For anyone counting, Eagles drummer and founding member Don Henley is officially 0 for 2 on claiming his band will never tour again.

Following a pair of successful and critically acclaimed festival appearances at the Classic West and the Classic East this past July, six-time GRAMMY winners the Eagles have made the surprise announcement that they have scheduled four additional tour dates this fall.

The two festival appearances were the band's first performances in the wake of the tragic passing of guitarist and lead vocalist Glenn Frey at the age of 67 in early 2016. 

Taking the late, iconic lead singer's place on both vocals and guitar for the upcoming dates will be his son Deacon Frey, alongside 21-time GRAMMY winning Country singer/songwriter Vince Gill.

Following a heartfelt in memoriam tribute to the elder Frey at the 58th GRAMMY Awards alongside Jackson Browne, Henley had been quoted in March of 2016 as saying the band would not be touring again, calling the GRAMMY tribute a "fitting farewell."  Yet there still seemed to be a need to sayfarewell to the fans themselves who'd followed the band during its now 46+ year run, an opportunity the band had at the east and west editions of the Classic festival.

However, with a band this great, it's well-nigh impossible to say no when the fans demand an encore, and demand they have. Thus longtime followers of the group may remember back to 1982, when Henley was first asked if the band would ever play together again following their 1980 disbanding, to which he simply responded "When Hell freezes over."

Ashley Campbell Pens Letter To Father Glen Campbell

Primavera Sound is known for its heavy-hitting lineup and even bigger surprise guests. The Spanish festival celebrated 20 years in 2024, and transformed Barcelona's Parc del Fòrum into a masterclass of genre diversity and LGBTQIA+ inclusivity. There, under mostly sun-soaked skies, a wide range of international and native acts lit up multiple stages from May 29 - June 2.

Primavera Barcelona always promises an eclectic mix of performances that showcase native Spanish talent as well as major international headliners to get the party going. However, it’s not just the massive talent that pulls in the crowd. While the mainstages were graced by American superstars  Lana Del Rey,  SZA and Troye Sivan, the festival’s line-up was elevated by the vibrant non-stop DJ stylings of rising Brazilian star Clementaum and the divinity of Arca — who was rightfully labeled "madre!" by a buzzed up Boiler Room x Cupra activation. 

Primavera Sound’s diverse lineup guaranteed a highlight for every kind of festival goer: from the dad rocker to the 20-something throwing themselves head-first into new music. The festival amped up the energy and was keen to ensure a safe space for all music lovers (including regularly signposting a pro-LGBTQIA+ "Nobody Is Normal" campaign). If you weren't in Barcelona to experience the magic happening at Parc del Fòrum, read on for nine highlights from Primavera Sound BCN.

Arca Delivers A Divine Boiler Room Performance

Drawing on heavy doses of electronica, pop and techno, Venezuelan producer and DJ Arca’s unpinnable sound is exactly what made her sets unmissable. Arca set Primavera alight with two incredible sets: an early morning rave on the Amazon Music Stage on May 31, and a second, more intimate event inside Boiler Room x Cupra’s industrial set up on June 1.

The musician's Boiler Room set brought the club to Barcelona, weathering attendees through a humid thunderstorm with sweaty, fusion beats and remixes (Beyoncé, Lady Gaga and Zedd) that made her experimental anthems even more exceptional. 

Read more: 8 Essential Latin Electronic Releases: Songs And Albums From Bizarrap, Arca & More

We all love a bit of Spanish sunshine, but nobody seemed quite as home on-stage as Vampire Weekend. Having last played at the festival in 2008, the 16-year wait was well worth it with a set list doused with indie rock nostalgia and new bangers that kept the late-night crowd grooving.

It’s not easy to keep a mainstage crowd going on opening night (especially as the band faced some line-up changes for the festival) but Vampire Weekend's catalog-spanning performance rocked. They ran though hits "A-Punk, "Campus" "Oxford Comma," and new tracks ("Classical", "Gen-X Cops", "Connect")  from their new fifth album, Only God Was Above Us – a record which frontman Ezra Koeing described as "feeling perfect" on stage. 

No Vampire Weekend set is complete with some curveball covers. This year, to match the beat of their long-overdue festival return, the band kept things fresh with an incredible cover of Sbtrkt’s "New Drop, New York" performed against a smokey, dark red stage backdrop. Whether performing their own catalog, making surprise appearance alongside French rock band Phoenix  or dropping electric covers, Vampire Weekend prove they’re music more than hitmakers — they’re also a summer festival bucket list act too. 

Troye Sivan kicked off his mainstage set on Friday night dripping with innuendo. Replete with sexy outfit changes (including a pair of crotchless pants), effortlessly cool choreography and a very well-positioned mic in his pelvic region, the two-time GRAMMY nominee showed Barcelona that he not only has stadium-worthy tunes but is a stadium-worthy performer. Performing a medley of hits from his third studio album Something To Give You, Sivan's infectious pop tracks were perfectly timed to sexy and immaculately polished dance choreography (featuring his reliable backup dancer troupe of Simone Nolasco, Mauro van de Kerkhof, Benjamin Williams, Ainsley Hall Ricketts and Theo Maddix) against a campily creative set. 

The singer yearned alongside Spanish musician guitarricadelafuente on a silver silk bed as they duetted "In My Room," and belted out Ariana Grande’s "supernatural" in front of a mesmerizing anime video backdrop. Whether it was intimately crooning to synth-pop summer banger "Honey" or throwback hit "1999," Sivan was undoubtedly a mainstage highlight. As he wrapped up his set, the singer shouted out Barcelona's art and culture as an inspiration for Something To Give You. The Primavera performance was one of the biggest shows of his life, and closed this set with his anthem queer hit "RUSH."

Read more: Meet The First-Time GRAMMY Nominee: Troye Sivan On "Rush," The Importance Of Dance-Pop & The Spirituality Of Partying

Yeule Opens Primavera With An Electric Set

Kitted out with tattoos, American flag-styled cargo trousers, a heather gray bikini top and chunky boots,  yeule is exactly as you see them: an uncategorizable phenomenon. While their set clashed with major alt-metal and indie acts Deftones and Pulp, yeule’s distorted, glitchy universe was more than immersive; it was an electronic, energetic undertaking that swept the audience away. Away from the main stages, yeule’s set felt like a charged techo-pop portal to their world of emotional, alt-rock tunes.

Shaped by everything from nu-metal, Avril Lavigne and My Chemical Romance, yeule sounds neither human nor computerized. Often conceptualized as being something of a "cyborg identity," yeule's music translates with a darkly alluring style onstage. They opened with the melodic "Electric" from their second studio album Glitch Princess, while the rest of the setlist beautifully emulated their recent album Softscares; an emotional futuristic electro-pop record. The musician’s punk rock inflected "cybermeat," "sulky baby" and "dazies" were highlights, pulling the crowd closer to the stage as well as new listeners in from nearby smaller stages. 

Performing against a flickering urban city backdrop illuminated the midnight sky, yeule's set created the perfect isolated, small-stage universe to hear their deafening screamo notes during "Bite My Neck" and the hauntingly mellow electro-rock closeout track "software update."

Clementaum Brings The Brazilian Party Spirit To The Boiler Room

The Boiler Room x Cupra stage was the place to be this year. While the Parc del Fòrum never fails to pull together an eclectic mix of talent, Primavera Sound truly thrived in showing its ability to channel the club, ballroom and EDM into a live festival setting. There was never a set that didn’t bring the festival goers in glam outfits and the ultimate dance party vibes. However, the raging techno beats of Clementaum that most caught our attention.

Playing to a packed room with festival-goers tightly crammed in even behind her decks, Clementaum led a chant ("Vai Brazil!") as her country’s flag was proudly waved in the crowd.  Feeling more like a late-night rave, the Brazilian DJ had us thriving on deep beat drops and pummeling beats that you couldn’t help but dance to. Artfully skilled, Clementaum fuses Afro-Latin rhythms, ballroom culture and amped-up electronica for an incredible, heart-racing high.

The trance beat-packed El NICK DGO x Clementaum banger "Dale Pal Party" had everybody dancing, while a full-throttle remix of "Puttuna" pushed things into another level. However, her live rendition of "Pirigótika" (a track with Brazilian singer Bibi Babydoll) was her hallmark performance, and proved that if you haven’t heard of Clementaum, be sure this won’t be the last time you come across her name. 

Amaarae’s Captivating Set Can't Be Boxed In By Genre 

There’s nothing Amaarae can’t do. Taking over the Amazon Music stage on May 30, the Ghanaian American Afrobeats musician can take on anything from punk to R&B. In Barcelona, Amaarae’s chameleonic talent showcases that no style (or genre) is too much for her to turn into a captivating set.

Amaarae proved that whatever mood she brings to stage, she devours, from effortlessly performing slow burner "Wasted Eyes" to silkily switching to "Disguise," a song of desire and domination, and segueing to alternative anthem "Sex, Violence, Suicide." 

Learn more: Meet The Latest Wave Of Rising Afrobeats Stars: AMAARAE, BNXN, Oladapo & More

Nobody throws a party like the ultimate "it" girl Charli XCX. From ranging pop bangers ("I Love It" to "Party 4 U"), the British pop star kept crowds dancing until 4 a.m. — and for good reason. While fans weren’t frightened away by heavy rain and thunderstorms during the festival’s final night, Charli XCX and her fans made Primavera’s final night one to remember. 

And, if you were lucky, you might’ve caught the star pull off an incredible surprise DJ set alongside co-collaborator A.G Cook, and finance The 1975 band member George Daniel. While the early announced pop-up set for her upcoming sixth studio album Brat fell just outside of the festival on Sunday, the sweaty beach-side crowd was packed with fans flocking from Primavera Sound to make sure they got their early hit of Charli XCX ahead of her mainstage set later that night. 

Following the breakthrough of her sophomore album Preacher’s Daughter, Ethel Cain has been on an unstoppable rise. A goth-pop mix of Lana Del Ray and heartland-style emo rock, the Tallahassee-born musician is crafting her own Americana aesthetic shaped by desire, death and South Baptist Christian influences.

While playing a late afternoon set, the singer stepped out under the blazing sun delivering incredible vocals to fan favorites "Crush’’ and "House of Nebraska." The singer’s set highlights were elevated by two things: a new song and a political call-out that broke the divide between the festival crowd and on-stage artist. Dressed in a ‘Free Palestine’ t-shirt and with a keffiyeh hanging from her mic, the musician denounced genocide and advocated for the people of Gaze before launching into her viral anti-pop song, "American Teenager." 

Amidst her anti-war advocacy, the singer also slotted into a somber new song "Amber Waves," showcasing her penchant for eerie melodies and what fans can expect on her currently untitled upcoming project. 

Learn more: 15 LGBTQIA+ Artists Performing At 2024 Summer Festivals

Whether it’s the instantly recognizable intro to "Good Days" or the viral rotations of "Kill Bill," SZA has long been dominating and driving contemporary pop and R&B. The GRAMMY winner highlighted her artistic versatility with deep cuts and chart hits (including those from her massively popular sophomore album SOS) to a packed mainstage crowd.

With a stage set designed to look like a ship, SZA was amplifying the message of SOS loud and clear – with hits, charismatic stage movements and impressive vocals to match. And, she didn’t stop there. From knife play routine to "Kill Bil" to full-throttle Miley Cryus-style and riding an anchor to dropping the splits mid-set, SZA gave a performance that continuously raised the bar. 

Read more: How 'SOS' Transformed SZA Into A Superstar & Solidified Her As The Vulnerability Queen

Music Festivals 2024 Guide: Lineups & Dates For Lollapalooza, Coachella, Bonnaroo & Much More

Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown. The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.

Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.

Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton, who created P-funk, an expansive, Afrofuturistic, psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic. Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis, Silk Sonic, and Omar Apollo; and Kendrick Lamar, Flying Lotus, and Thundercat, respectively.

In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.

Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels, while its sparkly sprinklings can be heard in pop from Dua Lipa, Doja Cat, and, in full "Soul Train" character, Silk Sonic. There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin’s global sonic collage.

There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music, Amazon Music and Pandora.

Say She She

Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.

While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism. Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and "Norma" is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers, from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."

Moniquea

Moniquea's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’s "Get It Right" and Gladys Knight’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.

Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat.

Shiro Schwarz

Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.

Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.

L'Impératrice

L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.

During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo, is a sunny, playful French disco journey.

Franc Moody

Franc Moody's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.

Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether.

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Living Legends is a series that spotlights icons in music still going strong today. This week, GRAMMY.com spoke with Billy Idol about his latest EP,  Cage, and continuing to rock through decades of changing tastes.

Billy Idol is a true rock 'n' roll survivor who has persevered through cultural shifts and personal struggles. While some may think of Idol solely for "Rebel Yell" and "White Wedding," the singer's musical influences span genres and many of his tunes are less turbo-charged than his '80s hits would belie.  

Idol first made a splash in the latter half of the '70s with the British punk band Generation X. In the '80s, he went on to a solo career combining rock, pop, and punk into a distinct sound that transformed him and his musical partner, guitarist Steve Stevens, into icons. They have racked up multiple GRAMMY nominations, in addition to one gold, one double platinum, and four platinum albums thanks to hits like "Cradle Of Love," "Flesh For Fantasy," and "Eyes Without A Face." 

But, unlike many legacy artists, Idol is anything but a relic. Billy continues to produce vital Idol music by collaborating with producers and songwriters — including Miley Cyrus — who share his forward-thinking vision. He will play a five-show Vegas residency in November, and filmmaker Jonas Akerlund is working on a documentary about Idol’s life. 

His latest release is Cage, the second in a trilogy of annual four-song EPs. The title track is a classic Billy Idol banger expressing the desire to free himself from personal constraints and live a better life. Other tracks on Cage incorporate metallic riffing and funky R&B grooves. 

Idol continues to reckon with his demons — they both grappled with addiction during the '80s — and the singer is open about those struggles on the record and the page. (Idol's 2014 memoir Dancing With Myself, details a 1990 motorcycle accident that nearly claimed a leg, and how becoming a father steered him to reject hard drugs. "Bitter Taste," from his last EP, The Roadside, reflects on surviving the accident.)

Although Idol and Stevens split in the late '80s — the skilled guitarist fronted Steve Stevens & The Atomic Playboys, and collaborated with Michael Jackson, Rick Ocasek, Vince Neil, and Harold Faltermeyer (on the GRAMMY-winning "Top Gun Anthem") —  their common history and shared musical bond has been undeniable. The duo reunited in 2001 for an episode of "VH1 Storytellers" and have been back in the saddle for two decades. Their union remains one of the strongest collaborations in rock 'n roll history.

While there is recognizable personnel and a distinguishable sound throughout a lot of his work, Billy Idol has always pushed himself to try different things. Idol discusses his musical journey, his desire to constantly move forward, and the strong connection that he shares with Stevens. 

Steve has said that you like to mix up a variety of styles, yet everyone assumes you're the "Rebel Yell"/"White Wedding" guy. But if they really listen to your catalog, it's vastly different.

Yeah, that's right. With someone like Steve Stevens, and then back in the day Keith Forsey producing... [Before that] Generation X actually did move around inside punk rock. We didn't stay doing just the Ramones two-minute music. We actually did a seven-minute song. [Laughs]. We did always mix things up. 

Then when I got into my solo career, that was the fun of it. With someone like Steve, I knew what he could do. I could see whatever we needed to do, we could nail it. The world was my oyster musically. 

"Cage" is a classic-sounding Billy Idol rocker, then "Running From The Ghost" is almost metal, like what the Devil's Playground album was like back in the mid-2000s. "Miss Nobody" comes out of nowhere with this pop/R&B flavor. What inspired that?

We really hadn't done anything like that since something like "Flesh For Fantasy" [which] had a bit of an R&B thing about it. Back in the early days of Billy Idol, "Hot In The City" and "Mony Mony" had girls [singing] on the backgrounds. 

We always had a bit of R&B really, so it was actually fun to revisit that. We just hadn't done anything really quite like that for a long time. That was one of the reasons to work with someone like Sam Hollander [for the song "Rita Hayworth"] on The Roadside. We knew we could go [with him] into an R&B world, and he's a great songwriter and producer. That's the fun of music really, trying out these things and seeing if you can make them stick. 

I listen to new music by veteran artists and debate that with some people. I'm sure you have those fans that want their nostalgia, and then there are some people who will embrace the newer stuff. Do you find it’s a challenge to reach people with new songs?

Obviously, what we're looking for is, how do we somehow have one foot in the past and one foot into the future? We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol. 

You want to do things that are true to you, and you don't just want to try and do things that you're seeing there in the charts today. I think that we're achieving it with things like "Running From The Ghost" and "Cage" on this new EP. I think we’re managing to do both in a way. 

**Obviously, "Running From The Ghost" is about addiction, all the stuff that you went through, and in "Cage" you’re talking about  freeing yourself from a lot of personal shackles. Was there any one moment in your life that made you really thought I have to not let this weigh me down anymore?**

I mean, things like the motorcycle accident I had, that was a bit of a wake up call way back. It was 32 years ago. But there were things like that, years ago, that gradually made me think about what I was doing with my life. I didn't want to ruin it, really. I didn't want to throw it away, and it made [me] be less cavalier. 

I had to say to myself, about the drugs and stuff, that I've been there and I've done it. There’s no point in carrying on doing it. You couldn't get any higher. You didn't want to throw your life away casually, and I was close to doing that. It took me a bit of time, but then gradually I was able to get control of myself to a certain extent [with] drugs and everything. And I think Steve's done the same thing. We're on a similar path really, which has been great because we're in the same boat in terms of lyrics and stuff. 

So a lot of things like that were wake up calls. Even having grandchildren and just watching my daughter enlarging her family and everything; it just makes you really positive about things and want to show a positive side to how you're feeling, about where you're going. We've lived with the demons so long, we've found a way to live with them. We found a way to be at peace with our demons, in a way. Maybe not completely, but certainly to where we’re enjoying what we do and excited about it.

[When writing] "Running From The Ghost" it was easy to go, what was the ghost for us? At one point, we were very drug addicted in the '80s. And Steve in particular is super sober [now]. I mean, I still vape pot and stuff. I don’t know how he’s doing it, but it’s incredible. All I want to be able to do is have a couple of glasses of wine at a restaurant or something. I can do that now.

I think working with people that are super talented, you just feel confident. That is a big reason why you open up and express yourself more because you feel comfortable with what's around you.

Did you watch Danny Boyle's recent Sex Pistols mini-series?

I did, yes.

You had a couple of cameos; well, an actor who portrayed you did. How did you react to it? How accurate do you think it was in portraying that particular time period?

I love Jonesy’s book, I thought his book was incredible. It's probably one of the best bio books really. It was incredible and so open. I was looking forward to that a lot.

It was as if [the show] kind of stayed with Steve [Jones’ memoir] about halfway through, and then departed from it. [John] Lydon, for instance, was never someone I ever saw acting out; he's more like that today. I never saw him do something like jump up in the room and run around going crazy. The only time I saw him ever do that was when they signed the recording deal with Virgin in front of Buckingham Palace. Whereas Sid Vicious was always acting out; he was always doing something in a horrible way or shouting at someone. I don't remember John being like that. I remember him being much more introverted.

But then I watched interviews with some of the actors about coming to grips with the parts they were playing. And they were saying, we knew punk rock happened but just didn't know any of the details. So I thought well, there you go. If ["Pistol" is]  informing a lot of people who wouldn't know anything about punk rock, maybe that's what's good about it.

Maybe down the road John Lydon will get the chance to do John's version of the Pistols story. Maybe someone will go a lot deeper into it and it won't be so surface. But maybe you needed this just to get people back in the flow.

We had punk and metal over here in the States, but it feels like England it was legitimately more dangerous. British society was much more rigid.

It never went [as] mega in America. It went big in England. It exploded when the Pistols did that interview with [TV host Bill] Grundy, that lorry truck driver put his boot through his own TV, and all the national papers had "the filth and the fury" [headlines].

We went from being unknown to being known overnight. We waited a year, Generation X. We even told them [record labels] no for nine months to a year. Every record company wanted their own punk rock group. So it went really mega in England, and it affected the whole country – the style, the fashions, everything. I mean, the Ramones were massive in England. Devo had a No. 1 song [in England] with "Satisfaction" in '77. Actually, Devo was as big as or bigger than the Pistols.

You were ahead of the pop-punk thing that happened in the late '90s, and a lot of it became tongue-in-cheek by then. It didn't have the same sense of rebelliousness as the original movement. It was more pop.

It had become a style. There was a famous book in England called Revolt Into Style — and that's what had happened, a revolt that turned into style which then they were able to duplicate in their own way. Even recently, Billie Joe [Armstrong] did his own version of "Gimme Some Truth," the Lennon song we covered way back in 1977.

When we initially were making [punk] music, it hadn't become accepted yet. It was still dangerous and turned into a style that people were used to. We were still breaking barriers.

You have a band called Generation Sex with Steve Jones and Paul Cook. I assume you all have an easier time playing Pistols and Gen X songs together now and not worrying about getting spit on like back in the '70s?

Yeah, definitely. When I got to America I told the group I was putting it together, "No one spits at the audience."

We had five years of being spat on [in the UK], and it was revolting. And they spat at you if they liked you. If they didn't like it they smashed your gear up. One night, I remember I saw blood on my T-shirt, and I think Joe Strummer got meningitis when spit went in his mouth.

You had to go through a lot to become successful, it wasn't like you just kind of got up there and did a couple of gigs. I don't think some young rock bands really get that today.

With punk going so mega in England, we definitely got a leg up. We still had a lot of work to get where we got to, and rightly so because you find out that you need to do that. A lot of groups in the old days would be together three to five years before they ever made a record, and that time is really important. In a way, what was great about punk rock for me was it was very much a learning period. I really learned a lot [about] recording music and being in a group and even writing songs.

Then when I came to America, it was a flow, really. I also really started to know what I wanted Billy Idol to be. It took me a little bit, but I kind of knew what I wanted Billy Idol to be. And even that took a while to let it marinate.

You and Miley Cyrus have developed a good working relationship in the last several years. How do you think her fans have responded to you, and your fans have responded to her?

I think they're into it. It's more the record company that she had didn't really get "Night Crawling"— it was one of the best songs on Plastic Hearts, and I don't think they understood that. They wanted to go with Dua Lipa, they wanted to go with the modern, young acts, and I don't think they realized that that song was resonating with her fans. Which is a shame really because, with Andrew Watt producing, it's a hit song.

But at the same time, I enjoyed doing it. It came out really good and it's very Billy Idol. In fact, I think it’s more Billy Idol than Miley Cyrus. I think it shows you where Andrew Watt was. He was excited about doing a Billy Idol track. She's fun to work with. She’s a really great person and she works at her singing — I watched her rehearsing for the Super Bowl performance she gave. She rehearsed all Saturday morning, all Saturday afternoon, and Sunday morning and it was that afternoon. I have to admire her fortitude. She really cares.

I remember when you went on "Viva La Bam" back in 2005 and decided to give Bam Margera’s Lamborghini a new sunroof by taking a power saw to it. Did he own that car? Was that a rental?

I think it was his car.

Did he get over it later on?

He loved it. [Laughs] He’s got a wacky sense of humor. He’s fantastic, actually. I’m really sorry to see what he's been going through just lately. He's going through a lot, and I wish him the best. He's a fantastic person, and it's a shame that he's struggling so much with his addictions. I know what it's like. It's not easy.

Musically, what is the synergy like with you guys during the past 10 years, doing Kings and Queens of the Underground and this new stuff? What is your working relationship like now in this more sober, older, mature version of you two as opposed to what it was like back in the '80s?

In lots of ways it’s not so different because we always wrote the songs together, we always talked about what we're going to do together. It was just that we were getting high at the same time.We're just not getting [that way now] but we're doing all the same things.

We're still talking about things, still [planning] things:What are we going to do next? How are we going to find new people to work with? We want to find new producers. Let's be a little bit more timely about putting stuff out.That part of our relationship is the same, you know what I mean? That never got affected. We just happened to be overloading in the '80s.

The relationship’s… matured and it's carrying on being fruitful, and I think that's pretty amazing. Really, most people don't get to this place. Usually, they hate each other by now. [Laughs] We also give each other space. We're not stopping each other doing things outside of what we’re working on together. All of that enables us to carry on working together. I love and admire him. I respect him. He's been fantastic. I mean, just standing there on stage with him is always a treat. And he’s got an immensely great sense of humor. I think that's another reason why we can hang together after all this time because we've got the sense of humor to enable us to go forward.

There's a lot of fan reaction videos online, and I noticed a lot of younger women like "Rebel Yell" because, unlike a lot of other '80s alpha male rock tunes, you're talking about satisfying your lover.

It was about my girlfriend at the time, Perri Lister. It was about how great I thought she was, how much I was in love with her, and how great women are, how powerful they are.

It was a bit of a feminist anthem in a weird way. It was all about how relationships can free you and add a lot to your life. It was a cry of love, nothing to do with the Civil War or anything like that. Perri was a big part of my life, a big part of being Billy Idol. I wanted to write about it. I'm glad that's the effect.

Is there something you hope people get out of the songs you've been doing over the last 10 years? Do you find yourself putting out a message that keeps repeating?

Well, I suppose, if anything, is that you can come to terms with your life, you can keep a hold of it. You can work your dreams into reality in a way and, look, a million years later, still be enjoying it.

The only reason I'm singing about getting out of the cage is because I kicked out of the cage years ago. I joined Generation X when I said to my parents, "I'm leaving university, and I'm joining a punk rock group." And they didn't even know what a punk rock group was. Years ago, I’d write things for myself that put me on this path, so that maybe in 2022 I could sing something like "Cage" and be owning this territory and really having a good time. This is the life I wanted.

The original UK punk movement challenged societal norms. Despite all the craziness going on throughout the world, it seems like a lot of modern rock bands are afraid to do what you guys were doing. Do you think we'll see a shift in that?

Yeah.  Art usually reacts to things, so I would think eventually there will be a massive reaction to the pop music that’s taken over — the middle of the road music, and then this kind of right wing politics. There will be a massive reaction if there's not already one. I don’t know where it will come from exactly. You never know who's gonna do [it].

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