Jane’s Addiction frontman Perry Farrell and his bandmates are making peace amid a messy legal battle stemming from an onstage brawl last year, publicly apologizing to each other and saying they’ll now focus on “separate musical and creative endeavors.”

Farrell posted a contrite Instagram statement on Wednesday (Dec. 17), while Jane’s Addiction guitarist Dave Navarro, bassist Eric Avery and drummer Stephen Perkins simultaneously extended an olive branch on the band’s official page. The trio had sued Farrell in July for assaulting Navarro during a Boston show in 2024, and Farrell hit back with a lawsuit of his own that accused his bandmates of bullying him and spreading a false narrative about the incident.

There’s no word yet of an official settlement ending the dueling lawsuits, though court documents say the band members participated in a mediation session last month. The language of the Instagram posts suggests a reconciliation — and seems to confirm that Jane’s Addiction is no more.

“Today we are here to announce that we have come together one last time to resolve our differences, so that the legacy of Jane’s Addiction will remain the work the four of us created together,” reads the post on the band’s page. “We now look forward to the future as we embark on our separate musical and creative endeavors. Jane’s Addiction will forever live in our hearts.”

In another sign that a settlement could be on the horizon, both of these Instagram posts apologize for key allegations in the legal feud. Farrell, for his part, says he’s “truly sorry” for the September 2024 incident on stage, during which Navarro claims the lead singer punched him unprovoked.

“I’ve reflected on it and know I didn’t handle myself the way I should have,” writes Farrell. “I apologize to our patrons and my bandmates for losing my temper and disrupting the show.”

In his counter-lawsuit, Farrell had accused his bandmates of canceling the rest of the 2024 tour without his input and unfairly making him the “scapegoat” for their lost profits. Navarro, Avery and Perkins address this in their Instagram post, too.

“We would like to clarify the events surrounding the cancellation of the tour after the show in Boston in September 2024,” write the band members. “After that show, without notice to Perry, we unilaterally determined it would be best to not continue the tour and made inaccurate statements about Perry’s mental health which we regret.”

Legal reps for the band members did not return requests for comment. Their attorneys are currently scheduled to appear before a judge for a case update next month.

The onstage brawl in Boston, which went viral thanks to a fan video, was a key inflection point derailing Jane’s Addiction’s first tour as a full group since 2010. They were working at the time on a new album under a distribution deal with Warner Music’s ADA. It now appears unlikely that the project will be completed.

To celebrate the 26th edition of his House Full of Toys holiday benefit concert, Stevie Wonder said in a promo video that he was “switching things up.” Instead of performing for one night, the 25-time Grammy-winning legend would perform across four nights — Dec. 18, 19, 20 and 21 — at the Fonda Theatre in Los Angeles. Unfortunately, however, Wonder is canceling his “big idea” owing to “little time” — with plans to present the benefit concert again next year.

In a statement Wonder read on his L.A. radio station KJLH, he explained, “A week and a half ago I came up with the idea of doing four nights at the Fonda Theatre to raise money for House Full of Toys. Big idea. Little time. So because of that little time, I’ve decided to cancel all four shows. Yet still I will this year put my money where my heart is by giving a substantial donation for the children for House Full of Toys. And next year, we will again do House Full of Toys with the big idea and enough time to put it together.”

People who purchased tickets are being emailed about refunds.

As per tradition, Wonder’s annual benefit concert asks that attendees bring an “unwrapped toy or unwrapped gift of joy.” Presented by the singer/songwriter’s nonprofit We Are You Foundation, House Full of Toys helps assist children, people with disabilities and families in need.

In past years, House Full of Toys has welcomed performers such as Lionel Richie, Queen Latifah, Jazmine Sullivan, Anderson .Paak and Ella Mai in addition to Wonder. The 2024 edition of House Full of Toys — tied to Wonder’s “Sing Your Song! As We Fix Our Nation’s Broken Heart” tour that year — featured Jon Batiste, Lucky Daye and El DeBarge.

Globe-trotting house and techno festival Time Warp made its way back to New York last month for a Nov. 21-22 edition at Brooklyn Storehouse. Among a bill featuring stars like Sven Väth, The Blessed Madonna, Mike Servito, Sara Landry and Nico Moreno was bonafide New York house legend Dennis Ferrer, who, after decades in the scene, made his debut at the festival.

“Finally popped my Time Warp cherry and it was beyond impressive!” Ferrer tells Billboard. “The production, the energy, but most of all, the crowd that was dancing rather than filming. One of the highlights of 2025 for sure!”

Now, Ferrer is sharing his 90-minute Time Warp USA 2025 set exclusively with Billboard. Listening to it, it’s obvious why everyone on the floor kept their phones in pocket. While originally scheduled to play b2b with fellow house hero Kerri Chandler, Ferrer did the show solo after Chandler had to drop out, playing an hour and a half of joyful, scintillating, groovy house music.

Highlights from the set include As I Am’s slinky 2014 Defected Records release “Saving Grace,” Riva Starr’s bumping 2025 single “Unique” and Ian Pooley’s 2002 classic “Fly Shuffle.” Listen to the entire set exclusively below.

“’I’ll never do New York. America is not ready,’” Tekksupport founder Rob Toma recalled Time Warp founder Steffen Charles telling him when Toma first suggested doing an NYC edition. While it took a few years of conversations, Toma finally convinced Charles and his team to launch in the U.S., with Time Warp’s New York debut happening in 2014.

As with every previous edition, Time Warp USA 2025 was produced in partnership with Teksupport. Other editions of Time Warp happen in cities around the world including Miami, Madrid and São Paulo.

Olivia Rodrigo was living that Y/N life when she and Harry Styles hung out together, years after she wrote One Direction fan fiction as a child.

While appearing on a Music Makes Us podcast episode posted Tuesday, the Gen Z pop star revealed that she, like so many other girls in the age of Wattpad, used to pen stories about the former boy band — something that made meeting one of the members extra special after she also became famous. “I used to write One Direction fan fiction when I was in elementary school,” she began.

“Many years later, I hung out with Harry Styles, and we got tea, and we walked around,” Rodrigo continued, laughing. “And I got home, and I was like, ‘What the f—?’ I feel like I, like, wrote that in a fan fiction, and now I’ve lived it. That is so crazy how that can happen in your life.”

Calling the British musician “so sweet,” Rodrigo added, “I remember being like, ‘If I told 10-year-old Olivia, she’d be like, shut the f— up, you’re lying.’”

Styles is just one of many musicians who’ve embraced the California native since she shot to fame in 2021 with breakout hit “Drivers License.” On the podcast, Rodrigo also spoke about getting support from childhood idols Lorde and Jack White — for whom she used to run a White Stripes fan account on Instagram.

It’s been more than two years since Rodrigo last dropped an album, topping the Billboard 200 with Guts in 2023. It’s been even longer since Styles released an LP, with the singer taking a step back from the spotlight these past couple of years after Harry’s House arrived in 2022 and later won album of the year at the Grammys.

Fans have, however, seen Styles pop up in random places at various times in 2025. In addition to running the Tokyo and Berlin marathons this year, Styles recently appeared with friends — including rumored girlfriend Zoë Kravitz — in photos posted Tuesday on Instagram by DJ Ben Klock.

Listen to Rodrigo recap meeting Styles on Music Makes Us below.

Keep your eyes to the sky: George Clinton is planning to land the Parliament-Funkadelic Mothership again in 2026.

With the original stagecraft stage prop residing in the Smithsonian Institution’s National Museum of African American History and Culture, Clinton and longtime P-Funk collaborator Vivian Chew of New York-based Chew Entertainment tell Billboard “a new and improved version” of the legendary spacecraft stage prop is being constructed at the Rock Lititz production campus in southeastern Pennsylvania. “We know it’s going to be crazy,” Chew says. “It’s something people are going to be in awe of. Dr. Funkenstein will be coming out of the Mothership again in a very new way. George is going to take this thing around the world.”

Tour dates, she adds, will be announced “shortly,” though Chew did predict that “I think your first sighting will be next summer.”

The Mothership was introduced, conceptually, on Parliament’s album Mothership Connection, which was released 50 years ago this month. In the science fiction-themed title track, the group proclaims that, “We have returned to claim the pyramids/Partying on the mothership…Gettin’ down in 3D/Light year groovin’.”

“I was a big fan of Star Trek and all that,” Clinton explained some years ago. “We were all about putting Black people in places nobody ever thought they’d be…like outer space, so that’s what we did.” The Clinton-produced album, which features the hit “Give Up the Funk (Tear the Roof Off the Sucker),” reached No. 13 on the Billboard 200 chart and was certified platinum. In 2011 it became part of the Library of Congress’ National Recording Registry. Billboard recently named Parliament/Funkadelic one of the 50 best rock bands of all time.

The Mothership gained legendary status in 1976, however, when a physical incarnation, designed by Jules Fisher, became part of the P-Funk Earth Tour stage show. It was lowered from the ceiling at the start of the show, with Clinton emerging from its bowels in his guise as Dr. Funkenstein. “It was spectacular. There was nothing like it at the time,” recalls David Libert, who booked Clinton during the ‘70s after serving as tour manager for Alice Cooper. “The logistics around it were crazy, but any audience that saw it was just blown away.”

The Mothership was sold during the early ‘80s but eventually recovered and refurbished for a 1996 P-Funk All Stars concert in New York’s Central Park. It also appeared at a handful of other dates, including Woodstock ’99, before landing with the Smithsonian. “I’m loving the fact that it’s still that valid of a concept, and I’m still around to actually be part of this next journey,” Clinton says now. “It’s a good thing; the first Mothership is in the Smithsonian, and here we are backing it up with a new version.”

Clinton adds that the Mothership’s reappearance will likely be accompanied by some new music. “I’ve definitely got some fresh funk coming in and out of that, very soon,” he says, “very interesting stuff. I can’t talk about it now. It’s going to be interesting.” Clinton was inducted into the Songwriters Hall of Fame in June after receiving a star on the Hollywood Walk of Fame in January. He’s currently embroiled in a lawsuit against former business associate Armen Boladian and his assorted music companies to regain ownership of his music and copyrights.

Before the new Mothership takes flight, Chew will be presenting “Symphonic PFunk: Celebrating the Music of Parliament Funkadelic” on Jan. 31 at the Detroit Opera House, with arrangements by her husband, Dancing With the Stars music director Ray Chew, who will also conduct the orchestra that night. With guest performers Nona Hendryx, Vernon Reid and Rahsaan Patterson, it’s intended as a tribute, but Clinton says he might “get up there and jam when I feel it.”

“This was always my dream,” Clinton continues, “to carry on to that point of respectability and to always try to prove that we were worthy of that. It is all worthy of that. I go back to Motown itself…. All that music needs to be classical, orchestrated and cataloged, curated for the next 100 years. I think we did our part in creating something that lives up to that. And we kept it going.”