rock track. It’s part assault, part symphony — a daring medley that throws together thunderous riffs, a swirling homage to Ravel’s “Boléro,” and a cool detour into “Cast Your Fate to the Wind.” In its day, it pushed boundaries. In Dallas, it shattered expectations.

What could’ve been a simple callback to a classic instead felt immediate — vital, even. The crowd wasn’t just along for the ride. They were caught in it — from the first chord to the final explosion.

“The Bomber” hits differently live. Maybe it’s the scale, maybe it’s the audacity — or maybe it’s the undeniable energy of a band that knows what it’s doing and why it’s doing it. In a set stacked with anthems like “Life’s Been Good” and “Walk Away,” this wasn’t just a fan favorite — it was the crown jewel.

The beauty of this performance wasn’t just technical brilliance. It was that intangible electricity — the kind that made you forget the year, the decade, maybe even your own age. When Walsh locked in with the crowd, there was no past or present — just the moment, loud and alive.

If the tour name, “One Hell of a Night,” sounded ambitious, Walsh made good on every syllable. Dallas didn’t just get a concert — it got a statement. “The Bomber” wasn’t trotted out like a relic. It was fired like a weapon, aimed straight at the heart of anyone who’s ever said rock is dead.

And if you were lucky enough to be there that night, you know — rock isn’t dead.
It’s just waiting for someone like Joe Walsh to kick the door down and remind us how alive it still is.

Let’s get this out of the way: “Something” is firmly planted in the top tier of Beatles songs — top five, easily. Disagree? That’s fine, just don’t expect me to take you seriously if you’re rocking a perm and cradling a pet snake. Some truths are non-negotiable.

This track doesn’t just flirt with romance — it dives headlong into it, eyes closed, heart first. It’s tender without tipping into saccharine, yearning without being desperate. Harrison threads sincerity into every note, and the result is so emotionally disarming, it could probably make a houseplant blush. Then comes that bridge — that soaring, aching middle eight — a few seconds of music so perfect it could unlace Gandhi’s sandals.

Behind the song was a real muse: Pattie Boyd, Harrison’s then-wife. In her memoir, she recalls the moment with a kind of quiet fondness: “George wrote a song called ‘Something.’ He told me in a matter-of-fact way that he had written it for me.”
She adds, “I thought it was beautiful and it turned out to be the most successful song he ever wrote, with more than 150 cover versions. George’s favourite version was the one by James Brown. Mine was the one by George Harrison, which he played to me in our kitchen.”

That intimate kitchen performance — raw, personal, unforgettable — has been echoed in countless homes, through countless speakers, ever since. The song transcended its original heartbreak and became something universal.

Jeff Lynne of Electric Light Orchestra is one of many who found his life permanently altered by The Beatles’ work. Introducing a tribute performance of “Something” — with none other than Dhani Harrison, Joe Walsh, and Ringo Starr’s All-Starr Band — Lynne reflected on his surreal introduction to the Fab Four:

“The Beatles changed my life,” he said. “In 1968, while working on my first album, I somehow ended up inside Abbey Road Studios, watching them record. I don’t know how I got in, but I didn’t sleep for days. They were otherworldly. I never imagined I’d one day produce them. That still feels like the greatest thrill of my career.”

Their tribute version — a heavier, more muscular take on Harrison’s featherlight original — swaps out the soft ache for a bit more grit. It doesn’t try to imitate the original’s whispered vulnerability, but it honors its legacy with skilled musicianship and heartfelt reverence.

“Something” isn’t just one of Harrison’s best. It’s one of music’s best.
A love song written on the edge of goodbye, immortalized on tape, and echoed through generations.

In the vast, storied landscape of rock music, there are moments so rare and electrifying that they feel almost mythological. One of those moments happened in 1968, and it was captured on film during The Rolling Stones Rock and Roll Circus. The band? The Dirty Mac. The song? A blistering rendition of “Yer Blues”.

Originally featured on The Beatles’ White Album, “Yer Blues” was John Lennon’s raw, sarcastic take on depression and isolation — a parody of blues clichés that somehow felt deeply authentic. But when Lennon stepped away from the Beatles for this performance, the song took on an entirely new dimension.

Backed by Clapton’s searing blues licks, Richards’ rugged basslines, and Mitchell’s explosive drumming, Lennon howled his way through the lyrics with visceral intensity. It wasn’t polished or over-rehearsed — it was raw, messy, and completely alive. The chemistry was undeniable.

The performance of “Yer Blues” by The Dirty Mac isn’t just a curiosity for Beatles fans — it’s a flash of unfiltered artistry. It strips away the studio gloss and drops these icons into a room to just play. No pretension. No perfectionism. Just soul.

It also marked one of the first times Lennon publicly performed without the Beatles, signaling the beginning of a new, more experimental chapter in his career.

There’s a kind of lightning-in-a-bottle magic to The Dirty Mac. One song. One performance. One unforgettable moment. It reminds us that sometimes, the most impactful music comes from brief, spontaneous collisions of genius.

If you’ve never seen The Dirty Mac – Yer Blues, it’s more than worth ten minutes of your time. It’s a reminder of what rock was — and still can be — when legends stop being legends and just play.

In a revealing moment during a drum clinic in Newquay, England, Shane Hawkins, son of the late Foo Fighters drummer Taylor Hawkins, set the record straight about his father’s actual favorite track to perform — and it’s not what most fans think.

While “Aurora” has often been cited by Foo Fighters frontman Dave Grohl as Taylor’s favorite song — and regularly dedicated to him during live shows — Shane shared a different story from behind the kit at The Dead Famous cocktail bar on Thursday evening.

“People say that ‘Aurora’ was his favorite to play, but that’s not true,” Shane told the crowd. “That’s a lie.”

According to Shane, Taylor’s real favorite song to drum live was “Low” from the band’s 2002 album One by One — a hard-hitting, riff-heavy track that, despite its intensity, rarely made it onto Foo Fighters’ recent setlists. Shane noted that Grohl often left the song out, despite how much his father loved playing it.

To back up his point, Shane jumped into an electrifying performance of “Low,” showcasing the same fierce energy and drumming precision his father was known for — a moment captured and widely shared via TikTok.

Since Taylor Hawkins’ tragic passing in 2022, “Aurora” has become an emotional centerpiece in Foo Fighters concerts, offered by Grohl as a tribute to his longtime bandmate. However, Shane’s candid comments suggest that while the song may hold deep emotional value, it wasn’t necessarily Taylor’s top pick when it came to performing live.

Shane’s surprise appearances with the Foo Fighters over the last few years have only fueled speculation that he may one day take over his father’s role permanently — especially after the band unexpectedly parted ways with drummer Josh Freese last month. Although no official statement has been made, many fans believe Shane could be next in line to join the band full time.

For now, he continues to carry his father’s legacy with passion, skill, and a willingness to share the lesser-known truths behind the music that defined Taylor Hawkins’ legendary career.

Watch Shane Hawkins play Foo Fighters’ “Low” in honor of his dad in the TikTok video below.

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