New Order have announced that Stephen Morris and Gillian Gilbert will not be touring with the band “for the foreseeable future” due to personal health reasons.
The band shared the update while confirming its November appearance in Chile, which will mark New Order’s first performance there in seven years. Morris and Gilbert will not appear at that show. The current performing lineup for the date is Bernard Sumner, Phil Cunningham and Tom Chapman.
The announcement comes ahead of Joy Division/New Order’s induction into the Rock & Roll Hall of Fame. The group is part of the Hall’s 2026 Performer category, alongside Phil Collins, Billy Idol, Iron Maiden, Oasis, Sade, Luther Vandross and Wu-Tang Clan. The induction ceremony is scheduled for November 14 at the Peacock Theater in Los Angeles, with a broadcast on ABC and Disney+ in December.
It is not currently clear whether Morris or Gilbert will attend the Rock Hall ceremony. New Order’s latest statement addressed touring and the Chile performance, but did not specify plans for the induction.
Former Joy Division and New Order bassist Peter Hook has separately addressed the Rock Hall event. In an April interview with Rolling Stone, Hook said he does not plan to stand with his former New Order bandmates at the ceremony and said the likelihood of a joint performance “doesn’t look good.” He also said he is looking forward to the induction, but “not one other member of the band is a reason.” Hook added that he had heard “rumors” about whether the other members would attend, but said it was not his place to confirm.
Hook remains active with Peter Hook & The Light. The band’s current 2026 schedule includes New Zealand and Australia dates in July, UK dates in August, and a North American run from August 22 in Cincinnati through September 27 in Vancouver. Most of the North American shows are billed as performances of New Order’s Get Ready in full, plus Joy Division and New Order songs.
Featuring veterans of the Adelaide heavy scene with members from Japam and Colibrium, Control The Sun kicked off the year with their first-ever gig, opening Froth And Fury in Adelaide and dropping their epic debut single, Say It’s Over. Several months have passed, and they are back, shifting things up a gear with their second […]
The volatile blood feud between hard rock juggernauts Mötley Crüe and Godsmack has officially reignited on the global media grid. Breaking the camp’s recent silence, Crüe bassist Nikki Sixx has launched a blistering counter-offensive against Godsmack drummer Shannon Larkin, following a controversial June 2026 livestream where Larkin openly accused Sixx of relying on pre-recorded vocal tapes to execute Mötley Crüe’s legendary stadium anthems.
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MÖTLEY CRÜE VS. GODSMACK: HISTORICAL TRAJECTORY GRID
Operational Flashpoint Era
Primary Conflict Components
Core Technical Assertions
Public Retaliation Status
Crüe Fest 2 Tour (2009)
Sully Erna clashing with Crüe security layout.
Godsmack alleged “rock-star garbage” and mistreatment of guests.
Inspires the Godsmack hit single “Cryin’ Like A Bitch”.
Claims Sixx didn’t play a single live note on the 2022 stadium tour.
Manager Allen Kovac blasts claims as a leverage smear campaign.
John 5 Interview (May 2026)
Active guitarist addresses live technical mixing.
Confirms backing vocals, intros, and sirens are pumped from tape.
Strongly defends that Sixx, Neil, and Lee play every live note.
Larkin Livestream (June 2026)
Drummer attacks Crüe while defending Mike Mangini.
Claims Sixx looks away from the mic while his vocals play.
Sixx fires back on X, labeling Larkin a “hater” from a “B-level band”.
The Spark: Larkin Targets Crüe’s Live Integrity on YouTube
The latest structural breakdown in relations began during a June 19, 2026, live broadcast on Shannon Larkin’s official YouTube channel. While defending Godsmack’s recent high-profile decision to recruit former Dream Theater drumming phenomenon Mike Mangini for their current North American tour tracking run—following a temporary stint with Wade Murff—Larkin used the opportunity to champion Godsmack’s raw, organic approach to live music.
In doing so, he drew a sharp contrast against modern electronic homogenization by aiming his sights squarely at Mötley Crüe’s founding bassist.
“Godsmack uses no click tracks, no backing tracks,” Larkin asserted during the stream. “And backups, you see Nikki Sixx up there [with Mötley Crüe]. He’s not really singing, he looks away, but you still hear his voice. Well, it’s a track playing. But in order for those things to happen, the band has to be on a click track… So it’s a homogenization of what used to be the dangerous feeling of a rock show.”
Larkin’s direct critique quickly caught fire across internet aggregators, moving from initial reporting on Blabbermouth.net directly into the path of Sixx himself.
The Retaliation: Sixx Unloads on “B- and C-Level Bands”
Nikki Sixx did not mince words when responding to the percussive veteran’s claims. Taking to his official account on X (formerly Twitter), the iconic songwriter unleashed a cascade of posts designed to entirely diminish Larkin’s stature and question his career strategy.
“Who’s this Shannon Larkin hater?” Sixx wrote aggressively. “It’s funny how so many B- and C-level bands seem to spend more time talking about us than writing songs people actually remember. Maybe it’s jealousy, maybe it’s insecurity, maybe ticket sales are a little slow. Either way, borrowing someone else’s spotlight has never been much of a long-term career strategy.”
Sixx further doubled down on his disdain for media commentary from competing artists, adding:
“I genuinely feel for musicians who never figured out that the best publicity is writing great songs — over and over again, decade after decade for fans not critics. It reminds me of the endless bimbo podcast crowd that builds an audience by talking about everyone else instead of creating something worth talking about. Anyway, maybe he needs to take a nap before he does more press.”
The John 5 Technical Perspective and Deep Historical Bad Blood
The debate surrounding Mötley Crüe’s structural use of digital enhancements on stage is far from new. In fact, it remains one of the most polarizing tracking topics in hard rock journalism, highly fueled by a explosive 2023 lawsuit filed in Los Angeles County’s Superior Court by retired founding guitarist Mick Mars. Mars’s attorneys alleged that Sixx failed to play a single live bass note during the group’s 2022 stadium tour, which Crüe manager Allen Kovac aggressively countered by calling it false slander and elder abuse directed at a musician battling Ankylosing Spondylitis.
Just last month, in May 2026, active Crüe guitarist John 5 attempted to clarify the live production configuration during an appearance on the Thinking About Guitar podcast. While John 5 openly conceded that supplementary audio components are utilized on the road, he firmly defended the instrumental honesty of the core tracking performance.
“Listen, there’s backups [backing vocals] that are on track,” John 5 openly revealed. “Of course, there’s backups pumped in, there’s sirens pumped in, there is intros pumped in, but all the music that we’re playing is being performed by us. Nikki plays every single note on that stage. He messes up. You can hear mistakes. Everybody plays everything.”
This latest 2026 tracking flare-up also taps straight into a legendary, localized history of bad blood between the two bands that has quietly simmered since the 2009 Crüe Fest 2 package tour. Following severe backstage ego clashes regarding security limits and guest backstage access, Godsmack frontman Sully Erna famously penned the smash hit single “Cryin’ Like A Bitch” as a direct, unvarnished attack on Sixx’s rock-star persona.
While Larkin previously noted in archival sessions that he originally got along wonderfully with Sixx and was even asked to record with his side-project Sixx:A.M., it is completely clear that any old-school branch of peace has been completely pulverized as this new war of words dominates the media circuit.
What did Shannon Larkin say about Mötley Crüe’s live show? Larkin alleged that Mötley Crüe heavily relies on pre-recorded backing vocal tracks on tour, claiming he has witnessed Nikki Sixx’s backing vocals blasting through the sound mix even when Sixx is looking completely away from his microphone.
What was Nikki Sixx’s official response to the backing track claims? Sixx took to X to bash Larkin, labeling him a “hater” from a “B- or C-level band” who is utilizing Mötley Crüe’s legendary spotlight to compensate for slow ticket sales and insecurity.
Did Mötley Crüe admit to using live backing tracks? Yes. In a May 2026 podcast layout, guitarist John 5 and manager Allen Kovac confirmed that multi-tracked backing vocals, sirens, and intros are pumped into the live stadium mix, but firmly maintained that the primary instrumentation is performed 100% live.
Who’s this Shannon Larkin hater?
It’s funny how so many B- and C-level bands seem to spend more time talking about us than writing songs people actually remember. Maybe it’s jealousy, maybe it’s insecurity, maybe ticket sales are a little slow. Either way, borrowing someone…
The Accusation: Godsmack drummer Shannon Larkin blasted Mötley Crüe on a June 2026 stream, alleging Nikki Sixx fakes his live backing vocals using tapes.
The Counter-Attack: Nikki Sixx broke the band’s silence on X, completely burying Larkin as an insecure “hater” from a low-tier band.
The Production Defense: Current Crüe guitarist John 5 recently confirmed backing track layers are active in the mix but asserted the band plays every single note live.
The Roots: This clash marks a direct continuation of bad blood tracking back to the 2009 Crüe Fest 2 tour, which inspired Godsmack’s “Cryin’ Like A Bitch”.
The internet lines are officially drawn, the rock-star rhetoric is hitting peak volume, and the underlying debate over live tracking authenticity is showing absolutely zero signs of slowing down in the 2026 calendar cycle.
What is your honest assessment of Nikki Sixx’s aggressive counter-strike against Godsmack’s camp? Do you agree with his statement that lower-tier bands spend far too much time talking about legacy acts to steal headlines, or do you feel Larkin’s criticisms regarding the tracking homogenization of modern dangerous rock shows are completely valid? Sound off with your tracking thoughts, concert experiences, and comments below!
does a vision lend its wisdom in the light held by the prism
Bunadox returns from a quiet stretch with The Prism, a track that treats ambition as a condition of doubt and private desire. The Seattle project, led by sound designer and multi-instrumentalist Hans Twite, has always seemed drawn to the place where programmed precision meets the loose intelligence of players. Here, that tension feels newly sharpened. Baritone guitar moves through the arrangement with a low, searching authority; Will Andrews’s drums supply a restless architecture, syncopated enough to unsettle the floor under the song without turning the piece into an exercise. The vocals begin close to the chest, understated and watchful, then lift into a controlled glide, gathering power without breaking the song’s inward spell.
The track’s stated terrain is interior conflict, though the music keeps the drama physical. Its new-wave synth beat has mass and contour rather than a simple atmosphere, carrying traces of Ultravox’s sleek elegance and the haunted machiney of early Gary Numan, while the Dolby Atmos presentation gives the production a sense of depth. Bunadox draws from postpunk, dark wave, and industrial music, but The Prism gains its charge from restraint here: every part seems placed in relation to an unseen stress, a force bending light before it reaches the eye.
“There are many versions of ourselves, all living inside of us,” he says. “Each version has a conflicting level of certainty in who it is, and who it is supposed to be. A vision can be a force that drives us forward, but the light that pushes us, is also bent in our will. The choice of what we see, and who we listen to, is ours alone. Our intentions operate on many wavelengths, some in high frequencies, and others operate very low. But what can we see if we open up to it all?”
That explanation could read as metaphysics, but Twite’s background keeps the idea grounded. He has spent years in experimental groups, including The Ether Room and Jungle Maps, and has since built a career in audio design for games, film, science channels, and NPR production. His method for Bunadox is collaborative: he begins with unusual timbres, then invites local musicians, engineers, and producers to follow their instincts as much as their plans. On The Prism, that process yields a track concerned with selfhood without becoming airless. The song circles the inner vision of a possible self: the version we chase, obey, resist, or finally learn to question.
“There has been many times that I have felt pulled by a vision of what I was supposed to be doing, or who I was supposed to be in certain situations,’ he admits. “I’ve realized many times that idea can be a trap, and that there are more possibilities for yourself if you open up your mind and unravel your idea of how things should be.”
Listen to The Prism below and order the single here.
As a reintroduction after 2023’s Fell Into Night, The Prism is purposeful without grandstanding. It points toward a new series of releases and future multimedia performances with improvisation at the center. It gives Bunadox a persuasive form for its central preoccupation: the self as prism, bending intention into revelation, error, and motion.
Rooted in the Vans Warped Tour community, the life-changing mental health non-profit To Write Love on Her Arms (TWLOHA) will celebrate its 20th anniversary the weekend of the festival’s Long Beach dates next month. Join the many artists, advocates, and partners who have helped to amplify its mission over the years at a special screening of their powerful documentary “To Write […]
The newly minted ARIA Hall of Fame Inductees The Living End have made it clear their upcoming hit-loaded I Only Trust Rock n Roll Regional Tour is one of the hottest tickets in town, with seven sold-out shows in the Sunshine Coast, Hobart, Ballarat, Cairns (first show on August 12), Townsville, Mackay and Thirroul just […]
Live Nation has today announced that iconic rock band Evanescence will play a second show in Melbourne on their forthcoming arena tour of Australia and New Zealand to meet the overwhelming demand for tickets, with their first date now sold out! This new show is confirmed for Melbourne’s Rod Laver Arena on Wednesday 10 March. […]
Progressive metal band Between The Buried and Me will bring The Blue Nowhere Tour down under this winter, with local heavyweights joining each Australian date. Brisbane’s Citadel will kick things off at The Triffid on Wednesday 15 July, followed by Melbourne’s The Omnific at The Croxton on Friday 17 July and Sydney’s Nightdive at Crowbar […]
Featuring veterans of the Adelaide heavy scene with members from Japam and Colibrium, Control The Sun kicked off the year with their first-ever gig, opening Froth And Fury in Adelaide and dropping their epic debut single, Say It’s Over. Several months have passed, and they are back, shifting things up a gear with their second […]
LIVE & LOUD: Stream the World’s Hardest Radio Station 24/7 Below:
(@NikkiSixx) 
The newly minted ARIA Hall of Fame Inductees The Living End have made it clear their upcoming hit-loaded I Only Trust Rock n Roll Regional Tour is one of the hottest tickets in town, with seven sold-out shows in the Sunshine Coast, Hobart, Ballarat, Cairns (first show on August 12), Townsville, Mackay and Thirroul just […]
Live Nation has today announced that iconic rock band Evanescence will play a second show in Melbourne on their forthcoming arena tour of Australia and New Zealand to meet the overwhelming demand for tickets, with their first date now sold out! This new show is confirmed for Melbourne’s Rod Laver Arena on Wednesday 10 March. […]
Progressive metal band Between The Buried and Me will bring The Blue Nowhere Tour down under this winter, with local heavyweights joining each Australian date. Brisbane’s Citadel will kick things off at The Triffid on Wednesday 15 July, followed by Melbourne’s The Omnific at The Croxton on Friday 17 July and Sydney’s Nightdive at Crowbar […]