Motley Crue Responds to Mick Mars’ Lawsuit, Contending He Quit After ‘Struggling to Remember Chords, Playing the Wrong Songs’

Chris Willman Senior Music Writer and Chief Music Critic The guest list for Willie Nelson’s 90th birthday all-star concerts at the Hollywood Bowl has been significantly expanded. Sixteen additional names were announced Wednesday for the already packed two-night lineup, representing a roughly 50% expansion of a bill that was advertised with 30 stars when it first went on sale — and immediately sold out — in January. Newly added stars from the worlds of rock, country and other genres include Dave Matthews, Emmylou Harris, Jack Johnson and fellow Texans George Strait and Gary Clark Jr. Nelson’s sole surviving fellow Highwayman, Kris Kristofferson, has also been appointed to the lineup. The son of one of those Highwaymen, Shooter Jennings, is joining the bill as well. Others freshly named to appear this Saturday or Sunday include Dwight Yoakam, Stephen Stills, Rodney Crowell, Booker T. Jones, Buddy Cannon, Daniel Lanois, Jamey Johnson, Waylon Payne and Lily Meola.

Chris Willman Senior Music Writer and Chief Music Critic “Red” was unfortunately more than just a metaphor for Taylor Swift over the weekend, as fans took to social media after her Houston three-night stadium stand wrapped up to share photos and video of what looked like a gnarly injury to her hand midway through the second of three concerts in the city. On Monday, Swift took to social media and acknowledged the injury, while downplaying it, much as she had done by going on with the show Saturday despite suffering what appeared to be a bloody incident during an off-stage costume change. “For those asking how I cut my hand,” Swift said in a tweet, “I’m totally fine and it was my fault completely — tripped on my dress hem and fell in the dark backstage while running to a quick change — braced my fall with my palm. It was all very Mercury in retrograde coded. Don’t worry about me I’m gooooood,” she added, blowing fans an emoji kiss.

Chris Willman Senior Music Writer and Chief Music Critic U2 has announced the first dates this fall for a series of shows being billed as “U2:UV Achtung Baby Live at Sphere” — just five nights in late September and early October, for now, although the possibility of more shows being added seems more like a probability. The ambition and logistical planning of creating a unique show for Sphere, the world’s most technologically advanced space for music, certainly ultimately augurs for a longer run, even if U2 has studiously been avoiding sticking around Vegas quite long enough to merit the avoided word “residency.” U2’s guitarist, the Edge, got on a Zoom with Variety last week to discuss the enormously ambitious run of shows, following a demonstration of the design and technology for Sphere that was held for a handful of media representatives at a scale model of the building in Burbank. Although the concerts will be themed around the 1991 “Achtung Baby” album (with the “UV” in the show’s title referring to the album track “Ultraviolet”), the Edge said that Sphere itself was the reason for conceiving the new show. “When we found out about what this venue was really offering us creatively, we kind of saw it as a throwdown … as a challenge,” he says.

Chris Willman Senior Music Writer and Chief Music Critic The checkout lines for Record Store Day might move more swiftly than usual this year, due to the likely numbers of customers who will be buying one exclusive album and one exclusive alone — Taylor Swift’s “Folklore: The Long Pond Sessions,” the most massively coveted item RSD has seen or ever might see. And listen, we’ll be picking it up, too… if supplies last. (The title has been pressed in quantities of 75,000 for the U.S. and 115,000 for the world — about four times as many as any previous RSD title. Will those be enough to last on shelves for even a day? We’ll find out.) But slow down, Swifties. There are 300 other new releases where that one came from, and this is a chance to indulge some other retail-therapy whims or make some new discoveries. Yes, there are hundreds of middle-aged guys outside in line behind you who weren’t motivated to get up quite so early, and why should they be the only ones who get to enjoy newly minted LPs from the Cure, Arooj Aftab, Nas, Orville Peck, Charlie Parker or the Pixies on a Saturday night? There’s more to life than hoarding Taylor Swift, and it is hoarding absolutely everything that has a “limited edition” sticker slapped on it, with no prejudice as to the genre, level of obscurity or how long the artist has been dead.

Chris Willman Senior Music Writer and Chief Music Critic The era of “Truckin'” is now conjoined with the age of TikTok-in’. Although the Grateful Dead has been defunct as an actual band since the mid-’90s, the group now officially has a presence on the social platform TikTok.

Chris Willman Senior Music Writer and Chief Music Critic Two former hockey players who bailed on Frank Ocean’s Coachella performance after it seemingly became enveloped in chaos Sunday have spoken up about the experience in a podcast. Brothers Dan and Chris Powers say that they and more than a hundred other skaters had a positive experience through a good month of rehearsal in L.A., and even a successful dress rehearsal on the Coachella main stage — only to have Ocean render most of the skaters’ services unnecessary as he scrapped the entire epic ice-capades setup as the festival grounds were filling up. In the first segment of their “Empty Netters” podcast, released Tuesday, the Powers brothers said that there were about 120 skaters who’d been hired for the show and had been rehearsing on a makeshift ice rink at Paramount for weeks — including, they said, several Olympians well-known in the figure skating community, as well as hockey veterans like themselves. In the end, they said, the vast majority of these skating extras were left waiting on buses or in hot tents for hours on the perimeter of the festival grounds as Ocean made the last-minute call to dissemble the ice rink and ditch the planned skate choreography.

Chris Willman Senior Music Writer and Chief Music Critic The LA Phil has announced the full summer season for Hollywood Bowl’s sister venue across the gorge, the Ford, with a typically eclectic and cross-cultural lineup that includes Mac DeMarco, Lucinda Williams, Jorge Drexler, the Milk Carton Kids, Darren Criss, Arooj Aftab, Meredith Monk, José James, a kids’ show by the Bob Baker Marionette Theater, a dance project from Serpentwithfeet and many more attractions. The smaller-sized amphitheater is one of the most prized venues for musicians to play in Los Angeles, although the Phil’s emphasis in its four months of annual shows there is far less on commercial acts than in maintaining intriguing blend of all possible arts, with jazz, Americana and Latin and global music definitely getting a leg up on pop in the programming.

Chris Willman Senior Music Writer and Chief Music Critic There could probably be no better evangelist for anything than the immensely respected Rhiannon Giddens, and the banjo is lucky to have her. The singer and multi-instrumentalist has been spreading the gospel of that instrument generally and its roots in Black culture specifically for years, in her live performances and as a member of a banjo-driven all-star ensemble, Our Native Daughters. Now, she’s taking a much deeper dive than ever with an outstanding 10-part limited series, “The Banjo: Music, History and Heritage With Rhiannon Giddens,” which has her and some guests who are pickers and/or academics exploring the twisted, fascinating journey of what she considers the quintessential American instrument. The series covers everything from the instrument’s roots in the African diaspora to its role in slavery to its adaptation as a staple of “hillbilly” music, on up to its resurgence as a staple of the Americana music scene today — and how, in Giddens’ view, it has been a reflection of divisiveness and unification in the U.S. over a period of centuries.

Chris Willman Senior Music Writer and Chief Music Critic If the 14th annual TCM Classic Film Festival had an official focus, it was on the 100th anniversary of Warner Bros., from the opening night premiere selection of a restoration of “Rio Bravo” to a celebration of the 50th anniversary of “The Exorcist.” Almost equal in emphasis, though, by virtue of the guests brought in, was a celebration of the ingenues-turned-leading-ladies of the 1960s, who now represent the elder guard of a Hollywood golden age — Angie Dickinson, Ann-Margret and Shirley Jones. Dickinson had the highest profile of any star at the festival, being the belle of the ball at the Thursday screening of “Rio Bravo” in the big house at the TCL Chinese Theatres, where most of the screenings were held. But there was just as much outpouring of affection for Ann-Margret, who turned up for a Q&A (and birthday cake) following “Bye Bye Birdie” on Saturday, and Jones, who was joined by her son Shaun Cassidy and a slew of grandchildren after a showing of 1962’s “The Music Man” as the festival neared its end Sunday.

Chris Willman Senior Music Writer and Chief Music Critic Eric Clapton announced Monday that his recurring Crossroads Guitar Festival will take place in Los Angeles this fall, with a roster of 41 guest musicians or bands set to take the stage across two nights at Crypto.com Arena in Los Angeles Sept. 23-24. Musicians due to perform one or both nights include Santana, the War on Drugs, the John Mayer Trio, ZZ Top, Sheryl Crow, Gary Clark Jr., H.E.R., Buddy Guy, Los Lobos, Vince Gill, Stephen Stills, Jimmy Vaughan, Robbie Robertson, the Del McCoury Band and Joe Bonamassa. Others announced include John McLaughlin, Albert Lee, Doyle Bramhall II, Keb’ Mo’, Roger McGuinn, Robert Randolph, Jakob Dylan, Sierra Hull, Marcus King, Eric Gales, Sonny Landreth, Pedro Martins, James Bullard, Andy Fairweather Low, Samantha Fish, Ariel Posen, Ben Haggard, Christone “Kingfish” Ingram, the Bros. Landreth, Kurt Rosenwinkel, Gustavo Satnaolalla, Danial Santiago and Bradley Walker.

Chris Willman Senior Music Writer and Chief Music Critic To say that Robbie Fulks has been one of the best singer-songwriters in American roots music over the last quarter-century would be correct, and maybe a little reductive, too; he’s one of the best writers in America, period. It might be tempting to append the word “unsung,” since Fulks’ regular touring since the late ’90s has usually found him playing sub-SoFi rooms — like Hotel Cafe, where he’ll be appearing May 20.

Mötley Crüe's manager claimed Mick Mars' representatives are "taking advantage" of the guitarist amid the group's recent touring dispute. In court documents obtained by Fox News Digital, Mick Mars accused the band of forcing him to resign after he chose to stop touring. However, the band's manager Allen Kovac and a lawyer for the band claimed representatives for Mars, including the guitarist's lawyer, "manipulated" him into the dispute.

Chris Willman Senior Music Writer and Chief Music Critic It may take a greater elixir than anything Dr. Feelgood has to offer to elicit positive vibes in the war of words — and writs — between Motley Crue guitarist Mick Mars and the other three members of the group. Following a headline-making lawsuit filed by Mars against the band last week, lawyers or managers for both sides have spoken with Variety at length about the positions they are doubling down on. If you had to sum it up in a hard-rock song, it might be: “Grievances Grievances Grievances.” Until now, the Crue camp had only issued brief statements and a frustrated tweet from Nikki Sixx. But the band’s manager of 29 years, Allen Kovac, was so angered by an interview Mars gave Variety after the suit was filed that he agreed to go on record addressing what he believes are the musician’s most scurrilous accusations — including whether or not the group’s performances are largely on tape. “I have a lot of regret that I’m having to do this,” the attorney says, pointing out that he talked Nikki Sixx, the group’s unofficial leader, out of talking to the press himself, wanting the bassist to keep “taking the high road.”

Chris Willman Senior Music Writer and Chief Music Critic The Eddie Vedder-founded Ohana Festival in southern California will again feature the Pearl Jam frontman as one of the top attractions in 2023, as is customary, along with a heavy-hitting selection of rock names in the top slots and an eclectic lineup for the undercard slots. The Killers and Foo Fighters join Vedder as the headliners for the three-day festival, taking place Sept. 29-Oct. 1 at Doheny State Beach in Doheny Point. Haim, the Chicks and the Pretenders are the second-billed acts across the three days. Other marquee attractions in the idyllic beachside setting will include Father John Misty, the War on Drugs, Japanese Breakfast, Goose and Rainbow Kitten Surprise.

Chris Willman Senior Music Writer and Chief Music Critic God only knows it was a matter of time until the Recording Academy picked the Beach Boys as the recipient of one of its annual all-star tributes, and the group’s legacy isn’t done any shame with “A Grammy Salute to the Beach Boys,” airing Sunday night at 8 ET/PT on CBS (and for on-demand streaming on Paramount+). No wrong harmonies are struck, literally or figurative, in a two-hour show that starts out feeling a little bit by-the-numbers but eventually lands on a series of knockout covers fit for a Wilson. Are you surprised that Brandi Carlile would be the highlight of a tribute special? Then come out from under your rock and do stay up late enough to catch both of her performances on the show, since she is one of a handful of artists granted both solo and duet slots in the setlist. First in the running order, she has a version of “In Your Room” that can’t really be considered “solo,” since she’s joined by bandmates Phil and Tim Hanseroth for an arrangement that has their modern mastery of three-part harmony paying homage to the Boys’ sub-incarnation as a balladic vocal trio. You hope for something transformative in tribute performances like these, and you know you’re getting the moment Carlile lends her perfectly subtle vibrato to the “roo-oo-oom” and “a-frai-ai-aid” to some of the opening lines. She and the Hanseroths make the bridge feel you’re doing a gentle waltz while enveloping yourself in a self-assuring hug, before the falsetto ending spoils that warmth with a chill down your spine. Yeah, it’s that good.

Chris Willman Senior Music Writer and Chief Music Critic Muse was making its eighth visit to downtown L.A.’s Crypto.com Arena, frontman Matt Bellamy reminded the audience, shortly into the trio’s return engagement Thursday night — except rather than call it by its current name, he said the venue would always be Staples Center to the band. He added a joking, mumbled reference to “weird fucking con artists,” presumably a reference to his lack of faith in the state of cryptocurrency. Digital assets are fleeting, but office supplies are forever, right? There is some kind of loose analog there — no pun intended — to the situation with Muse, which is forever using futuristic imagery in its shows but reigns as one of rock’s best bands by its rootedness in a slightly pre-digital past.

Mötley Crüe guitarist Mick Mars has spoken out about his recent legal battle with the band, following the lawsuit he filed against them over his share of profits.In a new interview with Variety, Mars detailed his thoughts on the ongoing arbitration, as well as his feelings towards his ex-bandmates.“Those guys have been hammering on me since ’87, trying to replace me,” he said. “They haven’t been able to do that, because I’m the guitar player.

Mötley Crüe guitarist Mick Mars has filed a lawsuit against the band over his share of profits.Mars has alleged that he was “unilaterally” removed from the band after announcing his retirement from touring due to ongoing struggles with an arthritic disease called ankylosing spondylitis last October. As a result, he claims his profit share was cut from 25 per cent to five percent.According to legal papers filed in Los Angeles County’s Superior Court yesterday (April 6) Mars’ attorney, Edwin F.

Mick Mars countersued Mötley Crüe on Thursday and accused the band of forcing him to resign after he chose to stop touring. Mötley Crüe previously claimed that when Mars announced that he couldn't tour anymore, he was resigning from the band. However, Mars alleges that he told the band members that he could still play in a residency situation and could still record, according to court documents obtained by Fox News Digital.

The situation between Mötley Crüe and guitarist Mick Mars has turned litigious, with Mars suing his bandmates over his claims that he’s being forced out of the band.