Category: Led Zeppelin

 

Becoming Led Zeppelin, which you can watch with a Netflix subscription, is a fantastic documentary. While I do admit I wish it were a little more revealing about the truth behind the legendary band’s blues influences, it’s still one of the best rock documentaries I’ve seen in a long, long time. And I’ve watched a lot of rock docs.

 

 

Netflix has a solid selection of great documentaries about bands and artists from every genre, including these nine about some of the biggest rock stars of all time.

It should be noted that I’m not including any concert films or any of the equally great documentaries on artists in other genres; this is all about rock n’ roll. In no particular order, here are a few documentaries you’ll probably love if you enjoyed Becoming Led Zeppelin.

 

Keith Richards smiling wearing mirrored sunglasses

 

In the world of rock and roll, there is no bigger star than Keith Richards. The Rolling Stones’ co-songwriter and guitar player has had one of the most incredible careers ever, and the stories he’s told over the years captivate rock fans like few others. I am speaking from experience here. I could listen to “Keef” tell stories all day. Keith Richards: Under the Influence is just that, it’s Richards telling his story, as only he can.

 

Return Of The King: The Fall And Rise Of Elvis Presley

There are countless documentaries, not to mention biopics about Elvis Presley. What makes Return of the King: The Fall and Rise of Elvis Presley so great is that it is focused on one event in The King’s career, his 1968 comeback special.

Not only does it feature interviews from many of the people directly involved in the show, like his wife, the late Priscilla Presley, but it has some amazing raw footage of the televised concert. Viewers really get to peek behind the curtain on one of the most famous events in rock history, and see Presley as he was at the time, nervous, scared, excited, and, of course, legendary.

 

 

Close up of Bob Dylan in Rolling Thunder Revue: A Bob Dylan Story By Martin Scorsese

 

Rolling Thunder Revue: A Bob Dylan Story By Martin Scorsese

Martin Scorsese has a long history combining film and music, most famously with his direction of one of the best concert films of all time, The Last Waltz. Rolling Thunder Revue: A Bob Dylan Story is a very different approach, not only for concert films, but for documentaries.

The lines between fact and fiction are deliberately blurred, which is right in line with how Bob Dylan likes to present himself to the public. It’s not everyone’s cup of tea, but if you want to have some fun being tricked like a prankster would, it’s a fascinating film.

 

A screenshot of an animated scene of a man holding up a guitar in ReMastered: Devil At The Crossroads

 

It’s safe to say that without the Delta Blues and without Robert Johnson, there might not be rock n’ roll. Or, at least, it would sound very different. ReMastered: Devil At The Crossroads, from the ReMastered series of documentaries, tells the impossible-to-verify story of Johnson’s mysterious life.

As legend has it, the guitar player, who died during the Depression, sold his soul to the devil at the crossroads, giving him his talent. The film plays up the myth, but also tells the real-life story of Johnson, at least what historians know about it, which isn’t much.

 

A close up of Bob Weir being interviewed in The Other One: The Long Strange Trip Of Bob Weir

 

The Other One: The Long Strange Trip Of Bob Weir

The Grateful Dead have left a legacy as large as any band in American history, and while the late Jerry Garcia will always be the first name associated with them, Bob Weir has been the face of the band and its various incarnations for the three decades since Garcia’s death in 1995. The Other One: The Long Strange Trip of Bob Weir is a deep dive into Weir’s incredible 60 years on the road playing the music of The Dead. It includes extensive interviews with Weir and his family and friends, all helping to tell his story, and that of The Dead.

 

 

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fans in the front of the crowd in Trainwreck: Woodstock ’99

 

The Trainwreck series on Netflix has recently included a powerful documentary about Travis Scott and the AstroWorld Tragedy, but a few years ago, it kicked off with a chilling look at the disaster that was Woodstock ‘99.

Much has been written and said about that ill-fated mess of a festival, but this might be the best telling of the story. The 1999 edition of Woodstock sadly tarnished the legacy of the previous two versions of the festival, and this intense documentary on Netflix shows exactly why.

 

Norman Harris looking into the camera as he shows a guitar in Norman’s Rare Guitars Documentary

 

Norman’s Rare Guitars started as a nondescript guitar shop in Reseda, CA, opened by a musician named Norman Harris, who saw the value in rare, old guitars.

It has since moved to Tarzana and over the years has become the go-to spot for many of the most famous guitar players in the world whenever they are in LA. The Norman’s Rare Guitars Documentary on Netflix is not about a band or an artist, but in many ways, Harris and his guitar shop are as important to rock history as any artist.

 

Three women being interviewed in ReMastered: The Lion’s Share

 

tells the story of the song “The Lion Sleeps Tonight” and the royalties from that song.

It’s a fascinating look behind the scenes of the music industry and just how ugly things can get when it comes to the finances. It follows the history of that one song, and highlights the complicated system that often rewards people other than the ones who are actually responsible for music’s biggest hits. It’s not a look into the artistic side of rock, but that side is only half of the story. It helps explain the other 50%, the business side, and just how weird it is.

 

This isn’t, of course, an exhaustive list of great music documentaries on Netflix, and the streamer seems to be pretty dedicated to adding new ones in every genre regularly. At the very least, these are some of my favorites to start with.

 

 

 

 

Any band getting back together must have a good reason to get back on that stage. It’s easy to figure out why some people either don’t want to speak to each other or are too past their prime to make the magic happen like they id in the early days, and it’s no surprise why bands like The Police have only done one legitimate reunion before going back to their solo joints. But if there was one band that should have had some more time with their fans during their reunion, it was Led Zeppelin.

 

But when talking about getting back with his old mates, Robert Plant has been the one hold-out, and it’s not hard to see why, either. It’s impossible to expect him to channel that ‘Percy’ persona every time he takes the stage, so he has far more weight to carry on his shoulders outside of Jimmy Page playing his signature licks and Jason Bonham standing in for his old man behind the drum kit.

 

 

Then again, that doesn’t mean that Plant has been completely against getting back together. The Page/Plant pseudo-reunion did make for some interesting musical moments when they redid some of their old tunes, and even when he performs with Allison Krauss, hearing him do more folksy versions of tunes like ‘The Battle of Evermore’ is far more interesting than hearing him stretch himself for ‘Rock and Roll’ or ‘Immigrant Song’.

 

Celebration Day may have been the last time Plant officially got back together with something called Led Zeppelin, but that didn’t mean he couldn’t have a few one-off shows for fun. But while no band member looks back on Live Aid as their finest hour in the 1980s, they could make something more credible when Tony Thompson was behind the kit.

 

From the minute they got together in the rehearsal room, it was clear that everyone was unfocused. Everyone had the chops to pull something off, and they even had the luxury of working in Peter Gabriel’s state-of-the-art studio in Bath, but since they had no idea what to play, it was impossible to get them all on the same page, especially when Thompson had to leave halfway through when going out on tour with another band.

 

And while the nostalgia factor may have helped get the reunion over the line after Live Aid, Plant was much less interested after spending one too many days sitting on his hands, saying, “The whole thing dematerialised. Jimmy had to change the battery on his wah-wah pedal every one and a half songs. And I said, ‘I’m going home.’ [John Paul] Jonesy said ‘Why?’ ‘Because I can’t put up with this.’ ‘But you lived with it before.’ I said ‘Look, man, I don’t need the money. I’m off.’”

 

When listening to what Plant was doing then, it’s clear that he was also on a new wavelength than he was back in 1973. Now and Zen was a fine record for his solo career, but since he was coming off of his album Shaken ‘n’ Stirred, those influences from bands like Talking Heads were definitely going to clash once Jones broke out the old keyboard lines and Page started cranking out the riff to ‘Whole Lotta Love’.

 

So, really, the failed Zeppelin reunion in the 1980s had much less to do with the disaster that happened at Live Aid. Everyone in the band could still play, but sometimes it comes down to people being on two separate creative pages that rip them apart. It may dishearten some fans, but you can’t blame Plant for wanting to change up his style.

 

 

 

 

 

From day one, Led Zeppelin was always the brainchild of Jimmy Page. Sure, the band could have been a democracy when it wanted to, but there was nothing on any of their records that didn’t get Page’s approval or had his signature touch for production behind the scenes.

Although most of the members were free to do whatever they wanted in between the studio and the road, Page always had a limited time to take breaks before the next album whirlwind started back up again.

 

Because if Page had his way, Zeppelin would probably still be going to this day, pumping out whatever riffs were floating around in his head. The entire group had the makings of a superband, and when John Bonham passed away after In Through the Out Door, it would have been foolish to think that any kind of drummer had the technical chops to replace him on the drum stool.

 

 

But, really, the end of Zeppelin finally allowed Page to work with people he never got the chance to in the early days. He had always been a fan of Paul Rodgers when putting together the Swan Song label and signing Bad Company, but after needing a musical incubation chamber after Zeppelin, The Firm was the best way he could have moved on from his old band and still bust out the violin bow on his guitar when he wanted to.

 

Looking back on his main outfit, though, Page wanted to keep himself laser-focused on getting the guitars to sound as roaring as possible and make sure every aspect of the mix was perfect. And while there would be the occasional guest vocal from someone like Sandy Denny, Roy Harper was among the only people in the greater rock sphere that Page could set aside time for.

 

He already gave the vocalist his spotlight at the tail end of Led Zeppelin III, but he had a certain camaraderie with Harper that went far beyond a fly-by-night friend. So when Harper asked Page to throw in some guitar licks on his album Stormcock, Page broke his one rule and stepped out of the studio for a bit to have a break from his usual wheelhouse.

 

According to the guitarist, this was the only instance where he would have set aside time for someone other than Zeppelin, saying, “The only deviation from that was my playing with Roy Harper on Stormcock. He and I were playing the two acoustics, and that was really cool.

 

I really admired Roy’s work and still do. I saw him the last time he played at the Palladium in London and it was absolutely extraordinary. It was spine-chilling – the stuff he was coming up with, the new material he’d written. But that was the only area really where I stepped out of Led Zeppelin, because if I wasn’t on the road I was writing for the next album.”

 

But given the circumstances, Page did end up giving the world a look at another version of his sound that he kept under wraps. Many of Zeppelin’s acoustic performances were few and far between by the time they started working on Physical Graffiti, so hearing him make an unintended sequel to the material on Led Zeppelin III felt like seeing a vision of what Zeppelin would have been like as a more folksy affair.

 

Then again, many fans shouldn’t have become used to Page taking a break all that often. He had plenty of ideas in the tank to carry Zeppelin on for multiple decades if he could, but sometimes it’s better to contribute to a few songs to break up the monotony of being in the studio too long.

 

 

 

 

 

The Queens of the Stone Age recently dropped a filmed live performance, Queens of the Stone Age: Alive in the Catacombs, and now they’re bringing the project to both audio streaming and vinyl.

 

In a post on Instagram, the band announced that the Alive in the Catacombs audio will be up on a digital platform this Friday, June 13th. They also announced “a limited edition vinyl package is available for pre-order now. It contains an exclusive 24-page booklet.”

 

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“Filmed and recorded in July 2024, Queens of the Stone Age: Alive in the Catacombs captures QOTSA as you’ve never seen or heard them before,” reads a description of the live concert project. “Every aesthetic decision, every choice of song, every configuration of instruments… absolutely everything was planned and played with deference to the Catacombs — from the acoustics and ambient sounds — dripping water, echoes and natural resonance — to the darkly atmospheric lighting tones that enhance the music. Order the film for stream or download now.”

 

One package of the film also offers “behind the scenes” extras, including “Alive in Paris and Before, an intimate behind-the-scenes documentary film, revealing the emotional and physical trials Queens of the Stone Age overcame to create Alive in the Catacombs.” Click here for video streaming options.

 

QOTST: Alive in the Catacombs Track List

Running Joke/Paper Machete

Kalopsia

Villains of Circumstance

Suture Up Your Future

I Never Came

The stripped-down performance was filmed last summer in the Catacombs of Paris, France. It marks the first live performance ever held in the ossuary.

 

Queens of the Stone Age On Tour

In addition to the new live project, the Queens of the Stone Age are also embarking on a U.S. tour, which picks up in Boston tonight. Check out the full list of dates below:

 

06/11 – Boston, MA @ MGM Music Hall at Fenway *

06/13 – Atlantic City, NJ @ Hard Rock Live at Etess Arena *

06/15 – Manchester, TN @ Bonnaroo Music & Arts Festival

06/17 – Columbus, OH @ KEMBA Live! Outdoor *

06/18 – Cincinnati, OH @ The Andrew J Brady Music Center *

06/20 – Madison, WI @ Breese Stevens Field *

06/21 – Chicago, IL @ Huntington Bank Pavilion at Northerly Island *

 

 

 

Former Oasis sticksman Zak Starkey won’t attend the reunion tour in case he cries. Drummer could have rejoined the Gallaghers but for misplaced loyalty to The Who who ended up firing him twice anyway. However, he could yet rejoin Roger Daltrey’s band for Farewell tour.

 

 

Zak Starkey can’t watch Oasis without him being in the line-up(Image: Getty Images North America)

Ex Oasis drummer Zak Starkey won’t go to their reunion gigs because it might make him cry.

 

The sticksman was in the band between 2004 and 2008 and many fans expected him to rejoin Liam and Noel Gallagher at this summer’s comeback tour.

 

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However, Starkey’s loyalty to employers The Who – who have since fired him – scuppered any hopes of that.

 

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Asked if he had been invited back to Oasis Zak told the Daily Star: “I was in The Who! There might have been a conversation, but I was in The Who then, you can’t go be hopping about like that, and letting people down.”

 

Now Joey Waronker will be the drummer for the Oasis 25 Live shows, but Zak can’t bring himself to check his playing out.

 

“I’ll cry if I go, in case he mucks it up,” mused Zak, who is the son of Ringo Starr. “I’m sure he won’t, but you know that’s my favourite band. I’d have done that gig for nothing, you know? I just loved it. I can’t see someone else do it that’s not me.”

 

 

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Zak’s band Mantra Of The Cosmos with Bez, Shaun Ryder and Andy Bell(Image: Dave Benett/Getty Images)

Zak’s super-group Mantra Of The Cosmos are back with banging new song Domino Bones this week, a track that features Noel Gallagher as well as Oasis star Andy Bell plus Manchester legends Shaun Ryder and Bez.

 

Noel described the song as “Dylan, Dali, Ginsberg and a bit of cosmic jibber-jabber” but was too “mad” for his own album so gave it to Zak.

 

 

Noel Gallagher plays on Zak’s new supergroup project(Image: PR)

The ‘Mantra project ended up taking the blame for Zak being ‘fired’ from The Who for the second time last month, although according Zak it was all a big mistake.

 

Zak spilled: “I got fired, twice. Once I wasn’t even there.

 

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“I didn’t enjoy what they (reports) were saying about Roger (Daltrey), because he’s my friend. And we talk on the phone every week still. And I text with Pete (Townshend) for hours. We’re still great friends. We’ll always be friends and brothers, really. Roger thought that I was so busy that he needed to retire me because of ‘Mantra but I’m actually not busy at all.”

 

 

Zak played with The Who for 29 years(Image: Getty Images)

The Who embark on a farewell US tour later this year but despite all the drama Zak could yet rejoin the line-up.

 

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“Last week Roger said, ‘Don’t take your drums out of the warehouse yet in case we need you’. What the f**k, Roger!? Has anyone been fired three times from you? I said, ‘If that’s going to happen, please let me know’.”

 

 

 

 

Ozzy Osbourne and Sharon Osbourne. Sharon Osbourne announced that one band has been removed from the lineup of the upcoming “Back to the Beginning” concert set to take place on July 5, 2025 in Birmingham, England.(AP Photo/Matt Sayles)

Less than a month out from the sold-out final performance of the original members of Black Sabbath, drama is brewing in the land of Ozzy Osbourne.

 

Fans are eagerly seeking clues as to which band was reportedly removed from the concert by Osbourne’s wife and manager, Sharon Osbourne.

 

“I had a huge, huge to-do with a manager over this celebration for Ozzy and Sabbath. And it was probably the worst way I’ve felt in years,” she said during a wide-ranging interview with Metal Hammer. “And I don’t care what this person says about me, thinks about it, because he doesn’t know me. And he’s now going around making up b——- lies because I threw his band off the bill.”

 

“I don’t care what people say. Because do you know what? I don’t love them. I care about people who love me, what they say about me,” she went on to say. “You can’t care what an industry says, because you don’t love them, so how can it hurt you? It doesn’t.”

 

It remains undisclosed which band was dropped from the historic concert’s lineup. Rumors initially pointed to progressive metal heroes Tool, as the band had reportedly been scrubbed from the concert’s website. However, this has since proven untrue, and the mystery continues.

 

Fans await further details as they prepare to attend ‘Back to the Beginning’ on July 5 at Villa Park in Birmingham, England, where “The Ozzman” and his original Black Sabbath bandmates, Tony Iommi, Geezer Butler, and Bill Ward, are set to take the stage.

 

Sabbath will be joined by Metallica, Slayer, Pantera, Gojira, Halestorm, Alice in Chains, Lamb of God, Anthrax and Mastodon.

 

Guns N’ Roses’ Slash, Smashing Pumpkins’ Billy Corgan, Korn’s Jonathan Davis, Limp Bizkit’s Fred Durst, Wolfgang Van Halen and Rage Against the Machine’s Tom Morello are also set to form a super-band for the concert, which reportedly sold out in 16 minutes this past February.

 

Osbourne, who was diagnosed with Parkinson’s disease in 2019, a condition which has since affected his ability to walk, previously stated that while he doesn’t intend to perform a full Black Sabbath set, he does plan on doing ‘little bits and pieces’ with the group as he feels ‘comfortable.’

 

 

INGLEWOOD, CALIFORNIA – DECEMBER 13: (L-R) Robert Trujillo, James Hetfield, Lars Ulrich and Kirk Hammett of Metallica pose onstage during Metallica’s All Within My Hands Foundation Presented by the Helping Hands Concert And Auction 2024 at YouTube Theater on December 13, 2024 in Inglewood, California.

 

Beyond being metal royalty, Metallica unwittingly deconstructed the idea of the rock doc in 2004 with “Some Kind of Monster,” which showed the splintered and discontent band going through group therapy while recording their 2003 album “St. Anger.”

The band has received the documentary treatment once more, as Jonas Åkerlund’s “Metallica Saved My Life” debuts on June 11 at the Tribeca Film Festival. This film is more of a victory lap, focused on the megafans who have found their tribe and a joie de vivre through the group’s heavy sound. And Åkerlund, who has collaborated with the group since their ‘90s videos like “Turn the Page” and “Whiskey in the Jar,” is the perfect director to film the band as fans see them.

 

Lars Ulrich — Metallica’s outspoken drummer who stoked his own musical obsession by following bands like Motörhead, Diamond Head and Iron Maiden in his youth — spoke with Variety about the new generations of fans, dealing with rock star adulation and the joy he gets from Metallica memes.

 

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With such a fervent fanbase, is there a trick from going to Rock God to normal guy mode once you leave the stage?

I can’t tell you that there is one specific thing. I think if you try to answer that question with the utmost sincerity, what it boils down to is the DNA makeup of the four people in the band. You always have to acknowledge the luck of the draw or the energy of the universe or however you want to paraphrase that.

We’re very lucky that the four of us are individual personalities and our collective Metallica personality. We’re all first and foremost music lovers. We always feel like the best is yet to come. We’re always looking ahead to the next opportunity to do something creative or something unexpected, or something that’s going to challenge us or turn us on musically.

 

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With that mindset, you keep yourself in check. We certainly keep each other in check and have kept each other in check along the way. We’re just lucky that we prioritize being in a band.

Tens of thousands, if not hundreds of thousands, if not millions of people start in rock and roll bands, and then they wither out and end up in solo careers — or they burn out. At the end of the day, we love being in Metallica more than the alternatives. Certainly, as you get older, you have to put more and more time into making it work, hearing and respecting everyone’s needs and all the checks and balances. But ultimately we love creating music.

We love connecting to others through music and certainly, I think that it’s clear in the film, we’re fans ourselves. The best songs still haven’t been written, your best album still hasn’t been recorded, and your best show is still ahead of you rather than behind you.

 

Metallica has taken some big risks, like changing up its sound for The Black Album and releasing the “Some Kind of Monster” film. Fans have followed you even as you switch things up. Do you think that having this fanbase liberates you in taking big swings?

I don’t think it was ever a choice. I would like to believe that we dictate our own narrative, and one of the key pieces of the individual and collective DNA in Metallica is curiosity.

We’ve always wanted to turn over rocks and look at new ideas and challenges. If curiosity is a significant part of our DNA, another part is the fear of complacency, a fear of fear, of getting stuck. The claustrophobia, “Oh my God, we’ve got to keep evolving. We’ve got to keep growing. We gotta keep trying different shit.” The fear of stagnation, of ending up on autopilot, a fear of repetition, of just getting stuck. So we’ve always pushed ourselves into new and different creative endeavors.

 

Whether it’s the films or doing stuff with symphony orchestras or playing with different producers or new approaches, it’s to make sure that we always keep it fresh and there are always challenges in front of us. When “Ride the Lightning” came out, the fourth song, “Fade to Black,” had acoustic guitars on it.

There were definitely some raised eyebrows and people in the very hard-rock end of the community wondered what we were doing. But I would like to think that very early on, we stated that we were not to be boxed in, and we were not to be doing always what was expected.

We would not be the band to churn out the same record over and over again, just in a different sleeve with different cover art. We were gonna do everything that we could to prevent that from happening.

 

As new fans discover your band, are there any surprising trends that you see? Everyone loves a huge record like “Master of Puppets,” but are there any deeper cuts speaking to new fans that you might not have anticipated?

The biggest surprise is the diversity and lack of a uniform answer to the question. When you talk to 10 people, 20 people, 50 people — and we do talk to a lot through meet and greets and interacting with fans — everyone’s got a different story. Everybody’s got a different album that they latch on to. Everybody’s got a different song.

Everybody’s got a different reason for getting into the band. Certainly back in the day, in the ‘80s or the ‘90s, the answers were maybe a little more in sync, in unison. The net wasn’t cast as wide as it is now, but nowadays it’s a rite of passage for 13-year-olds to bring their parents, or parents bringing their kids, to the shows.

You never know which way, with younger people picking up on stuff through word of mouth, or then others picking it up through algorithms on their streaming platforms or whatever. I talk to fans that say, “My favorite song is off ‘72 Seasons’” or “My favorite song is something off of ‘Death Magnetic,’” and you kind of sit there and wait for somebody to say “For Whom the Bell Tolls.”

They’re like, “What’s ‘Ride the Lightning’? Oh, that’s one of your early records? I’m more into the new stuff.” I think it’s the beauty of it, especially when you’ve been around as long as we have. Look at the “Stranger Things” phenomenon from a couple of years ago.

 

Many Metallica fans are so artistic themselves. Do you ever share funny Metallica memes with the band that come your way?

We have a band-only text thread that’s just for the four members, and there are definitely some fun things that we see in this day and age with everybody being so creative. There was this “Star Wars” one going around a week or two ago which was really funny. There are some conversations between Darth Vader and a whole thing that builds up, and then they’re talking about the dark side.

Then all of a sudden it goes into “Darkness imprisoning me!” — that whole thing from “One.” I think it had its origins on TikTok. We love people’s creativity, and to see so many fans reinterpret our songs, whether it’s on guitar or drums or singing them and obviously taking them into different genres.

Sometimes you mix a little AI in there and then something fun spits out. It’s a lot to keep track of because this happens hundreds, if not thousands, of times a day. But there are some fun ones that get into our band-only text thread for the four of us to enjoy and appreciate.

 

 

 

 

Robert Plant’s full 2014 Pinkpop Festival set with the Sensational Space Shifters is now online

 

Robert Plant onstage at Pinkpop 2014

Robert Plant has always been diplomatic in his refusal to entertain the idea of a Led Zeppelin reunion, and he remained noticeably silent when this year’s critically acclaimed Becoming Led Zeppelin documentary introduced the band to a new audience.

 

 

Nevertheless, Plant has never failed to embrace his old band’s catalogue when playing live, and the official video of his set at the Dutch Pinkpop festival in 2014 bears this out. Uploaded to the festival’s official YouTube channel at the weekend, it features Plant and his band, the Sensational Space Shifters, performing a nine-song set that includes five Led Zeppelin classics.

 

Plant opens his set with Babe I’m Gonna Leave You – written by American folk singer Anne Bredon but credited to “Trad arr Page” on Led Zeppelin’s first album – and goes on to play covers of Black Dog, Going To California, Ramble On and Whole Lotta Love.

 

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Elsewhere in the set, Plant and his band play Willie Dixon’s Spoonful, the Appalachian folk classic Little Maggie, and two of his own solo songs, Funny in My Mind (I Believe I’m Fixin’ to Die) (based on Bukka White’s Fixin’ To Die Blues) and Tin Pan Valley.

 

 

Pinkpop’s YouTube archive includes sets by Soundgarden, Rage Against The Machine, Lenny Kravitz, Sepultura, Rammstein, Korn, Smashing Pumpkins, Faith No More, Skunk Anansie and many more.

 

Robert Plant and Suzy Dian will be playing shows in France and Spain next month with Saving Grace Full dates below.