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Drill music has been taking over lately as more and more US rap artists tap into the crunchy, upbeat instrumentals that define the sound pioneered by UK producers. Maryland rapper IDK is no exception, but in the video for his new track “Radioactive,” he heads straight to the source, running the “endz” of London as he tries out his new rap style.

The scenery and wardrobe look straight out of Top Boy as IDK, bundled in a down jacket, surrounds himself with roadman dem to goad any wannabe bullies to come see him on the block. The estate houses loom in the background, suggesting the strong connection between hoods on both sides of the pond.

IDK’s latest stylistic departure should come as no surprise to anyone who’s been following his career. The PG County native has switched through hip-hop subgenres like school clothes from MF DOOM homage “Monsieur Dior” to the dancefloor groove of his and Kaytranada’s album Simple (with part two coming soon!) Also, funnily enough, IDK was actually born in London, much like 21 Savage.

If IDK’s first song of 2023 is any indication of his future output, his next project could see him going back to his roots. Stay tuned.

Watch IDK’s video for “Radioactive” above.

At the 65th annual Grammy Awards ceremony, hip-hop celebrated a major milestone: its 50th birthday. To commemorate the occasion, the genre’s pioneer acts, as well as some of today’s rising talents, took the stage of the Grammys for a tribute performance honoring the cultural phenomenon. With a diverse range (or so they tried) of ages, geographic regions, and gender expressions showcased on stage, from the outside looking in, you’d think that hip-hop is a warm, welcoming environment. This couldn’t be any further from the truth, especially as it relates to Black women both in front of and behind the microphone.

Although legendary hip-hop group Salt-N-Pepa, multifaceted talent Queen Latifah, the evening’s Global Icon Award recipient Missy Elliott, and newbie on the block GloRilla delivered a stellar performance, it has been a fight for them and other talented women like them to gain the respect of their male counterparts and predominately male fan base. Whether it comes to being deliberately left out of the conversation (i.e. the late Gangsta Boo being left out of the in-memoriam portion of the Grammys), being harshly criticized for the music’s subject matter (i.e. the Latto and p*ssy rap debate), or the public’s treatment of Megan Thee Stallion during Tory Lanez’ trial for assaulting her — hip-hop still has a misogyny problem.

In her memoir, Her Word Is Bond: Navigating Hip Hop And Relationships In A Culture Of Misogyny, veteran rapper Psalm One provides an unfiltered account of what it is truly like finding your way through the industry as a Black queer woman and all the nuance that comes along with these intersections.

Back in 2015, after your interview with City Pages detailing what you had faced at your former record label (Rhymesayers), you were called everything but a child of God, which you address in the book. Did that play a part in any hesitation you might have had when it came to releasing the memoir?

Being in the court of public opinion for something that happened to me, I felt neglected. It was harmful, and it was really hurtful. I then understand why a lot of women, in particular, disappeared from hip-hop. In 2019, when I started writing the book, you know, I was writing it in sort of like a loose chronological order of my life. So I wasn’t even at those chapters yet. And by the time we started editing those chapters in 2020, my former label got called out again, and it had nothing to do with me. It was bigger than me. It was bigger than my story, but it encapsulated everything that I had dealt with. But because of what happened in 2020 and the boycott, I was like, this is absolutely the time.

So there’s one quote in the book that hit me deeply. You wrote, “It was absolutely heartbreaking to find out that I had tours on the table that my label ignored. It always felt like they didn’t want me to win. They just wanted to say they had a woman on the label so they could look progressive.” We see this not only in your case, we see this even with Megan Thee Stallion’s ongoing battle with 1501 Entertainment. What cautionary tales, advice, or suggestions do you have for these upcoming women rappers that are looking to be validated in those male spaces?

The validation comes with so many caveats. You just never know until you know who really messes with you. I believed these men telling me, ‘Oh, you’re cool and all, but you ain’t like this, or you need to compete with Jean Grae,’ and I could never compete. How am I going to compete with Jean Grae? You’re not giving me any support. Where’s the budget? How could I ever compete with her? And I can’t compete with her, even with a budget. Let me just say that because Jean Grae is like ‘mom’ to me. So it’s like my rap mom. So, like, seriously, it was like sh*t like that made me so confused about what my purpose was. And I wasn’t really given the space to grow as an artist as much as other artists on that label. It makes you feel isolated. It makes you feel like, “Damn, I got to do something extra.” So it is very difficult for a woman to thrive in this space because it was built on a male fantasy. It was built on a straight male fantasy, and it was never built for women to thrive.

In the book, you also mentioned that you found, maybe not directly, but certainly indirectly, that you needed to take full ownership of the business side of your particular art when looking at the success of Nicki Minaj. So did her trajectory have any influence on you on what you wanted to do in terms of, like, the business side?

I think that with Nicki Minaj, I just saw her being supported in a way by her label that I had never seen before, and I just felt like I was jealous. Let’s just call it what it is. It’s jealous. When you look at someone else and say, ‘Why not me?’ That’s just jealousy. And I think that’s something that a lot of artists don’t like to do, especially rappers. I’m not bothered. I’ll never be pressed, I’m never jealous. A lot of artists only move out of that. They move out of jealousy and competition, and it’s upsetting and devastating to many people’s trajectory because they’re chasing.

Once I realized I couldn’t chase Nicki Minaj, it added perspective. But the support that she received, at least the way it looked when she first came out with Wayne, Ye, and Diddy and all these really big people embracing her and saying, “No, you’re the one,” that, to me, was something that I never experienced. And it was something that I thought was great, and it was something that I had wanted for a long time. Now it’s just about not waiting on people because look at Nicki Minaj today. Look at what happened to her last year. It’s a wild thing because I’m like, “If that’s the pinnacle of female rap, if that’s the biggest woman on the scene, and this is what she’s doing, why am I aspiring for this?”

So, in the beginning, we talked about the boycott against your former label, and then to follow that up, the opening line of your Medium article, “I am ready to forgive them.” Have you forgiven them yet? And what does forgiveness look like for you?

Forgiveness is a journey. It is not a destination. It is something that I am very good at some days, and other days I’m not. And also, let’s never forget the saying, “forgive, don’t forget.” It was very important for me to forgive myself and to forgive my former label for everything because that was the only way I was going to be able to move through it. The “Me Too” movement is still a movement. No matter what Amber Heard does in court, no matter what Tory Lanez does in jail, whatever it is, it’s still going to be an issue. It’s something that plagues many artists. It doesn’t matter if you’re a woman or not because, honestly, in the professional abuse that I endured, I had men in my DMs telling me they [experienced] the same thing as me, minus the sexual stuff. You can’t expect people to just be good to you if they weren’t good to people. And I think a lot of labels will “fam” you up, but this is a job. But for me, forgiveness does not mean forgetting. And forgiveness doesn’t mean I shut up.

So what’s next for you in your career overall?

I’m working on a lot of collaboration this year as far as, like, getting my voice on other people’s raps. I have a deluxe version of my last album on the way. My follow-up project is done. I just got the cover art for it. We’re just mixing and mastering, working on a couple of other projects. My partner Angelina has a bunch of projects that we’re trying to get out for her this year. I write music reviews and concert previews for the Chicago Reader, which is a trip because I used to always want to be in the Reader for my work. And now, I’m in the Reader not only for my work but also for reviewing other people’s work, which has allowed me not to be a bitter rapper. So you’re going to see my pen in a lot of different ways, not just rapping.

Psalm One’s book Her Word Is Bond: Navigating Hip Hop and Relationships in a Culture of Misogyny is available where all books are sold. To purchase a physical or digital copy, click here.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

R&B duo DVSN may still be working on their karma, but it is surely paying off on the road. The OVO Sound pair (singer Daniel Daley and producer Nineteen85) is currently on the road for the first time since 2018 to support their latest album, Working On My Karma which features lead single, “If I Get Caught.”

The Canadian tag team has become the face of modern-day baby-making music ever since the release of their debut EP Sept. 5th back in 2015, and their admiration from their women fans has only heightened since then. Their international Working On My Karma Tour, which kicked off last month in Denmark, is sure to leave behind a trail of broken hearts in each country it makes a stop in.

Partnering with event promoters Trap Karaoke, potential concertgoers will now be given the opportunity to sing along with the group in a way never possible before. To prepare for your possible solo moment on stage with DVSN, take a look at their Setlist.fm confirmed setlist below.

The remaining Working On My Karma Tour dates can be found under the setlist.

1. “Last Time”
2. “Don’t Take Your Love”
3. “With Me”
4. “Bring It”
5. “Freak Me” (Silk cover)
6. “Memories”
7. “Mood”
8. “A Muse”
9. “P.O.V.”
10. “Greedy”
11. “Too Deep”
12. “Flawless (Do It Well Pt. 3)”
13. “Do It Well”
14. “Touch It (Do It Well Pt. 4)”
15. “If I Get Caught”
16. “I Hate U” (SZA cover)
17. “Get Even”
18. “Between Us”
19. “Nuh Time / Tek Time”
20. “Hatin”
21. “I Don’t Wanna Know” (Mario Winans cover)
22. “Take It Slow”
23. “Dangerous City”
24. “Tired”
25. “Sept. 5th”
26. “Kiss It Better” (Rihanna cover)
27. “Body Smile”
28. “What’s Up”
29. “Think About Me”
30. “Hallucinations”
31. “Conversations in a Diner”
32. “…Again”
33. “The Line”

02/18 — Philadelphia, PA @ The Fillmore
02/21 — New York, NY @ Terminal 5
02/24 — Silver Spring, MD @ The Fillmore
02/25 — Baltimore, MD @ Soundstage
02/26 — Raleigh, NC @ The Ritz
02/28 — Charlotte, NC @ The Fillmore
03/01 — Atlanta, GA @ The Tabernacle
03/03 — Dallas, TX @ South Side Ballroom
03/04 — Houston, TX @ Warehouse Live
03/05 — Austin, TX @ Stubb’s Waller Creek Amphitheater
03/07 — Denver, CO @ Summit
03/09 — Phoenix, AZ @ The Van Buren
03/10 — Las Vegas, NV @ House of Blues
03/11 — San Diego, CA @ House of Blues
03/14 — Los Angeles, CA @ The Novo
03/16 — San Francisco, CA @ The Warfield
03/18 — Seattle, WA @ Showbox SoDo
03/19 — Portland, OR @ Crystal Ballroom
03/21 — Vancouver, BC @ Orpheum Theatre
03/23 — Calgary, AB @ MacEwan Hall
03/24 — Edmonton, AB @ Union Hall
03/25 — Saskatoon, SK @ Coors Event Centre
03/27 — Winnipeg, MB @ Burton Cummings Theatre
03/28 — Minneapolis, MN @ Varsity Theater
03/30 — Chicago, IL @ Radius
03/31 — Detroit, MI @ Royal Oak Music Theatre
04/01 — Cleveland, OH @ House of Blues
04/03 — Montreal, QC @ MTELUS
04/04 — Ottawa, Ontario @ Bronson Centre Music Theatre
04/06 — Toronto, ON @ HISTORY

DVSN is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

True Blood, the campy vampire series that inspired headlines like “The Best Hookups On True Blood, From Neck-Twisting Hate Sex To Orgies,” is coming to the same channel as NCIS: New Orleans reruns.

Edited episodes of the Anna Paquin-starring True Blood will air on TNT, while TBS will be the new home of Silicon Valley, which features slightly less neck-twisting sex orgies. (TBS and TNT are owned by the same parent company, Warner Bros. Discovery, as HBO.) “As this is TV — not HBO — the shows will be edited both for content (receiving a TV-MA rating) and ad breaks,” Variety reports, which added that this multi-channel partnership is “a first for programming produced and aired on HBO in recent years.”

The reruns will launch immediately out of NBA All Star coverage on the the cablers, with True Blood beginning Saturday after the game on TNT and Silicon Valley on TBS. Following that initial premiere, True Blood will move to its regular time period on Mondays at 10 p.m. on TNT. Silicon Valley will air Sundays at 10 p.m. on TBS.

If you want to see Alexander Skarsgård reading a book while naked in Sweden, you’ll have to do it the old fashioned way: HBO Max. Or, y’know, Google.

(Via Variety)

The Cardi B and Offset McDonald’s meal is upon us and you know what that means: exclusive, co-branded merch. This time around, it looks like the Golden Arches has decided to keep things simple with easy-to-manufacture apparel like T-shirts, hoodies, hats, and shorts. It appears that lessons were learned from the supply chain debacle with J Balvin’s more out-there options, but you do kind of wish Cardi and Set got the chance to go as crazy as Travis Scott did — if only to see what they’d come up with.

As it is, the options continue the lovey-dovey vibe of the overall concept; the T-shirts say goofy things like “nice buns,” the hoodies bear profiles of Cardi and Set saluting each other with sandwiches and McD’s “I’m lovin’ it” catchphrase, and the shorts are suitably cheek-baring for lounging around the house, as the couple can often be seen doing on social media. All in all, a 7/10 for the collection. It’s solid but you really do miss oddball add-ons like throw rugs, ashtrays, and chicken McNugget body pillows (bring them back, Mickey Ds!)

By all reports, the Cardi B And Offset Meal is selling well, and Cardi’s spent the past few days reposting fans’ pics of the meal — although she did take a break to show off some of her own photos from the couple’s Valentine’s vacation.

You can check out Cardi and Set’s McDonald’s merch here.

Marjorie Taylor Greene recently made an appearance on Donald Trump Jr.’s new webseries, Triggered, where the Georgia congresswoman trotted out around an old conspiracy theory about the January 6 attack. While recounting her reaction to the “Stop the Steal” rally turning violent, Greene claimed that she was “shocked” by the events at the Capitol building and repeated her insistence that Antifa was behind the whole thing.

Then January 6 happened. It shocked me. I had no idea. I just couldn’t imagine. As a matter of fact, I was arguing with [Florida Congresswoman] Kat Cammack, one of my colleagues, and we were fighting and I said, “Those aren’t our people.” I just couldn’t believe it, like, “Those aren’t our people. That’s Antifa. Those are the same rioters that we see in 2020.” And I could not believe it. And she was like, “They are our people,” and I was like, “No, they’re not.” And she’s like, “They have our red hats,” and I was like, “I don’t care!”

Greene digging up her old Antifa theory is an interesting development given she recently boasted that had she and Steve Bannon organized the assault on the Capitol building, “we would have won.” How, you might ask? “We would’ve been armed.”

Greene also spent time protesting the conditions of the rioters that have been jailed and demanded their release, which is a weird thing to if they were all secretly Antifa. That line of thought was a recurring theme on Twitter as people blasted Greene for trying to feign shock at the violence on January 6 and roasted her for once again bring up Antifa.

You can see some of the reactions below:

(Via Ron Filipkowski on Twitter)

Earlier this month, rumors circulated that Megan Thee Stallion and Pardison Fontaine broke up because they unfollowed each other on social media. What’s more telling than that? However, it looks like that may not be the case. Or maybe the pair were able to resolve things in time for Valentine’s Day, because one social media post showed clues that they’re still together.

Fontaine posted an Instagram Story on Valentine’s Day of two hands, one looking like his and the other resembling Megan’s, taking heart-shaped shots. The long, purple acrylic nails are a pretty obvious giveaway — fans seem to be taking this as a good sign.

Last month, Fontaine had to take to Instagram to clear up other rumors that they’d broken up. Megan was accused of being an “abusive, mean drunk,” which Fontaine refuted in his post. “Stop this cap nobody puttin hands on nobody …(At least not in that way ),” he wrote. “Been seein the break up rumors and was lettin y’all imaginations run ..but y’all gettin too crazy ….ain’t give n****s a story so they made one … we really been on it double time.”

Megan Thee Stallion is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

Don Toliver is rolling out his new album, Lovesick, a little over a year since his last full-length project, Life Of A Don. This time around, he says he’s “really locked in on the actual story and the theme of the album” and appeared to be teasing a February release as a nod to Valentine’s Day, a holiday centered around love.

His latest single from the album, “4 Me,” sticks closely to the theme, hijacking an interpolation of Beenie Man’s 2000 Mya collaboration, “Girls Dem Sugar,” to express his devotion to the song’s addressee. The two stars — Don and Kali, that is — have been romantically linked for some time, and previously collaborated on the 2021 track “Drugs N Hella Melodies.”

In addition to sharing the “4 Me,” Toliver also dropped a follow-up single today. “Leave The Club” is a more upbeat track featuring Lil Durk and GloRilla and instead focuses on the sort of chance meeting at a nightclub that sparks chemistry. “I wanna leave the club right now,” Toliver croons on the chorus. Check that out below.

Watch Don Toliver and Kali Uchis’ “4 Me” video above.

Lovesick will be released on February 24 through Atlantic Records. You can preorder it here.

Don Toliver is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

Billy Crudup believes in what he’s selling. In this case, it’s a new show (Hello Tomorrow!, which just premiered on Apple TV+) about a traveling salesman wrestling with regret while hawking lunar timeshares.

This guy, Jack, is a merchant of hope for the hopeless in a time of supposedly great innovation that might just be a boom of hollow convenience. Sound familiar? Though the show takes place in a world giving 1950s vibes with a heaping load of jet-packs and robot-dog-in every-yard futurism, there’s a lot of sameness to our relationship with invention and our longing for something real to look forward to, even if both might be contrivances of commerce. So, is Jack a flawed but ultimately good man trying to sprinkle a little hope into people’s lives or is he something else? The show is worth watching to explore your own thoughts on it (and whether you view hope as a commodity to be protected or a fantasy to be indulged), but here are a few from Crudup that seem to veer in one direction more than the other.

Why this setting, why the futurism angle?

I guess it felt, to me when I read it, that the writers were suggesting that the past, present, and future, when they’re all based upon the same idea, are all going to be the same thing. It doesn’t matter. The gadgets are going to change, but daily life will be the same. The struggles of relationships will be the same. Living with your mistakes will be the same. Trying to find optimism will be the same. Overcooking your food will be the same. Traveling will still be a pain in the ass. There’s just no end to the sameness of living and the suffering of life in some ways if it’s all based upon thinking of the future. And when you have a premise where your whole belief system is based upon a better tomorrow, sometimes that can take you away from the value of today.

Do we still live in a society where there’s a better version of tomorrow? Is that belief still alive and well?

Or is it a different belief system that goes along with it? I would imagine if the world starts to function in a way that delivers on its promises, we might have a different experience of living and we might alter our belief systems. But fundamentally, I feel like all of those things are created by human beings and human beings seem to share. One central characteristic is that we’re all flawed, that we make mistakes and misjudgments. We sometimes don’t think through things properly and take chances on things that are a wild gamble. And so I would imagine any world that we create is going to continue to have those kinds of flaws.

I’m not a very religious person, and maybe I’m looking too deeply into it, but I saw a metaphor for heaven as far as living on the moon.

Are you kidding me, man? You’re preaching to the converted here. That’s how I imagine Jack; as a preacher, as an evangelist, and what he is selling is hope. That is heaven. And to me, it wasn’t so different from religion in the same way that when you go to Sunday church service, you put $20 in the tithe and they fill your heart with hope. They absolve you of your transgressions. They paint a picture of utopia to come, and that’s enough to get you through the week. And in some ways, whatever the belief system is, it doesn’t matter. It’s your investment in it that matters. And for Jack, what he’s invested in is capitalism and consumerism and that’s religion for him.

One thing I love about the show is that some people live their life with that hope hanging in the balance and they’re happier because of it. And for some people, that hope leads them down a dark path. I’m curious how you look at it. Because obviously there’s the commerce side of it, but in terms of weaponizing people’s hope, is it a fully bad thing or can it be a good thing?

I guess it depends upon the price, right? If it doesn’t cost you too much… I think that’s Jack’s constant question: “What’s the right price point for hope? And how much can I reach as a salesman or as an evangelist for hope to sell to the most profound and uplifting story? What’s the greatest story that I could tell somebody?” And I think for many people it would be that you can leave your troubles behind and that there’s a place that is sort of metaphorical, a physical haven for you and for him. It’s a place called the Brightside. But to the question of whether it is ethically, morally reprehensible or a challenge? I think that’s one we continue to ask. We see this time and time again in parishioners who have felt betrayed because their pastor has misled them in some way. And so the journey then of forgiveness and understanding and hope has to start. But the demoralizing experience of putting your faith in something that in itself is being negotiated amongst humans, it’s sometimes a recipe for disaster.

I mean, there’s so much nuance. We all think we want the full truth and we all think we want full hope, but we really want something in the middle.

Agree. Where’s that sweet spot?

Exactly.

Where being content isn’t giving up, where being satisfied isn’t showing a lack of ambition. If we could live in the present moment in a way that we can see things for what they are, it seems to me there’s an increased probability that you’ll be able to take in the joys.

Whether he’s good or bad is open for debate, but he is definitely running, he’s definitely trying to just survive. Is that part of the appeal?

Most definitely. Well, only because (series co-creators) Amit Bhalla and Lucas Jansen have done a brilliant job of making sure that his life catches up to him in the first five minutes. They can put him right on the railroad tracks running away, and here comes the steam engine right towards him. The appeal for me was really the belief that selling hope was a valuable way to spend your time. And that in fact, you could make people’s lives better by telling them a story is essentially what Jack is doing. And, yes, he gives them a product on the side, and whether it’s the timeshare on the moon or the veggi-dice that he sells them, it’s attached to a story of a better promise. And I think that’s the part that really appealed to me. His conviction with the blinders on. The running is still a feature of the same kind of belief system. He is exploiting the best of his potential for the good of humanity.

Do you think you need to believe in the product that you’re selling or in the benefit that you’re giving to be a good salesman?

I think it’s a hundred percent crucial.

That could apply to being an actor too.

That is what we do. The most interesting acting comes from authenticity. I mean, listen, there’s some acting where the style and the craftsmanship is just a thrill to watch. The authenticity is irrelevant. But for me, I grew up watching people like Al Pacino and Robert Duvall and Dustin Hoffman and Meryl Streep and Paul Newman, and they were wielding authenticity and truth. They were selling us this story by getting into these characters. And in a way that wasn’t the tradition before. There was the great movie, Giant, where you get to see this moment between Rock Hudson and James Dean and Elizabeth Taylor, and you’ve got Rock Hudson and Elizabeth Taylor performing this stylized kind of way that was just about to go by the wayside with James Dean, who is introducing realism with behavior and stuff. And that really was the moment where authenticity became a commodity for actors. And the crucial thing about authenticity is that you have to believe it yourself. So you do a lot of work. That’s where the sort of method acting came from. You do a lot of work to try to convince yourself to find that right voice. And so for me, there is a great parallel between the two.

I feel like the relationship to chaos is also interesting between this character and your character on The Morning Show. Because Cory is entertained by the chaos at times. And this character definitely feels like it’s sort of a thing chasing him around a corner. That’s just my armchair analysis.

No, no, you make a great point. I think it’s the alternate side of both coins. I think Cory is looking for chaos because he has power and he knows how to exploit chaos. Chaos puts everybody else on their heels, but the person in power actually becomes even more powerful when people are struggling. I think Jack is cozy with chaos because he’s constantly creating it, but I don’t think he likes the destabilized nature of the people around him. I think what he’s ultimately hoping to do is have that massive (group of) customers who are kind of chasing him — “Where’s my timeshare?” — to be like a group of parishioners sitting quietly and hopefully, uplifted by his speeches about the benefits of lunar living.

I’ll close with the gimme question. Not necessarily, “would you want to live on the moon?” I guess the more now thing is Mars. Do you want to go live on Mars, Billy Crudup?

Nah, I’m cool. I’m good. I’m going to let other people figure that out. I feel like there are still some things to solve around here.

‘Hello Tomorrow!’ just premiered on Apple TV with new episodes launching every Friday

On February 17, 1972, Taylor Hawkins, best known for his time as the drummer of Foo Fighters, was born. Tragically, though, he died nearly a year ago on March 25, 2022. Today would have been his 51st birthday, and Foo Fighters marked the occasion with a brief but sad post.

Sharing a black-and-white photo of Hawkins on social media this morning, the band wrote simply, “Miss you so much.”

This comes after the band wrote about Hawkins in a message shared at the end of 2022, which reads in part, “As we say goodbye to the most difficult and tragic year that our band has ever known, we are reminded of how thankful we are for the people that we love and cherish most, and for the loved ones who are no longer with us. […] Without Taylor, we never would have become the band that we were — and without Taylor, we know that we’re going to be a very different band going forward.”

That post sparked fan speculation about who should be Foo Fighters’ drummer going forward. Some drummers who were mentioned most frequently included Josh Freese (an experienced touring/session drummer who’s currently a member of Devo and The Vandals), Rufus Taylor (son of Queen’s Roger Taylor and member of The Darkness), and Grohl himself.