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The ‘Against the Odds’ tour kicks off on August 12 in Mashantucket, Conn., and runs through August 27 in Chicago.

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Blondie have announced more tour dates for 2022. The band will be joined by legendary British punks The Damned for a run of shows this summer billed as the ‘Against the Odds’ tour. It kicks off on August 12 in Mashantucket, Conn., and runs through August 27 in Chicago.

Blondie will also be playing a series of concerts in the U.K. in April and May before starting their tour with The Damned. Johnny Marr will appear as a special guest in place of Garbage, who have been forced to pull out due to scheduling conflicts.

Blondie and The Damned will also appear at the Cruel World Festival in Pasadena, California, in May, with acts like Morrissey, Devo, Echo & the Bunnymen, the Psychedelic Furs, Violent Femmes and others.

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Presale tickets for the August shows will be available beginning March 2 at Ticketmaster, followed by general public tickets on sale on March 4. Visit Blondie’s official website for further information.

In 2014, drummer Clem Burke implied that the band’s touring days could be coming to an end. “As for the rumors of the last tour, we’ve decided we’ll live forever,” he told Uncut at the time. “But Debbie [Harry], is older than me and has hinted it could be time. Obviously, without her, there is no Blondie.” Since then, the group has embarked on several tours, including a co-headlining run with Elvis Costello in 2019 .

Blondie and The Damned play the following ‘Against The Odds’ US tour dates:

Aug. 12 – Mashantucket, CT @ Grand Theater Aug. 14 – Boston, MA @ Rockland Trust Bank Pavilion Aug. 17 – New York, NY @ The Rooftop at Pier 17 Aug. 18 – New York, NY @ The Rooftop at Pier 17 Aug. 20 – Bensalem, PA @ Xcite Center at Parx Casino Aug. 21 – Washington, DC @ The Anthem Aug. 23 – Cincinnati, OH @ The Andrew J Bradley Music Center Aug. 24 – Nashville, TN @ Grand Ole Opry House Aug. 26 – Detroit, MI @ Fox Theatre Aug. 27 – Chicago, IL @ Chicago Theatre.

Listen to the best of Blondie on Apple Music and Spotify .

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• Debbie Harry
• Chris Stein
• Tommy Kessler
• Matt Katz-Bohen

“Here comes the 21st Century,” Debbie Harry assuredly sang nearly three decades ago on her solo disc Def Dumb And Blonde, “it’s gonna be so much better for a girl like me.”

With the turn of the century well behind us now, that gleeful prediction has certainly come true:

Singer-songwriter Harry, guitarist and co-writer Chris Stein, powerhouse drummer Clem Burke and their band-mates in Blondie are undeniable pop icons, their sound and sensibility as fresh as when they first topped the charts in the late 1970s. In their newest project, Po11inator, Blondie enlisted a group of cool songwriters to contribute to the record weaving their own way into the living, breathing story of Blondie, a group that directly affected their own genetic makeup as artists. The list is enviable and reflects the dynamism of Blondie’s very own cross-pollinating past – the fans and friends contributing material are blonde-bewigged superstar Sia, Blood Orange frontman Dev Hynes, British singer Charli XCX, Dave Sitek (TV On The Radio), Nick Valensi (The Strokes), Johnny Marr (The Smiths), and Canadian movie blogger and indie rocker (under the name An Unkindness) Adam Johnston. The invincible Joan Jett and cross-dressing comedian and singer John Roberts, who rose from DIY YouTube sensation to Bob’s Burger regular, both contribute vocals.

“We put the word out and asked people for songs and we got a lot of responses. I’m happy the way it all came together. It was a different approach for us, to draw in all of these things. I feel like we did what we did back then and we put out these sounds and ideas and now we’ve come full circle, pulling it back in, continuing this ongoing chain of events, this circular motion,” Harry shares.

Though the tunes were culled from disparate sources, the feel of the album is impressively unified, with a playful nod to 1978’s groundbreaking Parallel Lines. Harry, Stein, Burke, and company took this raw material and deftly transformed it in the studio into an album that’s quintessentially Blondie. The emphasis is on arrangements that are fast and fun, lyrics that are romantic and teasing, and synth-stoked hooks that evoke the new wave era. It was Grammy-winning producer John Congleton (Franz Ferdinand, St. Vincent, Sigur Ros, David Byrne, War on Drugs) that brought the late ’70s attitude out of Blondie again. He found himself having breakfast with Debbie and Chris in the summer of 2015. “We hung out for an hour, talked about music, about where they were as people and what they thought a Blondie record should sound like these days. We were simpatico on that.”

“John has a great knack for working with bands,” adds Debbie. “He’s very patient and supportive to everybody, and he makes insightful suggestions. He’s really into the music and making it the best it can be.”

Notes Chris, “We really hit it off. He’s a very smart and talented producer.”

Together with Debbie, Chris, and Clem, they were joined by band members Leigh Foxx, guitarist Tommy Kessler and keyboardist Matt Katz-Bohen and took to the studio. “I had more of a deliberate agenda than they did,” says John. “Their agenda was the best agenda: they still love each other; they like playing music, so let’s have fun. At the end of the day Blondie doesn’t have anything to prove. My agenda was more dogmatic. I didn’t want to make a pastiche lifestyle record or a modern pop record that sounded like Blondie being influenced by what’s happening now. I wanted to know what it’s like to be Blondie at this age.”

The disc was the last one to be recorded at Soho’s legendary Magic Shop, the go-to location for Lou Reed and many other artists for decades. Says Stein, “That was nice, but it was a drag that the studio had to close.” Blondie recorded the album quickly “to keep that band vibe,” as Stein put it, and there’s an immediacy to these tunes that reflects this group effort.

“Doom Or Destiny,” featuring guest vocals from Joan Jett, begins the album with clattering proof that 2017 Blondie can still tap into that classic fervent vibe that created the likes of “Hanging On The Telephone.” R&B scenester Dev Hynes penned “Long Time” which immediately reminds of the disco “Heart Of Glass”, a song about “racing down the Bowery” and wondering if life turned out the way you wanted it to. They sought Sia out for her track “Best Day Ever”. The song is a collaboration with Nick Valensi and seem to expose them both as “Denis” fans, as it ponders the push-pull of bittersweet memories. Then there’s “Fun” – the Dave Sitek creation. It turns the tables back to Studio 54. “Gravity” is the Charli XCX number. It bonds Charli and Debbie via their mutual pop-punk cheekiness (“I’m drinking Cherry Cola… You’re nicer when you’re sober,” sings Debbie ).

Harry’s and Stein’s own songwriting skills are reaffirmed on the instantly addictive “Doom or Destiny,” with its thunderous opening drum roll and its propulsive chorus, and on the carnival-esque “Love Level,” which features vocals from John Roberts and the exuberant Providence, RI 20-piece marching band What Cheer? Brigade, a combo that had previously appeared in concert with Blondie. Keyboardist Matt Katz-Bohen co-wrote “Already Naked” and “Too Much” with Laurel Katz-Bohen and Lucian Piane.

All in all the album presents the viewpoint of an older stateswoman, who’ll break down barriers of ageism and sexism from her still cucumber cool stance. “Lyrics are always a case of observation or momentary insanity or whatever,” Debbie says. “Just life. Going through it and hanging out with people, listening to music, going to movies. It all filters down into this mish-mash of thought and something rises to the top.” Chris is more direct, siphoning off specific periods of time to work on music outside his photography. His unique guitar-playing and arranging is what gives life to Debbie’s musings. Their dynamic is the same as it ever was: Chris, the drawl acerbic wit to Debbie’s straight-talking rebel. On the subject of future music videos, Debbie remarks, “Do you think they’re really that necessary?” Upon mention of how Beyonce’s ‘Lemonade’ reinvented the format, Chris chimes in, “Well she has more money than us so…!”

Blondie has always been a forward-thinking — and forward-moving — group; they’ve outlived the groundbreaking moment that birthed them and have adapted to time, space, and industry evolution as much as the face of New York itself. Yet similarly to New York, they’ve always remained indisputably Blondie. Never satisfied to rest on their laurels, their incessant need to fly the flag for cross-genre rock never relinquishes because Blondie’s punk never died. It’s a sound that has always echoed the underground above in the mainstream. Debbie Harry is still possessed of an aura and attitude that’s too big for subterranean clubs, and her cohort Chris Stein’s vision has been so ahead of its time that the rest of the world is still catching up to it. Walk into any dance club tonight and hear a ‘Call Me’ or a ‘Heart Of Glass’. Talk to any hip-hop historian and recall that Debbie was an original Beastie Boy who took rap music to the masses when it was still a block party concern. Read any tome on the history of punk and they’re interwoven into the fabric of the one genre that still inspires most every band to pick a name and find a practice space. Their active presence in our lives 40 million albums sales and countless accolades later (including a Rock And Roll Hall Of Fame induction in 2006 and NME Godlike Genius Award in 2014) is something to be treasured.

“I don’t think either of us was ever taken with the whole idea of marching down memory lane all the time and thinking that everything was so much better then,” explains Harry. “I know for a fact that neither of us ever really felt that way. We are always very interested in what was going on around us — being in the moment, as they say.”

Their public appearances in 2016 underscore that notion. In October, Blondie participated in filmmaker David Lynch’s first annual Festival of Disruption in Los Angeles, alongside St. Vincent, Four Tet, Rhye, Twin Peaks composer Angelo Badalamenti and many others. Harry and Stein hosted a talk on the disruption of music and culture, and Stein’s acclaimed photography, which captured elements of that disruption, was exhibited alongside David Lynch’s work. The following month, Harry caused a paparazzi sensation at London’s Q Magazine Awards, wearing a black duster coat featuring a blunt environmental message on its back. (Putting their music where their mouth is, Harry and Stein performed last summer at the Perfect Earth benefit picnic that artist Cindy Sherman hosted at her Long Island home.) They also appeared with their friends, the Gregory Brothers – creators of Songify the News (previously Autotune The News) – on a hilarious YouTube repurposing of the presidential debates, with Harry and Stein as coolly deadpan moderators. Meanwhile, drummer Burke paid tribute to New York City’s legendary Heartbreakers, with a live performance of their infamous L.A.M.F. album.

Front-woman Harry and guitarist/conceptual mastermind Stein have been with Blondie since the beginning, as has drummer Burke, whose powerhouse playing has always distinguished Blondie’s sound. Joining them on tour and in the studio are Leigh Foxx (bass) and Tommy Kessler (guitar) as well as keyboardist-songwriter Matt Katz-Bohen. Blondie’s impact has been greater than the sum of its record sales: Harry’s persona, and the band’s boundary-pushing pop, has shaped the look and sound of many chart-topping female artists who followed in the last three decades, from Madonna to Lady Gaga to Katy Perry and, of course, Sia. Po11inator delves even deeper into this idea: inspiration from Blondie’s action-packed past shaping the sound of our collective future. Debbie describes working with so many collaborators as “full circle”.: “Their material is part of us. It’s a celebration of recycling, ha!”

Looking ahead, Blondie plans to tour Australia in spring 2017 with Cyndi Lauper, and Harry reveals that she has been working – slowly but surely – on a memoir.

“Fame and self-importance is preposterous and fake. You have to be obsessed or even completely crazy to be an artist, ha! It’s just like a dream that becomes reality,” says Debbie. “You have to have an enormous ego, drive, stubbornness, something that propels you and demands. You get to a point where you end up having to choose between going to the left, or going to the right, or going straight ahead, and you make that choice. A lot of times you don’t have time to make that decision. You just make it and it’s an instinctive thing. I’m not always completely positive about who I am and what I’m doing but god forbid anybody says different I’ll kick their asses and fight forever.” Welcome back in the ring, Blondie.

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Moscow Metro Tour

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Description

Moscow metro private tours.

• 2-hour tour $87:  10 Must-See Moscow Metro stations with hotel pick-up and drop-off
• 3-hour tour $137:  20 Must-See Moscow Metro stations with Russian lunch in beautifully-decorated Metro Diner + hotel pick-up and drop off. 
• Metro pass is included in the price of both tours.

Highlight of Metro Tour

• Visit 10 must-see stations of Moscow metro on 2-hr tour and 20 Metro stations on 3-hr tour, including grand Komsomolskaya station with its distinctive Baroque décor, aristocratic Mayakovskaya station with Soviet mosaics, legendary Revolution Square station with 72 bronze sculptures and more!
• Explore Museum of Moscow Metro and learn a ton of technical and historical facts;
• Listen to the secrets about the Metro-2, a secret line supposedly used by the government and KGB;
• Experience a selection of most striking features of Moscow Metro hidden from most tourists and even locals;
• Discover the underground treasure of Russian Soviet past – from mosaics to bronzes, paintings, marble arches, stained glass and even paleontological elements;
• Learn fun stories and myths about Coffee Ring, Zodiac signs of Moscow Metro and more;
• Admire Soviet-era architecture of pre- and post- World War II perious;
• Enjoy panoramic views of Sparrow Hills from Luzhniki Metro Bridge – MetroMost, the only station of Moscow Metro located over water and the highest station above ground level;
• If lucky, catch a unique «Aquarelle Train» – a wheeled picture gallery, brightly painted with images of peony, chrysanthemums, daisies, sunflowers and each car unit is unique;
• Become an expert at navigating the legendary Moscow Metro system;
• Have fun time with a very friendly local;
• + Atmospheric Metro lunch in Moscow’s the only Metro Diner (included in a 3-hr tour)

Hotel Pick-up

Metro stations:.

Komsomolskaya

Novoslobodskaya

Prospekt Mira

Belorusskaya

Mayakovskaya

Novokuznetskaya

Revolution Square

Sparrow Hills

+ for 3-hour tour

Victory Park

Slavic Boulevard

Vystavochnaya

Dostoevskaya

Elektrozavodskaya

Partizanskaya

Museum of Moscow Metro

• Drop-off  at your hotel, Novodevichy Convent, Sparrow Hills or any place you wish
• + Russian lunch  in Metro Diner with artistic metro-style interior for 3-hour tour

Fun facts from our Moscow Metro Tours:

From the very first days of its existence, the Moscow Metro was the object of civil defense, used as a bomb shelter, and designed as a defense for a possible attack on the Soviet Union.

At a depth of 50 to 120 meters lies the second, the coded system of Metro-2 of Moscow subway, which is equipped with everything you need, from food storage to the nuclear button.

According to some sources, the total length of Metro-2 reaches over 150 kilometers.

The Museum was opened on Sportivnaya metro station on November 6, 1967. It features the most interesting models of trains and stations.

Coffee Ring

The first scheme of Moscow Metro looked like a bunch of separate lines. Listen to a myth about Joseph Stalin and the main brown line of Moscow Metro.

Zodiac Metro

According to some astrologers, each of the 12 stops of the Moscow Ring Line corresponds to a particular sign of the zodiac and divides the city into astrological sector.

Astrologers believe that being in a particular zadiac sector of Moscow for a long time, you attract certain energy and events into your life.

Paleontological finds 

Red marble walls of some of the Metro stations hide in themselves petrified inhabitants of ancient seas. Try and find some!

• Every day each car in  Moscow metro passes  more than 600 km, which is the distance from Moscow to St. Petersburg.
• Moscow subway system is the  5th in the intensity  of use (after the subways of Beijing, Tokyo, Seoul and Shanghai).
• The interval in the movement of trains in rush hour is  90 seconds .

What you get:

• + A friend in Moscow.
• + Private & customized Moscow tour.
• + An exciting pastime, not just boring history lessons.
• + An authentic experience of local life.
• + Flexibility during the walking tour: changes can be made at any time to suit individual preferences.
• + Amazing deals for breakfast, lunch, and dinner in the very best cafes & restaurants. Discounts on weekdays (Mon-Fri).
• + A photo session amongst spectacular Moscow scenery that can be treasured for a lifetime.
• + Good value for souvenirs, taxis, and hotels.
• + Expert advice on what to do, where to go, and how to make the most of your time in Moscow.

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• Preplanned tours
• Daytrips out of Moscow
• Themed tours
• Customized tours
• St. Petersburg

Moscow Metro

The Moscow Metro Tour is included in most guided tours’ itineraries. Opened in 1935, under Stalin’s regime, the metro was not only meant to solve transport problems, but also was hailed as “a people’s palace”. Every station you will see during your Moscow metro tour looks like a palace room. There are bright paintings, mosaics, stained glass, bronze statues… Our Moscow metro tour includes the most impressive stations best architects and designers worked at - Ploshchad Revolutsii, Mayakovskaya, Komsomolskaya, Kievskaya, Novoslobodskaya and some others.

What is the kremlin in russia?

The guide will not only help you navigate the metro, but will also provide you with fascinating background tales for the images you see and a history of each station.

And there some stories to be told during the Moscow metro tour! The deepest station - Park Pobedy - is 84 metres under the ground with the world longest escalator of 140 meters. Parts of the so-called Metro-2, a secret strategic system of underground tunnels, was used for its construction.

During the Second World War the metro itself became a strategic asset: it was turned into the city's biggest bomb-shelter and one of the stations even became a library. 217 children were born here in 1941-1942! The metro is the most effective means of transport in the capital.

There are almost 200 stations 196 at the moment and trains run every 90 seconds! The guide of your Moscow metro tour can explain to you how to buy tickets and find your way if you plan to get around by yourself.

“We started thinking, ‘Well, who could possibly be in the band?’ The only person I could think of was Steve”: Adrian Belew on how he and Steve Vai are forming a new guitar partnership ahead of a King Crimson supergroup tour

'Beat' will tour the band's ’80s material later this year, and the group's guitar duo is working on a partnership that can do the Belew/Fripp double act justice

The term ‘supergroup’ is often overused – but in the case of Beat, that moniker can be used with full confidence.

Featuring Adrian Belew, Tony Levin, Steve Vai, and Tool’s Danny Carey, the band has been assembled with Robert Fripp’s blessing to perform King Crimson’s ‘80s trilogy of albums: Discipline (1981), Beat (1982), and Three of a Perfect Pair (1984).

In an upcoming interview with Guitar World, Belew sat down to dish out the project’s details – and tease what fans can expect from his new guitar partnership with Vai ahead of Beat's extensive US tour .

“I had been working on the idea of putting together a band to do the '80s trilogy,” he explains of Beat's origins. “I talked to Robert in 2019. He declined being any part of it, but he said to me, 'If you want to celebrate King Crimson, and you want to drive it, go ahead. I will give you my blessing.'” 

This left Belew scratching his head for a suitable electric guitar stand-in – and only one name came to mind. 

He continues, “We started thinking, 'Well, who could possibly be in the band?...Who would step into Robert's role?' The only person I could think of was Steve Vai.

“I heard Steve Vai say in an interview that he had a lot of affection for Robert Fripp's playing, especially the '80s Crimson. So, I thought, 'Well, maybe there's a chance.' Lo and behold, he was so excited; I couldn't believe it.”

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After Vai was locked in (and COVID had delayed the project by three years), Belew turned to fellow King Crimson alumni Tony Levin, and Tool's Danny Carey, to complete the lineup.

With the band formed, there was just the tricky part of piecing the music together. For Vai and Belew, that meant developing a guitar-playing relationship that could live up to Fripp/Belew double-act.

To do that, the two Beat bandmates hunkered down and Vai's LA studio and began the process of going through the King Crimson catalog.

“Steve and I got together in LA, and I went to his studio full of gorgeous stuff, like 400 guitars, and we sat there for a whole day ticking through,” Belew recalls. “We listened to all the songs I had decided we should do, which was a partial setlist.

“We went one by one through them, saying, 'Okay, here's what you can hear, here's what Robert's doing there, here's what I'm doing here.' We also had a book with all that material transcribed for guitar, my parts, and Robert's, except my solos.”

As for what fans can expect from the Vai/Belew partnership, the guitarist acknowledged it will be different from the relationship he shared with Fripp, but asserted there will be some certain sonic similarities.

“It really came to the point where Robert and I had separated into our own worlds,” he concludes. ”But I always said the perfect analogy was like two sides of the same coin. Because Robert has his approach, and I had my approach.

“I suspect Steve and I will end up being the same as Robert and me – a different version of it, of course, but two sides of the same coin. 

“Steve wants to make sure that what we do is honorable to the originals,” Belew expands. “Not that we have to play them exactly the same and not that we're going to be a cover band, I believe we will make it our own.”

Keep an eye on GuitarWorld.com to catch the full interview with Adrian Belew.

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A freelance writer with a penchant for music that gets weird, Phil is a regular contributor to Prog , Guitar World , and Total Guitar magazines and is especially keen on shining a light on unknown artists. Outside of the journalism realm, you can find him writing angular riffs in progressive metal band, Prognosis , in which he slings an 8-string Strandberg Boden Original, churning that low string through a variety of tunings. He's also a published author and is currently penning his debut novel which chucks fantasy, mythology and humanity into a great big melting pot.

• Andrew Daly

“Johnny Depp was the worst guitarist I'd ever seen”: The moment the man who discovered Mötley Crüe and Guns N' Roses knew Depp wasn't meant to be a rock star

“I know what it’s like to wake up and not having anything to eat… My blues comes out differently than somebody who just plays the blues because they like it”: Cedric Burnside on living the blues – and why he plays guitars built by a brain surgeon

“As a guitarist you can come in after the one without the house falling apart. But as a bass player, you always have to be there”: How Jonas Reingold switched from classical guitar and became Steve Hackett’s go-to bassist

Most Popular

Legendary rock band announces new tour dates after singer’s injury

A fractured larynx and vocal cord damage are no joke for a hard-rock singer to recover from. Especially a 76-year-old frontman with a still-big voice, like Steven Tyler .

Nearly a year after Aerosmith put the brakes on a long-gestating farewell tour just a few shows in after Tyler injured his voice during a Sept. 9, 2023 show at a New York arena, the band’s about to be, ahem, back in the saddle.

The “Peace Out Tour” will resume September 20 in Pittsburgh. The 40-date arena tour runs through February 26 in Buffalo and includes a New Year’s Eve show in the band’s hometown of Boston. Complete list of tour dates at aerosmith.com .

Aerosmith’s decades of hits include “Dream On,” “Walk This Way,” “Sweet Emotion,” “Back in the Saddle,” “Janie’s Got A Gun,” “Crazy” and “I Don’t Want To Miss A Thing.”

The band features Tyler, guitarists Joe Perry and Brad Whitford and bassist Tom Hamilton.

Unlike many classic rock groups, Aerosmith’s original lineup remained intact through most of their history. However in recent years, original drummer Joey Kramer has been replaced onstage by John Douglas, Kramer’s former drum tech. Buck Johnson , an Alabama native who also tours with Brother Cane and Hollywood Vampires, is Aerosmith’s touring keyboardist/backing vocalist .

Blues-rockers The Black Crowes , known for ‘90s hits like “Jealous Again” and “Remedy,” are the support act for all dates of Aerosmith’s “Peace Out Tour.”

The Black Crowes previously opened for Aerosmith on the Crowes’ first-ever big tour, back in 1990. Led by brothers Chris and Rich Robinson , on vocals and guitar, respectively, Black Crowes recently released “Happiness Bastards,” their first album of all-original songs in 15 years .

Aerosmith’s classic albums include their 1973 self-titled debut, 1975′s “Toys in the Attic,” 1976 release “Rocks,” 1987 comeback LP “Permanent Vacation” and ‘93 mega-seller “Get a Grip.” Aerosmith’s most recent album was “Music from Another Dimension” from 2012.

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©2024 Advance Local Media LLC. Visit al.com. Distributed by Tribune Content Agency, LLC.

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Blondshell tour dates 2024

Blondshell is currently touring across 9 countries and has 27 upcoming concerts.

Their next tour date is at Unknown venue in Norman, after that they'll be at Far Out Lounge & Stage in Austin.

Currently touring across

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Upcoming concerts (27) See nearest concert

Norman Music Festival

Austin Psych Fest

Shaky Knees Festival

Motorco Music Hall

Larimer Lounge

Kilby Block Party

The Governors Ball Music Festival

Glastonbury Festival

Roskilde Festival

Hare & Hounds - Venue 2

Les Eurockéennes

Eurockeennes

Down the Rabbit Hole

Day In Day Out

Lollapalooza

Hinterland Music Festival

Sziget Festival

Way Out West Festival

PSM Loves Summer

Festival Cabaret Vert

Green Man Festival

Azura Amphitheater

Gorge Amphitheatre

XPN Festival

Past concerts

Schaefer Center for the Performing Arts

Oxford Art Factory

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The Battle Over Classic Rock Band the Guess Who Just Went Nuclear

By Ethan Millman

Ethan Millman

For the past six months, Burton Cummings, founding singer and songwriter of classic rock group the Guess Who , has been in a bitter legal dispute to wrest control of his old band’s legacy. Now he’s adopting an aggressive and relatively unheard of approach to make that happen: giving up on certain royalties so the band can’t play his songs.

As Rolling Stone previously reported , Cummings and original Guess Who guitarist Randy Bachman sued the current iteration of the Guess Who (as well as the band’s original drummer and bass player Garry Peterson and Jim Kale) last October, alleging that the group that currently holds the Guess Who trademark is “a cover band” using the original group’s recording in ads “in an effort to boost the Cover Band’s ticket sales for live performances and to give the false impression that Plaintiffs are performing.”

“I’m willing to do anything to stop the fake band; they’re taking [Bachman and my] life story and pretending it’s theirs,” Cummings tells Rolling Stone. “They’re not the people who made these records, and they shouldn’t act like they did. This doesn’t stop this cover band from playing their shows, it just stops them from playing the songs I wrote. If the songs are performed by the fake Guess Who, they will be sued for every occurrence.”

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“Not a lot of artists are both the writer and the publisher on their songs, and Burton Cummings fortunately is, so this is a very rare case where the artist can take this action,” Yu says. “And I think this situation shows the direct nexus between their false advertising and who they say they are.”

The move is focused on agreements set through groups called performing rights organizations (PROs). The termination targets all the venues the band would play. Almost every concert venue in the country has blanket agreements with various PROs such as BMI and ASCAP, who collect royalties on behalf of songwriters for the public performances of their works. If a venue has licensing agreements in place, the venues’ artists are free to cover any song from the PROs’ repertory. 

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By Thursday morning, the Florida Theatre in Jacksonville, the Saenger Theatre in Mobile, Alabama, and the Peabody Auditorium in Daytona Beach, Florida — who would’ve hosted the Guess Who’s next three shows — announced cancellations as well. Tickets for shows beyond those dates remain on sale as of this article’s publication.

An attorney for the Guess Who didn’t respond to Rolling Stone’s request for comment regarding the shows. In December, the band took to social media calling Cummings’ and Bachman’s suit “meritless.” In a memorandum, the band argued that “there is no dispute that Defendants lawfully own ‘The Guess Who’ trademark,” and that Consumers who see an ad for a concert by the Guess Who would not reasonably assume that Bachman and Cummings are performing merely because they were in the band many years ago.”

Assuming the group does play the classic-era songs at their upcoming shows, both the band and the venue they played at could be on the hook for legal recourse, Cummings and his team tell Rolling Stone . 

But like most nuclear options, Cummings’ strategy doesn’t come without the risk of some mutually assured destruction. While terminating the rights complicates the current Guess Who’s performances, it may also significantly hit Cummings’ own earnings. Aside from working with concert venues, PROs also collect royalties from when songs are played on the radio, on TV shows, or even when they’re played in the background at restaurants or shopping malls. With the license terminated, Cummings will likely lose out on seeing those royalty payments. And that’s not just on the versions he recorded, but on covers such as Lenny Kravitz’s Grammy-winning “American Woman” cover.

The termination is the latest development in a decadeslong dispute that bubbled over with last year’s lawsuit . The fight began when the band’s original bassist, Jim Kale, obtained the trademark to the Guess Who name in 1986, as the band hadn’t secured the trademark before then . From then on, Kale had organized several tours using the Guess Who name featuring a heavily rotating lineup. 

By the late 1980s, the Guess Who’s original drummer, Garry Peterson, joined the band as well. Kale retired in 2016, leaving Peterson as the only original member left. But he doesn’t play every show, Bachman and Cummings alleged, meaning some shows feature no original members of their band. 

Since Cummings filed the suit, he says that the band had removed his access to the Guess Who’s Spotify for Artists page. (When the suit filed last fall, the band’s Spotify page showed a picture of the current Guess Who lineup, but as of publication, it’s now a picture of the old band.)

Cummings also tells Rolling Stone that within the past month, the band’s lawyers said they’d “sue me if I ever even say I was ever in the Guess Who.” “You know how ridiculous this is? What next, can I not say I was born and raised in Winnipeg? That I’m Canadian?”

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“How much is my life’s work worth? You can’t put it in dollars and cents,” he says. “It’s wrong what they’ve done and for years, nobody did anything about it. But we’re doing something now, and this may set some precedents because there are other acts out there that aren’t real either.

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