'Don't Look Back in Anger' set to open in movie theaters in September

Oasis

A trailer for the upcoming Oasis doc, Don’t Look Back in Anger, shows the Brothers Gallagher working through their past issues in the run-up to their celebrated 2025 comeback tour. The two-minute clip foreshadows a sense of catharsis in the film, set to open in IMAX theaters on Sept. 11. It will also be available to stream on Hulu by the end of the year.

The trailer opens with sound bites of Liam and Noel putting each other down in interviews before cutting to their reunion announcement. But even then, with the outward appearance of rapprochement, the siblings were struggling with their legacies and each other. “I just don’t see myself onstage with Liam,” Noel says. “I don’t really want to be going back with the tension. Will it fall apart again?” There’s a lot of fretting about the stage as they work through their anger, but of course we already know there’s a happy ending — or at least one that was more sweet than bitter.

From summer to fall of last year, Oasis played 41 gigs over five continents. The trek was so successful that the first cut of the documentary, which was long in the works, was reportedly more than four hours long. Although Liam Gallagher had said in 2024 that the film had too much “yapping and scrapping” in it, the reunion gave the film its center, and they released a teaser for the film in July. Now with more “rocking and rolling,” again to use Liam’s words, the film stands to serve as something of a victory lap ahead of Oasis’ induction into the Rock & Roll Hall of Fame this fall.

Boston hardcore band Haywire celebrated their signing to Roadrunner Records last weekend not just by opening up the pit at Sound and Fury fest, but by showering it with $5,000 in cash. On Wednesday, they announced their debut album on their new label, I Don’t Wanna Say Goodbye, out Oct 2nd. The first single — and official music video — “Interstate Love Affair” is out now.

The visuals kick off with the band making it rain at the festival, then launches into the kind of raucous antics inherent in early 2000s MTV videos: firecrackers, trashing hotels, sentient amps, the works. The video perfectly captures Haywire’s ethos: fun-as-fuck hardcore, pure and simply.

Since forming in 2023, Haywire has quickly become enmeshed in the hardcore scene, playing a 96-date tour across 50 states in 100 days in 2024. They’re also set to open for Turnstile and the Circle Jerks this fall, but can also be found playing under bridges for free. As of this month, they have more than 250 future shows planned.

As prolific as they are on stage as off, the band has dropped five records over the course of three years, their most recent being 2024’s Conditioned for Demolition. Their upcoming album was produced by Citizen’s Mat Kerekes and mixed by Taylor Young, and includes cameos from members of NOTHING and the Aggrolites.

Duane Davis on trial in Las Vegas, Nevada, on Aug. 17, 2026.

A former gang member who says he worked “under the table” security for Suge Knight during Death Row Records‘ heyday testified Tuesday he knew “everybody that was there” the night Tupac Shakur was fatally shot in Las Vegas — but he’s not naming names.

Taking the witness stand on the second day of Duane “Keffe D” Davis’ murder trial in Clark County, Nevada, James “Mob James” McDonald told jurors he was working at Knight’s Vegas nightclub, Club 662, when he learned Shakur and Knight had been wounded in a drive-by shooting on Sept. 7, 1996.

McDonald, a member of the Mob Piru Bloods, made it clear he was testifying against his will under a court order. He grew visibly exasperated when Davis’ defense lawyer, Michael Sanft, pressed him on cross-examination about what he heard in the aftermath of the shooting.

“Are you sure you want me to answer that?” McDonald replied, according to the trial livestream from CourtTV. “I don’t want to send him to prison, even though we don’t like each other,” he said, referring to Davis. “You’re asking me questions that can hurt him. … You’re asking something that’s gonna hurt this dude.”

McDonald said he was only willing to speak generally about how, after the shooting, a “gang war” erupted between the Mob Piru Bloods, affiliated with Knight, and the South Side Compton Crips, of which Davis was a high-ranking member.

“Do you know who it was that was there?” Sanft pressed, referring to alleged eyewitnesses who eventually traveled back to Compton.

“I know everybody that was there,” McDonald shot back. When Sanft again asked him to get specific, McDonald appeared stunned and seemed to address Davis, seated in a black suit and tie at the defense table

“Talk to your lawyer, man. This dude is tripping,” McDonald said. “I’m not gonna explain that. I can’t answer that.”

McDonald said he left gang life and is now raising his grandchildren. He said he only agreed to testify because he didn’t want to go on the run to avoid his subpoena. After the shooting, he said, “it wasn’t a problem for people to find out what happened. No problem at all.” He said Orlando “Baby Lane” Anderson, whom prosecutors allege fired the shots that killed Shakur as Davis allegedly watched from the front seat, quickly became a target for retaliation. (Prosecutors claim Davis, who is Anderson’s uncle, procured the weapon and directed the shooting.)

“When we got back to Compton, it was a gang war. People were getting hurt. People were looking for certain individuals,” he said. “Orlando, and certain other people, were being sought, because people wanted to kill them.”

After McDonald was excused, Knight’s official head of security at the time, Reggie Wright Jr., took the witness stand and said he also was at Club 662 the night of the shooting. He identified McDonald’s brother, Alton “Buntry” McDonald, as one of the members of Shakur’s and Knight’s entourage who was present when the men attended a Mike Tyson boxing match at the MGM Grand earlier that night. After the bout, Shakur got in a fight with Anderson inside the casino that was captured on surveillance video, prosecutors allege.

Wright, who was a sworn Compton police officer in the early 1990s, reviewed the video from the witness stand and said he recognized McDonald’s brother, Alton, as one of the entourage members who also took part in the altercation. He further identified another member of Knight’s private security, Roger “Neckbone” Williams, as taking part in the melee.

Davis, 63, has pleaded not guilty to one count of murder with use of a deadly weapon. He’s been in custody since his arrest in September 2023. Prosecutors claim he was a leader of the South Side Compton Crips when he allegedly orchestrated the deadly drive-by shooting.

In his opening statement Monday, Clark County Deputy District Attorney Binu Palal said Davis obtained the .40-caliber Glock used in the attack and was riding in the front passenger seat of a white Cadillac with Anderson and two other men when Anderson allegedly opened fire.

Palal told jurors that Davis later confessed to his role when he gave a “secret 2008 interview” to authorities in connection with a California drug case that could have sent him to prison for life. Davis subsequently repeated key details in public interviews and his 2019 memoir, Compton Street Legend, Palal said. Jurors heard portions of the 2008 recording Monday, including Davis describing how the Cadillac made a U-turn before he handed off the gun because he didn’t have a clear shot from his position.

“If [Shakur] would have been on my side, I would have blasted,” Davis said in the recording.

Palal said the shooting was clear retaliation for the MGM Grand brawl, the latest incident in a simmering East Coast-West Coast feud pitting Knight’s record label against Sean Combs‘ Bad Boy Records in New York. The prosecutor said Davis had agreed to provide “unofficial security” for Combs and his artists when they traveled to the West Coast, particularly to prevent problems with the Mob Piru Bloods, who were affiliated with Death Row.

Asked about the rivalry Tuesday, McDonald said the Crips and Bloods in Compton were peaceful before Bad Boy and Death Row started trading barbs. “When the two record companies got into it, Bad Boy went to Keffe D, and Suge came to us. So that intertwined everything, and we had issues,” he said.

Wright testified Tuesday that he was at the 1996 Soul Train Awards in Los Angeles with Death Row artists and witnessed someone in the Bad Boy entourage allegedly brandish a gun during a tense confrontation. He claimed Davis was there.

“I believe he was with them, but I don’t believe he was the one with the gun,” Wright testified as Davis shook his head at the defense table.

Palal said Monday there was “no question” the beating of Anderson “required” a response. In his opening statement, Sanft disputed that claim, arguing that Davis’ statements taking responsibility were fabricated for entertainment and, ultimately, financial gain. He also questioned why authorities did not charge Davis after the 2008 interview and said investigators made no meaningful effort to corroborate his account.

“It’s because they knew he was full of crap,” Sanft told the jury.

The defense lawyer said prosecutors couldn’t even prove Davis was in Las Vegas that night, claiming they had no receipts, credit card records, or photographs placing Davis at the MGM Grand despite his claim in his book that he attended the Tyson fight. Davis also had claimed Bad Boy Records CEO Sean Combs had once offered $1 million to have Knight and Shakur killed. Combs has denied the allegation. Davis said he was never paid.

The first witnesses at the trial included former Las Vegas police officer Garry Dale, who said he rode in the ambulance with Shakur and repeatedly asked who had shot him. According to Dale, Shakur refused to identify anyone and said, “No, we’ll take care of it.”

Former homicide detective Brent Becker testified that visiting gang investigators from Compton quickly identified Anderson from video of the MGM Grand fight, making him an early suspect. Becker also said Knight came in for questioning three nights after the shooting but claimed he could not identify anyone involved.

“I thought he lied to us,” Becker testified.

Frank Beard in Macon, Georgia in 1974

Frank Beard, the longtime, hard-shuffling drummer for Texas rock greats ZZ Top, died on Monday. He was 77.

Bob Merlis, the band’s representative, confirmed the news, saying Beard died while in hospice care, surrounded by family, at his ranch in Richmond, Texas. An exact cause of death was not given.

ZZ Top also announced that it would cancel its scheduled show tonight (Aug. 18) in Salt Lake City and its gig on Wednesday (Aug. 19) in Colorado Springs. The band’s current tour will resume this weekend in Austin.

Beard had faced several serious health issues over the years. In 2002, he missed some shows after undergoing an emergency appendectomy, while in 2025 he “temporarily” stepped away due to unspecified health issues. Earlier this month, ZZ Top abruptly canceled a performance at the Hollywood Bowl in Los Angeles, citing “insurmountable obstacles”; it was later revealed that Beard’s health was the cause, though again no specifics were given.

Though not technically a founding member, Beard was ZZ Top’s longtime and definitive drummer. He linked up with guitarist-singer Billy Gibbons after ZZ Top released their debut single, “Salt Lick” (featuring drummer Dan Mitchell), and was responsible for bringing in bassist Dusty Hill.

While so much of ZZ Top’s aura centered on their hooks, their riffs, and their facial hair, the beardless Beard was the band’s indispensable anchor. He was a master of the Texas shuffle, an inch-perfect, steady-rocking drum groove that held down ZZ Top’s signature blues rock boogie on classic hits like “Tush” and “La Grange.”

Beard’s playing was precise and tireless. In the 2019 documentary, ZZ Top: That Little Ol’ Band from Texas, he recalled the first time he and Gibbons played together: “I was jacked up on speed,” Beard cracked, “so I made him jam for about eight hours ’til his tongue just fell out.”

Gibbons added of the experience: “It didn’t take 30 minutes, it didn’t take 30 seconds — I knew that Frank Beard had the kind of chops that I was looking for. He played fiercely. He played with determination.”

Beard was born June 11, 1949, in the small town of Frankston, Texas. He got his start playing in bands in high school and eventually became a fixture in the Dallas music scene, where he met Hill. The two played together in several groups during the Sixties, including the Warlocks, American Blues, and even the infamous fake version of the Zombies that toured after the actual English psych rock group disbanded.

Beard’s career nearly stalled out after he got his girlfriend pregnant; the couple got married, began to raise their child, and spent some time living with Beard’s parents. But after moving his family to Houston, Beard was introduced to Gibbons, then playing in a group called the Moving Sidewalks. Beard soon joined the group, brought in Hill, and the band changed their name to ZZ Top.

Under the guidance of manager and producer Bill Ham, ZZ Top spent their early years gigging constantly wherever they could. While their 1971 debut, ZZ Top’s First Album, failed to chart or spawn any noteworthy singles, the group steadily developed a reputation on the road. Speaking with Rolling Stone in 1984, Beard credited Ham for cleverly booking ZZ Top support gigs on tours with headliners that weren’t likely to leave an impression.

“When we were second on the bill, he would always get us on a tour with a band that was through — that was fixin’ to break up and just doin’ a money tour,” Beard said. “And we’d get out there and just kick their ass. We did Mott the Hoople that way, Alice Cooper, Deep Purple. They were through, and they didn’t care who knew it, so people would remember us.”

ZZ Top finally broke through themselves in the mid-Seventies. Their 1974 album, Tres Hombres, cracked the Top 10 of the Billboard 200 albums chart, earned gold certification from the RIAA, and featured the indelible “La Grange.” Their 1975 follow-up, Fandango!, did just as well on the strength of ZZ Top’s first Top 20 single, “Tush.” But despite this budding success, ZZ Top seemed to confound the rock press, who tended to dismiss them or lump them in with other Southern rock bands.

“That was back to that thing of, ‘You gotta go to California, you gotta go to New York,’” Beard said in the 2019 documentary. “And we refused to do that.”

After the release of another 1976 album, Tejas, ZZ Top went on a brief hiatus, in part so Beard could get sober. In That Little Ol’ Band from Texas, Beard acknowledged spending much of the money he earned during this time on drugs, particularly pills, cocaine, and heroin.

“All the money I pissed off, that’s a regret,” he said. “I sold my original Ludwig kit to buy drugs with it. Relationships I fucked up … In the back of my mind, I knew I needed to kick heroin. I needed to stop doing cocaine. I had done it all, and I couldn’t go any further.”

ZZ Top returned in 1979, inking a new deal with Warner Bros Records and releasing their sixth album, Degüello. The LP hit Number 24 on the Billboard 200 and kicked off a wildly successful run that saw the band enjoying a prolonged commercial peak through the Eighties and early Nineties. During that time, ZZ Top dropped multiplatinum albums like 1983’s Eliminator, 1985’s Afterburner, and 1990’s Recycler; notched Top 10 singles like “Legs” and “Sleeping Bag”; and even became MTV fixtures thanks to memorable videos for “Gimme All Your Lovin’,” and “Sharp Dressed Man.”

Over the coming decades, ZZ Top continued to record and tour. They were inducted into the Rock & Roll Hall of Fame in 2004, and in 2012 they released La Futura, which would turn out to be their last album with Hill, who died in 2021. Gibbons and Beard continued to tour without Hill, though Beard’s health issues occasionally forced him off the road.

Outside of music, Beard owned and operated a ranch in Richmond, Texas, and maintained a love of golfing and car racing. He and his wife, Debbie, had twin boys, while also helped to raise Beard’s daughter from a previous marriage.

Speaking of the 50-plus years he enjoyed alongside his ZZ Top bandmates in That Little Ol’ Band from Texas, Beard said, “I would say, for me, I have found the people that I want to play with. And I was able to do that at a very early age. I’m still satisfied with them. I’m satisfied with Dusty and I’m satisfied with Billy.” He then quipped: “With these two guys, I’ve never wanted to quit, and I’ve never wanted to get fired.”

In a new profile for Harper’s Bazaar, Céline Dion opens up about her rigorous physical recovery, her upcoming return to the stage, and the deeply personal journey that led her to break her silence regarding her health. Written by Kevin Mguyen, the cover story offers a rare look at the singer’s daily life as she prepares for a multi-week residency in Paris, which marks her first extended run of shows since suspending her world tour in 2023.

Mainly, Dion opens up on her long struggle with Stiff-Person Syndrome (SPS), a rare autoimmune neurological condition that causes severe muscle rigidity and painful spasms. Although officially diagnosed in 2022, Dion reveals she experienced debilitating symptoms for 17 years prior, often citing routine illnesses like sinus infections when forced to cancel performances.

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To manage the condition and regain her mobility, Dion explains she follows an intensive rehabilitation regimen, including immunotherapy, vocal therapy, and five days of physical training per week divided between Pilates and ballet. Through her foundation, she also donated $2 million to fund research into autoimmune neurological disorders, aiming to advance treatments for a condition that currently lacks FDA-approved therapies.

Ever the hometown queen, Dion’s upbringing in Québec informs both her public persona and her career longevity. Raised as the youngest of 14 children in a low-income household in Charlemagne, Québec, Dion’s earliest performances took place at her father’s local piano bar, where her family managed operations and her mother prepped food in the back. Despite her global fame, Dion maintains strong ties to her roots, choosing to speak exclusively French with her three sons and crediting her Québecois upbringing for the unvarnished earnestness that has come to define her image.

Dion’s return to live music starts with a five-week Paris residency scheduled to begin this September and additional dates already slated for 2027.

Fontaines D.C.

Irish post-punk band Fontaines D.C. are officially back and have announced their fifth album. Dopamine Chamber arrives on Oct. 16 via XL Recordings and the record’s lead single, “Marianne,” is out now.

“Marianne” pulls from the same post-punk chords of their last album Romance. With atmospheric drums and brooding guitar, Chatten beckons the listener to him like a snake oil salesman: “This year, you should come and stay here,” he sings. “You can follow my lead/I can help you disappear.” “Marianne” takes partial inspiration in the 2024 miniseries Ripley, which starred fellow Irishman Andrew Scott.

Dopamine Chamber was produced by James Ford, who produced Romance. Per a press release, Dopamine Chamber‘s material will encompass the news items we see in our endless scroll, including the rise of AI, celebrity gossip, political violence, the existential threat of climate change, and all the gratifying memes they spawn. “The album itself is a dopamine chamber,” frontman Grian Chatten said in a statement. “You step inside and we test these different mind or mood-altering pieces of music on you.”

“Our albums have always questioned a sense of place,” bassist Conor Deegan added. “First Dublin, then being away from Dublin, and then trying to find the romance elsewhere. On this record, the question became: where do you escape to?” To that point, Chatten himself spent a period traveling through Venice and Sicily in Italy and Vienna, Austria while writing the record. Likewise, Dopamine Chamber was recorded in various locales, including London, the English countryside, and Palermo, Italy, where Chatten built a DIY booth from mattresses and cushions.

“I think Romance was maybe 60 percent human and 40 percent corrupted by automation, and a loss of feeling,” Chatten continued. “This one feels more like 60 percent corrupted — the mask is wearing the face a little more. … I felt it would be more powerful to leave the hope out and reflect the ugliness honestly. This one needed to feel more like a catastrophic warning.”

Fontaines D.C. released their previous album, the Mercury Prize-nominated Romance, in 2024. At the 67th Grammy Awards, the album was nominated for Best Rock Album and the record’s lead single, “Starburster,” was nominated for Best Alternative Music Performance.

The band will play select festivals in Europe and the United States through late September, including Reading and Leeds Festival, Shaky Knees, Electric Picnic, and Sea.Hear.Now.