HYDE
Hiroaki Ishikawa
HYDE has launched his biggest-ever world tour, HYDE [INSIDE] LIVE 2025 WORLD TOUR, playing 24 shows in 16 cities throughout Japan, Latin America, Europe, and other parts of Asia over the course of five months.
This tour is the continuation of his HYDE [INSIDE] LIVE 2024 WORLD TOUR, which he started last year in support of his album HYDE [INSIDE]. This was his first release in five years and his heaviest to date.
One of the most enthralling parts of HYDE’s live performances is that they are artistic shows in which HYDE’s own aesthetic sensibilities are evident throughout the chaos. The June 25 show at Zepp Haneda (TOKYO) began with a stage covered in curtains. A digital clock counted up to the start of the show, and when the clock struck 17:06 (=16:66=666, the number of the beast), the audience is drawn into the fantastic world INSIDE HYDE.
When the curtains part, the first thing you see is the name “HYDE” in electric lights, evocative of a circus freak show. At the center stands a massive podium with a snake and cross motif, decorated with carved skulls. HYDE, his face enveloped in a deep hood and half-covered by a mask, appears at the podium to the wild cheers of the audience. The show began with “LET IT OUT.” Backed by the heavy sound of his band, HYDE looked down on the masses, stirring the audience into a frenzy with just his voice and the movements of his fingers. He then descended from the podium to put on two powerful, back-to-back performances of “AFTER LIGHT” and “I GOT 666.” The audience let out everything they had bottled inside, through their voices and through their whole bodies.
“Good to see so much energy out there. Tonight, we’re going to tear things up! You’re still looking cool and collected, but by the end of the night you’re going to be a mess!”
With “DEFEAT,” he started out singing sensuously, but when he ripped away the mask covering half his face, the wild aggression inside HYDE came bursting to the surface. During “SICK,” he sang through a megaphone, transforming into a ferocious agitator. He climbed the casks at the side of the stage, mounting the amps and sounding a siren through his megaphone, as if to exhort the crowd to go even wilder. It looked like he would dive into the audience any moment. With the crowd even more amped up by the siren, HYDE dropped “TAKING THEM DOWN.” While he created the burning hot atmosphere of a rock show, violently inciting the crowd, a close look at his megaphone revealed two tiny horns, a unique touch. This pop sensibility was something shared in common with HYDE’s music, which is aggressive but also has catchy, beautiful melodies. After completely enthralling the crowd with his cool, mature performance, he raised a flag over his shoulder and began swaying it to and fro as he sang “ON MY OWN.” The song began with his distinctive bewitching vocal style, growing more intense as it went on, as if HYDE was venting what he had deep inside. This was accompanied by white smoke gushing from the stage, creating a dramatic spectacle.
The venue was then brought under the sway of a romantic piano melody, and the inflamed passion of the audience slowly settled. However, the piano gradually grew noisier and noisier, the sound becoming unsettling. The stage grew dark, and the band launched into “TOKOSHIE,” the ending theme to the TV anime Demon Slayer: Kimetsu no Yaiba – Hashira Training Arc. The Far Eastern sensibilities and dark melody interwove, creating a sense of expectation in the venue, like an awe-inspiring ceremony had just begun. The sound gradually rose in intensity, reaching a dramatic climax like achieving nirvana. HYDE, lit by spotlights from above his dais, exuded an unapproachable, godly aura as he sang, a figure of overwhelming grandeur.
HYDE
Hiroaki Ishikawa
In previous shows, HYDE has covered artists like Slipknot, Duran Duran, and Linkin Park. In this show, he performed My Chemical Romance’s “Welcome to the Black Parade.” When the song’s tempo slowed, HYDE put his own punkish spin on the song, sending the crowd wild.
Then he had the audience sit down and transitioned to “6or9,” where, at HYDE’s signal, the entire audience leapt into the air. Throughout the song, he engaged the crowd in call & response, swinging around a towel and creating an even greater sense of unity with everyone at the show. The band then performed “MAD QUALIA” in front of the floor’s heaving circle pit, and HYDE banged his head as if possessed. The rest of the band also paced the stage, inciting the crowd and creating the kind of over-the-top rock show atmosphere that seemed scarcely possible for a small concert venue. Then, as if to light a match to the powder keg of the crowd, HYDE went down to the crowd. As he stood behind the barrier, reaching down and grasping the hands of fans, audience members throughout the venue began crowd surfing, aiming to get closer to HYDE. When HYDE began “DEVIL SIDE,” the audience, perfectly coordinated, swayed back and forth, hearts united as one.
As if to smash the joyous atmosphere of the crowd, brought together by the melodic killer tune, the band launched into their heaviest number, “SOCIAL VIRUS.” Repeating the mantra, “I want to see more chaos,” HYDE contorted his body to the heavy bass sounds of his masked band mates, his voice distorted by his frenzied shouting. After turning both the stage and the floor into a chaotic spectacle, he continued with “MIDNIGHT CELEBRATION II.” HYDE thrashed around the stage, like a man possessed.
As the show came to its close, HYDE collapsed on stage, looking up into the rafters. A bittersweet melody began to play, and HYDE, with a delicate, beautiful voice on the verge of tears, sang “LAST SONG.” His soft singing voice rose from a whisper, gradually becoming more fevered and filling the hearts of the audience with emotion. A deluge of crimson paper confetti fell from the rafters and HYDE sunk to his knees on stage, like a scene from a movie. Taking his voice to its limits, he repeated the frenzied final lines, his voice midway between crying and screaming, and then fell to the floor, a sight so sublime and beautiful that the audience watched with bated breath, feeling like their hearts had been ripped from their chests. HYDE put his all into the performance, with the climax of the show sweeping the audience from its feet as it showed the ephemeral beauty inside HYDE’s aggressive ferocity. It was the highlight of the show. The paper confetti rained on HYDE’s crumpled form as the audience gazed on as if in a trance. And with this, the show came to an end.
HYDE
Hiroaki Ishikawa
When the curtains opened on the stage again for an encore, each band member performed a gorgeous solo. These led into “PANDORA,” and HYDE suddenly appeared on the second-story corridor, making the crowd go wild. Next, he suddenly appeared in front of the first-story PA, surprising the first floor audience. After delighting the fans by suddenly appearing in their midst, HYDE returned to the stage.
“I’m pouring everything I have into this music. I’m getting older, so I just want to do what I love. And since I’m doing what I want, that means I’m weeding people out. I’m going my own way, and I’m sure there are people out there who don’t like that. But that’s fine. I’ll always have my core fans who stick with me. I pray that there are people out there whose hearts are reached by this show. So we’re going to play three more songs, and we’re going to play with all our hearts, so we have no regrets. Total concentration–my singing, your energy. Don’t hold anything back!”
After pouring out his heart about how he felt about the tour, he performed “MUGEN,” the opening theme to the TV anime Demon Slayer: Kimetsu no Yaiba – Hashira Training Arc, followed immediately by “GLAMOROUS SKY.” Then he brought the audience’s voltage to its peak with the show’s finale, party anthem “SEX BLOOD ROCK N’ ROLL.” The curtains fell and the words “THE END” appeared on them, bringing the show to a close.
HYDE will continue jetting across Japan to perform at numerous summer festivals, and then his momentum will take him overseas to meet fans around the world. If you’re planning to see HYDE, you’d best be prepared.
—This article by Sachie Tojo first appeared on Billboard Japan
Tim Dillon will not be traveling to the Riyadh Comedy Festival next month. The California comedian and host of The Tim Dillon Show podcast says he was fired from the Oct. 8 Saudi Arabia festival for comments he made about the country on Joe Rogan‘s podcast.
Besides losing a $375,000 payday (an amount Dillon confirmed to Rogan), he also lost a nearby warm-up gig in Dubai two nights before his Riyadh appearance after mixing up the Arab emirate with Abu Dhabi (the rival cities are both part of the United Arab Emirates).
“I mixed them up — apparently this is a big deal over there. This is a real problem,” he said on a recent episode of his podcast. “This is not a malicious slander. It’s a mistake.”
The Riyadh Comedy Festival — which mostly takes place at the Bakr Al-Sheddi Theatre and ANB Arena from Sept. 25 to Oct. 9, features a number of top tier comedians including Dave Chappelle, Bill Burr, Gabriel Iglesias, Aziz Ansari, Kevin Hart, Jeff Ross, Chris Distefano, Tom Segura, Jo Koy, Sam Morril, Hannibal Buress, Andrew Schultz, Sebastian Maniscalco, Whitney Cummings, Jimmy Carr, Louis CK, Pete Davidson, Russell Peters and Chris Tucker.
“Supposedly, MBS is a fan of mine,” Dillon said two weeks ago on the Joe Rogan Experience podcast, referring to Saudi head of state Mohammed Bin Salman.
Dillon was reportedly fired from the festival for claiming that Saudi Arabia relies on slave labor — a controversial take on the country’s foreign laborers laws that some groups, including Human Rights Watch, have criticized as “slavery-like.” Legally, slavery was abolished in the Kingdom in the 1960s.
Dillon said the slavery jokes were a misunderstanding with his Saudi hosts, saying on his podcast, “I was defending them for having slaves. I literally said, ‘Slaves are hard workers and for the most part agreeable.’ But they didn’t like that.”
“You can literally support somebody too much,” he added. “In life, this happens. Too many compliments; too much support — and then they turn on you.”
He clarified his comments further, noting, “If i was a slave — not that I want to be one, but if I was and I built this really nice thing, I might say to my slave children, ‘Daddy built that,'” concluding, “Apparently this got to the people in Saudi Arabia and they were unhappy about it.”
The Riyadh Comedy Festival opens Sept. 25 with performances by Burr, Maz Jobrani and Andrew Santino and Bobby Lee from the Bad Friends podcast. More here.
Wilson Phillips, Kenny Loggins, David Pack of Ambrosia and more are set to perform at a charity concert celebrating the music of Brian Wilson and The Beach Boys on Saturday, Sept. 27 at the Granada Theatre in Santa Barbara.
Wilson Phillips features two of Wilson’s daughters, Carnie and Wendy Wilson, as well as Chynna Phillips, the daughter of John and Michelle Phillips. The concert will also feature Brian Wilson’s grandchildren, so it will spotlight three generations of the Wilson family.
The concert, dubbed An All-Star Tribute to the Music of Brian Wilson & Songs of The Beach Boys, will feature the Folk Orchestra of Santa Barbara. Other guest performers are expected to include The Honeys; former members of The Beach Boys and the Brian Wilson Band; and keyboardist Don Randi (The Wrecking Crew); with appearances by Rosemary Butler (Jackson Browne), Ken Stacey (Elton John), Hunter Hawkins (Kenny Loggins), Carly Smithson (American Idol), Alisan Porter (The Voice) and poet Stephen J. Kalinich. These acts will be backed by The Tribe Band, who will perform an array of Beach Boys favorites.
The show begins at 7:30 p.m. Here’s a link for tickets. VIP packages are also available.
Proceeds will be donated to Adam’s Angels, a local group of volunteers, and the Surfrider Foundation of Santa Barbara, dedicated to the protection and enjoyment of the world’s oceans and beaches.
Brian Wilson died on June 11 at age 82. He was the third member of the fabled group to pass, following brothers Dennis in 1983 at age 39 and Carl in 1998 at age 51.
THE BIG STORY: If you needed another clear sign that artificial intelligence is seeping into every aspect of American cultural life, here’s one: An AI artist just signed a record deal, the hallowed milestone of success for any emerging musician.
As first reported by Billboard last week, Xania Monet — the avatar of a woman named Telisha Jones who writes her own lyrics but uses Suno to create the music — inked a record contract worth millions. The deal has quickly become the talk of the industry, including from stars who have spoken out, including Kehlani, who said: “I don’t respect it.”
But…what exactly is a label buying here? It remains unclear the extent to which you can secure intellectual property rights to AI-generated songs, raising hurdles for monetizing them. And platforms like Suno are still facing trillion-dollar infringement lawsuits that essentially claim the technology itself is illegal. For more, go read our full story.
You’re reading The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between. To get the newsletter in your inbox every Tuesday, go subscribe here.
BLIGE CASE TOSSED – A federal judge dismissed a lawsuit against Universal Music Group claiming Mary J. Blige’s enduring 1992 hit “Real Love” infringed the oft-sampled 1973 funk song “Impeach the President” by the Honey Drippers, which has been used by Run-DMC, Dr. Dre, Doja Cat and many others over the years. The judge said the two songs were so different that nobody would hear the earlier song: “The songs do not sound the same.”
DIDDY SENTENCING – Attorneys for Sean “Diddy” Combs urged a federal judge to sentence him to just 14 months in prison on his prostitution convictions, asking him to reject the kind of “draconian” punishment sought by prosecutors. Because the star has already served 13 months in jail since he was arrested, that sentence would see him released almost immediately: “It is time for Mr. Combs to go home.”
LETTERS OF SUPPORT – To help make that argument, Diddy’s lawyers filed dozens of letters from supporters, pleading with the judge to show lenience toward the rapper when he sentences him next month. They came from Diddy’s mother and kids, from ex-girlfriend Yung Miami and from an executive at hip-hop label Quality Control Music — among many others.
SUNO SUIT 2.0 – Separate from the Xania Monet situation, the major record labels filed an amended version of their copyright lawsuit against the AI music firm, adding new allegations that the company illegally “stream-ripped” songs from YouTube to train its models. That’s a hugely important new claim: In a separate such lawsuit against Anthropic, a federal judge ruled this summer that AI training itself is likely a legal “fair use” but that using pirated works to do it could lead to many billions in potential damages.
FTC, YEAH YOU KNOW ME – The Federal Trade Commission filed a lawsuit against Live Nation and Ticketmaster accusing the concert giants of advertising misleading ticket prices and allowing scalpers to buy up tickets and resell them at inflated prices. The case came months after the agency sued a ticket broker that allegedly used thousands of fake Ticketmaster accounts to buy and resell tickets to Taylor Swift concerts and other events — and two years after Live Nation was hit with a sweeping monopoly lawsuit by the U.S. Department of Justice.
HYPE VID SETTLEMENT – Mike Tyson settled a lawsuit claiming he illegally used the Jay-Z, DMX and Ja Rule song “Murdergram” in an Instagram video promoting his boxing match against Jake Paul. The case was filed by Ty Fyffe, a producer and co-writer of the 1998 track who claimed that Tyson had willfully infringed his copyrights by using the song in a training video ahead of his much-hyped fight with Paul.
LOSE YOUR … CASE? – Meta urged a federal judge to dismiss a lawsuit from Eight Mile Style, a music publisher that owns hundreds of Eminem songs, which claims the social media giant made “Lose Yourself” and other iconic tracks available to billions of users. In the motion, Facebook’s lawyers argued the case was “remarkably short on specifics” about actual infringing material: “Fanciful estimates are not a substitute for well-pleaded facts,” the company wrote.
NEVER MEANT TO CAUSE YOU ANY PAIN – The Prince estate asked a judge to dismiss a lawsuit by the late singer’s Purple Rain co-star Apollonia (Patty Kotero) that claims the estate is trying to “steal” her name, arguing it has no intention of forcing her to change her name — and has repeatedly told her as much. The filing did say, however, that Apollonia secured her own trademarks during “the chaotic period following Prince’s death.”
SEX TAPE LEAK CASE – Colombian pop star Beéle was hit with a lawsuit alleging invasion of privacy and sexual cyberharassment from ex-girlfriend Isabella Ladera, claiming he is responsible for leaking their sex tape. Beéle’s reps have denied that he was the source of the leak and said the singer is “also a victim,” but Ladera’s lawsuit placed the blame squarely on him: “Only two people had the videos, and Ladera had already erased them almost a year and a half before.”
MEGAN THEE PLAINTIFF – Lawyers for Megan Thee Stallion argued in court filings that the social media personality DJ Akademiks must reveal whether Tory Lanez sent him a confidential DNA testing report during the singer’s criminal case. The filings came amid discovery in a defamation case against Milagro Gramz, a gossip blogger and ardent online defender of Lanez.
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