At The Gates singer and melodic death metal icon Tomas Lindberg died on September 16, 2025, aged 52, after being diagnosed with a rare oral cancer. In early 2026, before the posthumous release of his final album The Ghost Of A Future Dead, his bandmates told Metal Hammer about his life, impact and endless curiosity.No one else in Gothenburg looked like Tomas Lindberg. When twin brothers Anders and Jonas Björler first met their future At The Gates bandmate at a bus stop in 1989, he stood out like a snow-plough in the Sahara. His hair – bright blond at the time – flowed past his shoulders, he was wearing a knee-length leather trench coat and a t-shirt featuring the name of some obscure and long-forgotten death metal band, and he had the bushiest beard that the Björlers had ever seen on a 17-year-old. “I’d never seen anybody who dressed like that,” remembers bassist Jonas, the older brother by 15 minutes. “With that huge beard as well, he looked like an old man.” “When we went to his room at his parents’ house, he had obscure demo covers and fanzine clippings all over his walls,” adds guitar player Anders. “He had a cast of a human skull, because he was interested in the occult in his early days. It was like entering this weird kind of new world.” It was impossible to know at the time, but that striking character would soon be the face of the city’s most important metal band. With Tomas’s anguished snarl and imposing stage presence front and centre, At The Gates became masters of the Gothenburg Sound: a reinvention of death metal that fused the harmonised guitars of classic metal and the rampaging speed of thrash. In their original incarnation, At The Gates only lasted from 1990 to 1996, but they made a huge impact – their landmark fourth album, 1995’s Slaughter Of The Soul, influenced a generation of American bands, including Trivium, Killswitch Engage and Lamb Of God. They reunited in the late 2000s and continued to record and tour, until Tomas underwent surgery to treat adenoid cystic carcinoma, a rare cancer of the mouth and palate, in early 2024. Following complications in his recovery, he died last September, aged 52.At The Gates’ new album, The Ghost Of A Future Dead, is an epitaph to their late frontman. Written in 2023 and recorded the following year, it uses vocal demos that Tomas tracked before his surgery – some parts, the day before. He approved every detail, from the artwork to the sequencing, before his death. “He went into surgery just as I started drum tracking,” says drummer Adrian Erlandsson. “It was like, ‘OK, that was a good take’, and I was straight on the phone: ‘How’s he doing? How’d the surgery go?’ It was an uncertain time and a bit unsettling, but I don’t think there was even a consideration that he wasn’t going to make it.”To people who didn’t know him personally, the man nicknamed Tompa seemed like the most intense person in the world. He strode all over every stage he played, often making war-faces at the crowd as he did so, and he screamed lyrics about suffering, politics and existentialism with intimidating ferocity. But what his bandmates remember about him first and foremost is how kind he was. “He wasn’t only this metal singer and the godfather of the Gothenburg scene,” says Anders. “Everybody that met him knows he was a really humble guy. He was always making sure, if somebody was left out, that they were introduced and felt welcome.” I didn’t understand how he could take six to eight books with him on a tour, read them all and buy more along the wayAdrian ErlandssonBorn into a middle-class family on October 16, 1972, Tomas grew up in Billdal, a suburb half an hour south of central Gothenburg. He had two sisters, but was 15 years younger than them. “They moved out pretty early in his life, so he was alone with his parents,” says Jonas.As the only kid in the house, it’s no surprise that his two favourite pastimes by his mid-teens were solo activities: reading books and listening to music. He enjoyed shoegaze, post-punk and everything under the Sub Pop Records banner, but his greatest loves were metal and hardcore, which he discovered through school friends blasting Metallica’s Kill ’Em All. He started writing and editing fanzines about the Stockholm death metal underground not long after. “He really enjoyed discovering new things,” says Adrian, “and that’s something that went on throughout the years. He’d discover a new genre of music and he’d go deep in to find the root of where that scene came from. With death metal in particular, there was an aura around it – horror, death, decay – that suited him to a tee.” With that same insatiable curiosity, he was constantly picking up books and putting other ones down. Through metal, he found horror greats Edgar Allan Poe, Mary Shelley and H.P. Lovecraft. Then came a short-lived Aleister Crowley obsession (hence the occult stuff and the skull in his room), and from there it was a blur no one could keep track of. “I remember when he was writing lyrics for [At The Gates’ 2014 comeback album] At War With Reality, sending me excerpts of books he was reading,” says Adrian. “I was just like, ‘Man, I really don’t understand!’ Ha ha ha! I was into techy things like games consoles, and when we were travelling, he’d be like, ‘How can you be bothered to carry these things with you?’ And I didn’t understand how he could take six to eight books with him on a tour, read them all and buy more along the way.”Wanting to bring the Stockholm death metal sound to his hometown, the singer formed Grotesque with guitarist Alf Svensson in 1989. One of their gigs was a Christmas disco at Anders and Jonas’s school. They played three songs before being forced offstage. “The PTA stopped the show because Grotesque were so Satanic,” Jonas recalls. “They had corpsepaint and one-metre upside-down crosses.” “People were surprised,” adds Anders, “because the local scene back then was all white sneakers and thrash: Testament, Exodus, Metallica-style.” After Grotesque split in 1990, Tomas and Alf started At The Gates. They took the name from the Fields Of The Nephilim song At The Gates Of Silent Memory, which sampled an Aleister Crowley speech. The Björlers joined soon afterwards, with Adrian completing the line-up after meeting Tomas on a coach to a Morbid Angel show. “He told me, ‘You can’t be in the band! You’ve got short hair!’” the drummer laughs. “But then we had a few beers and he asked, ‘Can you play double-bass [drums]?’” At The Gates in 1995, with Lindberg centre. (Image credit: Press)Their early albums were bizarre by their later standards, featuring violin solos and riffs that Alf wrote by playing old demos backwards, but Tomas’s lyrical identity was clear from the off. The title track of 1992 debut The Red In The Sky Is Ours voiced his left-wing beliefs and called for revolution. Even though At The Gates simplified their songwriting after Martin Larsson replaced Alf in 1993, with the new approach reflecting Tomas’s roots in thrash and punk as well as the Björlers’ love for early-80s metal, that political focus carried on. Lines throughout ’94’s Terminal Spirit Disease and Slaughter Of The Soul spoke about how contemporary society was corrupting the human spirit. The latter album put At The Gates on the map, but, barely in their 20s, they couldn’t deal with the sudden demand. They toured for eight months nonstop, hitting the US with Morbid Angel and then Napalm Death, yet made next to no money. Burnt out, Anders quit. Rather than continue without a founding member and key composer, the band broke up. We reunited to make sure that every fan got to see us. But, egotistically, we kind of missed doing it.Jonas Björler“[The schedule] affected me more than anyone else,” he reflects, “and I think the other guys were really let down by my departure. But I’m really easily bored. I need constant change. I can’t stand waiting around at airports and sitting on tour buses. I felt like a travelling salesman.” Jonas admits that the brothers and Adrian didn’t talk to Tomas for a couple of years. “We had different friend groups,” he explains.Post-At The Gates, the Björlers and Adrian reunited in thrashers The Haunted, whereas Tomas, true to his restless nature, joined an array of projects, including crust punks Disfear, hardcore/metal band The Great Deceiver and grindcore supergroup Lock Up. He settled down with his first wife and her daughter, had a son and pursued a career as a social studies teacher. Adrian reconnected with Tomas at the frontman’s wedding in 1998. “It was like time had stood still,” he remembers. “There was some house band playing, and I asked him, ‘Should we play a few songs?’ I think everyone was too drunk at that point to pull anything off.” With the fences mended, Tomas started attending local Haunted shows and talking to the Björlers again. Jonas says that the singer’s newfound fatherhood made him more “mature”, and as interest in Slaughter Of The Soul continued to grow amidst a new era of bands touting its significance, they began talking about a reunion. In 2008, At The Gates played their first shows in 12 years. “The chemistry was great,” Jonas remembers. “Everybody was friends. The main intention was to make sure that every fan got to see us but, egotistically, we kind of missed doing it.” Tomas lived something of a double life, balancing his role as a death metal screamer with a career in the classroom. The two rarely intersected. The singer told Loudwire in 2021 that he wanted to be a “nice-but-a-bit-boring teacher”, although he did let his students stand side-stage for an At The Gates show in 2015. “They looked really freaked out,” Adrian laughs. “I think it’s quite a lot to take in: seeing your teacher screaming at the front of a stage when there’s a few thousand people in the crowd.” At The Gates’ first three post-reunion albums tapped into what Tomas was reading in some way. At War With Reality was about the literary genre of magic realism, 2018’s To Drink From The Night Itself was based on Peter Weiss’s antifascist novel The Aesthetics Of Resistance, and 2021’s The Nightmare Of Being was inspired by texts on philosophical pessimism. Written before the singer’s diagnosis, The Ghost Of A Future Dead bucks that trend and digs into his greatest fears. “What frightened him the most was the vastness of the universe and the deep sea, and combining those things with the smallness of man in the grand scheme of things,” says Jonas. “We had a general idea of what he wanted to do, but it’s too bad we never got to ask Tomas about it, because we never thought it would end like this.” Tomas was told he had adenoid cystic carcinoma in December 2023, although he kept his condition hidden from fans. Plans to record vocals in the studio in late 2024 were scrapped, as he’d need time to re-learn to speak and sing after surgery. Despite the initial shock, Adrian remembers morale being surprisingly high. “We were just like, ‘It’s going to be tough but he’s going to pull through,’” he says. “After the surgery, they said they’d cleared all the cancer off, he’s going to have a prosthetic piece [on the roof of his mouth] and everything’s going to be fine.” Originally published in Metal Hammer issue 413, June 2026. (Image credit: Future (Ville shot: John McMurtrie))But from that point until his death, Tomas endured a series of dramatic ups and downs. In April ’24, after he’d been put on disorientating opiates to help him through radiotherapy and the after-effects of his surgery, he was so concerned that he may never be able to sing or teach again that he suggested the new album be called The Ghost Of A Future Dead. But in early ’25, he was cancer-free and went out for dinner with Anders, Jonas and Martin – their first time seeing him in-person since he started treatment. “He told me it was the first time he’d eaten a slice of pizza since his surgery,” remembers Jonas. “He was in really high spirits and looking forward to the release.”Adrian, who now lives in the UK and has a day job driving trucks, wasn’t given the time off to visit his friend. “My boss was having none of it,” he says, the frustration audible in his voice. “It was pretty shitty, because that was my one chance to see him in good condition.” Then, in late spring 2025, Tomas got the news that his cancer had come back, and he returned to hospital. He contracted infections, one of which spread to his brain, and complications from another surgery led to him being put on life support. He died on September 16, a month and a day after the band publicly announced his diagnosis. Intellectually, he seemed to be a step above and beyond your generic metal musicianMikael Åkerfeldt, OpethReports of Tomas’s passing started circulating on social media that morning, followed by a wave of tributes from fans and peers. Trivium’s Matt Heafy called him “one of the most important singers/screamers of any metal band”. “As a frontman… he was awesome, plain and simple,” said Opeth’s Mikael Åkerfeldt, adding, “Intellectually, he seemed to be a step above and beyond your generic metal musician.” At The Gates confirmed the news that afternoon and remembered him as a “true friend, both compassionate and sympathetic”. Today, the Björlers can’t talk about their emotions around Tomas’s death. Adrian is is choked up as he recalls getting a phone call from Anders on the day that Tomas had died.“I was driving and I couldn’t answer it,” he says. “When I saw that it was Anders, I knew. It was shit, to be honest.” Although some on social media have speculated about the band carrying on in some way or putting on a tribute show, none of the members have discussed what’s next with each other, because the idea of At The Gates without Tomas Lindberg just feels wrong. “He was the heart of At The Gates, really,” says Adrian. “I can’t even imagine what we’d have sounded like without him. Even if you don’t consider his voice, just without him, I have no idea what the outcome would’ve been. He was the crown of the band.”Originally published in Metal Hammer issue 413, June 2026. The Ghost Of A Future Dead is out now. The Gothenburg Symphony Orchestra will perform At The Gates, In Flames and Dark Tranquillity songs at Göteborgs Konserthus on December 4 and 5.

Ian Gillan has spoken to Classic Rock about Ritchie Blackmore's unexpected cameo performance with Deep Purple at the Jones Beach Theater in Wantagh, New York, last month.“I wasn’t really surprised it happened,” Gillan says. “I’ve been in touch with Ritchie for quite a long time now, and we’re on very good terms. All the nonsense from the past is now water under the bridge. We’re getting on great. So as we were in the area, I wasn’t that surprised [to see him], but I was very pleased.”Blackmore had last shared a stage with Purple way back in November 1993, in Helsinki, during promotion for their aptly titled studio album The Battle Rages On. Bitterness and recrimination from both sides followed the guitarist’s mid-tour resignation, and any number of examples would serve to back up the theory that this was a wound – primarily between Blackmore and singer Ian Gillan – that was never going to heal. We were wrong. A couple of days before the Jones Beach concert, Gillan had received a message from his former bête noire: “It said: ‘I only live around the corner. Do you mind if I come and jam with you?’” Gillan informed the audience in Wantagh, to massive cheers. The request actually asked: “How would you feel about it if I got up just for an encore? Just one of the songs. I don’t want to intrude. No pressure, just for old times’ sake.” After Purple happily accepted the olive branch in the spirit it had been offered, Blackmore divulged the plan – to the incredulity of the rock world – via his social media pages. Following the thirteenth song of the night’s set at Jones Beach, Space Truckin’, the stage went quiet as roadies scurried around with torches. The audience went wild when current Purple guitarist Simon McBride enticed Ritchie onto the stage. The Man In Black placed his hat on top of the amps and, at first unaccompanied, delivered the most famous rock riff of all time. Six minutes later it was all over. It was probably not the best version of Smoke On The Water that Purple ever played, but as the smiles on stage and off confirmed, few are likely to have been more emotional. “It was an absolute pleasure to have back on stage the founder member, the great legend, the immortal Ritchie Blackmore,” Gillan told the still-disbelieving audience. “Thanks, Ritchie. I must say it was a great pleasure. I’ll see you in the bar.” Who bought the first round in the bar?“Well, I brought along a bottle of whisky and had a couple of drinks for the first time in years at the venue,” Gillan revealed. Was there time to talk?“Yeah. We had about half an hour. But we’ve been in touch, as I said earlier, for some time now. Having said that, it was nice doing it face to face. And I’ll probably see Ritchie again next time I’m in the area.” As well as delighting rock fans, presumably the on-stage reunion brought closure. “To the public, probably yes,” Gillan responded. “But as far as I’m concerned, the closure was years ago, so I hadn’t even thought about it. But definitely it was a public demonstration of friendship, and good memories.” The million-dollar question, of course, is whether something similar could ever happen again. “I don’t know,” Gillan admitted. “The reason we did it there was because Ritchie only lives around the corner. So, I don’t know. If we play Jones Beach or New York again, possibly. Ritchie lives on Long Island but he’s always welcome.” The following day, Blackmore wrote on social media: “A good night was had by all, I hope. I know that I had a great time. Thanks a lot, lads. Carry on and have a good tour.”“It was a moving experience because I went on very quickly and had to play immediately,” Blackmore later told Guitar Player. “I couldn’t warm up, but I wasn’t there to play correct notes. I was there to see old friends I hadn’t seen in forty years, and we’re all getting older. I think we realised it could be the last time we see each other, maybe. “It was tricky. I didn’t play anything too technical, as I felt I should stick to the rudiments of being simple,” the 81-year-old added. “I still lost my place at one point, but it’s not why I was there. I was there to heal any wounds – but there weren’t any wounds. Everyone was like we were in the army all along the Western Front, and we were all getting together again. [It was a] very emotional moment.”

On September 14, papier-mâché-headed alien duo Angine de Poitrine made their US TV debut on The Tonight Show with Jimmy Fallon.Of course, their detractors will say that guitarist Khn de Poitrine and drummer Klek de Poitrine are actually a pair of musicians from Saguenay, Quebec. But we're happy to suspend our disbelief. We like polka dots, alright?The microtonal merchants, who released their second album, Vol. II, in April, debuted a brand new song titled Zugzegk on Fallon's show. The episode also featured guests including neuroscientist/podcaster Andrew Huberman, actor Salma Hayek Pinault and singer Becky G. Enough with the facts, earthlings! Watch Angine de Poitrine perform Zugzegk in the video below and do that triangle shape with your hands.The band are currently touring planet Earth until December. Catch them at the following venues across North America and Europe. Sep 15: Washington DC, The Atlantis, USSep 16: Philadelphia, Underground Arts , USSep 17: Washington DC, Lincoln Theatre, USOct 13: Bristol, Prospect Building, UKOct 14: Glasgow, SWG3 Galvanizers, UKOct 16: Dublin, Opium, IREOct 18: Leeds, Project House, UKOct 19: London, Troxy, UKOct 21: Paris, Élysée Montmartre, FROct 24: Lyon, L’Epicerie Moderne, FROct 25: Antwerp, Trix, BELOct 27: Berlin, Festsaal Kreuzberg, GEROct 28: Hamburg, Molotow, GEROct 29: Heidelberg, Metropolink, GEROct 31: Amsterdam, London Calling Festival, NLNov 01: Groningen, Vera, NLNov 05: Toronto, History, CANov 16: Brooklyn, Brooklyn Steel, USNov 17: Brooklyn, Brooklyn Steel, USNov 19: Boston, Royale, USNov 20: Philadelphia, Franklin Music Hall, USNov 25: Atlanta, The Masquerade, USNov 27: Nashville, Brooklyn Bowl, USDec 02: Minneapolis, First Ave, USDec 04: Los Angeles, The Wiltern, USDec 08: Oakland, Fox Theater, USDec 11: Portland, Crystal Ballroom, US

Sheffield's finest Def Leppard have launched the fourth volume of their ongoing series of album box sets. The cleverly titled Volume 4 includes 2015's self-titled album, 2022's Diamond Star Halos, and the following year's Drastic Symphonies, plus a fourth disc of rarities curated by frontman Joe Elliott."At last! It’s here!" exclaims Elliott. "Volume 4 gathers together our remaining studio albums and some very interesting bonus material. Some of the bonus bits are quite recent, but there is also something that was lost in the vaults for over 33 years until earlier this year. We’re extremely excited to finally put this box set in front of you. It’s a great listen and a good read too!"The first of the rare tracks to be given a public outing is a cover of The Beatles' classic Revolution, which was recorded for an unnamed advertising campaign but never used. The original, recorded in 1968, was the first Beatles song to be licensed for use in a TV commercial when Nike paid $500,000 for the rights to use the song for a year in 1987.The other tracks appearing on the Rarities discs on Volume 4 include the six tracks recorded for iTunes in 2006 (later released as The Lost Session in 2018), three live tracks recorded at Abbey Road in 2008 (later available as a Record Store Day release in 2018), three studio songs recorded for the 2011 album Mirror Ball – Live & More, and versions of Rock Of Ages, Pour Some Sugar On Me, and Hysteria recorded for Apple in 2012-13, and several more demos, radio edits and cover versions. Full tracklist below.Def Leppard: Volume 4 - 2015-2023 is available as a six-CD and 11-disc vinyl edition, and can be pre-ordered now. Def Leppard: Volume FourFormat: 6-CD Box SetDisc One: Def LeppardDisc Two: Diamond Star HalosDisc Three: Drastic SymphoniesDisc Four: Rarities Disc Five: RaritiesDisc Six: RaritiesCD One: Def LeppardLet’s GoDangerousMan EnoughWe BelongInvincibleSea Of LoveEnergizedAll Time HighBattle Of My OwnBroke‘N’BrokenheartedForever YoungLast DanceWings Of an AngelBlind FaithCD Two: Diamond Star HalosTake What You WantKickFire It UpThis GuitarSOS EmergencyLiquid DustU Rok MiGoodbye For Good This TimeAll We NeedOpen Your EyesGimme A KissAngels (Can't Help You Now)LifelessUnbreakableFrom Here To EternityCD Three: Drastic SymphoniesTurn To DustPaper SunAnimalPour Some Sugar On Me (Stripped Version)HysteriaLove BitesGoodbye For Good This TimeLoveGods Of WarAngels (Can’t Help You Now)Bringin' On The HeartbreakSwitch 625Too Late For LoveWhen Love And Hate CollideKings Of The WorldCD Four: RaritiesLet It Go (Live iTunes Session)Foolin (Live iTunes Session)Bringin' On The Heartbreak (Live iTunes Session)Rock On (Live iTunes Session)When Love And Hate Collide (Live iTunes Session)Promises (Live iTunes Session)C'Mon C'mon (Live At Abbey Road, 2008)Rock On (Live At Abbey Road, 2008)Rocket (Live At Abbey Road, 2008)Undefeated (From Mirrorball)Kings Of the World (From Mirrorball)It’s All About Believin' (From Mirrorball)Rock Of Ages (2012 Re-Recorded Version)Pour Some Sugar On Me (2012 Re-Recorded Version)Where Does Love Go When It Dies / Now / When Love And Hate Collide / Have You Ever Needed Someone So Bad / Two Steps Behind (Acoustic Medley, 2012)Hysteria (2013 Re-Recorded Version)CD Five: RaritiesUndefeated (Demo)Last Dance (Demo)Wings Of An Angel (Las Vegas Demo)We Belong (Joe Only Vox)This Guitar (Demo)Hysteria (Spotify Session, 2018)Miss You In A Heartbeat (Feat. Ian Hunter) (Retroactive Outtake)We All Need ChristmasTake What You Want (Radio Edit)Kick (Radio Edit)This Guitar (Joe Only Mix)Goodbye For Good This Time (Avant-Garde Mix)Lifeless (Joe Only Mix)Angels (Can't Help You Now) (Covent Garden Mix)Have You Ever Needed Someone So Bad Animal (Radio Edit)Just Like 73 (Feat. Tom Morello)CD Six: RaritiesPersonal Jesus (2026 Mix)Revolution (Abandoned TV Ad)“Heroes" (2026 Mix)Stand By Me (From Bank of Dave 2)Bad Motor Scooter (Feat. Sammy Hagar)Helen Wheels (from “The Art Of McCartney” album)Drive In Saturday (Feat. Mike Garson)Seagull (Full Band Version)Format: 11LP BoxsetAlbum One: Def Leppard (2 X Lp) Album Two: Diamond Star Halo (2 X Lp) Album Three: Drastic Symphony (2 X Lp) Album Four: Rarities (2 X Lp)Album Five: Rarities (3 X Lp)Album One: Def Leppard Side One Let’s GoDangerousMan EnoughWe BelongSide TwoInvincibleSea Of LoveEnergizedAll Time HighSide ThreeBattle Of My OwnBroke‘N’BrokenheartedForever YoungLast DanceSide FourWings Of an AngelBlind FaithAlbum Two: Diamond Star HalosSide OneTake What You WantKickFire It UpThis GuitarSide TwoSOS EmergencyLiquid DustU Rok MiGoodbye For Good This TimeSide ThreeAll We NeedOpen Your EyesGimme A KissAngels (Can0t Help You Now)Side FourLifelessUnbreakableFrom Here To EternityAlbum Three: Drastic SymphoniesSide OneTurn To DustPaper SunAnimalPour Some Sugar On Me (Stripped Version)Side TwoHysteriaLove BitesGoodbye For Good This TimeLoveSide ThreeGods Of WarAngels (Can’t Help You Now)Bringin' On The HeartbreakSwitch 625Side FourHave You Ever Needed Someone So BadToo Late For LoveWhen Love And Hate CollideKings Of The WorldAlbum Four: RaritiesSide OneLet It Go (Live iTunes Session)Foolin (Live iTunes Session)Bringin' On The Heartbreak (Live iTunes Session)Rock On (Live iTunes Session)When Love And Hate Collide (Live iTunes Session)Side TwoPromises (Live iTunes Session)C'Mon C'mon (Live At Abbey Road, 2008)Rock On (Live At Abbey Road, 2008)Rocket (Live At Abbey Road, 2008)Side ThreeUndefeated (From Mirrorball)Kings Of The World (From Mirrorball)It’s All About Believin' (From Mirrorball)Side FourRock Of Ages (2012 Re-Record)Pour Some Sugar On Me (2012 Re-Record)Where Does Love Go When It Dies / Now / When Love And Hate Collide / Have You Ever Needed Someone So Bad / Two Steps Behind (Acoustic Medley, 2012)Hysteria (2013 Re-Record)Album Five: RaritiesSide OneUndefeated (Demo)Last Dance (Demo)Wings Of An Angel (Las Vegas Demo)We Belong (Joe Only Vox)Side TwoThis Guitar (Demo)Hysteria (Spotify Session, 2018)Miss You in A Heartbeat (Feat. Ian Hunter) (Retroactive Outtake)We All Need ChristmasSide ThreeTake What You Want (Radio Edit)Kick (Radio Edit)This Guitar (Joe Only Mix)Goodbye For Good This Time (Avant-Garde Mix)Side FourLifeless (Joe Only Mix)Angels (Can't Help You Now) (Covent Garden Mix)Animal (Radio Edit)Just Like 73 (Feat. Tom Morello)Side FivePersonal Jesus (2026 Mix)Revolution (Abandoned TV Ad)“Heroes" (2026 Mix)Stand By Me (From Bank Of Dave 2)Side SixBad Motor Scooter (Feat. Sammy Hagar)Helen Wheels (from “The Art Of McCartney” album)Drive In Saturday (Feat. Mike Garson)Seagull (Full Band Version)

The massive collection "fully captures this tour alongside a stellar company of backing musicians and guest artists," according to an announcement. The post Bob Dylan 1976 Rolling Thunder Revue 39-Disc Box Set Coming appeared first on Best Classic Bands.