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Eagles With Vince Gill Announce New Concerts for Hotel California 2023 Tour

The group has added shows in Tennessee, Florida, New Jersey & more.

By Jessica Nicholson

Jessica Nicholson

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The tour launches Feb. 19 in Portland, Ore., and runs through April 7 in Newark. The group also has a concert prior to the tour launch, with a show Feb. 17 in Lincoln, Calif.

Country Music Hall of Fame member Gill began playing with the Eagles in 2017, joining the group alongside Deacon Frey, son of late Eagles guitarist Glenn Frey, who died in 2016. Gill’s first performances with the band were a pair of bicoastal festival dates , Classic West and Classic East, in 2017. Deacon Frey left the touring outfit last year.

Hotel California has been certified 26 times multiplatinum by the Recording Industry Association of America, and garnered the band two of their six Grammy Awards, for record of the year (“Hotel California”) and best arrangement for voices (“New Kid in Town”). The band, which formed in 1971, was inducted into the Rock & Roll Hall of Fame in 1998 and received the Kennedy Center Honors in 2016.

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New dates added to hotel california tour 2023.

EAGLES - Don Henley, Joe Walsh, and Timothy B. Schmit, with Vince Gill – extend the band’s “Hotel California” Tour with additional 2023 shows set for Jacksonville, Florida; an encore performance in Tampa, Florida; Columbia, South Carolina; Knoxville, Tennessee; Greensboro, North Carolina; and Newark, New Jersey. 

A limited number of VIP packages, including premium seats, exclusive merchandise, parking & more go on sale Thursday, January 12th at 10 AM local time. 

Tickets go on sale Friday, January 13th at 10 AM local time. For more information visit   eagles.com/events.

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Music and Concerts | Review: The Eagles play it proudly old-school…

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Music and concerts | review: the eagles play it proudly old-school on their long goodbye farewell tour.

The Eagles perform "Lyin' Eyes" at the United Center, March 8, 2024, in Chicago. (John J. Kim/Chicago Tribune)

Don Henley, left, and Deacon Frey perform "One of These Nights" with the Eagles at the United Center, March 8, 2024, in Chicago. (John J. Kim/Chicago Tribune)

The Eagles perform "Seven Bridges Road" at the United Center, March 8, 2024, in Chicago. (John J. Kim/Chicago Tribune)

Joe Walsh performs "Take it Easy" with the Eagles at the United Center, March 8, 2024, in Chicago. (John J. Kim/Chicago Tribune)

Timothy B. Schmit, center, performs "Lyin' Eyes" with the Eagles at the United Center, March 8, 2024, in Chicago. (John J. Kim/Chicago Tribune)

Vince Gill performs "Lyin' Eyes" with the Eagles at the United Center, March 8, 2024, in Chicago. (John J. Kim/Chicago Tribune)

The Eagles perform "One of These Nights" at the United Center, March 8, 2024, in Chicago. (John J. Kim/Chicago Tribune)

Donald Fagan of Steely Dan, right, opens for the Eagles at the United Center, March 8, 2024, in Chicago. (John J. Kim/Chicago Tribune)

Steely Dan opens for the Eagles at the United Center, March 8, 2024, in Chicago. (John J. Kim/Chicago Tribune)

Just days removed from seeing his criminal case against men accused of stealing the band’s lyric sheets dismissed by the court , an unruffled vocalist Don Henley all but explicitly admitted the Eagles are dinosaurs. He highlighted the Eagles’ spartan stage setup, straightforward production and dearth of choreography. Resembling a banker in his vest and button-down shirt, Henley described the collective as “just a bunch of guys with guitars,” before acknowledging it “may be anachronistic, but it works.”

The candid moment revealed a rare self-effacing side of the famously solemn Henley. As the last co-founding member involved with the Eagles, the singer-drummer-guitarist also expressed gratitude for more than five decades of support and instilled the event — part of the band’s farewell tour — with a hint of finality. Cue the standing ovation.

After the brief emotional display, it was back to business. For the Eagles, that meant delivering one instantly recognizable song after another for 120 minutes without added effects or obvious mistakes. Doing so required assigning lead vocals to songs identified with deceased co-founder Glenn Frey to his son, Deacon, and country star Vince Gill, who joined in 2017 and handled every part as if he’d been in the group since day one. And it necessitated a professionalism and seriousness interrupted only by a few scheduled comic-relief spots from singer-guitarist Joe Walsh.

Calculated, and too staid for their own good? Definitely. But the Eagles arrived having put in the hard work, nailing the blended multi-part harmonies crucial to many of the tunes and playing with a technical acumen that valued each note. The quintet operated as the equivalent of a leveling device that finds any imbalances. And the Eagles ensured the crowd could experience it all — the spaciousness, the separation, the small details such as fingers delicately moving on a fretboard or hands gently cradling a shaker — by dialing in a crisp, transparent sound at a venue where acoustics frequently get compromised.

Then there were the songs, textbook examples of country-rock craftsmanship and organic architecture that the Eagles often made appear effortless. The hungover mood of “Tequila Sunrise,” dirt-road escapism of “Already Gone,” funky skedaddle of “Life in the Fast Lane,” melancholic ache of “Desperado.” Songs with identifiable lyrics, easy-going tempos, breezy rise-and-fall vocal patterns and lingering melodies didn’t rouse many in the crowd out of their seats but had them mouthing the words and swaying their heads — just as they would in the car if the Eagles came on the radio.

Never mind that the group’s most recent studio effort (“Long Road Out of Eden,” 2007) stands as the only all-original album the Eagles released since their initial 1980 breakup. Or that the newest song the collective performed on Friday dated to Michael Jordan’s rookie season.

Continuing to inspire strong opinions on both sides of the fence, the Eagles acknowledge what their fans want: nostalgia and classics. Unlike generational peers, they no longer concern themselves with recording half-baked new material in a bid to prove relevance. Credit the Eagles, too, for honesty in branding. Named The Long Goodbye, their current tour plans to stretch through 2025 and seems built to allow for leniency in terms of return visits. This is a band, after all, that realizes the music industry is at heart a business and that people will pay for what they love.

Independent of the fancy awards and commercial achievements that include dibs on two of three biggest-selling albums in American history, the most enduring aspect of the Eagles’ legacy arguably pertains to commerce. The group permanently changed concert economics when in 1994 it became the first artist to charge $100 for a ticket to its reunion tour. (By comparison, the Rolling Stones capped prices at $50. It was a different era.)

Initially derided by experts who believed the amount would lead to backlash and empty seats, the strategy triumphed. Its historical impact continues to resonate. The hefty prices associated with today’s big-name shows — and the escalated importance society places on musicians and their entertainment — connect to that once-controversial decision.

Fast-forward 30 years, and Henley’s and bassist-vocalist Timothy B. Schmit’s hair is grayer but the songs largely remain the same. Ditto Henley’s voice which, aside from losing a bit of altitude in the higher end and evincing a slight nasal quality, exhibited smoothness, control and depth. The goofy charm and rubber-faced expressions of their other longtime and fellow 76-year-old cohort, Walsh, similarly possessed a familiar ring. Even the four auxiliary support musicians, all in their respective roles since at least 2001, contributed to a consistency and dependability that reign as Eagles trademarks.

Other than Henley threatening to crack a smile more than once, the biggest surprise related to Walsh disclosing he spent part of his early childhood in Evanston. With the Eagles, you know what you’re going to get. Though the conservative approach rubbed up against unspoken rock ‘n’ roll rules and lacked liveliness, it fit the music’s polite character and perfectionist-oriented arrangements. To loosen things, Walsh offered the quirky “Life’s Been Good” and talk box-accompanied “Rocky Mountain Way” from his solo career. Per usual, the  whir and whine of his reedy voice ranked a distant second to his bluesy guitar licks.

Deacon Frey stepped into his father’s shoes on the windswept “Take It Easy” and relaxed “Peaceful Easy Feeling.” He sang with sturdiness, clarity  and purpose, but fared better as a harmony vocalist and rhythm guitarist — duties that dissolved the obvious timbral differences between him and his dad. Schmit turned in the evening’s only threadbare lead vocal on the adult-contemporary ballad “I Can’t Tell You Why” whose title ironically served as the answer to the question of how the track entered into the set over superior fare such as “The Long Run,” “Victim of Love” or “Best of My Love.”

Indeed, if the Eagles imparted a lesson for younger generations of bands on Friday, it concerned the importance of elevating songs above personal interests or skills. Granted, Walsh impressed with a fiery guitar solo on an extended reading of “In the City” and Henley kept steady time behind the drum kit while pushing his voice into falsetto regions. Neither called attention to themselves or showed up their mates.

Rather, the group’s successes drew on a collective principle that stressed less “me,” more “us.” Like the Eagles themselves, an analog concept in a digital world.

Setlist from the United Center March 8:

“Seven Bridges Road” (Steve Young cover)

“Take It Easy”

“One of These Nights”

“Lyin’ Eyes”

“Take It to the Limit”

“Witchy Woman”

“Peaceful Easy Feeling”

“Tequila Sunrise”

“In the City”

“I Can’t Tell You Why”

“New Kid in Town”

“Life’s Been Good”

“Already Gone”

“The Boys of Summer”

“Funk #49” (James Gang cover)

“Life in the Fast Lane”

“Hotel California”

“Rocky Mountain Way”

“Desperado”

“Heartache Tonight”

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Eagles Add 2023 “Hotel California” Tour Dates

Concerts Added in Portland, Oregon; San Jose, California; Palm Springs, California; Phoenix, Arizona; and San Diego, California

Featuring the ‘hotel california’ album in its entirety, with accompanying orchestra & choir, plus full greatest hits set, tickets on sale friday, october 28 th  @ 10:00 am local time.

Don Henley, Joe Walsh,  and  Timothy B. Schmit , with  Vince Gill  – extends the band’s  “Hotel California” Tour  with 2023 shows in February and March set for Portland, Oregon; San Jose, California; Phoenix, Arizona; San Diego, California and the Grand Opening concert at Acrisure Arena in Palm Springs, California. Tickets for the “Hotel California” 2023 Tour, produced by Live Nation, go on sale  Friday, October 28 th  at  10 AM  local time through  Ticketmaster . 

“HOTEL CALIFORNIA” 2023 TOUR DATES :

Sunday, Feb. 19                   Portland, OR                       Moda Center

Tuesday, Feb. 21                 San Jose, CA                        SAP Center

Friday, Feb. 24                    Palm Springs, CA               Acrisure Arena

Wednesday, Mar. 1            Phoenix, AZ                         Footprint Center

Friday, Mar. 3                     San Diego, CA                      Pechanga Arena

 Each concert will feature  ‘Hotel California,’  performed live in its entirety from start to finish, accompanied by an orchestra and choir.  After a short intermission the band will perform a full set of their greatest hits.  All shows will begin at 8 PM .

Presales are available starting Thursday, October 27 th  at 10:00 AM local time. A limited number of VIP packages, including premium seats, exclusive merchandise, parking & more, will be available.  Check  Eagles.com  for complete tour and ticket information.  

The Eagles kicked off the “Hotel California” concerts in 2019 in Las Vegas to rave reviews and critical acclaim. To date, the Eagles have performed more than 70 sold-out shows, including five nights at the famed Madison Square Garden in New York City, four nights at the MGM Grand Garden Arena in Las Vegas, Nevada, four nights at American Airlines Arena in Dallas, Texas, three concerts at the Toyota Center in Houston, Texas, three nights at the Forum in Los Angeles, and multiple nights in Austin, TX, Denver, CO, Nashville, TN, San Francisco, CA, Phoenix, AZ, Seattle, WA, St. Paul, MN, and Toronto, ON.

“From the title track — a 6 1/2-minute flamenco-reggae ballad— to the elegiac closer ‘The Last Resort,’ it’s consummately performed…”   – Los Angeles Times

“The band performed the album from front to back, following with a blazing greatest hits set that had the audience at the sold-out arena constantly on its feet…With no exception, the songs have aged well, but how could they fail with the Eagles’ five-part harmony and five guitar-approach… (Henley’s) voice sounded as strong and pliant as it ever has, easily hitting the highest of notes, while retaining his trademark huskiness.”   – Billboard

“By now the orchestra has been joined by a choir. The Eagles’ sound, with its glowing harmonies, barely needs them, but they add to the sense of occasion – and the delight of the crowd. I’ve never seen so many songs receive a standing ovation.”   – Daily Mail

“…the Eagles spent more than 2 hours and 40 minutes on stage performing most of the best-known songs in their oeuvre, their voices sounding as robust as they did half their lifetimes ago. And the show was all the best adjectives you can think of — exhilarating, breathtaking, stunning, magical, triumphant.”   – Charlotte Observer

“It was a soulful, technically brilliant concert, with state-of-the-art sound engineering, wonderful performances and beautiful visuals presented on a giant screen behind the musicians.”

-Buffalo News

And it was…sublime. Eagles have long had a knack for precise, recording-perfect performances, and playing “Hotel California” was perhaps the finest exposition of that. The sound mix was pristine, the vocal harmonies were rich…”   – Oakland Press

“Everyone in the arena seemed to leap to their feet and start applauding at once. For a split-second I actually felt my eyes start to mist up. It was just so overwhelming, the power of (Henley’s) voice, the beauty of the song, the majestic-ness of the symphony, the thickness of the nostalgia hanging in the air.”   – Charlotte Observer

“What made the “Hotel California” portion of Thursday’s set so stunning was just how airtight the Eagles sounded… The “Hotel California” portion of the set was near perfection – a tight, 50-minute showcase of musicality that would have been worth the price of admission alone. But the night was far from over.”   – Cleveland Plain Dealer

Hotel California  is the third best-selling U.S. album in history, certified 26-times Platinum by the RIAA. After its release in 1976, it topped the charts and won two GRAMMY Awards for “New Kid in Town” and “Hotel California.”  Several of the songs from the album have never been performed since the original “Hotel California” tour.  The band’s  Their Greatest Hits 1971-1977  is the best-selling U.S. album in history, with the RIAA certifying the collection at 38-times Platinum. 

In today’s faddish, fractured, rock landscape, the Eagles retain an appeal that transcends both generation and genre, cementing the band’s role as enduring musical icons. As the best-selling American band of the ’70s, and one of the top-selling acts of all time, the Eagles have sold more than 150 million albums worldwide, scored six #1 albums and topped the singles charts five times. They have won six GRAMMY® Awards, were inducted into the Rock & Roll Hall of Fame in 1998, in their first year of eligibility, and received the Kennedy Center Honors in 2016.  

About Live Nation Entertainment

Live Nation Entertainment (NYSE:  LYV ) is the world’s leading live entertainment company comprised of global market leaders: Ticketmaster, Live Nation Concerts, and Live Nation Sponsorship. For additional information, visit   www.livenationentertainment.com .

# # # 

Eagles:   

Larry Solters, Anna Loynes 

Scoop Marketing,  [email protected]

Live Nation: Monique Sowinski,  [email protected]

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Vince Gill Talks Joining the Eagles: ‘I Feel I’m a Great Fit’

By Joseph Hudak

Joseph Hudak

When Vince Gill joined the Eagles last month for his first rehearsal with the storied band, ahead of the group’s two reunion shows at July festival gigs in New York and L.A., the country singer-guitarist had to pinch himself. “It was a surreal experience,” he says, sitting on a couch in his home studio in Nashville, his 21 Grammys and vast guitar collection behind him. “Don’s there, Timothy is there and I’m singing these songs. It was an amazing gift.”

On July 15th at L.A.’s Dodger Stadium, Eagles members Don Henley, Timothy B. Schmit and Joe Walsh will reunite for their first full show since Glenn Frey’s death in 2016, for the Classic West concert, an all-star weekend of classic rock featuring icons like Fleetwood Mac, Steely Dan and Journey. Gill and Frey’s son Deacon have been tapped to step in for the late co-founder, both of them adding vocals and guitar to the Eagles’ already potent lineup. (They’ll do it all again on July 29th at Citi Field in New York.)

Rolling Stone Country talked with Gill about which Eagles songs he’ll sing – they’re not all Frey tunes – how he’s preparing for the shows and the possibility of a full-fledged tour.

You’ve known Don and Glenn for some time. How’d this opportunity come about? Through management. [Eagles manager] Irving Azoff picked my manager Larry Fitzgerald’s brain about my interest. From what I’ve been told by Don, I was the only consideration. But I didn’t think they’d do it.

You mean reunite at all? Yeah. When Glenn passed, that was Don’s first response: “I can’t see us playing without Glenn.” With time, maybe they understood the impact of the legacy of these songs and thought, “It would be good for people to continue to hear these songs.” But the only reason I’m getting this chance is because of the sadness that happened to Glenn. It is pretty bittersweet.

You were closest with Glenn, weren’t you? Maybe. But I really got to know Don a lot better when he made his solo record [ Cass County ]. I played and sang on it. Now we are doing a duet together for a tribute to Elton John. And Joe and I kicked around the idea of doing a Traveling Wilburys thing. We were headed down that path and then the tragedy happened to Glenn. I think everybody is trying to figure it out, and see if it even feels good to them or feels right.

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“Country music never embraced the Eagles, yet they had as profound an impact as anybody that’s ever been in country music.”

To play together again? Yeah. But with Deacon being a part of it, it’s the most appropriate thing. He’s blood and he’s his son. That’s healing in its own. I’m beyond flattered that of all the people who play and sing music, that they’d think enough of me to do this. I feel like I’m a great fit. The things I can do and the gifts I’ve been given really marry well. The impact they’ve had on all of music didn’t miss me. It scarred me real good. A record of mine like When Love Finds You sounds like an Eagles record. They’ve been as big a part of my learning curve as the greats of the country and Western world.

How so? We all talk about our history in country music and we respect Merle Haggard and George Jones. And I mean no disrespect when I say this, but the Eagles had a bigger impact in that more people chose to emulate them. You take any of the bands from the Eighties, Nineties or even solo artists, and you don’t find many of them emulating George Jones or Merle Haggard. I find it interesting in that country music never embraced the Eagles, yet they had as profound an impact as anybody that’s ever been in country music.

How did you prepare for your first rehearsal? I didn’t know what to learn, but I assumed learn Glenn songs. I don’t know which ones Deacon was going to sing; which ones I was going to sing. That’s what rehearsal was for. There’s already three guitar players in the band before I get there, so I’m wading in. I was very minimalistic in what I was trying to do. There would be nothing worse than me just blasting in going 90 miles per hour.

What songs are you singing in the set? “Lyin’ Eyes,” “New Kid in Town,” “Take It to the Limit” and “Heartache Tonight.”

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Has there been any talk of past members like Bernie Leadon showing up to play? I’m not privy to any of the inner workings. I speak when spoken to. I’m an old friend and all that, but I’m a newbie. I want to be a blessing to them. I want to be a real fun experience for them, because they can get serious. Their history bears that out. But that’s OK too; that’s why they’re great.

Right now these are just one-off shows, but if they decided to tour, would you be willing? Are you kidding me? I’d be the first one on the bus. They probably don’t take a bus, but I’ll drive myself. I’ll take my own car. You couldn’t dream this up to get to go play in your favorite band – the most important American band in history. 

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Vince Gill Ready to Fly Solo for Summer Tour: ‘I Know I’m Better Than I Was’ (EXCLUSIVE)

By Chris Willman

Chris Willman

Senior Music Writer and Chief Music Critic

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Contrary to possible recent appearances, Vince Gill ‘s greatest hits are not “Take It to the Limit,” “New Kid in Town” and “Lyin’ Eyes.” Audiences will have a chance to be reminded of that this summer when the Country Music Hall of Famer, who’s been a part-time member of the Eagles for the last five years, heads out for some concerts with his own band for the first time since before the pandemic.

The initial shows will take place in July and August (see a list of dates, below). “I knew that the guys weren’t going to work in those months,” Gill tells Variety , meaning Don Henley and company, “and I said, ‘You mind if I go out and do some dates?’ They said, ‘Of course not.’ And so I’ve got a lot of guys who have played with me for most of their lives, and they could stand to make a little money and come back to work. Everybody’s so excited just to get to play again, travel around and tell the same dirty jokes. I mean, we’re old enough now that everybody’s forgotten them and we can retell ‘em.”

It was not just the pull of the Eagles keeping him off the road, of course. “That pesky little virus thing — I mean, nobody could dream this stuff up. It dawned on me in the middle of the pandemic that I hadn’t had a break in 47 years,” Gill says, charting that time back to when he was the fill-in singer for another country-rock group, Pure Prairie League. “I had always traveled, always toured, always played, always worked, and never, ever stopped. It was a real interesting thing to have happen, and I didn’t spend all my time practicing. I found a blessing in the break, and it was OK. But I miss singing all those songs that I’ve come up with over the last 40, 45 years, so I’m pretty fired up to go out there and so some of them again.”

Popular on Variety

Really, the last time anyone heard him singing his own material at all was at the very beginning of quarantine, in March 2020, when the Grand Ole Opry wanted to keep its historic streak of Saturday night radio broadcasts going and called him in to do some appearances with Rodney Crowell, Brad Paisley, Marty Stuart, Emmylou Harris ad Reba McEntire with no audience and little crew. Other than that, it will have been the better part of a three-year gap by the time he opens in Greensboro, NC on July 7.

But for his fans who also happen to be Eagles fans, it may not seem like he’s been away that long, even if they’ve seen him singing “Try and Love Again” on the “Hotel California” full-album tour, and not “Don’t Let Our Love Start Slippin’ Away.”

“It’s an unbelievable opportunity and a good hang,” he reaffirms of his five-year tenure helping fill the late Glenn Frey’s shoes (and to an extent, Randy Meisner’s). “Everything about it is something I just can’t even believe it’s happened, you know, and I’m grateful for it every time I get to go up there and continue to be a part of keeping that song catalog going. It’s an amazing accomplishment Don and Glenn and Joe (Walsh) and Timothy (B. Schmit) and all those guys made” — and being ever the gentleman as well as historian, he adds. “and all the former guys that played — Randy, Don (Felder) and Bernie (Leadon). I would have never believed that that would happen, and sadly it only did because of a tragedy and losing Glenn. I’ve got a really healthy perspective of it, and I know I had nothing to do with any of it other than from this day forward. So I can’t get the big head about it.”

And yet the enthusiasm with which he’s greeted every night on tour with them, before he ever sings a solo note — from crowds that seem to have some recognition they have country music royalty in their midst — can’t be head- shrink ing, either.

“The first gig that I did with them, I could feel the apprehension in the crowd, and it made total sense,” Gill says. “‘Take It to the Limit’ was the first song I sang, and I could feel after the first chorus everybody just take a deep breath and go, ‘I think it’s gonna be OK.’ I honestly could feel that from them; it was really palpable and really quite beautiful.”

But it’s not his life’s work, or something he could do exclusively indefinitely. “I couldn’t do that. I’ve invested most of my life in my career and those songs. I’m more than willing to chip in and help out and do this gig with Don and everybody. But I feel like I have a responsibility to all those people and those crew guys who’ve been with me for 30 and 35 years and more, and people that have bought those records and listened to ‘em and love the songs. It’s a two-way street. I can’t just say, ‘Oh, I’m doing fine, I don’t need to do that anymore.’ ‘Cause that’s a whole lot of who I am, you know? My songs were tailor-made for me to sing and for me to play, and  the melodies are such that I do what I do best on a lot of those songs. So I miss that.”

Gill cut a new album during the pandemic — a second collaborative album with the great steel guitar player Paul Franklin. It’s a sequel of sorts to the “Bakersfield” album of songs by Merle Haggard and Buck Owens the duo put out in 2013; this one is an album of Ray Price songs. But Gill definitely won’t be putting it out before the summer tour and isn’t even sure it will be his next project to be released, since it’s been a few years since his last album of originals, too.

In any case, Franklin will be part of the band this summer (except for some opening dates he’ll miss because of sitting in with Chris Stapleton in a hometown show at a Detroit stadium). Other players include long time members Billy Thomas on drums, John Jarvis on keyboards, Jimmie Lee Sloas on bass and Wendy Moten on vocals. Besides being a member of the Time Jumpers, the band that has been a side project for Gill in the past, Moten will be familiar to many from being the second-place finisher on “The Voice” in 2021.

There will be one void, though, in his touring unit since his last time out: long time guitar tech and childhood best friend, Benny Garcia, who died of pancreatic cancer shortly into the pandemic. Longtime fans know this was no average crew member. Will that create a different feeling in being on the road? “Yeah, just a broken heart,” Gill says bluntly. “He passed in May of 2020, and (the Eagles) went out and did some dates in the summer and fall of ‘21, and just having somebody else bring me guitars was weird, you know? A lot of people probably don’t know, but we’d been inseparable since we were in sixth grade, and played in our first bands together and went on our first dates together. So I didn’t just lose my guitar helper guy. I lost my best friend.”

These kinds of sadnesses aside, there are some aspects of getting older that Gill relishes — like his surety that he’s kicking ass more than he used to. He feels like he’s in the midst of a personal musical renaissance, even if he doesn’t get the chance to put that on display as often, or necessarily to as big an audience as when he was one of the reliable chart-toppers of country. He knows, and that’s good for something.

“I’ve written so many new songs and I’m so excited about it and fired up,” Gill says. “I’m always feeling creative. That never goes away and it never will. Even if there’s not a vehicle for some of these songs, I’m gonna write ‘em and I’m gonna sing ‘em, and this is what I was meant to do.

“You know, it’s interesting in this part of your career, when I feel like I’m doing the best work I’ve ever done, and it goes largely unnoticed, in comparison to other times of life. But that’s OK. Because I feel like I know in my heart that I’m a little bit better than I was. It really feels good to not see it kind of slip and go in the opposite way. Someday it will, just because of life and how your body will eventually kind of give up on you a little bit, and you won’t be able to do the things you do to breathe the way you do and push air in the way you used to, and your hands won’t be nimble and whatever. So I know it’s coming, but I’m gonna run pretty hard till it does.”

Although this summer run is a short one, he promises there are more Vince Gill headlining shows to come in other parts of the country. “Absolutely. This is not my farewell solo summer tour,” he laughs.

In the meantime, seasonal tradition will be followed as he joins wife Amy Grant for a dozen holiday shows at Nashville’s Ryman Auditorium in December. He doesn’t mean to get anyone’s hopes up for a “Liza Jane”-style boogie at those concerts, though. “You know, we’re just singing Christmas songs. We don’t sing very many of our own songs per se. So that’s its own thing, and it’s fun. And I get to watch my girl shine and that’s a great way to spend a night.  She’s really good at that — way better than me at that Christmas stuff. So I’m just riding her coattails in the Christmas season.”

Vince Gill’s summer shows:

7/7 Greensboro, NC Steven Tanger Center for the Performing Arts 7/8 Columbia, SC Township Auditorium 7/9 N. Charleston, SC North Charleston Performing Arts Center 7/10 Augusta, GA Bell Auditorium 7/14 Birmingham, AL Alabama Theatre 7/15 Mobile, AL Saenger Theater 7/16 Montgomery, AL Montgomery Performing Arts Centre 7/17 Huntsville, AL Von Braun Center 7/20 Rockford, IL Coronado Performing Arts Center 7/21 Davenport, IA River Center – Adler Theatre 7/22 Des Moines, IA Des Moines Civic Center 7/23 Omaha, NE Holland Performing Arts Center 7/28 Charlotte, NC Ovens Auditorium 8/12 Oklahoma City, OK Thelma Gaylard Performing Arts Theater 8/13 Ft. Worth, TX Billy Bob’s Texas 8/14 Memphis, TN Orpheum Theatre 8/26 Dothan, AL Dothan Civic Center 8/28 Atlanta, GA Fox Theatre

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The Eagles (with Vince Gill) Extend 2023 Tour

(Photo by Scott Dudelson/Getty Images)

The Eagles - who once said they'd only reunite if Hell froze over - revealed plans for more shows to spotlight their Hotel California album this year.

And, as he has done for the last several years, country icon Vince Gill is joining them. Other members include Don Henley, Joe Walsh and Timothy B. Schmit. The men will guide the touring band, orchestra and choir through the "Hotel California" album that was released in 1976 and a few of the band's greatest hits.

When Gill started playing with the group after Glenn Frey passed away, Gill endured a significant amount of venom from fans who didn't believe he should be on stage with the group. Frey died in 2016, and Gill started playing with The Eagles in 2017.

"Because Glenn was a great friend, and in my heart of hearts, I wish I wasn't doing it," Gill said during an interview at the Musicians Hall of Fame and Museum. "That would mean Glenn would still be around, but life is what it is, and you just go do what you can do because of what happens. Those songs deserve to live on as long as they can."

Frey's son Deacon Frey also played with The Eagles but won't be on the new concert dates.

Six new shows have been tacked on to the 2023 tour dates originally announced in November of 2021. The Eagles will now play 13 shows in 2023, including stops in California, Oregon, South Carolina and Tennessee.

The tour is currently set to end April 7. 

Tickets for these new Hotel California Tour dates will go on sale January 13 at 10 a.m. local time.

Eagles' 2023 Hotel California Tour Dates:

Feb. 19 — Portland, Ore. @ Moda Center

Feb. 21 — San Jose, Calif. @ SAP Center at San Jose

Feb. 24 — Palm Springs, Calif. @ Acrisure Arena

Feb. 25 — Palm Springs, Calif. @ Acrisure Arena

March 1 — Phoenix, Ariz. @ Footprint Center

March 3 — San Diego, Calif. @ Pechanga Arena San Diego

March 25 — Jacksonville, Fla. @ VyStar Veterans Memorial Arena

March 28 — Tampa, Fla. @ Amalie Arena

March 30 — Columbia, S.C. @ Colonial Life Arena

April 1 — Knoxville, Tenn. @ Thompson-Boling Arena

April 4 — Greensboro, N.C. @ Greensboro Coliseum

April 7 — Newark, N.U. @ Prudential Center

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The Eagles set ‘swan song’ with Long Goodbye farewell tour

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The Eagles are ready to fly one last time, soaring for a farewell tour this fall to cap off their five decades of touring.

“The Eagles have had a miraculous 52-year odyssey, performing for people all over the globe; keeping the music alive in the face of tragic losses, upheavals and setbacks of many kinds,” the “Hotel California” and “Desperado” hitmakers said in a Thursday statement .

“We know how fortunate we are, and we are truly grateful. Our long run has lasted far longer than any of us ever dreamed. But, everything has its time, and the time has come for us to close the circle.”

The Los Angeles-formed rock band — eternally associated with the Southern California country-rock sound — will launch their Long Goodbye tour in New York’s Madison Square Garden on Sept. 7, announcing 12 additional dates Thursday with the possibility of more to come. However, no California dates have yet been announced.

Welcome to the ‘Hotel California’ saga: Missing lyric sheets, rare book dealers and a relentless Don Henley

In July, three men were indicted in an attempt to sell the manuscripts, stolen property belonging to the Eagles’ leader. But the story begins in the ’70s with a shelved biography.

Aug. 25, 2022

“The official farewell tour is currently in the planning stages. We want to give all our fans a chance to see us on this final round. So, scheduling information will be released as dates are set,” said the band, whose current lineup includes drummer and vocalist Don Henley, famed guitarist Joe Walsh, bassist Timothy B. Schmit and guitarist Vince Gill. Gill joined the band after founding member and guitarist Glenn Frey died at 67 in 2016 . (Frey’s son Deacon also played with the band for nearly five years before announcing his departure in 2022 .)

“The difficulties of booking venues for multiple nights may require us to return to certain cities, depending on demand. But, we hope to see as many of you as we can, before we finish up,” they said. “Most importantly, we thank you from the bottom of our hearts for embracing this band and its music. At the end of the day, you are the reason we have been able to carry on for over five decades. This is our swan song, but the music goes on and on.”

The six-time Grammy Award-winning group and Rock and Roll Hall of Famers will be joined by contemporary act Steely Dan, whose members will be commemorating their own half-century spanning career as well.

The Eagles’ Glenn Frey spun sun-baked SoCal ballads that will endure

Few bands were better at distilling the vibe of Los Angeles in the 1970s than the Eagles, and as its singer and guitarist, Glenn Frey served as a sort of mellow ambassador of our city.

Jan. 19, 2016

The bands have scheduled shows through mid-November in Boston, Newark, Denver, Indianapolis, Detroit, Cleveland, Atlanta, Charlotte and Raleigh, N.C., Lexington, Ky., and St. Paul, Minn. The full schedule can be found here . The Long Goodbye tour follows their recently expanded Hotel California tour , named for their landmark 1976 album that they played in its entirety during the tour, which wrapped in Baltimore in April.

Presale tickets and VIP packages for the Long Goodbye will be made available July 12 for all announced shows. General on-sale begins July 14.

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Music + Concerts | The Eagles soar on the first of four farewell…

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Music + concerts, music + concerts | the eagles soar on the first of four farewell shows at the forum, steely dan is the opener on the long goodbye: final tour, which returns to the kia forum on saturday, jan. 6, and again on jan. 12-13..

It’s right there in the name of the tour – The Long Goodbye: Final Tour – but goodness gracious, why?

“Good evening and welcome to whatever this is,” said cofounder Don Henley , who did most of the talking between songs on Friday. “We’ve been playing this joint for 49 years. After next weekend, it will be 26 times that we played here.”

The roar of cheers and applause from the sold-out arena stopped Henley, who sang from behind the drums or with an acoustic guitar, for a moment.

From left, J. D. Souther and Don Henley high-five before performing together during Eagles The Long Goodbye Tour at the Kia Forum in Inglewood on Friday, Jan. 5, 2024. (Photo by Drew A. Kelley, Contributing Photographer)

Don Henley of the Eagles performs on first of four sold-out shows at the Kia Forum in Inglewood on Friday, Jan. 5, 2024. (Photo by Drew A. Kelley, Contributing Photographer)

Vince Gill of the Eagles performs on first of four sold-out shows at the Kia Forum in Inglewood on Friday, Jan. 5, 2024. (Photo by Drew A. Kelley, Contributing Photographer)

J. D. Souther performs with the Eagles on first of four sold-out shows at the Kia Forum in Inglewood on Friday, Jan. 5, 2024. (Photo by Drew A. Kelley, Contributing Photographer)

Deacon Frey of the Eagles performs on first of four sold-out shows at the Kia Forum in Inglewood on Friday, Jan. 5, 2024. (Photo by Drew A. Kelley, Contributing Photographer)

Donald Fagen of Steely Dan performs at the Kia Forum in Inglewood on Friday, Jan. 5, 2024. (Photo by Drew A. Kelley, Contributing Photographer)

From right, Joe Walsh and Don Henley of the Eagles perform during The Long Goodbye Tour at the Kia Forum in Inglewood on Friday, Jan. 5, 2024. (Photo by Drew A. Kelley, Contributing Photographer)

The Eagles perform during The Long Goodbye Tour at the Kia Forum in Inglewood on Friday, Jan. 5, 2024. (Photo by Drew A. Kelley, Contributing Photographer)

The Eagles perform on first of four sold-out shows at the Kia Forum in Inglewood on Friday, Jan. 5, 2024. (Photo by Drew A. Kelley, Contributing Photographer)

Steely Dan performs at the Kia Forum in Inglewood on Friday, Jan. 5, 2024. (Photo by Drew A. Kelley, Contributing Photographer)

“We could have done just one night at the spaceship next door and been done with it,” he continued, referring to SoFi Stadium just south of the Forum, a venue he later referred to as the Eagles’ home field. “But it sounds better in here. So we decided to work a little harder and give you a better experience.”

Which is just what fans got: 21 songs over two hours, almost all the Eagles’ hits you could want, a guest appearance by singer-songwriter J.D. Souther, who co-wrote three of the band’s five No. 1 singles, a handful of singer-guitarist Joe Walsh’s hits from outside the band, and a Henley solo hit, too.

“Seven Bridges Road” gave way to “Take It Easy,” one of the songs most associated with the late Glenn Frey . On Friday, his absence was still felt eight years since his 2016 death, but his replacements – son Deacon Frey and country singer-songwriter Vince Gill – are familiar faces in the band now.

Deacon and Gill swapped or shared lead vocals on the songs Glenn Frey used to sing – after Henley sang “One Of These Nights,” Gill handled “Lyin’ Eyes” – and between the son’s vocal resemblance to his father and Gill’s strength as a singer and guitarist, both made it almost possible to forget the guy who’s no longer there.

Early in the set, Henley spoke of old friends who sometimes collaborated on songwriting, mentioning Jackson Browne, who co-wrote “Take It Easy”; Jack Tempchin, who contributed “Peaceful, Easy Feeling” and “Already Gone”; and J.D. Souther, who helped the band with three of its biggest hits.

Souther came out Friday to sing all three of those songs with the band, with the ballads “Best of My Love” and “New Kid in Town” played back to back early on.

That mellow Eagles’ vibe continued a few songs longer: “Peaceful, Easy Feeling” saw Deacon Frey on lead vocals, and finished with a black-and-white photograph of his father on the video screens, while Gill sang a beautiful rendition of “Tequila Sunrise.” And bassist Timothy B. Schmit showed off his lovely high tenor on “I Can’t Tell You Why.”

But things shifted midway through the night as Joe Walsh swapped his acoustic for electric guitar to crank up the volume alongside touring guitarist Steuart Smith, who since 2001 has handled the lead guitar duties once played by former Eagle Don Felder.

Walsh, whose goofy personality is always fun, played four songs written as a solo artist or member of the James Gang, with “Life’s Been Good” delivering a welcome jolt of energy in both lyrics – a comic tale of rock star excess – and guitar licks.

From there, the back half of the set rocked harder to the finish. “Already Gone” featured a terrific Deacon Frey vocal, with he and Smith swapping crunchy guitar riffs. Henley dedicated his solo hit “Boys Of Summer” to the late Jimmy Buffett, a boy of summer if ever there was one.

A pair of Henley lead vocals closed out the main set with two of the band’s biggest hits, “Life in the Fast Lane” and “Hotel California,” the latter being perhaps the Eagles’ ultimate song among many contenders.

Then, after Walsh opened the encore with his own “Rocky Mountain Way,” and Henley sang a lovely “Desperado,” the band plus Souther said so long for now with “Heartache Tonight,” a joyful romp about staying out late even when it’s time to go home, an apt sentiment for a farewell show.

Opening for the Eagles on this tour is Steely Dan, a band with a completely different sound – jazz influences in place of country – but an equally acclaimed history.

As with the Eagles, Steely Dan has continued despite the death of a co-founder, with singer-keyboardist Donald Fagen carrying on its legacy after the 2017 death of his songwriting partner guitarist Walter Becker.

During an hour on stage, Fagen and 12 musicians and singers delivered a good portion of Steely Dan’s hits. After an instrumental opening number, Fagen arrived to deliver the slinky grooves and sophisticated swing of “Josie” and “Hey 19.”

Nearly every player in the band got a spotlight turn, with longtime members such as guitarist Jon Herington and drummer Keith Carlock standouts as always.

Other highlights included “Dirty Work,” with lead vocal shared by the three backing vocalists, “Rikki Don’t Lose That Number,” “My Old School,” and “Reelin’ in the Years,” which wrapped up Steely Dan’s night on Friday.

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Vince Gill On Criticism He Receives for Playing with The Eagles

Trigger Random Notes Deacon Frey , Don Henley , Glenn Frey , Joe Walsh , Keith Whitley , Paul Franklin , The Eagles , The Time Jumpers , Vince Gill --> 95 Comments

One of the most curious, and maybe one of the most cool developments in music over the last couple of years has been Vince Gill becoming a late career member of The Eagles. It wasn’t a development that came with a lot of fanfare or explanation. With the passing of Glenn Frey in 2016, everyone, including the remaining members, thought it was the final bow for one of the most successful American bands of all time. Don Henley stated in 2016 shortly after Glenn Frey’s passing that the band known as The Eagles would never perform again. But in 2017, some shows were booked for select appearances, and organically, Vince Gill just sort of appeared in Glenn Frey’s spot, along with Glenn’s son Deacon. Soon the Country Music Hall of Famer started appearing with The Eagles for all of their live tour dates, and now Gill is considered a bona fide member of the band. “It’s not something you can dream up, think about, or any of that stuff,” Vince said in a recent interview with the Musicians Hall of Fame in Nashville. “Don [Henley] told me in confidence, ‘You’re the only guy I wanted, that I would have done this with.’ Which meant the world to me. We had become friends through working on his ‘Cass County’ record. I sang and played on a bunch of that. And I knew Glenn [Frey] very well in the 80’s. We shared the same manager when The Eagles were broken up. And Joe [Walsh] and I met at the Crossroads shows, and we wanted to do a band like the Traveling Wilburys together.” Not just a gifted singer, Vince Gill has always been one of country music’s secret weapons behind the guitar, and his willingness to not need to be the center of attention has made him the perfect collaborator. “I’ve been wise in knowing when and when not to speak,” Gill says of his place in The Eagles, and just what a privilege and honor it is. But as can be expected, not everyone is fond of Vince Gill’s fill-in duties. Gill might be skilled and accomplished in country, but that doesn’t always mean he receives proper respect from Glenn Frey fans, or fans of The Eagles in general. But Gill isn’t bitter about the criticism. He understands it as much as anyone. “It’s different. It’s not as good as the original,” he says. “I don’t sing like Glenn, and don’t pretend to. I see a lot of people making negative comments about me being in that band, and I get it. It’s my favorite band too. I don’t want to hear me sing ‘New Kid In Town.’ But the other option is not possible.” Similar to how Vince Gill has always been a preservationist in country, and always tried to use his platform to keep important names top-of-mind—whether it was his close friend Keith Whitley after he passed away, or steel guitar Paul Franklin when he collaborated with him on the 2013 record Bakersfield, or his many appearances with the Western Swing revivalists The Time Jumpers—Vince Gill is just trying to help keep good American music alive by lending his name and effort to it. “I’m just trying to do my part to keep some great songs afloat,” he says of his place in The Eagles. The band’s “Hotel California Tour” that was scheduled for 2020 and postponed due to COVID-19 has been rescheduled for 2021. It will be Gill’s 2nd full tour as an official member of The Eagles when it resumes.

Deacon Frey , Don Henley , Glenn Frey , Joe Walsh , Keith Whitley , Paul Franklin , The Eagles , The Time Jumpers , Vince Gill

95 Comments

Those people are still pissed off that he left Pure Prairie League.

This is just wonderful, and I’m sure Glenn would be proud to know that a wonderful human being, gentle, caring, wonderful, musician, such as Vince Gill, will help to keep the love of the Eagles, alive and maintain the music of one of the best bands ever to grace us with their talent to make some of the best, forever music, forever how long they are Blessed to play and sing together for us. I’m sure Glenn is looking down saying,” Well done, my good and faithful friends and musicians. Carry on, my friend’s, One face may be missing and one face is new, but the music you play together, will go on forever. God Bless you Vince Gill, and God Bless Glenn and the Eagles!

I saw them when they were in Columbus several years ago and thought Vince was a great addition to the band. It was one of the best concerts I’ve ever seen. I’m 73 and seen my share of concerts. Is there a DVD of that tour?

I saw the Eagles recently in San Diego. I was truly disappointed with Vince Gil. It’s like all the Eagle’s stepped back and let him run the show. I was expecting it to be like their When Hell Freezes Over comeback video. I was really disappointed with the concert that let Vince Gil shadow out the Original Eagles. I will never pay to see the Eagles again as long as Vince Gil performs with them. Deacon Frey is amazing like his father and should have been able to fulfill his father’s role, not Vince Gil.

Seemed like a perfect fit if you ask me. Haven’t seen the Eagles with him, but would like to.

I didn’t want to see the Eagles without Frey, but when they said that his son Deacon and Vince were joining to keep the music going, I thought, “This sounds like it will work.” They still love the music and it’s a tribute to Glenn. If you haven’t seen the concert movie from the Forum released this year, then you should see it.

I am a big eagles fan. Live in the uk and have seen them live a few times. Glens passing was heartbreaking. Having only last night watched the dvd of live from the forum, I thoroughly enjoyed it. The combination with Vince and Deacon works really well, and they were clearly humbled and honoured to be playing I the band. This is a fab way for the truly amazing eagles sound to keep going. As far as I’m concerned they are still an awesome band, been going g for air of years, and if we are lucky enough to ever see them live in the uk again I will be front of the queue for tickets.

Just simply Vince Gill is superb and what a voice i cant think of anyone better in the Eagles line up I hope i can get to the states to see them again after seeing the best concert in my life in Manchester UK Please please just carry on and get back here to the UK soon

Can we fault this near legendary band, no. Without question despite career and infight moments they are still possibly the greatest deliverers of that epic and definitive sound and harmony. An Eagle moment is, without question, an Eagle and music, time.., defining moment. Lords of their territory and every good reason to feel proud.

I don’t know anything more natural than Gill becoming a bonafide member. Right or wrong, I hear “Let Me Love You Tonight” or “Amie” every time Gill’s name is mentioned. And his version of “I Can’t Tell You Why” on Common Thread was better than the Eagle’s (the soundtrack to every doctor’s waiting room).

A Joe Walsh, Gill Traveling Wilburys thing has really peeked my interest though. Months before he passed, I saw Walsh open for Tom Petty and was blown away. And the local music critic here is a huge Walsh fan, so I’ve been going down that rabbit hole of late.

Craig Fuller sang Lead on Amie. Vince Gill didn’t join PPL until 1978,

I was born 1976 so I rely on youtube history….

https://www.youtube.com/watch?v=IEhyOIwAlZw

Gill sang lead on Amie that night.

You raise a good point, if a person’s primary point of reference for that song was a live rendition between 1978 and 1982 then it would stand to reason that a mention of Vince Gill would conjure up memories of it.

That being said, there are a lot of folks who firmly believe that Vince Gill sang on the original studio recording from 1972. When he was 15.

You’d really hate my original comment that had “I’d Really Love to See You Tonight” in it… Fuller and Gill’s vocals are similar.

I wouldn’t have hated it, I would have just laughed. And obviously Dan Seals’s vocals must be similar as well since he’s the one who sang that England Dan & John ford Coley tune.

Truth be told, if you played me an obscure album cut that I hadn’t heard from pretty much any light country/rock act from the ’70s chances are I wouldn’t be able to tell if it was PPL, Bread, Firefall, or somebody else.

That is correct.

Saw that show in Tampa. Walsh is so damn good. Much (I’m quite sure) to Henley’s chagrin, he is the clear crowd favorite at an Eagles show.

Amen, brother.

It always hurts when a loss comes to your life. Vince Gill misses Glen Frey as much as anyone, so why don’t we acknowledge the loss as he has to, and just close our eyes and open our hearts that the Eagles are still flying just in a little different formation.

I saw Joe Walsh on a solo tour in 1984 in Cape Girardeau, MO. I was a jr. in college and it was in the old basketball arena . It was a full crowd, but not that many people really , not for the talent on stage anyway. To this day, it’s still one of the best shows I’ve ever seen! At almost 61, I’ve seen a lot of shows across the country , and that one is still right up there! Of course I was with a very beautiful, and sexy girl named Debbie , who I had the biggest crush on, and maybe that’s why I had such a great time! 😁

I’ve always felt that Mr. Walsh was overlooked, both as a solo artist and as a member of the Eagles, as well as the other groups he’s been a part of.

“I don’t want to hear me sing ‘New Kid In Town.’ But the other option is not possible.”

No one can say “Go fuck yourself” more nicely than Vince Gill! 🙂

LOL, I couldn’t have said it better, about the ,go fuck your self, Being the gentleman vince gill is, and being married to Amie Grant Gill, a wonderful musician in her own right, I’m sure there are no four letter words used,in this loving gifted family.

I believe Mark Knopfler asked Vince Gill to join Dire Straits in the 80’s but Vince Gill turned it down right before he hit it big.

This is true, Vince has talked about how he felt he just had to take the chance that his solo career would happen after years of not happening. It’s also true that Knopfler found a pretty good backup guitarist for his solo career, the great Richard Bennett, who is not only a master guitarist but also the producer of a long list of great country albums, Steve Earle’s Guitar Town among them.

Apologies to Trigger & everyone else who have heard this before.

The Eagles, at Quicken Loans Arena, in Cleveland, October ’18, was without a doubt the most amazing concert have ever been to.

When all 6 guys were lined up on that stage playing & singing, it was the sexiest moment i have ever witnessed. Created an almost combustible situation.

Fantastic show.

Do you live in Cleveland?

Currently, live in Bloomington, IN. At that time was between the panhandle of Oklahoma & St. Pete, Florida.

Hoptown, are you ever going to get another puppy, so i can stop looking at the animal shelters, & stop thinking about adopting one & bringing it to you

We saw the same line-up in June, 2019 in New Orleans.

It was a stunning show and the Eagles relied on Vince extensively for vocals and guitar (including playing lead guitar on plenty of songs).

He’s a natural Eagles band member.

I’d have to hide my Lyin’ Eyes and Take It Easy if I said I’m not a fan of The Eagles. (Yes that was groan worthy) Given my age and demographic, its a statistical impossibility to not be a fan. But, id be absolutely fine if they hang it up for the 14th time and retire, and work on their shuffleboard skills. Really. So why are they doing this?? Money? Like Henley, Schmidt and Walsh need another 20 mil. Right. Im pretty sure their grandchildren have trust funds long in place for their grandchildren. So, that can’t be the sole reason. Legacy??? They are already the most sold band of all time. So what is it? I think these guys don’t know what else to do. Playing music is the ONLY thing they’ve ever done, and their pretty good at it. And as long as the public continues to pay for it, its gonna keep rolling. Whats in it for Gill? Same thing, opportunity to play music, its in his DNA. Its what he lives to do. And honestly, who else would you pick to replace Glen Frey?

They want to play the music!

All bands play to hear the fans and the crowd, Money has nothing to do with it unless your just starting out. The reason the older bands keep playing concerts Is the love of attention they get from there fans. Hell if I was greeted once a week by 25000 people screaming songs at me to play and singing every word to the songs I do play would you give that up Hell No you wouldn’t so why should they !!!!!

That’s it. They enjoy playing music. Willie is over 85 and no one can say he sounds as good as he did even 20 years ago. People will pay money to see him and he enjoys it so go for it.

Bob Dylan is 79 and no one will claim his singing is great. Neil Young just passed 75. Springsteen is over 70 and is itching for another E Street tour when the pandemic is over. People want to see them so let them play. People know what they are getting.

I saw Willie Nelson about 10 years ago , and it was a fantastic show . He’s still one of the best entertainers there is going to me! It was a cut-down in-the-round show , and I couldn’t have been more pleased! Worth every penny.

”I think these guys don’t know what else to do”

If you were to read interviews with a lot of the ‘dinosaur’ artists from the 60’s, 70’s even 80’s this point comes up often and the answers are always similar .” this is what I do ” . and let’s face it , if no one is holding a gun to your head to work and the mortgage isn’t an issue you’re probably doing it because you DO , in fact , still enjoy if not love it . the other point some of these huge acts make is that the touring machine employs many many people …people who in some cases have been with a particular act for 20 or more years. this is what THESE people do …roadie work …and they feed families and pay the bills just like the guy building F-150’s at a ford plant .

I’m a 55 year music veteran and I still get as excited about creating music with the band on a saturday night as ever -no matter the venue …and maybe more so at this stage . Its way more fun when you know more stuff , musically , and you can relax with it. The question is is more aptly worded ”Why the hell WOULDN’T you want to be Paul McCartney jamming out at nearly 80 when and where you please with a hand-picked band of the best and making thousands happy doing it WHILE GETTING PAID PHENOMENAL AMOUNTS OF MONEY ‘to do what you’d be doing on your living room couch anyway ? “”

Well said Albert

I think there is a fine line these bands run. If they still sound good and enjoy playing music live for fans that love hearing it that is great. You referenced Willie and fans enjoying seeing him play. I saw him several years ago when he was 81. I was super excited when they started to play and Whiskey River riffs started playing. Then Willie started “singing”. It was closer to mumble talking. I had never seen Willie play and it was the worst show I have ever attended. I take that back. The show kicked ass. Jason Isbell was some unknown to me and was great. Allison Krauss and Union Station came out and absolutely KILLED it. She was worth the money I spent. Then Willie came out. He was horrible! I left after 35 minutes and went to an Irish bar nearby and paid five bucks to listen to an Irish band kick ass. I have never been more let down seeing somebody play live. The closest I came to hating a band live was Stone Temple Pilots right after Scott Weiland recently got out of prison. He was a total dick and was hating life and took it out on the audience. Willie was a whole other disappointment. Way worse.

I saw Willie in 2013 and thought the same thing at first. He opened with Whiskey River and it was rough. It took him about 3.5 songs to get warmed up, then the show was great. Everyone – the audience and his whole band were only focused on Willie. He was the Maestro and sped up and slowed down as he chose. He conducted everyone and it was glorious.

Oh for heavens sake, people are gonna complain about the sun coming up, get over it! Vince has an awesome attitude and more talent than he deserves LOL!

We should be grateful anyone is making popular music at that level at all. My only beef with The Eagles is that they have been full of themselves, but they were, and are, great musicians.

I’ve been listening to the Beatles lately, especially Rubber Soul. Big influence on the Byrds and that whole line of things. If Paul and Ringo asked Vince to join the Beatles, would anyone really blame Vince for saying yes?

At that level, we’re not talking about genre anymore.

The Eagles is edging somewhere around that.

Henley is an arrogant ass. Frey was even worse, and despite his claims, he really did care about money a lot more than he pretended. Just look at the history with Felder for all the evidence you need (and the petulance that they showed in the Eagles doc that came out a few years ago, especially regarding the final split with Felder).

Having said that, they are still one of my favorite bands. Their songwriting chops were top notch, especially the earlier stuff. Saw them on the reunion tour with Leadon, and a few years ago when Buffett opened for them (again). Both great shows. Have tickets for the Hotel California tour at the LA Forum for when it’s rescheduled, and looking forward to it.

But those two were (are) assholes.

They completely fucked Felder over (read his book), but he got them in the end. Henley thinks he invented music, and both he and Frey were as greedy as they come. But there’s no denying the talent of those two men, helped greatly by people like Felder, Joe Walsh, etc.

Somebody commented above that in live shows Joe Walsh gets most of the crowd’s love, which doesn’t surprise me, given his ebullient, generous personality (especially now that he’s sober). Vince Gill, though quieter, fits the generous description, too. No doubt the two of them provide some nice balance to Henley, who is indeed a dick, but he sure can sing.

”We should be grateful anyone is making popular music at that level at all.”

Amen , Amen , Amen , Cornman .

They’re out there, but man, what a sh*tty time to be a performer.

And Beatles VI, I meant.

Am I missing something? What was Vince Gill criticized for, and by whom?

I’ve seen some negative comments stemming from Vince Gill’s involvement with The Eagles. But these specific quotes came up in the interview he did for the Musicians Hall of Fame that is linked above in the article. Vince Gill says in the interview, “I see a lot of people making negative comments about me being in that band.” So clearly it’s something that was top-of-mind for him, and something he’s interfaced with. It wasn’t something he was asked about by the interviewer. It was something he wanted to address in connection with his work with The Eagles.

I visited some Eagles message boards after the initial news was announced a few years ago. The vitriol by some of the fans was real and brutal.

You raise a good point, if a person’s primary point of reference for that song was a live rendition between 1978 and 1982 then it would stand to reason that a mention of Vince Gill would conjure up memories of it.

Tom; Didn’t you just say the exact same thing in an earlier comment about Vince Gill singing with Pure Prairie League ? Cuz it sure sounds similar to me . Are you saying the same thing about him and the Eagles as well? Huh? 🤔

I made this comment over a year ago so I can’t say. That being said, this comment doesn’t relate to this post at all so I don’t know why I would have posted it here. I’m guessing it was some sort of technical glitch.

speaking of Vince Gill interviews, some of the most interesting country musician interview stuff Iv’e seen on youtube has been with him. He sounds like a really interesting person, always sounds really grateful for the opportunities that got him to become who he is, and OF COURSE he is a phenomenal guitar player. Check out the Rig Rundown with him and steel player Paul Franklin, both of them have a lot of interesting stuff to say about musicianship even if you don’t play their instrument specifically.

Their “Bakersfield” album is fantastic.

His American Music Shop concert with Albert Lee and Danny Gatton is fantastic. John Hughey is also featured on that show. https://www.youtube.com/watch?v=4fHOHfjFYBM&t=1359s

Without Vince, there’s no more Eagles. He sings about 50% of the setlist in concert and kills em all. He’s more Randy Meisner than Glen Frey on Take it to the Limit!

And F*** Don Felder and his crying. Know your place in the band. Without Henley and Frey-he’s a nobody.

Don Felder’s complaining has become insufferable. But the dude did write the music to “Hotel California,” and performed arguably the most recognizable guitar solo in history with Joe Walsh.

Things could be worse. Imagine if, oh, I don’t know…John Mayer replaced Jerry Garcia in the Grateful Dead. LOLOL, too preposterous! That could never happen!

Yes that would really really suck

I didn’t know those guys created the guitars in Smoke on the Water!

I saw the first show with Vince Gill in LA from the first row. Did I miss Glenn Frey? absolutely. Did Vince Gill and Deacon Frey put their heart and soul into what they were doing, along with all of the rest of the band? Absolutely! It was a killer show. I had never seen the Eagles before so I was thrilled that I had the chance (which I assumed would never happen once Glenn Frey passed). If you don’t want to hear the Eagles with Vince Gill, you are in luck, this is America, you don’t have to listen. I for one hope they record new music with him and also let him start to play some guitar as part of the band. For the record, I was not particularly a Vince Gill fan before I saw him with the Eagles, although I was well aware of his skills both on guitar and as a singer. All this whining sounds like the same people that don’t want to see Brian Johnson with AC/DC or the dude that subs in for Freddie Mercury. I’m sorry, but that’s a stupid take. If those people had their way, there would be no Back in Black. And if those people had their way, with no disrespect to Freddie, who was one of a kind for sure, Brian May and John Deacon, equally creative people in Queen, would not be able to continue playing the music that has thrilled millions around the globe. The rest of the people in these bands were involved in creating the music and if they still want to play it, they should have the ability to do so. Rock on Vince, you have my support.

Imagine how your fans would feel if the Funky Bunch go on tour after you cross the river.

Not such a sweet sensation.

Don’t know all that much about Vince but he’s a hell of a player, and he at least seems like a pretty grounded dude.

Bet a quarter you guys in L.A. did the same thing as we, in Cleveland. Cheered & encouraged Deacon on!

You bet! Honestly, when they introduced Deacon he said a few words about his dad before he played and sang and I doubt there was a dry eye in the house. …and it was a big house!

We saw the Eagles “Hotel California Tour” show in Atlanta in Feb. 2020 and it was fabulous. The first time Vince Hill sang and the spotlight shined on him, the crowd roared with delight! He sounded perfect harmonizing and nailed every song he did. Glen Frey was smiling with approval, I am sure.

Vince has the vocal and guitar chops to pull it off and fills his role very well. Deacon Fry had also done one helluva job. No it isn’t the same how can it be. The crowds show up and love every minute of it so why not do it as long as folks want to buy tickets go for it.the current line up sounds good to me.

There’s a guy I work with that swears up and down that the country influence within the Eagles is pretty much nonexistent (he claims that their sound is simply the sound of rock at the time), but I find that baffling. When Vince Gill was announced as a new member, it made perfect sense to me. And honestly, I couldn’t care less about this band. Most of their songs are more boring to me than watching paint dry, so the fact that there are fans that not only disapprove but are actively angry that Vince Gill is a part of the band is surreal.

On the other hand, while most country fans seem to also be fans of rock, quite a lot of rock fans dislike country (including the gentlemen I mentioned above). So even if Vince Gill fits right in, the idea of a “lame” country artist in a rock band might be irksome.

Acca. Clearly your workmate is ignorant. The Desperado record alone shows the country influences of The Eagles. Id point out the footage on YouTube like the video labeled Eagles Live 1972-1974 for more proof. Theres pedal steel, banjo and all sorts of Country flavored songs. The Randy Meisner years were all about Country sounds.And whats ironic is Nashville folks hated it, they saw them all as stoner hippies. Later on, they became a rock band. But, I dont know of a single music scholar or learned music journalist who would deny the influences of Country music on the early Eagles. In fact, their music alongside Flying Burrito Brothers, Poco and Sweetheart of the Rodeo era Byrds are lumped together and often called Country Rock or California Country Rock. I have zero doubt that Henley would admit his like for Country music. He even released a solo Country album a few years back that had Vince on it. The Country roots of The Eagles are no secret. Admittedly, after 74, they did sound more Rock and Roll, with distortion more prominent on the guitars. Unless you watch that early footage, I do think rock fans might not get how country sounding they were at first.

Further thoughts. Bernie Leadon played Telecaster country leads as well as banjo, in The Eagles. Look up the song Midnight Flyer and you will see how country those guys sounded in the day. There are some decent live clips of them playing it around 73-74. Bernie and Randy were a very prominent influence in the bands sound, back then.

Yes. and don’t forget the Linda Ronstadt , and JD Souther country influence on the early Eagles! When Ronstadt did her rendition of Desperado , it helped launch the careers of the Eagles tremendously! Speaking of Vince Gill, I’ve seen him 6 or 7 times , and even met his lovely wife Amy at a show , and there couldn’t be a better artist that would fit right in with the Eagles in my opinion.

I legitimately thought the title of the article was referring to criticism from Gill fans asking why on earth he’d join such a milquetoast, overrated band (they always have been, not just currently) like the Eagles.

…but that’s, just, like your opinion, man.

Of course. Opinions are kind of the whole point of comment sections. Opinions are also like extremely overrated bands such as the eagles…..every decade has one (or a few).

I think he missed it (must be having a rough night), but I see what you did.

Didn’t “miss” anything. Everyone on earth has seen Lebowski. Just like everyone has a middle aged aunt or cousin who aren’t really into music and has both The Eagles and Rascal Flats in their top 5 list of greatest bands of all time.

Hey trigger, just noticed a site called worldmusic.blog that is blatantly plagiarizing your articles. Not sure if there is anything you can do about it – just wanted to make sure you’re aware.

Thanks for the heads up, I’ll check it out.

Folks would be blown away how much this happens, and how much time I have to spend cleaning it up.

Damn they’re ripping off a couple blogs I follow.

Actually the other ‘option’ was possible. Some things end. Henley said the Eagles died with Glenn, but his ego is just too big to go back to playing arenas (God forbid!). I saw Don solo in 1991, and it was a great show. No shame in going back to smaller venues and not charging criminal prices, Mr. Henley.

I’m a huge fan of the Eagles, and a huge fan of Vince Gill’s. I’ve talked to him a few times backstage at the Opry and at the Hall Of Fame, and he is even nicer than people think. I still don’t think he belongs in the Eagles.

Then again, Vince really isn’t in the Eagles. This is the F’Eagles (Fake Eagles), featuring Don “I Created Music” Henley, with special guests Deacon Frey, Vince Gill, Joe Walsh and Timothy Schmidt. Reminds me of Foreigner and all the other nostalgia bands roaming around the country conning people with no clue into thinking they’re seeing the real thing.

God love ’em, if people want to pay money and think they’re seeing the Eagles, go for it. The real Eagles died with Glenn.

The “real Eagles” died with the departure of Leadon, and a bit later on Meisner and Felder.

Guarantee you i have a clue. A big one. As well as a lot of other people

The Eagles are the best Eagles tribute band in the world. Jus like Lynyrd Skynyrd is the best Lynyrd Skynyrd tribute band in the world.

Anyone who hates on Vince Gill is STUPID!

If Vince Gill wants to go with the Eagles it up to Vince , he is a great singer. Its Vince life let it be or some people should get a life so sad to the criticism Vince Gill has to take its not fair.

Who cares what anyone else thinks. If the band members like it and they have fun and enjoy making music together, then , by all means continue.

Deacon resembles a younger Frey to me.

Thank You Vince Gil for help keeping GREAT Classic Rock aive in this era!?!!??!!

Leave the music to the Legends. They haven’t failed us yet

I know a lot of rock purists hate the Eagles, and some Eagles die hards (I consider myself huge fans of them and Vince) will dump all over anything that’s not “the real thing”, but seriously—how can anyone with ears not understand that this is the perfect pairing? I swear, people will find any excuse to bitch about the dumbest things.

These two acts are two of my all time favorites, regardless of genre. Vince is one of my country music heroes so I was ecstatic when I heard about this in 2017 and instantly knew it would work because of the stylistic pairings and the high regard Vince holds Don, Glenn, and the rest of the Eagles as musicians. Yes, we all miss Glenn. But I’ve seen Vince with the Eagles twice now and I’m telling you, it works and Henley deserves credit for taking the risk. Vince’s vocals and guitar stylings are perfect for the Eagles sound and you won’t find a more humble and willing collaborator in the business.

All that’s going on in the world and people are ticked at Vince Gill. He was asked to be in the band, he didn’t just walk on stage one night and say “I’m playing with you all.” People need to grow up and realize what’s important in life. #Eagles #VinceGill

I admit I don’t know a whole lot about Vince Gill or his music, but he sure as hell is a very down-to-earth, generous and grounded guy to say the things attributed to him in Trigger’s post. Naturally, anyone who gets a gig with The Eagles would be a hell of a good musician too. Being such a nice guy is just an added bonus.

Vince fits in so well in the band. The Eagles were always very close to country music anyhow. I have always loved them, and I certainly love Vince. A great partnership. To name a few songs. Desperado, New kid in Town, Peaceful Easy Feeling.Sad Cafe. Love them all.

Vince gill sucks, what’s he doing being in the Eagles. He’s awful

What an ugly comment! Vince Gill is a wonderful musician and the Eagles wanted him because he is the best! I’m sure the Eagles were pleased with Vince or he would’nt have toured with them. I’ve been to three of their concerts each year since Vince helped them and they all were wonderful!

This criticism of Vince Gill for singing with the Eagles is reminiscent of the shots taken at black artists who wish to perform music other than the “urban” box into which they’ve typically been placed. (I’m a black man who’s sometimes criticized for being a Country music fan.) Keep going,Vince,because you’ll knock ’em dead with the Eagles as you have in Country all these years.(Besides,Vince and my twin cousins share an Apr.12 birthday .)

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Eagles Announce New Tour Dates With Deacon Frey, Vince Gill

The six-time GRAMMY winning band has made the surprise announcement of additional tour dates this coming fall

For anyone counting, Eagles drummer and founding member Don Henley is officially 0 for 2 on claiming his band will never tour again.

Following a pair of successful and critically acclaimed festival appearances at the Classic West and the Classic East this past July, six-time GRAMMY winners the Eagles have made the surprise announcement that they have scheduled four additional tour dates this fall.

The two festival appearances were the band's first performances in the wake of the tragic passing of guitarist and lead vocalist Glenn Frey at the age of 67 in early 2016. 

Taking the late, iconic lead singer's place on both vocals and guitar for the upcoming dates will be his son Deacon Frey, alongside 21-time GRAMMY winning Country singer/songwriter Vince Gill .

Following a heartfelt in memoriam tribute to the elder Frey at the 58th GRAMMY Awards alongside Jackson Browne, Henley had been quoted in March of 2016 as saying the band would not be touring again, calling the GRAMMY tribute a "fitting farewell."  Yet there still seemed to be a need to sayfarewell to the fans themselves who'd followed the band during its now 46+ year run, an opportunity the band had at the east and west editions of the Classic festival.

However, with a band this great, it's well-nigh impossible to say no when the fans demand an encore, and demand they have. Thus longtime followers of the group may remember back to 1982, when Henley was first asked if the band would ever play together again following their 1980 disbanding, to which he simply responded "When Hell freezes over."

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Photo: Jeff Kravitz/FilmMagic

GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016

Upon winning the GRAMMY for Best Rap Album for 'To Pimp a Butterfly,' Kendrick Lamar thanked those that helped him get to the stage, and the artists that blazed the trail for him.

Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly . Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly .

"Hip-hop. Ice Cube . This is for hip-hop," he said. "This is for Snoop Dogg , Doggystyle . This is for Illmatic , this is for Nas . We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal , Anna Wise and Thundercat ). He also won Best Music Video for the remix of Taylor Swift 's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN ., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers .

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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A Guide To Modern Funk For The Dance Floor: L'Imperatrice, Shiro Schwarz, Franc Moody, Say She She & Moniquea

James Brown changed the sound of popular music when he found the power of the one and unleashed the funk with "Papa's Got a Brand New Bag." Today, funk lives on in many forms, including these exciting bands from across the world.

It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown . The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.

Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.

Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton , who created P-funk, an expansive, Afrofuturistic , psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic . Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis , Silk Sonic , and Omar Apollo; and Kendrick Lamar , Flying Lotus , and Thundercat , respectively.

In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.

Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels , while its sparkly sprinklings can be heard in pop from Dua Lipa , Doja Cat , and, in full "Soul Train" character, Silk Sonic . There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin ’s global sonic collage.

There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music , Amazon Music and Pandora .

Say She She

Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.

While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism . Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and " Norma " is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers , from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."

Moniquea 's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’ s "Get It Right" and Gladys Knight ’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.

Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat .

Shiro Schwarz

Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.

Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.

L'Impératrice

L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.

During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo , is a sunny, playful French disco journey.

Franc Moody

Franc Moody 's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.

Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether .

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Living Legends: Billy Idol On Survival, Revival & Breaking Out Of The Cage

"One foot in the past and one foot into the future," Billy Idol says, describing his decade-spanning career in rock. "We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol."

Living Legends is a series that spotlights icons in music still going strong today. This week, GRAMMY.com spoke with Billy Idol about his latest EP,   Cage , and continuing to rock through decades of changing tastes.

Billy Idol is a true rock 'n' roll survivor who has persevered through cultural shifts and personal struggles. While some may think of Idol solely for "Rebel Yell" and "White Wedding," the singer's musical influences span genres and many of his tunes are less turbo-charged than his '80s hits would belie.  

Idol first made a splash in the latter half of the '70s with the British punk band Generation X. In the '80s, he went on to a solo career combining rock, pop, and punk into a distinct sound that transformed him and his musical partner, guitarist Steve Stevens, into icons. They have racked up multiple GRAMMY nominations, in addition to one gold, one double platinum, and four platinum albums thanks to hits like "Cradle Of Love," "Flesh For Fantasy," and "Eyes Without A Face." 

But, unlike many legacy artists, Idol is anything but a relic. Billy continues to produce vital Idol music by collaborating with producers and songwriters — including Miley Cyrus — who share his forward-thinking vision. He will play a five-show Vegas residency in November, and filmmaker Jonas Akerlund is working on a documentary about Idol’s life. 

His latest release is Cage , the second in a trilogy of annual four-song EPs. The title track is a classic Billy Idol banger expressing the desire to free himself from personal constraints and live a better life. Other tracks on Cage incorporate metallic riffing and funky R&B grooves. 

Idol continues to reckon with his demons — they both grappled with addiction during the '80s — and the singer is open about those struggles on the record and the page. (Idol's 2014 memoir Dancing With Myself , details a 1990 motorcycle accident that nearly claimed a leg, and how becoming a father steered him to reject hard drugs. "Bitter Taste," from his last EP, The Roadside , reflects on surviving the accident.)

Although Idol and Stevens split in the late '80s — the skilled guitarist fronted Steve Stevens & The Atomic Playboys, and collaborated with Michael Jackson, Rick Ocasek, Vince Neil, and Harold Faltermeyer (on the GRAMMY-winning "Top Gun Anthem") —  their common history and shared musical bond has been undeniable. The duo reunited in 2001 for an episode of " VH1 Storytellers " and have been back in the saddle for two decades. Their union remains one of the strongest collaborations in rock 'n roll history.

While there is recognizable personnel and a distinguishable sound throughout a lot of his work, Billy Idol has always pushed himself to try different things. Idol discusses his musical journey, his desire to constantly move forward, and the strong connection that he shares with Stevens. 

Steve has said that you like to mix up a variety of styles, yet everyone assumes you're the "Rebel Yell"/"White Wedding" guy. But if they really listen to your catalog, it's vastly different.

Yeah, that's right. With someone like Steve Stevens, and then back in the day Keith Forsey producing... [Before that] Generation X actually did move around inside punk rock. We didn't stay doing just the Ramones two-minute music. We actually did a seven-minute song. [ Laughs ]. We did always mix things up. 

Then when I got into my solo career, that was the fun of it. With someone like Steve, I knew what he could do. I could see whatever we needed to do, we could nail it. The world was my oyster musically. 

"Cage" is a classic-sounding Billy Idol rocker, then "Running From The Ghost" is almost metal, like what the Devil's Playground album was like back in the mid-2000s. "Miss Nobody" comes out of nowhere with this pop/R&B flavor. What inspired that?

We really hadn't done anything like that since something like "Flesh For Fantasy" [which] had a bit of an R&B thing about it. Back in the early days of Billy Idol, "Hot In The City" and "Mony Mony" had girls [singing] on the backgrounds. 

We always had a bit of R&B really, so it was actually fun to revisit that. We just hadn't done anything really quite like that for a long time. That was one of the reasons to work with someone like Sam Hollander [for the song "Rita Hayworth"] on The Roadside . We knew we could go [with him] into an R&B world, and he's a great songwriter and producer. That's the fun of music really, trying out these things and seeing if you can make them stick. 

I listen to new music by veteran artists and debate that with some people. I'm sure you have those fans that want their nostalgia, and then there are some people who will embrace the newer stuff. Do you find it’s a challenge to reach people with new songs?

Obviously, what we're looking for is, how do we somehow have one foot in the past and one foot into the future? We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol. 

You want to do things that are true to you, and you don't just want to try and do things that you're seeing there in the charts today. I think that we're achieving it with things like "Running From The Ghost" and "Cage" on this new EP. I think we’re managing to do both in a way. 

** Obviously, "Running From The Ghost" is about addiction, all the stuff that you went through, and in "Cage" you’re talking about  freeing yourself from a lot of personal shackles. Was there any one moment in your life that made you really thought I have to not let this weigh me down anymore ? **

I mean, things like the motorcycle accident I had, that was a bit of a wake up call way back. It was 32 years ago. But there were things like that, years ago, that gradually made me think about what I was doing with my life. I didn't want to ruin it, really. I didn't want to throw it away, and it made [me] be less cavalier. 

I had to say to myself, about the drugs and stuff, that I've been there and I've done it. There’s no point in carrying on doing it. You couldn't get any higher. You didn't want to throw your life away casually, and I was close to doing that. It took me a bit of time, but then gradually I was able to get control of myself to a certain extent [with] drugs and everything. And I think Steve's done the same thing. We're on a similar path really, which has been great because we're in the same boat in terms of lyrics and stuff. 

So a lot of things like that were wake up calls. Even having grandchildren and just watching my daughter enlarging her family and everything; it just makes you really positive about things and want to show a positive side to how you're feeling, about where you're going. We've lived with the demons so long, we've found a way to live with them. We found a way to be at peace with our demons, in a way. Maybe not completely, but certainly to where we’re enjoying what we do and excited about it.

[When writing] "Running From The Ghost" it was easy to go, what was the ghost for us? At one point, we were very drug addicted in the '80s. And Steve in particular is super sober [now]. I mean, I still vape pot and stuff. I don’t know how he’s doing it, but it’s incredible. All I want to be able to do is have a couple of glasses of wine at a restaurant or something. I can do that now.

I think working with people that are super talented, you just feel confident. That is a big reason why you open up and express yourself more because you feel comfortable with what's around you.

Did you watch Danny Boyle's recent Sex Pistols mini-series?

I did, yes.

You had a couple of cameos; well, an actor who portrayed you did. How did you react to it? How accurate do you think it was in portraying that particular time period?

I love Jonesy’s book, I thought his book was incredible. It's probably one of the best bio books really. It was incredible and so open. I was looking forward to that a lot.

It was as if [the show] kind of stayed with Steve [Jones’ memoir] about halfway through, and then departed from it. [John] Lydon, for instance, was never someone I ever saw acting out; he's more like that today. I never saw him do something like jump up in the room and run around going crazy. The only time I saw him ever do that was when they signed the recording deal with Virgin in front of Buckingham Palace. Whereas Sid Vicious was always acting out; he was always doing something in a horrible way or shouting at someone. I don't remember John being like that. I remember him being much more introverted.

But then I watched interviews with some of the actors about coming to grips with the parts they were playing. And they were saying, we knew punk rock happened but just didn't know any of the details. So I thought well, there you go . If ["Pistol" is]  informing a lot of people who wouldn't know anything about punk rock, maybe that's what's good about it.

Maybe down the road John Lydon will get the chance to do John's version of the Pistols story. Maybe someone will go a lot deeper into it and it won't be so surface. But maybe you needed this just to get people back in the flow.

We had punk and metal over here in the States, but it feels like England it was legitimately more dangerous. British society was much more rigid.

It never went [as] mega in America. It went big in England. It exploded when the Pistols did that interview with [TV host Bill] Grundy, that lorry truck driver put his boot through his own TV, and all the national papers had "the filth and the fury" [headlines].

We went from being unknown to being known overnight. We waited a year, Generation X. We even told them [record labels] no for nine months to a year. Every record company wanted their own punk rock group. So it went really mega in England, and it affected the whole country – the style, the fashions, everything. I mean, the Ramones were massive in England. Devo had a No. 1 song [in England] with "Satisfaction" in '77. Actually, Devo was as big as or bigger than the Pistols.

You were ahead of the pop-punk thing that happened in the late '90s, and a lot of it became tongue-in-cheek by then. It didn't have the same sense of rebelliousness as the original movement. It was more pop.

It had become a style. There was a famous book in England called Revolt Into Style — and that's what had happened, a revolt that turned into style which then they were able to duplicate in their own way. Even recently, Billie Joe [Armstrong] did his own version of "Gimme Some Truth," the Lennon song we covered way back in 1977.

When we initially were making [punk] music, it hadn't become accepted yet. It was still dangerous and turned into a style that people were used to. We were still breaking barriers.

You have a band called Generation Sex with Steve Jones and Paul Cook. I assume you all have an easier time playing Pistols and Gen X songs together now and not worrying about getting spit on like back in the '70s?

Yeah, definitely. When I got to America I told the group I was putting it together, "No one spits at the audience."

We had five years of being spat on [in the UK], and it was revolting. And they spat at you if they liked you. If they didn't like it they smashed your gear up. One night, I remember I saw blood on my T-shirt, and I think Joe Strummer got meningitis when spit went in his mouth.

You had to go through a lot to become successful, it wasn't like you just kind of got up there and did a couple of gigs. I don't think some young rock bands really get that today.

With punk going so mega in England, we definitely got a leg up. We still had a lot of work to get where we got to, and rightly so because you find out that you need to do that. A lot of groups in the old days would be together three to five years before they ever made a record, and that time is really important. In a way, what was great about punk rock for me was it was very much a learning period. I really learned a lot [about] recording music and being in a group and even writing songs.

Then when I came to America, it was a flow, really. I also really started to know what I wanted Billy Idol to be. It took me a little bit, but I kind of knew what I wanted Billy Idol to be. And even that took a while to let it marinate.

You and Miley Cyrus have developed a good working relationship in the last several years. How do you think her fans have responded to you, and your fans have responded to her?

I think they're into it. It's more the record company that she had didn't really get "Night Crawling"— it was one of the best songs on Plastic Hearts , and I don't think they understood that. They wanted to go with Dua Lipa, they wanted to go with the modern, young acts, and I don't think they realized that that song was resonating with her fans. Which is a shame really because, with Andrew Watt producing, it's a hit song.

But at the same time, I enjoyed doing it. It came out really good and it's very Billy Idol. In fact, I think it’s more Billy Idol than Miley Cyrus. I think it shows you where Andrew Watt was. He was excited about doing a Billy Idol track. She's fun to work with. She’s a really great person and she works at her singing — I watched her rehearsing for the Super Bowl performance she gave. She rehearsed all Saturday morning, all Saturday afternoon, and Sunday morning and it was that afternoon. I have to admire her fortitude. She really cares.

I remember when you went on " Viva La Bam "  back in 2005 and decided to give Bam Margera’s Lamborghini a new sunroof by taking a power saw to it. Did he own that car? Was that a rental?

I think it was his car.

Did he get over it later on?

He loved it. [ Laughs ] He’s got a wacky sense of humor. He’s fantastic, actually. I’m really sorry to see what he's been going through just lately. He's going through a lot, and I wish him the best. He's a fantastic person, and it's a shame that he's struggling so much with his addictions. I know what it's like. It's not easy.

Musically, what is the synergy like with you guys during the past 10 years, doing Kings and Queens of the Underground and this new stuff? What is your working relationship like now in this more sober, older, mature version of you two as opposed to what it was like back in the '80s?

In lots of ways it’s not so different because we always wrote the songs together, we always talked about what we're going to do together. It was just that we were getting high at the same time.We're just not getting [that way now] but we're doing all the same things.

We're still talking about things, still [planning] things:What are we going to do next? How are we going to find new people to work with? We want to find new producers. Let's be a little bit more timely about putting stuff out.That part of our relationship is the same, you know what I mean? That never got affected. We just happened to be overloading in the '80s.

The relationship’s… matured and it's carrying on being fruitful, and I think that's pretty amazing. Really, most people don't get to this place. Usually, they hate each other by now. [ Laughs ] We also give each other space. We're not stopping each other doing things outside of what we’re working on together. All of that enables us to carry on working together. I love and admire him. I respect him. He's been fantastic. I mean, just standing there on stage with him is always a treat. And he’s got an immensely great sense of humor. I think that's another reason why we can hang together after all this time because we've got the sense of humor to enable us to go forward.

There's a lot of fan reaction videos online, and I noticed a lot of younger women like "Rebel Yell" because, unlike a lot of other '80s alpha male rock tunes, you're talking about satisfying your lover.

It was about my girlfriend at the time, Perri Lister. It was about how great I thought she was, how much I was in love with her, and how great women are, how powerful they are.

It was a bit of a feminist anthem in a weird way. It was all about how relationships can free you and add a lot to your life. It was a cry of love, nothing to do with the Civil War or anything like that. Perri was a big part of my life, a big part of being Billy Idol. I wanted to write about it. I'm glad that's the effect.

Is there something you hope people get out of the songs you've been doing over the last 10 years? Do you find yourself putting out a message that keeps repeating?

Well, I suppose, if anything, is that you can come to terms with your life, you can keep a hold of it. You can work your dreams into reality in a way and, look, a million years later, still be enjoying it.

The only reason I'm singing about getting out of the cage is because I kicked out of the cage years ago. I joined Generation X when I said to my parents, "I'm leaving university, and I'm joining a punk rock group." And they didn't even know what a punk rock group was. Years ago, I’d write things for myself that put me on this path, so that maybe in 2022 I could sing something like "Cage" and be owning this territory and really having a good time. This is the life I wanted.

The original UK punk movement challenged societal norms. Despite all the craziness going on throughout the world, it seems like a lot of modern rock bands are afraid to do what you guys were doing. Do you think we'll see a shift in that?

Yeah.  Art usually reacts to things, so I would think eventually there will be a massive reaction to the pop music that’s taken over — the middle of the road music, and then this kind of right wing politics. There will be a massive reaction if there's not already one. I don’t know where it will come from exactly. You never know who's gonna do [it].

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Graphic: The Recording Academy

Hear All Of The Best Country Solo Performance Nominees For The 2023 GRAMMY Awards

The 2023 GRAMMY Award nominees for Best Country Solo Performance highlight country music's newcomers and veterans, featuring hits from Kelsea Ballerini, Zach Bryan, Miranda Lambert, Maren Morris and Willie Nelson.

Country music's evolution is well represented in the 2023 GRAMMY nominees for Best Country Solo Performance. From crossover pop hooks to red-dirt outlaw roots, the genre's most celebrated elements are on full display — thanks to rising stars, leading ladies and country icons.

Longtime hitmaker Miranda Lambert delivered a soulful performance on the rootsy ballad "In His Arms," an arrangement as sparing as the windswept west Texas highlands where she co-wrote the song. Viral newcomer Zach Bryan dug into similar organic territory on the Oklahoma side of the Red River for "Something in the Orange," his voice accompanied with little more than an acoustic guitar.

Two of country's 2010s breakout stars are clearly still shining, too, as Maren Morris and Kelsea Ballerini both received Best Country Solo Performance GRAMMY nods. Morris channeled the determination that drove her leap-of-faith move from Texas to Nashville for the playful clap-along "Circles Around This Town," while Ballerini brought poppy hooks with a country edge on the infectiously upbeat "HEARTFIRST."

Rounding out the category is the one and only Willie Nelson, who paid tribute to his late friend Billy Joe Shaver with a cover of "Live Forever" — a fitting sentiment for the 89-year-old legend, who is approaching his eighth decade in the business. 

As the excitement builds for the 2023 GRAMMYs on Feb. 5, 2023, let's take a closer look at this year's nominees for Best Country Solo Performance.

Kelsea Ballerini — "HEARTFIRST"

In the tradition of Shania Twain , Faith Hill and Carrie Underwood , Kelsea Ballerini represents Nashville's sunnier side — and her single "HEARTFIRST" is a slice of bright, uptempo, confectionary country-pop for the ages.

Ballerini sings about leaning into a carefree crush with her heart on her sleeve, pushing aside her reservations and taking a risk on love at first sight. The scene plays out in a bar room and a back seat, as she sweeps nimbly through the verses and into a shimmering chorus, when the narrator decides she's ready to "wake up in your T-shirt." 

There are enough steel guitar licks to let you know you're listening to a country song, but the story and melody are universal. "HEARTFIRST" is Ballerini's third GRAMMY nod, but first in the Best Country Solo Performance category.

Zach Bryan — "Something In The Orange"

Zach Bryan blew into Music City seemingly from nowhere in 2017, when his original song "Heading South" — recorded on an iPhone — went viral. Then an active officer in the U.S. Navy, the Oklahoma native chased his muse through music during his downtime, striking a chord with country music fans on stark songs led by his acoustic guitar and affecting vocals.

After his honorable discharge in 2021, Bryan began his music career in earnest, and in 2022 released "Something in the Orange," a haunting ballad that stakes a convincing claim to the territory between Tyler Childers and Jason Isbell in both sonics and songwriting. Slashing slide guitar drives home the song's heartbreak, as Bryan pines for a lover whose tail lights have long since vanished over the horizon. 

"Something In The Orange" marks Bryan's first-ever GRAMMY nomination.

Miranda Lambert — "In His Arms"

Miranda Lambert is the rare, chart-topping contemporary country artist who does more than pay lip service to the genre's rural American roots. "In His Arms" originally surfaced on 2021's The Marfa Tapes , a casual recording Lambert made with Jack Ingram and Jon Randall in Marfa, Texas — a tiny arts enclave in the middle of the west Texas high desert.

In this proper studio version — recorded for her 2022 album, Palomino — Lambert retains the structure and organic feel of the mostly acoustic song; light percussion and soothing atmospherics keep her emotive vocals front and center. A native Texan herself, Lambert sounds fully at home on "In His Arms."

Lambert is the only Best Country Solo Performance nominee who is nominated in all four Country Field categories in 2023. To date, Miranda Lambert has won 3 GRAMMYs and received 27 nominations overall. 

Maren Morris — "Circles Around This Town"

When Maren Morris found herself uninspired and dealing with writer's block, she went back to what inspired her to move to Nashville nearly a decade ago — and out came "Circles Around This Town," the lead single from her 2022 album Humble Quest .

Written in one of her first in-person songwriting sessions since the pandemic, Morris has called "Circles Around This Town" her "most autobiographical song" to date; she even recreated her own teenage bedroom for the song's video. As she looks back to her Texas beginnings and the life she left for Nashville, Morris' voice soars over anthemic, yet easygoing production. 

Morris last won a GRAMMY for Best Country Solo Performance in 2017, when her song "My Church" earned the singer her first GRAMMY. To date, Maren Morris has won one GRAMMY and received 17 nominations overall.

Willie Nelson — "Live Forever"

Country music icon Willie Nelson is no stranger to the GRAMMYs, and this year he aims to add to his collection of 10 gramophones. He earned another three nominations for 2023 — bringing his career total to 56 — including a Best Country Solo Performance nod for "Live Forever."

Nelson's performance of "Live Forever," the lead track of the 2022 tribute album Live Forever: A Tribute to Billy Joe Shaver , is a faithful rendition of Shaver's signature song. Still, Nelson puts his own twist on the tune, recruiting Lucinda Williams for backing vocals and echoing the melody with the inimitable tone of his nylon-string Martin guitar. 

Shaver, an outlaw country pioneer who passed in 2020 at 81 years old, never had any hits of his own during his lifetime. But plenty of his songs were still heard, thanks to stars like Elvis Presley , Kris Kristofferson and Waylon Jennings . Nelson was a longtime friend and frequent collaborator of Shaver's — and now has a GRAMMY nom to show for it.

2023 GRAMMY Nominations: See The Complete Nominees List

• 1 Eagles Announce New Tour Dates With Deacon Frey, Vince Gill
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• 3 A Guide To Modern Funk For The Dance Floor: L'Imperatrice, Shiro Schwarz, Franc Moody, Say She She & Moniquea
• 4 Living Legends: Billy Idol On Survival, Revival & Breaking Out Of The Cage
• 5 Hear All Of The Best Country Solo Performance Nominees For The 2023 GRAMMY Awards

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Vince Gill Sings ‘Lyin’ Eyes’ From the Eagles’ Upcoming Live Album [Listen]

Vince Gill fits right in as a member of the Eagles , as he demonstrates on a new track that the iconic group have just released. Gill takes over lead vocals for the group's 1975 classic "Lyin' Eyes," which the Eagles have released in advance of their upcoming new live album,  Live From the Forum MMXVIII . 

Gill's warm voice is a perfect replacement for Glenn Frey 's earnest vocal delivery on "Lyin' Eyes," which emphasized strong storytelling narrative over showing off vocally. The country music icon fits effortlessly into the Eagles' majestic vocal harmony arrangements on the song which gave the groundbreaking country-rock group their only true hit country single  when it was released as the second single from  One of These Nights  in August of 1975.  "Lyin' Eyes" was a crossover hit for the Eagles, reaching No. 2 on  Billboard 's all-genre Hot 100 chart and No. 8 on the Hot Country Singles chart. It went on to win a Grammy for Best Pop Performance by a Group.

Gill surprised fans and the music world when he joined the Eagles in 2017 , making his debut with the group on July 15, 2017, in a new lineup that included Glenn Frey's son, Deacon Frey. Gill and Deacon Frey took the stage at Classic West at Dodger Stadium in Los Angeles alongside classic-era band members  Don Henley , Timothy B. Schmit and  Joe Walsh  for the Eagles' first-ever concert performance without Glenn Frey, who  died  on Jan. 18, 2016, at the age of 67 from complications of rheumatoid arthritis, acute ulcerative colitis and pneumonia.

Gill and Deacon Frey have toured with the Eagles ever since, and both of them make their recorded debuts with the group on the upcoming live package, which is set for release on Oct. 16 on vinyl, CD, Blu-ray and DVD. The 26 live tracks draw from three shows the Eagles played at the Forum in Los Angeles in September of 2018.

In an  interview with Taste of Country  in 2017, Gill confessed that his participation in the Eagles is bittersweet.

"Just gratitude that I was the guy they decided would work," Gill replied when asked what he would take away from his time with the legendary group. "Just that. Because Glenn was a great friend, and in my heart of hearts I wish I wasn’t doing it. That would mean Glenn would still be around, but life is what it is and you just go do what you can do because of what happens. Those songs deserve to live on as long as they can."

Live From the Forum MMXVIII is currently available for pre-order via the Eagles' official online store .

See Photos From the Eagles' First Gigs Without Glenn Frey

More From Taste of Country

Vince Gill Reveals What He Plans to Do After The Eagles Disband

by Clayton Edwards May 16, 2024, 7:25 am

Vince Gill has had a long and successful career. He started playing in small bluegrass bands in the early 70s. Later, he was in Pure Prairie League before playing in Rodney Crowell’s band. Then, he launched his solo career. In 2017, Gill took the late Glenn Frey’s place in the Eagles. Currently, the iconic classic rock band is on their farewell tour. When the trek wraps, the band will call it quits. However, Gill plans to keep going after his current bandmates hang it up.

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Recently, Gill sat down with Guitar World to discuss his time with the Eagles. During the conversation, he talked about playing guitar alongside Joe Walsh, the importance of restraint, and what he plans to do in the future.

Vince Gill Looks to His Post-Eagles Future

“With the Eagles winding down, what’s next for you,” the publication asked. Vince Gill revealed that he already has plans in place.

“I’m always working on new music and another record,” he said. “There’s always some sort of song I’ve got going, and over the last few years, I’ve written well over 100 songs,” he added. “When things were shut down during the pandemic, and no one was doing anything, I found that to be a great time for creativity.”

Gill went on to reveal that he will likely be ready to release a new solo album in the near future. “Little by little, I’ve recorded a new batch of songs, so those will come. I love being creative—that will never change,” he said. “So, when the Eagles finally shut it down, I’ll go back to singing my hillbilly songs and playing my white [Fender Telecaster]. There’s some kind of magic in that. I can attest to that,” he added.

Being a member of the Eagles is only one thread in the massive and vividly colored tapestry that is Vince Gill’s career. When this thread comes to its natural end, he’ll take up another and continue making great music.

Featured Image by Jason Kempin/Getty Images for Country Music Hall of Fame and Museum

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4 “Should’ve Been a Cowboy” Covers That Actually Do Toby Keith Justice

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Vince Gill tour dates 2024

Vince Gill is currently touring across 1 country and has 18 upcoming concerts.

Their next tour date is at Grand Ole Opry House in Nashville, after that they'll be at Grand Ole Opry House again in Nashville.

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The show was awesome! He played (for 2-1/2 hrs) all his hits and even some new ones. Vince is one heck of a guitar player and quite the songwriter! His slow songs just go right thru you and his up tempo ones make you want to dance! His vocals are like no other and he is sweet and funny and just a very humble man. Don’t pass up the chance to see him!

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Awesome as usual!!! Great entertainer. Sang a long time and really showed off for us❣️ Loved him at this venue! He’s so humble for such an awesome talent!!! We’ve always loved Vince and he’s never let us down! We had a great time!

Vince never lets ya down when you’re craving a great concert with a great icon and truly genuine man/ entertainer! He is simply one of the very best all around talented musicians I’m aware of!! He put on a fantastic show at the Arvest (Midland) venue in KCMO August 15th. We went with confidence that Vince would amaze us once again and he followed through and beyond! We couldn’t be happier with his performance!!

I do want to mention that I tripped going down the steps in the upper balcony bc it was SO dark. Either an usher should be available with flashlights in each area or tiny lights could be installed under the stair seating areas guiding you down the isles. There are also no railings to hold onto while going up and down the balcony seating areas so I accidentally put my hand on peoples’ knees and shoulders for balance.

I totally understand that you don’t want to change anything about the beauty of this venue but I believe there is a way to make it safer in the seating/ isle areas while keeping the integrity of the venue.

Thank you for a fantastic night! The hospitality was not fantastic but acceptable and the entire experience was very satisfying and enjoyable!

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Vince Gill on flying high with Eagles – and why every vintage gear dealer has him on speed dial

B y Vince Gill’s admission, most know him as the ‘country-rock guy’. That checks out given his resume, including Pure Prairie League and a decidedly country-leaning solo career spanning over 20 records.

When Gill joined the Eagles in 2017 in the wake of Glenn Frey’s death, some were surprised that the SoCal classic rockers would choose such a Nashville-leaning player to take his place. But the move made sense – especially considering the Eagles’ own early ’70s country roots.

“I enjoy spontaneity,” Gill tells  Guitarist . “I love trying different things, and with this gig I knew it wouldn’t be much of a guitar gig.” 

That’s an odd take for a player known for his guitar exploits, but there’s a method to Gill’s madness. “I’m fine with it,” he says. “My favourite compliment came from Don Henley, who got a country rock guy in his band because I know how to be in a band. That’s high praise. I know what’s needed and don’t waste time playing stuff that no-one wants to hear.”

If the Eagles had gone with a younger gun, the inclination to overplay might have influenced the nuances within the band’s iconic songs. But Gill, through years of experience, doesn’t have that issue. 

“Man, I got a great lesson when I was a young whippersnapper when I played a solo on a record, and when I was done, the producer said, ‘That was impressive. Now do it again.’”

He explains: “I learned then and there only to do half of what I know. It was like a knife to the heart, but I got it. The real gift is playing what’s appropriate, not always to chase the first instinct but to take it, edit it and refine it.”

Time is ticking on the Eagles, as they’re currently on their final tour, The Long Goodbye. They seem to be taking their time, and there’s no end in sight just yet, but, regardless, Gill is prepared for whatever comes next. 

“There’s a sense of mortality in music,” he admits. “Great playing has a beginning, a middle and an end. I try to have my playing tell that story, just like any song. I think about all the elements; I intend always to serve the song, not myself. My favourite music is never distracting; the things you don’t notice mean the most.”

He adds: “People always ask me, ‘Who is the greatest guitarist ever?’ I always say, ‘There’s no such thing.’ Why does anyone have to be the best? There’s a bunch of good players; it’s funny how guitar playing turns into a matter of outplaying each other. I don’t want to show anyone up. I like things simple. That’s how I live my life; that makes sense to me.”

You’re currently out on the Eagles’ The Long Goodbye tour, and by the looks of it, you’re having a blast. 

“It’s pretty surreal, to be honest with you. Some nights, I look over to the side and see Joe Walsh while we’re playing Rocky Mountain Way , and I’m transported back to being a kid in my bedroom trying to learn that song.

“I played it at every school dance and there’s even tapes of me singing Eagles songs when I was a kid [laughs]. It’s been pretty amazing to be a part of keeping the legacy of those songs going. You’re right – it’s a blast.”

Great playing has a beginning, a middle and an end. I try to have my playing tell that story, just like any song

Joe is a hell of a player, but you are, too. After all these years, what keeps you inspired?

“It’s interesting because as I’ve gotten older I spend more time thinking about what not to play. That’s very different from when I was young and constantly thinking about playing as much as possible. My mindset is all about brevity and restraint now. That’s what I love about the way Joe plays – he shows tremendous restraint. He could play more, but he doesn’t. I really enjoy that.

“My inspiration comes from the little things I’m trying to do, like sounding better and choosing the right guitar for the songs. This is an interesting gig for me with the Eagles because I only play a little lead guitar; there are only two or three songs that I solo on, which is different from what I’m used to, where it’s solos all night long.

“But I knew going in that they needed a rhythm player more than a free-wheeling lead. I’m more than happy to spend the night ripping powerchords for Joe.”

To your point, you’re covering the parts of players who came before you and who wrote these songs. How do you manage that?

“The most important thing is that I don’t put my spin on things. The beauty of what this band is, as it is today, is that we replicate those songs verbatim.

“It’s been interesting to learn to play these songs the way they deserve to be played because they’re not only iconic but also great songs. The solos and the background are memorable. As a listener, you want to hear whoever is up there play Hotel California the way it was recorded. Anything other than that would be a disservice to the songs.”

Don Henley told me the first song he wrote for the Eagles was Desperado, and I said, ‘Oh, come on, man! You started with the lame stuff!’ He started laughing and said, ‘No, that was the first one’

Reviewing your playing history, restraint has always been integral to your style. 

“Yeah, I think you’re right there. The songwriter in me understands that side of it, you know? That part of this is powerful. The lesson I’ve learned over the years is how important songs are, and when you look at this catalogue of songs, it’s crazy. 

“Don Henley told me the first song he wrote for the Eagles was Desperado , and I said, ‘Oh, come on, man! You started with the lame stuff!’ He started laughing and said, ‘No, that was the first one,’ which, jokes aside, is a great example of the catalogue.”

Is it easier to disassociate from a guitar perspective because you didn’t write the songs?

“I don’t take ownership of a single note within that music because I didn’t create any of it. That would be foolish of me to do, though I do have enough respect for it that I really want to try to honour the songs and be respectful of what they are. 

“Again, they’re not just iconic; every part of those records, meaning the lyrics, backstory and everything else is so familiar. The Eagles, as a band, is the furthest you could get from a jam band, so it’s important to do what’s appropriate in the name of moving the song along and keeping everyone happy.”

Joe is a laid-back, off-the-wall guy who doesn’t plan much. You seem different, so what’s the secret to locking in with him?

“The big thing with Joe is to follow him. I also need to trust him and know that, regardless of what happens, he’s gonna show up. I play a lot of rhythm with the Eagles, and there’s a lot of people who don’t look at playing rhythm guitar as important. But, in many ways, I think it’s even more important than playing lead.”

And why is that?

“If you’re playing rhythm the way I am, using it as a device to guide the song and inspire things… rhythmically, that in and of itself can make you play better but feel better, too.

“I’ve learned to apply the way I play rhythm guitar to my leads over the years. This seems obvious, but I want to make them more rhythmic. I love playing rhythm guitar, so I don’t see it as secondary. Sure, it doesn’t grab the same amount of attention as the lead stuff, but in a way, it’s almost more important.”

My head would explode if I had to go back and forth with Joe on a song like Hotel California

So, when you do take a solo, how do you approach it?

“I trade licks with Joe on  Funk 49 , which is amazing. That’s enough for me, and my head would explode if I had to go back and forth with Joe on a song like Hotel California [laughs]. I try to show Joe I’m listening to him play by throwing back similar things. I’m not going note‑for-note; it’s more like a spiritual way. It’s like, ‘Yeah, I hear you. Check this out.’ 

“That’s the essence of what makes call and response so much fun. Some guys just go off when it’s their turn, and they have no clue about what’s just been played. But when we do it, we listen, have a sense of humour and try to make each other smile with the things we’re playing.”

What gear are you relying on most these days?

“The big thing is for the last few years I’ve been using these great amps by Little Walter Tube Amps . I really like the way they build and design amps .

“There are a lot of great amps out there, but regardless of whether I’m playing the guitar with humbuckers or single coils – the Little Walter stuff handles anything I throw at them. They’re very musical sounding, but I’m far from technical, so I couldn’t begin to tell you why.”

Do you get much into effects pedals?

“I don’t get much into the minutiae of all that; I trust my ears. I use a handful of pedals, like overdrives and some compression . It’s not a ton of stuff and, really, I mainly depend on my amp sounding good from the get-go before I go messing around with stompboxes.

“I keep it minimal and, aside from the overdrive and compression, I might do a little delay. The overdrive comes into play on, say,  Boys Of Summer where I need a nice hi-fi sound to complement Joe, so I try to use pedals to do things like that. It’s all about the right gear for the right song, rather than a one-size-fits-all mentality.”

And you’re a big user of vintage guitars, too.

“Man, vintage guitars have a soul to them. They’ve got a different kind of soul, which is different from new guitars. I’ve had a few ’Bursts, though I’m not bringing them out as much these days. The one nice Les Paul I am playing out now is a reissue of Eric Clapton’s 1960 Gibson Les Paul Sunburst. 

“It’s the one they called the ‘Beano’ guitar – it’s been on the cover of magazines, was on the album he did with John Mayall, and it’s well known. Gibson was cool enough to reissue that guitar, and they gave me one when they did. Eric Clapton took the first of the reissues they made and they let me have number two.”

Do you have any vintage guitars on the road with you?

“I’ve got an old custom-coloured Strat , which I believe is a ’64 or ’65. I’ve also got a Les Paul Junior that I use on three or four songs. People know me for my old white Tele , but I’m not using that all that much for this gig. It doesn’t fit the songs; it’s about the right guitar for the right song. I do have an old ’60s Thinline Tele that I use for Hotel California , and I’ve got a couple of great old  Martin acoustic guitars , too.”

What types of vintage guitars tend to catch your eye?

“Oh, man, all the shops know me and they sure do find me [laughs]. I’ll get random emails from different shops, saying, ‘Hey, I have this. It’s the neck profile you like,’ or whatever. I like the ’59 and ’60 ’Bursts, but I’m always on the hunt.

“I love Gibson stuff, Martin acoustics, and even mandolins and banjos. I love the possibility of always being able to find a new instrument. Something about trying to do that moves and speaks to me.”

People talk about the cost of vintage gear, but if you buy the right things, there’s a better-than-average chance that it will be worth more than what you paid at some point

Is there a guitar you let go of that you wish you hadn’t?

“No, not really. I’ve never been much of a seller. I still have my first guitar from when I was 10, a ’67 Gibson ES-335. That’s not the most desirable year for 335s, but it was my first and I love it. And I’ve got my white Tele, which I bought in 1978 for 50 bucks. It’s been my go-to guitar since and it’s the one that’s given me my definitive sound. 

“I don’t let guitars go often, but I’m also aware of reaching for guitars that are right for the space and sound. It’s about creating the right frequency that is needed, so I don’t let the special ones go. I’ve bought a lot of Teles after that white one, but I’ve never found one like it.”

What advice would you give to young players just getting into vintage gear?

“The best way to buy vintage gear that will hold value and appreciate is to buy the right things. People talk about the cost of vintage gear, but if you buy the right things, there’s a better-than-average chance that it will be worth more than what you paid at some point. If you’re gonna lay out a lot of money, it’s best to try to not get hurt doing it.

It’s pretty neat to work your way up the gear ladder, but if you buy the right stuff to begin with, you will never get hurt

“Gear is different from buying a new car, where it loses all its value after you roll off the lot. If you think of it that way, you’ll go into buying and owning these great instruments – the best of the best – and you won’t get hurt. I will always contend that, for me, at least, I can write these guitars off on my taxes as a business expense. They truly are that. Most of them will appreciate; I couldn’t do anything smarter with my money.”

Of course, you have to be able to lay out – or comfortable with laying out – that amount of money… 

“The prices do sometimes make it very difficult, if not impossible, for a young musician to be able to acquire some of this stuff. I mean, when I was a young musician, I couldn’t afford this stuff, even back in the day. When I was a kid, an old Blackguard Tele was 600 or 700 bucks – I didn’t have that. But when I did, I spent it on an old guitar, meaning I found enough to buy one.

“Little by little, the prices have increased over the years, and my laying out of that money back then has been worth it. I don’t know… it’s been a fun journey with the gear. I’ll find old Les Pauls that I love and then I’ll find one I like even better. It’s always like that. I guess it’s pretty neat to work your way up the gear ladder, but if you buy the right stuff to begin with, you will never get hurt.”

When the Eagles finally shut it down, I’ll go back to singing my hillbilly songs and playing my white Tele

With the Eagles winding down, what’s next for you?

“I’m always working on new music and another record. There’s always some sort of song I’ve got going, and over the last few years I’ve written well over 100 songs. When things were shut down [during the pandemic] and no-one was doing anything, I found that to be a great time for creativity. 

“Little by little, I’ve recorded a new batch of songs, so those will come. I love being creative – that will never change. So when the Eagles finally shut it down, I’ll go back to singing my hillbilly songs and playing my white Tele. There’s some kind of magic in that; I can attest to that.”

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Vince Gill Reveals His 3 Favorite Eagles Songs

via ABC / Youtube

Vince Gill’s legacy extends far beyond his remarkable solo career, as he seamlessly integrated into the Eagles ‘ lineup in 2017, bringing his unique flair to the iconic rock outfit. While die-hard fans may still long for the original lineup, Gill’s presence has undoubtedly softened the blow.

In celebration of Gill’s tenure with the West Coast rockers, let’s explore three of his favorite Eagles songs.

Gill’s Top Picks: 3 Eagles Hits He Loves

“Ol’ 55” A quintessential Eagles track, “Ol’ 55” embodies the band’s signature breezy musicality, perfect for cruising with the windows down on a warm summer day. He once mentioned in Rolling Stone, “It’s a sentimental favorite. I may put a note in the hopper asking if I can sing it.”

“I Can’t Tell You Why” “I Can’t Tell You Why” stands out in the Eagles’ repertoire, blending elements of R&B with the band’s classic sound. Gill praises the song’s grooving rhythm and musicality, particularly highlighting Timothy B. Schmit’s underappreciated vocal talent, “It escapes me why Timothy B. Schmit never sang more,” while also mentioning Glenn Frey’s masterful composition of the solo, “Glenn composed the solo. It’s one of the most musical expressions I’ve ever heard.”

“Peaceful Easy Feeling” A quintessential Eagles masterpiece, “Peaceful Easy Feeling” embodies the essence of the band’s sound, featuring exquisite harmonies, a touch of country influence, and impeccable guitar work. Gill admires its country flavor, comparing its guitar solo to the caliber found in records by legends like Merle Haggard and Emmylou Harris.

Gill’s appreciation for these Eagles classics underscores his deep connection to the band’s music and his ability to integrate into the band’s musical tapestry. Contributing his talents to the Eagles, his influence on the band’s legacy only continues to grow, marking his status as a revered musician in the annals of rock history.

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