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.

@hawks.highlights

#shanehawkins #taylorhawkins #foofighters #davegrohl #foryoupage #blowthisupforme #viral #drummer #taylorhawkinstribute #chevymetal #thealive

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Behind Luke Bryan’s chart-topping hits and electric stage presence lies a story marked not only by success but by profound personal sorrow. While millions know him as a country music powerhouse, few realize the emotional weight he carries — a legacy of loss, resilience, and unwavering love.

A Dream Paused by Tragedy

Long before the bright lights and stadium crowds, Luke was a teenager from Leesburg, Georgia, with dreams of making it big in Nashville. But at just 19, his life took a heartbreaking turn. His older brother, Chris, was killed in a car accident — just days before Luke was set to leave for Tennessee.

Instead of chasing his dreams, Luke stayed behind, choosing family over fame. He put his plans on hold to grieve with his parents and help them shoulder the unimaginable loss.

Heartbreak Revisited

@gilliankelley540

#Repost @tasteofcountry with @use.repost ・・・ Not a dry eye in the audience for #lukebryan ahead of his performance of tobykeith’s “Should’ve Been A Cowboy” ❤️ @Luke Bryan

♬ original sound – Gillian Kelley540

Years later, just as Luke began to see his star rise, tragedy returned. In 2007, his sister Kelly died unexpectedly at home — just days after hosting a family celebration for his Grand Ole Opry debut. The cause of her death remains unknown, compounding the heartbreak with lingering questions.

The sorrow deepened when Kelly’s husband, Ben, also passed away, leaving behind their three children. Without missing a beat, Luke and his wife Caroline opened their home — and their hearts — raising the kids as their own.

From Grief to Grace

Through it all, Luke Bryan kept going. His music — often joyful, always sincere — has become an anthem of healing for fans who’ve faced grief themselves. Behind the scenes, he’s been a devoted father figure, husband, and brother who turned unimaginable pain into a life centered around purpose.

He once reflected in an interview:

“I don’t want to say you grow to appreciate tragedy, but it changes your perspective. You start focusing on what’s truly important.”

Luke Bryan’s journey isn’t just about climbing the charts. It’s about staying grounded in what matters most: family, love, and honoring the memory of those who are gone.

He didn’t just lose a brother and a sister.
He lost two of his biggest supporters — and still chose to carry their spirits forward.

And in stepping up for his nieces and nephew, he found a new kind of stage — one where love takes the lead, and family is the encore.

At 84 years old, Sir Tom Jones continues to defy expectations and prove that true talent only deepens with time. The legendary singer and The Voice coach took center stage at the 2024 Royal British Legion Festival of Remembrance, held at London’s iconic Royal Albert Hall, delivering a performance that left audiences — both in person and watching on BBC — deeply moved.

Among the first to be welcomed by host Adrian Lester, Jones stood before a distinguished audience that included King Charles III, Princess Anne, and the Prince and Princess of Wales, as well as countless veterans and service members. His stirring rendition of “I Won’t Crumble With You If You Fall” resonated through the historic venue, offering a poignant tribute to the courage and sacrifice of Britain’s armed forces.

With the military orchestra accompanying him, Sir Tom remained on stage to honor the fallen in a moment rich with reverence and emotion. The raw power and unwavering clarity of his voice left an indelible mark on those present — and set social media abuzz. Admirers praised his unmatched vocal strength and vitality, marveling at how he continues to command the stage with such heart and dignity.

“Never been prouder of my Welsh roots,” one viewer tweeted. “Tom Jones’ voice is pure grace — his performance was like a warm embrace.” Another fan wrote, “An incredible show of respect and compassion from Sir Tom. A beautiful moment.”

Though he didn’t address the crowd directly during the event, Sir Tom later shared his thoughts on Instagram, expressing how honored he felt to be part of the occasion. His post was met with an outpouring of love from fans touched by his appearance.

“It’s an honor to take part in the Royal British Legion Festival of Remembrance,” he wrote. “Paying tribute to the brave men and women who have served — past and present — is something I hold close to my heart. It’s a deeply moving event that everyone should witness.”

Sir Tom Jones’ appearance was more than just a performance — it was a timeless reminder of music’s power to heal, connect, and remember.

A super funny moment happened while filming Season 3 of The Kelly Clarkson Show, and now everyone on the internet is talking about it! Kelly Clarkson was joined by her 7-year-old daughter, River Rose, and her 5-year-old son, Remington Alexander. Their special guest was Chris Martin, the lead singer of the band Coldplay.

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During the show, Chris Martin was playing his guitar and singing the song “Yellow.” Kelly, River, and Remington were listening and singing along, having a great time. But then, Remington did something totally unexpected that made everyone laugh!

Right in the middle of the song, Remington smiled and said loudly, “I need to go to the bathroom!” The people watching in the audience couldn’t stop laughing, and the camera showed Kelly’s surprised face. The video clip ends before we hear what Kelly said next, but we bet it was something really funny, because she’s great at making people smile.

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This cute and silly moment is one kids and grown-ups can both enjoy. You can watch the full episode on Monday night, September 13, 2021, to see more of Kelly, her kids, and Chris Martin. Check out the funny video clip to see Remington steal the show!

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The Eagles were never just a band—they were a musical institution. And Glenn Frey was at the heart of it.

When Frey passed away in 2016, it wasn’t just a tragic loss for the group—it shook the very foundation of the Eagles’ identity. As a founding member, Frey was more than a performer; he was a songwriter behind some of their most beloved classics.

Hits like “Lyin’ Eyes,” “Take It to the Limit,” and the iconic “Hotel California” all bore his creative signature. Without him, continuing seemed almost unthinkable.

Don Henley, Joe Walsh, and Timothy B. Schmit seriously considered ending the band altogether.

“Glenn started this thing,” Henley said not long after Frey’s death. “It wouldn’t feel right going on without him. It could easily come across as greedy or desperate.”

But the Eagles did go on—though not without reflection and care. They found a way forward with the help of country music legend Vince Gill, who brought both deep respect for Frey’s legacy and the humility to serve the songs.

Reflecting on his invitation to join the band, Gill said, “I just felt grateful to be the one they thought would fit. Glenn was a dear friend. Honestly, I wish I didn’t have to be here—because that would mean Glenn still was.”

Still, he believed the music deserved to live on. To honor that legacy, the band also welcomed Frey’s son, Deacon, into the fold, making the continuation feel more like a tribute than a replacement.

In a conversation with American Songwriter, Gill shared Henley’s reasoning for choosing him: “He smiled and said, ‘Because he knows how to be in a band.’ That meant the world to me.”

Gill elaborated, “I don’t need the spotlight. I’m not here to be the center of attention. My goal is simple: make the whole thing better. That’s what I care about.”

Fans have embraced Gill’s presence, sensing his authenticity and reverence for the songs. A veteran in his own right, Gill first made waves with Pure Prairie League in 1980 and famously declined an offer to join Dire Straits in the ’80s.

Yet despite enjoying his role with the Eagles, Gill admits he misses performing his own material.

“These songs weren’t written with my voice in mind,” he said. “Sure, I can sing them well enough—but they’re not mine. My own songs, they suit how I sing. They’re part of me.”

Gill’s solo discography includes hits like “I Still Believe In You,” “When I Call Your Name,” “Liza Jane,” and “One More Last Chance”—a song he’s opened every solo show with.

“I always say, ‘One More Last Chance’ is my ‘Whiskey River,’” he said, referencing Willie Nelson’s legendary opener. “It’s got that groove that sets the tone. I can’t imagine ever changing that.”