Billy Joel rung in the new year in style, joining forces with Jason Bonham for a rendition of Led Zeppelin’s “Whole Lotta Love”.

Performing at Long Island’s UBS Arena on Tuesday (Dec. 31), Joel’s end-of-year spectacular was a special for one for numerous reasons. Not only was the night preceded by Jason Bonham’s Led Zepellin Evening as the opener, but the lengthy set saw the veteran musician roll out plenty of fan favorites for the night, along with a few rarer tracks from his extensive into his back catalog.

While the seldom-heard 1982’s “A Room of Our Own” got a look-in, rarer still was a performance of 1974’s “Souvenir”, which received only its 13th showing from across the past 40 years.

However, one of the most notable songs from the evening was one that wasn’t Joel’s own. Just over a third of the way through the set, Joel switched his focus to welcome Bonham and his band to the stage for a rendition of 1969’s “Whole Lotta Love”.

“We’re going to bring a guest onstage and do this next song,” Joel said to the crowd. “We have fun playing this, especially with this guy. Please welcome Jason Bonham. You all know this song. It’s not a piano song.”

With Bonham performing drums on the song his father helped make famous more than five decades ago, Joel’s longtime guitarist and vocalist Mike DelGuidice sang lead on the track, relagting Joel to the background somewhat.

Hearing Joel perform “Whole Lotta Love” isn’t a rarity (in fact, he also performed it at his previous New Year’s Eve celebration at the same venue), and it seamlessly fit in amongst the rest of the set, which also featured renditions of The Rolling Stones’ “Start Me Up”, and Derek and the Dominos’ “Layla”, which was used to fill time ahead of the midnight countdown.

The show also wrapped up a big year for Joel, who not only concluded his record-breaking ten-year Madison Square Garden residency (earning $266.7 million from 1.9 million ticket sales to 104 shows), but also released “Turn the Lights Back On” – his first new lyrical single in nearly 20 years.

London’s New Year’s Eve fireworks display was, apparently, brat. The celebration took pace on the River Thames as Big Ben struck midnight on Dec. 31, 2024 to ring in 2025.

Charli XCX’s big year made it into the city’s annual fireworks display airing on BBC and ITV; her influence on the fireworks show is immediately recognizable as Brat green lights the sky.

The night’s Brat-inspired moment is captured in the photo above, and can be seen in full here, via a clip Charli’s fans shared on X (formerly Twitter). Along with that familiar shade of green, album track “Apple” plays and “london” appears typewritten in the style of Charli’s album art.

Elsewhere on New Year’s Eve, Charli shared reflections on Brat‘s massive success over the past year on Instagram.

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“So many highs in 2024 and i cba to post them all but here’s some of my fav memories and fav people. love you all so much and thank you for everything. sorry i’m a lot sometimes xx,” she wrote on Dec. 31.

The caption went along with a photo carousel looking back at the year of Brat, with snapshots with friends and from the rollout of the album — and its companion release, Brat and it’s completely different but also still brat. Some highlights included pictures with her fiancé (The 1975’s George Daniel) and friends, and a behind-the-scenes cue card shot from her SNL hosting gig.

Brat arrived in June, reaching No. 3 on the Billboard 200 albums chart. It also led the Top Dance/Electronic Albums chart 29 weeks.

Brat and it’s completely different but also still brat, a variation of the original album featuring collaborations with Ariana Grande, Billie Eilish, The 1975, Lorde, Robyn, Troye Sivan, Bon Iver, Julian Casablancas, Caroline Polacheck and more, followed in October.

Charli’s fall Sweat Tour with Sivan earned $28 million, with 297,000 tickets sold over the course of 22 shows in the U.S. and Canada, according to figures reported to Billboard Boxscore

Selena Gomez and Benny Blanco are starting off 2025 on a sweet note. The singer-actress shared a series of photos on New Year’s Eve that offer a glimpse at the engaged couple enjoying each other’s company.

“Happy new years,” Gomez captioned the Dec. 31 post, which includes eight pictures, most of them being cute selfies of the two together — lounging, attending a party and shopping at T.J. Maxx.

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One snapshot features Gomez’s younger sister, Gracie, and a scrumptious-looking ice cream sundae from Serendipity that the siblings seemed to be sharing.

Another photo in the bunch shows a paper plate, with beans on one side and the words “I LOVE YOU” etched on the other.

Gomez and record producer Blanco, who went public with their relationship back in December 2023, have been documenting their happiness on Instagram this holiday break. Over the weekend, they uploaded a loved-up picture of a romantic kiss.

The couple announced the news of their engagement on Dec. 11, 2024, with Gomez writing on Instagram, “forever begins now.” She shared a video of her marquise-cut diamond engagement ring soon after. “I’ve just dreamed of this moment my whole life,” she said in the clip. Meanwhile, Blanco revealed a behind-the-scenes look at the proposal.

Gomez and Blanco were first linked professionally in 2019, when they collaborated on the track “I Can’t Get Enough” with Tainy and J Balvin. In 2023, the they teamed up for Gomez’s song “Single Soon.”

See her New Year’s Eve photo carousel below.

Rihanna went alcohol-free in 2024.

On Wednesday (Jan. 1), the 36-year-old singer and entrepreneur took to social media to share a video of herself ringing in the New Year with friends. In the clip, Ri reveals that she abstained from alcohol over the past 12 months while celebrating the countdown to 2025, holding up her phone to capture the iconic ball drop in New York City’s Times Square.

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“Y’all, I didn’t drink all year,” Rihanna proudly told her 150 million Instagram followers after the clock struck midnight. “I didn’t drink all year.”

The brief clip shows the “Diamonds” singer enjoying a low-key New Year’s Eve celebration, dressed casually in a gray robe and surrounded by a group of friends who helped with the countdown while holding up their drinks. Ri rang in the New Year in New York City alongside her boyfriend, A$AP Rocky, People reports. The couple shares two sons: RZA, 2, and Riot, 1.

“New Year, New Me,” she captioned the IG post.

In another Instagram video, Rihanna is seen goofing around with friends while using her Fenty Hair shampoo to properly clean a hair extension. “You owe me a new bottle!” she playfully says to her pals. “For one stinkin’ track!” She captioned the post, “De Dirt!!! We walking into 2025 CLEANSED baby! 1 track at a time! Also tell @mdollas11 stay out my bathroom!”

In late December, Rihanna surprised fans with an impromptu visit to Manhattan’s Girls Love Karaoke, where she took the stage to perform “Needed Me” and “Sex With Me” from her 2016 album, Anti. In fan-captured footage from the event, the “Work” hitmaker can be heard telling the excited crowd that she only had about five minutes to spare, joking that her “battery” was “about to burn out.”

Check out Rihanna’s New Year’s 2025 celebration post on Instagram below.

Dick Clark’s New Year’s Rockin’ Eve With Ryan Seacrest featured performances from the Jonas Brothers, Carrie Underwood, TLCLenny KravitzTinashe, Alanis Morissette with Reneé Rapp and many others. See the best photos from the Dec. 31 special below.

Ryan Seacrest spent his 20th time as New Year’s Rockin’ Eve host, while co-hosts Rita Ora joined in the year-end festivities in Times Square and Dayanara Torres in Puerto Rico.

The show had artists on stage on the West Coast, Las Vegas, New York’s Times Square and Puerto Rico.

Among the pictures in this photo gallery you’ll also see Dasha, Teddy Swims, Laufey, Sophie Ellis-Bextor, Blake Shelton, Megan Moroney, T-Pain, Cody Johnson, Thomas Rhett, Ernest, Natasha Bedingfield, Fat Joe, Ja Rule.

The Jonas Brothers celebrated the night by sharing an announcement of new music: a new song with Marshmello, which Nick says is being released on Jan. 17. “We’ve got a ton of announcements coming,” he teased, adding, “I’ll be making a return to Broadway next year in The Last Five Years, which I absolutely can’t wait to do. There’s a lot coming, so stay tuned,” Nick added.

Kevin shared that a “big tour” is on the horizon in 2025 for the band, while Joe said their New Year’s Eve performance would have “a lot of songs that you’ll hear on the next tour. Kind of a sneak peek of what’s coming.”

Dick Clark’s New Year’s Rockin’ Eve With Ryan Seacrest 2025 aired on Dec. 31 on ABC, then streamed on Jan. 1 on Hulu. Dick Clark Productions is owned by Penske Media Corporation; PMC is also the parent company of Billboard.

Neil Young has announced that he will not be performing at the 2025 Glastonbury Festival.

On Tuesday (Dec. 31), the legendary Canadian rocker, 79, shared a message with fans on Neil Young Archives explaining his decision to back out of the massive music event, which takes place annually at Worthy Farm in Somerset, England.

“The Chrome Hearts and I were looking forward to playing Glastonbury, one of my all time favorite outdoor gigs,” Young wrote in the brief letter. “We were told that BBC was now a partner in Glastonbury and wanted us to do a lot of things in a way we were not interested in. It seems Glastonbury is now under corporate control and is not the way I remember it being.”

He continued, “We will not be playing Glastonbury on this tour because it is a corporate turn-off, and not for me like it used to be. Hope to see you at one of the other venues on the tour.”

Young did not specify what exactly Glastonbury and the BBC had requested that led to his withdrawal. The BBC has been a long-time broadcaster of the festival, streaming and airing portions of the event, including a global broadcast for the first time last year, according to Rolling Stone.

Billboard has reached out to Glastonbury’s representatives for comment.

In November 2024, Glastonbury revealed that Rod Stewart would be the first artist announced for the 2025 festival. The legendary musician was the first confirmed act for the event, which is set to take place from June 27-29. Tickets for the festival have already sold out.

While Glastonbury has not yet revealed the headliners for 2025, several names have been speculated, including Olivia Rodrigo, Sam Fender, Harry Styles and Lady Gaga. Young had also been rumored to perform at the festival.

A timeline for the headliner announcements has not been confirmed, but the full lineup is typically revealed in the spring.

In late November 2024, Young revealed plans for a European tour, which will feature mostly outdoor venues. He followed up with another message on Wednesday (Jan. 1), telling Neil Young Archives readers that “tour announcements for the summer are coming very soon.”

Young last performed at Glastonbury in June 2009, with portions of the show broadcast on the BBC. The set included tracks like “The Needle and the Damage Done,” “Words,” “Rockin’ in the Free World” and a cover of The Beatles’ “A Day in the Life,” Rolling Stone reports.

Young’s new band, the Chrome Hearts, features Micah Nelson (guitar), Spooner Oldham (organ), Corey McCormick (bass) and Anthony LoGergo (drums). The group made its live debut in September 2024 at Farm Aid and recorded a new album last year, tentatively titled Talking to the Trees.

The Jonas Brothers are gearing up for a busy 2025.

On Tuesday (Dec. 31), the sibling trio of Kevin, Joe, and Nick Jonas reunited for a special appearance at Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest in New York City. Ahead of their high-energy performance, the group — celebrating their 20th anniversary this year — teased some exciting projects on the horizon.

“We’ve got a ton of announcements coming. First up, we’ve got a new song with Marshmello dropping on January 17th,” Nick shared with Seacrest in a pre-performance interview in Times Square.

The “Jealous” singer also revealed, “I’ll be making a return to Broadway next year in The Last Five Years, which I absolutely can’t wait to do. There’s a lot coming, so stay tuned.”

Kevin then hinted at a “big tour” in 2025 for the Jonas Brothers, while Joe mentioned that the band’s New Year’s Eve performance would offer a sneak peek of “a lot of songs that you’ll hear on the next tour. Kind of a sneak peek of what’s coming.”

After the clock struck midnight, Kevin, Joe, and Nick took the stage in Times Square to perform “Play My Music” from their 2008 Camp Rock movie. The trio also delivered their hit “Sucker,” which topped the Billboard Hot 100 in 2019, and a cover of The Cranberries’ “Dreams.”

In addition to the Jonas Brothers, the Dick Clark’s New Year’s Rockin’ Eve special featured performances by Mickey Guyton, Sophie Ellis-Bextor, TLC, Kapo, Carrie Underwood and Rita Ora.

Check out Seacrest’s NYE interview with the Jonas Brothers below.

Just two months on from the departure of longtime drummer Tim ‘Herb’ Alexander, Primus are back in the saddle ahead of impending auditions for a new percussionist.

The band’s first show since Alexander’s final appearance in August, the performance took place as part of the band’s New Year’s Eve celebration shows at the Fox Theater in Oakland, CA, on Monday (Dec. 30). Opening with sets from bassist and vocalist Les Claypool’s other bands Holy Mackerel and Frog Brigade, the main event was a six-song performance from Primus with Bryan ‘Brain’ Mantia on drums.

Mantia had previously served as the drummer of Primus in 1989, before being replaced by Alexander, who would play with the band until 1996. Following Alexander’s initial departure, Mantia returned to the kit until Primus’ split in 2000. Alexander would remain the band’s drummer for the majority of their career following a 2003 reunion, save for another absence between 2010 and 2013.

Primus announced on Oct. 29 that Alexander had resigned suddenly on Oct. 17 via email “effective immediately”, citing a “loss of passion for playing”—a reason that Claypool and guitarist Larry LaLonde admitted “came as a complete shock.”

“On the heels of a wonderful spring & summer of touring and some fabulous plans ahead, it has been a bit bewildering for us that Herb would so abruptly opt out,” Claypool and LaLonde said.

“After several attempts to communicate with Herb, his only response was another email stating that he has ‘lost his passion for playing.’ As disappointing as that is, we respect his choice and it’s forced us to make some tough decisions.”

In the wake of Alexander’s passing, Primus announced they would be “taking submissions from all points in the universe for the position of Primus drummer/percussionist”. They added: “Flashy chops are wonderful, but groove, pocket, and the ability to listen, react, and contribute to the musical conversation is a must.”

The band took to social media again in late December to warn applicants of scammers who had begun contacting hopeful applicants ahead of in-person auditions taking place.

“It is our duty here in the Primus camp to at least give a ‘heads up’ as it were, to those who may be duped by these sad individuals who are obviously struggling with their own insecurities and shriveled genitalia,” the band wrote.

Currently, Primus are scheduled to be joined by Tool’s Danny Carey for festival dates in the Dominican Republic in March, with a joint tour alongside Puscifer and A Perfect Circle set to launch in April.

Sammy Hagar likely won’t be listing Alex Van Halen’s new memoir Brothers atop his favorite books of 2024.

Hagar, who fronted Van Halen from 1985 to 1996, and again from 2003 to 2005, took to social media to share his thoughts on the recent book from his former bandmate, labelling the omission of his time within the band as “blasphemy”.

Published in October, Brothers largely focuses on the veteran California outfit’s first 12 years, effectively stopping the Van Halen story after the departure of vocalist David Lee Roth, and overlooking not only Hagar’s time as vocalist, but the temporary lineup featuring Gary Cherone, and their ultimate reunion with Roth.

“What happened after Dave left is not the same band,” Alex Van Halen told Billboard in October. “I’m not saying it was better or worse or any of that. The fact is Ed and I did our best work whenever we played. We always gave it our best shot. But the magic was in the first years, when we didn’t know what we were doing, when we were willing to try anything.”

Sharing a photo of himself and guitarist Eddie Van Halen from 1991 on Instagram earlier this week, Hagar began responding to comments on the post, including one who opined that “most purists believe VH ended with DLR”.

“It could have [ended], my friend, but instead we went on to sell over 50 million records for [a] No. 1 album [then] sold out every building and stadium in the world for a whole decade,” Hagar responded. “That never happened again.”

IVan Halen experienced some of their biggest successes with their album 1984, which featured the Hot 100-topping single “Jump”, would peak at No. 2 on the Billboard 200 and become their highest charting release of the Roth era. Their next album, 1986’s 5150, was their first released with Hagar on vocals, and was the first of four consecutive No. 1 albums released with Hagar at the helm.

Continuing his response, Hagar contended that Alex Van Halen was doing both the band and his late brother a disservice by leaving the era out of the memoir.

“Alex is not doing his brother’s musical legacy justice by not acknowledging all the No. 1 albums and some great music Eddie and I wrote together — not Alex — but Eddie and I wrote together,” Hagar continued. “To not acknowledge [those] 10 years of music is blasphemy to his brother’s musicianship, songwriting and legacy.”

Despite his harsh words regarding Alex Van Halen’s book, Hagar recently told Rolling Stone it’s “on [his] bucket list” that he and his former bandmate are able to make peace at some point.

“I understand he probably couldn’t have done the whole era in one book. It would’ve been the Bible, the dictionary, so maybe he’s got plans for a Volume 2. Who knows?” said Hagar.

“I want to be friends, though. I don’t want to play in a band with Al. I’m not asking for that. I can see that he’s not capable of doing that. If he was, I’d be happy to play with him, but it’s not what I’m looking for. I just want to friends again.”

After Sphere opened with fanfare in September of 2023, there was a lot of talk, in the electronic music world at least, about which electronic artist would be the first to play Las Vegas’ new space ship of a venue.

Presumably many would’ve jumped at the chance. Las Vegas is a dance music nexus, with billboards along Interstate 15 into the city bearing the faces of new and longtime resident artists at Marquee, Hakkasan, XS and other nightclubs on the Strip.

But ultimately it was a new face that made the cut, with Sphere announcing in July that Italian-American techno and melodic techno producer Anyma — who hadn’t previously had a residency in the city — would be The One.

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With the news, talk shifted as people outside of dance music familiarized themselves with the artist, a sizable name within the genre, but still a relative unknown to the gen pop. Who was he, and what would he do, people asked? Meanwhile, talk inside the dance world was that this show was going to be, in colloquial terms, totally bananas.

Certainly the bar was set mighty high after well-received residencies from Sphere’s previous artists U2, Phish, the Eagles and Dead & Company. But those are bands, and this would be a DJ. Still, interest for Anyma was abundantly and statistically clear: tickets for the eight-night residency sold out the same day they went on sale in July, with Anyma reporting selling 100,000 tickets for these shows and more dates subsequently added, bringing the total number of shows to eight and the total number of tickets sold to 130,000.

Officially and grandly titled Afterlife Presents Anyma: The End of Genesys, the figurative curtain for the residency lifted Dec. 27, when the shows began amid one of the busiest times of year in Las Vegas, bringing ravers to Sphere for the very first time.

Two days later, on Dec. 29, attendees sporting ravey attire and the de facto Afterlife uniform of black leather everything and sunglasses inside milled around the venue between sets from openers Cassian b2b Kevin de Vries and Charlotte de Witte. (Anyma’s support acts are different for every night of the residency, with the Dec. 28 opener Amelie Lens becoming the venue’s first ever officially billed female artist.)

Anyma came onstage promptly at 11 p.m., appearing on top of a riser placed on the floor of the venue from which glowing cords emanated. The two other risers on each side of him each contained a cello and the robot arms that played the instrument throughout the show, emphasizing the machine vs. human quality of both the overall Anyma aesthetic and the show we were all about to see.

It was, in fact, bananas. Starting with a robot breaking through a wall of glass in tandem with the music, the performance ultimately turned several standard dance music conventions on their head. Many large-scale shows, for example, take place in seated venues like Madison Square Garden, Kia Forum and Red Rocks, but Sphere is arguably the only one where attendees in the seated areas (Sphere also has standing room on the floor) have a vested interest in staying butt-to-chair, given that the seats are programmed to shake and rumble with the bass. (Or in the case of live acts, the drums.)

Certainly many people were on their feet raving in place, but by and large this was a sit down show, making the experience at times feel more akin to a futuristic movie theater than a nightclub or any standard large-scale dance performance.

In ways, Anyma and the Dec. 29 special guest artists — Delilah Montagu and Ellie Goulding — were secondary to the visuals. You might not have even noticed they were there in person, given the focus demanded by the screen and everything happening on it. Born Matteo Milleri, Anyma has long been been half of the duo Tale of Us, with the pair cultivating a signature visual aesthetic via their own output and releases on their influential label Afterlife and its affiliated event series.

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This sort of transhumanist aesthetic and human meets machine ideology is so well-suited for Sphere that one can’t help but assume it’s a not insignifcant part of the reason Anyma secured these shows. Any act playing the venue needs to have a well-established and world-building visual identity (which is part of the reason Sphere functions so well for legacy acts like the Dead, who have a huge visual history to pull from.) But Sphere’s mind-bending technical capabilities are providing Anyma and his team the opportunity to both show off and expand their epic, trippy, frequently dark and often beautiful cyborg narrative.

And expand they did. These are five of the best parts of the performance.