FOO FIGHTERS have released a thrashy new song titled “March Of The Insane”. The track, which was made available under the band moniker DREAM WIDOW, is featured in FOO FIGHTERS’ upcoming horror comedy “Studio 666”.

In “Studio 666”, the legendary rock band FOO FIGHTERS move into an Encino mansion steeped in grisly rock and roll history to record their much-anticipated tenth album. Once in the house, Dave Grohl finds himself grappling with supernatural forces related to related to the studio’s former residents — the aforementioned fictional act DREAM WINDOW — that threaten both the completion of the album and the lives of the FOO FIGHTERS.

Last December, Grohl told Mojo about the film: “There’s no other band that’s stupid enough to do that. It is absolutely crazy. A few scenes, they’re so epic, man. Just when you think we couldn’t find anything more ridiculous… It’s going to really, really take your breath away.”

Grohl also revealed a bit about DREAM WINDOW, saying: “The singer went crazy and murdered his whole band because of creative differences.”

During an appearance on “The Howard Stern Show”, Grohl stated about the film’s plot: “We come in 25 years later to record, having no idea what happened 25 years ago, and I start becoming possessed by the spirit of the guy from 25 years ago and the spirit of the house. But this song, ‘March Of The Insane’, this is their lost record. This is the record they were making before their singer murdered [them].”

“Studio 666” stars Grohl, Taylor Hawkins, Nate Mendel, Pat Smear, Chris Shiflett and Rami Jaffee.

Open Road Films acquired worldwide rights to the film, directed by BJ McDonnell, which is set for a wide domestic theatrical release in more than 2,000 theatres on February 25. The all-star cast also includes Whitney Cummings, Leslie Grossman, Will Forte, Jenna Ortega and Jeff Garlin. The announcement was made by Open Road’s Tom Ortenberg and FOO FIGHTERS.

Based on a story by Grohl and screenplay by Jeff Buhler and Rebecca Hughes, “Studio 666” is produced by Roswell Films’ and Therapy Studios’ John Ramsay and James A. Rota. Executive producers are John Silva, Kristen Welsh, John Cutcliffe, Gaby Skolnek, Dave Grohl, Nate Mendel, Taylor Hawkins, Pat Smear, Chris Shiflett, Rami Jaffee, James Masciello, Matthew Sidari, Mitchell Zhang and Tom Ortenberg.

The deal was negotiated by Tom Ortenberg and Matthew Sidari on behalf of Open Road Films and by WME Independent on behalf of the filmmakers.

Legendary rockers KISS have announced that the upcoming voyage of the “Kiss Kruise XI” will be their “last performance onboard”. The KISS Navy will set sail for their eleventh mission from Los Angeles to Cabo San Lucas and Ensenada, Mexico from October 29, 2022 to November 3, 2022.

As has been the case on all the previous cruises, fans will get to see KISS’s unmasked acoustic and electric shows and engage in activities with the bandmembers.

Last year’s edition of the “Kiss Kruise” required fans to be vaccinated to attend.

In October, KISS frontman Paul Stanley said that the final concert of the band’s “End Of The Road” tour would likely happen by early 2023.

KISS launched its farewell trek in January 2019 but was forced to put it on hold in 2020 due to the COVID-19 pandemic.

“End Of The Road” was originally scheduled to conclude on July 17, 2021 in New York City but has since been extended to at least the end of 2022. The trek was announced in September 2018 following a KISS performance of the band’s classic song “Detroit Rock City” on “America’s Got Talent”.

“I believe strongly by the beginning of 2023 we will be finished,” Stanley told Ultimate Classic Rock, adding that “it seems only natural [for the final show] to be in New York. That is where the band started, and that was really the background for the band getting together and writing these songs and played loft parties and played clubs starting with an audience of probably 10 people,” he said. “It seems we should go full circle.”

Stanley went on to say that unlike KISS’s 2000-2001 tour, which was also supposed to be its last, “End Of The Road” will truly be the last time KISS performs live. “It’s a different time than we had pondered [farewell tours] in the past,” Stanley explained. “The fact is that, physically, it’s incredibly demanding to do what we do. Look, we played [recently] in Austin, an outdoor show, 100 percent humidity. We’re running around for two-plus hours, not only with guitars, but I’ve got 30-plus pounds of gear on. There’s a point where you go, ‘You know what? This is more challenge than I want.’ And I only want to do it as long as I can do it smiling.

“There’s really no thought about changing our minds,” he continued. “It has nothing to do with personalities in the band or tensions or a difference of opinion or musicality. It’s purely practical. You can play beat the clock, but ultimately the clock wins.”

KISS’s current lineup consists of original members Stanley and bassist/vocalist Gene Simmons, alongside later band additions, guitarist Tommy Thayer (since 2002) and drummer Eric Singer (on and off since 1991).

Formed in 1973 by Stanley, Simmons, drummer Peter Criss and lead guitarist Ace Frehley, KISS’s first “farewell” tour in 2000 was the last to feature the group’s original lineup.

In early 2019, Stanley told Australia’s “Sunday Night” that “Rock And Roll All Nite” “has to be” the song that KISS performs as the last encore at the final concert of the “End Of The Road” tour. “That is the rock anthem that connects the world,” he explained. “It was the start of other people coming up with anthems. They really didn’t exist, per se. So, ‘Rock And Roll All Nite And Party Every Day’, that’s a song that just connects with people on all different levels.”

Simmons concurred, telling BUILD Series: “How do you not end with ‘Rock And Roll All Nite’? We will have played that song, probably without exception, more than any other song we’ve ever been involved with. You might say, ‘Aren’t you sick and tired of hearing that?’ But I will tell you the roar of the crowd, the smell of the grease paint, there ain’t nothing like it. When you hear everybody getting jazzed about that and you get off the stage… [it’s] like the fire in the belly. You’re dog-tired; you’ve just done a big show; and you get up on that stage, when you see the joy in everybody’s face… We’ve seen it all. We’ve been around for generations, but when you see a little 5-year-old kid in KISS makeup on his dad’s shoulders who’s wearing KISS makeup, next to his father… we’re badass kind of guys — nothing affects us much — but that stuff will put a lump in your throat. You have to turn around for a second. It gets me. Yes, it’s music, but it’s generational, and it brings families together instead of separates [sic] them.”

KISS will be performing on the high seas for the LAST TIME, October 29-November 3, 2022 on #TheKissKruise from Los…

Posted by The KISS Kruise on Tuesday, February 15, 2022

IT’S TIME #KISSNAVY! Join the pre-sale now for KISS Kruise XI, sailing from Los Angeles to Cabo San Lucas and Ensenada, Mexico, October 29-November 3, 2022! You do NOT want to miss this! Sign up now at thekisskruise.com

Posted by KISS on Tuesday, February 15, 2022

To celebrate the 30th anniversary of PANTERA’s classic sophomore major label album “Vulgar Display Of Power”, The Pit has uploaded a video interview with the band’s vocalist Philip Anselmo. You can now watch the chat in two parts below.

Speaking about his expectations for the LP at the time of its release, Anselmo said (as transcribed by BLABBERMOUTH.NET): “When ‘Vulgar Display Of Power’ first came out, my expectations for how it would do were none. I never had any expectations for any record we’ve ever done. I always felt like if I put an expectation upon it, I’d always get let down. So I just let things happen as things happened.

“Now, the reception of the record and — God — the tours, the tours,” he continued. “The difference in the audience from ‘Cowboys From Hell’ touring cycle to ‘Vulgar Display’ was night and day — truly. But I was surprised at how positive the reception was and all the massive crowds and the fans. That was really the true… Well, that was when people started coming to shows — like, you had to see PANTERA.”

In a 2017 interview with the WGRD radio station, former PANTERA drummer Vinnie Paul Abbott spoke about the 25th anniversary of “Vulgar Display Of Power”. He said: “I never ever think about [how long it has been since the record was released]. It certainly doesn’t feel like it at all, man; it feels like it was yesterday, almost. But looking back on it, it really was a groundbreaking record for heavy metal. It really set the tone for what modern-day metal bands do. They still use that record to A-B their records to — getting their guitar sounds, their drums sounds, this, that and the other. So it really was special, and I’m really proud to have been a part of it.”

“Vulgar Display of Power” was certified double-platinum by the Recording Industry Association of America (RIAA) in 2004, signifying shipments of more than two million units in the U.S. since its February 1992 release.

Vinnie passed away on June 22, 2018 at his home in Las Vegas at the age of 54. He died of dilated cardiomyopathy, an enlarged heart, as well as severe coronary artery disease. His death was the result of chronic weakening of the heart muscle — basically meaning his heart couldn’t pump blood as well as a healthy heart.

Vinnie Paul and his brother “Dimebag” Darrell Abbott co-founded PANTERA. When PANTERA broke up in 2003, they formed DAMAGEPLAN. On December 8, 2004, while performing with DAMAGEPLAN at the Alrosa Villa in Columbus, Ohio, Dimebag was shot and killed onstage by a troubled schizophrenic who believed that the members of PANTERA were stealing his thoughts.

Up until his death, Vinnie remained on non-speaking terms with Anselmo, whom the drummer indirectly blamed for the murder of Dimebag.

“I get nervous if I have my shoes on when I am playing,” says Andy White, the guitar half of the psychedelic, krautrock-style, jam-centric duo Tonstartssbandht [pronounced: tone-starts-band]. “For some reason, playing with shoes on just feels weird.”How weird? That’s hard to say, but playing barefoot has helped the guitarist figure out a few tricks and use it to his advantage. “I want to be able to know I have the option to do what I need to do on the fly or, at the very least, feel myself grounded,” he adds. “It all comes down to pedals at the end of the day. Even if it’s not tweaking them, but just activating them, or turning them off.”A duality—part mystical, part practical—describes White’s musical ethos as well as the history and evolution of Tonstartssbandht, which he founded in 2008 with his older brother and drummer, Edwin. The duo’s most recent release, Petunia, marked a new phase in their development, as they eschewed fuzz and lo-fi sonics in favor of cleaner tones. Despite capturing live instrumental takes, the album is very much a studio creation. The brothers took advantage of the downtime afforded by Covid—holed up together in their hometown of Orlando—and experimented with gear, holding out for perfect takes, and even built an iso booth.“It definitely felt alien,” White says. “It was very weird, and I’ve second-guessed myself a lot of the time. ‘Should it be taking this long? Should it sound so high fidelity? Are people going to hate us or think we sold out?’”Tonstartssbandht – Pass Away (Official Video)Relative to the rest of their work, Petunia sounds like it was captured with Steely Dan-like precision. Their previous effort, Sorcerer, was recorded under completely different circumstances that illustrate the brothers’ ability to embrace serendipity and circumstance. “Sorcerer was recorded at our old place, when Ed and I were both living in Brooklyn in a big, shared living and art space called Le Wallet, in Bushwick,” White says. “If you could build a vocal booth within a vocal booth, you would not be able to escape the noise, because the building was surrounded on three sides by the elevated M train. I didn’t mind sleeping there, but you would not be able to get a quiet take unless you timed it perfectly for when the M wasn’t running for five minutes or so. We knew we were working with the ambient noise of a train going by, or a roommate making dinner across the room who wants to shout or something. There was no avoiding that.”The much more delicate sound of Petunia is a fresh entry to the band’s discography. The album opens with “Pass Away,” a dreamy, spacious, falsetto-laden jam that grows and grows, and yet never forgets it’s supposed to groove. White layers chord extensions over an ostinato bass figure that’s played with his thumb and—check it out—isn’t overdubbed. In fact, none of the guitar parts are. Even the hypnotic, uneven delays that complement the melodic, upper register double-stops on “What Has Happened” were recorded as one complete take. White was able to create a rich, detailed sonic image by carefully dialing in his amps, plus mixing.“I’ve second-guessed myself a lot of the time. ‘Should it be taking this long? Should it sound so high fidelity? Are people going to hate us or think we sold out?’”“I have trouble sometimes,” he says. “If I set up mics in a room and I think, ‘This sounds nice and heavy for a two-man band,’ when I listen back to the recording, I can be disappointed because it doesn’t quite capture how heavy it sounded. If I am left to my own devices to mix—like we were on our previous albums—it’s just a lot of trial and error with EQ in post. With Petunia, we had all the carefully recorded takes to work with, and that’s why we brought it to other people to mix. It took us long enough to figure out how to record it how we wanted to, and we didn’t want to fuck up what we worked on so hard by trying to mix it ourselves.” That also paid off by showcasing the haunting qualities within White’s voice, which spins warm melodies and charms in airy falsetto for most of the album, but can drop into a growling attack when it’s time to bare teeth.White uses two solid-state Lab Series amps—he has both the L5 and L6 models—which he finds break up to his liking and cover a broad tonal range. The Lab Series is from Gibson’s Norlin era, the 1970 to 1986 period when the company was producing some of its wackiest products, including offbeat guitars like the Marauder and Corvus, and solid-state amps that featured, for the time, cutting-edge electronics designed by sister Norlin company Moog. You don’t see Lab Series amps around that often, and for White, they’re perfect. “Some guitar guys tell me they have a tube sound without the finicky-ness of tubes, and I’ve always found them to be very reliable. I try to get a nice boost-y heavy bass from the amps, and when it comes to recording it, it’s luck and trial and error.”White runs the two amps simultaneously and bounces his signal between both—not a dry signal in one amp and wet in the other—creating a ping-pong effect and fattening the sound. You can hear that in action on Petunia, especially on songs like “All of My Children” and the aforementioned “What Has Happened,” where he also leans heavily on an Electro-Harmonix Super Pulsar.“It uses a quarter-note tremolo really hard—like a strobe—and then one repeat 100 percent wet and dry delay on the dotted quarter,” White says. “I used to dial that in on the fly on a live show and it would take forever to get it exactly right tuning the tremolo ratio and getting the delay to hit it just at the right swing. Now I just adjust the Super Pulsar and tune it to make it exactly how I like, and then save it as a preset.”Andy White’s GearGuitarsDanelectro 12-SDCEarly ’70s Gibson SG with BigsbyFender American Elite StratocasterAmpsLab Series L5 2x12Lab Series L6 1×15 bass comboStringsErnie Ball Power Slinky (.011–.048, for 6-strings)Ernie Ball (.010 sets, for 12-string)EffectsBoss TU-3 Chromatic TunerBoss GE-7 Graphic EqualizerBoss OC-3 Super OctaveElectro-Harmonix Little Big MuffElectro-Harmonix Super PulsarElectro-Harmonix Stereo Memory Man with HazaraiDigiTech X-Series DigiDelayBoss RV-6 ReverbTC Helicon VoiceTone Create (for vocals only)White’s recently developed pragmatic approach to gear applies to his guitars as well. He relies on three: an SG and a Danelectro 12-string that are tuned to D standard, plus a Strat tuned to a hybrid C# tuning of his own invention (C#-G#-C#-F#-G#-B), with its bridge is stopped up with cork to disable the tremolo.“I went to the local guitar guy in Orlando and had him set up my guitar in that C# tuning,” he says. “I can’t believe that I am 32 and I just figured out that may be a smart thing to do. It was very rewarding. I took three guitars on the road. I just couldn’t be bothered spending so much time tuning and retuning on stage, and it paid off. I think my brother really appreciated not sitting on the drums whistling to himself while I tuned in the middle of a live show.”The guitarist fingerpicks with a raw style, using just his thumb and index finger, with his other fingers anchored to the pickguard. He plays with the flesh, or pads, of his fingers and doesn’t use his nails or fingerpicks.“I got into fingerpicking on an old nylon-string that was my first guitar,” he says. “I don’t remember a specific moment when I was like, ‘This is what I am going to do now,’ but I do remember that playing guitar for me was about using a pick—playing power chords or big open chords—and then one day I tried playing around with fingerpicking and realized I could use my thumb and index finger and that it wasn’t that hard. I started writing and fingerpicking as much as I could, and then I got into John Fahey and Davey Graham and that kind of British folk and blues fingerpicking. A few years later, when I was playing with my brother in Tonstartssbandht—our music, at first, was like noise and drone and vocal-looping based. Slowly but surely, and maybe it had to do with being able to express myself with tuning the amps correctly or finding the right guitar, fingerpicking became something we could comfortably do together. He could rip on the drums and I could fingerpick, and it wouldn’t sound too much like a hot mess. It was cohesive.”Cohesion aptly describes the duo’s improvisations. They don’t jam in the soloist/accompaniment sense, but rather more in the group-focused style of ’70s-era krautrock bands like Can and Popol Vuh. “There are only two of us,” White says. “If only one of us is soloing, it’s going to sound pretty fucked up. We do our best to sound like a full band. If I am not playing chords and singing, I want to play leads like Michael Karoli. That feels funny—saying that Michael Karoli is my favorite guitarist—because you don’t listen to Can records for the guitars; you listen for the whole sound.”“If only one of us is soloing, it’s going to sound pretty fucked up. We do our best to sound like a full band.”Similarly, thanks to their combination of a practical, work-centric focus and just letting things happen, you listen to Tonstartssbandht for the whole sound. But the comparisons end there, because the members of Can, for the most part, usually wore shoes—you knew that was coming back—which, as White said, isn’t his M.O. He prefers the spiritual high and knob-twisting practicality of keeping his shoes off even if that does have its share of problems.“It has come back to bite me,” he says. “If you play a smaller place with grounding issues, you get electrocuted that much more if you’re not wearing shoes. My dad has told me in the past, ‘Before you go on the road, go to Home Depot and get an insulated rubber mat to stand on in case you’re playing a place that has bad electricity. But as one is wont to do with their father, I hear his advice and think, ‘Shut up dad! That’s a stupid idea.’ But it’s actually quite a good idea. I should probably do it someday.”“Falloff” by TONSTARTSSBANDHT live at Market Hotel, Brooklyn, NY, October 28, 2021Witness the full effect of Andy White’s fingerpicked stereo sound in this vibe-y take of “Falloff,” from 2021’s Petunia.

PEARL JAM singer Eddie Vedder has postponed his shows in San Diego and Los Angeles due to a COVID-19 outbreak in his touring party.

Eddie’s concert with his new band THE EARTHLINGS at The Magnolia in San Diego, originally scheduled for tonight (February 15), will now take place February 27, while the show at YouTube Theater in Los Angeles, originally slated for Thursday (February 17), has been pushed back to February 25.

The concert postponements were announced on Vedder’s social media pages on Monday (February 14). The statement read: “The Eddie Vedder and THE EARTHLINGS concerts scheduled for tomorrow February 15, 2022, at the Magnolia in San Diego and Thursday, February 17, 2022, at YouTube Theater in Los Angeles have regretfully been postponed.

“We have been following Covid protocols but still had a positive test in our touring party. The appropriate response is to postpone the next two shows. Everyone, please take care.

“Previously purchased tickets are valid for the rescheduled dates. If you cannot attend the rescheduled dates and desire a refund for your ticket, ticket refunds will be issued at the point of purchase.”

Vedder’s February 21-23 concerts in Seattle are expected to go on as scheduled.

Eddie’s most recent performance took place last Thursday (February 10) in Chicago.

THE EARTHLINGS are drummer Chad Smith, keyboardist/guitarist/vocalist Josh Klinghoffer, bassist Chris Chaney, guitarist/vocalist Glen Hansard, and guitarist Andrew Watt. The newly formed group gave their live debut at Vedder’s own Ohana Festival last September.

Vedder has served as PEARL JAM’s frontman, in addition to a guitarist and primary lyricist, since 1990. Inducted to the Rock And Roll Hall Of Fame in 2017 as a member of PEARL JAM, Vedder’s trademark vocal style inspired a generation. His energetic and unvarnished stage presence coupled with his honest conversations with the audience led PEARL JAM as pioneers in live performances and social justice.

The Eddie Vedder and the Earthlings concerts scheduled for tomorrow February 15, 2022, at the Magnolia in San Diego and…

Posted by Eddie Vedder on Monday, February 14, 2022

Nita Strauss, the Los Angeles-based guitar shredder for the ALICE COOPER band, spoke to SiriusXM’s “Trunk Nation With Eddie Trunk” about her upcoming follow-up to 2018’s “Controlled Chaos” solo debut. She said (as transcribed by BLABBERMOUTH.NET): “It’s gonna be half and half — six tracks with vocalists and six tracks of instrumental [music]. The next single after this, I think, will be an instrumental one; we’ve been doing it live on the solo tour and it’s been getting a super-good reaction from our crowds. So I think the next one will be instrumental — kind of go back to the roots — and then another radio single after that.”

Asked if she can talk about some of the other guests that appear on her new solo album, Nita said: “Not just yet. I will say that we’ve got a really, really cool blend of some legacy people as well as some new singers that I’m really excited about, and some amazing male vocalists and some incredible female vocalists as well.”

In early December, Nita told “The Mistress Carrie Podcast” about her decision to make the upcoming LP half vocal songs and half instrumental: “I did feel, and the label and everybody agreed, it’s still important for me to keep my identity as a guitar player and not just branch off too much and go, ‘Okay, well, now it’s just guests.’ Let me still have a little of what makes me me, which is the instrumental shred stuff. And the instrumental pieces that I’ve written on this record are, I think, better than anything I did on the first one — definitely more… I don’t know if it could be more emotional but they’re very emotional pieces of music and I think a little better crafted this time around. So I think all the songs in general are more well thought out, better put together this time around. And I do have some of my absolute favorite [singers guesting on it]. I have three amazing powerhouse female vocalists on this album so far. And there are still a couple of things T.B.D. [to be determined]. And then we should be ready to release next spring.”

In October, Nita shared “Dead Inside”, her first new music since the release of “Controlled Chaos”. The track is her first-ever solo collaboration with a vocalist, David Draiman, frontman of Grammy-nominated rock icons DISTURBED.

Strauss has been playing with Cooper since 2014 when she replaced Australian musician and former Michael Jackson player Orianthi. She joined Alice in time for a mammoth MÖTLEY CRÜE tour. She was recommended to Cooper by the legendary rocker’s former bass player and WINGER frontman Kip Winger.

Nita released “Controlled Chaos” to mass acclaim from fans and media alike, with Metal Injection calling it “a great debut that — as its creator intended — leaves no doubt”, and Guitar World stating “‘Controlled Chaos’ is a panoramic view of Nita Strauss’s many strengths”. To date the album has clocked up 6.7 million streams worldwide, with music videos for singles “Our Most Desperate Hour”, “Pandemonium”, “Alegria” and “Mariana Trench” generating over 3 million YouTube views.

As well as performing with Cooper, Nita has also played with R&B star Jermaine Jackson, early MTV darlings FEMME FATALE, video game supergroup CRITICAL HIT and popular tribute band THE IRON MAIDENS.

In April 2020, Nita launched “Rock Guitar Fundamentals” — a three-module online guitar teaching program suitable for learners of all levels. The course is available at www.iwanttoplayguitar.com.

Nita’s live show is mostly instrumental in nature, combining originals with covers.

Due to coronavirus restrictions, W.A.S.P. has postponed its European 40th-anniversary tour, originally scheduled for spring of 2022, until the spring of 2023. The new dates will take place in March, April and May of 2023. All tickets previously purchased for the 2022 tour will be valid at the rescheduled 2023 shows.

W.A.S.P. leader Blackie Lawless commented: “With enormous frustration, I’m forced to announce W.A.S.P. must postpone the 2022 European leg of the 40th-anniversary world tour. This hideous pandemic that’s stripped people of their freedom and lives, that’s caused countless artists to cancel or postpone shows for years, once again has reared its vicious head to claim us… again! For years we’ve worked really hard to make this tour our celebration, for not only for the fans, but for all of us involved. I’m sad, mad, tired and pissed off, but I’ll quote from the great W.E. Henley’s poem ‘Invictus’: ‘My head is bloody, but unbowed.’ That’s what I want from all of you, to go beyond this place of pain and loss, and NEVER bow to this THING! Our U.S. dates will continue as planned — BUT — WE WILL see you all next year Europe!!!”

W.A.S.P. “40 Years Live World Tour 2023” European tour dates:

March 17 – England, Manchester – Academy
March 18 – England, Wolverhampton – Steel Mill
March 19 – England, Nottingham – Rock City
March 21 – Scotland, Glasgow – O2 Academy
March 22 – England, Newcastle – O2 City Hall
March 23 – England, Bristol – O2 Academy
March 24 – England, London – Roundhouse
March 25 – Ireland, Dublin – National Stadium
March 26 – N. Ireland, Belfast – Ulster Hall
March 28 – Russia, Moscow – 1930 Moscow
March 29 – Russia, Moscow – 1930 Moscow
March 30 – Russia, St. Petersburg – Giant Hall
April 08 – Netherlands, Eindhoven – Effenaar
April 09 – Denmark, Cophenhagen – Amager Bio
April 11 – Sweden, Malmo – Moriskan
April 13 – Finland, Tampere – Pakkahuone
April 14 – Finland, Helsinki – Kulttuuritalo
April 15 – Finland, Oulu – Teatria
April 16 – Sweden, Umea – Idum
April 18 – Sweden, Sundsvall – Sporthallen
April 19 – Sweden, Gavle – Gasklockan
April 20 – Sweden, Eskilstuna – Lokomotivet
April 21 – Sweden, Karlstadt – Nojesfabriken
April 22 – Sweden, Stockholm – Stora Fallan
April 23 – Sweden, Huskvarna – People’s Park
April 25 – Norway, Oslo – Rockefeller
April 26 – Norway, Oslo – Rockefeller
April 27 – Sweden, Norrkoping – Flygeln
April 28 – Sweden, Kalmar – Kalmarsalen
April 29 – Sweden, Gothenburg – Tradgarn
May 01 – Germany, Bremen – Aladin Music Hall
May 02 – Germany, Mannheim – Capitol
May 03 – Germany, Oberhausen – Turbinenhalle
May 04 – Germany, Stuttgart – LKA Longhorn
May 05 – Germany, Saarbrucken – Garage
May 06 – Germany, Geiselwind – Music Halle
May 07 – Germany, Munich – Backstage Werk
May 10 – Switzerland, Zurich – Komplex 457
May 11 – Switzerland, Laussane – Les Docks
May 12 – Italy, Milan – Live Club
May 13 – Italy, Padova – Padova Hall
May 17 – Romania, Bucharest – Arenele Romane
May 18 – Bulgaria, Sofia – Arena Sofia

Few bands in the history of rock ‘n’ roll have ever incited the love, the hate, the raw emotional effect this band has had on the world. From the very beginning, in the small venues of Los Angeles, California, and later to the numerous countries worldwide that banned these winged assassins from performing live, the band’s unique style of shock and rock caused religious organizations, local city councils, parliaments, and the Washington D.C. Senate to hold hearings in an effort to bar this group from selling records and trashing stages everywhere they played.

The band’s founding member, Blackie Lawless, has led the group as its lead vocalist and primary songwriter since its beginning. His unique brand of visual, social and political comment took the group to worldwide heights and sold millions of records alongside a legacy of sold-out shows across the globe for four decades.

Joined by bassist Mike Duda and guitarist Doug Blair, whose tenures in the band span 26 and 18 years respectively, along with drummer extraordinaire Aquiles Priester, Lawless will take the band and the fans back to where it all started. Complete with the stage show extravaganza that many fans never saw live.