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      Ozzy Osbourne Plays His ‘Final Song’ With Black Sabbath

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      The metal luminary, 76, took the stage with his original bandmates at a farewell festival in his Birmingham, England, hometown on Saturday night.“Look at all this love for heavy metal.”James Hetfield, the guitarist and lead vocalist for Metallica, gazed out at the crowd at Villa Park, a football stadium in Birmingham, England, on Saturday. His band was the last of a slew of headliner-caliber metal acts and seasoned pros in and around the genre to perform ahead of the night’s honoree and hometown hero: Ozzy Osbourne.The gathering, a daylong festival called Back to the Beginning, was designed as both a tribute and a farewell. Osbourne, who has stepped back from live performance amid health issues including Parkinson’s disease and emphysema, played solo for the first time in nearly seven years and then, for the first time since 2005, reunited with all three other original members of his pathbreaking 1970s band Black Sabbath — the guitarist Tony Iommi; the bassist Terence Butler, known as Geezer; and the drummer Bill Ward — for a four-song set.Both performances were billed as career finales at the event, which was organized by Osbourne’s wife, Sharon, along with the Rage Against the Machine guitarist Tom Morello, and streamed worldwide with a two-hour delay.“Metallica is so grateful to be invited here to see all your beautiful faces and celebrate the band Black Sabbath, because without Sabbath there would be no Metallica,” Hetfield continued. “Thank you, boys, for giving us a purpose in life; thank you, Black Sabbath.”Gratitude was a theme throughout the concert, where artists didn’t simply cite Black Sabbath for inspiring them musically, but often credited the group with fostering an entire global subculture.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Stuart Burrows, Welsh Lyric Tenor Who Straddled the Atlantic, Dies at 92

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      He was a mainstay at both the Metropolitan Opera and the Royal Opera House, winning acclaim for his full tenor range and a rich, unforced tone, notably singing Mozart. Stuart Burrows, a Welsh lyric tenor prized by conductors on both sides of the Atlantic in the 1970s and ’80s for his agile singing in Mozart, becoming a mainstay at the Metropolitan Opera and at Covent Garden in London, died on Sunday in Cardiff, Wales. He was 92.His death, in a hospice facility, was confirmed by his son, Mark.Mr. Burrows was a coal miner’s son who was schooled in the chapels of Cilfynydd, the village where he was born. His clear voice and attention to detail would make him an ideal Ottavio in “Don Giovanni” and Tamino in “The Magic Flute.”His control was effortless throughout the full tenor range, his tone rich and unforced, as in his role as Lensky in Tchaikovsky’s “Eugene Onegin.” In Georg Solti’s 1974 recording of that opera, Mr. Burrows’s voice was “most beautiful and sensitive,” the critic John Warrack wrote in a review in the magazine Gramophone.Mr. Burrows nearly opted for a professional rugby career as a young man in the early 1950s — he turned down a contract with the club in Leeds at the last minute — but he knew he had a gift that he could not ignore, though his career wouldn’t blossom for another decade.“I knew I could sing,” he told the BBC in 1972. Yet, he added, “I never had ambition to be a singer.” Singing was merely part of the landscape in bardic Wales; the renowned baritone Geraint Evans was born in the same village — and even on the same street — as Mr. Burrows.He had settled happily into a role as a schoolteacher in nearby Bargoed, teaching woodworking and music, “a job which he enjoyed immensely,” Roger Wimbush wrote in a biographical sketch in Gramophone in 1971. But then Mr. Burrows sang “Il Mio Tesoro” from “Don Giovanni,” in Welsh, in a singing competition in 1959 at the age-old national Eisteddfod festival, and won. We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Oasis Live Review: The Gallaghers Reunite, Their Songs Still Stomping and Wounds Still Healing

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      The British band, a showcase for the intoxicating but toxic chemistry of the brothers Liam and Noel Gallagher, performed for the first time in 16 years.It was a few songs into Oasis’s first concert in 16 years and — despite the heavy anticipation, the rabid fan attention, the relief of simply seeing the Gallagher brothers walk onstage together, Liam’s left arm draped over Noel’s shoulder — there was something still tentative in the air at Principality Stadium in Cardiff, Wales, on Friday night. A crowd of 62,000 fans was vibrating, and cheering and singing along, but still waiting for license to rage.Liam, the band’s frontman and the punchier of the two brothers — Noel, the songwriter and guitarist, is far more dour — seemed to sense the dryness.Turn around, he told the audience. Find someone and throw your arms around them. Hold them tight, he said. Then the band finally located its detonator.That was “Cigarettes & Alcohol,” from its mighty, snarling 1994 debut album, “Definitely Maybe.” The guitars started at maximum sleaze, and Liam began singing the lyrics — about all the fun ways to tune out when life gets boring — with real brio. The crowd, especially down on the stadium floor, began ecstatically hopping in place in little rugby scrums, then erupted out of them as the band peaked at the chorus. Finally, everyone had shaken off their nerves.The New York TimesFor around two hours, Oasis — perhaps the most meaningful and popular British band of the 1990s, and certainly the rowdiest and most fun — toggled back and forth between masculinist ecstasy and a sometimes fumbling search for it in a frills-free and dogged performance. At times, it was pure triumph, the grandest pub singalong fathomable. At other moments, it was a ramble in the dark.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Oasis Starts Its World Tour With Cardiff Concert

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      Liam and Noel Gallagher put aside their brotherly rivalry to play the first date of their band’s long-awaited comeback tour in Cardiff, Wales.They had waited 15 years for this moment, and they couldn’t believe it was happening.Dressed in bucket hats, Adidas tracksuits and other ’90s looks, a boisterous crowd gathered on Friday at the 75,000-capacity Principality Stadium in Cardiff, Wales, to witness one of the unlikeliest reunions in rock music.Oasis was back.For two hours, at least.Around 8:15 p.m. local time, Noel and Liam Gallagher, the two stars of a band whose anthemic hits include “Wonderwall” and “Don’t Look Back in Anger,” swaggered onstage, putting aside decades of brotherly war.Liam had his arm around his older brother’s shoulder, and as the phrase “The Great Wait Is Over” flashed on screens at the back of the stage, the pair strode forward, holding each other’s hands skyward.The ringing chords of the group’s 1995 track “Hello,” which features the refrain “It’s good to be back,” wafted over the crowd, kick-starting a 41-date sold-out world tour that includes two concerts at MetLife Stadium in East Rutherford, N.J.After an opening filled with fraternal joy, the brothers soon reverted to type. For the rest of the set they stood about 30 feet apart and barely glanced at each other. Liam, 52, wearing a black rain jacket, clasped his hands behind his back as he sang upward toward the microphone. Noel, 58, dressed in a blue shirt, stared at his guitar in concentration.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Kesha Seeks a Chaotic Love, and 9 More New Songs

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      Hear tracks by Foo Fighters, Ethel Cain, Tyler Childers and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Kesha, ‘Red Flag.’Now that Kesha’s lawsuits and record-company contracts are in the past, her first independently released album, “. (Period),” doubles down on her persona as an unruly, thrill-seeking party girl who wants what she wants. In the peppy “Red Flag,” she welcomes chaos and complication over boredom. “I need a certain kind of chemical / It’s dangerous and unforgettable,” she sings, with an edge of Auto-Tune. The track revs up a combination of synth-pop pulsation and hand-clapping trance buildups, an adrenaline rush of romantic disaster.J.I.D. featuring Eminem, ‘Animals (Pt. 1)’The Atlanta rapper J.I.D. — born Destin Route — zooms through a barrage of syllables in the virtuosic “Animals (Pt. 1).” It’s a breakneck boast that juggles rhyme schemes and percussive flows with casual precision: “I’m good at my job / It’s not a walk in the park ’cause I’m in a metropolis / I’m lost in a thought but escaping the darkness.” J.I.D. is confident enough to split the track with a past master of enunciation and internal rhymes, Eminem. He pivots the production from eerily electronic to orchestral, without lessening the beats per minute or syllables per second.Foo Fighters, ‘Today’s Song’“Today’s Song,” the first new Foo Fighters song since 2023, starts as an elegy, then explodes into an exhortation to persevere. “Two sides to a river,” Dave Grohl sings as drums and power chords come crashing in, and, later, “We’ll drown in the middle / Which side are you on?” It’s the band’s latest earnest, uplifting hard-rock anthem, and despite a few rhyming-dictionary lyrics, the feeling comes through.The Reds, Pinks and Purples, ‘What’s the Worst Thing You Heard’The Reds, Pinks and Purples, from San Francisco, merge the 1960s and the 1980s at their most dejected. They share the ringing picked guitars of folk-rock with the bitter tunefulness of the Smiths and the Go-Betweens. On their new album, “The Past Is a Garden I Never Fed,” the song titles are a checklist of pessimism, from artistic careers to life choices: “The World Doesn’t Need Another Band,” “You’re Never Safe from Yourself,” “No One Absolves Us in the End.” In “What’s the Worst Thing You Heard?,” rising chords disguise dimming expectations; “I know we’re going to crash,” Glenn Donaldson sings, unconsoled by a brisk beat and a pretty guitar pattern.Ethel Cain, ‘___ Me Eyes’In the new single from Ethel Cain’s album due in August, “Willoughby Tucker, I’ll Always Love You,” she sings about a troubled fast girl from a small town, potentially a romantic rival in the album’s narrative. “She’s got her makeup done and her high heels on,” the singer observes. “She goes to church straight from the clubs / They say she looks just like her mama before the drugs.” The track’s pulsing synthesizers echo the 1981 Kim Carnes hit “Bette Davis Eyes,” which Cain has covered on tour. But unlike the casual seductress in that song, Cain’s character grows tearful behind her bravado. “They all want to take her out / But no one ever wants to take her home,” Cain wails in a surge of sympathy.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Sean ‘Diddy’ Combs Faces Not Just a Sentencing, but a Host of Civil Cases

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      The music mogul, convicted on lesser charges at his federal trial, has been accused of sexually assaulting people in dozens of suits. He has denied the allegations.The federal trial of Sean Combs ended on Wednesday with the media mogul acquitted on the most serious charges, but while Mr. Combs remains in jail and awaits sentencing for charges of transporting prostitutes, he also faces ongoing civil lawsuits.There are more than 50 lawsuits accusing him of sexual abuse, the majority of which are based in New York. The accusations date as far back as the 1990s and include allegations of druggings and rapes, often at parties. The plaintiffs are a mix of men and women, and at least a dozen say Mr. Combs sexually assaulted them when they were minors. Many of the suits were filed anonymously.In a statement following the verdict, Erica Wolff, a civil lawyer who represents Mr. Combs, said the outcome helped prove “what we have been saying about the civil cases since day one: they are all fabricated attempts to extort windfall payments from an innocent man.”“Mr. Combs never sexually assaulted or trafficked anyone,” she said. “From the beginning, we have vigorously defended against the civil plaintiffs’ made-up claims with full confidence that Mr. Combs would prevail in the criminal case, and he did.”But now the question becomes whether evidence from the criminal case could find a way into the civil suits in ways that could affect their outcomes. Mr. Combs was acquitted of sex trafficking and racketeering conspiracy during the criminal trial, but he was found to have engaged in transportation to move escorts over state lines for the purposes of prostitution.Still, there was a lot of testimony that he was repeatedly violent to a former girlfriend and used drugs in sexual situations.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Lawrence Power Wants You to Pay Attention to the Viola

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      Lawrence Power’s instrument has been overlooked throughout its history. He has made a career of changing that.Hector Berlioz’s “Harold in Italy” is full of wandering. In his memoirs he wrote that, through this symphony with viola obbligato, based on the mood of Lord Byron’s poem “Childe Harold’s Pilgrimage” and inspired by the composer’s unfruitful time in Italy, he sought to make the viola “a kind of melancholy dreamer.”The violist Lawrence Power has spent his whole career playing “Harold in Italy.” But, he said in an interview, he has always been “completely uncomfortable and just confused by the whole piece.” It’s essentially a symphony, but completely different from a conventional one, with a viola solo part that drifts in and out of the action. Berlioz “obviously had something in mind to have the viola separate from the orchestra,” Power said, guessing that the composer “had something theatrical in mind.”In a dramatized performance of “Harold in Italy” with Aurora Orchestra at the Southbank Center in London late last month, Power leaned into that wandering, theatrical spirit, something that has also become a hallmark of his recent work. After whistling the piece’s idée fixe, or recurring theme, while strolling from a raised platform amid the ensemble, Power recited searching sections of Berlioz’s memoirs and wandered through the auditorium, playing sections of the obbligato part with a distant, slightly aloof expression.This is just another idiosyncratic project by Power, somebody who has championed the viola for the past 25 years, with a particular focus on new work. He’s not alone: Viola soloists often have to become champions for their instrument, which has been underappreciated throughout its history.“There’s no defined idea of what a viola is,” Power said.Kalpesh Lathigra for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Crumbl’s Benson Boone ‘Moonbeam Ice Cream’ Cookies Are a Hit

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      With help from social media, Crumbl’s Benson Boone-inspired Moonbeam Ice Cream has received an extended run.If the singer Benson Boone were a cookie, he’d taste, in this reporter’s opinion, unpleasant. The flavor would be cloyingly sweet and frosted with notes of lemon, berry and an unnameable processed aftertaste that lingers on the tongue as if you’ve just woken up and have yet to brush your teeth.Or, at the very least, that’s what a Crumbl cookie inspired by one of Mr. Boone’s songs tastes like.Still, that hasn’t stopped people from popping into the nearest Crumbl — of which there are more than 1,000 locations across the United States, Puerto Rico and Canada — to purchase Benson Boone’s Moonbeam Ice Cream Cookie, a collaboration between the sweet treat company and the artist.Mr. Boone, a singer who quit “American Idol” in 2021 and found mainstream fame soon after, is perhaps best known for backflipping off pianos in tight jumpsuits while performing his hit “Beautiful Things.” (Mark Zuckerberg, Meta’s chief executive, borrowed the particular blue, sequined suit Mr. Boone wore for the 2025 Grammy Awards while he serenaded his wife at her birthday party earlier this year. He did not do a backflip.)Benson Boone is perhaps best known for backflipping during performances.Mario Anzuoni/Reuters“Mystical Magical,” another song by Mr. Boone, was the inspiration for the cookie thanks to the lyric “you can feel like moonbeam ice cream, taking off your bluejeans.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More