The song is a love letter to Vancouver, but also offers a brash take on the economy.

Tegan and Sara, Felix Cartal and Lights star in the video for ''Our Year''

Billy Eff is the Content Director for Rolling Stone Canada. An award-winning journalist and columnist, he has previously contributed to outlets including VICE and Urbania. A passionate advocate for underground music and a musician himself, he has conducted several hundred interviews with artists and industry professionals across a wide range of styles and genres over the past 15 years. He is based in Montréal, Québec.

Canadian sister duo Tegan & Sara are back with new music. Today, the day of their birthday, the twins released “Our Year,” their first new single since 2022’s Crybaby. The single is a collaboration with fellow Canadian artist Lights and Vancouver producer Felix Cartal.

The track started as an early demo that Tegan Quin sent to Cartal, who was drawn to its combination of humour and more candid observations. “Our dream was to get Lights on the record,” Tegan says in a statement. “When she agreed to get involved, I felt immediately that we were making something special.”

A longtime fan of Tegan and Sara, Lights also has a longstanding creative relationship with Cartal.

The song itself doubles as a love letter to Vancouver and a tongue-in-cheek take on the realities of the current economy. Beneath the jokes about money and the frustrations of trying to get ahead, “Our Year” is ultimately about starting over, accepting that plans can fall apart and continuing to move forward anyway.

“We wanted to share a tongue in cheek approach to more or less bitching about the economy while still celebrating that we made it this far,” Lights says, “and that there’s always hope to keep striving for.”

The accompanying video was filmed in Vancouver and arrives alongside the single.

Tegan and Sara will also join Hilary Duff for select dates of Duff’s 2027 the lucky me tour throughout the USA.

Ozzy Osbourne

The first trailer for Ozzy Osbourne’s all-star farewell concert film Back to the Beginning has premiered ahead of its big screen arrival next month.

The Back to the Beginning show — which took place in Osbourne’s hometown of Birmingham, England in July 2025, less than three weeks before his death — featured performances by Metallica, Guns N’ Roses, Slayer, Pantera, Anthrax, Halestorm, Yungblud, and many others, as well as a solo set by Osbourne followed by a Black Sabbath reunion.

Osbourne, who was beset by medical issues in the years, months, and even days leading up to the farewell show, performed while seated in a throne. “[Ozzy] was told he probably wouldn’t make it through the show. He said, ‘No, I’m doing it. Whatever happens happens,'” Sharon Osbourne says in voiceover in the trailer.

The trailer captures just one minute of the concert film’s two-and-a-half-hour runtime, but it’s a powerful minute as the Birmingham crowd sings Osbourne’s “Mama, I’m Comin’ Home” back to the emotional Ozzy. Back to the Beginning arrives in theaters on October 28; check the film’s official site for participating cinemas and ticket information.

“Back to the Beginning came about because I asked Ozzy what would really make him happy,” Sharon Osbourne, Ozzy Osbourne’s wife and manager, previously said in a statement. “And he said the only thing that would make him happy was if he could perform again and say goodbye to his fans. That’s all he wanted to do. He wanted to say goodbye and thank you.”

Filmmaker Ben Wainwright-Pearce, whose credits include Taylor Swift: The Eras Tour and George Michael: The Faith Tour, directed the concert film. The live concert footage, which was livestreamed during the concert, was directed by Tim van Someren. The movie presentation will feature Dolby Atmos and 5.1 surround sound to bring the stadium feel of the performance to the big screen.

U2’s new album features Dolly Parton's final vocal performance.

U2 will release Carnaval de Luz, their first album of new songs in nine years, on Nov. 13, the band announced today. “It’s an extraordinary collection of songs,” bassist Adam Clayton tells Rolling Stone in interviews for an upcoming feature, “and it’s the culmination of the work that everyone has been doing for 50 years.” U2 first played together in Larry Mullen Jr.’s kitchen on Sept. 25, 1976 — 50 years ago this Friday. Bono describes the album as “anarchic,” which is borne out by a just-released new single, the concise, raging punk tune “Silencio.”

The 12-track album, produced by Garret “Jacknife” Lee, who’s been working with U2 since 2004’s How to Dismantle an Atomic Bomb, closes with “Torn,” featuring the final vocal performance from Dolly Parton, who died last month. Longtime U2 collaborator Brian Eno co-wrote and played synths on three tracks, including the opener, “Go (Carnaval de Luz).” Snow Patrol’s Johnny McDaid co-wrote “Torn” with Parton and the band, Martin Garrix has a writing credit on the track “Glorify,” and Ryan Tedder is credited with additional production on “Silencio.”

The Suicide-influenced opening track is the wildest U2 recording in years. “It’s a statement of intent,” the Edge says. “Whatever you thought you were gonna hear when you put on the new U2 album, you were not expecting this.”

Along with the album, U2 released two surprise EPs this year, Days of Ash and Easter Lily, that turn out to be conceptually linked to the new album via the liturgical calendar, with carnival preceding Lent and Easter. The three projects add up to 24 new songs. “Not in all my time working with bands or artists have I seen anybody work as hard, with so much intensity and joy,” says Lee, who also produced the EPs. “They are having a fucking blast. They are really enjoying each other. That’s the most they’ve ever recorded in any period of their career, and it’s really good work. I would even say up there with their best. It is unprecedented.”

Much of that energy came from Mullen’s return after a debilitating neck injury. “We hadn’t been in a room together in a studio environment for a long time,” he says. “I couldn’t play. I didn’t think I’d play again. So there was a renewed energy when we got into the studio.”

In the press release, Bono plays a carnival barker, appropriately enough: “Roll up, roll up, roll up! Bring your purple socks, your broken hearts, your rose-tinted naivety.… There will be loud guitars, deep bass, some ecstatic rhythms and, yes, some silver tears will make an appearance!”

“The bass, I think, is louder than it’s been on the more recent records,” Clayton says. “It’s always nice to have it up front. And it’s going to be fun to play that live.”

The Edge says the band worked as hard on the album as anything they’ve ever made: “We’re still the same guys we were making our first album. There’s no complacency. There’s just the same old struggle. And it is, in a great way. I think that’s really important, that it isn’t easy. If it ever got easy, I think the music would sound like that.”

Carnaval de Luz tracklist:“Go (Carnaval de Luz)”“La Reina”“Street of Dreams”“The Mirror Maker (Rosalía)”“Superficiality”“If the World Is at War We Better Not Be”“Silencio”“The Greatest Show on Earth”“Glorify”“Midnight Sunshine”“Can’t Stop Us Now”“Torn” (feat. Dolly Parton)

Dolly Parton performs at Glastonbury Festival on June 29, 2014.

A day after Dolly Parton’s trust accused her nephew of interfering with its business relationships through “threats, intimidation and coercion,” a Tennessee judge granted the estate a temporary restraining order against him, citing a series of emails and other communications that allegedly paired “threats with demands for payment.”

In an order issued Wednesday and obtained by Rolling Stone, Chancellor I’Ashea L. Myles of Nashville Chancery Court directed Parton’s nephew, Bryan Seaver, to stay at least 1,000 feet from estate employees and business partners, remain off private property owned by the estate, and refrain from disruptive or harassing conduct.

Attempts to reach Seaver for comment were not immediately successful Wednesday. He is the relative who announced Parton’s death in a prerecorded video posted to her Instagram account that drew millions of reactions. According to court filings, Seaver previously worked for private military contractors and later provided security for Parton and her properties through his company, Squadron Augmented Protection Services, which is also subject to the temporary restraining order.

The judge’s order issued Wednesday cites several written communications filed as exhibits with the estate’s complaint on Tuesday. In multiple messages excerpted in the ruling, Seaver allegedly threatened Danny Nozell, the sole manager of She’s Alive LLC, the company that Parton designated to control her professional property and business interests after her death.

“I’m going to destroy the entire brand if you don’t get these [Dollywood business partners] out of our bit,” Seaver allegedly wrote in one text on Aug. 19, about a week before Parton’s death at age 80.

“I just sold 29 million dollars worth of ammo to Haiti. I’m not exactly a media person, Danny. I’m literally an international arms dealer and mercenary,” Seaver purportedly wrote in another text after Parton died.

“Everyone needs to be worried about what I might do,” reads another message attributed to Seaver and cited in the ruling. “All I have is animosity and memory. But I’m going to spend the next times I have on earth ratfucking anyone that has ever betrayed my family.”

Judge Myles wrote that the statements were significant “not merely because of their language in isolation, but also because they were made in conjunction with statements threatening specific individuals and business interests associated with Ms. Parton’s professional property and estate.”

The judge also said Seaver had “expressly connected threatened interference with Ms. Parton’s commercial interests to a demand for payment.” The ruling cited another alleged message from Seaver: “I’m going to set up a podcast dedicated to ruining Dolly’s brand partnerships and telling the violations these people have done on us. It’s going to be great. Or fucking pay me.”

Myles set a follow-up court hearing for Oct. 7. At this preliminary stage, however, she wrote that the messages appeared to demonstrate a “repeated course of conduct” in which Seaver identified specific people or interests and allegedly “coupled those threats with demands for payment or other action” while invoking “his claimed access to weapons, experience with violence, and intention to retaliate.”

Seaver was removed from his security role connected to Parton’s business on Sept. 15, according to a letter from lawyers representing She’s Alive that was filed in the business-interference case. The letter, obtained by Rolling Stone, said the termination did not affect Seaver’s separate interest as a beneficiary of the trust.

“The Co-Trustees will be in contact with you and the other beneficiaries in the near future regarding your interest as a beneficiary of the Trust,” the letter said. “All parties hope that this will be a smooth transition, and the Trust group looks forward to corresponding with you as one of the beneficiaries.”

If Seaver chooses to fight the restraining order, he must file a response by Oct. 2, Myles said. The Oct. 7 hearing will address any further relief sought by the estate.

In a statement to TMZ on Tuesday, Seaver defended his text messages and said they were taken out of context. “I am a career soldier and military contractor and do conduct arms deals for foreign governments,” he said. “However, nothing in this lawsuit were threats and most of the comments I stand by.”

Chad Gilbert of New Found Glory performs during Vans Warped Tour on July 29, 2012.

New Found Glory has canceled their performance at Aftershock Festival in Sacramento, which was set to begin next week, following the death of bandmate Chad Gilbert. In honor of the founding member and lead guitarist, who was a dedicated Disney fan, the band will play their first live shows at EPCOT in Walt Disney World Resort.

In a statement shared to social media, New Found Glory thanked fans for their support following Gilbert’s death. “Seeing how deeply he touched so many lives means everything to us, and we know he would be so proud to see it,” they wrote.

“To give ourselves time to process and grieve, we have made the decision to cancel our upcoming appearance at Aftershock Festival. We rarely cancel shows but this felt needed,” the band continued. “Anyone who knew Chad knew that he was a massive Disney fan. Our shows at Epcot were dates he was so excited for and he was actively planning to be on stage with us there.”

New Found Glory said that Gilbert had worked with his band members on the set lists and was “practicing as much as possible to be ready.” They added, “Because of how much he wanted to play these shows, taking the stage at Epcot feels like the right way to honor him, and what he would want us to do. Our plan from the beginning with him was to announce our Epcot sets ahead of time, so we feel it’s only appropriate to share them with you now as we prepare to play in his memory.”

See on Instagram

Before ending their message, the group set their intention for the upcoming shows: “Every note we play and every word you sing at Epcot is for Chad. Thank you all for wrapping us in so much love, understanding, and support as we come together to honor his legacy.” The band also shared the set list for the upcoming shows, which includes fan favorites “My Friends Over You,” “Dressed to Kill,” “Hit and Miss,” and more.

The Florida pop-punk band and Gilbert’s wife Lisa Cimorelli announced Gilbert’s death on Sept. 20, six months after the guitarist revealed he was battling brain cancer. He was initially diagnosed with liver cancer in 2021.

Since founding the band alongside Jordan Pundik, Ian Grushka, and Stephen Klein in 1997 at just 17 years old, Gilbert became an invaluable part of New Found Glory and the pop-punk scene in the early aughts. Gilbert wrote most of the band’s songs, including pop-punk staples “My Friends Over You” and “Head on Collision.” Elsewhere, he offered guest vocals on a track from Fall Out Boy’s From Under the Cork Tree and guitar riffs on the band’s 2007 song, “The Take Over, the Breaks Over.”

“Through more than a dozen albums, endless tours around the world, and more accolades than we ever could have imagined, Chad challenged all of us to grow as musicians, performers, and human beings,” his bandmates wrote in a statement announcing his death. “His influence will always be part of New Found Glory and his spirit will be felt on every stage we stand on, with every note we play.”

Taylor Swift on June 11, 2026 in New York City.

Taylor Swift’s legal war with real-life Las Vegas showgirl Maren Wade took center stage again Wednesday, with the singer’s lawyers blasting Wade’s trademark infringement lawsuit as “meritless” ahead of an early October hearing on Swift’s bid to toss the case.

“Plaintiff’s overarching assertion that consumers are – or could be – confused into believing that Ms. Swift, a 14-time Grammy Award winner and global musical icon, is the source of or is associated with plaintiff’s podcast, book, or live cabaret performances at golf resorts and RV parks is nonsensical,” Swift’s lawyers wrote in their new filings obtained by Rolling Stone. “The court may dismiss where confusion is unlikely, and the court should do so here.”

In a pair of replies filed in federal court in Los Angeles, Swift’s lawyers again argued that her latest album, The Life of a Showgirl, is a “quintessential expressive work” protected from trademark claims. They said album T-shirts and other promotional merchandise are similarly off-limits as “a logical extension of the expressive work.”

The lawyers also argued that Wade’s claims under California’s Unfair Competition Law (UCL) improperly seek to apply the statute “extraterritorially to a Nevada plaintiff.” They said Wade had failed to “identify a single case where trademark infringement served as the basis of an unfair UCL claim,” contending that the cases she cited instead involved false advertising.

Swift’s lawyers further claimed that the Los Angeles federal court lacks personal jurisdiction over the singer because she is a Tennessee resident. They rejected Wade’s claim that Swift specifically promoted the allegedly infringing album in California when she appeared at the 2026 iHeartRadio Music Awards to accept an Artist of the Year award. “Stretching an award show acceptance speech to constitute ‘advertising’ is ridiculous,” they wrote.

“Plaintiff’s claims were – and are still – baseless,” Swift’s lawyer Max N. Wellman and his co-counsel at Venable wrote in their main 16-page filing. “Having already amended once and still failing to plausibly allege any claims, plaintiff is not entitled to anything more. This case should be dismissed with prejudice.”

Wade sued Swift for trademark infringement in March and asked for an emergency moratorium on merchandise sales while the case plays out. Her lawyer did not immediately respond to a request for comment on Wednesday.

Wade is a working performer who parlayed her 2014 “Confessions of a Showgirl” column in Las Vegas Weekly into a live show, a touring production, a book, a podcast, and her trademark. She claims that when Swift announced her album name, she was excited at first, but then the album’s overwhelming success quickly overpowered and drowned her out.

“‘Confessions of a Showgirl’ is not one mark among many for plaintiff. It is the only one she has,” her court filings, obtained by Rolling Stone, say. “[Wade] has built her professional identity under it for more than a decade, and she has no portfolio of alternative brands, no corporate backing, and no global marketing operation to compete for consumer attention. Defendants have all of these. That asymmetry is directly relevant to the equities, and it tips in plaintiff’s favor.”

At a hearing last May, Swift’s lawyer pointed out that Wade actually saw an opportunity when Swift named her album, and she seized it. He said Wade used hashtags related to Swift to direct traffic to her commercial website and asked people to follow her in her “Showgirl era.”

“There is absolutely no doubt that this woman, because of exuberance or trying to realize commercial gain, was very much affiliating herself with Ms. Swift for eight months while millions was spent to get this album out there, and it can’t be undone,” Swift’s lawyer J. Douglas Baldridge told the court. “It was eight months of not objecting to an expressive work while she glommed onto it.”

But Wade’s lawyer pushed back. He said his client spent 12 years building her own brand, writing a column, staging her own show, touring, publishing a book, and winning an “incontestable federal registration,” only to see her trademark “absorbed in real time into a multi-billion dollar commercial machine,” referring to Swift’s label partners, UMG Recordings and Bravado, who are co-defendants in the litigation. He said Swift, on the other hand, was a “sophisticated repeat trademark holder” who knew her attempt to get a trademark for her album didn’t succeed and who suspended her application rather than try to cure it.

“The hardship is not even close,” Wade’s lawyer Jaymie Parkkinen said. “They knew what they were doing, and they proceeded anyway.”