It looks like The X Factor host Dermot O’Leary might be ready to swap his presenting duties for a spot on the stage — at least for one night.

At the National Television Awards, Dermot joined forces with The Voice legend Sir Tom Jones for an unforgettable opening number that proved it’s all about the music, not the rivalry. The unlikely duo kicked off the evening with a lively rendition of Muddy Waters’ jazz classic Got My Mojo Working, backed by a full live band that set the perfect tone for the night.

Dermot strutted out first, clearly ready to surprise the crowd with his vocal chops. But before he could start singing, Tom Jones swept in, snatched the mic, and effortlessly took charge — reminding everyone why he’s one of the country’s greatest voices. Not one to back down completely, Dermot jumped in for the final notes, earning cheers for his hidden singing talent.

Despite holding his own, Dermot joked that he wouldn’t be giving up his hosting job anytime soon. “It sounds great now when you’re being nice,” he said before the show, “but I don’t know how it’ll sound when I’m stood next to one of the greatest singers ever. I’m absolutely terrified!”

Even Simon Cowell wasn’t convinced by Dermot’s new musical ambitions, reportedly teasing him with, “Why are you doing that? Don’t do it—you’re mad!”

This marked Dermot’s eighth year hosting the NTAs, and once again, he made sure the night was one to remember — mixing music, laughter, and a little friendly chaos. Still, he admitted that one of his favorite parts of the awards comes after the show: watching This Morning hosts Holly Willoughby and Phillip Schofield roll onto the sofa the next day, usually still recovering from the celebrations.

As always, Dermot delivered — not just as a presenter, but as a performer who isn’t afraid to laugh at himself and dive right into the fun of the moment.

Bruce Springsteen isn’t just a rock legend — he’s a symbol of heart, hope, and the power of music to bring people together. With a career spanning decades, he’s gifted the world with countless hits, unforgettable performances, and a legacy that continues to inspire generations of musicians and fans alike.

His global fanbase reflects the universality of his music — people from every walk of life find a piece of themselves in his songs. Among those devoted fans is 91-year-old Jeannie Heintz, whose love for “The Boss” has taken her to more than 200 concerts over the years. Her dedication is nothing short of extraordinary.

Last year, during Springsteen’s show in St. Paul, Minnesota, Jeannie experienced a moment she’d been dreaming of for decades. Not only did she finally meet her musical hero face-to-face, but Bruce also invited her to dance with him on stage. The crowd erupted with joy as the two shared that heartwarming moment — a beautiful reminder of the connection Springsteen has always fostered with his fans.

It wasn’t just a concert memory; it was a moment of pure kindness that showed why Bruce Springsteen remains so deeply loved. Beneath the spotlight and the rock ’n’ roll energy, he’s still the same humble, genuine man who never forgets the people who’ve been with him all along.

In a breathtaking display of artistry, Adam Lambert took The Weeknd’s global hit and turned it inside out—transforming a synth-driven anthem into a stripped-back, soul-baring masterpiece that no one expected.

Filmed during a special session at the Grammy Museum, Lambert traded neon beats for raw vulnerability. Bathed in soft light, with only a quiet audience before him, he delivered each note like a confession, his soaring falsetto and tender phrasing peeling back every layer of the familiar track until only emotion remained.

What emerged was something entirely new—a haunting, heartfelt ballad that silenced the room. Fans sat in awe, visibly moved by the depth and honesty in his voice. In that moment, Lambert didn’t just perform; he reinvented.

This wasn’t merely a cover—it was a reawakening of a song’s soul. And once again, Adam Lambert proved why he stands among the most fearless vocalists of his generation: capable of turning even the biggest pop anthem into a moment of pure, human truth.

At Farm Aid’s 40th anniversary in Minneapolis, 92-year-old Willie Nelson took the stage alongside his son Lukas and transformed Pearl Jam’s “Just Breathe” into a moment that lingered long after the last note faded.

The night was already star-studded—Neil Young, John Mellencamp, Dave Matthews, Margo Price, and even Bob Dylan had graced the stadium—but when Willie and Lukas stepped forward, the crowd hushed. Together, they poured heart and history into a song about love, life, and the fleeting nature of time, reminding everyone that nothing lasts forever.

Willie first recorded “Just Breathe” with Lukas for his 2012 Heroes album, and it has remained a touchstone ever since. Eddie Vedder, the song’s original writer, once described their rendition as “like smoking a perfect joint without the smoke,” calling it his “best contribution to music so far.” That’s high praise from the man who penned it.

This weekend’s rendition went beyond a simple duet. Willie, his age occasionally visible, remained sharp and grounded, cradling Trigger—the guitar that has accompanied him through decades of music history. Lukas, frontman of Promise of the Real, wrapped his voice around his father’s with seamless precision, as if he had been preparing for this moment his whole life. Together, they didn’t just cover Pearl Jam—they inhabited it. “Just Breathe” is a meditation on mortality and gratitude, and hearing it from a man in his tenth decade alongside his son felt almost sacred. Critics hailed it as one of the evening’s most stirring performances, while fans online echoed the same sentiment: “This one never gets old.”

Farm Aid has always been about more than music. Founded in 1985 by Willie, Neil Young, and John Mellencamp to support American farmers, the festival continues to raise awareness and funds for family farms threatened by corporate pressure, low crop prices, and rising costs. Yet Willie’s approach has always been to let the music speak, not the politics.

And this weekend, the message was clearer than ever. Through “Just Breathe,” Willie and Lukas reminded everyone to pause, recognize the people beside them, and cherish every breath.

Willie has nothing left to prove—he just wrapped his Outlaw Music Festival tour and will release Workin’ Man: Willie Sings Merle this November as a tribute to Merle Haggard. Lukas is forging his own path through collaborations and solo work. But when they sing together, it’s like watching the past and the future converse in real time.

The Farm Aid stage has hosted countless legends. Yet this father-and-son moment, singing about life’s fragility at a festival dedicated to preserving America’s backbone, felt unlike anything else. It wasn’t just a performance—it was legacy in motion.

One day, Willie won’t be there to strum Trigger or lift a microphone. But this weekend, he was. And Lukas was right there with him.

This isn’t just music. It’s inheritance, memory, and love—breathing, alive, right before our eyes.

Some nights carry a magic that can’t be rehearsed — moments when music bends time and every note feels etched with history. At the Kennedy Center Honors, that magic came alive as four legendary voices — James Taylor, Jackson Browne, Sheryl Crow, and Arnold McCuller — joined forces to honor Bonnie Raitt with a performance that felt less like a song and more like a living memory. Their choice: Nick of Time, a ballad that speaks to love, aging, and the tender fragility of life.

From the first chords, the air shifted. James Taylor opened with the kind of gentle strength only he can summon, his voice a balm of familiarity. Jackson Browne followed, his delivery still heavy with truth and reflection. Sheryl Crow, bridging eras, sang with soulful reverence, as though every phrase was a love letter to the artist who paved her path. And then came Arnold McCuller — his gospel-tinged voice lifting the song heavenward, turning it into something transcendent. Together, they didn’t just perform; they prayed, remembered, and celebrated.

Each singer carried their own history into the moment. Taylor and Browne, peers of Raitt, infused their verses with decades of shared struggles, triumphs, and survival from the golden age of the singer-songwriter. Crow, who once toured beside Raitt, sang like a devoted student honoring her teacher. McCuller, the veteran whose voice has graced stages with countless legends, brought the kind of fire that turned the tribute into pure soul.

When the last note dissolved into silence, the hall erupted. Bonnie Raitt, seated among the honorees, pressed her hand to her chest, her eyes shining with emotion — the image of an artist deeply touched by love from her peers. It was more than applause; it was a standing ovation for a lifetime of truth-telling through music.

Social media soon echoed the sentiment, with fans calling the performance “a once-in-a-lifetime harmony” and “proof that legends only grow brighter with time.” Many admitted to tears, overwhelmed by the beauty of seeing such icons stand united for one of their own.

In the end, the Kennedy Center Honors didn’t just celebrate Bonnie Raitt’s career. They celebrated the enduring power of American song itself — folk, rock, soul, and pop braided together into one unforgettable night. With Nick of Time filling the air, it felt as though everyone present had witnessed something bigger than a tribute. They had witnessed history living, breathing, and singing right before their eyes.

When America’s Got Talent first premiered in June 2006, it broke the mold of traditional talent shows. Unlike American Idol, which was devoted entirely to vocalists, AGT opened its stage to magicians, dancers, comedians, and performers of every kind. Now celebrating its 20th season, the show recently treated fans to a dose of pure rock history when Def Leppard stormed the stage for a special performance of their anthemic hit Pour Some Sugar on Me.

Before the band launched into the song, host Terry Crews asked frontman Joe Elliott what advice he would give to dreamers hoping to make it big. His response was short but powerful: “Live your dream.” Those words carried even more weight knowing how far the band has come since 1987, when Pour Some Sugar on Me first appeared on their Hysteria album—long before VH1 named it one of the “100 Greatest Songs of the 80s.”

The performance was electric, proving Def Leppard’s fire still burns just as bright. Fans watching online were quick to share their admiration, with one comment reading, “This performance from a bunch of guys in their mid-60s was better than any of the singing acts this year.” Another added heartfelt respect for drummer Rick Allen, writing, “Mad respect to the drummer. The fact that he still plays with one arm is insane.”

A Las Vegas Residency

AGT wasn’t the only big stage for the band this year. Def Leppard is gearing up for their return to Las Vegas with a brand-new residency at Caesars Palace, fittingly titled Def Leppard Live at Caesars Palace.

Elliott gave fans a sneak peek into how the setlist is chosen. “We’ve kind of grown into a routine of what we like to call the A, B and C list,” he explained. “Your A list is your crown jewels—the songs that if you don’t play, you wouldn’t get out of the building alive. Then there’s the B list of interesting stuff, and the C list is, like, ‘Oh, that’s interesting. They haven’t played that one in 40 years.’”

With a career spanning decades, Def Leppard continues to inspire both longtime fans and new listeners. Their message is clear—rock and roll doesn’t age; it only grows stronger.

The Who have officially embarked on what they’re calling their last-ever tour across the United States, and frontman Roger Daltrey has even given one of their songs a heartfelt lyrical twist to mark the occasion.

The farewell journey kicked off on August 16 at the Amerant Bank Arena in Sunrise, Florida, before rolling into Newark, New Jersey, on August 19. Tonight (August 21), the legendary rockers are set to take the stage at Philadelphia’s Xfinity Mobile Arena.

Appropriately, the tour carries the title The Song Is Over, named after their 1971 classic. Interestingly, the band only began performing the track live earlier this year—more than five decades after its release—and it has now become their poignant set closer.

During the Newark stop, Daltrey shifted the song’s original lyrics—“The song is over, I’m left with only tears, I must remember, even if it takes a million years”—into something far more personal: “The song is over, thanks for all the years, I’ll always remember, even if I live for a million years.” The change struck fans deeply, turning the performance into a moment of gratitude and goodbye.

The tour is set to wrap up in Las Vegas on September 28, with a powerhouse lineup of special guests along the way, including Billy Idol, Joe Bonamassa, Feist, The Joe Perry Project, and many others.

Still, the run hasn’t come without concerns. Earlier this month, Daltrey admitted to The Times that he’s anxious about the physical toll: “The potential to get really ill is there and, I have to be honest, I’m nervous about making it to the end of the tour.”

Meanwhile, guitarist Pete Townshend has his eyes fixed on the future. Beyond the farewell trek, he revealed he has more than 140 new songs in the works, along with 26 tracks already written for his upcoming solo album Age of Anxiety. “I want to continue to be creative,” Townshend said. “I’ve got songs in all kinds of development.”

For fans, this farewell tour is not just the end of an era—it’s also a reminder that The Who’s legacy will continue to echo long after the final chord rings out.

hen Crowded House took to the Pyramid Stage at Glastonbury 2022, fans expected a journey through decades of hits. But no moment resonated more deeply than when Neil Finn and his band delivered their most iconic anthem — “Don’t Dream It’s Over.”

Released in 1986, the song has become a universal classic, cherished for its haunting melody and hopeful lyrics. At Worthy Farm in June 2022, it once again proved its timeless power.

This wasn’t just Crowded House as audiences first met them in the ’80s. Alongside founding members Neil Finn and Nick Seymour were Neil’s sons, Liam and Elroy, and longtime collaborator Mitchell Froom. The intergenerational lineup gave the set a new dynamic — a blend of legacy and renewal, past and future colliding on one stage.

The Performance That Stopped the Crowd

Midway through the band’s hour-long set, Finn strummed the opening chords of “Don’t Dream It’s Over.” Almost instantly, the Pyramid Stage crowd fell into a hush, only to rise together in a mass singalong. Thousands of voices echoed the song’s refrain — not as spectators, but as participants completing the performance.

Reviews described the scene as “a masterclass in songcraft and sentimentality.” Even Neil Finn paused to acknowledge the energy in the crowd, spotting a New Zealand “Laser Kiwi” flag waving proudly in the sea of festivalgoers.

The Legacy of a Song

More than 35 years after its release, “Don’t Dream It’s Over” remains a cultural touchstone. At Glastonbury 2022, Crowded House proved that great songs don’t just survive the decades — they grow, gathering new layers of meaning with every generation that sings them.

In that field, under the Somerset sky, the band and audience became one. And for anyone who witnessed it, “Don’t Dream It’s Over” wasn’t just performed — it was lived.

Get ready for one of the most unforgettable late-night showdowns ever! When comedian Will Ferrell and Red Hot Chili Peppers drummer Chad Smith faced off in a drum battle on The Tonight Show Starring Jimmy Fallon, the internet exploded. More than 95 million people tuned in to witness the hilarious clash between two men who look so much alike they could pass for brothers. Fallon stoked the rivalry, setting up a duel that went down as the ninth most-watched segment in the show’s history.

Ferrell kicked things off with a cheeky rhythm, trying to prove he had more than jokes up his sleeve. Smith, never one to back down, fired back with thunderous grooves and razor-sharp timing. The duel escalated with each round until Smith unleashed a blistering, arena-ready solo that shook the stage. Just when the crowd thought it was over, the Red Hot Chili Peppers stormed in with a cover of Blue Öyster Cult’s Don’t Fear the Reaper. Of course, Ferrell jumped in on the most crucial instrument of all—the cowbell—earning him the “victory” in Fallon’s eyes.

Earlier in the segment, Ferrell admitted the truth: Smith had recorded all the actual drum parts, and he was just playfully miming along. Still, the illusion worked so well that fans flooded the comments section, marveling at how impossible it was to tell the two apart. One summed it up perfectly: “For the first ten seconds, I couldn’t even figure out which one was Will and which one was Chad. They’re literally twins.”

But the Tonight Show battle is far from the only time Chad Smith has gone viral. His spontaneous jam with Drumeo on Bring Me the Horizon’s Can You Feel My Heart racked up 8.5 million views—impressive considering he had never even heard the track before walking into the session. With no preparation, he crafted a powerhouse arrangement on the spot, proving just how skilled and fearless he is behind the kit.

And if you enjoyed that, Smith has even more Drumeo magic waiting. Across 11 videos, every single one crossed the million-view mark, with some climbing into the tens of millions. The standout? His blind cover of The Kill, which rocketed past 25 million views. Another fan-favorite was his take on Dua Lipa’s Break My Heart—a performance that carried extra meaning since Smith was the drummer on the original studio recording.

From late-night comedy chaos to jaw-dropping studio challenges, Chad Smith continues to prove that he’s not only one of rock’s most entertaining personalities, but also a world-class drummer whose talent keeps fans coming back for more.

For enthusiasts of both jazz violin and progressive rock, the play button above surely beckons. And for many others, particularly devoted Pink Floyd fans, any rendition of the band’s iconic 1975 song “Wish You Were Here” warrants attention. However, beyond personal musical preferences, the version featuring a solo by the renowned jazz violinist Stéphane Grappelli offers a fascinating glimpse into a unique moment in music history.

The collaboration between Grappelli, often hailed as the “Grandfather of Jazz Violinists,” and Pink Floyd reflects the spirit of musical experimentation that characterized the era. Recorded in adjacent studios, this unlikely pairing demonstrates the openness of artists to explore new sonic territories.

While the original release of Pink Floyd’s “Wish You Were Here” album obscured Grappelli’s contribution, a rediscovered mix in the Immersion reissue shed light on his captivating performance. Pink Floyd founding member Nick Mason lauded this version as a significant improvement, acknowledging its status as a hidden gem within the band’s catalog.

Despite its initial obscurity, Grappelli’s presence on the track serves as a testament to the enduring allure of musical collaboration and the capacity for rediscovery in the digital age. However, for die-hard Floyd fans, this newfound appreciation does little to alter their steadfast devotion to the band’s revered legacy.