In 1975, an eclectic mix of artists hit the road on a wild, unconventional tour across America with Bob Dylan. Among them were iconic figures like folk legend Joni Mitchell, Roger McGuinn of The Byrds, and Beat poet Allen Ginsberg.

Yet, it was Joan Baez — Dylan’s former partner in both music and life — who left the deepest mark. Their complicated, heartfelt bond is tenderly portrayed in Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese, premiering on Netflix this Wednesday.

Blending documentary and concert film, Rolling Thunder Revue offers an intimate look at Dylan’s mythical 1975 tour, skillfully pieced together from 120 hours of newly restored, never-before-seen footage. The film also features fresh interviews with Dylan and Baez, both now 78, where they open up about their enduring connection.

“We could harmonize on anything. Sometimes, even lying in bed, I’d hear her voice,” Dylan reflects in his first on-camera interview in over a decade. “Joan’s bravery is otherworldly — she’s like someone who just fell from a star.”

Baez, equally effusive, says, “The charisma he carries is unmatched — I’ve never seen anything like it before or since.”

Their story began in 1961 amidst New York’s vibrant folk revival, where they met and soon became both musical allies and romantic partners. They spent the early ’60s touring and inspiring each other to channel their activism through protest songs, before parting ways around 1965 — a breakup immortalized in D. A. Pennebaker’s 1967 documentary Don’t Look Back.

Despite their romantic split, Dylan and Baez remained close, frequently reuniting onstage for duets like “Blowin’ in the Wind,” “The Water is Wide,” and “I Dreamed I Saw St. Augustine” — all featured in Rolling Thunder Revue.

“The film really captures the depth of their bond, forged during such formative years,” says producer Margaret Bodde. “When you create friendships that deep, they tend to last a lifetime. For fans, it’s a rare, beautiful window into their relationship.”

Beyond the performances, the documentary reveals candid, often playful backstage moments between the two. In one touching scene, Baez confides about marrying journalist David Harris, whom she later divorced in 1973. Another highlight features Baez humorously impersonating Dylan — donning his signature white face paint and floral hat, fooling even the crew.

“She literally became Bob for a moment,” Bodde notes. “It speaks volumes about their relationship and touches on the film’s broader themes — the blurred lines between identity, performance, and reality, which Scorsese so brilliantly explores.”

When Queen and Adam Lambert hit the stage in Ukraine for a mesmerizing rendition of “We Are the Champions”, it transcended a mere concert—it became a moment of unforgettable history. The atmosphere was charged with anticipation, as the crowd buzzed with excitement and an overwhelming sense of pride. The first notes of the song echoed through the venue, and suddenly, thousands of voices joined together, creating a wave of collective strength and unity that spread across the entire arena.

Standing at the center of it all, Adam Lambert commanded the stage with a perfect mix of respect and his own magnetic presence. His voice effortlessly captured the power of Freddie Mercury’s iconic legacy, while adding a fresh, personal touch that made the performance his own. Every lyric felt like a personal declaration, every note a tribute—not just to the timeless legacy of Queen, but to the resilience of the people who came together to share this unforgettable moment.

In the background, Brian May’s guitar roared with the same fiery passion that has defined Queen for decades, while Roger Taylor’s drums beat out the song’s rhythm with precision and strength. The connection between the band and the audience was palpable—an emotional bond that underscored the meaning of the song, especially in light of the historical significance of the location and the resilience of its people.

As the final chorus echoed through the venue—“We are the champions… of the world!”—the crowd became a part of the performance. Their voices blended with the band’s, creating an unstoppable roar of emotion, filled with tears, cheers, and raised fists. It wasn’t just a performance—it was a moment of powerful unity, of strength, and of hope. A reminder that no matter the challenges, champions will always rise.

Think you’ve seen every cover of Led Zeppelin’s “Whole Lotta Love”? Think again—because Bay Vergolino, a 9-year-old guitar prodigy better known online as The Only Bay, is here to blow your mind.

In a now-viral video, Bay grips his guitar with confidence far beyond his years and dives into the classic Zeppelin riff like he was born to play it. With lightning-fast fingers and pure rock energy, he doesn’t just perform the song—he completely owns it.

Viewers around the world were stunned. Comments poured in comparing Bay’s playing to the greats, with one fan declaring, “Jimmy Page would be proud!” Another simply said, “Rock just found its future.”

But Bay isn’t just mimicking the past—he’s breathing new life into it. His performance is more than a cover; it’s a full-on revival. He captures the spirit of rock with every note, reminding everyone that raw talent and passion still fuel the genre’s fire.

At just nine years old, Bay is turning heads and tuning hearts back to rock ’n’ roll. And if this performance is any sign of what’s to come, the future of rock isn’t just alive—it’s thriving, guitar in hand.

After more than 15 years, Bon Jovi and Jennifer Nettles are back together — this time with a powerful new message of hope and resilience.

The duo, who first topped the charts in 2006 with the hit “Who Says You Can’t Go Home,” have teamed up once again for a fresh take on Bon Jovi’s song “Do What You Can.” Originally written by Jon Bon Jovi during the early days of the COVID-19 pandemic, the song highlights strength and unity during tough times.

The inspiration for the track came from Jon’s wife, Dorothea, who snapped a photo of him volunteering at a New Jersey community kitchen. She posted it with the caption, “If you can’t do what you do… do what you can,” which sparked the idea for the song. Just a day later, Bon Jovi had written the lyrics — a tribute to perseverance when life turns upside down.

Now, Jon and Jennifer have recorded a country version of the track, complete with a brand-new music video. The video honors the everyday heroes of the pandemic — from frontline workers to neighbors lending a helping hand.

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“In 2005, Jennifer helped bring ‘Who Says You Can’t Go Home’ to number one on the country charts,” Jon shared in a press release. “Her emotional and powerful voice brought that message to life, and I knew she was the right voice to carry this one too.”

Jennifer, who rose to fame as the lead singer of Sugarland, reflected on the collaboration with pride and gratitude.

“Working with Bon Jovi all those years ago was such a special moment in my career,” she said. “That song changed a lot for me, and I’m thrilled to continue our story with ‘Do What You Can’ — or maybe I should say ‘Duet What You Can.’”

On social media, Nettles shared a clip of their 2006 duet and added, “Fifteen years ago, I got to sing with one of my musical heroes. That memory means the world to me — and now, getting to sing together again is another full-circle moment I’ll never forget.”

The song will also appear on Bon Jovi’s upcoming album, 2020, set to be released next month.

Few songs have captured the human experience with such haunting grace as “Knockin’ on Heaven’s Door.” Written by Bob Dylan, one of America’s most iconic songwriters, this track has become more than just a folk classic—it’s a reflection on life’s final moments.

A Simple Song With Deep Emotion

At its core, the song speaks about facing death. With the opening line, “It’s getting dark, too dark to see,” Dylan sets a tone of quiet resignation. The imagery is simple but powerful, evoking the feeling of slipping away, of nearing the edge of consciousness.

Critics and fans alike have praised the track for its minimalism. Dylan biographer Clinton Heylin once called it “an exercise in splendid simplicity,” noting how its brevity adds to its emotional punch. While the song contains only a couple of verses, its impact lingers long after the last chord.

Written for the Screen

“Knockin’ on Heaven’s Door” wasn’t just a standalone single. Dylan wrote it as part of the soundtrack for the 1973 Western film Pat Garrett and Billy the Kid. The song underscores a poignant scene in which a wounded lawman, played by Slim Pickens, prepares to die. His wife stands by helplessly—a raw, quiet moment made unforgettable by Dylan’s mournful melody.

Universality in a Few Words

Though it was created for a specific moment in a movie, the song’s message resonates far beyond that. It touches on the one experience all humans share—the approach of death. That’s part of what has made the song so timeless: its ability to speak volumes in just a few lines.

A Global Anthem

Released as a single shortly after the movie’s debut, “Knockin’ on Heaven’s Door” quickly climbed the charts worldwide. It remains one of Dylan’s most recognized songs and has become a favorite for artists to cover.

From Eric Clapton’s soulful version to the hard-hitting rock adaptation by Guns N’ Roses, the song has seen countless reinterpretations, each one tapping into its emotional depth in a unique way.

Live Performances and Legacy

Dylan himself embraced the song’s significance, performing it live over 450 times between 1974 and 2003. It has also appeared on several of his live and bootleg albums, including Before the Flood, Bob Dylan at Budokan, and Dylan & the Dead.

In the decades since its release, “Knockin’ on Heaven’s Door” has become a musical companion for life’s quiet, heavy moments—an enduring reminder that even in the face of mortality, there’s beauty in simplicity.

A night of musical magic unfolded at Madison Square Garden as legendary guitarist Jeff Beck took the stage alongside rock icon Sting for an unforgettable performance of the timeless classic “People Get Ready.” The surprise collaboration brought the packed arena to its feet, proving once again the transcendent power of music.

Originally penned by Curtis Mayfield and made famous by The Impressions, “People Get Ready” has been reimagined by countless artists. But Beck’s haunting guitar work, paired with Sting’s emotive vocals, gave the song a fresh resonance that echoed through every corner of the Garden.

Audience members described the performance as “spiritual,” with many noting the chemistry between Beck’s expressive playing and Sting’s heartfelt delivery. The stage lights dimmed as the first notes rang out, creating an intimate atmosphere in the massive venue, and by the time the final chord faded, the crowd was roaring in approval.

The performance was a highlight in an evening filled with standout moments and special guests, and served as a poignant reminder of both artists’ enduring relevance and artistry.

Video clips of the duet have gone viral overnight, with fans and fellow musicians alike praising the performance as “iconic” and “goosebump-inducing.”

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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