When we look at bands with tenured careers who have put out an album every two or so years for the past two decades, the story is usually about continuing to innovate and grow as they find new ways to stay relevant. Like frogs constantly kicking their legs to find purchase in the treacherous bucket of life, bands are reaching for anything they can hold onto: burnt-out rockers taking early slots on main stages of corporate punk festivals, hologram tours of everyone and their uncle, and of course The Lars Ulrich Revue plodding through their set surrounded by AI animations in a giant sphere owned by Harvey Weinstein’s bestie. Continue reading
