Jethro Tull has announced J-Tull Dot Com: Another Cast of the Net, an expanded reissue of the band’s 1999 studio album, due August 14 via InsideOut Music. The release marks the album’s first-ever appearance on vinyl and features a new stereo and Dolby Atmos remix by Bruce Soord of The Pineapple Thief.
The set is available in a 3CD+Blu-ray configuration and as a gatefold 180-gram 2LP. The Blu-ray features the Dolby Atmos mix. Bonus content across the two additional CDs includes six previously unreleased studio recordings and three live performances captured in Katowice, Poland in 2000. The original album is presented in its remastered form on the first disc.
The full track listing, including bonus material, is as follows:
J-Tull Dot Com (Remastered): “Spiral” / “Dot Com” / “AWOL” / “Nothing Is Easy” / “Hunt by Numbers” / “Hot Mango Flush” / “El Niño” / “Black Mamba” / “Mango Surprise” / “Bends Like a Willow” / “Far Alaska” / “The Secret Language of Birds” / “A Gift of Roses”
Bonus Disc 1 (unreleased/rarities): “Aborted Soliloquy” (previously unreleased) / “Dot Com Acoustic” (previously unreleased) / “It All Trickles Down” / “Recollection No. 5” (previously unreleased) / “Pipes (Close to You)” (previously unreleased) / “Sad Suit” (previously unreleased) / “Stigmata” (previously unreleased) / “The Secret Language of Birds” (2026 Remix)
The 1999 lineup featured Ian Anderson on vocals, flute, acoustic guitar, Martin Barre on electric guitar, Andrew Giddings on keyboards, Doane Perry on drums, and Jonathan Noyce on bass. Jethro Tull’s most recent studio album is Curious Ruminant, released in March 2025 via InsideOut Music.
Iron Maiden drummer Nicko McBrain has announced a 17-date European spoken-word tour in support of his upcoming autobiography, Hello Boys and Girls! (Harper Nonfiction, Oct. 22, 2026). The tour runs Oct. 26 through Dec. 3 and covers Germany, the Netherlands, Scandinavia, Malta, Ireland, and the United Kingdom.
In a statement, McBrain said: “Writing this book brought back so many incredible memories — from my earliest days behind the kit to the biggest stages in the world with Iron Maiden. Now I’m really excited to take those stories on the road and share them live with the fans who’ve been part of this journey. It’s going to be a very special evening — personal, funny, and heartfelt.”
The full schedule is as follows:
Oct. 26 — Frankfurt, Germany
Oct. 27 — Cologne, Germany
Oct. 29 — Berlin, Germany
Oct. 30 — Munich, Germany
Nov. 3 — Tilburg, Netherlands
Nov. 8 — Helsinki, Finland
Nov. 9 — Oslo, Norway
Nov. 11 — Stockholm, Sweden
Nov. 13 — Copenhagen, Denmark
Nov. 15 — Malta Metal Festival — St. Julian’s, Malta
Nov. 18 — Dublin, Ireland
Nov. 23 — Birmingham, U.K.
Nov. 26 — London, U.K.
Nov. 28 — Cardiff, U.K.
Nov. 30 — Bath, U.K.
Dec. 1 — Manchester, U.K.
Dec. 3 — Glasgow, U.K.
McBrain announced his retirement from Iron Maiden on Dec. 7, 2024, at the band’s final show of the year at Allianz Parque in São Paulo, Brazil. He was replaced behind the kit by Simon Dawson, who had filled in for McBrain during portions of the “The Future Past” world tour following McBrain’s stroke in August 2023. On Trunk Nation with Eddie Trunk, McBrain addressed the circumstances of his departure: “My health was the primary reason I had to step away. The stroke affected my playing in ways I had to work very hard to manage. And then the laryngeal cancer diagnosis — even though it was caught early — made it clear that my body needed a break that a touring schedule simply can’t accommodate. It was the hardest decision of my life.”
Nicko McBrain — born Michael Henry McBrain on June 5, 1952, in Hackney, London — joined Iron Maiden in December 1982, replacing Clive Burr in time to record Piece of Mind (1983). His tenure with the band spanned more than four decades and placed him among the third-longest-serving members in Maiden’s history. He played on every studio album from Piece of Mind through Senjutsu (2021).
Former Sepultura guitarist Jairo “Tormentor” Guedz has spoken about the possibility of making a guest appearance at the band’s final concert, scheduled for Nov. 7, 2026, at the Mercado Livre Arena Pacaembu in São Paulo, Brazil, in a new interview with Tomasz Michalski of Poland’s MetalSide.
Asked if he might appear at the show, Guedz said (transcribed by Blabbermouth): “It would be an honor for me and a pleasure, sure. If you ask me, I don’t think [original Sepultura drummer] Igor [Cavalera] and [original Sepultura guitarist/vocalist] Max [Cavalera] will do it, anyway. But I think it will be a very good, very amazing and good party for the fans — I mean, this final gig in São Paulo.”
Guedz, who has spent the last few years playing with The Troops of Doom, added: “I didn’t receive any invitation officially — nobody asked me to do that — but we talk sometimes, I talk to Andreas [Kisser, Sepultura guitarist] sometimes, not too much, but we talk sometimes, and if he wants me to do that, and if I’m in Brazil, it will be my pleasure to do it, yeah, because it’s the end of a very beautiful history, Sepultura.”
On his reaction to the farewell tour announcement, Guedz said: “Well, I was very sad about that, actually. As a fan, I think they have too many things to do and to give to the fans and the people. But I understand Andreas, and I think this is actually, it’s more of a decision from Andreas himself, because he is a little bit tired of everything. He lost his wife and his mother, and this and that, and he works a lot. So I understand. He wants to be more with his kids and his new girlfriend and not be on the road all the time. So I understand him. I think we will lose one of the biggest bands in the world, and I’m a big fan of the last two albums, for example — Quadra, for me, it’s a big one; yeah, it’s awesome.” He added that the possibility of an appearance at the final show had come up in conversation when he saw Kisser and bassist Paulo Xisto Pinto Jr. backstage at the Summer Breeze festival in São Paulo in April: “It’s possible to happen at the last gig.”
In a June 2024 interview with Metal Remains, Guedz explained why he was not involved in the Cavalera re-recordings of Sepultura’s first two releases — the 1985 Bestial Devastation EP and the 1986 Morbid Visions LP. He cited both the existence of The Troops of Doom and budgetary considerations, noting that Max Cavalera may have wanted to keep expenses low: “Maybe they want to do something more with a low budget and see what happens.” Of the three Cavalera re-recordings, Guedz said he finds the re-recorded Schizophrenia (1987) “better than the other ones for me — it’s more listenable.”
Sepultura was formed in 1984 in Belo Horizonte, Minas Gerais, Brazil. Guedz joined the following year and played on Bestial Devastation and Morbid Visions, also participating in early songwriting sessions for Schizophrenia. He left the band in early 1987 and was replaced by Kisser. In June 2021, Guedz, Max Cavalera, and Igor Cavalera reunited virtually to record a new version of the classic Sepultura track “Antichrist” — originally from Bestial Devastation — for Igor’s YouTube series “Beneath the Drums.”
The Troops of Doom — founded by Guedz in 2020 during the pandemic, also featuring vocalist/bassist Alex Kafer and drummer Alexandre Oliveira — released their sophomore album, A Mass to the Grotesque, in May 2024 via Alma Mater Records, the Portuguese label operated by Moonspell singer Fernando Ribeiro. The band’s debut was Antichrist Reborn (2022), preceded by three EPs: The Rise of Heresy (2020), The Absence of Light (2021), and Prelude to Blasphemy (2023).
Marilyn Manson returns with the next entry in his ongoing creative resurgence, announcing the forthcoming new album One Assassination Under God – Chapter 2, co-produced and co-written with Tyler Bates, set for release on August 14 via Nuclear Blast Records.
To mark the announcement, Manson has unveiled the album’s first single, “Exit Wound”, available now on all streaming platforms.
Dark, cinematic, and unrelentingly visceral, “Exit Wound” continues the evolution of the sound found on Chapter 1 while pushing deeper into unsettling atmosphere, crushing industrial textures, and haunting melodic tension. The track serves as the first glimpse into a record that further expands the conceptual and sonic world established by its predecessor.
One Assassination Under God – Chapter 2 will arrive days before the start of his late summer co-headline tour with Rob Zombie. Visit here for a complete list of Manson’s 2026 worldwide tour dates.
Pre-Order One Assassination Under God – Chapter 2here.
Billy Morrison takes a deep dive into his psyche with “Hollow,” the title track of the British guitarist, singer, and songwriter’s album of the same name out on August 7 via TLG|ZOID distributed by Virgin Music Group. The sonically explosive and lyrically gripping single is released today (June 12) along with an artful and eye-popping lyric video that traces Morrison‘s previously unhinged life.
“The title track to my new album was inspired by the life that I led when I was homeless and addicted to heroin,” says Morrison. “Begging for money on the streets and being the guy that people crossed the street from, I would watch people’s faces as they walked towards me, gradually realizing they had to walk past me and being disgusted at how dirty I was, or that I was begging for change. That leaves an indelible mark on your soul and the song is about slowly crawling out of that hollow life.”
Morrison is now lighting up the rock charts with Hollow’s first single, “Becoming” (feat. Sully Erna of Godsmack & GRAMMY Award winner Nuno Bettencourt of Extreme). Revolver dove into the track headfirst with an extensive feature interview, going on to note that “Morrison and Fuel member Brett Scallions co-wrote the song before sending it over to Erna, who delivers an impassioned and raspy set of lines. Bettencourt rises to the occasion and rips pure hellfire on his guest solo.”
Throughout an illustrious career, Billy Morrison has played live in front of millions of fans, collaborated with every A-list rockstar under the sun (even notching a #1 single with the late Ozzy Osbourne), sold his paintings in galleries on multiple continents, and logged hundreds of hours on-air as a radio host for SiriusXM. And yet—some folks wonder, “Who the F%@K is BillyMorrison?” Which is the title of a new short film that answers the question. Directed and edited by Mike Savage, it tells his story through punchy editing, candid footage, and new interviews with Duff McKagan of Guns N’ Roses, Al Jourgensen of Ministry, B-Real of Cypress Hill, Nuno Bettencourt of Extreme, mixer/engineer/producer Barry Pointer, and Morrison himself. You can now watch the six-minute documentary here.
Two years ago, Billy Morrison released TheMorrisonProject via TLG|ZOID distributed by Virgin Music Group. It marked his third solo album (and first since 2015) and produced the #1 Active Rock Song (Mediabase) in America: “Crack Cocaine” featuring Ozzy Osbourne and SteveStevens and co-written by all three artists. A deluxe edition of the album followed in 2025, and bonus track, “Gods Of Rock and Roll (Orchestral)”—another seismic collaboration with Osbourne and Stevens—landed in the Active Rock Top Ten (Mediabase).
Hollow will follow the success of TheMorrisonProject format with 12 songs, half sung by Morrison and half sung by a handful of Morrison‘s friends. Guests include Dexter Holland, Marilyn Manson, Chuck D, B Real, Duff McKagan, Steve Stevens, DMC, and the above-mentioned Sully Erna and Nuno Bettencourt, among others. “Forgive Me,” “The Tailor,” “No Suspects,” “Another Day,” “Leave No Trace,” and “Becoming” are among the song titles.
Billy Morrison is a British guitarist, singer, and songwriter, widely known as Billy Idol’s rhythm guitar player for the past 17 years alongside lead guitarist Steve Stevens. He is also a solo recording artist in his right having released three albums including the successful and acclaimed The Morrison Project in 2024. His fourth solo album, Hollow, will arrive in August 2026. Morrison is also a former member of The Cult and Circus Diablo and currently also performs with the superstar cover band known as The Royal Machines. In addition, Morrison is a contemporary fine artist whose Warhol-inspired work has been shown at top galleries. He also has a regular show, “Influenced,” on SiriusXM’s Ozzy’s Boneyard (ch. 38), where he delves deep into the dynamic relationship between art and music.
The call came through a text. Rush bass tech Scully — who had previously worked as Jeff Beck‘s guitar tech and had seen Anika Nilles up close on that tour — reached out with two words: “I have to call you. It’s urgent.”
Nilles assumed something had gone wrong with someone from the Beck crew. It hadn’t. Scully had been talking to Geddy Lee and Alex Lifeson, and they had someone in mind. The Zoom call with Lee and Lifeson that followed was, in her words, surreal. “It was even crazier after I saw those two faces on my screen as we had this Zoom meeting, the first time I really talked to Geddy and Alex. Unreal,” she told Rick Beato in a recent interview.
Shortly after, she was deep in the Rush rabbit hole — music, interviews, live footage, anything she could find online. “I was just like diving directly into the Rush rabbit hole and just listening to everything I could catch,” she said. “The music, videos, interviews, live shows, everything you can find online, basically, to just get to know the songs a bit better.”
The first rehearsal centered on six or seven songs, which gave her something to focus on within a catalog that could otherwise swallow you whole. The tour launched this past Sunday to what Beato described as an incredible success.
Stepping into the seat occupied for decades by Neil Peart is not a small thing, but Nilles found an unexpected pressure valve in the fact that Lee and Lifeson were also shaking off rust. The band had not played together in nearly 10 years.
Photo by Nathan Cyprys
“As a trio, we had to find a way to come together,” she said. “It’s one thing when you come into a band, and everyone knows everything, and it’s just playing it smooth because they’re doing it every day on stage, and you’re the one who’s the newbie who has to adjust. It didn’t feel like that.” Having Lee and Lifeson essentially rediscover songs alongside her leveled the playing field in a way she didn’t expect. “That definitely took the pressure a little bit off my shoulders.”
Learning the material itself required a completely different approach than anything in her preparation playbook. Nilles typically builds a chart, listens, reads, and plays. That method broke down almost immediately with Rush‘s catalog.
“I figured with this, it doesn’t work. Sometimes you cannot really write it out because a lot of it is also kind of a feeling,” she said. “Technically, you can write it out, but I would have spent so much time with just that.” Instead, she broke things into chunks and learned them step by step. “Just memorizing all the parts is one thing. Learning the feeling is a different thing.”
And then there are the fills… the ones every Rush fan has been air-drumming since the 1970s. Nilles is aware of what awaits her every night. “Everybody knows those fills,” she said, with a laugh. “I do know them, too, now. But if they come out like that or not — we will see when the time comes.”
The kit she debuted on opening night was brand new — a Bubinga setup she and her tech spent four to five hours dialing in the day before the show. The tom configuration runs 12, 13, 16, and 18, a more conventional layout than she typically prefers, but one dictated by the melodic demands of Rush‘s drum parts. “In my own kit, I preferred the weird setting,” she said. “But here, because of all the melodies in the songs, it has to be that melody. So I just make it easier for myself.”
Her tuning philosophy leans low and dry. “My tuning is usually very low. The batter heads are really loose — I don’t like it if there’s too much rebound,” she said. She pulls pitch from the resonant heads rather than the batter side, tuning the bottom heads higher to generate tone. For the Rush shows, she has opened things up slightly to let the drums breathe in larger spaces.
She chose Bubinga specifically for the scale of the venues, having used the same kit on the Beck tour. “For this kind of huge stages and big venues, the Bubinga works really well,” she said. “It’s not my go-to choice when I play in smaller venues or clubs because then it’s too boomy. But for this kind of stage, it’s just the perfect wood.” The cymbals are all Meinl, with a shift toward brighter, more open, brilliant finishes — and a custom ride and hi-hat developed specifically to sit inside Rush‘s sonic landscape. “We developed a sound which is more adjusted to Rush‘s drum sound,” she said.
Photo by Richard Sibbald
Nilles grew up in rural Bavaria, the daughter of an amateur drummer who rehearsed regularly in the family basement. She gravitated to the kit early, though keyboards remained a parallel obsession. Her father taught her the basics before enrolling her in a music school — he was self-taught and wanted her to learn properly from the start. Her earliest ensemble experience came through a traditional brass orchestra, which is about as far from Rush as it gets.
Her path to professional drumming was indirect. Her parents pushed for something more stable first, and she obliged — studying social education before eventually making the turn to music full-time. The detour was not wasted. “I learned so much in communicating with other people in my social education study. That’s really helpful for bands as well,” she said. And there was a practical upside to drawing a paycheck first. “When you earn money, that’s a cool thing — you can buy a lot of drum gear.”
Her primary musical influence is Toto, specifically the drumming, which she studied in genuine depth as a teenager in a way she had not approached any other music before. “I would say that’s my strongest influence, actually,” she said. Before Toto, music was something she enjoyed without dissecting. “I didn’t care who was playing the drums. It didn’t go into detail. I was just having fun along with the music. But with Toto, it was different.”
The fluidity that drew Lee and Lifeson‘s attention is something Nilles worked hard to develop, and it came from a specific place. A record company executive caught one of her shows at around 17 and told her she started strong but lost energy by the end of the night. It stuck. “I really figured out that I have to work on my technique,” she said. “All the fluidity comes from practicing a lot of technique. I don’t have the muscle power of the guys — I’m shaped differently with my body. So I have to compensate a lot with technique.” That became her primary practice focus for years, well beyond the odd-meter workouts that might be more expected from a drummer in her lane. “My focus was a lot on technique to handle concerts, be stable with everything you have to do during a concert.”
Preparation for the tour has also involved gradually shifting rehearsal times later into the night to simulate show conditions, a detail Lifeson had mentioned to Beato separately. “There’s no nine o’clock sleep time anymore,” Nilles said. “We just shift the time back and back and back until we really rehearse at the time when we’re hitting the stage, because that does something to you. You have to be energized and keep the power at the time when you actually feel tired, maybe, especially with jet lag.” She has also been hitting the gym regularly to maintain stamina through what is shaping up to be a major run.
The tour is underway. For Rush fans who have spent five years wondering whether Lee and Lifeson would ever share a stage again, Sunday’s debut answered the question. For Nilles, the air drumming starts now.
Swedish metal outfit Imminence has entered a new phase of their career, announcing their signing to Sumerian Records while releasing a new single, “The Sword That Never Bends”. The track arrives as the band’s first new material following the success of The Black, a record that significantly expanded Imminence‘s profile on the international stage.
Sumerian Records founder and CEO Ash Avildsen expressed his enthusiasm about bringing the band to the label: “Imminence is a band that has such presence, depth, and world-building to their music that I was instantly captivated when I first heard them,” he said. “They are prolific storytellers of emotions. I have been pursuing them for years and am deeply honored they have chosen Sumerian for this next era of their career.”
Musically, “The Sword That Never Bends” pushes Imminence further into a sound that balances heaviness, atmosphere, and melody. Industrial-inspired production elements drive the song forward, while vocalist Eddie Berg alternates between aggressive screams and clean vocal passages. His trademark violin work remains a central part of the band’s identity, weaving through layers of guitars, drums, and cinematic textures.
According to the band, the track stood out immediately during the writing process: “We all knew from the start — this was a single,” Imminence shared. “Everyone who heard it felt the same. ‘The Sword That Never Bends’ came alive in a way that immediately defined both the sound and the themes of where Imminence is headed next. It introduces a new dimension to our identity and carries a relentless energy that pulls you out from the shadows of ‘The Black’.”
The group also described the songwriting process as one of the smoothest they have experienced: “The writing process can best be summed up in one word: flow. Everything began in our home studio, where each piece fell into place almost effortlessly. It felt unmistakably like Imminence, yet shaped into something new — exactly the kind of song we’ve been striving to create for years.”
Once the song was completed, producer Drew Fulk became involved, helping refine the material while preserving its original direction.
“When we shared it, he immediately recognized its potential as a single,” the band adds. “It was about refining what was already there, not reinventing it.”
The release is accompanied by a new music video that serves as the first chapter in a larger creative vision Imminence has been developing behind the scenes. Created alongside longtime collaborator Pavel Trebukhin and writer Juan Zuleta, the project expands the band’s visual presentation into a more cinematic and story-driven format.
With a new label partnership in place and fresh music pointing toward the future, Imminence appear set to build on the momentum generated by The Black while continuing to evolve their distinctive combination of modern metal, atmosphere, and orchestral elements.
Three Days Grace have unveiled a new music video for “Don’t Wanna Go Home Tonight”, one of the latest singles taken from the band’s current album, Alienation. The clip was directed by MattBarnes and arrives as the group continues to promote the record.
Released in August 2025 through RCA Records, Alienation marked a significant moment in the history of Three Days Grace. The album saw the return of original frontman Adam Gontier, who rejoined the band for the first time in more than ten years. Gontier now shares vocal duties with Matt Walst, alongside longtime members Neil Sanderson on drums, Brad Walst on bass, and Barry Stock on guitar.
The band’s latest effort features 12 tracks that help define this new era of Three Days Grace. While the record introduces a fresh dynamic through the dual-vocal approach of Gontier and Walst, it also reconnects the group with elements that longtime fans have associated with its earlier years.
With the release of the video for “Don’t Wanna Go Home Tonight”, Three Days Grace continues to spotlight material from Alienation, an album that bridges the band’s past and present while opening a new chapter in its career.
Norwegian hard rock veterans Audrey Horne will return with their eighth studio album, Achilles, on September 4, 2026 through Napalm Records. Alongside the announcement, the band has released the album’s first single, “Insanity”, accompanied by a music video that matches the song’s energetic and unpredictable feel.
Over the years, Audrey Horne has built a strong reputation within the hard rock scene. Both Blackout and Devil’s Bellwere well received by critics around the world, while the band’s 2005 debut earned a Spellemannprisen, Norway’s equivalent of a Grammy Award. The group has also shared stages with major names including AC/DC and Mötley Crüe, while touring alongside acts such as Papa Roach and Backyard Babies, helping establish them as one of Norway’s notable rock exports.
Discussing the new single, the band said: “The first song that was written for the album. It’s a classic Audrey Horne tune that has the energy, the twin guitars, a big chorus, and a cool mid-section. The lyrics are inspired by ‘Hallowed be Thy Name’ by IRON MAIDEN. It is an attempt to say what might have happened prior to the story in that song.”
The new album contains 11 tracks and highlights different sides of Audrey Horne‘s songwriting. The lineup of vocalist Toschie, guitarists Ice Dale (Enslaved) and Thomas Tofthagen, bassist Espen Lien, and drummer Kjetil Greve moves between straight-ahead hard rock, melodic material, and more progressive arrangements.
Opening track “Achilles” sets the tone with driving guitars, a powerful rhythm section, and commanding vocals. The song also explores a more progressive direction, using contrasting musical passages to support lyrics inspired by today’s increasingly divided world.
Elsewhere, “God Damn Beautiful” delivers a groove-heavy approach influenced by Thin Lizzy, while giving bassist Espen Lien the spotlight on lead vocals. Album closer “New Star Falling” highlights the band’s melodic side and provides a fitting conclusion to the record.
According to the band, Achilles blends influences from classic ’70s and ’80s rock with lyrical themes that range from escapism to reflections on an increasingly unstable world. The result is an album designed for both rock radio and the live stage, while continuing the sound that has defined Audrey Horne throughout its career.
Fans across the United States will get the chance to see Mötley Crüe‘s biopic The Dirt on the big screen when Regal hosts a special one-night theatrical event on June 27.
“Concert movies, documentaries, and biographical films provide music lovers with big screen, behind-the-scenes access to the biggest acts in rock ‘n’ roll,” said Brooks LeBoeuf, senior vice president of U.S. content at Regal. “Partnering with Live Nation, Mötley Crüe, Netflix, and Submarine Deluxe, Regal moviegoers are getting a stadium-sized theatrical release of The Dirt.”
The screening is part of Mötley Crüe‘s 45th-anniversary celebrations and arrives just ahead of the band’s upcoming The Return Of The Carnival Of Sins North American tour, which launches on July 17. Attendees will also be treated to an exclusive pre-show Q&A video featuring members of Mötley Crüe, created specifically for the event and unavailable elsewhere.
Based on the bestselling book The Dirt: Confessions Of The World’s Most Notorious Rock Band, the film follows the band’s journey from the Sunset Strip to international stardom. Told through the perspectives of its members, the movie examines the experiences that shaped the group as they became “The World’s Most Notorious Rock Band.”
After the film concludes, fans will be able to watch the first theatrical presentation of the 1986 documentary Mötley Crüe: Uncensored. The documentary follows the band around Los Angeles and includes footage from previously unseen videos for “Take Me To The Top” and “Public Enemy #1”, along with 25 minutes of uncensored behind-the-scenes material.
The event will be shown at 98 Regal locations nationwide, taking place three weeks before Mötley Crüe begins its 33-date The Return Of The Carnival Of Sins trek. The tour marks the 20th anniversary of the original Carnival Of Sins run and is being promoted by Live Nation. Fans can expect the band’s trademark production, extensive catalog of hits, and the visual spectacle that has defined its live shows for decades.
In addition, Mötley Crüe will release the limited-edition picture disc box set Crücial Crüe 1981-1989 on July 10 through BMG.
Tickets for The Dirt screenings are available now through Regal‘s various ticketing platforms, including theater box offices, kiosks, the Regal mobile app, and the company’s website. Members of the Regal Unlimited program can also reserve seats for the event.
Formed in Los Angeles, California, Mötley Crüe has remained one of hard rock’s most successful acts for more than four decades. The band has sold over 100 million albums worldwide, earned multiple platinum certifications, scored 22 Top 40 mainstream rock hits and six Top 20 pop singles, received three Grammy nominations, and landed a star on the Hollywood Walk Of Fame.
The band’s catalog continues to generate massive interest, with nearly 10 billion streams and more than 9.5 million social media followers. Songs such as “Kickstart My Heart” and “Home Sweet Home” have been featured in advertising campaigns and television series including “Stranger Things” and “Cobra Kai”.
Their autobiography The Dirt: Confessions Of The World’s Most Notorious Rock Band became a New York Times bestseller after its 2001 release and has sold more than one million copies worldwide. The book later served as the basis for Netflix’s 2019 film adaptation The Dirt.
Following the completion of a two-year stadium world tour in late 2023, Mötley Crüe entered a new chapter by signing with Big Machine Records and releasing “Dogs Of War” in 2024. The band returned to Las Vegas in 2025 for a ten-show residency at Dolby Live at Park MGM. In 2026, Mötley Crüe will continue its 45th-anniversary celebration with a major North American tour running from July through September.
The theatrical event is being presented in partnership with Submarine Deluxe, the distribution arm of Submarine Entertainment. Founded in 2009, the company focuses on bringing acclaimed films and documentaries to theaters across the United States, with a catalog that includes All That Breathes, War Game, Separated, Man With Sole: The Impact Of Kenneth Cole, I Called Him Morgan, Gilbert, Chasing Ice, Fire Music, and Peggy Guggenheim: Art Addict.
Regal remains one of the largest theater chains in the United States, operating 5,386 screens across 394 theaters in 41 states, as well as locations in the District of Columbia and Guam as of May 31, 2026. The company continues to expand premium viewing options, including 4DX, IMAX, RPX, and ScreenX formats, alongside its unlimited movie subscription program and enhanced food and beverage offerings.
