The Gwar camp is rallying around one of its original members. Chuck Varga, known to fans as the Sexecutioner, is currently battling cancer, and in response, the band and its extended circle have launched a nationwide blood donation campaign in his name.
Supporters are being asked to visit a local blood bank and either register or donate blood in Varga’s honor. Those who take part will receive an exclusive T-shirt designed by Varga himself. Donate and get an exclusive t-shirt here.
The effort gives fans a direct way to contribute, tying the band’s long-running imagery of blood and spectacle to something with real-world impact. It also serves as a tribute to someone who played a key role in shaping the identity of Gwar.
As the Sexecutioner, Varga became a central figure in the band’s mythology. His role was described as “making sure the blood goes in all the right places.” Beyond performing, he contributed heavily to the band’s visual side, helping create many of the costumes that defined their stage presence. Reflecting on the physical side of performing, he once said, “I describe it as a full-body stunt mat. It gives me special powers. I have fallen off stage five feet onto a concrete floor and bounced like a Super Ball.”
Varga’s creative background stretches well beyond the stage. He has described himself as one part comic book illustrator, one part special effects designer, and two parts sculptor, all filtered through science fiction and a dark sense of humor. In 1985, he co-founded Slave Pit Studios and helped build Gwar into a theatrical force, contributing to eight major productions, more than 1,000 live shows, and two feature-length films. His work has been summed up as “eye popping, twisted and over the top, way over!”
In 1995, he teamed up with Don Drakulich to launch Hyperreal Productions, focusing on art effects, public sculptures and collectible figures. A few years later, he moved to New York, working in Broadway and film while still making occasional appearances with Gwar. He officially stepped away following the Halloween Scumdog Reunion in 2021.
Outside of music, Varga became involved in the New York art scene, connecting with artists like Joe Coleman and Robert Williams. He also met his wife, Bambi The Mermaid, at the Coney Island Mermaid Parade. The two married there in 2017 and later combined their creative worlds, blending his theatrical style with her neo-burlesque performances. He became a regular presence at Coney Island USA, taking on the role of resident Neptune.
Today, Varga continues to work across fine art and underground theater, maintaining the mix of satire, spectacle and handcrafted visuals that defined his years with Gwar.
Now, with the current campaign underway, fans have a chance to give something back. Donate blood, support the cause, and keep the legacy moving forward.
Black Veil Brides have shared the official visualizer for “Revenger”, the latest single from their upcoming album Vindicate, set for release on May 8 through Spinefarm. The track features a guest appearance from Machine Head frontman Robb Flynn and centers on the idea of vengeance viewed through a distorted lens—more fantasy than justice.
On this release, Black Veil Brides—Andy Biersack, Jake Pitts, Jinxx, Lonny Eagleton and Christian Coma—continue to expand their sound while keeping their core identity intact.
Biersack explains the concept behind the track: “I have always been interested in the sort of ethical dilemma that we have culturally of cheering for justice. I thought it would be an interesting exercise to write lyrics from the perspective of someone who is trying to seek out the ultimate form of justice.”
That perspective also influenced the decision to bring in another voice. “Because I was writing from someone else’s voice, this felt like the kind of song that would be best served by having someone else’s voice on the song. So, we brought in Robb Flynn of Machine Head. The reason he came to mind first was of course his voice, tonality and style I thought was perfect for this. He is also someone who was one of the first real defenders of Black Veil Brides. In the early days when we were getting absolutely shit on by every other metal band, Robb Flynn and Machine Head stood up for us and said positive things about us and has maintained that for years and years.”
Biersack adds: “I think it’s one of my favorite songs on the record.”
The “Revenger” concept also extends beyond music. A companion novel titled “Revenger”, written by Biersack and released through Simon & Schuster, is available now.
With Vindicate approaching, Black Veil Brides are building momentum through a series of singles. The record runs from the opening “Invocation To The Muse” to the closing “Eschaton”, covering a wide range of moods and arrangements. Tracks like “Bleeders”, “Hallelujah”, “Certainty” and “Vindicate” point to a band continuing to evolve while holding onto the theatrical edge that has defined their catalog.
Korn have released a new track, “Reward The Scars”, tying it to the upcoming Diablo IV: Lord Of Hatred expansion. The song is available now, with the expansion set to launch across platforms on April 28.
“Reward The Scars” is the first new material from Korn since Requiem arrived in February 2022. The album, produced by Chris Collier alongside the band, debuted at No. 1 on Billboard’s Hard Rock Albums chart. It moved 23,000 equivalent units in its first tracking week, with 20,000 coming from pure sales. The record also reached No. 2 on both the Top Rock Albums and Top Alternative Albums charts, and landed at No. 14 on the Billboard 200.
In mid-2021, bassist Reginald “Fieldy” Arvizu stepped away from touring, explaining he needed time to “heal” after “falling back” on some of his “bad habits.” Since then, Suicidal Tendencies bassist Roberto “Ra” Díaz has handled bass duties on the road. Even with his absence from live shows over the past five years, Fieldy still performed on Requiem.
Over the course of their career, Korn have sold more than 40 million records worldwide, earned two Grammy Awards, and maintained a steady global touring presence. Their impact across metal, rock and alternative circles remains strong, influencing newer artists while continuing to evolve their own sound.
Their reach goes beyond sales and awards. As The Ringer put it, they are “a genuine movement in a way bands cannot be now,” reflecting how their approach to genre and identity reshaped expectations within heavy music.
Putting together a tribute to Rainbow comes with a built-in advantage: the band’s legacy runs deep, and many of the musicians who shaped it are still active. Cleopatra Records leans into that with Ride The Rainbow – The Ultimate Tribute To Ritchie Blackmore’s Rainbow, arriving June 19.
The release pulls in a wide cast, including former Rainbow members Bob Daisley, Graham Bonnet, Don Airey, Joe Lynn Turner, Doogie White and Ronnie Romero. It also features Candice Night, known for her work with Blackmore’s Night, and guitarist Steve Morse, who followed Ritchie Blackmore in Deep Purple. As the subtitle puts it, it is “the ultimate tribute to Ritchie Blackmore’s Rainbow“.
One of the early highlights sees Graham Bonnet, Don Airey and Bob Daisley reconnecting for the first time since the early ’80s to take on “Long Live Rock ‘N’ Roll”, the title track from Long Live Rock ‘N’ Roll, originally released in 1978. While Ronnie James Dio handled vocals on that record, Bonnet and Airey later joined for Down To Earth, and the song stayed in the band’s live set during their era.
The rhythm section on this version adds another layer. Alongside Bob Daisley, drummer Carmine Appice steps in. His connection goes back to Vanilla Fudge, a band that influenced the early direction of Deep Purple. Keyboardist Jon Lord once said after seeing them live in 1967, “We were going to be an English Vanilla Fudge.” Appice, now also known for his work with Cactus, brings that lineage into the track.
“I always liked “Long Live Rock ‘N’ Roll””, says Carmine Appice. “It had a Cactus boogie, easy for me to play…it kicked ass then and now!”
Guitar duties include Ron “Bumblefoot” Thal, who came to Rainbow as a listener first. “I heard the RainbowRising album as a kid and became a lifelong Rainbow fan! It’s a great honor to play on this song and to pay tribute to this historic band.”
Liner notes for Ride The Rainbow – The Ultimate Tribute To Ritchie Blackmore’s Rainbow were written by Jason Myers of Icarus Witch, adding context from someone rooted in classic metal revival.
Across the years, Rainbow, led by Ritchie Blackmore, built a catalog that shaped hard rock through the ’70s and ’80s. Tracks like “Stargazer”, “Man On A Silver Mountain”, “All Night Long”, “Long Live Rock ‘N’ Roll” and “Since You Been Gone” became staples, both on record and on stage.
The lineup shifted often, but the quality held. Ronnie James Dio and Graham Bonnet handled vocals in different eras, while players like Roger Glover and Cozy Powell helped define the band’s sound across multiple releases.
More recently, Ronnie Romero stepped in as vocalist for a revived version of Rainbow, making his live debut in June 2016 after being chosen by Ritchie Blackmore following his departure from Deep Purple years earlier. That lineup also included Jens Johansson of Stratovarius, drummer David Keith, bassist Bob Nouveau, plus backing vocals from Candice Night and Lady Lynn.
Those 2016 German shows were documented on Memories In Rock – Live In Germany, released later that year in multiple formats, capturing a modern take on a band with a long history.
Pre-order Ride The Rainbow – The Ultimate Tribute To Ritchie Blackmore’s Rainbowhere.
American heavy metal mainstays Armored Saint have dropped a new single, “Hit A Moonshot”, pulled from their upcoming album Emotion Factory Reset, set for release on May 22 via Metal Blade Records.
“Hit A Moonshot” stands out as a favorite within the band. The phrase itself comes from baseball, describing a towering home run, and vocalist John Bush draws a clear connection between that imagery and life beyond sports.
“It’s like you knocked something out of the park,” elaborates Bush, “I use a lot of sports analogies because I love sports. Sports IS entertainment… ‘Hit A Moonshot’ is inspired by the people who keep landing on their feet. Like, no matter what the fuck this person does… Some people just get lucky. This applies to anyone. And landing on your feet is commendable. So, I’m busting balls, but I’m also giving accolades. Sometimes people can do that all the way to their grave. Then there are other people who are so good or talented or creative, and they struggle forever. I don’t think life is balanced all the time, and I don’t think it’s fair.”
He also points to the track’s musical makeup: “It has a ferocious riff, cool tempo changes, scorching leads, huge chorus with lots of backing vocals,” he continues. “We love Queen and TheSweet! It’s a cool breakdown with an epic ending. Once again, it sounds just like ArmoredSaint.”
Bassist Joey Vera traces the song’s roots back decades: “The intro riff is an echo of a memory from age 17 when I was in a garage band in Los Angeles. After I came up with this new version, the familiarity of it revealed itself once I stood back and listened. The riff is very different from the original one but there’s no doubt the feel and vibe has stuck with me ever since then. I added a half-time feel to the chorus to steer the arrangement away from predictability. It feels like classic Saint to me.”
Guitarist Jeff Duncan keeps it straightforward in terms of gear and execution: “I think the song defines what ArmoredSaint sounds like now. I used my Les Paul and an EVH amp for the rhythm guitars on everything. My solos were done with a couple different guitars; it’s simple, just good guitars plugged into a good amp and let it rip.”
Emotion Factory Reset, the band’s ninth studio effort since 1984’s March Of The Saint, works as both a reset and a rebuild. Produced by Joey Vera and mixed by Jay Ruston, the album sees Armored Saint pushing themselves while staying rooted in their identity. Tracks like “Close To The Bone”, “Hit A Moonshot” and “Every Man-Any Man” reflect that balance.
“Each ArmoredSaint record, to me, is like a new skin for the band, a different chapter. I don’t think we’ve ever repeated ourselves,” says Joey Vera. “Every album has been pretty different from the previous one, a snapshot in time. In 2026, Emotion Factory Reset is where our heads are at.”
John Bush highlights the band’s open approach when writing: “When we start coming up with songs, I always say we can do whatever we want,” notes Bush. “Use all our influences through the years, diverse music that we listen to and love, and let that seep in and bring something new out of us. It leads to something more adventurous.”
That mindset extends into how vocals are captured. Much of Bush’s recorded work comes straight from early takes, preserving immediacy. Vera approaches writing with a similar instinct: “I try not to overthink and be right where I’m at that time. I really don’t look over my shoulder much, like, ‘what did I do in the past? What’s going on in the next lane?’ Once the ball starts rolling, I just sit back and let it happen.”
The album title itself came from guitarist Phil Sandoval, reflecting a broader theme behind the material: “To me, Emotion Factory Reset means to reset yourself back to clarity. Take a pause and breathe before you respond or react. You can’t control outside events, but you can control your mind,” the guitarist says. “How you interpret things is what hurts you, not the event itself.”
Drummer Gonzo Sandoval connects that idea to a bigger picture: “the world is going through a technological upswing/awakening. I look at our planet as the factory and in the most positive way we need to realign, reimagine, reset for our better selves.”
Ahead of the album’s release, the band also rolled out “Close To The Bone” as an early preview. Bush describes its role clearly: “The first track on the record sounds like vintage ArmoredSaint. Yet vintage that comes out in 2026! How did we do that? The title of the record, Emotion Factory Reset appears as the first line of the bridge. Killer riffs, awesome rhythms and attacking vocals gets this train rolling. The title implies the human response to withdraw and keep things to yourself instead of being confrontational; something I believe we all struggle with as humans. Do you just say, ‘aww, whatever man,’ or do you say, ‘hey, fuck you!’ Depends on the moment I guess.”
Vera adds context on its influences: “Musically, this song was inspired by my love and appreciation for metal that was coming out around the time of the NWOBHM, which is right when ArmoredSaint was formed. As always, I try to reimagine my early influences by giving them a slight modern twist.”
Duncan sees it as a clear statement of where the band stands now: “I like to think that ArmoredSaint doesn’t keep making the same album over and over. Emotion Factory Reset is another musical chapter for the band. When the five of us play together, we have a special chemistry and our first single “Close To The Bone” demonstrates this perfectly; it’s musically sophisticated but still retains the ArmoredSaint signature sound.”
Emotion Factory Reset was recorded across multiple studios, including 606 Studios, Secret Hand Studios, Skullseven Studios, Constantine Studios and Bridge Recording, with engineering handled by Oliver Roman, Bill Metoyer, Joey Vera and Jason Constantine. The cover art was created by DDKing. A special European CD edition will include the bonus track “One Chain (Don’t Make No Prison)”, previously available only in digital form.
Norwegian extreme metal titans Dimmu Borgir have officially announced their long-awaited new studio album, Grand Serpent Rising, set for release on May 22 via Nuclear Blast Records.
Returning to the studio in Gothenburg, the band once again joined forces with acclaimed producer Fredrik Nordström, the mastermind behind some of Dimmu Borgir’s most revered works, including Puritanical Euphoric Misanthropia and Death Cult Armageddon. The result is a record that captures the band’s signature blend of symphonic grandeur and unrelenting aggression, while pushing their sound into darker, more commanding territory.
Today, Dimmu Borgir unveil the second single from the album: “Ascent”. Striking like lightning across a frozen northern sky, the song is a ferocious statement of intent—aggressive, vicious, and twistedly beautiful. “Ascent” delivers a chilling reminder that Dimmu Borgir remain at the height of their powers, embodying the intensity, menace, and authenticity that have defined their legacy.
The track arrives alongside a visually arresting, “in your face” music video that amplifies the song’s raw energy and atmospheric darkness.
Shagrath comments on the track: “Musically, “Ascent” is more ferocious and direct than the first single, “Ulvgjeld & Blodsødel”. Together, the two tracks showcase the musical scope of the album in a great way. From the outset, we’ve said that Grand Serpent Rising stands as one of our most diverse records to date, and these songs underline exactly that.”
Silenoz adds: “”Ascent” is about the grand serpent rising through your spinal cord. It is not a pretty experience but it is a necessary one – in order to reach higher consciousness and levels of understanding. It’s a voyage of transformation and surrender.
“Only he who knows fear but overcomes it can be fearless; he who sees the abyss with pride. He who sees the abyss with eagle eyes; he who grasps the abyss with eagle claws; he is courageous”.- Nietzsche”
The album comes in following formats:
CD Jewelcase
2LP + 1CD, 24-Page Mediabook, Transparent Green with Black + White Marble Vinyl
2LP Gatefold Black Vinyl
2LP Gatefold Dark Green Vinyl
2LP Gatefold Gold Vinyl (Norway Exclusive)
2LP Gatefold Crystal Clear Vinyl (Sweden Rock Exclusive)
2LP Gatefold Pearl Flip Waterfall Vinyl
2LP Gatefold Gold with Black Marble Vinyl (Revolver Exclusive)
The Grand Serpent Rising North America 2026 tour marks the legendary return of Dimmu Borgir to North American soil for their first headlining trek since 2018, featuring special guests Hypocrisy, Suffocation, and Hulder.
Riding the momentum of the record announcement, Rachel Bolan keeps the energy high and the buzz building with the release of his second single “Anything But You”, giving fans another glimpse of what’s ahead and another hook that sticks!
After four decades as a driving force behind Skid Row, bassist and songwriter Rachel Bolan steps forward with his first solo album under the name Bolan.
Gargoyle of the Garden State is a bold, deeply personal debut rooted in the grit, attitude, and storytelling spirit of his New Jersey upbringing, with “Anything But You” tapping into the raw, melodic edge that runs through the whole record.
Produced by multi-Grammy winner Nick Raskulinecz (Foo Fighters, Skid Row, Rush, Evanescence, Alice In Chains) The album began as a simple conversation between friends. What started casually quickly evolved into a record that would ultimately define Bolan’s voice as both a songwriter and storyteller.
“Gargoyle of the Garden State is not a project, it is every bit of my soul,” says Bolan. “Like me, it knows when to be serious and also knows where the party is.”
The record delivers several standout moments, including a surprising cover of Oasis‘ “Rock And Roll Star,” reimagined through Bolan’s distinctive lens. Expanding well beyond his role as a bassist, Bolan performs most instruments himself, shaping the record from the ground up. Drawing on influences ranging from Brit Pop and Glam to Punk Rock and New Wave, the album reflects a lifetime immersed in music.
Gargoyle of the Garden State also features an impressive lineup of guests, including Corey Taylor, Danko Jones, Nuno Bettencourt, Damon Johnson, Steve Conte, and fellow Skid Row members Scotti Hill, Dave “Snake” Sabo and Rob Hammersmith.
The album is out on June 12 and will be available as CD Digipak, LP Gatefold, as well as digital and download.
With “Anything But You,” Bolan continues to open the door to his solo world one that feels personal, loud, and undeniably himself.
Pre-order the Gargoyle of the Garden State album here.
Airborne have announced their new self-titled album in a truly original manner. See below the band’s heartfelt letter to Lemmy, sharing their journey through the making of this album and paying homage to their mentor and friend.
The announcement is accompanied by the album’s first single, “Alive After Death (Last Plane Out).” The track’s new music video is also out now. Check it out below.
Well, mate, it’s been a long time since we’ve said “g’day” or shared a stage together. We’ve never forgotten one of the things you said to us, which was: “No matter what, stay true to yourselves. Don’t worry about all the other bullshit in the music industry. Make music that your roadies will like. Because they’ve heard your shit more than anyone else, if they like it, everyone will love it.”
Mate, we did it.
Six years ago, we shut the roller doors to everyone and got to work writing songs for this record, spending many, many hours, many, many days, weeks, months, and years writing and writing, throwing things out, starting again, and always sifting for gold. After about five years of this, we felt that we had a solid bunch of Rock’ n’Roll songs happening. Then, Mutt Lange and BryanAdams brought in their big guns, and a couple of those songs we wrote with them have made the record. We wrote a lot with Bryan, and he was incredibly inspiring, and we learned a lot from him – a true rock ‘n’ roll gentleman. At that point, a long-time mate of ours, Vick Wright, flew out to Australia, and we wrote and wrote and wrote some more with him. He’s a rock ‘n’ roll street poet, and he taught us a lot as well. We ended up with some really good rockers with him.
We sent everything to Brian Howes, and he said we have a solid record now, and he was pumped to work his magic. Dante from Spinefarm, who has been a real champion all along the way on this record, gave us the green light to make Airbourne.
We shipped out a ton of gear from our Manchester compound and from all over the world, loaded it into a semi-tonne truck, and drove it up the Eastern guts of Australia from Melbourne to Music Farm Studios, hidden in a jungle on the surf coast of Australia. This place is surrounded by snakes, Sydney funnel-web spiders, rats, and cane toads—plenty of stuff that can kill ya. We know you would have loved it there because that which doesn’t kill you only makes you louder!
We coped with hurricane weather, flash flooding rains, and palm trees that were torn out of the ground. One of them almost killed Streety, our bass player. That was a very near miss. The tape machine was a fucker. It wouldn’t stop blowing up, but she sounded great, so she was worth dealing with and waiting on.
Every day we would wake up, jump over a brown snake or python, feed the pigs, say “g’day” to the goats, watch the one male rooster with a harem of hens swooning around him whilst he’s strutting around the place like he was King Dick. Who knew that fowl could be so inspiring?
We’d make our way down the hill to the studio, jumping over “old mate,” the resident snake that lived at the front doors of the studio. When we entered the studio, we’d make some heart-starting coffees, put some pies in the pie warmer, VB’s on ice, then Brian Howes, Mike Fraser, and KarlDicaire would show up. A few cigarettes, laughs, and caffeine later, we’d talk some bullshit, and then we’d get rocking. For about 12-16 hours, we would go. Time ceased to exist for us, and it was the best fun we’ve ever had making an album.
The last batch of songs we wrote with Brian around the Studio Kitchen table, often whilst hurricanes had killed the power. While they were smashing the Studio together, we brought this album home. The main console was the original Neve desk from Albert Studios 1 here in Australia (AC/DC, Rose Tattoo, The Angels, Billy Thorpe, and more). There’s an unmistakable raw Oz rock tone in this desk, and you’d love it.
We didn’t finish the record in time, as we had to go back out on tour, which actually worked out really well because lyrics that weren’t written in that studio needed to come from being on the road, and that’s exactly what happened with the song “Alive After Death.” We came back after the tour to our Melbourne studio home, down in St Kilda, the famous Hothouse Studios, where we recorded our first EP. We’ve always had a love affair with Hothouse—it has the Neve console from Albert’s Studio 2, so it was gutsy to go back there and finish this record off.
Craig Harnath, who we’ve been mates with forever, joined the team, and after another tour, another few months, and trips down to Hothouse, we finally finished the record. Zakk Cervini joined the team and mixed up a Rock’ n’ Roll storm of a record. He’s a real weapon! Ted Jensen—aka “the great one”— gave Zakk’s atomic mixes a real supercharged spit and polish and brought it all home with his classic trademark Sterling master print that only he can do.
So, we finally ripped off the Band-Aid and mustered up the balls to play it to the roadies…. And guess what? They love this one! Thank fuck! Only took us 20 years! Thanks again for all of your words back then, mate. We’ve never forgotten them, and we wouldn’t be here without ya. We’ll always keep you “Alive After Death.”
Mariusz Duda has officially announced his departure from Riverside after 25 years with the Polish progressive metal band. In a personal statement, the vocalist and bassist cited a creative dead end and a toxic internal dynamic as his reasons for walking away.
“I am proud of everything this band has achieved over the years,” Duda wrote. “But most of all, I am proud of the incredible and extraordinarily loyal fans we have gathered around us. Thank you for everything.”
The core of his frustration was the inability to create: “The current situation within the band no longer allows me to pursue my main passion there, the passion to create new music. And that has always been my primary life goal and priority. On top of that, I am tired of pretending and forcing a smiling band image which, in recent years, has had nothing to do with reality.”
Duda then revealed that his latest Lunatic Soul record, The World Under Unsun, was less about that project’s mythology and more about his deteriorating situation inside Riverside. “In truth, it is not about the end of the story of Lunatic Soul. And the act of leaving a toxic relationship does not concern ‘romantic relationships.’ The main inspiration was the situation within the band, and the track ‘The New End’ was written primarily as a farewell to Riverside fans. The emotions in that song, which were difficult to control, speak for themselves.”
“I am glad that I can finally say this out loud,” he added.
While he says he remains on good terms with most of the band’s members, Duda is clear-eyed about Riverside‘s future. “I do not see any possibility of the band continuing in its current line-up. And restarting it with a different one would be extremely complicated.”
Going forward, Lunatic Soul becomes his primary focus — both in the studio and on the live front. “I am shifting my creative energy to Lunatic Soul, which will soon enter a new phase and become my main studio and live project.”
He closed with a broader reflection: “I see nothing wrong with, at a certain point in life, simply starting to put your own needs first and no longer allowing yourself to be taken advantage of. In a world where everyone pretends to be someone else, it is worth finally being yourself and surrounding yourself with people who truly care about you.”
Triumph guitarist and singer Rik Emmett sat down with Mike DiGiorgio of Rochester’s 13WHAM to talk about the band’s first tour in over 30 years — what fans should expect, who’s filling out the lineup, and how he’s thinking about performing at 72.
The 2026 Triumph tour features original members Emmett and Gil Moore (drums, vocals), joined by guitarist Phil X, drummer/keyboardist Brent Fitz, and bassist Todd Kerns — all three of whom bring serious résumés. Phil X is a Bon Jovi guitarist and a former Triumph member himself; Fitz and Kerns both play in Slash Featuring Myles Kennedy & The Conspirators. Original bassist Mike Levine is sitting out most of the dates due to a hand problem that limits his playing.
When asked whether the crowds buying tickets are mostly longtime fans or people experiencing Triumph for the first time, Emmett said (transcribed by Blabbermouth): “It’s a little bit of both. I think that there are people who — I think there are grandfathers that wanna bring their grandsons and their grandchildren. We’re literally sort of three generations in. And honestly, I think it’s a question of the music being — the songs are the things that are dragging us all out. So I think that’s the biggest thing that I feel, that people are kind of going, like, ‘Oh, you haven’t lived until you’ve seen Triumph do “Magic Power” or “Fight The Good Fight” or “Lay It On The Line” live.’”
He continued, addressing what fans expecting a time capsule performance are in for: “But the pressure from fans is an interesting thing because, of course, I can’t do what I did when I was in my thirties, which is what most people remember. And so if they think they’re gonna get to relive this guy in his red spandex pants or his jumpsuit or something, that’s just not gonna happen. But I do feel like the resurrection of the band as a concert touring act is because there are these songs, and I really look forward to the chance of getting to play with different musicians and in a different kind of circumstance. I mean, it’s gonna be a big show. So there’s gonna be a crowd that has lots and lots of different people with lots and lots of different expectations in every market. But I don’t know.”
“Back to your question, I think that there’s probably gonna be much more repeat customers than there are people experiencing it for the very first time. But, as I said, if they’re dragging along the next generation or two, then there will be new fans. And so — I don’t know. In some ways, I guess I’ll have to mind my Ps and Qs a little bit.”
On why the band brought in Phil X, Fitz, and Kerns, Emmett explained: “Well, first of all, we felt like we had to build a bit of a safety net for ourselves. There are certain notes that I just can’t hit, but there’s this guy, Todd Kerns, a good Canadian boy from Saskatchewan, and he’s been out with Slash and Alice Cooper. And he’s a tremendous musician — guitar, bass, singer. And then Brent Fitz on drums, just because there are some songs where Gil goes, ‘Well, I wanna come down front and sing.’ So Gil Moore is from the original lineup. But there are gonna be double drummers. We’re gonna be like the Allman Brothers and the Doobie Brothers, and I’m sure that more than half of your audience doesn’t even know who I’m talking about. But we’ll have that for some stuff.”
“And then Gil‘s gonna come down and sing a couple of things. And Brent is amazing. He can play keyboards as well, so we kind of get a double-threat kind of guy there. Oh, and he can sing harmony too, so a triple threat. And then Phil X, who replaced me in Triumph when I left. And Phil, he goes out with Bon Jovi and plays all kinds of different things. And he’s a tremendous guitar player with this absolutely unbridled enthusiasm for rock. So that’s really good for me. It’s kind of like, I get this Phil X cattle project; it keeps giving me bursts of energy.”
On Levine‘s situation, Emmett kept it open-ended: “Mike Levine, his health has been up and down, in and out. I’m not sure he’s gonna be able to join us for a lot of shows. The invitation is open, and there’s a place for him whenever he feels like he might wanna do it, even if he just came and sat at a keyboard for a bit.”
Emmett also weighed in on the ongoing debate around legacy bands touring with partial or rebuilt lineups — pointing to Journey, Styx, REO Speedwagon, and Def Leppard as acts whose catalogs carry them regardless.
“There are bands that are out there — Journey, Styx, REO [Speedwagon], Def Leppard — and they have a catalog that is so strong that it becomes this compelling thing. So it’s kind of like jukebox rock, if you’re being cynical or skeptical. But what’s wrong with a really great jukebox, if the songs are done with respect and they remain true to the spirit of the original? But I will deviate from that, because I feel like I’m a musician and a writer before I’m anything else. So a performer is part of it, and people wanna, ‘Hey, I’d love to see [former Journey singer] Steve Perry be able to sing “Don’t Stop Believin’” in the original key and hit all the high notes.’ But life is the way that it is. You don’t get any younger. And so, from my perspective, I go, yeah, but these songs — I get a chance to reinvent them as I reinvent myself, given my circumstances. I’m 72 years old.
“The management company we work with, they also handle Peter Frampton, and Frampton went, ‘Okay, I’m gonna go out and I’m gonna do just a farewell tour.’ And he got out there, and he told them, ‘That 90 minutes I get on stage is the best part of my day. As long as I can keep doing it, please keep booking me. I wanna go back out.’ And I feel like I’m already sensing that when I’m in rehearsals. I mean, I tire more easily than I did. I’m working hard to have the same level of chops. I practice now more than I’ve ever practiced in my life. It’s kind of, like, the veteran hockey player goes to the camp, and he’s gotta work way harder than the rookies just to be able to compete. And I feel that.
“But I also feel like, how lucky am I, at 72 years of age, that I’m getting to chase this thing? How many other people my age get this opportunity? A friend of my wife said, they were talking on the phone, and she said, ‘Most people when they retire,’ and I retired about four or five years ago, but she said, ‘Most people, when they retire, their lives get smaller. They kind of intentionally, they kind of shrink their lives to make it simpler and easier when they’re retired.’ She goes, ‘Look at Rik. He’s trying to make his life bigger.’ And I think that’s an easy way to say it, that that’s the most fun of all, that I’m kind of going, ‘Yeah. I’m gonna see if I can keep up with the 60-year-olds.’”
Triumph kicked off the 2026 tour on 04/10 in Orlando, Florida, donating 100% of net proceeds from that show to Make-A-Wish. The concert at Hard Rock Live Universal Orlando was part of the 23rd annual Celebration Exotic Car Festival.
The North American run celebrates Triumph‘s 50th anniversary, with support from April Wine throughout. The Canadian leg runs from 04/22 in Sault Ste. Marie, Ontario, through 05/08 in Calgary, Alberta. The U.S. leg begins 05/13 in Rosemont, Illinois, and wraps 06/06 in Boston — 10 Canadian and 17 American cities in total.
Formed in Mississauga in 1975, Triumph built their name the hard way — from high school auditoriums and bar stages to sold-out arenas like Toronto’s Maple Leaf Gardens and Dallas’s Reunion Arena. The band has shifted over 15 million albums worldwide, with a catalog anchored by “Lay It On The Line,” “Magic Power,” and “Fight The Good Fight,” and a live reputation built on pyro, lasers, and high-production showmanship. A highlight of that era: a 1983 US Festival performance in front of half a million people.
