The Mayan Theater, an iconic Los Angeles nightspot with 98 years of history, has announced it will permanently close its doors this September.

News of the venue’s closure was shared earlier this week on social media by the Mayan’s team. “It is with heavy yet grateful hearts that we announce The Mayan will be closing its doors at the end of September, after 35 unforgettable years,” a statement read. 

“To our loyal patrons, community and friends: thank you for your unwavering support, your trust and the countless memories we’ve created together,” it continued. “You made every night truly special.”

The statement closed by inviting all patrons to send off the historic location in style, with the dance floor open weekly on Saturday nights through Sept. 13. “Join us … for one last celebration of everything the Mayan has meant to us all.”

In a statement shared to the Los Angeles Times, manager, owner and president Sammy Chao thanked the Mayan’s clientele for their support, pointing toward the ongoing impact of COVID as part of the reason for the decision.

“[T]he past five years have delivered an unrelenting barrage of adversity: the ongoing fallout of the pandemic, rising operational costs and staggering inflation, industry-wide strikes, dramatically shifting consumer habits, catastrophic fires, political unrest, and public policies at the city, state, and federal levels that have increasingly burdened small businesses and the workers who keep this city alive,” Chao explained.

“We’ve done everything possible to stay afloat, adapt and serve, but the path forward has been eroded beyond recognition. We have given this business everything we have — and more — and come this far, so the decision to close is not so much one of defeat, but of necessity and truth.”

Named for its use of Mayan Revival architecture, the Mayan – as it’s more commonly known – first opened in 1927, largely operating as a performing arts theater, before also showing films over the coming decades. In 1990, the venue entered new management and became a music venue and nightclub, hosting countless local and international names over the years.

Acts such as Jack White, Panic! At the Disco, INXS, Muse, Moby, The Residents, and more have all played the venue over the years, as have French electronic act Daft Punk, who marked the one-year anniversary of their split in 2022 by sharing footage of their 1997 performance at the Mayan.

Michigan bluegrass aficionado Billy Strings has showcased his diverse tastes and genre-shifting proficiency as part of a new collaboration with Canadian death metal outfit Cryptopsy.

32-year-old Strings – who scored his third No. 1 on the Bluesgrass Albums chart in 2024 with Highway Prayers – has long been a noted fan of some of the biggest names in the world of bluegrass and rock, though he’s frequently indicated that his tastes skew a bit heavier as well.

That heaviness extends to Cryptopsy, the Montreal outfit who have been an active presence in the death metal scene since their formation in 1988. Six years after their founding, the future Juno Award-winners released their debut album, Blasphemy Made Flesh, with the record this year receiving the reissue treatment.

As part of said reissue (which arrives on July 18), the album also includes live cuts and a special eight-and-a-half minute medley dubbed “Blasphemy Made Fresh,” which includes guest vocalists such as Shadow of Intent’s Ben Duerr, Stabbing’s Bridget Lynch, Emasculator’s Mallika Sundaramurthy, and others, while Strings adds his own guitar solo.

“We are super stoked at how excited each guest was to be part of this unique homage to Cryptopsy’s first classic,” vocalist Matt McGachy said in a statement. “We are beyond proud of this medley and are so happy that we can now share it with our new and old fans.”

Per a press release, the medley “sharpens and steels the album’s many surgical hooks and pathological rhythms,” with Strings also sharing his rabid excitement at being involved in the process.

“Cryptopsy is my all-time favorite death metal band,” he explained, before recalling a night in 2023 when both acts performed in Boise, ID. Feeling “bummed” at the unfortunate schedule clash, Strings leaned on the Blasphemy Made Flesh track “Open Face Surgery” and gifted the group a cake that said ‘Open Cake Surgery.’”

A video of the group devouring the cake later made its way onto social media – much to Strings’ delight.

“It blew my mind!” he explained. “I was just so happy I could at least pay my respects in the form of frosting and that they didn’t think I was a total weirdo.”

“It was such a huge honor for me to add this guitar solo to this insane medley by my favorite death metal band,” he added in a post shared to social media. “This is like a dream come true for me and I want to thank the band for having me on it.”

The release of the Cryptopsy medley is the latest addition to a month of ups and downs for Strings, who on Wednesday (July 16) received multiple nominations for the 2025 IBMA Bluegrass Music Awards – including entertainer and album of the year.

In late June, the musician revealed during a performance in Lexington, KY, that his mother had passed away just hours earlier. “It was my decision to carry on with tonight’s show because that’s what my mom would have wanted me to do,” he told the crowd. “The reason I decided not to go home and be with my family right now is because I already am.”

Listen to Cryptopsy’s “Blasphemy Made Fresh” below.

With under a month to go until its official release, the trailer for the long-awaited documentary, It’s Never Over, Jeff Buckley, has arrived.

Directed by Amy Berg, the feature unravels the story of the mesmerizing musician whose life and career were tragically cut short at the age of 30 when he accidentally drowned in Memphis’ Wolf River in 1997.

First premiering at Sundance in January, the film will be released theatrically by Magnolia Pictures on Aug. 8 and then premiere on HBO and stream on HBO Max this winter as part of Bill Simmons’ Music Box series.

Ahead of its release, the documentary’s official trailer has now arrived, with haunting comments from Buckley pairing with intimate archival footage. “How would you like your fans to think of you,” an interviewer can be heard asking Buckley. “Just the music,” he replies. “Because when I’m dead, that’s the only thing that’ll be around.”

The documentary features never-before-seen footage from Buckley’s archives, and is complemented by intimate accounts from those close to the late musician, including his mother Mary Guibert, former partners Rebecca Moore and Joan Wasser, and former bandmates Michael Tighe and Parker Kindred. Other musician luminaries, such as Aimee Mann and Ben Harper also share their insight into Buckley’s life and legacy.

“It’s difficult to imagine a time when I wasn’t attempting to make the Jeff Buckley doc,” Berg explained in a statement. “It’s been on my bucket list since I made my first film in 2006. And maybe, since I first heard Grace in 1994. It changed my life forever. It literally became the ‘tear that hangs inside my soul forever.’”

Numerous attempts to immortalize Buckley’s story have taken place over the years, including one by actor Brad Pitt, who befriended Guibert in 2000 and floated the idea of a biopic. 

In 2021, Guibert was announced as the co-producer of Everybody Here Wants You, a planned biopic which would see Reeve Carney portraying Buckley, though no updates on that project had been provided since.

Buckley was the son of Guibert and late folk musician Tim Buckley and after gaining notice as a session musician and captivating performer in Manhattan’s East Village he signed to Columbia in 1994 and released his debut LP, Grace. It initially got mixed reviews and only reached No. 149 on the Billboard 200 album chart, but the album is now considered a classic, one that Buckley would never follow up.

Though he never completed a second album, Guibert helped compile some of her son’s demos for 1998’s Sketches for My Sweetheart the Drunk, which reached No. 64 on the Billboard 200 and received a Grammy nomination for best male rock vocal performance for the single “Everybody Here Wants You.”

Watch the trailer for It’s Never Over, Jeff Buckley below.

Steve Miller Band frontman Steve Miller has cancelled his 2025 tour, according to a note posted to his website.

“The Joker” singer and Rock ‘N Roll Hall of Fame inductee is cancelling at dates on his 31 date tour, which was set to kick off Aug. 13 at Soaring Eagle Casino in Mount Pleasant, Michigan and run through Nov. 8 at the Honda Center in Anaheim, California.

“You make music with your instincts,” Miller wrote in a note on his website announcing the cancellation. “You live by your instincts,” he added, “Always trust your instincts…”

For Miller, those instincts told him to cancel his lengthy tour due to “the combination of extreme heat, unpredictable flooding, tornadoes, hurricanes and massive forest fires make these risks for you our audience, the band and the crew unacceptable.”

Miller didn’t detail any specific weather events in his post cancelling the tour, which stops in 19 different states and includes some big name venues like Bethel Woods Center for the Arts in Bethel, New York; Hollywood Casino at Penn National Race Course in Grantville, Pennsylvania; Etess Arena at Hard Rock Live in Atlantic City, New Jersey; the Pinewood Bowl Center in Lincoln, Nebraska; the Orion Amphitheater in Huntsville, Alabama and the Mountain Winery in Saratoga, California. Miller was also scheduled to perform at this year’s Minnesota State Fair.

“You can blame it on the weather…the tour is cancelled,” Miller wrote. “Don’t know where, don’t know when. We hope to see you all again,” he concluded, before signing off and encouraging his followers to “please take care of each other.”

As of now, no information regarding refunds has been released to the public.

The Grammy Museum in Los Angeles presents “& Juliet: The Music of Max Martin and Friends,” a new pop-up exhibit celebrating songwriter and producer Max Martin. This exhibit explores how hits from his extensive catalog were reimagined for the hit musical & Juliet.

Timed to coincide with the touring production’s summer run at Center Theatre Group’s Ahmanson Theatre in Los Angeles (Aug. 13 – Sept. 7), the exhibit will open at the Grammy Museum on July 23 and remain on display through Oct. 27.

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For more than 30 years, Martin and his collaborators have crafted dozens of hits for superstars including Ariana Grande, Backstreet Boys, Britney Spears, Kelly Clarkson and Katy Perry. Martin joined forces with a team of Broadway producers to re-envision his greatest hits for the stage. The result was & Juliet, a jukebox musical that flips the script on Romeo & Juliet and brings Martin’s music to life as a fresh, theatrical performance. The show features such signature Martin hits as “Since U Been Gone,” “Roar,” “I Want It That Way” and “Confident.”

& Juliet has played on four continents since its premiere on London’s West End in 2019. The Original Broadway Cast Recording was released in October 2022 on Atlantic Records. The show opened on Broadway on Nov. 17, 2022 and is still running at the Stephen Sondheim Theater. It received nine Tony nominations in 2023 but went 0-9 on the big night.

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“I’m so thrilled that the Grammy Museum is highlighting & Juliet,” Martin said in a statement. “Working on & Juliet has truly been a highlight of my career, and I’m so glad LA residents will have a chance to check out the show that has brought so much joy to so many people, and at the same time visit the Grammy Museum to learn more about the songs and artifacts that inspired the score.”

“I hope our Grammy Museum visitors will walk away with a new appreciation for Martin’s pop music legacy and a better understanding of all the hard work that goes into creating a Broadway production,” added Kelsey Goelz, curator at the Grammy Museum.

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Exhibit highlights include:

  • A Britney Spears performance outfit from her 1999 Baby One More Time tour
  • A Britney Spears performance outfit from her 2001-02 Dream Within a Dream tour 
  • Original props and costume pieces from & Juliet, including Romeo’s jacket
  • Sheet music from & Juliet signed by Max Martin

Martin, 54, has won five Grammy Awards, including producer of the year, non-classical in 2015. He has received 25 Grammy nominations, including 19 in the three highest-profile categories: album, record and song of the year.

For tickets and more information on the exhibit, visit the Grammy museum site.

A Welsh teenager planned to attack fans at the first show of Oasis’ comeback tour on July 4, but he was caught by British authorities and has since admitted to a criminal charge.

The Times reports that a 17-year-old from South Wales — kept anonymous because he’s a minor — was accused by U.K. prosecutors last month of plotting to attack the opening night of the much-awaited Oasis reunion tour in Cardiff.

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The teenager had also allegedly been planning to target a dance school near his home, inspired by the deadly knife attack at a Taylor Swift-themed dance class in Southport, England, last year.

According to the Times, the Welsh teenager researched how to obtain large knives and had a note saved to his phone called “places to attack.” He also allegedly sent Snapchat messages praising the Southport killer, Axel Rudakubana, and told his school guidance counselor at a June 21 meeting that he wanted to commit a “Rudakubana-style attack.”

The teenager’s guidance counselor and a Snapchat user both reported him to the police, leading to the criminal case.

The 17-year-old pled guilty to a single charge of possessing a document useful for terrorism, admitting that he had a copy of an al-Qaeda training manual on his phone. He appeared in Westminster Magistrates’ Court on June 21, and a judge ordered a psychiatric examination of the teen before sentencing.

The opening night of Oasis’ 41-date Live ’25 tour, the band’s first tour since 2009, ultimately went forward without issue at Cardiff’s 74,000-capacity Principality Stadium on July 4.

The U.K.’s Crown Prosecution Service and reps for Oasis did not return requests for comment on Wednesday (July 16).

Robert Plant will release a new album of song covers, Saving Grace, on Sept. 26.

Being released via Nonesuch Records, the album is named after Plant’s new band, featuring vocalist Suzi Dian, drummer Oli Jefferson, guitarist Tony Kelsey, banjo and string player Matt Worley and cellist Barney Morse-Brown. In tandem with the announcement, Plant and Saving Grace have released the album’s lead single, “Everybody’s Song.” The single is the group’s take on the 2005 original by the Minnesota indie rock band Low.

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Plant, whose most recent collaborations have been with longtime creative partner Alison Krauss, with whom he went on tour last summer, connected with the players that would become Saving Grace while in lockdown in the English countryside. The album was recorded between April of 2019 and January of 2025 in the Cotswolds region of England and on the Welsh Borders.

“We laugh a lot, really. I think that suits me. I like laughing,” Plant says of the band. “You know, I can’t find any reason to be too serious about anything. I’m not jaded. The sweetness of the whole thing …These are sweet people, and they are playing out all the stuff that they could never get out before. They have become unique stylists and together they seem to have landed in a most interesting place.”

The album includes covers of music by Memphis Minnie, Bob Mosley of the band Moby Grape, Blind Willie Johnson, The Low Anthem, Martha Scanlan, Sarah Siskind and Low. Plant and Saving Grace will go on a 21-date tour behind the album in Europe and the U.S. this summer and fall. See the dates here.

Over the decades, Plant has toured with other bands including the Sensational Shapeshifters and of course, Led Zeppelin.

The 50th anniversary of Los Horóscopos de Durango, the iconic Mexican regional music band founded by Armando Terrazas, brought his daughters Marisol and Vicky to pause their respective solo careers for the first time in four years to celebrate the milestone with an extensive tour.

Formed in 1975, Los Horóscopos de Durango began in the grupero genre but didn’t explode in popularity until 2003 with the addition of Marisol and Vicky’s female voices, reaching their peak during the pasito duranguense movement. Over nearly two decades, the sisters earned many Billboard hits including “Dos Locos,” “No Me Dejes con las Ganas” and “Si La Quieres.”

“My dad had the desire to celebrate the 50 years since last year, but everyone had taken their own path,” Vicky tells Billboard Español. “At the beginning of 2025, we thought all the work and all his dreams achieved through our dreams needed to be celebrated.”

She adds: “The fans were another reason we decided to do this project.”

Under the name “La Gira de Oro: Antes Muertas Que Sencillas” (like one of their biggest hits), Los Horóscopos de Durango kicks off a series of 30+ shows in the United States and Mexico this week, starting Friday (July 18) with the first of two dates in Los Angeles. Stops include Phoenix, El Paso, Las Vegas, San Jose, Dallas and, of course, Chicago, where the musical movement was born.

In Mexico, the response to the tour announcement couldn’t have been better. Their Aug. 23 performance at Arena Ciudad de México sold out in less than a month, leading to the addition of over 20 dates in the country for the remainder of the year and the first quarter of 2026, including a March 18 show at the Auditorio Nacional in Mexico City. (For the full calendar, click here.)

In addition to pasito duranguense, Los Horóscopos de Durango has a vast repertoire of songs featuring banda and mariachi, elements that won’t be missing in their approximately three-hour show. “We’ve paid attention to every detail, the costumes — it all feels like a fairy tale,” says Marisol.

Both sisters spoke extensively with Billboard about the tour, their upcoming plans, and this significant and unexpected moment in their careers.

What motivated you to reunite?

Vicky: My dad had the desire to celebrate the 50 years since last year, but everyone had taken their own path. At the beginning of 2025, we thought all the work and all his dreams achieved through our dreams needed to be celebrated. This wasn’t just about returning for the sake of it — there were very big reasons. Plus, having our father present made this even more important.

Did you feel you needed time apart to focus on your individual pursuits?

Vicky: Exactly. In many ways, we each wanted to explore our solo careers and focus on personal matters. But that didn’t mean we weren’t seeing each other — we’ve always been very close, and now we’re fully focused on this reunion.

What did you think of your fans selling out your first shows?

Marisol: It was something very beautiful and unexpected. We know our fans love us, we see it on social media and streaming platforms, even without releasing anything new. Seeing the Los Angeles show sell out quickly and the Arena Ciudad de México sell out in less than a month has been so exciting for us. The fans were another reason we decided to do this project.

Vicky, now that you’re a mom, how does that change your routine?

Vicky: Fortunately, this tour is very well-structured. We have highly professional teams in both the U.S. and Mexico, so they’ve organized everything to allow me to be with my son while also focusing on this project. For me, having my son with me at the first show is very important because the day before is his birthday, and the day after the first show is my birthday.

Are you nervous about returning to the stage despite your many years of experience?

Vicky: More than ever. Marisol even had some throat issues for a few days, and the doctor told her it was due to stress. It’s a mix of nerves and excitement because we’ve been out of this work rhythm for a while. We want it to start already so we can believe what’s happening.

Aside from the repertoire, what other details have excited you about preparing for the show?

Marisol: We’ve taken care of all the details, from the show’s repertoire, which will last between two and a half to three hours, to the costumes. We’ll be wearing outfits by designers from both the U.S. and Mexico, depending on the country. It all feels like a fairy tale.

Any plans to record new music?

Vicky: For now, we’re not planning to record anything new, just collaborations. We’ve been invited to several, and we’ll reveal them little by little. That also makes us very happy.

Will you have guest performers during the tour?

Vicky: Yes, we want to invite several. For the Arena Ciudad de México, we’ve already confirmed Chuy Lizárraga, Carolina Ross, and Jhonny Caz from Grupo Firme.

You’re both outstanding women in Mexican regional music. What does it mean to return to the spotlight?

Marisol: It’s an honor to be part of the history of regional Mexican music and to be back. We’ll also be heading to South America next year, to countries where we have many fans but haven’t visited before.

Eight-time GMA Dove Awards winner Tauren Wells is set to return as host and performer for the 56th annual GMA Dove Awards for a third consecutive year. The awards show, which will be held Oct. 7 at Nashville’s Bridgestone Arena, will see a worldwide broadcast premiere on Oct. 10, exclusively on TBN and the TBN+ app.

“Hosting the Dove Awards in 2023 and 2024 was such an incredible experience,” Wells said in a statement. “I’m so excited to run it back this year when we bring it to Bridgestone Arena. It’s going to be a great night!”

As Billboard previously reported, the GMA Dove Awards are relocating from Lipscomb University’s Allen Arena to downtown Nashville’s Bridgestone Arena for this year’s show.

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“We have been so honored to partner with Lipscomb these past eleven years for the GMA Dove Awards,” GMA president Jackie Patillo previously said in a statement to Billboard. “The reality is, we are growing! In 2025, we will be expanding to Bridgestone Arena for our live show happening Oct. 7. We couldn’t be more excited to showcase the heart of our Christian and Gospel community right in the heart of Music City.”

The GMA Dove Awards have sold out several months in advance for the past three years. Lipscomb University’s Allen Arena has an approximately 5,000-person capacity whereas Bridgestone Arena has a concert attendance capacity of up to 20,000. Bridgestone Arena, located at the corner of Broadway and Rep. John Lewis Way, also hosts the annual Country Music Association Awards.

The new location will coincide with the 2025 opening of the Christian and Gospel Museum at the Dove Center, located at 147 Fourth Ave. N., at the corner of Fourth Ave. and Commerce Street. The 11,000-square-feet museum and hall of fame will be located near the historic Ryman Auditorium, and will feature interactive displays to celebrate today’s top Christian and Gospel artists, while also preserving and spotlighting the legacies of many Christian and Gospel trailblazing pioneers.

Tickets to the 2025 GMA Dove Awards presale are available at ticketmaster.com.

See the promo video for the 2025 GMA Awards below:

The same day that members of Jane’s Addiction sued their frontman Perry Farrell for allegedly attacking guitarist Dave Navarro onstage last year, the singer hit back with his own lawsuit, claiming he was actually the victim in the viral scuffle after years of “bullying” by his bandmates.

The legal battle began the morning of Wednesday (July 16), when Farrell was sued for allegedly punching Navarro mid-set at Boston’s Leader Bank Pavilion in September. The guitarist, alongside Jane’s Addiction bassist Eric Avery and drummer Stephen Perkins, claimed this assault cost them millions by forcing the cancellation of the rest of their reunion tour and derailing plans for a new album.

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Farrell is now returning fire with his own lawsuit against Navarro, Perkins and Avery. In a complaint filed in Los Angeles court, Farrell says his bandmates actually assaulted him onstage in Boston after he complained about Navarro playing too loudly during the song “Ocean Size.”

“Farrell reacted by body-checking Navarro,” the complaint reads. “Farrell did not throw any punches, but simply wanted to alert Navarro that he had to stop playing so loud. The video evidence is clear that the first altercation onstage during the Boston show was hardly one-sided, and in fact, what followed was an inappropriate violent escalation by Navarro and Avery that was disproportionate to Farrell’s minor body check of Navarro.”

According to the Farrell lawsuit, Navarro “aggressively” put his arm into Farrell’s neck, followed by Avery putting Farrell in a headlock and “punching him repeatedly in the kidneys and stomach” while still onstage. The fight then continued backstage, where Farrell says Navarro “menacingly charged” at both him and his wife.

Farrell says that the alleged assault was the culmination of a “years-long bullying campaign” in which his bandmates have tried to “undermine” him onstage by playing so loudly that he can’t hear himself or sing in tune. This has forced Farrell to turn up his in-ear monitors to hear himself, the lawsuit says, causing him significant eardrum damage and advanced hearing loss.

According to the lawsuit, Farrell wanted to keep touring after this incident and fulfill the band’s contractual obligations. But he says Navarro, Perkins and Avery unliterally canceled the rest of the tour and made him the “scapegoat” by falsely blaming the decision on Farrell’s nonexistent “mental health difficulties.”

“Plaintiffs are informed, believe and on these bases allege that defendants made their false and defamatory statements regarding Perry Farrell’s mental health in a spurious effort both to change the narrative about the events of the band’s last show, but also as a part of a disingenuous effort to secure insurance coverage for their own irresponsible cancellation of the tour,” the lawsuit says.

Farrell is suing his bandmates for assault, battery, infliction of emotional distress and breach of contract. He’s seeking unspecified monetary damages for the financial fallout from the tour’s cancellation, as well as for physical and emotional harm.

The singer’s attorney, Miles Cooley, said in a statement on Wednesday that the September incident was “devastating” for Farrell.

“Despite this continued bullying perpetuated by Navarro, Perry’s dedication to Jane’s Addiction and the preservation of its positive impact on the music industry remains unshaken,” said Cooley. “He is actively exploring ways to address the situation and ensure accountability.”

Reps for Navarro, Perkins and Avery did not immediately return a request for comment on Farrell’s complaint. In announcing their assault lawsuit against Farrell earlier in the day, the band members’ attorney Christopher Frost said, “Dave, Eric and Stephen never wanted it to come to this. But they have been wronged, want the accurate story told, and they deserve a resolution.”