During the Bettencourt family’s November 26 “Turkey Jam” at the Hudson Portuguese Club in Hudson, MA, Extreme’s Nuno Bettencourt and Kevin Figueiredo were joined onstage by Godsmack’s Sully Erna for live covers of Alice In Chains’ “Man In The Box” and Led Zeppelin’s “Immigrant Song.” You can see fan-filmed footage Erna singing “Man In The Box” and playing drums on “Immigrant Song” below:
Machine Head have revealed that they will be playing several Australian shows as a three-piece. A fill-in guitarist who was recruited by the band was unable to make the concerts due to a “family emergency.”
Frontman Robb Flynn commented:
“These are gonna be some pretty unique shows that we’re doing for the first three [Good Things festival] side shows in Australia because the guitar player that we had hired to do these six dates ended up having a family emergency. And so, as you know from before, Reece’s [Alan Scruggs, former MACHINE HEAD touring guitarist] father was recently diagnosed with lung cancer, and so he’s staying home. [MACHINE HEAD producer] Zack [Ohren], who fills in [on guitar] for us sometimes, couldn’t make it out because he had a health issue. And then this guy had something going on. So these first three Good Things festival side shows that MACHINE HEAD are doing are going to be played as a three-piece. It’s gonna be myself, Jared [MacEachern, bass] and Matt [Alston, drums]. And it’s gonna be basically ‘Electric Happy Hour’ style, which is how Jared and I have been doing the livestreams for five years now. In fact, this isn’t the first time at all that we’ve played as a three-piece. The first time we did a secret show at Bloodstock [Open Air] festival, we played as a three-piece. It was just myself, Jared and Matt. Reece’s first tour that he did with us, he had been given a very bizarre setlist, and we ended up playing about six or seven songs a night for the first two weeks as a three-piece, and it worked out cool.
So, I’m actually looking forward to it because it’s still gonna be ‘An Evening With’ show where we’ve got a lot of songs to pull from. We’re gonna do some deep cuts, some fun stuff. And if you’re coming out to either Perth or Sunshine Coast or Canberra, you’re gonna get a pretty, pretty unique, pretty once-in-a-lifetime viewing of MACHINE HEAD shows.
So come on out, come hang Saturday, Monday and then Wednesday — Perth, Sunshine Coast and Canberra. And we’re gonna be jamming. So check it out.”
The following shows will feature the three-piece lineup:
11/29 Perth, AUS – Astor Theater
12/01 Sunshine Coast, AUS – The Station
12/03 Canberra, AUS – UC Refectory
[via Blabbermouth]
Helloween have been forced to cancel their upcoming Asian tour. The dates were scrapped after singer Michael Kiske “contracted acute pharyngolaryngotracheitis and asthmatic dyspnea with bronchitis.”
The band commented:
“Dear pumpkinheads,
we sadly have to announce that we are forced to cancel our planned Helloween concerts in (South) East Asia.
During the recently completed European tour, Michael Kiske contracted acute pharyngolaryngotracheitis and asthmatic dyspnea with bronchitis and has been prescribed immediate bed rest by his doctor.
We feel very sorry for our fans in Indonesia, Malaysia and Taiwan, but Michaels health has the highest priority for us, and in order to prevent a long term damage to his voice this step is unavoidable.
We wish Michael a fast recovery and hope to be able to present our fans in (South) East Asia our mighty 40 Years Anniversary show in 2026!
– Helloween”
On November 26, the Orfeón Nacional de Carabineros de Chile performed AC/DC’s “Highway To Hell,” “Back In Black,” and “Thunderstruck” during a “changing of the guard” ceremony in front of La Moneda Palace in Santiago, Chile. You can check out some footage of that below. The tracks were added to the set to celebrate the upcoming Chilean date of the band’s 2026 tour.
The Used will be performing with a full orchestra and choir at the Sydney Opera House on March 29. Fans can sign up to receive pre-sale tickets for the black tie event HERE.
Vocalist Bert McCracken commented:
“The Sydney Opera House is one of the most prestigious venues in the world and we will be playing there with a full orchestra and choir! This is a once in a lifetime opportunity for The Used and we couldn’t be more excited. Can’t wait to see you there!”
The band also shared a quote from William Shakespeare:
“I know a bank where the wild thyme blows, Where oxlips and the nodding violet grows,
Quite over-canopied with luscious woodbine, With sweet musk-roses and with eglantine.”—William Shakespeare, ‘A Midsummer Night’s Dream’
AVTT/PTTN, the project featuring Mike Patton (Faith No More, etc.) and The Avett Brothers, were the musical guests during tonight’s (November 26) episode of “The Tonight Show Starring Jimmy Fallon.” You can see footage of the band performing “Eternal Love” on that program below:
Five former members of Cradle Of Filth, Zoë Federoff, Marek “Ashok” Smerda, Lindsay Schoolcraft (Lindsay Matheson), Richard Shaw, and Paul Allender, and a music video star, Sasha Massacre (Sasha Baxter), have filed a lawsuit against the band, frontman Dani Filth (Daniel Lloyd Davey), and The Oracle Management. The musicians made the move over alleged copyright infringement, unjust enrichment, etc.
The complaint said the following [via Reddit]:
“This action arises out of: the unauthorized use and ongoing commercial exploitation of all Plaintiffs’ likenesses and images in merchandise, unpaid royalties owed to Plaintiff Federoff and Plaintiff Smerda for live performances, and unpaid royalties owed to Plaintiff Federoff, Plaintiff Smerda, and Plaintiff Matheson for their performances in musical sound recordings, the unauthorized use of Plaintiff Matheson’s copyrighted works by
Defendants, the disparagement of Plaintiff Federoff and Plaintiff Smerda following their discontinuation of involvement with Defendants, unjust enrichment from Plaintiff Baxter’s performances in music videos, and unjust enrichment from the commercial exploitation of Plaintiff Federoff and Plaintiff Smerda at in-person events (i.e., meet and greets).Cradle of Filth is a music group that has been performing, recording, and releasing heavy metal music, including a wide range of sub-genres of heavy metal, since in or about 1991.
Prior to the events of this Complaint, Plaintiffs Federoff, Smerda, Matheson, Allender and Shaw composed, recorded and performed with Cradle of Filth extensively over many years.
Throughout this time, Plaintiffs never signed or executed any agreement with Defendants regarding the use of Plaintiffs’ names, likenesses, and images on Merchandise.
Defendants created a wide variety of Merchandise featuring Plaintiffs’ names, likenesses, and/or images.
Plaintiffs were not compensated for the use of their names, likenesses, and/or images in Merchandise produced and sold by Defendants.
Plaintiffs Federoff, Smerda, Matheson, Allender and Shaw, together with Defendants Davey and/or Cradle of Filth, composed and contributed their performances to multiple commercially released sound recordings, specifically including the Recordings.
Throughout this time, Plaintiffs Federoff, Smerda, and Matheson, never signed or executed any agreement with Defendants regarding the performances by Plaintiffs Federoff, Smerda, and Matheson in collaborative sound recordings.
Plaintiffs Smerda, Shaw, and Matheson were not compensated for their performances in sound recordings on the 2017 Release.
Plaintiffs Smerda and Shaw were not compensated for their performances in sound recordings on the 2021 Release.
Plaintiffs Smerda and Matheson were not compensated for their performances in sound recordings on the 2023 Release.
Plaintiff Shaw was compensated for his performances in sound recordings on the 2023 Release by Defendant Cradle of Filth, Touring Entity, Oracle, and/or Davey, in the amount of five hundred British pounds (£500).
Plaintiffs Federoff and Smerda were not compensated for their performances in sound recordings on the 2025 Release.
Throughout this time, Plaintiff Federoff and Plaintiff Smerda never signed or executed any agreement with Defendants regarding the use of Plaintiffs’ names, likenesses, related to meet and greets.
In 2014, Plaintiff Matheson created certain copyright works, the Sigils.
Following the creation of the Sigils, Plaintiff Matheson never granted the rights or otherwise authorized the use of the Sigils by Defendants.
Defendants used, and continue to use, the Sigils in merchandise, Sigil Merchandise, artwork, and for other commercial uses, without Plaintiff Matheson’s authorization.
Plaintiff Baxter performed in two Music Videos synchronized to sound recordings, which Defendants organized, produced, and commercially exploited.
Defendants did not compensate Plaintiff Baxter for the performances in the Music Videos.
Following Plaintiff Baxter’s performance in the music videos, Defendants produced and sold Merchandise featuring Plaintiff Baxter’s likeness, without any authorization.
After years of collaboration with Plaintiffs Smerda and Federoff, Defendant Davey offered to enter into a contract with them regarding the exclusive rights to their likenesses and images, their performances in sound recordings, and their rights regarding meet and greets.
Prior to this, Plaintiffs Smerda and Federoff were not offered to enter into a contract regarding their exclusive rights to Plaintiffs’ likenesses and images, their performances in applicable sound recordings, and their rights regarding meet and greets.
Plaintiffs Smerda and Federoff considered the offered contract terms highly unfavorable and declined to enter into the agreement.
The collaboration and association between Plaintiffs Smerda and Federoff, Defendant Davey and/or Cradle of Filth ended in or about August of 2025.
Following the disassociation of Plaintiff Smerda and Plaintiff Federoff from Defendants Davey and/or Cradle of Filth, Defendants did not compensate Plaintiff Smerda and Plaintiff Federoff and Smerda for the final live performances with Defendants Davey and/or Cradle of Filth.
Following the end of the collaboration and association of Plaintiff Smerda and Plaintiff Federoff with Defendants Davey and/or Cradle of Filth, Defendants have continued to commercially exploit and profit from Plaintiff Smerda’s and Plaintiff Federoff’s likenesses and images in Merchandise and their performances in sound recordings.
Following the end of the collaboration and association of Plaintiffs Federoff, Smerda, Shaw, and Matheson with Defendants Davey and/or Cradle of Filth, Defendants have continued to commercially exploit and profit from their performances in sound recordings, specifically including the Recordings.
Following the end of the collaboration and association between Plaintiffs with Defendants Davey and/or Cradle of Filth, Defendants have continued to commercially exploit and profit from Plaintiffs’ likenesses and images in Merchandise.
Following the departure and disassociation of Plaintiffs Smerda and Federoff from Defendants Davey and/or Cradle of Filth, Defendant Davey engaged in defamatory attacks on Plaintiffs Smerda and Federoff, impugning their
professional reputations in the music industry.Defendant Davey publicly stated that Plaintiff Federoff drank alcohol while pregnant, implying that Plaintiff Federoff’s tragic miscarriage was
caused by alcohol consumption.This action arises out of Defendants unauthorized use and/or commercial exploitation of Plaintiffs’ likenesses and images, in Merchandise, Plaintiffs Federoff’s, Smerda’s and Matheson’s performances in the Recordings, Plaintiff Federoff’s personal property, Plaintiff Baxter’s performances in Music Videos, and Plaintiff Matheson’s copyrighted works, as well as the disparagement of Plaintiffs Federoff and Smerda following their discontinuation of involvement with Defendants.”
During a recent interview with Laughingmonkeymusic, King’s X bassist/vocalist Doug “Dug” Pinnick discussed the band’s new music plans. According to him, the group are “excited about making a new record.”
Pinnick said the following:
“We’ve been talking about making a new record. And I hope we can figure out where, how and get all the stuff lined up. In fact, we’re gonna have a meeting next week — I think, a conference call — to discuss maybe what we wanna do and how we wanna do it now.
We’re excited about making a new record. After 46 years now, which was our birthday a few weeks ago, and 46 years we’ve been together. And we’re just kind of like a bunch of little kids going, ‘We’re still doing this. And we’re still sounding good and it’s still working. Let’s make another record. What the heck?’ And literally, it’s like we’re one of the oldest bands out there that’s making music, and we’re still like kids in the playground. A little slower, less cantankerous. We don’t fight a lot anymore over parks and things. We’ve learned to trust each other and to believe in each other, like any band. But that’s a secret about a band, if you’re together for 20, 30, 40, 50 years — you know each other real well and you can make love like you’ve never made love before, like old people. [Laughs]”
He continued when asked about the musical direction:
“The next record will be different again — I’m sure it will be. We always talk about it, but I think we’re at a place now where we wanna get as mellow and as aggressive as we can possibly get, because that’s our forte. We’re very aggressive and we can really be soft. Let’s just take it further. Let’s just see what else we can come up with.
Ty [Tabor, KING’S X guitarist] and Jerry [Gaskill, KING’S X drummer] both have different ideas. When we get together and talk about it, we’re never on the same page, but all we gotta do is play a riff and everybody just kind of falls into this thing that happens. So, I personally just wanna get in a room and just shit out a bunch of new songs. Ty wants to bring some songs in and we can shit out some. Jerry has ideas. And for me, I just gotta back up and go, ‘Let it flow,’ because I’m a control freak. I want everybody in the room to write everything that way. But that’s not what everybody wants to do, and that’s not necessarily what we need to do. I’m good for at stifling our creativity by having a pre-supposed idea of how I want something to be.”
He also reflected on “Three Sides Of One”:
“The thing about it, we hadn’t made a record in so long, it was so cool to get together and re-hear ourselves again, which was fun. Also, we had a producer who was just like one of the guys, and he is a good friend of mine. He produced two of my records, and Ty and Jerry love him to death. So we all had a great hang experimenting. And another thing is we wanted to do a completely analog [album]. The only thing that was digital was Pro Tools — that’s it. Everything else was analog. Even when we mastered it, it was mastered with tubes on tape. So, we tried to get as close as we could. And I had a suggestion that we take every song and mix it like the genre it sounds rather than just trying to make it sound like KING’S X, which would’ve been cool. So that’s what we did… And so I think it was like a plethora of little pieces of candy. Every song had a different flavor and a different vibe to it. And the next record, I think it’s gonna be totally different than that. I don’t know what it’s gonna be, but it’ll be different.”
[via Blabbermouth]
You must be logged in to post a comment.