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<title>María Zardoya and Role Model Met Onstage. Now They’re Bonding Over Breaking Out in 2025</title>
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<category><![CDATA[Musicians on Musicians 2025]]></category>
<category><![CDATA[Role Model]]></category>
<category><![CDATA[The Marias]]></category>
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<description><![CDATA[W hen two people hang out for the first time, there usually aren’t thousands of screaming fans watching. But that’s exactly what happened when singer-songwriter Tucker Pillsbury, who goes by Role Model, crossed paths with María Zardoya, the introspective frontwoman of the Marías and the brains behind the solo project Not for Radio. The rising […]
The post <a rel="nofollow" href="https://music-times.net/maria-zardoya-and-role-model-met-onstage-now-theyre-bonding-over-breaking-out-in-2025/">María Zardoya and Role Model Met Onstage. Now They’re Bonding Over Breaking Out in 2025</a> appeared first on <a rel="nofollow" href="https://music-times.net">Music Times</a>.
]]></description>
<content:encoded><![CDATA[<div>

 
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hen two people hang out for the first time, there usually aren’t thousands of screaming fans watching. But that’s exactly what happened when singer-songwriter Tucker Pillsbury, who goes by Role Model, crossed paths with María Zardoya, the introspective frontwoman of the Marías and the brains behind the solo project Not for Radio. 

The rising stars were performing at Hinterland Music Festival in Iowa this August when Role Model invited Zardoya onstage for “Sally, When the Wine Runs Out.” He’s made it a tradition to bring out different celebrities for the song’s bridge — the list so far includes Charli XCX, Natalie Portman, and his mom, among many others — and he decided Zardoya would make the perfect Sally that afternoon. Even though they didn’t really know each other, Zardoya was game, and she hopped out in a black skirt, twirling around for a delighted crowd.

If Role Model really thinks back, he’s pretty sure he’d met Zardoya at a bar in Los Angeles a year or so before, but she doesn’t really remember. (“You know it’s dark in there,” she offers.) The two have texted a bit after their onstage encounter, but they haven’t had much time to get to know each other. That changes when they sit down to talk at New York’s Electric Lady Studios early one afternoon in October for their Musicians on Musicians digital cover, a day before they perform at a sold-out Musicians on Musicians event at the Beacon Theatre.

In many ways, it feels like the artists have been on parallel paths. They each count 2025 as a whirlwind year, thanks to wildly successful albums and viral songs that have sent them tumbling into the zeitgeist. Zardoya and her band, the Marías, rode a seismic wave after their 2024 album, Submarine; it spun off the dreamy hit “No One Noticed” and this Spring’s aching B side “Back to Me,” leading to major performances at Coachella and on Jimmy Kimmel. This fall, Zardoya stepped out on her own, releasing her solo debut album, Melt, under the moniker Not for Radio. Role Model, meanwhile, has been busy selling out stages worldwide during his global No Place Like Tour, which kicked off last November. Fans have kept flocking to his 2024 album, Kansas Anymore, a deeply melodic journey through heartbreak and growing up. The deluxe edition, which came out in February, includes the now-ubiquitous “Sally,” a bouncy pop-rock anthem that climbed the charts in the U.S. and Canada.
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There are smaller, more intimate similarities: As they talk, they realize they’re both nature kids who grew up loving the outdoors; they’re both visual thinkers and former film students; and they both know a thing or two about heartache, having gone through public breakups immortalized on some of their most crushing songs. (Zardoya split from Josh Conway, with whom she founded the Marías, before releasing Submarine, while Role Model and influencer Emma Chamberlain ended a three-year relationship in 2023.) Zardoya and Role Model both understand what it means to spend years laying the groundwork for their careers before enjoying massive breakout moments.
Toward the end of the conversation, Zardoya looks down at her wrist and realizes she forgot a very special bracelet: “I should have worn it!” she says. “There was a fan at the show that I was Sally at that gave me a Sally bracelet.” 

“What the hell? You haven’t been wearing it every day?” Role Model jokes. 

“It was really cute beads,” Zardoya tells him. “So I’m really grateful for that moment.” The two thank each other — and make plans for a nature walk.

Role Model: I didn’t know you were born in Puerto Rico. How long were you there, until what age?

Zardoya: I was there until I was four. And then my mom wanted the family to move to the States. So my dad brought out a map and told my mom to close her eyes and to point anywhere on the map. She closed her eyes and pointed to Albuquerque, New Mexico. We were there eight months, and my mom was like, “I can’t do this. I need more green, more nature,” because where we’re from in Puerto Rico is basically a rainforest. And my dad’s brother lived in Georgia and said, “Come to Georgia. There’s a lot of green.” So my parents packed up the family and we moved from Albuquerque to a small town in Georgia.
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Role Model: That is very romantic. Also, going from a rainforest to New Mexico is insane.

Zardoya: Yeah, jarring. I don’t think they knew what it was going to be like. What about you? 

Role Model: I was born and raised in Maine, sort of like a rainforest, but not. It’s just very green, and I grew up outdoors a lot. I can imagine you probably did too.

Zardoya: Yeah, same. What would you do outdoors when you were a kid?
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Watch the video interview below </h2>
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Role Model: Maine is nice because you have beaches. You have the coast, but you also have mountains, and you have fields and farms, and lakes, and everything is very much in walking distance to each other. You know when you’re with your friends and you’re outside and you are just making things up the whole time?

Zardoya: Yeah.

Role Model: You’re like, “These are my superpowers …”

Zardoya: What were your superpowers?

Role Model: I think flying was a consistent one.

Zardoya: Nice.

Role Model: Flying was a big one. I think invisibility was another classic. What would your superpowers be?

Zardoya: Talking to animals.

Role Model: I feel like you can just kind of do that.

Zardoya: I mean, yes, but I think talking to animals and talking to plants — you can have kind of one-sided conversations with them, but I would love to be like, “How are you feeling today?”

Role Model: That would be amazing.
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Zardoya: When I was little, my friends and I would just go into the woods. There were the woods behind my house with a creek, and I would play the nature tour guide. So I’d be like, “So this tree has been here hundreds of years.”

Role Model: You’re like a young David Attenborough.

Zardoya: [Laughs.] Yeah.

Role Model: I love that. Did you used to make fairy houses?

Zardoya: No, but I have a fairy house now as an adult, so I’m happy about that. So I’m going to ask you the first question that I asked Finneas [O’Connell]. What’s your favorite thing about your least favorite person?

Role Model: My favorite thing about my least favorite person? Well, let me think about my least favorite person.

Zardoya: It could be somebody that you know or somebody that you don’t know that you see from afar.

Role Model: Oh, man. I feel like I don’t hate anyone enough. Do you have an answer for that? What was Finneas’ answer?

Zardoya: I think it was something about how bald they were, or something about somebody’s hair, if I recall.

Role Model: He brought up Jeff Bezos, and he was like, “I like that he has no hair.” You don’t have to say nothing, but do you have someone that comes to mind?

Zardoya: Let’s see who my least favorite person right now is … I don’t know. Their strong will and tenacity.

Role Model: I love that. But I have a question. I spent my whole flight [here] making questions. Mine is more music-related. Maybe that’s less fun.
<div class="post-content-image // ">
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</div><figcaption class="c-figcaption lrv-u-flex lrv-u-flex-direction-column lrv-u-align-items-center">
</figcaption>Zardoya: Dress by De La Vali. Role Model: DUNST jacket by Dunst. Shirt by Saint Laurent. Jeans by Our Legacy.</figure>
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Zardoya: No, that’s totally fine.

Role Model: OK. Well, I watched your Variety video for Behind the Song, and you said that the virality of “No One Noticed” made you disconnect from the song a little bit. The videos that people were making, and I’m sure the edit where they put, I don’t know the other song … Blueface over yours.

Zardoya: Yeah. The first few times that I sang that song live, it was really hard for me. I would get teary-eyed because I still had this emotional connection to the song and to the situation that happened that inspired it. But the more that I played it, and then the more that I saw how fans connected to it and the looks on their faces and how they were moving to it, and then seeing the edits … It became more how the fans connected to it and how endearing that was, and less about how I felt about the song. They almost took the pain away.

Role Model: That’s beautiful. I love that.… It’s hard to get emotional singing it when the crowd is like [starts singing].

Zardoya: Yeah, exactly, exactly, exactly. What about for you? Has there been a song or songs that have been really emotional and difficult for you to play that have gotten easier because of how the fan response has been towards those songs?
Role Model: I don’t think that’s happened to me yet. I’m trying to think.

Zardoya: So you still get emotional when you play those songs?

Role Model: I guess maybe “Some Protector.” When we do that, the bridge of that song is a moment. And I used to get kind of emotional and really belt that part of the song. And I guess I still do, but I think in the same way, there’s less emotion, because now I look down for some reason. It’s a theme now for all of the barricade to be headbanging to the point that they’re snapping their necks. So similar thing, I guess it’s like the emotion is gone, but it’s still just …

Zardoya: How can you cry when you’re hoping that the fans don’t break their necks?

Role Model: I know. It’s insane. It’s violent. So it’s hard for me to get in the place of my head, but it’s fun to watch. I think it’s a good thing.

Zardoya: That’s one of my favorite songs of yours.

Role Model: Thank you.

Zardoya: I think one of my favorite things about being in a relationship is feeling protected. I’m very much a scaredy-cat. And sometimes I’m just scared to be alone at night.… What was the last thing that made you cry?
<blockquote class="pullquote larva // lrv-a-font-theme-primary lrv-u-border-b-2 lrv-u-border-t-2 lrv-u-margin-a-00 lrv-u-text-align-center u-font-size-60 u-line-height-56 u-padding-b-175 u-padding-t-175 u-padding-lr-2@tablet lrv-a-font-secondary-xxl ">

“The first few times I sang it live, I would get teary-eyed because I still had this emotional connection to what inspired it. Later, it became more about how the fans connected to it.”
<cite>María Zardoya on “No One Noticed”</cite></blockquote>

Role Model: I just watched Sorry, Baby, Eva Victor’s movie. I watched it on the plane. And it’s really good. I watched it twice. The first time, it made me cry. <s>I</s>t was very much about a woman’s journey through something really dark that happened to her. I think it was really good writing. But it’s an amazing movie, and I haven’t cried from a movie in a while. What’s the last thing that made you cry?

Zardoya: My mom just saw her grandson for the first time in a long time. And my brother sent me a video of their reunion, and it was really, really sweet, and I cried.

Role Model: Got it. So you’re an auntie?

Zardoya: Yeah, I am. I’m a tia, titi.

Role Model: How does it feel to be an auntie? I’m about to be an uncle for the first time.

Zardoya: Oh, congrats. “About to be.” So when’s the baby due?

Role Model: In January. My sister’s having a child, and I’m excited. Do you have any tips on being an uncle or aunt?

Zardoya: Yes. Everywhere that I travel on tour, I’ll get a postcard, and I’ll send it to my nephew, or little gifts. We were just in Latin America, and so in every single country that we went to, I would get the typical candy from all the different countries and chips and things. And then I made him a package when I got home, and was like, “OK, these are from Colombia, these are from Mexico.”

Role Model: That’s so cute. I fully had an aunt that did exactly that. She would travel the world, and then come back and be like, “Here’s this from Denmark.”

Zardoya: That’s what I recommend. When you’re on tour, just write postcards.

Role Model: OK. Well, I have to do that now. This is good. I have other questions. In interviews, you’ve talked about drug use. You’ve talked about doing acid while making music, which I’m fascinated by, and I just want to know what that’s like, because I’m too scared of most drugs to do them. Do you do it to help write? Because your music is very drug-inducing. That’s all I need. I don’t need to go do acid or nothing. I can just put on the Marías or Not for Radio.

Zardoya: Thank you. I’ll take that as a compliment.

Role Model: It’s amazing to make someone feel like they’re floating. That is incredible. But I’m curious, what is that like to be in the studio making music [on drugs]?

Zardoya: We’ve written songs microdosing on mushrooms, and then we’ve written songs on acid where we had an engineer [helping] us. We didn’t really like anything that we made when we were tripping. I think our favorite thing is making the music and then tripping and listening back, because you can really hear so many layers and the tones and the textures. One of my favorite things to do when I’m tripping is listening to music on headphones. And then I’ll pull out my notebook and make a diagram of all the sounds that I hear. Then when we’re making music, I’m like, “I want to have that same sort of richness and have this diagram of sounds that I’ve heard listening to other songs while tripping.”
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</figcaption>Boots by Our Legacy.</figure>
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Role Model: That seems more achievable for me, if I were ever to experiment. Do it outside of the studio, and then just come in and talk about it.

Zardoya: Or listening back or listening to music while doing it, and then taking those observations that you’ve learned from other music that you’ve listened to while tripping into the studio.

Role Model: Wow. If I ever do it, would you be my guide in the studio?

Zardoya: I would love to.

Role Model: Would you be fanning me while I’m on my phone writing lyrics?

Zardoya: You won’t be on your phone. Trust me. You won’t even want to look at your phone. You’ll look at your phone and be like, “Nah, nah, nah, nah.” But yeah, I’d love to be a guide.

Role Model: Wow. Have you ever done ayahuasca?

Zardoya: No. I would never do that.

Role Model: Really? That scares me.

Zardoya: That scares me as well.

Role Model: Anything where it could completely shift … I like the way my brain works. There’s a lot of fucked-up parts to it and weird flaws and stuff, but I like generally how my brain works. And I’d be so scared that it would just switch one day, and I’d be like, “I think I’m done with music. I think I want to be a rock climber.”

Zardoya: That can happen without tripping. I think one of my favorite things about just being out in nature in general is just how it feels like you’re tripping without needing to trip. I think you can have a profound moment where you’re like, “I want to leave everything and go do something else,” without even having to trip. Just being out and observing a tree, and you’re like, “You know what?”

Role Model: I do feel like the closest things I’ve had to any sort of breakthrough or epiphanies have been from being outdoors. And it’s for sure my happy place.

Zardoya: Where’s your favorite place to be while listening to music? A new album comes out, you want to hear it for the first time, or you want to hear mixes to your own album, where do you like to be?
<blockquote class="pullquote larva // lrv-a-font-theme-primary lrv-u-border-b-2 lrv-u-border-t-2 lrv-u-margin-a-00 lrv-u-text-align-center u-font-size-60 u-line-height-56 u-padding-b-175 u-padding-t-175 u-padding-lr-2@tablet lrv-a-font-secondary-xxl ">

“I’ll be so attached to a [lyric] that I’m like, ‘This is just a part of making music.’ You might hurt someone’s feelings but it’s your perspective.”
<cite>Role Model on writing lyrics about real life</cite></blockquote>

Role Model: My car. I love to be driving. And that’s pretty much the only time I’ll be listening to my music, especially back home. I love that in different environments music can sound different, feel different, or you’ll have new epiphanies that you didn’t have before listening to it. Driving through New Mexico, it might be different.

Zardoya: We call that a car check. You do that too? Car-check the mixes?

Role Model: Who used to talk about that? There used to be a show. I think it was Mac Miller [who] had an MTV show. Every time they’d leave the studio, they’d do a car check and then go listen to everything in the car, and then go back in the studio. Do you do that? Do you step out of the studio and go back in?

Zardoya: Oh, yeah. We’ll do a car check. We’ll go on a drive, listen to the mixes and have so many notes, go back to the studio, apply the notes. Go do another car check, come back in the studio.

Role Model: Is it you with the whole band, or you and Josh?

Zardoya: We did that for the Not for Radio album.

Role Model: I have questions about this. So you started the solo project, Not for Radio. First of all, when did you know you were going to do that?

Zardoya: We were in Mexico, playing some shows with the Marías. I was like, “I think I want to put myself in a really uncomfortable situation and try to make music outside of the band. And I think I want to go somewhere really cold and snowy. Maybe upstate New York.”

Role Model: Wow. Do you feel like being in that new environment helped create …

Zardoya: Definitely. I had made music with the Marías in L.A. for so long. And I’m an island girlie. I’m from Puerto Rico. I love the warmth. And I wanted intentionally to be uncomfortable and see what would happen from that discomfort. So, yeah, I was like, “I want to go somewhere really, really cold.”

Role Model: I love that. Were you uncomfortable?

Zardoya: I was very uncomfortable, but I was very comfortable in the discomfort. What about you? Does your environment dictate the music that you make? And have you made it in different climates and environments?

Role Model: Yeah. I think so. I found that the people matter the most, and then the environment for sure helps. Being in New York helps, just because you’re walking to the studio, you’re walking around all day, you see things. Whereas in L.A., the day I have a studio session, the whole morning leading up to that, there’s no real experiences aside from driving to the studio and walking in. I like getting out of that cycle that I sometimes get stuck in in L.A. I’d love to write in Maine. I haven’t done that yet, so that’s a goal.

Zardoya: Oh, you absolutely should. Where do you want to write your next album?

Role Model: I’ve started it.
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Zardoya: Have you?

Role Model: I started it in L.A. And actually, Jack Antonoff has a studio there, a new studio, Tamarind.

Zardoya: It’s the sister studio to Electric Lady.

Role Model: That’s what I’ve heard. I didn’t know if it was a sister or cousin or what it was—

Zardoya: In the family.

Role Model: It’s in the family. And it was incredible. We started it there, and in two weeks made more progress than I made in a year on the last project. So it’s fun. I feel inspired. I’m sure I’ll hit a wall here soon, where I’m going to be like, “All right, let’s go to upstate New York or do something different.”

Zardoya: Go to Maine.

Role Model: Or go to Maine.

Zardoya: You can take your rig and set it up somewhere.

Role Model: Set up a little hut.

Zardoya: Is your family still in Maine?

Role Model: Yeah, my whole family. Which is nice because then I can just see everyone when I go back.

Zardoya: Do you have a concept for your next album? Or do you have something in mind and then you’re like, “I want it to sound a certain way. I want it to have this aesthetic sort of world?”

Role Model: That happened. I wasn’t writing for a while. I was literally just like, “I know what I want it to sound like and I know what I want it to look like.” And so, while I was stuck on what I wanted to talk about, I made a folder on my phone of just mood board stuff, visuals. Then I made a playlist of very precisely what I wanted everything to sound like and take little things from. And then as soon as inspiration hit for writing and what I wanted to talk about, I think that’s why it was quicker. I wasn’t throwing paint at the wall, really, which was nice. Do you do that? I feel like you’re a big mood boarder.

Zardoya: Yeah.

Role Model: I feel like you’re a Pinterest girl.

Zardoya: I am. I’m still a Tumblr girlie, too. There’s some good stuff on there, still. I like to see everything I think before going into the studio. I’ve done it both ways, but I think I prefer what you just mentioned, going in with the visual ideas and how you want it to sound and what textures you want in the music, and going in with an intention. I think it comes together more cohesively, and in a good way, gives you bounds to work within. Because if it was boundless, then you’re just throwing paint to the wall without really knowing. But if you give yourself some sort of parameters to work within, then you’re more focused.
<blockquote class="pullquote larva // lrv-a-font-theme-primary lrv-u-border-b-2 lrv-u-border-t-2 lrv-u-margin-a-00 lrv-u-text-align-center u-font-size-60 u-line-height-56 u-padding-b-175 u-padding-t-175 u-padding-lr-2@tablet lrv-a-font-secondary-xxl ">

“[The band’s] favorite thing is making music and then tripping and listening back. You can hear so many layers and tones and textures.”
<cite>María Zardoya</cite></blockquote>

Role Model: I’m just learning that now. Wait, on the note of Tumblr, Pinterest — maybe this ends in a question, it’s more of a compliment. But you are a branding dream, and it seems intentional. From the music to everything you post, and aesthetically, and everything you wear, and the cover art … You’re at this point where I could see someone on the street wearing an outfit and be like, “That’s very Marías.” You’ve become now an adjective, which I feel like is very hard to achieve.

Zardoya: People experience music in so many different ways that a lot of it is visual and a lot of it is tactile, too, of all of your different senses. So at least that’s how I experience music. When I put on my headphones and go outside, I like to visualize. Even when I close my eyes, I see visuals.

Role Model: It’s because we studied film.

Zardoya: What’s your go-to to shut your brain off, whether it’s a book or a movie or a show?

Role Model: Well, it used to be The Office.

Zardoya: They took it off of Netflix, and I was like, “I need to find a new wind-down show.” Because then you can’t skip the intro, and the intro is so loud. It wakes you back up.

Role Model: For sure. Yeah. Whoever mixed that show somehow got the intro music way up here and dialogue down here. Yeah, The Office is gone. I like Parks and Rec. Things that I’ve seen a million times over is good because I don’t have to be like, “Where’s this going?” It’s just empty up here. 

Zardoya: Same. I feel the same way.

Role Model: What’s your other one aside from The Office?

Zardoya: The Great British Baking Show.

Role Model: I had a phase of that.

Zardoya: Yeah. I watch it every night. What’s something that’s happened in your career that you’d want to relive, maybe while you were writing a song that you had a gut reaction to that came out of nowhere, or a show or a fan response?

Role Model: I think anytime you figure out a bridge is the greatest release of dopamine ever for me. Because usually that’s always the last thing, and sometimes weeks go by where you’re like, “Whatever.” So anytime I’ve ever written a bridge that I’m proud of …

Zardoya: What’s your favorite bridge that you’ve written?

Role Model: That’s a good question. It’s probably “Some Protector,” to be honest. What about you? 

Zardoya: Probably the “No One Noticed” bridge. [Sings] “Come on, don’t leave me.”

Role Model: [Sings] “It can’t be that easy, babe.”

Zardoya: I had to pee. I went to the bathroom. And then I was in the bathroom, and then I just started singing that, and the lyrics came out, too. I walked out and I was like [to producer Luca Buccellati], “Luca, I don’t know. I’m singing this thing.” He’s like, “Let’s try it. Let’s see where it works in a song.”
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Role Model: It puts me on an island every time I hear that part of the song. You said that sometimes you write a hundred melodies over the same chords, which I very much identify with.… For me, it just comes from not knowing many chords, because what I’ll do is I’ll play the stupid little chords that I know, and I’ll write a song. And then I’ll bring the song to someone like [collaborators] Mason Stoops or Noah Conrad and be like, “Can you find cooler chords for this?” Do you do that?

Zardoya: I’m the same way. Especially in guitar, there’s these same four or five chords: The “No One Noticed” chords, the “Sienna” chords, the “Nobody New” chords. They just inspire something in me. And then I’ll take it to Josh, or whoever I’m working with. Josh is so great with coming up with different chords and weird chords. He’s like the chord master.… And then that usually inspires another melody and other parts of the song. Do you usually start on guitar?

Role Model: Yeah. And it’s just the dumbest chords. I’m always like, “Someone can do this better.”

Zardoya: But you need just four basic chords to write anything. So I need to know everything about Sally. Who is Sally, first? Well, okay. Sorry. Okay, is Sally —

Role Model: There’s nobody named Sally.

Zardoya: Alright. Let’s talk about “Sally.” I want to know everything. How did the song come to be? And how and when did you decide, “I’m going to bring out a Sally with me at all these shows?”

Role Model: That’s kind of how we first met.

Zardoya: That is.

Role Model: The song came about because I was in deluxe [album] mode and writing the songs. And I brought in this girl, Annika Bennett, who’s an amazing artist, but also a songwriter. I wanted her to do backing vocals on another song of mine and thinking that was going to take hours. It took 10 minutes. And so, we were just sitting there, and we were like, “Should we make a song just for fun and mess around?” And then as far as bringing Sallys out …

Zardoya: Who was the first?

Role Model: So we put out the deluxe, and then a week later, I started my U.S. tour. The first two shows, I just performed the song normally. And then we got to Dallas, and there was some weird joke online that “Sally” was about Jake Shane. Do you know who Jake Shane is?

Zardoya: No.

Role Model: He’s a podcaster and an internet guy. He’s going to kill me for saying that. But there was a weird joke online that the song was about him, and he happened to be in Dallas. And I was like, “Do you want to come out for the song and just play into this and just dance around?” And he did, and people loved it. And then it just sparked a thing where I was like, “This would be fun to do with someone from the crowd every night.” The first one was this little kid named Finn in Austin, and it was the best thing ever.

Zardoya: Who’s been your favorite Sally?

Role Model: [Points to Zardoya.]

Zardoya: Thank you. Good answer.

Role Model: Miss Maria. It’s always cool to just meet someone for the first time in front of a crowd of people, but I was really happy you did it. And I didn’t think you actually would.

Zardoya: I’m very happy as well. Thank you. Thanks for inviting me to do that.

Role Model: And I met the band boys after [at Hinterland], and they’re so nice. They’re very sweet. It feels like you have a lot of just brothers around you that are very protective. 

Zardoya: They are. They take really, really good care of me on tour. They’re the sweetest, sweetest. Josh, Eddie, and Jessie are just the sweetest. They are like my brothers.… We do these band-bonding experiences. We’ve done acid together as band bonding. We’ve done mushrooms together as a band bonding, and we went skydiving together as a band-bonding experience.

Role Model: Hold on, back up. Where did you go skydiving?

Zardoya: Somewhere outside of L.A. It was Josh’s idea, because Josh is the adrenaline junkie of the band. Eddie and I are the anxious ones of the band. So I think we stayed up all night just like, “Oh, my gosh, oh, my gosh. What are we doing? What are we doing?” But we all loved it.
<blockquote class="pullquote larva // lrv-a-font-theme-primary lrv-u-border-b-2 lrv-u-border-t-2 lrv-u-margin-a-00 lrv-u-text-align-center u-font-size-60 u-line-height-56 u-padding-b-175 u-padding-t-175 u-padding-lr-2@tablet lrv-a-font-secondary-xxl ">

“We started it and in two weeks we made more progress than I made in a year on the last project. I feel inspired.”
<cite>Role Model on his next album</cite></blockquote>

Role Model: Wait,I have question about that. I don’t know if I… It’s public that you dated Josh?

Zardoya: Yeah.
Role Model: If you go through a breakup, or when you went through a breakup, how quickly are you … your pen starts going. Is it immediate or are you like …?

Zardoya: It’s not immediate, because in the immediacy I just go into fight-or-flight. I go into survival mode of, “OK, I need to get over this breakup. I need to figure out who I am outside of this breakup.” So it just goes into, quote-unquote, self-work and self-exploration. At least that’s how it was before writing Submarine. I needed time to process. Once I took the time to process everything and process my emotions and talking to my therapist and doing all these things, then I was able to better hone in on how I was feeling. Then I put what I learned and how I processed it into the music.

Role Model: You have to organize your thoughts first.

Zardoya: How’s your process?

Role Model: I agree. Kind of the same thing. I remember trying to make it immediate, just as something to do with my days. It was like, “Let me go do this.” And it just wasn’t clear. So I stepped back for a couple of months, recovered, explored everything, and found some freedom. It was a cool experience… “cool experience” is crazy. But it was a new experience for me that was super harsh, ground-shattering. And then there’s this period where there’s a silver lining. I made friends for the first time in L.A. because of it. And got to go home.

It was a new kind of freedom. Not like, “Oh, I’m single now,” but a freedom of just getting to breathe. Sometimes when you’re in a relationship, no matter how great it is or not, it can be kind of like a haze, and then it ends and that haze lifts. All of a sudden you’re like, “Oh, I haven’t been texting these friends back. I haven’t been talking to my mom as much. I haven’t gone home in two months.” There’s good things that come from it. Once I started to find those, I wanted to grab the pen.

Zardoya: Do you ever ask yourself… or censor what you’re writing because you know that they might hear the songs?

Role Model: I don’t. I feel like I’m the type of person that would do that, but in the moment, I do not think about that.

Zardoya: Or after the fact. You’ve written the song and then you’re like, “Oh, this person might hear this song. I might change a thing or two.”

Role Model: No, I think at that point, I’ll be so attached to a song or something that I’m like, “This is just what happens. This is a part of making music.” You might hurt someone’s feelings but it’s your perspective. And it’s unique, I guess. Do you censor yourself?

Zardoya: No. I think there are times that I’m like, “I probably should.” But, yeah, to your point, I get attached to what was written in that moment, and it’s something that I felt like I needed to say.

Role Model: But being in the room, making music with the person that you’re in a relationship, I can’t imagine what that’s like.

Zardoya: That’s interesting. But Josh, he’s such a great collaborator because he’s never asked me, “Is this song about me? Is this song about someone else? Is this a song about your past?” He’s always given me the freedom to write whoever I want to write about and however I want to write, without questioning too much. Because I think if he questioned me too much, then I would censor myself in order to not hurt him. He’s very strong. He’s a really good guy. And I think both of us do put music as number one in our lives. And I think he knows “I can’t question what she’s talking about, because I don’t want her to censor it, because at the end of the day …” It’s about the music. Josh is an amazing collaborator for that.

Role Model: Makes me want to hug him. He’s a good guy.

Zardoya: He’s a good guy. Yeah. All the guys are really good guys. But there have been moments, don’t get me wrong, that we’ll be done with a song, and then we’ll look at each other and just kind of be like …

Role Model: Really? There’s a little tension.

Zardoya: There’s a little tension. 

Role Model: I can’t imagine there wouldn’t be from time to time.

Zardoya: That’s as far as it goes. It doesn’t go anywhere past the sort of like, “Uh-oh. What did you just say?”

Role Model: That’s great. That’s the best-case scenario.… Ms. María, thank you so much for sitting down with me.

Zardoya: Thank you for sitting with me.

Role Model: I’m a massive fan. And you’re incredible and you’re having an amazing year.

Zardoya: You are too. Thank you.

Role Model: Let’s do a nature walk. I would love to do that. And if I ever do acid, you’re going to …

Zardoya: I’ll be your guide.

Role Model: You’ll be my guide. You’ll cradle me while I’m in a fetal position.

Zardoya: You’ll be just fine.
<div class="production-credits // lrv-u-border-t-2 lrv-u-margin-b-2 lrv-u-padding-t-075 u-line-height-1.067">
<p class="production-credits-title-text // production-credits-title-text // lrv-u-display-inline lrv-u-font-family-basic u-font-size-15 lrv-u-text-transform-uppercase u-font-weight-800 u-letter-spacing-0 u-line-height-16"> Production Credits
Produced by LEAH MARA at LEAH MARA PRODUCTIONS. Motion Portrait Director of Photography: OLIVIA PETERS ZARDOYA Styling by COURTNEY TROP and VALERIA SEMUSHINA. Hair by BLAKE ERIK for FORWARD ARTISTS using ROZ HAIR. Makeup by TYRON MACHHAUSSEN for THE WALL GROUP. Makeup assistance: NARUMI BABA. ROLE MODEL Styling by JAKE SAMMIS at A-FRAME AGENCY. Grooming by LUCA TULLIO. Lighting Director: CHRIS JOHNSON. Digital Technician: ROY BEESON . Photographic Assistance: MUHAMMET GENCOGLU. Video Director of Photography: WILL CHILTON. Camera Operators: HALEY SNYDER, STEVE FRANCHEK, ALEX CANTANORE. Photographed at ELECTRIC LADY STUDIOS.
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<title>Radiohead Break Out ‘Jigsaw Falling into Place’ and ‘(Nice Dream)’ For First Time in 16 Years</title>
<link>https://music-times.net/radiohead-break-out-jigsaw-falling-into-place-and-nice-dream-for-first-time-in-16-years/</link>
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<pubDate>Thu, 06 Nov 2025 20:14:12 +0000</pubDate>
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<description><![CDATA[Night Two of the band’s European tour, their first trek in seven years, did not disappoint Radiohead said they intended on shaking up their set lists each night of their 2025 European tour, their first run in seven years. They weren’t kidding: Their second show in Madrid on Nov. 5 featured a dreamy set list […]
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Night Two of the band’s European tour, their first trek in seven years, did not disappoint
</div>
<div>

<div class="pmc-paywall">

Radiohead said they intended on shaking up their set lists each night of their 2025 European tour, their first run in seven years. They weren’t kidding: Their second show in Madrid on Nov. 5 featured a dreamy set list packed with classics, including two rarities.

At Madrid’s Movistar Arena, the band broke out “Jigsaw Falling into Place” and “(Nice Dream),” their first time performing both since 2009, during their In Rainbows tour. “Jigsaw,” released off that album, was the third song of the evening, before other In Rainbows cuts like “All I Need,” “Nude,” and “Reckoner.” As they had on the tour kickoff the previous evening, they also delivered killer renditions of “Bodysnatchers” and “Weird Fishes/Arpeggi,” making it a more In Rainbows-heavy set on Night Two.
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They also went deeper into The Bends on Night Two, performing the title track as the second song, as well as “Street Spirit (Fade Out)” and “Planet Telex.” But nobody was expecting “(Nice Dream),” which they hadn’t played in 16 years. The Bends, the band’s second album, turned 30 years old this year, so it’s possible they bring out other deep cuts on this tour, like “Bones” and “Black Star,” which they haven’t performed since 2006.
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Radiohead have two more shows scheduled in Madrid (Nov. 7 and 8), before they head to Unipol Arena in Bologna, Italy for four nights. From there, they’ll hit London’s O2 Arena, Copenhagen’s Royal Arena, and Berlin’s Uber Arena, each for four nights, concluding on Dec. 12. Hopefully, they’ll bring these shows to the U.S. next year.
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<title>10 Songs Lainey Wilson Wrote for Other Artists</title>
<link>https://music-times.net/10-songs-lainey-wilson-wrote-for-other-artists/</link>
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<pubDate>Thu, 06 Nov 2025 20:13:20 +0000</pubDate>
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<description><![CDATA[Lainey Wilson continues to amass an array of impressive career accolades as an artist and entertainer, including trophies from the Academy of Country Music, Country Music Association, and the Recording Academy. She’s one of the most-nominated artists leading into this year’s CMA Awards, where she’s vying again for the coveted entertainer of the year title. […]
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<div class="pmc-not-a-paywall">

Lainey Wilson continues to amass an array of impressive career accolades as an artist and entertainer, including trophies from the Academy of Country Music, Country Music Association, and the Recording Academy. She’s one of the most-nominated artists leading into this year’s CMA Awards, where she’s vying again for the coveted entertainer of the year title. A testament to her onstage poise and charisma, the Louisiana native will also solo host the CMA Awards this year.

She previously won the CMA’s entertainer of the year honor in 2023, and has taken home the ACM’s entertainer of the year accolade in 2024 and 2025. She’s spearheaded her headlining Whirlwind arena tour, and has had both her own Billboard Country Airplay chart hits with “Heart Like a Truck,” “Things a Man Oughta Know” and “Watermelon Moonshine,” as well as the collaborative hits “Save Me” (with Jelly Roll) and “Never Say Never” (with Cole Swindell).

Wilson’s collaborative spirit extends to recording (and often co-writing) duets with several artists, including Anne Wilson (“Praying Woman”), HARDY (“Wait in the Truck”), Lukas Nelson (“More Than Friends”), ERNEST (“Would If I Could”), Muscadine Bloodline (“Pieces”) and Miranda Lambert (“Good Horses”).

Throughout songs such as “Wildflowers and Wild Horses,” “Things a Man Oughta Know” and “Grease,” Wilson has constructed a reputation as an artist driven by devotion to exemplary songcraft, and drawn to compositions both brave and vulnerable, songs that elevate country living, strong and independent women, but that also put forth wisdom and a fun-loving ethos. That dedication to making every song on an album deserve its place has resulted in her album Bell Bottom Country winning a Grammy for best country album, while her album Whirlwind earned a nomination in the same Grammy category.

Along the way, she’s distinguished herself as not only an entertainer, but a songwriter of an exceptional caliber, writing songs recorded by other artists. Here, we highlight some top Wilson-written songs that have been recorded by other artists.
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<h2>Annie Bosko, “Hate the Way You Love Me”</h2>
 
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Annie Bosko included the simmering ballad “Hate the Way You Love Me” on her recent album California Cowgirl. Wilson is a writer on the song, along with Matt Rogers and Bobby Hamrick.
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<h2>Ashland Craft, “Night Owl”</h2>
 
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Lainey Wilson joined Ashland Craft and Shane Minor to write this ode to all the night owls who come alive “in the dead of night,” brimming with creativity and inspiration. Craft released the song in 2023.
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<h2>Ashley Cooke & Jackson Dean, “What Are You on Fire About”</h2>
 
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Ashley Cooke welcomed Jackson Dean to join her on this moody heartbreak ballad, which was included on Cooke’s 2023 album Shot in the Dark. Wilson co-wrote the song with Luke Dick and Jason Nix.
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<h2>Ashley McBryde, “Cool Little Bars”</h2>
 
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Wilson teamed with another hit country singer-songwriter, Ashley McBryde, on this song from McBryde’s 2023 album The Devil I Know. Wilson and McBryde wrote “Cool Little Bars” with Trick Savage.
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<h2>Chrissy Metz, “Girl Go”</h2>
 
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Wilson is a co-writer on this Chrissy Metz release, penning it with Metz, Faren Rachels and Dan Fernandez. Actress/singer Metz is known for songs such as “I’m Standing With You,” and for acting roles in shows including This Is Us and films such as Breakthrough.
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<h2>Flatland Cavalry & Hailey Whitters, “…Meantime”</h2>
 
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Wilson and Flatland Cavalry lead singer Cleto Cordero co-wrote this track, which featured Hailey Whitters and was included on Flatland Cavalry’s 2021 album Welcome to Countryland.
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<h2>Lauren Alaina, “Those Kind of Women”</h2>
 
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In January, Lauren Alaina released the song “Those Kind of Women,” and paid homage to the strong, loving women who played essential roles in helping her to become the person she is today. Wilson is a co-writer on the track, along with Monty Criswell, Derek George and Lynn Hutton.
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<h2>Luke Combs, “Sheriff You Want To”</h2>
 
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In 2016, Luke Combs issued one of his earliest releases with this quirky, twangy track about some buddies having some small-town, carefree nights and ending up sharing a drink with a member of the local law enforcement. Combs co-wrote the song with Wilson.
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<h2>MacKenzie Porter, “Chasing Tornadoes”</h2>
 
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On her 2024 album Nobody’s Born With a Broken Heart, MacKenzie Porter included this churning ode to those who don’t turn down a good time, even if it comes with warning signs. Wilson wrote the song with Jamie Moore and Emily Landis.
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<h2>Marcus King, “Here Today”</h2>
 
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Lainey Wilson contributed writing to this song on King’s 2025 album Darling Blue. King and Wilson co-wrote the song with Meg McRee.
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<title>Manic Street Preachers’ ‘Everything Must Go’ doc ‘Escape From History’ for London screening and Q&A</title>
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<pubDate>Thu, 06 Nov 2025 20:12:06 +0000</pubDate>
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<description><![CDATA[Manic Street Preachers will host a screening of their ‘Everything Must Go’ doc Escape From History next week. The film premiered in 2017 and tells the story of the making of the band’s fourth studio album, which they recorded in the aftermath of the disappearance of lyricist and guitarist Richey Edwards. The record included the […]
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Manic Street Preachers will host a screening of their ‘Everything Must Go’ doc Escape From History next week.
The film premiered in 2017 and tells the story of the making of the band’s fourth studio album, which they recorded in the aftermath of the disappearance of lyricist and guitarist Richey Edwards.
The record included the huge singles ‘A Design For Life’, ‘Kevin Carter’ and ‘Australia’, reached Number Two in the UK Albums Chart and picked up the Album of the Year prize at the 1997 NME Awards.
Now, to mark the 30th anniversary of the recording sessions for the album – which took place at producer Mike Hedges’ (The Cure, Siouxsie And The Banshees) own studio in Normandy – there will be a one-off screening of Escape From History at Picturehouse Central in London on November 13. Find tickets here.
Following the screening, frontman James Dean Bradfield and director Kieran Evans will be on hand for an in-depth Q&A session with Robin Turner for those in attendance.
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The film’s synopsis reads: “Visually striking and emotionally charged, Escape From History is far more than a music documentary. It is a hauntingly intimate portrait of three musicians standing on the edge of collapse, and of the extraordinary act of creation that carried them through.”
“The film doesn’t simply recount the making of a landmark album – it captures the human drama behind it, revealing Manic Street Preachers as never before: fragile yet unbreakable, vulnerable yet fearless. Evans’ film is a powerful cinematic portrayal of how, out of the darkest moments, can come a work of blazing light.”
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The BAFTA-winning Welsh director Evans is a long-time collaborator with the band, overseeing the ‘Holy Bible’ anniversary tour concert movie, ‘Be Pure, Be Vigilant, Behave’, as well as the ‘Generation Terrorists’ documentary ‘Culture, Alienation, Boredom And Despair’, and many of the band’s official music videos.
The band spoke to NME about the film at the time of its original release in 2017, with bassist Nicky Wire saying: “We’ve told this story so many times, so it’s great to let it breathe with so many other voices. Over that period we had quite the support network. We were pretty fucked up and odd, but a lot of people stood by us. It feels like there’s nothing else to say about ‘Everything Must Go’ any more. So this is a relief and a pleasure.”
Bradfield added: “To be honest, to be brutal, I’ll never have to talk about it again. I’ll never have to make a film about it again. I wouldn’t want to do it any more. It is nice to actually put a cap on it and nice to know that you have a definitive film, it’s there, it’s done.”
The Manics released their acclaimed 15th album ‘Critical Thinking’ in February, with NME awarding it four stars and noting: “Sonically, ‘Critical Thinking’ has touches of the European modernist propulsion of 2014 renaissance record ‘Futurology’ and the graceful ABBA pop flourishes of 2021 predecessor ‘The Ultra Vivid Lament’. But its uplifting warmth met with provocative spikiness feels like an album written staring up at the posters of their teenage art-pop and indie heroes – meant for the crackle of a record or the buzz of a cassette.”
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<title>Country Music Casualty: The Tortured Life and Untimely Death of Luke Bell</title>
<link>https://music-times.net/country-music-casualty-the-tortured-life-and-untimely-death-of-luke-bell/</link>
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<pubDate>Thu, 06 Nov 2025 19:17:12 +0000</pubDate>
<category><![CDATA[Features]]></category>
<category><![CDATA[Country Music]]></category>
<category><![CDATA[Featured]]></category>
<category><![CDATA[Luke Bell]]></category>
<category><![CDATA[mental health]]></category>
<guid isPermaLink="false">https://music-times.net/country-music-casualty-the-tortured-life-and-untimely-death-of-luke-bell/</guid>
<description><![CDATA[C arol Bell wasn’t going to miss watching her son Luke open for Dwight Yoakam, even if it meant leaving her sick husband at home and flying across the country from Wyoming to Charlottesville, Virginia. Though Luke had been getting some traction around Nashville for the album he self-released in 2014, it was when he […]
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arol Bell wasn’t going to miss watching her son Luke open for Dwight Yoakam, even if it meant leaving her sick husband at home and flying across the country from Wyoming to Charlottesville, Virginia. Though Luke had been getting some traction around Nashville for the album he self-released in 2014, it was when he hit the road with the Bakersfield-sound legend that Carol began to recognize just how deeply her son’s breed of traditional-minded but deeply idiosyncratic country and roots music was connecting with listeners. The music career Luke Bell had dreamed about, and chased from the family ranch through Austin, New Orleans, and Nashville, was starting to feel real.

“I always told Luke, ‘When you open for Dwight Yoakam, I’ll know you’ve arrived,’” Carol says. She’s sitting in a coffee shop on a September morning in Nashville, the night after a boisterous and emotional tribute to her son during the city’s annual AmericanaFest.

The Yoakam trip, however, was in April 2015, and Carol hadn’t packed for the cold weather — coming from Wyoming, she’d figured it would be in the warmer throes of early spring. Instead, she found herself layered in almost every piece of clothing she brought in her suitcase, nestled among the crowd waiting for Luke to take the stage. Luke, however, was looking dapper: At a suit shop outside of town, he’d spent the bulk of his measly performance fee on Western jackets for him and the band, mostly so he could impress the stylish Yoakam. Topped off with a cowboy hat, he played his songs along with a new, chugging country swinger called “The King Is Back.” Carol remembers hearing the audience whisper, “Who is this guy?” By the end of his performance, “Everyone in the crowd was on their feet,” says Carol, who watched them float in like the tide from the back of the arena. “It was one of the happiest nights of my life.”

Everything changed when Carol returned home. Her husband, David, had been diagnosed with pancreatic cancer that was quickly worsening. Luke’s father hoped to be well enough for the Yoakam show, but a doctor had warned that he was too sick to travel. By the next month, he was in hospice. Two weeks later, he was gone. Luke had flown out to Los Angeles the morning of his dad’s death for a work meeting and didn’t get to say a final goodbye: David’s condition deteriorated so quickly that the family assumed he had more time, and even David himself didn’t want to accept the severity of his diagnosis. His family adored him. Luke worshipped him.
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“I don’t think anyone prepares you for the way that loss wrecks your world,” Carol says. “And as grievers, we’re perpetuating the myth by trying to be heroic, and pretending we are doing so much better than we are. Even Luke was pretending to be fine.”

On the outside, life for Luke Bell then looked more than fine. He’d go on to release an acclaimed self-titled album in 2016, backed by the label Thirty Tigers and a publishing contract, and he had dates booked with Yoakam, Hank Williams Jr., and Willie Nelson. He was pitching songs to country stars and playing the Stagecoach festival, and he was a beloved, vital center of the creative community that existed outside of the confines of Music Row and country radio.
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 Luke and his dad, David Bell, in spring of 2015, up the Southfork of the Shoshone River near the TE Ranch where Luke was working between tours
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But Luke was suffering. Suffering from the pain of losing his dad so quickly and tragically, and suffering as his mental health declined just as rapidly — he would later be diagnosed with bipolar disorder. In the last years of his life, he spent time unhoused, sleeping in cars or at camps, and riding trains. When he was open to getting help, he was never the right “fit” for a treatment center. Some didn’t take addicts or self-harmers, as if those things didn’t exist part and parcel with mental illness. He was encouraged to stay on the road even as his health was worsening, in an industry that prizes the idea of the “tortured” artist and deprives them of even the most basic resources, all in a country that often refuses to properly treat or even acknowledge mental illness as a valid disease.
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Bell died before “The King Is Back” could ever be released. He was found dead, at 32, in a Tucson, Arizona, parking lot from a fentanyl overdose on Aug. 26, 2022, after going missing for nearly a week. The news became a story of national fascination. Luke always had grandiose plans for himself, but he deserved to be famous for his songs — not infamous for how his life ended. Still, despite the trauma-thirsty embrace of Luke’s story from the media, the music lingered. Luke Bell quickly rose to Number One on iTunes’ country chart, and his top song on Spotify, “Where Ya Been?,” now has close to 6 million streams. Luke’s tragic story may have grabbed people in, but his music kept them there.

On Friday, The King Is Back, a 28-song collection of Bell’s existing recordings, will be released, compiled by Carol and Luke’s sister, Jane. It shows an incredibly gifted songwriter and vocalist with an empathetic touch, who often recognized the unease in his brain and used music to articulate it. And the album exists with a bigger purpose: The King Is Back will benefit the Luke Bell Memorial Affordable Counseling Program, which his family launched in the wake of his death to support residents in his hometown by providing affordable mental health services. Carol, who now works as a counselor after a career shift in her fifties, isn’t interested in trying to gloss up the factors that led to her creatively brilliant and warmhearted son’s death. She wants to share the truth of his life to help others, and find a little bit of her own healing along the way.

“Mentally-ill Luke was a really sad person to live with,” Carol says. “In many ways, listening to this music gives my heathy son back to me.”

IN A TOWN OF YOUNG MUSICIANS BATTLING over their country bona fides, Luke rolled in as close to an actual cowboy as one could get. Growing up in Cody, Wyoming, he was a warm, curious kid, far more affectionate than Carol’s family was used to in the ranch culture of the west, where emotions weren’t something often put on display (instead of saying “I love you,” her family used a code word: “Doritos”). On his dad’s side, he was descended from Kentucky tobacco farmers and ministers. “We are realists,” Carol says.

When Luke was 16 months old, Carol took him to the doctor. He wasn’t walking yet, and she was getting concerned. The doctor laughed. Luke was already speaking in complete sentences, and telling stories. “I just don’t think he has time to focus on his motor skills yet,” the doctor said, “with all that’s going on in his mind.”
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 Luke Bell reading on the back porch of the family home in Cody, Wyoming, in the spring of 1993.
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The Bell family loved music, but they weren’t performers. As a kid, Carol would wander around the ranch singing “Delta Dawn,” daydreaming about growing up and becoming a famous singer who could pay off the family’s debt. But she never told anyone about that dream. Luke, however, didn’t mind sharing his sometimes pie-in-the-sky fantasies and hopes with others. He had an innocent, almost unedited approach to the possibilities of the world. He was willing to try anything — wrestling, guitar playing, rock climbing, basketball — regardless of how easily it would or would not come to him.

“Maybe this is partly why Luke never got to be in the cool crowd,” Carol says, “because he would tell people, ‘I’m going to be a professional basketball player when I grow up,’ but then he was never even good at basketball. He shared things about how he was going to be famous and such. And that made people uncomfortable. But he was just so openhearted.” 

Young Luke was unfiltered and impulsive — what teenagers aren’t? But Carol knew she had to pay extra attention, even years before his bipolar diagnosis. “I just remember feeling like I needed to get up at 2 a.m. to make sure he hadn’t gone camping,” she says. “He had that attraction to living on the edge, to being unique, to doing something really outlandish that nobody else would think of.” At one point, he became fascinated with the book Into the Wild, about a young man who ventures into the wilderness, making it 113 days before his death. Carol read it at Luke’s urging, and “I didn’t sleep for a week,” she says. “I just remember thinking that was just the kind of hairbrained thing he would come up with.”

In the summers, Carol put Luke to work at the family ranch, about an hour away from Cody. She knew he had energy to burn, and didn’t want him idling away at home and getting into trouble. Though he started playing guitar in the seventh grade, it was that summer, shuffling through his grandfather’s old records after carrying out his daily duties, when he fell in love with honky-tonk music. 

“I come from a traditional background,” Luke told The Boot in 2016. “The things that I love are traditions — you know, cowboy culture and American culture. When I started digging back through records and listening to older music, I kind of became fascinated with all the techniques and flat-tire shuffles on the drums on Ray Price records or the George Jones boogie and guitars.”

Though he tried college, Luke ended up dropping out of the University of Wyoming shortly after his 21st birthday, and he moved to Austin, eventually floating between Texas and New Orleans, where he made a living by working construction, busking, or any combination of tasks that could keep the lights on. His charm and warmth made him a good salesman, and people were drawn to his earnest, unpretentious approach to life, not to mention his sheer dedication to his craft. He wanted to be exposed to all the music he could, from New Orleans jazz and ragtime to Texas country, and everything in between. He met artists like Riley Downing from the Deslondes and hung with Mike and the Moonpies, starting to form the community that would be central to his life.

“My life was kinda like a scene from Urban Cowboy at that point,” Bell said in 2016. “Other than [working], I was just screwin’ around and playin’ shows; I had a rock & roll band for a while … I was enamored of that honky-tonk scene; they had dollar-fifty High Lifes — that didn’t hurt, either.” 

Luke put together a crowdfunding campaign in 2012 to produce his first set of songs, a collection that showed how he could pull from his hard-worn life but also put himself easily into someone else’s shoes, mostly by connecting on an empathetic level. He could take his experiences working on the ranch or in the streets and spin it all into characters and scenes that spoke in unusual depth, especially for someone his age. It surprised Carol and David.

“I remember when his first album came out,” Carol says, “and there was a song about a homeless boy in Mexico stealing a dead man’s shoes. I remember looking at David and saying, ‘How does an upper middle-class kid from Wyoming write these songs that feel honest and true about homelessness and poverty?’ Now, that’s just another thing that makes me think about what it means to be mentally ill, to have a bandwidth for human suffering.”

Luke was always on the move — between jobs, between songs, even between cities. In 2013, he followed his friend Matt Kinman to Nashville, and it didn’t take long for him to become a central, uniting figure on the Nashville indie-music scene, which at the time was flourishing, if not financially, at least creatively. Long before traditional country made its way back onto radio via artists like Zach Top, it was filling the venues and house parties of Nashville thanks to artists like Luke, who could scrape together enough money to live before the crush of gentrification and the tourist economy made it nearly impossible for young artists to thrive.

The musician Zach Schmidt remembers meeting Luke at East Nashville club the 5 Spot a few days after Schmidt moved to town from Pittsburgh. Luke played a set, and afterward they became instant friends: Luke was always open to expanding his community, and didn’t see fellow artists as competition. “His energy was infectious,” says Schmidt, who regularly played with Luke at Nashville’s Santa’s Pub with the Ice Cold Pickers band. “It was kind of unrivaled in everything he did, and it translated to his music.”

“Community” is the word that his friends keep coming back to. It’s what musician Gowa Gibbs lingers on. “His goal was always that community,” Gibbs says. “And to just always feel close to other people.”
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 John James Tourville, JP Harris, and Luke Bell jamming on the road.
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In 2014, Luke’s plan was to release an album on his own again, using Kickstarter funds. He recorded Don’t Mind If I Do with producer Andrija Tokic at the Bomb Shelter in East Nashville after easily reaching his goal, inviting musicians like Steve Daly, who would go on to become a member of his touring band and dear friend, and Dave Roe, bass player to artists like Johnny Cash and Yoakam, into the studio. Daly remembers arriving to the session and spotting a man sitting casually in untied boots, a dirty shirt, and a trucker hat who then started to help him carry his gear from the car.

“I thought maybe he was an engineer or something,” Daly says. “But then I realized he was actually the artist, just there helping me load in my stuff. He was immediately the friendliest person in the room.”

In a video he recorded for the Don’t Mind If I Do Kickstarter, Luke described his music as “roots music — specifically American roots music. I write songs about where I’m from, where I’ve been, people I’ve met, jobs I’ve had, memories I recall, and dreams I have.” Daly was in awe of how Luke clearly referenced country traditions but drew on influences like Jerry Lee Lewis and the delightfully “greasy” sounds of New Orleans to create something timeless, often incorporating his own breed of humor. In the songs, you could also hear a man trying to understand what was happening inside his own brain, through the vehicle of his tender baritone. “Sometimes I feel well, and sometimes, oh honey I feel so swell,” he sung on “Sometimes.” “But other times, oh lord I feel like hell.”

“A lot of different music is about examining the human condition,” he told Rolling Stone in 2016, “but with honky-tonk, you get to have a sense of humor in the delivery. You can laugh at yourself.”

Luke was picking up steam. He played a Daytrotter session, and by 2015 he was appearing at CMA Fest as one of Rolling Stone’s Must-See Acts. Few conversations about the burgeoning scene in town, where artists like Sturgill Simpson and Margo Price were emphasizing a more country-forward sound over the Auto-Tuned, pop-influenced mainstream, could be had without mentioning Luke’s name. He was becoming a hometown hero back in Cody, and thanks to opening gigs like the Yoakam show, he wanted to keep up illusions and take care of his friends and bandmates, despite being pretty broke. Carol could track his spending since he used a bank account she opened for him as a kid, and she’d call him when things looked unsustainable. “I’d say, ‘Luke, I can see you spent 50 bucks at the Silver Dollar last night,’” she says. “But he’d go, ‘Mom, everybody thinks I am a big shot. I had to buy the beer.’”

Carol wonders what difference it would have made on his life if he was taking in a more livable wage. “Even if Luke had made $5,000 instead of $1,000,” she says. “Why aren’t the opening acts insisting on that? Why [isn’t the industry] supporting and nurturing these younger artists?”

Despite his growing notoriety, Luke was having an increasingly difficult time keeping appearances and conducting life normally after his father died in 2015. His mental health went into a steep decline. At one point while visiting family back in Wyoming, he and Carol went for a hike around the property, about a year after the Charlottesville Yoakam show. Some members of his team were pressuring him to release “The King Is Back,” because they thought it could be his hitmaking moment. Luke was distressed.

“I can’t do it, Mom,” Luke said emphatically. He was in the middle of what Carol now understands was a psychotic episode. “If I release that song, people are going to think I am trying to be Jesus, and want to kill me.” Carol encouraged him to call his therapist and get some help; she could see that what was once a charming disconnect with reality had become something more. It was a sickness far beyond his control or anybody else’s.

Newly signed by Thirty Tigers, Luke released his self-titled album in 2016, and it ended up on Rolling Stone’s year-end list of the best country albums alongside those by Maren Morris and Dierks Bentley (without “The King Is Back” on the track list). Songs like “Where Ya Been?” hinted at a man wrestling with an unreliable mind: “Hey, mister in the mirror, where’s my friend?” He was drinking a lot, and sometimes friends like Schmidt would have to come retrieve him in the middle of the night when Luke would show up in someone’s lawn. He stopped calling Carol as often and pulled away from his family. He sought therapy but lacked health insurance, and he could rarely afford a regular care schedule.

Still, his team wanted the show to go on (and so did Luke, as he told the Quad-City Times, “If it’s for country music, I’ll do anything”). Luke had tour dates coming up, and Carol was asked if she’d accompany her son on the road, instead of canceling. The whole thing infuriated her: How was the bottom line more important than the health of the artist? A few days later he fired off a gun at a party and was hospitalized; Carol says that was the only real reason the tour was called off. “Even then, they waited a few days to see if he was going to stabilize,” she says. “And so then begins this period where I cannot get him help anywhere.”
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By 2017, Luke was hopping trains, drinking heavily, and in and out of jail, a pattern he would follow until the end of his life. At one point, in a holding cell in Chattanooga, he broke his elbow in a fight. His time incarcerated wasn’t meant to treat him or help him get better. Like millions of Americans suffering with mental illness, it was easier for the state to just temporarily lock him up than provide him the tools for healing. Once he was out of jail, he immediately fell back into the same routines. He often seemed most comfortable living on the streets, where at least he could find what he’d always been looking for: community.

“It made me realize that since there are no safety nets for people with severe mental illness in our culture,” Carol says, “and since there is so much judgment, such a lack of compassion, it made me feel like maybe for some people, homelessness is the best choice. I don’t think I can get over how broken our society must be to think that.”

Luke was prescribed medication for his eventual bipolar diagnosis, which did work sometimes — but it was around $3,000 for the monthly injection, and his Medicare only covered him in the state where he was approved. He also had to be of sound enough mind to be able to even handle and accept medication. It was lonely, isolating, and terrifying caretaking, and Carol thinks a lot about her life then, when Luke was so sick. She remembers how when her husband was diagnosed with cancer, people would show up nonstop, sending gifts, setting up meal trains, bringing vegetables from their gardens. She wonders how GoFundMe efforts for pets are more acceptable than setting up a campaign for someone who might be bipolar or schizophrenic.

“To live in a small town when you’re dying of cancer is an incredible thing,” Carol says. “So even though it was a very lonely journey, people were so generous and supportive. But when Luke was sick, I felt like nobody wanted to hear about it.”

Luke was also a grown man, and she couldn’t force him to do anything he didn’t want to do. But in 2021, Luke called Carol. “Mom,” he said, “I’m ready to get treatment.”

Carol was elated and determined — she flew him to Denver right away, where she was working on her master’s degree, and got to work calling treatment homes, but no one would take him. Either they were full, or he was too much of an addict or not enough of one; too much of a danger to himself or not enough, or not the right kind of mentally ill. Carol was broken. “I remember sitting on the porch thinking, ‘This is no life, and the help that my son needs is not available,’” she says. “Imagine living in a mind you can’t count on.” Luke likened his brain to a bronc. “Every time I think I’ve got this horse under control, and everything is going to be OK, it bucks me off,” he said.

By the time Luke went missing in 2022, he’d been living on and off in North Carolina with friend and musician Matt Kinman. Carol thinks he believed people were trying to kill him, and he’d try to pull his eyes out of the socket because he believed cameras were embedded behind them. On a trip to Tucson, Luke disappeared from the car when he and Kinman had stopped for a meal. Carol was used to worrying about Luke, and even accustomed to him disappearing or fleeing town. But this time, he didn’t respond to her texts. Over a week later, she got a phone call, asking if she had a son named Luke Bell, and she knew what was coming next.
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 Steve Daly, Carter Brailier, Carol Bell (Luke’s mom), Sarah Bell (Luke’s big sister), Luke, and Sara Flitner (Luke’s aunt) after Luke and his band opened for Dwight Yoakam in Charlottesville, Virginia, in spring 2015 — just two months before his dad died.
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Carol isn’t sure if he overdosed accidentally or intentionally, and she’ll never know. She doesn’t need to. When you are sick with mental illness, these things are one and the same. “I don’t know if Luke killed himself on purpose, but I do know that when he took fentanyl, he didn’t care if he died,” Carol says. “Mentally ill people are not stupid, and you don’t take those kind of drugs and not know the risk. I feel like Luke made his choice, and he knew he wasn’t going to get better.”

The news of Luke Bell’s death made national news quickly, which puzzled his family and friends. Schmidt remembers getting a call from his mom, who was watching the evening news asking, “Isn’t that your friend Luke?” when a story appeared on ABC’s World News Tonight. Outlets like the New York Post, which had never once written about Luke while he was alive, filed stories under “celebrity deaths” and referred to him as a “rising country star.” Even TMZ and People followed the story.

As much as it delighted Carol to see new fans embracing Luke’s music, she couldn’t resist wondering why he had to die to be “interesting enough.” “You have to die to be profitable,” Carol says. “You have to die to be a good bet.”

THE KING IS BACK STARTED COMING TOGETHER about a year ago. Carol had heard about a string of existing recordings that were either supposed to make Luke’s earlier albums or he’d just cut for fun, and the fan demand for old music never wavered. Working with Luke’s previous label, Thirty Tigers, they assembled 28 songs, all written by Luke, that show an incredible body of work compiled in such a short time, tracked between 2013 and 2016. Carol crafted the liner notes, Tokic produced, and friends like Luke’s former manager Brian Buchanan and Daly helped put things together.

All of Luke’s songs carry an innate complexity — there’s one called “Orangutang,” about a wayward monkey who finds himself lost and out of place in Tennessee — but if you listen more carefully, it’s clear Luke was really singing about himself. “Take a good look at yourself, ah your hair’s a tangled mess, and you’re a hazard to your health,” he sings through a lightly tropical boogie. Impeccably constructed and often as funny as they are illuminating, there’s a deep knowing to songs like “Black Crows” and “Roofer’s Blues” that show an artist using his music as a conduit to more deeply understand himself, and maybe be better understood by others, too. “Even in ‘The King Is Back,’ which I think is such a joyful song,” Carol says, “he’s talking about someone who is coming back from a dark place. Almost all of his music shows an interest in state of mind.”

State of mind has become Carol’s life’s work. In her counseling practice, she sees patients who have experienced trauma or grief, or have family members suffering from mental illness, while the Luke Bell Memorial Affordable Counseling Program is funded through Luke’s royalties and proceeds from The King Is Back. It was an easy decision for Carol, Jane, and Luke’s other sister, Sarah, when the first check arrived in the mail after they took over his estate. They couldn’t change the past, but they could influence the future. As Luke sings on “The King Is back,” “it’s high time somebody came a swinging, it’s high time somebody took a crack.”
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The song is accompanied by a music video made by Luke’s longtime friend Mike Vanata, who also grew up in Cody. It’s mostly footage of Luke tooling around the family ranch with his beloved dog Bill, intercut with some images of him as a child. But what stands out the most is Luke’s grin: constant, huge, committed. His brain, when healthy, wanted to embrace joy with everything he had.

“To be honest, I live in the day,” Luke told The Boot in 2016. “And I count smiles.”
</div>
The post <a rel="nofollow" href="https://music-times.net/country-music-casualty-the-tortured-life-and-untimely-death-of-luke-bell/">Country Music Casualty: The Tortured Life and Untimely Death of Luke Bell</a> appeared first on <a rel="nofollow" href="https://music-times.net">Music Times</a>.
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<title>Charli XCX Teases Eerie New Song ‘House’ With John Cale for ‘Wuthering Heights’</title>
<link>https://music-times.net/charli-xcx-teases-eerie-new-song-house-with-john-cale-for-wuthering-heights/</link>
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<pubDate>Thu, 06 Nov 2025 19:13:16 +0000</pubDate>
<category><![CDATA[News]]></category>
<category><![CDATA[Charli XCX]]></category>
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<description><![CDATA[The Brat era is behind us, and it’s time for new Charli XCX music (and film projects)! On Thursday, the pop diva shared a short, eerie teaser of a new song called “House” featuring The Velvet Underground’s John Cale, set to be featured in Wuthering Heights. The song’s out Monday. On Instagram, Charli called it […]
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]]></description>
<content:encoded><![CDATA[<div>

The Brat era is behind us, and it’s time for new Charli XCX music (and film projects)! On Thursday, the pop diva shared a short, eerie teaser of a new song called “House” featuring The Velvet Underground’s John Cale, set to be featured in Wuthering Heights. The song’s out Monday.

On Instagram, Charli called it “the first offering from my album for Emerald Fennell’s adaptation of Wuthering Heights.” She also shared a longer statement on social media, saying she felt “immediately” inspired to start making music for the film.

“After being so in the depths of my previous album, I was excited to escape into something entirely new, entirely opposite,” she wrote. “When I think of Wuthering Heights, I think of many things. I think of passion and pain. I think of England. I think of the Moors, I think of the mud and the cold. I think of determination and grit.”
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The video teaser Chrli shared features eerie, horror film–like sound effects and the haunting sound of violins as Charli is pinned down by an elderly hand while staring directly into the camera. “Can I speak to you privately for a moment?” an ominous voice asks, as a raven-like bird flashes on screen.

In her post about the song, she called herself a “huge fan” of the Velvet Underground and recalled a quote from Cale in the band’s documentary, when he said, “any song had to be both ‘elegant and brutal.’” 

Charli wrote: “I got really stuck on that phrase. I wrote it down in my notes app and would pull it up from time to time and think about what he meant.” The phrase came up as she made the music for this film, and so she decided to reach out to him for his opinion and they ended up collaborating.

“That voice, so elegant, so brutal. I sent him some songs, and we started talking specifically about House. We spoke about the idea of a poem. He recorded something and sent it to me. Something that only John could do. And it was… well, it made me cry,” she wrote. “I feel so lucky to have been able to work with John onn this song. I’ve been so exited to share it with you all, sitting quietly in anticipation.”
<figure class="wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram"/>

Fennell (who directed Saltburn) is directing the new Wuthering Heights, adapted from Emily Brontë’s 1847 love story. Charli is writing songs for the film and will release an accompanying album for it. The film will star Margot Robbie and Jacob Elordi and is set to premiere on Valentine’s Day.
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The film’s trailer was shared in early September with Robbie as Catherine and Elordi as Heathcliff; the pair are captured amid brooding stares and heaving chests while Charli XCX‘s Brat track “Everything Is Romantic” plays.

2026 is set to be filled with new film projects for the popstar, who, along with starring and creating The Moment, she’ll also be in The Gallerist with Natalie Portman and Jenna Ortega.
</div>
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<title>Gunna Announces More Wun World Tour Shows & Wunna Run Club 5K Race Events Across North America</title>
<link>https://music-times.net/gunna-announces-more-wun-world-tour-shows-wunna-run-club-5k-race-events-across-north-america/</link>
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<pubDate>Thu, 06 Nov 2025 19:12:15 +0000</pubDate>
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<description><![CDATA[Gunna’s upcoming tour is turning into a marathon. The Atlanta native has announced more shows as part of the global trek, along with plenty of coinciding Wunna Run Club 5K race events to accompany tour dates. Explore See latest videos, charts and news The North American leg of the Wun World Tour is set to […]
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<content:encoded><![CDATA[<div>

<div class="pmc-paywall">

Gunna’s upcoming tour is turning into a marathon. The Atlanta native has announced more shows as part of the global trek, along with plenty of coinciding Wunna Run Club 5K race events to accompany tour dates. 
<div class="article-related-artists // lrv-u-margin-tb-1 lrv-u-flex u-flex-direction-column@desktop-xl u-flex-direction-column@desktop-xl-max lrv-u-align-items-center lrv-u-margin-l-00@desktop-xl a-glue@desktop-xl lrv-a-glue--t-0 lrv-a-glue--l-0 u-margin-t-29px@desktop u-margin-t-250@mobile-max u-margin-lr-auto@desktop-xl-max u-max-width-400@desktop-xl-max u-width-100p@mobile-max u-max-width-80@desktop-xl">
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The North American leg of the Wun World Tour is set to kick off in Boston on Nov. 17 and will hit plenty of markets across the continent before wrapping up on the West Coast in Seattle on Dec. 19. 

Live Nation has added a second date due to demand in Toronto on Nov. 25, and a first show in Washington, D.C., on Dec. 2.

Gunna is set to head overseas for a slew of European shows in March 2026. He’s notched a second date at London’s famed O2 on March 31 as well as a second Amsterdam show on March 29 at AFAS Live. 

Continuing his fitness journey, the rapper successfully launched his Wunna Run Club with a 5K race event in Brooklyn’s Prospect Park, which attracted more than 1,000 runners to join Gunna in September.

He’s bringing the Wunna Run Club back later this year to accompany his tour shows, which will include a return to New York City (Nov. 22) as well as races in Toronto (Nov. 24), Washington, D.C. (Dec. 2), Miami (Dec. 4), Atlanta (Dec. 7), Houston (Dec. 10) and Los Angeles (Dec. 16). 

Gunna also has a handful of shows in South Africa and Australia to complete the global tour, which comes in support of his sixth studio album, The Last Wun. The project debuted at No. 3 on the Billboard 200. 

Find all of the Wunna Run Club 5K races below. 
<div class="post-content-image // ">
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<img loading="lazy" class="c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto" src="https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif" data-lazy-src="https://www.billboard.com/wp-content/uploads/2025/11/wunna-run-club-billboard-1200.jpg?w=300" alt="Wunna Run Club" data-lazy-srcset="https://www.billboard.com/wp-content/uploads/2025/11/wunna-run-club-billboard-1200.jpg 1200w, https://www.billboard.com/wp-content/uploads/2025/11/wunna-run-club-billboard-1200.jpg?resize=150,150 150w, https://www.billboard.com/wp-content/uploads/2025/11/wunna-run-club-billboard-1200.jpg?resize=300,300 300w" data-lazy-sizes="(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw" height="1024" width="1024" decoding="async"></div>
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 Wunna Run Club
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<title>First trailer released for the Michael Jackson biopic: ‘MICHAEL’</title>
<link>https://music-times.net/first-trailer-released-for-the-michael-jackson-biopic-michael/</link>
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<pubDate>Thu, 06 Nov 2025 19:11:08 +0000</pubDate>
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<description><![CDATA[The first trailer has been released for the upcoming Michael Jackson biopic, Michael – check it out below. The film will see the King of Pop’s real-life nephew Jaafar Jackson take on the title role, while Oscar nominee Colman Domingo will play his father, Joe Jackson. It will hit the big screen on April 24, 2026. Antoine Fuqua, the filmmaker behind Training Day and The Equalizer, […]
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]]></description>
<content:encoded><![CDATA[<div>
The first trailer has been released for the upcoming Michael Jackson biopic, Michael – check it out below.
The film will see the King of Pop’s real-life nephew Jaafar Jackson take on the title role, while Oscar nominee Colman Domingo will play his father, Joe Jackson. It will hit the big screen on April 24, 2026.
Antoine Fuqua, the filmmaker behind Training Day and The Equalizer, will direct Michael, while John Logan (Gladiator, Skyfall) serves as screenwriter. Nia Long (Empire, Boyz n the Hood) will play Jackson’s mother Katherine, while Miles Teller will portray John Branca, the lawyer and manager who is the co-executor of the Jackson estate and a producer on the film.
The trailer sees Jackson in the studio with Quincy Jones as they prepare to lay down a take of a song apparently from the ‘Thriller’ era, interspersed with glimpses of him on stage and dealing with the adulation of fans. Watch here:
<iframe loading="lazy" title="Michael | Official Trailer - HD" width="880" height="495" src="https://www.youtube.com/embed/RrktXOjOtps?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>
The official synopsis reads: “Michael explores the global superstar’s journey to become known to the world as the King Of Pop, presenting an intimate look at the life and enduring legacy of one of the most influential, trailblazing artists the world has ever known”.
It arrives 17 years after Jackson’s death on June 25, 2009, at the age of 50. The cause of death was acute propofol intoxication, while the Los Angeles County coroner ruled the death as a homicide, and Jackson’s doctor, Conrad Murray, was later convicted of involuntary manslaughter in connection with the artist’s death.
The film has already attracted some criticism, including from Dan Reed, the director of the documentary Leaving Neverland, which documented allegations of sexual abuse against Michael. Reed criticised the making of the new biopic, saying it “will glorify a man who raped children”.
Reed later said he had read a draft of the script in which the men who made the allegations in Leaving Neverland were discredited. “Jackson is only ever seen caring for children with childhood cancer, or dancing with a little girl in a wheelchair, or tucking up multiple little boys, mostly his nephews, at sleepovers,” Reed said of the script. “It feels like the creators of the movie have been stuck in a room with John Branca and just told what to write.”
Reports emerged at the start of this year that the film had been delayed after they were forced to reshoot the third act due to its unsanctioned portrayal of the Jordan Chandler case.
Domingo has defended the project, saying that “everyone has a story to tell”. He said the film will look at the “complex human being” behind the star.
Elsewhere, the BBC recently revealed that it had ordered a new documentary charting the abuse allegations against Jackson, with the working title Legacy: Michael Jackson. The three-part series will explore “the abuse allegations and enduring legacy of one of the most successful pop stars of all time”.
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<title>Keith Richards and (Many) Friends Salute Bruce Willis at NYC Charity Show</title>
<link>https://music-times.net/keith-richards-and-many-friends-salute-bruce-willis-at-nyc-charity-show/</link>
<comments>https://music-times.net/keith-richards-and-many-friends-salute-bruce-willis-at-nyc-charity-show/#respond</comments>
<dc:creator><![CDATA[music-times.net]]></dc:creator>
<pubDate>Thu, 06 Nov 2025 18:16:13 +0000</pubDate>
<category><![CDATA[Features]]></category>
<category><![CDATA[Featured]]></category>
<category><![CDATA[Keith Richards]]></category>
<category><![CDATA[Mavis Staples]]></category>
<category><![CDATA[Norah Jones]]></category>
<guid isPermaLink="false">https://music-times.net/keith-richards-and-many-friends-salute-bruce-willis-at-nyc-charity-show/</guid>
<description><![CDATA[In a performance space that felt more like an extended living room than a club, Keith Richards surveyed the crowd and flashed a sly smile. “So I have to follow Mavis Staples,” he said of his unenviable position. Then, like Staples, Norah Jones, and Warren Hayes, he proceeded to rock the latest edition of New […]
The post <a rel="nofollow" href="https://music-times.net/keith-richards-and-many-friends-salute-bruce-willis-at-nyc-charity-show/">Keith Richards and (Many) Friends Salute Bruce Willis at NYC Charity Show</a> appeared first on <a rel="nofollow" href="https://music-times.net">Music Times</a>.
]]></description>
<content:encoded><![CDATA[<div>

In a performance space that felt more like an extended living room than a club, Keith Richards surveyed the crowd and flashed a sly smile. “So I have to follow Mavis Staples,” he said of his unenviable position. Then, like Staples, Norah Jones, and Warren Hayes, he proceeded to rock the latest edition of New York’s Soho Sessions shows anyway.

A private live music event in that part of Manhattan, the Soho Sessions has become one of New York’s must-see events for the 150 or so fortunate to snag a ticket to each of its roughly 10-times-a-year shows. The fifth-floor loft space itself has an illustrious history: Once upon a rhyme, it was home to Chung King Studios, where classic old-school hip-hop albums by Public Enemy, the Beastie Boys, LL Cool J, and Run-DMC were recorded.

But since it launched in 2021, the Soho Sessions gigs have presented intimate performances by legends (Paul Simon, Elvis Costello, Nile Rodgers and Chic, Taj Mahal, Steve Earle) and comparative newcomers (Marcus King, Yola, Maren Morris, Lukas Nelson). Each show is also designed to bring awareness to a particular cause: Befitting an issue close to him, last year’s Simon set, which was attended by the likes of Jerry Seinfeld, Jackson Browne, and Whoopi Goldberg, benefited the Stanford Initiative to Cure Hearing Loss.

In honor of Bruce Willis, who’s been battling frontotemporal dementia for two years, last night’s Soho Sessions aimed to raise awareness of (and funds for) the Association for Frontotemporal Degeneration (AFTD), the organization leading research into the incurable condition. To an audience dotted with fellow actors — Kevin Bacon, Michael J. Fox, Kyra Sedgwick, Steve Guttenberg, and Willis’ ex, Demi Moore — Willis’ wife Emma said her husband was “here in spirit” and passed along one of his favorite sayings: “Can we please have some fun?”
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 Mavis Staples and Norah Jones performs at the Soho Sessions honoring Bruce Willis in New York on Wednesday.
 <cite class="lrv-u-text-transform-uppercase lrv-a-font-body-xs lrv-u-margin-t-050 lrv-u-text-align-center">Griffin Lotz for Rolling Stone</cite>
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Clasping an electric guitar, Jones dug into her early catalog for swaying versions of “Come Away with Me” and her version of Tom Waits and Kathleen Brennan’s “Long Way Home.” With her band, Staples brought her trademark spunk and vocal grit to two Staple Singers songs — the gospel-imbued “City in the Sky” and their trademark “I’ll Take You There,” complete with a crowd call and response. “Norah, where are you?” she asked at one point, bringing Jones up for a duet on “You Are Not Alone,” the two of them holding hands as they sang.
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</div><figcaption class="c-figcaption lrv-u-flex lrv-u-flex-direction-column lrv-u-align-items-center">
 Warren Haynes performs at the Soho Sessions honoring Bruce Willis in New York on November 5th, 2025.
 <cite class="lrv-u-text-transform-uppercase lrv-a-font-body-xs lrv-u-margin-t-050 lrv-u-text-align-center">Griffin Lotz for Rolling Stone</cite>
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“Bruce and I have been neighbors for many years,” Richards told the crowd during his set, fondly calling the two of them “beach bums.” But Richards were there to celebrate and romp as well. Backed by guitarist Larry Campbell, drummer Steve Jordan, bassist Joey Spampinato of NRBQ, and pianist Ivan Neville, Richards’ set was brief — only three songs — but made up for the brevity with a clanking, juke-joint-rocking performance. With Richards and Campbell trading guitar parts, the band opened with a slow-rolling version of Big Bill Broonzy’s blues standard “Key to the Highway,” leading into a version of the Stones’ Keith-led gem “You Got the Silver,” with Campbell on lap slide guitar. In a somewhat early nod to the upcoming holiday season, Richards — in a black cap and looking relaxed and at ease — took the band thorough a romping version of Chuck Berry’s “Run Rudolph Run,” with Campbell and Richards swapping solos. (Note to Richards: Please take this band on tour with you.)

As he acknowledged in the last set of the night, jam-band legend Warren Haynes was in a somewhat challenging position. “Keith said he had to follow Mavis, and I have to follow Keith,” he shrugged. But to a house that remained packed, Haynes gamely played B.B. King’s “The Thrill Is Gone,” his own anthemic “Soul Shine,” and a version of Blind Willie McTell’s “Statesboro Blues” that harked back to his tenure in the Allman Brothers Band. American roots music may not be a cure for ailments like the one impacting Willis, but the night proved that it could at least be a balm.
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<title>A New Documentary Shows Another Side of the Newport Folk Festival</title>
<link>https://music-times.net/a-new-documentary-shows-another-side-of-the-newport-folk-festival/</link>
<comments>https://music-times.net/a-new-documentary-shows-another-side-of-the-newport-folk-festival/#respond</comments>
<dc:creator><![CDATA[music-times.net]]></dc:creator>
<pubDate>Thu, 06 Nov 2025 18:12:15 +0000</pubDate>
<category><![CDATA[News]]></category>
<category><![CDATA[Bob Dylan]]></category>
<category><![CDATA[Featured]]></category>
<category><![CDATA[Newport Folk Festival]]></category>
<guid isPermaLink="false">https://music-times.net/a-new-documentary-shows-another-side-of-the-newport-folk-festival/</guid>
<description><![CDATA[The 2024 Bob Dylan biopic A Complete Unknown introduced the history of the Newport Folk Festival to an entirely new generation of music fans. But recreations of the 1963, 1964, and 1965 festivals were shown almost entirely from the perspective of Bob Dylan, and the film stretched historical truth well past its breaking point in […]
The post <a rel="nofollow" href="https://music-times.net/a-new-documentary-shows-another-side-of-the-newport-folk-festival/">A New Documentary Shows Another Side of the Newport Folk Festival</a> appeared first on <a rel="nofollow" href="https://music-times.net">Music Times</a>.
]]></description>
<content:encoded><![CDATA[<div>

The 2024 Bob Dylan biopic A Complete Unknown introduced the history of the Newport Folk Festival to an entirely new generation of music fans. But recreations of the 1963, 1964, and 1965 festivals were shown almost entirely from the perspective of Bob Dylan, and the film stretched historical truth well past its breaking point in quite a few scenes.

The upcoming documentary film Newport & The Great Folk Dream will correct that by presenting the event as it actually went down between 1963 and 1966, utilizing never-before-seen footage and interviews with Joan Baez, Noel “Paul” Stookey, Jim Kweskin, Taj Mahal, Judy Collins, Joe Boyd, Peter Yarrow, Maria Muldaur, and many others. The film screens on Friday at the San Francisco International Film Festival, and you can check out the trailer right here. 
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Newport & The Great Folk Dream was directed by Robert Gordon, whose previous films include Muddy Waters: Can’t Be Satisfied, Johnny Cash’s America, and Shakespeare Was a Big George Jones Fan: ‘Cowboy’ Jack Clement’s Home Movies. 

“The footage over these four years, 1963-1966, documents how fast changes occur,” Gordon says in a statement. “We’re living through radical change now, and we hope this movie inspires more music, more understanding, more courage. It was an honor to curate these artists — and a very difficult task. Bob Dylan goes electric, Phil Ochs leaps to the present, and Mississippi John Hurt makes time stand still. Pete Seeger and Peter, Paul & Mary evolve before our eyes. The film is rife with surprises — and unusual sounds.”

Much of the footage from the Newport Folk Festival was captured by filmmaker Murray Lerner, and it appeared in his pivotal 1967 documentary Festival. In 2007, Lerner created The Other Side of the Mirror: Bob Dylan at the Newport Folk Festival. It was built around his archive of Dylan footage from the events. 
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Newport & The Great Folk Dream takes a much broader look at the festival by showing footage of Judy Collins, Elizabeth Botton, John Lee Hooker, Peter, Paul & Mary, Dave Van Ronk, Pete Seeger, the Chambers Brothers, and many others. “At the Newport Folk Festival, people who would not ordinarily encounter each other had the chance to develop bonds,” Gordon says. “he festival was in the living folk tradition, elders sharing songs and technique, the youth innovating and pushing the envelope. Freedom songs rang out alongside work songs, a player on homemade pan pipes mesmerized listeners alongside the generation’s greatest future singer-songwriters. The timeliness — and timelessness — is astonishing.”

The Newport Folk Festival went on hiatus in 1969, but returned as an annual event in 1985. The 2025 show featured performances by Geese, Goose, Jeff Tweedy, Jack Antonoff and Bleachers, Margo Price, Kenny Loggins, Jesse Welles, Public Enemy, and Luke Combs.
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