GoneTrending

After suffering a relapse, Aerosmith’s Steven Tyler has voluntarily entered rehab and the band announced via their social media that they have to cancel their June and July Las Vegas residency tour dates. Tyler — who has struggled with maintaining his sobriety in the past — relapsed after taking pain medication following a foot surgery. An incredibly physical performer, the surgery was done in preparation for the stage in 2022, which included the residency at Dolby Live in Vegas.

This is a heartbreaking reminder that the battle with addiction is a never-ending one. Meanwhile, Aerosmith says the plan is to pick up the live dates again in September. All tickets will be refunded for the June and July dates. You can read the full statement from the band below.

As many of you know, our beloved brother Steven has worked on his sobriety for many years. After foot surgery to prepare for the stage and the necessity of pain management during the process, he has recently relapsed and voluntarily entered a treatment program to concentrate on his health and recovery.

We are truly sorry to inform our fans and friends that we must cancel our first set of Las Vegas Residency dates this June and July while he focuses on his well-being.

We will continue our 2022 dates starting in September, and we’ll let you know any further updates as soon as we can. We are devastated that we have inconvenienced so many of you, especially our most loyal fans who often travel great distances to experience our shows.

Thank you for your understanding and for your support for Steven during this time.

If you purchased your tickets via Ticketmaster, you will be refunded and will receive an email shortly with details, otherwise please contact your point of purchase for information on refunds.

Days away from the release of her full-length debut album, Baby, We’re Ascending, Haai has released a new track called “Human Sound.” On “Human Sound,” which features vocals from Kai-Isaiah Jamal and Obi Franky, Jamal recites a poem containing themes of social justice and equality, while Franky delivers soothing, transcendental vocals over Haai’s ambiently constructed beat.

Her tour kicks off today in London, and she plans to play several sets internationally this summer, as well as a slew of festival dates.

Check out “Human Sound” above and the Baby, We’re Ascending tour dates, cover art and tracklist below.

05/24 – London, England @ Corsica Studios (LIVE)
05/27 – Miami, Florida @ Floyd @ Space
05/28 – Brooklyn, NY @ Elsewhere (Roof)
05/29 – Philadelphia, PA @ Making Time @ Warehouse On Watts
05/30 – Detroit, MI @ Movement Festival
06/02 – Bristol, England @ Love Saves The Day
07/03 – Malta @ Annie Mac Presents Lost & Found
07/04 – Glasgow, Scotland @ Riverside Festival
06/06 – Ibiza, Spain @ Circoloco @ DC10
06/09 – Barcelona, Spain @ Primavera Sound
06/11 – Amsterdam, Netherlands @ Parallel
06/11 – Manchester, England @ Parklife Festival
07/12 – Wicklow, Ireland @ Beyond The Pale Festival
07/25 – Somerset, England @ Glastonbury Festival
07/02 – Herefordshire, England @ El Dorado Festival
07/03 – Breda, Netherlands @ Ploegendienst Festival
07/04 – Ibiza, Spain @ Cova Santa
07/06 – Pag, Croatia @ Hideout Festival
07/09 – Bedfordshire, England @ Lost In A Moment
07/14 – Tisno, Croatia @ Love International
07/17 – Lancashire, England @ Beat Herder Festival
07/24 – Cheshire, England @ Blue Dot Festival
08/31 – Ibiza, Spain @ Pacha
08/06 – Bruck an der Leitha, Austria @ Paradise Garden
08/12 – Cornwall, England @ Boardmasters Festival
08/15 – Malta @ Glitch Festival
08/17 – Paredes De Coura, Portugal @ Festival Paredes De Coura
08/19 – Hasselt, Belgium @ Pukkelpop Festival
08/20 – London, England @ Field Day
08/21 – Charleville-Mézières, France @ Cabaret Vert
08/22 – Ibiza, Spain @ Circoloco @ DC10
08/27 – Lincoln, England @ Lost Village
09/04 – Ibiza, Spain @ Pikes
09/07 – Vlorë, Albania @ ION Festival
09/10 – Paris, France @ Peacock Festival
10/03 – Ibiza, Spain @ Circoloco @ DC10

1. “Channels”
2. “Pigeon Barron”
3. “Bodies Of Water”
4. “Human Sound” Feat. Kai-Isaiah Jamal and Obi Franky
5. “Louder Always Better”
6. “Biggest Mood Ever” Feat. Alexis Taylor
7. “AM”
8. “FM”
9. “I’ve Been Thinking A Lot Lately”
10. “Purple Jelly Disc” Feat. Obi Franky
11. “Baby, We’re Ascending” Feat. Jon Hopkins
12. “Orca”
13. “Tardigrade”

Baby, We’re Ascending is out 5/27 via Mute Artists. Pre-save it here.

Uproxx’s How I Blew Up is back with veteran Atlanta trap producer Sonny Digital. Breaking down how he went from selling beats for just $300 to helping redefine the sound of Southern hip-hop, Sonny fondly recalls learning to make beats on his older brother’s beat machine and later downloading FL Studio. He also recounts his influences, including proto-trap mainstays like Drumma Boy and Shawty Redd, who were responsible for hits for the likes of Gucci Mane and T.I.

Sonny’s first beat to blow up was the scintillating production for YC’s 2011 song “Racks,” which also featured a then-emerging Future. “None of us were really as big as we were gonna be,” he admits. “It wasn’t really a big song to me. It turned into a big song… I sold the beat to them for $300 because I just looked at it like how I was handling business at the time.”

That’s right, the song that began Future’s rise to being one of hip-hop’s biggest stars only cost $300 — and Sonny had no idea how the business worked back then. In time, though, he became one of the most in-demand producers in Atlanta, and now has a half-dozen platinum records to his name, including hits with 2 Chainz, 21 Savage, Future, and Travis Scott.

You can watch the full episode of How I Blew Up above.

Waxahatchee’s Katie Cruthfield and Wynonna (Judd) represent different generations of Americana music. Now they’ve come together for the first time on a splendid duet entitled “Other Side” which captures both Waxahatchee’s sterling folk and Wynonna’s Nashville country comfort.

Recorded at Wynonna’s farmland outside of Nashville, it’s a hopeful track that looks to turn the page on the death of the Judd matriarch, Naomi, last month. The pair carry each other through the tune and Wynonna explained that it was a powerful experience for her.

“In the midst of everything that has happened, I said that I would continue to sing,” she said in a statement. “So, here I am. I met Katie Crutchfield last year and we connected immediately. We recorded ‘Other Side’ in the studio here on the farm and it was one of my favorite recording experiences ever. I’m thankful for the opportunity to sing with the next generation of greatness.”

Crutchfield added, “Wynonna is an icon and a fountain of wisdom. Sharing space with her to create something new was really nothing but a joy and an honor. Her spirit inspires me daily and her continued encouragement has meant the world.”

Meanwhile, both artists are heading out on tour this year. Waxahatchee is supporting her 2020 album Saint Cloud and Wynonna is setting out on The Judds: The Final Tour in celebration of her mother’s life and is bringing along like-minded luminaries in Brandi Carlile, Faith Hill, Little Big Town, Ashley McBryde, Trisha Yearwood, and Martina McBride.

Listen to “Other Side” above and check out the tour dates for both below.

The Judds: The Final Tour dates
09/30 — Grand Rapids, MI @ Van Andel Arena
10/01 — Toledo, OH @ Huntington Center
10/07 — Sioux Falls, SD @ Denny Sanford PREMIER Center
10/08 — Green Bay, WI @ Resch Center
10/14 — Duluth, GA @ Gas South Arena
10/15 — Huntsville, AL @ Probst Arena @ The Van Braun Center
10/21 — Durant, OK @ Choctaw Grand Theater
10/22 — Ft. Worth, TX @ Dickies Arena
10/27 — Biloxi, MS @ Mississippi Coast Coliseum
10/28 — Nashville, TN @ Bridgestone Arena
10/29 — Lexington, KY @ Rupp Arena

Waxahatchee tour dates
06/09 — St. Augustine, FL @ St. Augustine Amphitheatre #
06/10 — St. Augustine, FL @ St. Augustine Amphitheatre #
06/11 — Charleston, SC @ Credit One Stadium #
06/13 — Cary, NC @ Koka Booth Amphitheatre #
06/15 — Canandaigua, NY @ CMAC #
06/16 — Vienna, VA @ Wolf Trap #
06/17 — Vienna, VA @ Wolf Trap #
06/18 — Williamsburg, VA @ Virginia Arts Festival
06/19 — Wilmington, DC @ The Queen $
06/21 — Boston, MA @ Roadrunner $
06/22 — New York, NY @ SummerStage in Central Park $^
06/23 — Toronto, ON @ The Danforth Music Hall $
06/25 — Montreal, QC @ Theatre Corona $
06/26 — Greenfield, MA @ Green River Festival
08/05 — Fishers, IN @ Nickel Plate District Amphitheater
08/06 — Evanston, IL @ Canal Shores Golf Course (with Lucinda Willams)
08/07 — Milwaukee, WI @ The Pabst Theater
08/20 — Troutdale, OR @ Edgefield Concerts @ McMenamins Edgefield Amphitheater @
08/21 — Redmond, VA @ Marymoor Park @

# with Jason Isbell And The 400 Unit and Sheryl Crow
$ with Ohmme
^ with Swearin’
@ with Courtney Barnett, Sleater-Kinney, and Fred Armisen

The closest David Cronenberg has come to directing a family-friendly movie is when he turned down Star Wars: Return of the Jedi. Otherwise, he tends to dabble in R-rated body horror, naked bathhouse fights, and movies where people get turned on by car crashes. OK, technically, it was only one movie, 1996’s Crash, but what a movie it is! The Special Jury Prize winner is the better Crash movie, obviously, but it’s also many people’s introduction to Cronenberg’s filmography, including Kristen Stewart.

“I actually know the first movie of David’s that I watched was Crash, when I like was far probably too young to watch it. But I’m really glad I did,” the Oscar-nominated Spencer actress said at a press conference at the 2022 Cannes Film Festival. “I felt like I was going to get in trouble, which is why I loved it. And didn’t understand it at all.”

Stewart also didn’t understand Crimes of the Future, Cronenberg’s new movie, until she watched it. “We, the actors, spent every single day after work being like, ‘What the f*ck are we doing?’ But then I watched the movie last night, and it was so crystal clear to me,” she said. “It [was] so exposing, and it does feel like you’re hacking up organs when you’re making something, and if it doesn’t feel that way it’s not worth it.”

Based on the early reviews, Stewart was right to put her faith in Cronenberg. Just think, somewhere out there is the next Kristen Stewart, being confused but intrigued by the “surgery is the new sex” movie at too young of an age. It’s inspiring, really.

(Via IndieWire)

Festival season continues, and with that comes a slew of neon colors, glitter, bold accessories, and outfits that, let’s just say, you’d never want your grandmother to see you in. Putting together outfits is part of the fun of music festivals, as it gives you the opportunity to dress in out-there ensembles you normally wouldn’t wear in your everyday life. Or maybe you would, you do you.

One event in which attendees truly came to impress with their head-turning style choices was The All Day I Dream Festival. The weekend-long party went down from May 12 to 15 at the Woodward Reservoir in Oakdale, California. Not only was the festival packed with a killer lineup, but it also offered on-site camping for the first time.

The All Day I Dream Festival lineup featured renowned electronic music performers including Lee Burridge, Little Dragon, Poolside, Ry X, Cubicolor, GHEIST, Guy Gerber, Jan Blomqvist, Matthew Dekay, Öona Dahl, Sébastien Léger, YokoO, Gorje Hewek, Tim Green, Roy Rosenfeld, Facundo Mohrr, Lost Desert, and tons more.

From eye-catching headpieces to fishnet stockings and fringe, these photos from The All Day I Dream Festival will inspire your next festival look.

ALSO READ:

• These Photos From Desert Hearts Festival Will Make You Feel Weird…In A Good Way
• Let These Photos From The Framework After Party At Coachella Inspire You For The Weekend
• These Photos From Sundream Tulum Will Get You Through The Middle Of The Week
• These Miami Music Week Photos Will Convince You To Go Party On A Yacht ASAP
• These Photos From SXM Festival In The Caribbean Will Instantly Boost Your Mood

Click to download here.

It’s A-me, A-DHL-a

As we close in on the end of the only podcast about the GOATest show of all time, we welcome an old friend back to the pod to help us say goodbye to another one of Jersey’s finest pork store associates. Writer, frequent Frot guest, and Executive Producer for Abbott Elementary and Harley Quinn, Justin Halpern rejoins Matt and Vince to talk about the penultimate episode of The Sopranos, season 6b episode 8, “The Blue Comet.”

Pay your last respects to a loving father, good earner, dutiful husband, and model train enthusiast, Bobby Bacalá. From Junior’s driver to redundant upper management, Bobby lives in our hearts, and in the ziti he left in his freezer.

Other notable dust-biters in this episode: Bert Gervasi, two poor Ukrainian suckers who answered the door for the wrong Italian DHL driver, and a guy riding his motorcycle past the Bada Bing at the wrong time (probably). Through it all, AJ makes everything about himself and his depression, like a natural-born podcaster.

Tell us how you would fix upper management redundancy in a five-star review on Apple Podcasts

Email us at [email protected]; leave us a voicemail at 415-275-0030

Support the Pod: become a patron at patreon.com/Frotcast and get more bonus content than you could ever want, AND if you sign up for the Pod Yourself a Shoutout tier, you can bask in the glory of hearing your name on the podcast like this week’s newest members: The Funny, KK, The Perv, Will Call, & Titanic.

-Description by Brent Flyberg.

Back in December, Turnstile made their late-night TV debut on Late Night. They consistently booked high-profile performance gigs from there, including spots on the NPR Tiny Desk Concert series and on Jimmy Kimmel Live!. It’s all deserved, as Glow On was one of 2021’s most esteemed albums; It was just a few spots away from the top of our Uproxx Music Critics Poll list.

Now, they continue to keep the album alive here in 2022, doing so last night with a performance of Glow On highlight “Blackout” on The Tonight Show. The track is a dynamic, multi-faceted ride, one that translated well to national television as the band brought their all to the intense performance.

As for what else the band is up to now, they’re actually on the tail end of their The Turnstile Love Connection 2022 Tour, which ran for the past couple months and wraps up in Washington DC on May 26.

On top of all that, they also recently had a chat with legendary interviewer Nardwuar, video of which was published yesterday. The conversation took place at Neptoon Records in Vancouver and is is tradition, Nardwuar pulled out a number of smile-inducing surprises for the band.

Watch Turnstile perform “Blackout” on Fallon above and find their Nardwuar interview below.

Ask most people who’ve had their heart trampled on by love if it was worth it, and the answer is usually a resounding… yes. That might be surprising, but despite the pain that comes from an inevitable breakup, most lovers agree that the good times outweighed the bad; they move forward looking to fall for someone else, pain be damned. The cycle is eternal (unless the love affair turns out to be) and for one of Sweden’s finest musicians, Li Lykke Timotej Zachrisson, heartache is the export she knows best. Lykke Li is a singer-songwriter — and lowkey pop star — who has spent her career contemplating this cyclical nature of romantic love and loss.

Though some artists might find it insulting to condense the scope of their career into a singular recurring theme, Lykke has made it clear that her latest album, EYEYE, is an almost meta, hyper-focused examination of her focus on adoration and heartache. In a recent interview with The Telegraph, she declared herself a “love junkie” and came to the conclusion that her pattern in relationships is something that needed to be addressed head-on. “I’ve really realized that I can’t blame anyone else any longer for my suffering,” she told the UK paper. “It’s really turning the lens back to myself and getting back to the root of why I’ve repeated some patterns.” Still, getting clean is usually easier said than done.

Even as EYEYE looks to be an overarching study of the subject, each of the eight songs on her fifth album approaches matters of the heart from a different angle. “5D” imagines a couple through the crisp, cinematic lens of a movie’s love story, and “Carousel” is the sole slightly upbeat track here, pitching tinny ‘80s as the stand-in for a carnival merry-go-round’s pure romance. But when it hurts, EYEYE pulls zero punches. Li consistently called this album “a break up with the breakup album,” but from the sounds of this, this pair is more together than ever. In some ways, the album is simply Li’s past MO turned up to eleven — a maximalist approach to pain done in Li’s signature soft, synthy tones.

And though her last album, so sad so sexy, found a hint of twisted pleasure in the pain, there’s very little to long for here. The album’s lead single, “No Hotel,” decries the tropes of toxic lovers — hotels, cigarettes — for the even sadder act of turning up on someone’s doorstep to beg for them back. Instead of glorying in a past memory spent in a gorgeous hotel room doing something sad and sexy, Li cites a moment in the back of a car, a bit of pathos too stark to need unpacking. “Happy Hurts” is the de facto center of the record, and the most vintage Lykke as she spins whispery vocals against a backdrop of stately organ chords, looking for meaning in passing cars and more old memories.

The driving theme continues on “Highway To Your Heart,” a song with the title of an ‘80s power ballad that still manages to be one of the stronger offerings here. Flanked harmonies, booming percussion and dramatic piano chords echo some of the production choices on one of Li’s best albums, I Never Learn, and indicates that the return of her longtime collaborator Peter Bjorn and John’s Björn Yttling is a positive development. But despite these high-water marks, the album’s closing numbers, “Over” and “u&i” are both mid-tier drags, the kind of sadness that only makes sense to the person going through it. Neither connect to a larger world outside of themselves like the most electric breakup songs do (“Dancing On My Own,” “Back To Black”), and the lengthy runtime of the final track only adds to the claustrophobia.

If Lykke Li really wants to break up with the breakup album format, her best bet is to attempt a new form. Whether that’s a love song, or a reflection on another facet of her emotional life, I don’t know. But one last dose of breakup songs seems unlikely to cure her of her old ways. It remains to be seen if she goes cold turkey after EYEYE, but if the album has proved anything, it’s that her talents are best spent elsewhere. Then again, give the morose “You Don’t Go Away” a spin at the right time of evening, and you might find yourself falling right back into the record again. Does EYEYE sound like the closing of a chapter? No — but odds are that doesn’t surprise any of the ex-lovers listening to it on loop.

The mid-season finale of Better Call Saul takes the main story of the season so far and, for lack of a less literal metaphor, walks into its apartment and shoots it in the head with a silencer. The first six episodes of the show’s final season have taken their time, as Better Call Saul always does, letting Jimmy McGill and Kim Wexler’s elaborate plan to humiliate Howard Hamlin unfold throughout multiple episodes. While everyone’s favorite toxic married couple with a prank kink does encounter some hiccups along the way, their plan unfolds almost entirely as planned all season long, from faking Hamlin’s cocaine addiction with a wig and self-tanner to the precise moments he appears at their apartment following their win over him. What happens next is the only thing they didn’t see coming, even though it’s the most obvious in retrospect.

When Howard confronts Jimmy and Kim, Lalo Salamanca walks in and shoots Howard in the head. The first half of the final season, which generally unfolded like a typical season of Better Call Saul with its character-driven pace and slightly upbeat tone finally proved how effective it is when its long-teased tension finally gets a release. The season is in stark contrast to every episode of the final season of Breaking Bad, whose episodes, in retrospect, were events with plot, tension, and twists, moving as quickly as the final two seasons Game of Thrones (with better writing, obviously).

Meanwhile, you could describe the first half of Better Call Saul’s final season so far in just a few bullet points (with dozens of annotations, of course). First, there’s Jimmy and Kim’s Howard takedown and his death, while Gustavo Fring and Mike Ermhantraout have been dealing with the fallout of the attempted assassination of Lalo Salamanca. On the cartel side of the story, Lalo’s solo mission to take down Gustavo Fring has been left rather ambiguous, with limited, but precious screen time. Before Howard’s death in the mid-season finale, the season’s most explosive episode was episode three, which sealed the fate of Nacho Varga.

From the very beginning, and times to a fault, Better Call Saul has operated at a glacial pace, like Mad Men in slow motion. Instead of speeding itself up before the endgame, Better Call Saul has remained loyal to its pace, ridiculously patient with itself. Even in its final episodes, Better Call Saul would rather simmer than boil.

Better Call Saul, like Mad Men, the AMC show it has more in common with than Breaking Bad, values character development over a rapid plot and shock value – which is not to say that Better Call Saul isn’t shocking because it is. The show is so patient that it’s almost cruel. This storytelling device made Howard Hamlin’s death gutting. Better Call Saul has patience with its characters, its audience, and, vitally, itself. While it’s clear that the series will pick up in the second half of the season, which returns in July, it will continue to simmer as it always has.