The sun has fired up a few hundred residents of this, the world’s northernmost city, who have come together this Saturday morning to show solidarity for the Palestinian cause. Chants are led in turn by an impassioned Norwegian girl in a red ski jacket and a woman in plain black abaya. With a hand gripped tightly on a megaphone, she cries out for a “Free Palestine,” for “hands off Lebanon,” and a “ceasefire now.”

Placards are raised, and red roses are handed out to strangers by children as the protest walks at a mournful pace through the city’s only shopping street. American tourists who have traveled to look at or eat whales, or to capture the Northern Lights on their phones as they hike around a fjord, stare as if it’s the last thing they would expect to see 200 miles inside the Arctic Circle. In the distance, what were snow-covered mountains only yesterday have taken on the color of brightly-lit desert khaki, and are now almost completely bare.

Tromsø has been twinned with Gaza City since 2001, but its firm links to Palestine stretch back to the 1970s. The opening of its university attracted enough politically engaged international students to change a community’s mindset forever. Students continue to make up a quarter of the 80,000 population during term time. 

I am here to attend the annual Insomnia Festival in what is the techno capital of Norway. Since 2002, it has showcased Tromsø’s electronic producers, while also inviting experimental artists from around the globe to play to an open-minded crowd.

Filmmaker and Insomnia collaborator Mohammed Jabaly was only meant to have left Gaza for a one-month cultural exchange in 2014. Following the outbreak of the Gaza War, he suddenly found himself stateless in Tromsø, and cut off from his family—as documented in his movie, Life Is Beautiful: A Letter to Gaza. When I tell him I would have expected such a backwater to be conservative, he affirms the opposite: “My heart has broken so many times, but no matter how cold and dark this place gets—the people have only given me warmth and light.”

His involvement in this year’s festival has been understandably reduced: “I cannot bring myself to be part of any kind of festivities right now, with the scale of what is happening back home…” Mohammed drifts off silently before changing tack to the Sámi peoples of the region, an indigenous community who continue to fight for recognition, having only been granted a constitutional right to develop their language and culture in 1987. “As Palestinians, we recognise those that live through the world similarly to us, marginalized and experiencing genocide,” he says. “Like the Native Americans or the Irish—it’s all connected.”

The first day of Insomnia is an outdoor event focused on Sámi culture, named ‘Outsiders’ and organized by celebrated local music producer and DJ, Charlotte Bendiks. After putting on punk gigs as a 15-year-old in the late 90s, when she lived on her family sheep farm in a village of just 24 people, she moved away and has become a proud mouthpiece for Sámi identity abroad. “We honor and champion our roots in a way that older generations didn’t feel safe to do,” she says. Like Biosphere and Røyksopp—also born here—Bendiks’ music channels the space we inhabit within ourselves when traversing such landscapes at the edge of the world.

I walk up from a valley, to a clearing beneath what is considered to be a magic mountain, a scene of Pagan lore that is home to the deified Sámi reindeer. A thin gray mist wavers to the crunch of my footsteps and water rushing over rocks. After 2 kilometers, I hear the gentle thud of beats and see the dance of laser lights within a smoke-machine fog that rushes into the evergreen trees.

Youth of the region have increasingly sought to identify with the magic of their ancient culture. Two Sámi girls lie in the back of a van filled with piles of soft lamb skins. One with vivid red hair exhales thick smoke from her lungs that rushes to the open fire outside. What is it to be Sámi, I ask. “What is it to be human?” she responds, passing me the rolled cigarette. A small stage has been expertly covered by a skeletal frame of tree branches, lit up blood red. One of the organizers takes the microphone to welcome everyone present. A few hundred of us, drinking from cans of beer or locally produced mead, listen on. 

She talks of ancient forests, sacred peaks, and dancing rituals, as Bendiks sets up. The crowd are eager to whoop and skank spookily to her future-dancehall beats. Later, scene godfather Per Martinsen—who goes by the DJ alias Mental Overdrive and is one of the founders of Insomnia festival—plays heavy emotional techno, even veering towards psytrance as a man breathes fire with his top off. Anxiously, I scroll my phone to see a pop star’s apparent suicide battle it out for screen space with the execution of the leader of Hamas.

The remaining two days of the festival are held in one large building with three stages. A youthful crowd determined to dance is guzzling pints of lager. 

Berlin-based DAKN, a Palestinian rapper backed by his ally DJ Sami, discards his winter coat to get to business. His complex flows over UK-inspired beats hurtle from garage to grime, and get the crowd chanting out to the ‘Sound of Ramallah.’

Another highlight is The Gloria, who was born in a tiny village in the north of Italy. She spends much of her performance crawling around on broken glass and wailing into the microphone at the feet of the teenagers flailing to her powerful, demented techno. “I will never leave Tromsø because this is halfway to the post-human landscape that I dreamt of,” she announces to the crowd. “We can only be optimistic once we have killed half the world’s population.” I am not sure that the local tourist office will feature it on their posters, but in this context, it works.

In a quiet corner, a local resident tells me that horses and anyone who rides them signify evil, and that I should look up Ruohtta, the Sámi god of sickness and death. Instead, London-based Decius emerge with their ode to better days of walloping, spiraling hedonism. Frontman Lias Saoudi, also of Fat White Family, peels off his pervert’s Macintosh coat to reveal what looks like mismatched BDSM gear pulled from Berghain’s lost property box. His screaming and snotting over himself has the large crowd pogoing before long, and he laps it up.

Awk-rock act Slim0 tell me of their relief “to play a festival that openly declares solidarity with Palestine. It may not be that radical—but it is fucking rare.” The band sound like the kind that would’ve become cult-famous forever if Kurt Cobain had worn one of their T-shirts in the 1990s.

“It would be a dream, in a way, to travel to the West Coast of the US, where many of our influences come from,” their singing drummer tells me. “But I am conflicted and I am Iranian, so I am not even sure how that would work.” Their complaints of being racially profiled by security guards, searching for trouble where there is none in cahoots with Tromsø police, is a portent of the aggravation they might face on any trip Stateside.

Azemad, another Berlin resident born in Egypt, takes the crowd on a sonic journey of endless kicks and movie synths. It all collapses only to come back harder—808s and divine 909s uniting everyone as breathlessly it ends. The crowd is left in sudden emotional stasis, like tears in the rain.

As Indonesia’s friendly upstart—and festival highlight—Takkak Takkak takes to the stage, I recall what Charlotte Bendiks said earlier when I asked what makes the mountain we visited magical: “In Sámi culture, we never explain directly; we speak in riddles; it’s how we keep things mystical.” It makes sense as Takkak Takkak allies sordid bass with the weird synths of shamanic horror, in a confusingly warm orange blur. “This is my own decolonization process,” he laughs, referring to his sound. “I make music that frees me. As Asians we know that we do not have to play in Europe to impress anyone back home any more. Europeans are the only ones that cannot see how ‘over’ that already is.”

Festival closer Lord Spikeheart—formerly the singer in Duma, arguably Kenya’s greatest-ever electronic export—comes out to pulverizing gabber that grabs the crowd by the throat and chucks them to the wall. Delivering vocals in the guttural style of his Norwegian black metal heroes, Spikeheart’s performance is a punchy inferno that never lets up, shaking his dreads and booting bottles of water like a man trapped in a purgatory of his own making.

It is a ferocious end to a festival with no clear headliners or corporate sponsorship, a festival for the misfits and the marginalized. A celebration of the weird that continues to be solely driven by love in disheartening times.

Outside meanwhile, the sky emits a terrible electric green light.

Follow Frank L’Opez at Instagram

The post In the Arctic Circle, a Techno Festival on a Magic Mountain Rallied for Palestine appeared first on VICE.

McClellan’s incredible find came as he was cataloging collections, including vintage photographs and signed Picasso postcards, the New York Times reported. Upon finding a composition with the label: “apparently in Chopin’s hand, but unsigned.” At first, McClellan was unconvinced of its authenticity.

Per the museum, the manuscript, which is dated between 1830 and 1835, “has 24 notated measures that the pianist repeats once.”

“The beginning is remarkable: several moody, dissonant measures culminate in a loud outburst, before a melancholy melody begins. None of Chopin’s known waltzes start this way, making this one even more intriguing,” the museum wrote on Facebook. “Lasting about a minute, this is the shortest of his waltzes, but it shares the signature ‘tightness’ of his finished works.”

How the Composition Was Determined to Be Written by Chopin

McClellan teamed up with Chopin scholar Jeffrey Kallberg to analyze the paper, ink, style, and handwriting, the Times reported. After doing so, the men determined that the music was likely by the famed composer. It’s the first discovery of its kind in nearly 100 years.

“What we’re most certain about is it is written in the hand of Chopin, paper that he wrote on himself in his own hand,” McClellan told the BBC, adding that he’s “98 percent sure” that, not only is it Chopin’s handwriting, but also his composition.

“There are atypical aspects of the music, the kind of stormy opening is a little surprising but not entirely out of character,” he noted. “And then the melody really to me is where you feel that Chopin quality.”

The museum wrote that the composition, which is about the size of an index card, was likely meant as a gift for someone’s autograph album. While Chopin was known to sign such manuscripts, the museum noted that, because this one is unsigned, he likely changed his mind about gifting it and withheld it.

The post Lost Chopin Waltz Found on a Postcard, 200 Years After It Was Written appeared first on VICE.

The rapper—who operates his own cannabis brand called Khalifa Kush—even posted on X about the incident, acknowledging his mistake and highlighting the authorities’ respectfulness.

“​​Last nights show was amazing,” he wrote. “I didn’t mean any disrespect to the country of Romania by lighting up on stage. They were very respectful and let me go. I’ll be back soon. But without a big ass joint next time.”

However, that criminal investigation has just been completed, and Wiz Khalifa was officially indicted on drug charges in Romania. According to a press release published by the Directorate for the Investigation of Organized Crime and Terrorism (DICOT), the star had 18.53 grams of cannabis on him.

“Investigations revealed that during a performance at a music festival in the Costinești resort, Constanța County, he possessed more than 18 grams of cannabis (a risk drug) and consumed another quantity of cannabis on stage in the form of a hand-rolled cigarette,” DICOT stated.

Romania has some pretty strict laws against drugs, including cannabis. Marijuana is illegal there both for recreational and medical use. Needless to say, Wiz Khalifa’s possession of cannabis was a major offense in the country. 

When it comes to high-risk drugs—which Romania law considers cannabis to be—individuals could potentially face up to three years in prison, according to the European Union Drugs Agency.

Despite the charges, it’s unclear whether Wiz Khalifa will actually face trial or imprisonment, given the complexities of international extradition and the nature of the offense.

The post Romania Just Charged Wiz Khalifa Over a Joint He Smoked Onstage Last Summer appeared first on VICE.

“Abbey Road is one of the best albums that’s ever been made, and it sounds so good because of this recording console,” Dave Harries, who participated in numerous Beatles recording sessions with the console in the 1960s, said. “Because of the way that Abbey Road was recorded, the album has a distinctive sound that hallmarked the future of pop recording.”

In addition to recording Abbey Road at the namesake studio, all four members of The Beatles—John Lennon, Paul McCartney, George Harrison, and Ringo Starr—used the EMI TG12345 console for their solo projects. Afterwards, the console sat unused for five decades.

The console, which was custom-built by EMI Studios in 1968, was painstakingly and beautifully restored over five years by Beatles collaborator and engineer Brian Gibson.

The restoration team reunited the console with 70 percent of its original parts. They worked with British companies to reproduce faithful replacement parts as needed. Now, the console is now ready for decades more of recording.

“This particular console is a one-off. It’s unique. You can’t replace it,” Harries said. “It sounds so good that it holds up against any modern console and, in many respects, it’s probably better. Because in those days, it was built to a different standard—cost, no object. EMI built this to be the best in the world.”

A price for the console has yet to be announced.

The post The Beatles’ ‘Abbey Road’ Recording Console Is Up for Sale appeared first on VICE.

And that’s all super awesome for everyone, except for fans who were waiting for their paycheck to hit before they could get tickets. ‘Cause the Hit Me Hard and Soft Tour is sold the fuck out, from start to finish.

But just because you can’t get tickets from the Billie Eilish official website doesn’t mean you’re totally SOL. You can actually still get official tickets—and we’re about to tell you how.

How to get tickets to Billie Eilish’s Hit Me Hard And Soft Tour

Tickets to the Billie Eilish Hit Me Hard and Soft Tour are available via StubHub, where orders are 100% guaranteed through StubHub’s FanProtect program. StubHub is a secondary market ticketing platform, and prices may be higher or lower than face value, depending on demand.

You might also have luck finding tickets for the Hit Me Hard and Soft Tour at other secondary markets such as Ticketmaster, Vivid Seats, and SeatGeek.

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The Hit Me Hard and Soft Tour has already begun blasting through North America, so check the full tour routing to make sure Billie hasn’t already blown past you. The shots she’s posted from the shows thus far look craaazy—fans, don’t miss out.

Billie Eilish Hit Me Hard And SOft Tour Dates

• September 29: Québec City, Québec, Canada at Centre Videotron
• October 1: Toronto, Ontario, Canada at Scotiabank Arena
• October 2: Toronto, Ontario, Canada at Scotiabank Arena
• October 4: Baltimore, Maryland at CFG Bank Arena
• October 5: Philadelphia, Pennsylvania at Wells Fargo Center
• October 7: Detroit, Michigan at Little Caesars Arena
• October 9: Newark, New Jersey at Prudential Center
• October 11: Boston, Massachusetts at TD Garden
• October 13: Pittsburgh, Pennsylvania at PPG Paints Arena
• October 16: New York, New York at Madison Square Garden
• October 17: New York, New York at Madison Square Garden
• October 18: New York, New York at Madison Square Garden
• November 2: Atlanta, Georgia at State Farm Arena
• November 3: Atlanta, Georgia at State Farm Arena
• November 6: Nashville, Tennessee at Bridgestone Arena
• November 8: Cincinnati, Ohio at Heritage Bank Center
• November 10: Saint Paul, Minnesota at Xcel Energy Center
• November 11: Saint Paul, Minnesota at Xcel Energy Center
• November 13: Chicago, Illinois at United Center
• November 14: Chicago, Illinois at United Center
• November 16: Kansas City, Missouri at T-Mobile Center
• November 17: Omaha, Nebraska at CHI Health Center Omaha
• November 19: Denver, Colorado at Ball Arena
• November 20: Denver, Colorado at Ball Arena
• December 3: Vancouver, British Columbia, Canada at Rogers Arena
• December 5: Seattle, Washington at Climate Pledge Arena
• December 6: Seattle, Washington at Climate Pledge Arena
• December 8: Portland, Oregon at Moda Center
• December 10: San Jose, California at SAP Center at San Jose
• December 11: San Jose, California at SAP Center at San Jose
• December 13: Glendale, Arizona at Desert Diamond Arena
• December 15: Inglewood, California at Kia Forum
• December 16: Inglewood, California at Kia Forum
• December 17: Inglewood, California at Kia Forum
• February 18, 2025: Brisbane, Australia at Brisbane Entertainment Centre
• February 19, 2025: Brisbane, Australia at Brisbane Entertainment Centre
• February 21, 2025: Brisbane, Australia at Brisbane Entertainment Centre
• February 22, 2025: Brisbane, Australia at Brisbane Entertainment Centre
• February 24, 2025: Sydney, Australia at Qudos Bank Arena
• February 25, 2025: Sydney, Australia at Qudos Bank Arena
• February 27, 2025: Sydney, Australia at Qudos Bank Arena
• February 28, 2025: Sydney, Australia at Qudos Bank Arena
• March 4, 2025: Melbourne, Australia at Rod Laver Arena
• March 5, 2025: Melbourne, Australia at Rod Laver Arena
• March 7, 2025: Melbourne, Australia at Rod Laver Arena
• March 8, 2025: Melbourne, Australia at Rod Laver Arena
• April 23, 2025: Stockholm, Sweden at Avicii Arena
• April 24, 2025: Stockholm, Sweden at Avicii Arena
• April 26, 2025: Oslo, Norway at Telenor Arena
• April 28, 2025: Copenhagen, Denmark at Royal Arena
• April 29, 2025: Copenhagen, Denmark at Royal Arena
• May 2, 2025: Hanover, Germany at ZAG Arena
• May 4, 2025: Amsterdam, Netherlands at Ziggo Dome
• May 5, 2025: Amsterdam, Netherlands at Ziggo Dome
• May 7, 2025: Amsterdam, Netherlands at Ziggo Dome
• May 9, 2025: Berlin, Germany at Uber Arena
• May 29, 2025: Cologne, Germany at Lanxess Arena
• May 30, 2025: Cologne, Germany at Lanxess Arena
• June 1, 2025: Prague, Czechia at O2 Arena
• June 3, 2025: Kraków, Poland at Tauron Arena
• June 4, 2025: Kraków, Poland at Tauron Arena
• June 6, 2025: Vienna, Austria at Stadthalle
• June 8, 2025: Bologna, Italy at Unipol Arena
• June 10, 2025: Paris, France at Accor Arena
• June 11, 2025: Paris, France at Accor Arena
• June 14, 2025: Barcelona, Spain at Palau Sant Jordi
• June 15, 2025: Barcelona, Spain at Palau Sant Jordi
• July 7, 2025: Glasgow, United Kingdom at OVO Hydro
• July 8, 2025: Glasgow, United Kingdom at OVO Hydro
• July 10, 2025: London, United Kingdom at The O2
• July 11, 2025: London, United Kingdom at The O2
• July 13, 2025: London, United Kingdom at The O2
• July 14, 2025: London, United Kingdom at The O2
• July 16, 2025: London, United Kingdom at The O2
• July 17, 2025: London, United Kingdom at The O2
• July 19, 2025: Manchester, United Kingdom at Co-op Live
• July 20, 2025: Manchester, United Kingdom at Co-op Live
• July 22, 2025: Manchester, United Kingdom at Co-op Live
• July 23, 2025: Manchester, United Kingdom at Co-op Live
• July 26, 2025: Dublin, Ireland at 3Arena
• July 27, 2025: Dublin, Ireland at 3Arena

The post You Can Still Get Tickets to Billie Eilish’s Sold-Out Hit Me Hard and Soft Tour appeared first on VICE.

Enter the Sabrina Carpenter curse. Because, apparently, the “Espresso” singer is completely jinxing every team she shouts out.

Team England Falls Short in the EURO Cup

It’s hard to trace the roots of the Sabrina Carpenter curse, but many would point to this instance. Carpenter put on an England kit to rile up the fans as the soccer club was preparing for a Euro Cup final. The team fell 2-1 to Spain.

Carpenter had worn the jersey about a month prior to the game as England was fighting for its first Cup win in five decades. 

This “curse” origin may be a little loose, but it gains steam after seeing some of her more recent incidents. 

Toronto Maple Leafs Lose Opener 

One regular season game isn’t making or breaking an NHL team. For Toronto, though, expectations are high as they have Stanley Cup aspirations. Having an opener against rival Montreal should have been a cake walk.

Instead, they lost 1-0. 

Carpenter, you guessed it, sported a bedazzled Maple Leafs jersey that went viral on Sept. 26. Two weeks later was the opener, which went poorly. 

The Phillies Get Upset

Carpenter, who is from Pennsylvania, showed love to the Phillies as they entered the playoffs with a No. 2 seed and a first round bye. The team laid an egg against rival New York.

No one foresaw the Phillies being knocked out with so little fight… maybe we should have second guessed our confidence after Carpenter donned the red and white pinstripes, and even made an Instagram post in her stories about the team. 

That was a double-whammy curse. 

The Cowboys Get Embarrassed

The most recent example of how powerful the Sabrina Carpenter Curse is occurred on Sunday when the Dallas Cowboys were routed, 47-9, by the Detroit Lions. 

Carpenter didn’t sport a Dallas jersey, instead opting to flaunt a Cowboys sweatshirt. 

Her powers need to be stopped. She’s just too strong at this point. 

That being said, I wouldn’t mind if she tossed on a Kansas City Chiefs jersey anytime soon… 

The post The Sabrina Carpenter Curse Is Wrecking Sports Teams Worldwide appeared first on VICE.

The lawsuit accuses UMG of fraud, a breach of fiduciary duty, and a breach of contract. It also alleges that Universal’s software was intentionally designed to prevent artists from being paid the proper amount of royalties. If this turns out to be true, it could potentially affect hundreds of other artists.

Limp Bizkit was incredibly popular in the late 90s and early 2000s and has seen a massive resurgence in the streaming era. Their music has been streamed over 450 million times this year on Spotify alone. It was that resurgence in popularity that led Limp Bizkit frontman Fred Durst to wonder why the band hadn’t apparently received any royalties whatsoever from UMG. 

The Hollywood Reporter spoke to an agent for UMG, who said that Limp Bizkit was paid roughly $43 million in advances over the years. The band wasn’t supposed to receive any royalty checks until the advance was paid back—but it was paid back, thanks to all the royalties Limp Bizkit was making on Spotify. The software never switched to paying the band, though. The band says this error was “fraudulent.” Durst claims that by the time they discovered it, they were owed over $1 million in back royalties. 

UMG says such mistakes were one-off errors and has since paid the $1 million it owed. Nevertheless, the band is demanding an immediate jury trial.

The Guardian spoke with a former UMG executive named Jay Gilbert who says that while the lawsuit is huge and could have massive ramifications across the entire music industry, he ultimately believes the entire issue is more an accounting problem than a nefarious scheme to screw artists. “It sounded pretty damning and pretty heavy-handed, but in my experience, I think it’s something less dramatic,” he said. 

The post Limp Bizkit Sues Universal for $200 Million Over Unpaid Royalties appeared first on VICE.

My wife: “how much are we willing to spend on Oasis tickets?” 

My friend: “only 9,000 ppl ahead of me. Haha” 

What was everyone so worried about? The queue was moving FAST. 1431 gave way to 960 in seconds. 960 to 324. And then—just like that—I was in.

I found myself staring at an overhead map of a football field, with a little rectangular “stage” delineated just to the right of the 50-yard line. And that’s when the sweating began. I shakily clicked around as seat selections sunsetted from blue to orange. Why couldn’t I seem to select anything? Why couldn’t I figure out which were actually the good seats (side stage, either side—think, as near to the VIP as possible) and which were the bad? 

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Entire sections went solid orange before my very eyes. I was losing focus. Panicking. “Fuck it,” I said out loud, and I clicked. Right smack in the middle of that football field. GA it is! Never mind my lower back pain, distaste for crowds, and my wife’s plans to be pregnant in September 2025—huge Millennial problems—thirteen minutes (and $505.52 USD) later, I was seeing the OASIS tour.

I desperately hope to see you there. Really, I pray for the hordes of devoted fans I left behind in the queue. The ones who didn’t even have to Google the answers to the gatekeep-y trivia questions. The ones who favor The Masterplan over What’s The Story (Morning Glory). And yes, the ones who were actual sentient adults when Oasis made their impact on rock ’n’ roll history with their arguably-derivative-yet-irresistibly-catchy and delightfully chant-able anthems.

What’s that you say? I won’t be seeing you there? Because you are one of these unlucky few? One of these missing-in-action cases from the queue? Oh. Oh dear. It seems we lost a lot of good people out there.

Even though you might be feeling like all is lost, and that you’ve totally blown your chance to see this legendary reunion in person, there actually one more thing you can do. Go to StubHub and find your local stop. Select your seats. Smash that “Buy” button. And pray for better luck next time.

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Maybe I’ll be seeing you there after all. You can thank me in person.

Oasis Live ’25 Tour Dates

• 07/04 — Cardiff, United Kingdom @ Principality Stadium
• 07/05 — Cardiff, United Kingdom @ Principality Stadium
• 07/11 — Manchester, United Kingdom @ Heaton Park
• 07/12 — Manchester, United Kingdom @ Heaton Park
• 07/16 — Manchester, United Kingdom @ Heaton Park
• 07/19 — Manchester, United Kingdom @ Heaton Park
• 07/20 — Manchester, United Kingdom @ Heaton Park
• 07/25 — London, United Kingdom @ Wembley Stadium
• 07/26 — London, United Kingdom @ Wembley Stadium
• 07/30 — London, United Kingdom @ Wembley Stadium
• 08/02 — London, United Kingdom @ Wembley Stadium
• 08/03 — London, United Kingdom @ Wembley Stadium
• 08/08 — Edinburgh, United Kingdom @ Scottish Gas Murrayfield Stadium
• 08/09 — Edinburgh, United Kingdom @ Scottish Gas Murrayfield Stadium
• 08/12 — Edinburgh, United Kingdom @ Scottish Gas Murrayfield Stadium
• 08/16 — Dublin, Ireland @ Croke Park
• 08/17 — Dublin, Ireland @ Croke Park
• 08/24 – Toronto, ON @ Rogers Stadium
• 08/25 – Toronto, ON @ Rogers Stadium
• 08/28 – Chicago, IL @ Soldier Field
• 08/31 – E. Rutherford, NJ @ MetLife Stadium
• 09/01 – E. Rutherford, NJ @ MetLife Stadium
• 09/06 – Los Angeles, CA @ Rose Bowl
• 09/07 – Los Angeles, CA @ Rose Bowl
• 09/12 – Mexico City, Mexico @ Estadio GNP Seguros
• 09/13 – Mexico City, Mexico @ Estadio GNP Seguros
• 09/27 — London, United Kingdom @ Wembley Stadium
• 09/28 — London, United Kingdom @ Wembley Stadium

The post Stop Crying Your Heart Out: How You Can Still Get Oasis Tickets [2025 Tour] appeared first on VICE.

A former hairstylist and makeup artist for the country music star, identified as “Jane Roe” in the lawsuit, accused Brooks of raping her in a Los Angeles hotel room on a work trip in May 2019.

The alleged rape occurred during a work trip for a Grammy tribute event. According to the suit, obtained by CNN: “Once in Los Angeles at the hotel, Ms. Roe could not believe that Brooks had booked a hotel suite with one bedroom and she did not have a separate room.” 

The suit goes on to say that Brooks came out of the bathroom completely undressed and exposed and forced himself onto her.

The plaintiff made additional accusations that Brooks repeatedly exposed himself to the woman, sent explicit text messages, groped her while she worked on his hair and makeup, forced other unwanted touching, and openly discussed his sexual fantasies with her.

In the suit, the woman said she began working for Brooks in 2017. She previously had styled his wife, fellow country singer Trisha Yearwood, as far back as 1999. She alleges that Brooks took advantage of her financial difficulties in 2019 by offering her more work, which led to increased sexual misconduct.

She is represented by Douglas Wigdor, who is known to file several lawsuits against Harvey Weinstein. The legal team provided a statement to USA Today. 

“We are confident that Brooks will be held accountable for his actions and his efforts to silence our client through the filing of a preemptive complaint in Mississippi was nothing other than an act of desperation and attempted intimidation. We encourage others who may have been victimized to contact us as no survivor should suffer in silence.”

In a statement, Brooks said, “I have been hassled to no end with threats, lies, and tragic tales of what my future would be if I did not write a check for many millions of dollars. It has been like having a loaded gun waved in my face.”

In September, he says, he filed a lawsuit under the name John Doe in September against the woman. In that suit, Variety reports that the plaintiff said “the woman threatened to ruin his reputation by filing a sexual abuse lawsuit unless he gave her a multimillion dollar payout.”

The post Garth Brooks Accused of Rape appeared first on VICE.

According to the latter outlet, the deal resulted from years of disagreements between songwriters David Gilmour and Roger Waters. Drummer Nick Mason, as well as the estates of keyboardist Richard Wright and singer-songwriter Roger “Syd” Barrett, also had to OK the sale.

As for what Sony will get for its $400 million, the outlet reported that the deal includes recorded-music rights but not songwriting, which is still held by the individual writers. Name-and-likeness rights—which includes merchandise and theatrical rights—and their album artwork are also included in the sale, Variety reported.

The outlet additionally reported that “there seems little question” that Waters’ controversial comments in support of Russia and against Israel “devalued” Pink Floyd’s catalog, which had a rumored asking price of $500 million. Waters’ statements are also said to have stymied a near-closed deal for the catalog back in 2022.

In an interview with Rolling Stone last month, Gilmour explained why he was eager to sell his life’s work.

“To be rid of the decision-making and the arguments that are involved with keeping it going is my dream,” he said. “I’m not interested in that from a financial standpoint. I’m only interested in… getting out of the mud bath that it has been quite a while.”

Regarding his infighting with Waters, Gilmour told the outlet, “It’s boring. It’s over. As I said before, he left our pop group when I was in my 30s and I’m a pretty old chap now… It seems so totally irrelevant to me now.… People talk about ‘the battle,’ but to me, it’s a one way thing that’s been going on since he left, with different levels of intensity.”

The men formed Pink Floyd in the 1960s. Throughout its tenure, the band, who has been inducted into the Rock & Roll Hall of Fame, sold more than 250 million albums, most notably The Dark Side of the Moon, The Wall, and Wish You Were Here.

The music catalog sales market has seen significant growth in recent years, partly thanks to the growth of music streaming, with high-profile deals for both newer and old acts. Bruce Springsteen sold his music catalog to Sony for an estimated $550 million in 2021, for instance, while Katy Perry and Justin Bieber sold theirs for $225 million and about $200 million, respectively, in 2023.

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