” />
In 2020, the lineup for the third annual Innings Festival included the Dave Matthews Band, Weezer and Jason Isbell.
The Innings Festival is produced by C3 Presents, the team behind Lollapalooza, the Austin City Limits Music Festival and New Orleans' Voodoo Music + Arts Experience, among other annual music gatherings.
Tied loosely to the startup of baseball fever in the desert city, the festival took a pandemic break this year but will be back in early 2022 with Foo Fighters and Tame Impala as headliners of the the two-day concert gathering.
In keeping with the theme of "a festival for passionate baseball fans to come together," attendees can also expect an "all-star baseball jam" hosted by big-league-pitcher/musician Jake Peavy, and appearances by ballplayers including Ryan Dempster, Roger Clemons, Dave Stewart and Rick Sutcliffe.
Prices range from $105 for single-day general admission to $1150 for two-day platinum passes, which includes complimentary drinks and buffets and front-of-stage viewing. Tickets go on sale Wednesday at 10 a.m. A total of 18 artists will take to three stages over the two days. PT here.
The 2021 baseball season isn't quite over yet, but some rock fans are already looking forward to spring training next year, if only for the opportunity it provides for a resumption of the Innings Festival in Tempe, Arizona Feb. 26-27.
Others on the bill at Tempe Beach Park & Arts Park include St. Vincent, My Morning Jacket, Black Pumas, Billy Strings, White Reaper, Dashboard Confessional, Fitz and the Tantrums, Jade Bird, Low Cut Connie and Girlhouse.

“In the 14-day period after BottleRock Napa Valley took place, we are pleased to report that Napa County did not experience any material impact on COVID case numbers as a result,” Dr. Karen Relucio, the county’s public health officer, told the San Francisco Chronicle. “The protocols that the festival’s producers developed, in collaboration with public health, proved extremely effective,” Relucio said.
Eleven Napa County residents who attended the BottleRock Napa Valley Festival over Labor Day weekend have tested positive for COVID-19 according to country health officials, who saw the number as an indicator of successful safety protocols.
Upcoming festivals in the region include the Outside Lands Music and Arts Festival at San Francisco’s Golden Gate Park over Halloween weekend.” /> BottleRock Performers this year included Guns N’ Roses, Foo Fighters, Megan Thee Stallion and Miley Cyrus among others, and BottleRock is set to take place again in Napa on Memorial Day Weekend in 2022.
BottleRock also encouraged attendees to wear masks, though most did not, but attendees used touchless wristbands for cashless transactions and most performances occurred outdoors. Organizers required attendees to show proof of vaccination against COVID-19 or a negative coronavirus test, and festival co-producers Live Nation and Latitude 38 Entertainment report that 96% of attendees showed proof of vaccination. The event marked the first major festival in Northern California since the start of the pandemic.
According to Relucio, Napa COVID-19 cases in Napa County have decrased by 28% in the two weeks since. On Sept. This year, the festival took place at the Napa Valley Expo from Sept. 3-5 and saw near 120,000 attendees. Last year's event was cancelled due to the pandemic. 17, two weeks after BottleRock opened, the county was averaging 23 new cases per 100,000 residents in seven days, a rate that has since decreased to 15.
As of Monday, the federal government designated California to be in the “moderate” transmission category, while most states remain at “high” transmission levels. California currently has the lowest COVID-19 transmission rate in the country.
“We are seeing overall declining case rates,” said Kate Pack, Sonoma County’s lead epidemiologist during a COVID-19 briefing last week. “I don’t know if we have the full picture yet in terms of BottleRock,” she said. However, she also said the number of COVID-19 cases resulting from the festival is likely higher than we're aware of, as county officials are typically only able to trace about half the cases reported.
Sonoma County saw similar numbers to Napa, with fewer than 10 cases in residents who attended BottleRock.

Also performing at this year's VMAs are Lil Nas X, Lorde, Machine Gun Kelly, Olivia Rodrigo and Camila Cabello.
The Foos recently made headlines for trolling the Westboro Baptist Church with a drive-by Bee Gees cover. As the infamous hate group picketed outside the band's show in Bonner Springs, Kansas, the Foo Fighters — dressed in all-white as their ’70s alter-egos, the Dee Gees — rolled by in a flatbed truck while performing the disco hit “You Should Be Dancing.”
12 at 8 p.m. Foo Fighters will receive the MTV Video Music Awards' first-ever Global Icon Award at the 2021 ceremony, airing live from Barclays Center on Sept.
Foo Fighters, who are set to perform at this year's VMAs, scored three nominations for "Shame Shame," including best rock video, best choreography and best cinematography.
According to MTV, the Global Icon Award — a fixture of the network's Europe Music Awards (EMAs) — "celebrates an artist/band whose unparalleled career and continued impact and influence have maintained a unique level of global success in music and beyond." Past recipients of the EMAs version of the award include Queen, Eminem, Whitney Houston.
Foo Fighters also took home the award for best rock video for "Walk" in 2011. The Dave Grohl-fronted band was first nominated in 1996 for "Big Me" in four categories, including video of the year, best alternative video, best direction and best group video (which they won).
I love you,” Grohl said. You should be dancing.”” /> “The way I look at it, I love everybody. Because you know what? “Ladies and gentlemen, I got something to say. That’s what you’re supposed to do… I deliver all of my love, and you shouldn’t be hating.

And be sure to read our full account of how Global Citizen and the producers brought this historic show together, "Behind Vax Live: How Jennifer Lopez, Foo Fighters, H.E.R., Selena Gomez and Others United to Rock and Repel COVID."” />
on Fox. on CBS, ABC, YouTube and iHeartMedia stations, with a late-night airing at 11 p.m. Variety was there to shoot the action as it went down last Sunday at SoFi Stadium in Inglewood, California — the first real stadium show of the post-quarantine era. Global Citizen's "Vax Live: The Concert to Reunite the World" airs Saturday night at 8 p.m.
Scroll through to see our photos of performers Jennifer Lopez, Foo Fighters (with AC/DC's Brian Johnson guesting), H.E.R., Eddie Vedder and J Balvin, along with presenters including Prince Harry, David Letterman, Chrissy Teigen, Ben Affleck and Jimmy Kimmel and host Selena Gomez.

But virally, it did very well, and I think now a lot more people know about it than knew about it before it went on the air. I think there are a couple of natural reasons, one of which was because of that three-network sweep last weekend with the Global Citizen show ("One World: Together at Home"), whatever promotion that I was going to get over the weekend on CBS didn't start until Sunday, and the show was Tuesday. I don't think we got a lot of promotion with this show. EHRLICH: Not that I knew of. We got a lot of promotion with the Beatles show. This happened once before, with the Beatles show ("The Night That Changed America: A Grammy Salute to The Beatles").That was the precedent, where they aired it a second time as well, so they had some numbers to at least reference. If they were, they didn't tell me about it.
Prince was not an easy master. They all did; everybody wanted it. We didn't have any problem with the Time; that was different. And in the course of his career, he fell in love and out of love with a number of different groups, or artists and musicians that worked with him. But it was tricky, because both of them claimed Prince. And that was one of the goals that we had. What I want to say is that the people that made that happen and kept it together were Terry (Lewis) and Jimmy (Jam). And frankly, Sheila wanted that too, and I think Wendy and Lisa did too. So one of the most tricky things to navigate, in all honesty — and I don't think anyone would have a problem with me saying it — was trying to make sure that Sheila and the Revolution got along. They had relationships with both of ‘em and they helped navigate the kind of straits of what probably was a reasonably loose — and you could argue not necessarily the most amazing — “Baby I'm a Star” you've ever seen, but at least it had those folks on stage together. And rightfully so, because they both had long histories with him.
Vincent, Mavis Staples and others… Variety picked his brain about what went into well-received performances by the Foo Fighters, Miguel, Susanna Hoffs and Chris Martin, H.E.R., Gary Clark Jr., St. and his relief at having harmoniously navigated the waters of a show that had so many past Prince proteges and collaborators sharing the stage for the all-star finale of "Baby, I'm a Star."
What were highlights for you of producing the show?
I don't think there could have been a more perfect person. But I don't think I could have done that show without her or someone like her… It had little to do with her name value, though  I don't want to devalue that. First of all, it was a perfect song, and that came from her. Exactly. I mean, that's really why I booked her. She said, “I want to do ‘Controversy,’” and I said, “Thank you for thinking of what I hadn't thought of.”
Somehow you squeezed a four- or five-hour taping into two hours of TV.
There are three or four things that come to mind quickly. I thought that could be the centerpiece that could kick the show off, but you never know until you do it. I didn't call this show “Let's Go Crazy” until I knew what we were going to do with Gary (Clark Jr.) and Gabby (aka H.E.R.). Not that either of those two artists was the best known artist on the show, but it got the audience up and they stayed up on their feet for 90% of the show. It was one of those magical nights where television did not get in the way of what was happening on stage. It lived up to what I had hoped it would be, and then it was obvious.
I didn't make it work too well with Luther Vandross and Anita Baker  — not that we're talking about that. (Ehrlich famously worked to alleviate tension between that duo as they reunited on the 2003 Grammys after a long time apart.) I've done a few of those over my life, where I set out on a course that wasn't the easiest, and I think probably eight out of 10 times I made it work. They hated each other. That was a duet that I wanted to do a long time ago on the Grammys (in 2003), and man, they were going to kill each other. But it kind of took me back to the straits of Simon and Garfunkel… But that's another story!
in a major way. Hardcore Prince fans take a big interest in which of the people he worked with naturally align with others, or don't. A few days before the first airing of this special, we started to see news stories about how Apollonia was taking to social media to tear into Sheila E. Obviously the timing had to do with Sheila having a high profile on this special.
He made it sound like it was an afterthought when he introduced it. Foo Fighters did both "Darling Nikki" and "Pop Life" at the taping, "Nikki" was the one that made the telecast, but Dave Grohl said they hadn't done "Nikki" in concert in a lot of years, even though it's their best known cover.
But EWF is the one heritage act that people don't necessarily associate with Prince. Of course Mavis Staples worked with him later. Earth Wind and Fire was one of two artists on the show that predate Prince. People loved Philip Bailey.
Of course, I'm in love with Misty Copeland. Obviously I had booked her for the Sunday show (the Grammys), and they came to me and said, “You know…” I didn't know that she had toured with him. And that's what we thought about putting her with Gabby, with H.E.R.
These tribute shows are about looking back (with faithful renditions) but also not being afraid to embrace the guy who says, “I'm going to do 'Manic Monday,' but I'm just going to do it with my piano and it's not going to really have tempo.” Every time I work with Chris, it's like, just stay out of his lane and let him (make the decisions). I said to him, "I'd love for you to do the Prince show. He said, “Can I just do it with Susanna?” I said, “Do you want to use Sheila (E. I don't want to say he's one of my rep company, but he's easy to talk to. and her band), too?” He said, “No, just me and her.” It was the opposite of “Darling Nikki.” It was the quietest moment in the show, and one of the sweetest. Do you have any thoughts about what you want to do?" I honestly don't remember if it was him or me, but "Manic Monday" came out of that conversation.
With Morris Day and the Time, an act most people feel they know intimately haven't seen in a while, the audience might feel a little bit nervous about whether those signature moves will look rusty, and then when they make it feel just like the '80s, it's a relief.
"It seemed to strike a chord with people," says executive producer Ken Ehrlich, "and more than one person pointed out how refreshing it was to see a live audience,  as opposed to one more couch-and-guitar number (not that there’s anything wrong with that). It did well for the network, which always helps." The show was filmed before the coronavirus pandemic shut-downs, of course, a couple of nights after the Grammys (which Ehrlich also executive-produced — this year, celebrating his 40th anniversary doing that). Reaction to the first broadcast was wildly enthusiastic among most viewers.
Who else stood out to you as you worked with different artists?
I keep forgetting because physically he wasn't there on Tuesday (his medley on "Let's Go Crazy" is carried over from the Grammy telecast), but God, I've always thought that he was probably one of the really great performers of this generation. And Usher was great.
And I said, “I want to do both of those numbers tonight. If there was a meter in my brain about what the high point of the show is, dynamically and excitement-wise, that's it. That comes a little over an hour in, if I recall, just after the mid-point of the show. During the rehearsal, I think I said to Dave, “You know what? I probably planned that purposefully, because you try and do something exciting after you cross the hour. It peaked there. I'm not going to tell you that both of ‘em are going to wind up in the show, because they probably won't. And I knew that if they tore into “Darling Nikki,” they were going to kill that. I think the first time I talked to him, we talked about “Darling Nikki,” and then he moved to “Pop Life.” I'm not even sure why. He didn't need any help from me. Just run ‘Darling Nikki’ once, just for me.” And he laughed and turned around to Taylor (Hawkins) and it was like, “Ah, f—, let’s humor him." And as soon as we ran it once, he got it. I liked their “Pop Life” a lot. But we all know what the Foo Fighters are and what they could do. But I'd love to be able to make a choice." "Pop Life” now is up on CBS All Access and grammy.com.
Was Mavis Staples an automatic for that? You need some gravity for "Purple Rain" if you're going to have that as a penultimate number.
Chris Martin and Susanna Hoffs together acoustically was another highlight for a lot of people.
That was one of the few moments without a band. Was it easy balancing the interests of different people who were part of the Prince inner circle? Sheila E.'s big band did the first three quarters of the show, and then the Revolution took their place as the band for the last stretch.
And honestly, I think all of the acts on that show were helped by the adoration of the audience. The crowd spurred them on and in turn they fed it back. It's like you push the button, and they go automatic. So to see the two of them up there, doing the steps and having big grins on their faces, it was like, this is what they were meant to do. I've known Jimmy for a long time, but I don't really know him as an artist, as a performer; I know him as a producer. And I loved seeing Jimmy (Jam) and Terry (Lewis) there, because they were into it. With an act like that, and I’ve seen it happen over the years with a number of acts.
VARIETY: Was CBS keeping a slot in reserve for a repeat Saturday night, and waiting to see if it did well Tuesday?
He loves what he does. You can see the joy about doing these things. He's one of my go-to guys. God, I love working with people like that, I really do. He’s another one I love working with. You learn after a number of years who you can talk to, and the manager or publicist will get out of the way and just say, “Okay, you and the artist need to talk.” “Okay, that's what I want to do. Thank you for suggesting what I wanted to do.” And of course, I had him on the Sunday (Grammys) show and he was great there because we did “I Sing the Body Electric" (from "Fame") which was written at least in the late ‘70s, I think probably before Sugar Hill, so there was no hip-hop in “Fame.” It's the one change I made in that number to try and contemporize it a little bit, and he got it right away and showed up with the rap written and ready to go. That was the one we thought we could versify a little bit.
But I don't even think I saw any of the Apollonia stuff until either a day or two before the show. I was wrong about Ariana Grande last year. For probably the people that were with him at one point in his life, it's very easy to say, "Well, those were his great years; after that, he was nothing.” Or people who came later said, “God, he got better, and oh, that early stuff was s—!” Not too many said that, come to think of it. And then I thought, “Oh, God.” I've gotten reasonably good at looking at (controversies flaring up) and trying to discern whether or not things are going to blow up or whether they're just gonna sit there and die. not divisive — that's not the word I want to use — but yeah, he had different camps, like any artist, but especially an artist like him who evolved over a number of years. Prince was… [Laughs.] But this turned out to be a blip.
But there's a singularly vivid quality about her, and a weird one, to put it simply, that really fits in with the Prince ethos in a way that was different from anyone else on the show. St. Vincent is a big enough star, but maybe a little less familiar to much of the audience than an Usher or Foo Fighters.
She was saving it. And then, on show night, she got stronger as it went along. She was an automatic, but it was scary, because in rehearsal, she was good but I think she was just starting to feel it. And that's what a great artist who knows herself can do, and she did that and she delivered.” /> I knew it was the right booking, but I think I crossed my fingers a little bit. What I didn't see that she knew about herself was that she was getting herself up to it — that she didn't want to give it all away in the first verse-chorus. In rehearsal she was good, but I think she was just feeling it.
I could talk nicely about pretty much everyone on the show. And he probably channeled Prince, in terms of being true to Prince, as well as anybody on that show. Man, he worked on that number. When I saw him at rehearsal, I thought he was incredible, and I wound up moving him up in the show; I think I originally had him later. Miguel — I don't want to say he surprised me, because I've had him on a few shows, but every time I do… He's a great mimic, and there's something to be said for that.
Common added a rap to "Sign of the Times," which is a risky thing to do, but obviously he's pulled off that kind of thing before.
It was natural and beautiful and fit in so well. When I went online and looked at some things, there were some people that thought that was the best number in the show. I don't even think you'd call “Adore” a deep cut, but it's deeper, and I didn't have anything like it on the show. I think Chantel (Sausedo) maybe thought of that booking. Yeah, and he loved them.
Those are the choices when you get into an edit room with a show like this. I trimmed a few of the packages and got about seven or eight minutes out that way, and then the rest of it really came tightening some of the songs, which I never like doing, but it's preferable (to cutting entire songs). I gave several, if not all, of the artists a haircut, but I didn't scalp ‘em. The only two things that didn’t wind up on the show were “Pop Life” and “Mountains,” which the Revolution did, and I just couldn't find a place for it. “Mountains,” by the way, also is on CBS All Access (and Grammy.com). But everything else, it was like a verse-chorus here or there. The easy way out is to say, “Well, that one wasn't that great,” but this one, there was no doubt that I wanted to try and keep almost everything. By the way, normally, what’ll happen is,  I'll get some kick from some artists saying, “You can't do that to my song.” And on this one, I don't think anybody came after me. I think they understood. Prince wasn't that efficient sometimes with songs, so I could take a a 16-bar intro and trim it down to 8, and nobody got hurt, even if they got bruised.
A re-broadcast of "Let's Go Crazy: The Grammy Salute to Prince" was hastily scheduled for Saturday after the original airing of the special Tuesday won the ratings race for the night, to the surprise of many. "What time is it?" is a question Prince fans have been asking one another, and not just because they've got Morris Day on their minds. ET/PT, 7 central.) (The answer to that musical question, by the way, for anyone who may be reading this before the rerun, is 8 p.m.

Pharrell Williams today announced the music lineup for the second year of his acclaimed “Something in the Water,” a multi-day music festival and cultural experience taking place in his hometown of Virginia Beach over the weekend of April 24-26, 2020.
The festival is produced by Live Nation and Redrock Entertainment Services. Tickets go on sale to the general public Saturday, December 14th at 12pm ET; the public on sale follows the sold out special “Locals Only” presale earlier this fall.
A$AP Rocky, Baby Rose, Bae Worldwide, Banks, Beck, Brittany Howard, Buddy, Chad Hugo, Chance the Rapper, Clipse, EarthGang, Foo Fighters, FriendsWithYou, Global Citizen, Gunna, H.E.R., Jaden Smith, Jozzy, JR, Kali Uchis, KAWS, KP The Great, LANY, Lauren Jauregui, Leon Bridges, Lil Tecca, Lil Tjay, Love Mansuy, Mahalia, Major Lazer, Mereba, Metro Boomin, Migos, Nelly, Nickelus F, Noodles, Pharrell & Friends, Playboi Carti, Pop Smoke, Pop-Up Church Service, Post Malone, Quinn XCII, Rema, Rico Nasty, Sabrina Claudio, Snoh Aalegra, SoSuperSam, Tank and the Bangas, The Head and the Heart, Tierra Whack, Trey Songz, Turnover, Tyler, the Creator, Usher, Venus X, Wale and the Backyard Band, 070 Shake, 6lack and 99 Neighbors will perform at the expanded festival, now with three beachfront stages. Even more performers are expected to be announced soon.
In a nod to the influence and appreciation of educators, Pharrell first released the music lineup to the 12 Virginia Beach high school principals this morning to make a simultaneous district-wide announcement of the artists performing at the festival.” />
According to the announcement, the festival will feature expanded programming across an entire week, including “the brightest minds from the culinary world, technology, environmental sustainability, health & wellness, media and more, from Monday, April 20th, through Thursday, April 23rd.” That lineup will be announced next year.

(laughter) That’d be a big one. But realistically I’d probably say I’d like to have Slayer before they go away. I sure as f— wouldn’t want to go on after them! Of course, I would say AC/DC because they’re the greatest rock and roll band in the world.
 ” />
What is the Foo Fighters aesthetic and how has it evolved as you’ve gotten older?
So Grohl and his Foo Fighters bandmates were the perfect people to resurrect Cal Jam, the massive festival held in 1974 (with Black Sabbath, Deep Purple, the Eagles, Earth, Wind & Fire and others) and 1978 (featuring Aerosmith, Foreigner, Heart and more), and last year when Grohl and the Foos flew the flag again, alongside Queens of the Stone Age, Cage the Elephant, Liam Gallagher and many more.
We started looking at all these classic festivals and one of the people we work with said, “Man, we should try to bring back Cal Jam because of how incredible it was back then.” That’s kind of where the idea was born. We got an email from a man whose father was one of the people that put on the first two Cal Jam festivals, and he said he was a little apprehensive about us bringing it back, but afterwards he was really happy that we brought the same vibe the original Cal Jam had. Those California festivals, the Us Festival and Cal Jam, they just looked so f—ing fun: hot and loud and dirty, and that’s how I like it.
What prompted the resurrection of the Cal Jam name?
It went haywire, but it was fun. We tried to do [The Beatles’] “Come Together” with Liam Gallagher. Dave Grohl: Last year we had Joe Perry from Aerosmith come up and jam with us — it was a little bit of a fiasco! But Heart are still f—ing amazing, they would be a great one. It could happen. Everybody loves a little bit of Foreigner now and then. I don’t doubt that any one of those bands could jump up on stage in between Japandroids and Greta Van Fleet and school everyone. We asked Joe about his experience in ‘78 and back then bands would take helicopters to gigs (laughs), so I asked him more about the helicopter than anything else.
Considering the success and visibility you’ve had, how can you use that to give back musically?
Here are the songs, here’s who’s going to produce it, we’d like to tour here and there.” Independence has always been important to us, but a lot of it goes back even before Nirvana, when I was in punk rock bands in Washington, D.C. We’re on our own label and have our own studio and basically just tell everyone, “We’re making a record. Independence is very important, because you want to control your experience and that’s basically what we’ve done for the last 24 years.
And I remember when he came to see Nirvana play before “Nevermind” came out — I mentioned it to him and he remembered, I couldn’t believe it. When Nirvana became popular we brought out the Melvins, the Boredoms, the Meat Puppets — bands that we loved and that influenced us, so hopefully our audience would get maybe a deeper understanding of where we come from. If somebody needs your help then you give it to them —the generosity of sharing with other musicians is really f—ing important. But also, Krist Novoselic’s band is playing on the [Cal Jam] bill, and I’ve got Josh Homme, Butch Vig — there’s a lot of history there in that lineup. Beyond Iggy [Pop] being an incredible influence musically, he also gave me one of the highlights of my entire life [when they performed together when Grohl was young]. That’s the sense of community I feel is important, and it can grow stronger because when you’re blessed with the opportunity to be able to expose your audience to bands they otherwise may not have heard, you invite your friends. It’s important for people to feel connected to the musicians that they share the stage with.
Who is the dream Cal Jam headliner?
This year he and Iggy Pop (who is reuniting the Queens of the Stone Age-derived lineup from his 2016 album, “Pure Pop Depression”), Garbage, Tenacious D, Greta Van Fleet and more will unite Saturday, October 6, in San Bernardino’s Glen Helen Regional Park for Cal Jam ‘18. Variety sat down with Grohl to talk about the festival, how Foo Fighters have stayed true to themselves for 24 years, and what he learned during his time in Nirvana about giving back to musicians.
A lot of the bands from the first two Cal Jams are still active. Who would you like to have come back?
To see a band as funky as Earth, Wind & Fire, and then a band as heavy as Black Sabbath, and then someone as mellow as Seals & Crofts and the Eagles, those were the f—ing days.” “When I look at that lineup, I think about the musicianship. “Talk about bringing the party,” he says of the original festivals.
If one thing is abundantly clear to anyone who’s ever spent time with Dave Grohl, it’s that he’s an even bigger music fan than he is a rock star. Whether talking about his favorite Van Halen album (“Fair Warning”) or getting to play drums as a teenager with Iggy Pop at a record release show in Toronto, he is as animated as he is on stage.

Part of Liam Gallagher’s appeal is his above-it-all rockstar attitude, but it almost seemed out of place at CalJam at points. Among the high-energy headliners, Gallagher looked like he was on autopilot as he sang both Oasis classics and some of his new singles.
But vocalist and bass guitarist Mike Kerr and drummer Ben Thatcher were a sight to behold, with Thatcher in particular delivering a show-stealing drum solo near the end of "Little Monster." rock band is only comprised of two people. Royal Blood was one of the final acts before the sun went down, and if you didn’t know any better, it would be hard to believe that the U.K. The headliners had the luxury of evening temperatures during their sets, but those earlier in the day rocked out in 95-degree heat.
And they brought out the big guns, too. Aerosmith’s Joe Perry, who played at the 1978 CalJam, joined Foo Fighters on stage to perform “Draw the Line.” They also welcomed the Kills’ Alison Mosshart to collaborate on their new song together, “La Dee Da,” and even Rick Astley to hurl expletives at the audience and "rick roll" the entire festival with "Never Gonna Give You Up."
Matt Shultz Uncaged
Cage the Elephant hit the stage after Gallagher’s set, and it’s hard to think of anyone who could bring up the energy levels more than the band’s frontman, Matt Shultz.
Stripping down to a revealing outfit that resembled Spanx boxers at one point (the same piece he wore during the Life Is Beautiful festival just a few weeks ago), he sang and wiggled across the stage, showing the desert exactly what a showman looks like. As they delivered hits like "Come a Little Closer," "Ain’t No Rest for the Wicked," and "Cigarette Daydreams," Shultz, who has an almost Iggy Pop-like appeal while performing, completely owned the stage.
Liam Being Liam
The venue was complete with a Foo Fighters museum as well, featuring the throne Grohl performed on after he broke his leg… and the cast he wore during that time.
Between songs, Queens frontman Josh Homme took a sign from the audience that read “VEGAS STRONG” on the front, proudly stopping to hold it up and flip it over to show the names of shooting victims written on the back. But it wasn’t lost on the band that the festival was taking place less than a week after 59 people died and 500 others were injured during a mass shooting at the Route 91 Harvest music festival in Las Vegas. The sign remained in prominent placement behind Homme — whose close friends Eagles of Death Metal were onstage during the 2015 terrorist attack on the Bataclan in Paris — for the rest of the set: a simple, yet appropriate tribute to such a recent tragedy.
If it didn’t seem possible to up the ante after Cage the Elephant, Queens of the Stone Age were more than capable, performing old hits like "Little Sister" along with new songs off their album "Villains" amidst a stunning light show.
To hear Dave Grohl tell it, when Foo Fighters were thinking of how to debut their eighth album, “Concrete and Gold,” they found themselves at a crossroads: what would be the biggest, loudest way to introduce their latest to the world?
The result of that idea was a one-day fest at the Glen Helen Regional Park in scorching San Bernardino, Calif., with Queens of the Stone Age, Cage the Elephant, Liam Gallagher, Royal Blood, the Kills, Wolf Alice, Japandroids, Bob Mould, Bully and more. Variety was on hand at the first year of this new version of CalJam – which may not be the last, Grohl teased on stage – to experience all the biggest acts and Foo Fighters mania.
Nah, “not loud enough,” according to Grohl. A huge party at the Hollywood Bowl? Their idea, instead, was to bring back CalJam, he explained at the start of their headlining set of their new iteration of the rock ‘n’ roll music festival that in the ‘70s included such acts as Aerosmith, Black Sabbath, Deep Purple, the Eagles and Foreigner.
"I just saw Liam’s a–crack," Grohl said afterward. Gallagher had to hold a piece of paper with the lyrics to the famous song in front of him, and left via a random stage dive near the end of the song. "That was planned," he added sarcastically. It got mildly bizarre when Grohl, with Perry still on stage, invited Gallagher on stage to sing a cover of the Beatles' "Come Together" (which Aerosmith also covered in the '70s).
Beating the Heat
But they made the most of it, with both bands using their hits and charisma to get the hot daytime crowd moving.” /> And that’s to say nothing of acts like Circa Waves and the Struts, who had the unenviable task of performing to a much smaller crowd in peak desert heat.
Queens Remember Vegas Victims
To be clear, CalJam wasn’t just 12 hours of celebrating Foo Fighters, but it was a fan’s dream. While they ran through hits like “Pretenders,” “All My Life,” “Best of You,” and “My Hero,” along with singles off their new album, Grohl got personal with the crowd, even rushing into the middle of it at one point to strum his guitar surrounded by fans. During their two-hour-plus set, the band somehow managed to make a festival with thousands of onlookers feel intimate.
Rock and Grohl