Queen’s Brian May makes surprise appearance at Roger Taylor solo show

Brian May made a surprise appearance during Roger Taylor‘s show in London last night (October 22) – check out the fan-shot footage below.

The guitarist took the stage at the O2 Shepherd’s Bush Empire, where his Queen bandmate wrapped up a 14-date UK headline tour. Taylor was out on the road in support of his sixth solo album, ‘Outsider’, which arrived on October 1.

After performing a string of solo and classic Queen tracks – including ‘Under Pressure’ and ‘These Are the Days of Our Lives’ – Taylor wrapped up the main set by welcoming May onstage to cover Little Richard‘s ‘Tutti Frutti’.


“It’s my brother from another mother!” Taylor then told the crowd, making way for a rapturous applause for May. The pair then played a special rendition of Queen’s ‘A Kind Of Magic’ together.

Tune in here:

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Meanwhile, Taylor recently revealed that Brian May had started working on a new Queen song but then “suddenly lost interest”.


“We started it in Nashville when we were all quite tired,” the drummer explained. “We couldn’t decide on a title and the lyric felt a little too negative for Queen, maybe. But it was pretty damn good, and I hope it comes to light.”

Earlier this month, Roger Taylor criticised anti-vaxxers for being “ignorant and stupid”. “But here we are; it’s a clear cut case,” he said. “Vaccinations have been with us a long time now, and they work. Please, get vaccinated.”

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Incubus’ Brandon Boyd on 20 years of ‘Morning View’: “We wanted to change our environment dramatically”

Incubus are in the midst of celebrating the 20th anniversary of their fourth album ‘Morning View’, and frontman Brandon Boyd has spoken to NME about the making of the seminal record.

Today (October 23), marks 20 years since the band released the record, and to celebrate they are heading back to the Malibu beach house where it was written and recorded for a livestream concert of the record performed in its entirety.

Speaking on the initial decision to record the album in the house on Morning View Drive in Malibu, Boyd told NME that the band, who were used to recording in “windless padded rooms,” wanted to be free from distractions during the recording process.


“We made the decision to not make our next album in a traditional setting so we rented this big, empty house up in Malibu kind of away from everything,” said Boyd. “We were interested in seeing what would happen if we changed our environment dramatically and set up in a living room together and brought out all of our gear into this house, where it was as distraction free as you could possibly be in that moment.”

Besides providing a peaceful retreat, the house and its stunning surroundings also inspired some of the album’s content. “Being in that sort of antithetical recording studio where there’s these beautiful, picturesque cathedral-type windows from the floor to ceiling, like 25 feet high, was amazing,” said Boyd.

“We got to watch the day move by as we were in there all day recording, and then at night, we got to watch the moon go by, and we got to watch the palm trees blowing in the wind; we would open the door sometimes and let the sea air into the room. That stuff affects everything, especially when you’re in a creative process.”

Acknowledging the beauty of “letting a natural environment inspire the art that you’re making”, the frontman added that the band probably should have given nature’s natural elements “a co-writer credit on the album”.

Incubus frontman Brandon Boyd. CREDIT: Press

‘Morning View’ arrived two years after Incubus’ breakthrough third album ‘Make Yourself’. Coming off the back of that success, Incubus felt a little pressure going into the making of ‘Morning View’, but Boyd himself didn’t let it affect him.


“There was definitely a little bit of chatter in our kind of band family about that pressure,” he recalled. “I think maybe some of the other guys in the band may have experienced it a little bit differently, but you’d have to ask them. I can only speak for myself and I didn’t take on that weight. During that period of time, I was distracted, I suppose by the excitement of having the opportunity to record another album.”

He continued: “I was also coming off the heels of two, really just heartbreaking separations, like one after the other. So I was coming into the recording of ‘Morning View’ excited, elated, filled with enthusiasm, and heartbroken all at the same time. Looking back, I feel really lucky because I was able to experience those things through the lens of music and art, and the art was a catharsis but there’s also communion and it was all of these things wrapped up.”

The album spawned the hit singles ‘Nice To Know You’, ‘Are You In?’ and ‘Wish You Were Here’ – the latter was one of the last songs to be recorded for the album.

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“It came really quickly, because we had been sort of doing that creative weight training for five, almost six months,” Boyd said of the track. “We kept saying the album felt like it needed something else, like one more. There’s one more in us. And if I’m remembering correctly, we knocked that one out really quickly.”

The song wound up being released as the album’s first single, which Boyd said everyone was on board with straight away. Meanwhile, another fan favourite on ‘Morning View’ is the final track ‘Aqueous Transmission’ – an almost eight-minute therapeutic number that features multi-instrumentalist Suzie Katayama and hears Incubus guitarist Mike Einziger employ the use of a pipa, given to him by Steve Vai.

“I don’t think any of us thought that it would lend itself to an Incubus song,” Boyd said of the Chinese instrument. “Mikey and I grew up kind of mutually obsessed with Björk’s music. There was so much we loved about it: the weirdness of it, the instrumentation, the arrangements, the choices that she was making and that the producers were making. So we were like, let’s make a super Björky sounding breakbeat that’s really cool and eerie and mellow.

“We made a beat together, then he started playing the pipa and we kind of whittled down to that little riff. I don’t even think it was tuned properly. I think he tuned it to just a D. And it sounded awesome.”

Boyd went on: “From there, I started messing around with the lyrics, and I remember when he started playing that little riff over that kind of trip-hop sounding beat, I just started singing: ‘I’m floating down a river’. That’s what it sounded like. To me, it sounded like we were on this psychedelic river cruise somewhere. It was heavily leafed and wooded with the sound of nature around us.”

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Incubus sketched out roughly 30 tracks for inclusion on ‘Morning View’, but the majority of those that were recorded and not used on the album are still yet to see the light of day. One track that has since been released, ‘Anything’, appears on the band’s 2009 greatest hits album, ‘Monuments And Melodies’.

“That was essentially just a demo that we recorded in that living room,” revealed Boyd. “The way the snare and the drum sounds, you can really tell that it’s that ‘Morning View’ living room.”

“There’s a lot of material and we might dust some of it off at some point,” the frontman said. “Sometimes old ideas or demos find their way into back into our sort of collective band consciousness and we’ll dust them off and rearrange them and they become new songs.”

Incubus’ 20th anniversary ‘Morning View’ livestream concert will be broadcast at 7:00pm BST on October 23 – get your tickets here.

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The Rolling Stones share previously unreleased track ‘Come To The Ball’

The Rolling Stones have shared a previously unreleased track called ‘Come To The Ball’ – you can listen to it below.

The track appears on the band’s new deluxe reissue of their 1981 album ‘Tattoo You’, which was released today (October 22). The newly remastered and expanded 40th anniversary reissue includes nine extra songs as part of a ‘Lost & Found: Rarities’ disc, recorded during the same era as the original 11-track album.

‘Come To The Ball’ was co-written by Mick Jagger and Keith Richards; it was produced with Jimmy Miller, best known for producing classic Stones albums ‘Beggars Banquet’, ‘Let It Bleed’, ‘Sticky Fingers’, and ‘Exile On Main St.’.


You can listen to the track below.

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Among the other archived tracks is ‘Living In The Heart Of Love’, a quintessential Stones rock work-out; a “killer version” of ‘Shame, Shame, Shame’, first recorded in 1963 by one of the band’s blues heroes, Jimmy Reed; their reading of Dobie Gray’s ‘Drift Away’; their cover of The Chi-Lites’ ‘Troubles A’ Comin’; and a reggae-tinged version of Start Me Up’.

The 40th anniversary edition of ‘Tattoo You’ – originally released on August 24, 1981 – also comes with ‘Still Life: Wembley Stadium 1982’, a 26-track live album from the band’s London show in June of that year on the ‘Tattoo You’ tour.

The Wembley show includes covers of the Temptations’ ‘Just My Imagination’, Eddie Cochran’s ‘Twenty Flight Rock’, the Miracles’ ‘Going To A Go Go’ and more. It also features early live airings for tracks from the then-new ‘Tattoo You’, such as ‘Start Me Up’, ‘Neighbours’, ‘Little T&A’ and ‘Hang Fire’.

The Rolling Stones are currently in the US on their ‘No Filter’ tour which will next stop in Minneapolis on October 24. It’s their first time out on the road since the passing of drummer Charlie Watts.


In a recent interview, Jagger described the late sticksman as “the heartbeat for the band, and also a very steady personality”.

“He was not to be perturbed. He was a very reliable person, wasn’t a diva – that’s the last thing you want in a drummer,” the frontman continued.

“I miss Charlie because he had a great sense of humour and we also were… outside of the band, we used to hang out quite a lot and have interesting times. We liked sports, we’d go to football, we’d go to cricket games, and we had other interests apart from music.”

You can see the Stones’ remaining ‘No Filter’ US tour dates below.

24 – Minneapolis, U.S. Bank Stadium
29 – Tampa, Raymond James Stadium

2 – Dallas, Cotton Bowl Stadium
6 – Las Vegas, Allegiant Stadium
11 – Atlanta, Mercedes-Benz Stadium
15 – Detroit, Ford Field
20 – Austin, Circuit Of The Americas

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Bring Me The Horizon’s Mat Nicholls makes surprise appearance on BBC Breakfast

Bring Me The Horizon drummer Mat Nicholls has made a surprise guest appearance on BBC Breakfast.

The sticksman turned up on the show to give some support to weatherman Owain Wyn Evans, who is currently training for a 24-hour drumathon for Children In Need.

In the clip, which you can watch below, Nicholls surprises Wyn Evans, who admits to being a massive BMTH fan, on set.


When asked how he thought Wyn Evans was doing in training, Nicholls replied: “I think he’s doing well, I think advice everyone has give you is good. Take it steady.”

Footage also recently surfaced of Wyn Evans performing BMTH’s ‘Kingslayer’.

Meanwhile, the Sheffield band recently covered 24kGoldn and Iann Dior‘s huge TikTok hit ‘Mood’ in the Radio 1 Live Lounge.

They have just finished up a huge UK arena tour in support of their new single ‘DiE4u’, the first part of the follow-up to 2020’s acclaimed ‘POST HUMAN: SURVIVAL HORROR‘ EP and mini album – with another record in the ‘POST HUMAN’ series to follow in early 2022.


Reviewing their recent show at The O2 in London, NME wrote: “Tonight was the moment they proved they could headline the big rooms and major festivals with the best of them.

“It’s shit like this that makes me think we’re in a simulation,” says Sykes as the crowd roar, hailing the show as a “dream come true” for him as and his mates to go from “nobody kids” to smashing The O2. We are ascending.”

Tom Morello also recently teamed up with the band for a brand new single called ‘Let’s Get The Party Started’.

The track features on Morello’s solo album ‘The Atlas Underground Fire’, which was released earlier this month and serves as the follow-up to 2018’s ‘The Atlas Underground’.

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Listen to Dave Gahan’s bluesy cover of ‘The Dark End Of The Street’

Dave Gahan & Soulsavers have shared their latest take from their forthcoming covers album ‘Imposter’.

The song, ‘The Dark End Of The Street’, which was originally written by Chips Moman and Dan Penn in 1966, has been covered by Aretha Franklin, Dolly Parton, Elvis Costello and Frank Black over the years.

Now, Gahan has put a bluesy spin on his cover with longtime collaborator Rich Machin. You can listen to it below.


The latest cover comes after they recently shared their rendition of Cat Power’s ‘Metal Heart’.

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‘Imposter’ was recorded and produced by Gahan and Machin in November 2019 at Rick Rubin’s Shangri-La studios in Malibu, California.

The Depeche Mode frontman recently explained to NME that the 12 selected tracks feel like they carry “a sense of wisdom and longevity that is just there in the song and very apparent in the voice”.

“There’s been some life lived,” Gahan said. “I don’t think I could have done this 20 years ago. A lot of songwriters will tell you this, but sometimes when you hear a certain song at a certain time of your life it just strikes a chord, and you feel like you know everything about the song, the person who wrote it, the idea and story behind it. This particular group of songs were from a much larger list, but they were songs and artists that Rich and I felt had changed the shape of our lives.”

He also confirmed that fans can expect to see some Soulsavers shows soon.


“Performance is a huge part of me,” he added. “I hope that there are going to be some pretty unique performances of this record, certainly in London. We’re planning a few things at the moment and it looks like we might be able to do that bubble thing for six weeks and do some special stuff there.

“I want to do performances where it’s like ‘An Evening With Imposter’. I hope we can pull it off because I really think it will be something special.”

Dave Gahan & Soulsavers will release ‘Imposter’ on November 12 via Columbia.

Depeche Mode, meanwhile, recently announced that they’ll be releasing a digitally restored and high-definition edition of their legendary 1989 concert film and documentary, Depeche Mode 101, on December 3.

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