When Corey Taylor steps away from the roaring wall of sound that defines Slipknot and lays his voice bare, the result is nothing short of breathtaking. His acoustic performance of “Snuff” is a haunting reminder that behind the masks, pyrotechnics, and metal fury, there’s an artist with an incredible depth of emotion and vulnerability.

Originally released in 2009 on Slipknot’s All Hope Is Gone album, “Snuff” was already one of the band’s most introspective and melodic tracks—a departure from their usual aggressive sound. But when Taylor performs it acoustically, the song transforms into something even more intimate. Without the distortion and heavy drums, every lyric lands with the weight of lived experience, and every pause between words feels like a deep breath of pain and reflection.

The acoustic arrangement strips “Snuff” down to its emotional core. A lone guitar sets the mood, delicate yet powerful, allowing Taylor’s voice to take center stage. His delivery is raw—sometimes almost whispering, sometimes surging with a controlled ache. It’s the kind of performance where you can hear the cracks in his voice, the subtle quiver that tells you this song still means as much to him today as it did the day he wrote it.

Part of the magic lies in Taylor’s ability to convey heartbreak without theatrics. He doesn’t oversing. He doesn’t force emotion. Instead, he lets the words and melody speak for themselves, making the listener feel as if they’re in a quiet room with him, sharing a deeply personal confession.

Fans have long connected with “Snuff” because it speaks to loss, betrayal, and the fragile line between love and pain. In its acoustic form, the song becomes even more relatable—proof that sometimes less really is more. For many, this stripped-down version is not just a reimagining, but the definitive way to experience “Snuff.”

Corey Taylor has often said that music is about honesty. In this performance, he gives us that honesty in its purest form. Whether you’ve been following Slipknot since their early chaos or you’re discovering Taylor through his solo work, this rendition of “Snuff” is one you can’t ignore. It’s a reminder that even the loudest voices have quiet moments—and those moments can be the loudest of all in our hearts.

Roger Waters has delivered a powerful and emotional live performance of “Wish You Were Here”, the timeless Pink Floyd classic, in his concert film and album This Is Not a Drill – Live from Prague. Recorded at Prague’s O₂ Arena in May 2023, the show was part of Waters’ first-ever farewell tour, making it a historic moment for fans worldwide.

This version of “Wish You Were Here” is stripped down and intimate, letting the lyrics and melody shine without unnecessary embellishments. Waters’ voice—gravelly, deep, and full of life experience—brings a new perspective to the song. It’s less about youthful longing and more about looking back with reflection and gratitude.

One of the most touching moments comes when the audience joins in, singing the chorus together. The connection between performer and crowd turns the song into something bigger—a shared memory, a collective farewell, and a celebration of music that has united generations.

The full Live from Prague concert is now available in multiple formats, including vinyl, CD, Blu-ray, DVD, and digital. Beyond the music, it showcases the striking visuals and thought-provoking themes that have defined Waters’ career for decades.

For lifelong Pink Floyd fans and new listeners alike, this performance is more than just a live cover—it’s a moment in rock history, a heartfelt goodbye, and a reminder of why “Wish You Were Here” remains one of the most beloved songs ever written.

Bob Dylan turned back the clock when the Outlaw Music Festival stopped at the Darien Lake Performing Arts Center in New York on August 8th, delivering a powerful rendition of his timeless anti-war anthem. The following nights, he opened his sets with the same song in Hershey, Pennsylvania (August 9th) and Syracuse, New York (August 10th), proving its message still resonates decades later.

Reflecting on the track in the liner notes for The Freewheelin’ Bob Dylan, the folk icon once explained: “I’ve never really written anything like that before. I don’t sing songs which hope people will die, but I couldn’t help it with this one. The song is a sort of striking out, a reaction to the last straw, a feeling of what can you do?”

Though Dylan has typically kept his thoughts on global conflicts to himself over the years, he notably performed the song at the 1991 Grammys—right as the Gulf War began. He never directly commented on the war that night, but the song choice spoke volumes.

This summer marks Dylan’s 35-date trek with Willie Nelson in celebration of the Outlaw Music Festival’s 10th anniversary. The journey began in Phoenix on May 13th, 2025, and will wrap up on September 19th in East Troy, Wisconsin. Along the way, Dylan has dusted off classics like The Times They Are A-Changin’—performed live for the first time since 2010—alongside a generous helping of other ’60s staples.

Later in the year, Dylan will head across the Atlantic for an extensive European tour. His UK and Ireland dates begin November 7th at the Brighton Centre, followed by three shows in Swansea, a stop in Leeds at the First Direct Arena, and two nights at Glasgow’s Armadillo. From there, he’ll cross into Northern Ireland for two shows in Belfast before heading south to Killarney, County Kerry, for back-to-back concerts. The run will conclude at Dublin’s 3Arena on November 25th.

The Foo Fighters delivered one of the most unforgettable live performances of their career — and of modern rock history — when they took the stage at Wembley Stadium in London. Over the course of two sold-out nights, 170,000 fans witnessed the band at the height of their powers. But it was their performance of “Everlong” that cemented the event as a legendary chapter in the band’s story.

From the first clean strums of Dave Grohl’s guitar, the massive crowd roared with anticipation. You could feel the energy ripple through the air, an unspoken bond between the band and the thousands of fans who had carried this song in their hearts for over a decade. As Grohl’s gritty vocals kicked in — equal parts tender and explosive — Wembley transformed into a choir, with tens of thousands singing along word for word.

The song’s live arrangement retained its raw intimacy, even in a stadium setting. Grohl began in near-isolation, his voice and guitar drawing the audience close before the full band burst in, unleashing a tidal wave of sound. Taylor Hawkins’ drumming drove the track with unstoppable energy, while Nate Mendel’s bass and Chris Shiflett’s guitar layered depth into the sonic wall.

By the final chorus, the scene was pure catharsis — arms in the air, voices echoing across the night sky, and the band pouring every ounce of themselves into the music. For many fans, “Everlong” has always been more than a song; it’s an emotional anchor, a reminder of love, loss, and perseverance. Live at Wembley, it became something even bigger: a shared anthem of unity and release.

In the years since, that 2008 performance has become a touchstone for Foo Fighters fans worldwide, often cited as one of the greatest live rock moments of the 21st century. It wasn’t just a concert — it was a celebration of what live music can do when band and audience meet in perfect harmony.

Opening night at the Hollywood Bowl for Jesus Christ Superstar wasn’t just a triumph — it was a full-on revelation.

A now-viral moment captured Adam Lambert and Cynthia Erivo unleashing a blistering, soul-drenched duet as Judas and Jesus in Andrew Lloyd Webber’s legendary rock opera. Their voices — fierce, vulnerable, and soaring with emotion — had the sprawling outdoor crowd on its feet. While some initial chatter questioned the casting of Erivo, a Black, queer woman, as Jesus, the undeniable chemistry and vocal firepower she and Lambert brought to the stage quickly dissolved any skepticism.

Lambert, in classic showman form, attacked the score with razor-sharp precision and fearless energy. Yet it was his interplay with Erivo that stole the night — their harmonies simmered with tension, their expressions told a story of pain and devotion, and the emotional punch landed hard. It was live theater at its most electric.

Speaking to Billboard, Lambert addressed the so-called “controversy” with candor:

“Cynthia’s brilliant. Her voice, presence, and that rare mix of power and vulnerability blow my mind. I’m thrilled to challenge audiences with a female, Black ‘Jesus’ and to push people to broaden their perspective.”

He added:

“This piece was born from rock and roll — it’s meant to provoke and challenge. If the teachings of Jesus are universal, why wouldn’t they transcend gender?”

Erivo, meanwhile, handled the criticism with wit and warmth:

“Why not? It’s three days at the Hollywood Bowl where I get to sing my face off. Hopefully people will come, watch, and realize — it’s a musical, the gayest place on Earth.”

The star-studded cast also featured Phillipa Soo, Raúl Esparza, and Milo Manheim, with Tony-winning director Sergio Trujillo at the helm and Stephen Oremus guiding the music. Even Andrew Lloyd Webber himself was reportedly in attendance.

What unfolded was more than a revival — it was a bold reimagining. This Jesus Christ Superstar honored its rock roots while smashing artistic boundaries, delivering a message of inclusivity, courage, and creative freedom to one of the most legendary stages on the planet.

The Forum in Los Angeles was alive with music, memories, and emotion during the star-studded I Am the Highway: A Tribute to Chris Cornell. The night was filled with powerhouse performances from some of rock’s biggest names — but one of the most talked-about moments came from an unexpected duo: comedian-musician Jack Black and Metallica’s iconic frontman James Hetfield.

Between sets, Jack Black took the stage to fill the gap while the next act prepared. Known for his high-energy antics and musical chops with Tenacious D, Black blended humor and heart as he spoke about Cornell’s unmatched vocal talent, joking that the late singer could “hit notes that didn’t even exist yet.” He then launched into a lighthearted take on Soundgarden’s “Spoonman.”

Mid-song, without any fanfare, James Hetfield walked onto the stage. The audience roared in surprise. What followed wasn’t a polished, rehearsed act, but rather a raw, impromptu performance — the two launched into a stripped-down version of Metallica’s “One.” It was loose, imperfect, and absolutely magnetic.

The tribute concert featured an incredible lineup: Foo Fighters, Fiona Apple, Josh Homme, Metallica, and members of Soundgarden, Audioslave, and Temple of the Dog — all honoring Cornell more than a year after his passing in May 2017. The evening carried the weight of loss, but moments like Black and Hetfield’s jam brought levity, laughter, and connection to the room.

What made the performance so memorable wasn’t technical perfection — it was its sincerity. Two artists from seemingly different worlds came together in the name of a man whose music united people across genres. Fans praised the chemistry between Black and Hetfield, calling the moment one of the night’s unexpected highlights.

As Black told the crowd that night, “He sang notes that didn’t even exist yet. He was a master… and tonight, we celebrate that.” In that unscripted jam, the pair honored not only Cornell’s music, but also his spirit — proving that the truest tributes come straight from the heart.

With over 11 million views on YouTube, the newly shared video of Lobo’s “How Can I Tell Her” proves that great music never fades. The tender ballad, originally a hit during the height of Lobo’s career, still resonates with listeners around the world for its heartfelt lyrics and soothing melody.

Throughout his decades-long career, American singer-songwriter and producer Lobo built a legacy of soft rock classics, all while avoiding the blinding glare of fame. His 1971 breakthrough single “Me and You and a Dog Named Boo” soared to No. 5 on the Billboard Hot 100, paving the way for an impressive run of 16 studio albums, 7 Top 40 Billboard hits (including three Top Tens), and a string of successes on the Billboard Adult Contemporary charts — with four No. 1 songs.

One of his most notable successes, “I’d Love You to Want Me”, topped the charts in almost every country, cementing his global appeal. Despite his worldwide fame, Lobo eventually stepped away from the constant touring life, choosing to enjoy a quieter chapter alongside his wife, Susie.

What’s truly special about this new rendition is that Lobo still sounds just as good as he did on stage decades ago. Now performing in a studio setting, with only his guitar, subtle backing music, and his unmistakable vocals, he delivers the same emotional depth and warmth fans remember. His voice remains pure and heartfelt, proving that time has only deepened the sincerity in his music.

“How Can I Tell Her” remains a testament to his gift for storytelling through song — a bittersweet reminder of love’s complexities, wrapped in the warm embrace of his gentle voice.

Released just months after “For Your Love,” “Heart Full of Soul” marked a bold new chapter for The Yardbirds. It was their first single with Jeff Beck as lead guitarist, replacing Eric Clapton. The track quickly became a global hit, climbing to #2 in the UK and #9 in the US charts.

The Yardbirds initially experimented with an actual sitar for the distinctive riff—yet it lacked groove. Jeff Beck ingeniously recreated the sitar-like effect on his electric guitar using a fuzz box, achieving what’s considered one of the earliest milestones in raga rock.

His bent notes, droning open strings, and microtonal stylings created a mesmerizing, Eastern-tinged atmosphere—all while pioneering fuzz guitar before “(I Can’t Get No) Satisfaction” by the Rolling Stones.

Penned by Graham Gouldman (later of 10cc), the song’s lyrics are drenched in heartbreak and longing:

“Sick at heart and lonely, deep in dark despair… I got a heart full of soul.”
These melancholic yet hopeful lines tap into universal emotions of yearning, making the track timeless and deeply relatable.

This isn’t just a period piece—it’s a rock classic that continues to inspire. Its fusion of emotional heft, bold musical innovation, and cultural rebellion resonates with listeners today as strongly as it did in 1965.

On July 9, 1995, Jerry Garcia took the stage for the last time with the Grateful Dead. This concert marked the conclusion of their turbulent 1995 summer tour, often referred to as the “Tour of Doom,” and would be their final performance together with Garcia.

A Fragile Yet Emotional Farewell

Garcia’s health was visibly deteriorating—his face pallid, his demeanor shaky, and his energy noticeably diminished—a stark reminder of the toll years of hard living had taken. Despite these challenges, his performance, especially of “So Many Roads”, stood out as deeply moving and emotive—some consider it one of his most sensational renditions ever.

Fans note that he even flubbed a line about four minutes into the song, and though visibly shaken, he recovered and rose above the moment—making it all the more powerful.

“So Many Roads” — The Emotional Centerpiece

Midway through the second set came a moment that has since become legendary: “So Many Roads.” Garcia’s voice, fragile yet charged with emotion, carried a depth that only comes from lived experience. Four minutes into the song, he flubbed a lyric—just for a moment—but quickly recovered, pushing through with renewed feeling. By the time he reached the final “So many roads to ease my soul,” the performance had transformed into a raw, unfiltered goodbye.

A Farewell We Didn’t Know Was Final

No one in Soldier Field that night could have predicted it was the end. Yet, looking back, the signs were all there—the weariness in Garcia’s voice, the tenderness of the setlist, the way the band seemed to savor each note. A month later, Jerry Garcia was gone, but this night remains etched into music history as his last ride with the band he helped create.

Rock fans in Auckland witnessed a thunderous moment in music history as former AC/DC drummer Phil Rudd made a rare return to the live stage. Performing for a sold-out crowd of over 13,000 at Spark Arena, Rudd joined forces with the Full Metal Orchestra—a powerhouse blend of a 29-piece classical ensemble and New Zealand’s finest rock voices, under the baton of conductor Sarah-Grace Williams.

The ambitious event, an immersive mix of orchestral grandeur and hard rock grit, was led by Shihad frontman Jon Toogood, with standout appearances from Devilskin’s Jennie Skulander and EJ Barnes, daughter of Aussie rock icon Jimmy Barnes. But it was Phil Rudd’s surprise comeback that stole the night.

Thunderstruck in Auckland

Rudd kicked off his set with “Head Job,” a gritty solo track from his 2014 album, before stepping behind the kit to revisit the thunder of AC/DC classics. With pounding precision and quiet authority, he powered through “Thunderstruck,” “Back in Black,” and the climactic “It’s a Long Way to the Top (If You Wanna Rock ’n’ Roll)”—the latter made unforgettable by the addition of live bagpipes and orchestral flair. That song hadn’t been played live by AC/DC since 1979, making its return a historic treat for die-hard fans.

Backing guitarist Brett Adams, part of the rock ensemble supporting the orchestra, described Rudd as “a softly spoken, dry-witted guy who absolutely explodes behind the drums.” Recalling one of Rudd’s more colorful tips—“Drink a bottle of whiskey and get in a street fight!”—Adams said the drummer’s quiet confidence was inspiring. After a particularly fiery moment on guitar, Rudd flashed him a nod and simply said, “Good, Brett!”

Rock Meets Symphony

The concert opened with bold orchestral renditions of rock staples like Van Halen’s “Eruption” and Metallica’s “Enter Sandman,” setting a thunderous tone. As the orchestra built each song’s drama with lighting effects, pyrotechnics, and cinematic arrangements, the energy in the arena grew to a fever pitch.

When Rudd took center stage, the audience erupted. Each beat of “Back in Black” sent shockwaves through the arena, while the sweeping strings and bagpipes during the finale transformed the night into something epic and unforgettable. It was a masterclass in genre fusion—one where rock, metal, and classical collided in all the right ways.

A Comeback to Remember

This show marked Phil Rudd’s most significant public performance since late 2023, and fans are already buzzing with hopes of more to come. Whether or not he’ll reunite with the Full Metal Orchestra again remains unknown, but one thing is clear: Rudd’s return was more than a concert—it was a statement.

For fans of rock royalty, symphonic spectacle, and unexpected comebacks, this night in Auckland was nothing short of legendary.