Lewis Capaldi has come a long way since he started working on his mental health a couple of years ago, with the Scottish singer-songwriter revealing that he once had a “mental episode” that left him “convulsing” backstage at a show.

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While guesting on the Tuesday (July 15) episode of Theo Von’s This Past Weekend podcast, Capaldi reflected on the tough moments in his career that forced him to confront the fact that he needed help. The musician made headlines in 2023 when he struggled to get through his Glastonbury set that year, but shortly before that happened, he says he had an incident at a concert in Chicago that was “even worse.”

“I couldn’t come back on stage and finish the song,” Capaldi told Von of performing in the Windy City. “I was like, backstage, convulsing and having this crazy panic attack, mental episode. It was really, really bad. It was the first time people at my shows had seen it.”

The musician has been open about dealing with mental health issues as well as Tourette’s, a disorder that causes difficult-to-control movements and sounds known as tics. In April 2023, Capaldi revealed that his struggles with Tourette’s were becoming so severe, he was considering stepping back from music.

After his onstage breakdown at Glastonbury two months later, Capaldi did just that. Immediately after stepping off stage at the festival — where fans had helped him get through his set by loudly singing the words for him — the artist knew it would be his last show until he got some help, he told Von.

“When it happened and when it was happening, it was, like, the lowest moment of my life, and it was horrible,” he recalled on the podcast of Glastonbury 2023. “I had this moment where I was on stage like two, three songs in. I was like, ‘This is the last time I’m going to play a gig for a long time. I need to try and get through the rest of the show, but when I come off, I’m done.’”

Capaldi is now back and better than ever before after spending the past two years reconnecting with himself, with the star telling Von that therapy and exercise have helped him immensely. This past June, he made a triumphant return to Glastonbury with a surprise set, shortly after which he announced that he’d be donating 734,000 hours of free virtual therapy with BetterHelp inspired by his own mental health journey.

While speaking to Von, he gushed that this year’s Glastonbury performance was a “bit of a comeback moment.”

“It was lovely,” he added. “It was a really special moment.”

Watch Capaldi’s full conversation with Von below.

Katy Perry lit up the Kia Forum in Los Angeles on Tuesday night (July 15) as part of her Lifetimes Tour, with iconic tracks “Roar,” “The One That Got Away,” “Firework” and loads more! From acrobating the night away to taking fan requests to appearing to comment on her public split with ex-fiancé Orlando Bloom, keep watching to see everything you missed out on during Perry’s latest stop during her headlining world tour.

Have you been to Katy Perry’s Lifetimes Tour? Let us know in the comments!   

Tetris Kelly: Katy Perry is on her Lifetimes Tour, and her hometown of L.A. was lucky enough to experience the hits, the vocals and the acrobatics at the Kia Forum. We take you there in Billboard All Access. She kicked off the night high above the Kia Forum before asking the crowd, “Oh, so you remember it?” Oh yes, Katy, we know everything.

She ran through her hits from all her albums, and the mic was on through dancing and emotion — even dipping in and out of her recently released albun 143 as she commanded the Infinity Stage. She reminded us that internet hate trains aren’t real and even let fans pick songs for her, noting the interesting timing for breakup song choices. She brought up an adorable sister duo and her dad for “The One That Got Away.”

She flew high above us again for “Nirvana” and “Roar,” and all night the crowd was just so incredibly loud. Katy, you’re the firework, and we’ll never forget.

As music streaming gains popularity in emerging markets, the growth of on-demand audio streaming in the U.S. continues to lag the rest of the world.

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In the first half of 2025, growth of U.S. on-demand audio streams slowed to 4.6% from 8.0% in the prior-year period, according to Luminate’s mid-year report released Wednesday (July 16). Outside of the U.S., streaming is growing twice as fast as in the U.S., although the pace there also slowed considerably. The rest of the world’s on-demand audio streams were up 12.6% to 1.8 trillion streams, which was down from the prior-year period’s approximately 18.3% gain.

The differences in growth rates help explain why music companies are expanding to emerging markets. Mature markets will continue to grow with the help of higher subscription prices, but companies are attracted to the potential of fast-growing markets such as China, India, Thailand and Brazil. At the beginning of the decade, major labels were investing in tech startups in Western markets; now their M&A strategy focuses on capturing growth elsewhere in the world.

That the U.S. has a slower streaming growth rate than the rest of the world doesn’t come as a surprise. The U.S., as well as Western Europe and Australia, were early adopters of music streaming platforms, and global streaming services didn’t initially target populous countries such as India, Indonesia and the Philippines. As these and other emerging markets play catch-up, the U.S. accounts for a diminishing share of streams worldwide. In the first half of 2025, the U.S. accounted for 28% of on-demand audio streams, down from 29% and 31% in the two previous mid-year periods.

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While Luminate doesn’t track albums globally, the mid-year report also showed that U.S. album sales fell 6.0% to 41.0 million. Physical album sales slipped 3.2%, more than a six percentage-point turnaround from the 3.8% gain a year earlier, while digital album sales fell 17.7% to 6.8 million, more than seven percentage points worse than the 10.3% decline, to 8.3 million units, they suffered in the first half of 2024.

Total U.S. album consumption — a combination of streams and sales of tracks and albums — was up 3.9% to 558.9 million album units, which was down from the 7.4% increase in album consumption at the midpoint of 2024. 

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After eight memorable seasons of TV, the fan-favorite drama Tyler Perry’s Sistas returns for season nine on Wednesday (July 16).

The new season pushes its sister’s circle further than ever before with new love triangles, twists and turns, and savage revelations. The first episode of the new season is titled “No Time To Wait” and it broadcasts on cable network BET. It’s available to access with a subscription to Philo, which is free to watch with a seven-day free trial.

When Does ‘Tyler Perry’s Sistas’ Start?

Tyler Perry’s Sistas broadcasts starting on Wednesday (July 16) with a start time of 9 p.m. ET/PT. Each episode is 42 minutes long, while new episodes drop every Wednesday.

Where to Watch ‘Tyler Perry’s Sistas’ Online

Tyler Perry’s Sistas airs on BET. It’s available to stream on Philo. Keep reading for more details on how cord-cutters can watch the new spinoff series of reality TV online with Philo.

How to Watch ‘Tyler Perry’s Sistas’ with Philo

A subscription to Philo — which comes with BET — gets you access to live TV from cable channels for just $28 per month.

In fact, you can watch more than 70 cable networks, such as AMC, A&E, Animal Planet, BBC America, Cartoon Network, Comedy Central, Discovery Channel, EarthX, Food Network, Game Show Network, Hallmark Channel, HGTV, History Channel, Investigation Discovery, IFC, Lifetime, Logo, MotorTrends, Nickelodeon, OWN, Paramount Network, Pop TV, Revolt, Smithsonian Channel, Sundance TV, TLC, UPtv, Vice, We TV and many others.

Music fans will love that Philo also includes networks, like AXS TV, Fandor, CMT, MTV, MTV Classic, VH1 and more.

In addition, AMC+ is available on Philo. The premium streaming service comes with Philo Core for free, so you can get even more movies and TV shows to watch when you signup. AMC+ is the home to programming, like Better Call Saul, Gangs of London, Interview with the Vampire, Show Me More, Deadstream and more.

The TV drama stars KJ Smith, Mignon, Ebony Obsidian, Novi Brown, Crystal Renee Hayslett, Angela Beyince, Devale Ellis, Chido Nwokocha, Brian Jordan Jr., Kevin A. Walton and others.

Starting at 9 p.m. ET/PT, Tyler Perry’s Sistas season nine premieres on Wednesday (July 16) on BET. The TV drama is available to stream on Philo with the service’s seven-day free trial. In the meantime, watch a brief preview of season nine, below:

Want more? For more product recommendations, check out our roundups of the best Xbox dealsstudio headphones and Nintendo Switch accessories.

Russell Wilson’s daughter didn’t need to look to the western sky on her birthday to find Cynthia Erivo — she simply had to accept a FaceTime call from the Wicked star.

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While guesting on The Tonight Show on Tuesday (July 15), the football player had nothing but kind words for the singer-actress after revealing that Erivo had called into his 8-year-old little girl’s Wicked-themed birthday party. Wilson shares Sienna with Ciara, along with 11-year-old stepson Future Wilburn, 5-year-old son Win and 1-year-old daughter Amora.

“We have the coolest birthday parties,” Wilson told host Jimmy Fallon, sharing photos of himself dressed as Wicked‘s Fiyero and Sienna painted green like Elphaba.

Noting that his oldest daughter is Wicked-obsessed, the New York Giants star went on to say that Erivo is “the best.”

“She’s awesome, because she had no problem hopping on the FaceTime,” Wilson continued. “Ciara and her are really, really close. It was cool, ’cause Sienna was like, ‘Um, can you sing to me now?’ And she just hopped right into song. It was a good birthday, for sure.”

The athlete also took a moment to gush about Sienna. “I’m telling you guys, she’s probably going to run for president one day,” the proud dad told Fallon’s audience. “She is a boss lady. She runs the show — Ciara runs the show, and [Sienna] gets it from her momma.”

Sienna is just one of countless young fans who love Wicked, which premiered last November. As of late May, it had grossed $755.9 million worldwide, more than any other film adaptation of a Broadway musical. The movie’s sequel, Wicked: For Good, will hit theaters in November.

Of all the hype the Wicked duology has generated so far, Erivo recently told Billboard Pride Editor Stephen Daw in her June cover story, “It’s insane … and it’s insane while it’s happening, too.”

“She’s able to access her rage more,” she continued at the time of how her character evolves in the second film. “The scent I wore changed. The makeup changed. Little shifts that bring you to a more mature version of who Elphaba becomes. And she is delicious in this next one.”

Watch Wilson’s full Tonight Show interview above.

It goes without saying that Bruce Springsteen is one of the most iconic and successful touring acts in history. So it’s noteworthy that his recent 2023-25 tour, which wrapped on July 3 in Italy, was his biggest ever, without qualification.

After 129 shows, the Springsteen and E Street Band 2023-25 Tour grossed $729.7 million and sold 4.9 million tickets, according to figures reported to Billboard Boxscore. Any way you slice the data, it’s the biggest of his career.

At $729.7 million, this is the highest-grossing tour of Springsteen’s career, two times over. His previous best was the Wrecking Ball World Tour, which grossed $347 million in 2012-13. The Rising Tour (2002-03), The Magic Tour (2007-08) and The River Tour (2016-17) each grossed more than $200 million.

Perhaps it’s not shocking for a vital rock icon to outgross his earlier tours, considering the industry-wide surge in ticket prices, especially post-pandemic. But while Springsteen’s average price is up 29% ($149.30) from The River Tour ($115.52), that increase from 2016 to 2025 is well below the typical uptick for other arena and stadium acts, legacy or contemporary.

Beyond the market-level rise in demand, Springsteen sold more tickets than ever before. The 2023-25 tour closed with 4.9 million tickets, handily outdoing the Wrecking Ball World Tour’s 3.6 million by 37%. The Rising Tour is next, at 3.2 million.

The 2023-25 tour is also Springsteen’s longest tour yet. With 129 shows over the course of nearly two and a half years, he beats the Wrecking Ball World Tour’s 125, The Rising Tour’s 104 and Magic Tour’s 100.

But Springsteen’s stamina did not make his recent triumph inevitable. On a nightly basis, he posted the best gross and sales of his career, at $5.7 million (The River Tour paced $3.4 million per show) and 37,900 tickets (The Rising Tour averaged 30,300) per show. Based on gross, attendance, and number of shows, in terms of pure volume and each night, these are the best Boxscore results of Springsteen’s career.

It’s not just a high mark among The Boss’s own touring history; it’s one of the biggest of all time. With reports for the trek’s final leg in Europe, The Springsteen and E Street Band 2023-25 Tour is now one of the 10 highest grossing tours in history. It’s only the seventh to gross over $700 million, among others by Coldplay, Ed Sheeran, Taylor Swift and U2.

Springsteen and The E Street Band played four legs of shows in the United States and Canada, and three in Europe. Though he’s an American icon with deep associations with his home state of New Jersey, Europe delivered the lion’s share of the tour’s overall gross. The split of shows was relatively even (69 in Europe vs. 60 in North America), but the exclusive stadium routing in the former tipped the scales against the mix of stadiums and arenas stateside. Ultimately, the three European legs combined to $472.7 million, or 65% of the tour’s total earnings.

This is in keeping with Springsteen’s previous tours. Over his career, he’s grossed more than $1 billion in each continent, but slightly more in Europe ($1.1 billion vs. $1.07 billion) despite far fewer reported shows (283 vs. 695). He’s played stadiums there since the 2008 leg of Magic Tour, while he’s continued to include arenas in his North American routing.

Combining Springsteen’s solo tours with his work alongside the E Street Band, he has grossed nearly $2.3 billion from 22.6 million tickets sold across 1,028 shows, dating back to sparse reporting from 1976’s Born to Run Tour. He’s only the fifth artist to cross the $2 billion threshold.

The Boy is Mine Tour — the first ever co-headlining tour by R&B legends Brandy and Monica — has helped the Black Promoters Collective (BPC) reach more than $100 million in projected sales for the first half of 2025, the company announced Wednesday (July 16).

The milestone for the nation’s largest Black-owned live entertainment company is powered by several blockbuster tours, including The Boy Is Mine, a 24-city co-headlining arena run featuring Kelly Rowland, Muni Long and American Idol winner Jamal Roberts.

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“We’re building a movement rooted in authenticity and excellence,” said Shelby Joyner, president of BPC, in a statement. “The Boy Is Mine is the latest proof of how powerful our culture is when it’s centered, protected, and celebrated.”

Other success stories for BPC include Miami’s Jazz in the Garden series, which drew an audience of more than 35,000 attendees and included performances by Lauryn Hill, New Edition, Toni Braxton, Busta Rhymes, Coco Jones and YG Marley.

BPC also launched the Hampton Jazz and Music Festival at Hampton Coliseum in Virginia, featuring Anthony Hamilton, Keith Sweat, Lucky Daye and SWV.

“Our expansion into the festival space is a natural evolution of our mission to create unforgettable cultural experiences at scale,” added BPC chief executive Gary Guidry. “From Jazz in the Gardens to Hampton to the Rock The Bells Festival, we’re building platforms that celebrate Black excellence and drive real economic impact.”

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Other success stories for BPC include The Queens Tour uniting musical legends Patti LaBelle, Gladys Knight, Stephanie Mills and Chaka Khan. It also co-produced the Hot 97 Summer Jam in New York, with surprise performances by Meek Mill, a tribute to Irv Gotti by Ja Rule and Friends, and headline sets from GloRilla, Gunna and A Boogie Wit Da Hoodie. In addition to Hot 97, BPC also promoted LL Cool J’s Rock the Bells Festival, which included the return of Capone-N-Noreaga and the first-ever Uptown Records Reunion.

“Our marketing approach is rooted in precision and purpose. We’ve demonstrated that when campaigns center on cultural authenticity, they not only drive ticket sales but also foster brand affinity and measurable community impact,” added Troy Brown, chief marketing officer of BPC. “The first half of 2025 is proof that brands who align with culture-forward experiences gain more than impressions; they gain trust.”

The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week, for the upcoming Billboard 200 dated July 26, we look at some much-anticipated albums and exciting surprise drops looking to impact next week’s race to the chart’s top. 

Jackboys & Travis Scott, Jackboys 2 (Cactus Jack/Epic): The second release from the Cactus Jack label’s semi-eponymous rap collective — consisting of members Don Toliver, Sheck Wes, Chase B, SoFaygo, Wallie the Sensei, Luxury Tax 50, and of course label head Travis Scott — arrived on Sunday (July 13), already two days into the tracking week. But five days is more than enough time for Scott, one of the consistently best-selling rappers of the last decade, to do big business and launch a serious threat to the Billboard 200’s top spot.  

The set is widely available in a seven-track digital download and vinyl release, as well as a 17-song widely available digital download and streaming set, and a webstore-exclusive CD. Then, as is often the case with Scott’s releases, there is a wide variety of physical options also for sale through the webstore — including five different vinyl editions, three standard CD variants and two expanded packaging CD variants (in larger packaging and with different covers). There are also four webstore-exclusive download albums available each with 17 songs, each with different covers and three with one unique bonus track each.  

All these physical releases should add up to another major sales debut for Scott and his crew — and the set is also off to a very strong start on streaming, with multiple top 10 entries on both the Apple Music real time chart and Spotify’s Daily Top Songs USA listing. The combination seems likely to result in Jackboys 2 following its predecessor, which launched with 154,000 units upon its late 2019 release (despite its full tracklist being just seven songs — though it had a bevy of merch/digital download album bundles helping its first-week numbers), to a No. 1 debut, making it the first album to interrupt Morgan Wallen’s Billboard 200 reign since I’m the Problem debuted two months earlier.  

Justin Bieber, Swag (ILH/Def Jam): If not for Jackboys 2, it might have been a fairly close race for the top spot between I’m the Problem and this week’s most unexpected chart contender: Swag, the surprise new album from Canadian pop superstar Justin Bieber, announced a mere 10 hours before its Friday (July 11) release. The unexpectedness of its release was nearly matched by the unexpectedness of its sound — an alternative-leaning R&B sonic palette, heavily influenced by artist collaborators Dijon, Mk.gee and Eddie Benjamin, and by new go-to writer/producer Carter Lang.  

The 21-track project — which also features appearances from guest rappers Lil B, Sexyy Red and Gunna, as well as gospel singer Marvin Winans and a trio of skits with comedian Druski — has been a major force on streaming since its Friday debut, swarming both the Spotify and Apple Music charts. Though its presence has receded a bit on both in the days since (particularly following the Jackboys 2 bow), lead single “Daisies” still resides atop both charts, and the overall streaming numbers for the album in its first week should end up being fairly tremendous.  

However, unlike Jackboys 2, streaming will have to make for the great majority of Swag’s overall first-week units. As is usually the case with such surprise releases, there’s no physical version of the album yet available for purchase — it’s not expected to arrive until December — meaning that all of its sales will have to come via digital downloads, with no additional variants yet available to boost its numbers there. That will likely cap Swag at a first-week number below where it would need to be to compete with Jackboys 2, potentially making it Bieber’s first original full-length studio album not to debut atop the Billboard 200. 

Clipse, Let God Sort Em Out (Self-Released): In plenty of earlier tracking weeks this year, the new album from venerated Virginia hip-hop duo the Clipse would’ve been a real contender for a Billboard 200 No. 1 debut. However, in a crowded week also including new sets from two major stars, a reigning behemoth in Morgan Wallen’s 37-track blockbuster, and also a still-rising breakout success in the soundtrack to Netflix’s animated musical KPop Demon Hunters, it might instead have to set its sights on a top five debut on the chart.  

Still, it should have a chance to make such a bow, thanks in large part to expected robust sales. The set is available for purchase in six vinyl variants, two of which are signed, as well as three CD variants (one signed), two cassettes and a whopping 13 boxed sets in branded boxes, with branded clothing and a CD included. (The physical editions, which are widely available, have a 12-song tracklist; the streaming and digital download versions add in a 13th song, “So Be It.”) The set also had a strong streaming debut, with most of its 13 tracks reaching the Spotify and Apple Music daily charts, though its numbers there will likely be dwarfed by the Jackboys and Bieber sets.  

Nonetheless, the combination should make for easily the best Billboard 200 showing from the duo since its debut, 2002’s Lord Willin’, which bowed at No. 4 on the chart. (Its last effort before the duo’s recent hiatus, 2009’s Till the Casket Drops, reached just No. 41 — though during a crowded Christmas season that December.)  

IN THE MIX 

TWICE, This Is For (JYP) Another release that might have been able to contend for the top spot in a slower week is the latest from K-pop superpower TWICE, This Is For. The girl group’s new set is expected to sell well, being available in 15 CD variants (all with collectibles included, some randomized) as well as three vinyl editions, and a mid-week deluxe edition for download and streaming. The latter also includes two bonus tracks, one of which (“Takedown”) is also available on another album likely to appear in next week’s Billboard 200 top 10, the KPop Demon Hunters soundtrack.  

ATEEZ, Golden Hour: Part 3 (KQ/RCA/Legacy): Golden Hour already scored a No 2 debut on the Billboard 200 for K-pop boy band ATEEZ upon its June release — but now the EP is available in the widely expanded In Your Fantasy edition, which adds an extra 10 tracks (mostly solos from the octet’s individual members) to the previous five-track set. The deluxe edition was released via six CD variants, all with collectibles (some randomized), which should drive sales and propel the set back to the chart’s top 10.  

GIVĒON, Beloved (Not So Fast/Epic): It’s a bit of tough luck for the R&B hitmaker that his sophomore effort debuts in such a packed week — including the late-announced comeback of his old “Peaches” collaborator Bieber — but the album should still stream and sell fairly well, helped by five vinyl and two CD variants (one of each of which is signed). It could be a photo finish as to whether the set will bring GIVĒON to the top 10 on the Billboard 200, after his 2022 set Give or Take topped out at No. 11. (His 2021 EP compilation When It’s All Said and Done… Take Time reached No. 5, marking his career peak to date.)

Coldplay’s Music of the Spheres Tour has resumed in the United States, hitting cities that they missed during the first round of their tour. Back by fan demand, Coldplay not only added US dates, but added additional international dates at multiple stadiums. 

Last night, Coldplay played the first East Coast show of the highly-anticipated U.S. leg of the band’s record-breaking Music of the Spheres World Tour to over 66,000 ecstatic fans at Boston’s Gillette Stadium. 

The band first entered Billboard’s charts in 2001 with their breakout single “Yellow,” which peaked at No.48 on the Billboard Hot 100. Its growing popularity over the years has led to multiple successful releases and a strong chart presence, including 27 total entries on the Hot 100, five Top 10 hits, and two No. 1s. The band’s 27th and most recent entry is “Sparks” — originally released in 2000 on Parachutes—which saw a viral resurgence on social media platforms like TikTok. 

Coldplay’s additional tour dates celebrate its tenth studio album, Moon Music, which showcases a variety of sounds, while demonstrating the quartet’s stability in the industry and how far they’ve come since their first album, Parachutes, in 2000. 

Coldplay’s ability to sell out not just arenas but full stadiums has been a consistent hallmark of its touring history. This includes major global runs like the A Head Full of Dreams Tour (2017), the Viva La Vida Tour (2008) and the Mylo Xyloto Tour (2011), which helped cement the band’s reputation as one of the most in-demand live acts in the world. The Mylo Xyloto Tour in particular stands out — not only for its scale but for its innovation. It was the first to introduce Xylobands/LED wristbands that light up in sync with the music, pushing the boundaries of fan engagement through technology.

There’s truly nothing like a Coldplay tour. Following the close of the first leg of its international tour in 2024, it came as no surprise that the second leg — set for 2025 — sold out almost instantly. The band’s recent performance at Gillette Stadium marked the latest stop on a global run that spans Latin America, North America and Europe, with multiple-night stops in nearly every major U.S. city due to overwhelming demand.

Featuring a stacked set list from multiple albums, from Ghost Stories to Music of the Spheres to Moon Music, the show featured the band’s recent hits “My Universe,” “Higher Power” and “Let Somebody Go” alongside classics including “Yellow,” “Fix You,” “Viva La Vida” and “Adventure of a Lifetime.” Here are the top five moments from Coldplay’s first of two performances this week at Boston’s Gillette Stadium.

Three members of Jane’s Addiction have sued their frontman Perry Farrell over his viral onstage attack of guitarist Dave Navarro last year, claiming the incident was a “terminal inflection point” that lost the band millions of dollars from canceled tour dates and a derailed record deal.

The lawsuit, submitted in Los Angeles court on Wednesday (July 16) and obtained by Billboard, was brought by Navarro alongside Jane’s Addiction bassist Eric Avery and drummer Stephen Perkins. The trio reunited with Perry last year for their first tour all together since 2010, but things went haywire in September when Farrell punched Navarro onstage mid-set at Boston’s Leader Bank Pavilion.

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A now-viral fan video of the altercation shows Farrell shouting profanities and lunging at Navarro while he was mid-guitar solo in the song “Ocean Size.” Wednesday’s lawsuit calls Farrell’s alleged series of punches, which supposedly continued backstage after the band prematurely ended their set, “brutal and unprovoked.”

“Navarro was shocked by what he would later describe as the demonic look in Perry’s eyes,” writes attorney Christopher Frost in leveling seven claims, including assault, battery and breach of contract.

The band members allege that while Farrell initially apologized for the incident and took accountability, “the narrative quickly changed” as the singer and his wife, Etty Lau Farrell, blamed the other band members and onstage acoustics for his outburst.

Jane’s Addiction was allegedly forced to cancel the rest of its 33-date North American reunion tour after this incident, losing out on significant profits from a now-scuttled deal with Live Nation. They’ve also been unable to complete a planned album, forcing them to repay an advance to Warner Music Group’s ADA.

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“The band will never have their revival tour, to celebrate a new album and 40+ years of deep, complex, chart-topping recordings,” the lawsuit reads. “Instead, history will remember the band as suffering a swift and painful death at the hands of Farrell’s unprovoked anger and complete lack of self-control.”

The band members are seeking at least $10 million in damages from Farrell for this lost revenue, as well as for emotional and physical pain. They also claim Navarro lost $50,000 when he postponed his wedding in Scotland to go on the ultimately canceled tour, and that because he began working again, the guitarist was forced to give up $25,000 in monthly disability payments he had been getting due to long COVID-19.

In addition to laying out the alleged onstage attack in detail, Wednesday’s lawsuit also takes a series of other shots at Farrell. Navarro, Avery and Perkins say Farrell was exhibiting bad behavior from the start of the reunion tour, and he “frequently “forgot lyrics, lost his place in songs he had sung since the 1980s, and mumbled rants as he drank from a wine bottle onstage.”  

The band members also say Farrell has a history of “taking credit for others’ ideas and accomplishments. They claim the singer has spread a false narrative that he came up with the idea for Lollapalooza, when the festival was actually the brainchild of Perkins and touring executive Marc Geiger.

“To anyone who truly knows Perry, his conduct on the tour was emblematic of Perry’s continued self-aggrandizement,” the lawsuit says.

Reps for Jane’s Addiction and Farrell did not immediately return requests for comment on the allegations.