The planned venue has declared this comes as a direct result of comments made by the band’s frontman, Bobby Vylan, in regards to the recent death of right-wing American activist, Charlie Kirk. During their Paradiso performance, Bobby Vylan referred to Charlie Kirk – shot and killed three days prior in Utah – as “an absolute piece of s*** of a human being”, adding “The pronouns was/were. ‘Cause if you chat s*** you will get banged. Rest in piss, Charlie Kirk”. Within the preceding 48 hours, Tilburg’s 013 removed Bob Vylan from their upcoming events schedule.

The venue itself, in tone with its renowned reputation in preserving and replenishing the local cultural climate, acknowledge that punk and political activism exist as a test of boundaries. However, in this case, Bob Vylan has gone ‘too far’ in the eyes of 013, ultimately prompting the venue to believe Bob Vylan no longer encompasses the scope of what the venue seeks to offer as a musical platform.

Boby Vylan, for their involvement, has published a responding video statement on X, specifically rejecting the fact that their concert was labelled as a ‘celebration’ of Charlie Kirk’s death. In the video, Bobby Vylan makes an effort to differentiate his criticism of a public figure with a confused message for applauding violence, stating, “At no point was Charlie Kirk’s death celebrated… If it was, go find me a quote… you’re not gonna find it”.

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A post shared by Bob Vylan (@bobbyvylan)

This is not the first time the band has suffered direct cancellations following controversial comments. Earlier this year, Bob Vylan’s Glastonbury performance and the chants of ‘Death to the IDF’ prompted a police investigation, and their US visas were revoked.

Bob Vylan have built their musical reputation upon their stance as fiercely independent artists, adamant on releasing music free of major-label control in an attempt to speak directly to fans. However, in a run of cancellation and controversy, the Tilburg’s cancellation could demand further venue losses.

For venues and promoters, the band is increasingly associating itself with a career built on friction. Smaller venues like Tilburg’s 013 demonstrate the risk that middle-ground inhabitants occupy, caught between promoting musical activism and safeguarding their patrons, audience, and reputation.

In a statement from London’s Metropolitan Police, they said that Mo has been charged with allegedly displaying a flag “in support of Hezbollah, a proscribed organisation.”

@itvnews Kneecap say terrorism charge an attempt to ‘silence’ them #itvnews ♬ original sound – itvnews

The controversial clip was taken from Kneecap’s show at London’s O2 Forum Kentish Town in November 2024, showing Mo wearing a Hezbollah flag and chanting “Up Hamas! Up Hezbollah!”. Support for either of these organizations is illegal, as they are both deemed terrorist organizations by the UK.

Responding to Chara’s charge, Kneecap released a statement on X this morning: “14,000 babies are about to die of starvation in Gaza, with food sent by the world sitting on the other side of a wall, and once again the British establishment is focused on us.

pic.twitter.com/Yh0oteMTNN

— KNEECAP (@KNEECAPCEOL) May 22, 2025

“We deny this ‘offence’ and will vehemently defend ourselves. This is political policing. This is a carnival of distraction. We are not the story. Genocide is. As they profit from genocide, they use an ‘anti-terror law’ against us for displaying a flag thrown on stage.”

The group claim the charge has been made to try and strip away their ability to tour and play shows, arguing that its objective is “To restrict our ability to travel. To prevent us speaking to young people across the world. To silence voices of compassion. To prosecute artists who dare speak out.”

@yasg106_ BREAKING: Coachella audience erupts in #FREEPALESTINE chant during KNEECAP performance! @kneecap32 shows what it means to be Artists Against Apartheid – using your art, your platform, and voice at stages like #Coachella to be in firm solidarity with the Palestinian struggle for liberation, to fight against the U.S.-backed Israeli genocide, and to stand with the students abducted and detained by ICE, like Mahmoud Khalil, Rumeysa Oztürk, Badar Khan Suri, and Mohsen Mahdawi who are being persecuted for standing on the right side of history. #cochella #performance #audience #stand #artists #artistsagainstapartheid #chant #concerts ♬ Inspirational – neozilla

The groups current controversy began with their performance at Coachella, earlier in April this year. During their sets on both weekends of the festival, they displayed pro-Palestinian messages, claiming that Israel is “commiting genocide against the Palestinian people”. They also led the crowd in a chant of “Maggie’s In A Box”, celebrating the death of divisive Conservative prime minister Margaret Thatcher.

After the government announced it was launching an investigation into the Irish rap trio, Kneecap made a statement denouncing both Hamas and Hezbollah, also asserting that they don’t support violence against any politicians.

There were split opinions over their strong stance on Palestine and their freedom of speech. Their concerts in Germany have been cancelled, celebrities like Sharon Osbourne have called for a revocation of their visas, and they’ve separated from their booking agency. At the same time, many musicians stood behind the Belfast band, with artists such as Massive Attack, Paul Weller, Fontaines DC and IDLES signing a letter from Kneecap’s record label stating that together they “stand for freedom of expression.”

Even after the uproar and cancellations, the band are still on the bill to perform at Wide Awake Festival on Friday, 23 May at Brockwell Park. They’re also still set to perform at Glastonbury later this summer – you can read our coverage on that here.

The track from West’s latest project, ‘Carnival’ seems to feature a brief guitar riff from the Black Sabbath track: ‘Iron Man’. Although the original version of ‘Carnival’ was intended to use Black Sabbath’s iconic ‘Iron Man’ riff, the live show switched this sample to one from West’s own discography. My Beautiful Dark Twisted Fantasy’s ‘Hell of a Life’ was used in place of ‘Iron Man’. However, ‘Hell of a Life’ is itself an interpolation of Black Sabbath’s ‘Iron Man’. Speaking on social media Osbourne said: “Kanye West asked permission to sample a section of a 1983 live performance of ‘Iron Man’ from the US festival without vocals and was refused because he is an antisemite”.

. @KANYEWEST ASKED PERMISSION TO SAMPLE A SECTION OF A 1983 LIVE PERFORMANCE OF “IRON MAN” FROM THE US FESTIVAL WITHOUT VOCALS & WAS REFUSED PERMISSION BECAUSE HE IS AN ANTISEMITE AND HAS CAUSED UNTOLD HEARTACHE TO MANY. HE WENT AHEAD AND USED THE SAMPLE ANYWAY AT HIS ALBUM…

— Ozzy Osbourne (@OzzyOsbourne) February 9, 2024

Kanye West, as of late, has continually entrenched himself in controversy surrounding his frequent antisemitic outbursts. Speaking last year with far-right conspiracy theorist, Alex Jones, West said: “I see good things about Hitler.” Elaborating further, West doubled down by saying: “Every human being has something of value that they brought to the table, especially Hitler”. Kanye West has spent the last year surrounding himself with far-right personalities like the aforementioned Jones, who has recently lost a court case after he popularised a conspiracy theory that suggested that a 2012 shooting that took place in Connecticut’s Sandy Hook Elementary school was a hoax.

Other associates of West include Nick Fuentes, a far-right ethno-nationalist who is recognised by the Anti-Defamation League as a holocaust denier. As reported by Politico, both West and Fuentes attended a dinner hosted by former Republican president Donald Trump in late 2022. West has been a vocal supporter of Donald Trump since 2016. Although not Jewish himself, Ozzy’s wife Sharron Osbourne has gone on record with The Jewish Chronicle to say: “My family, my father’s family, my aunt, my cousins, are all Jewish.” In this light, Ozzy Osbourne’s statement that Kanye West’s antisemitic behaviour “has caused untold heartache to many” appears to have affected him on a personal level.

Although Kanye West posted an apology in Hebrew to his twitter page in late 2023 that read: “I sincerely apologise to the Jewish community for any unintended outburst caused by my words or actions.”, West continues to portray himself as an antisemite. Last night’s listening party livestream was cut short after the rapper said: “I’m still crazy, bipolar, antisemite, and I’m still the king”.

Despite his stance against West, Osbourne is not without his own political controversies. In a 1982 interview with Night Flight, a now-defunct American variety show, Osbourne stated that he got his ideas for his live performances from “Adolf Hitler”. The singer went on to say that: “Hitler had a charisma in a bad way and I kind of admired him. He was a freak; he was a lunatic, but he had something about him”.

Whether or not Osbourne’s past comments should be taken seriously, it is clear that he is attempting to distance himself from the antisemitism espoused by Kanye West, signing his tweet off by saying: “I want no association with this man [Kanye West].”

TikTok is a short-from video sharing platform that allows content creators to use copyrighted music in their videos. This feature is central to TikTok’s appeal, with viral trends on the platform often featuring copyrighted music. One such trend involved Sophie Ellis-Bextor’s ‘Murder On The Dancefloor’ which became one of the most used tracks on the app after its feature in Emerald Fennel’s 2023 film Saltburn. As a result, the 2001 dance track shot up the UK top 100 as well as charting in the US for the first time. In light of TikTok’s reliance on copyrighted music, much of which is owned by UMG, the label has said: “Ultimately TikTok is trying to build a music-based business, without paying fair value for the music.”

UMG’s open letter states concerns over artist compensation, the use of AI songs, a topic that UMG has been critical of before, and the poor moderation on the platform. Although all these issues are common on TikTok, the timing of UMG’s open letter would suggest that an inadequate licencing deal was the catalyst for UMG’s dissatisfaction with the platform. UMG stated that the social media company’s offer was “worth less than the previous deal, far less than fair market value and not reflective of their [TikTok’s] exponential growth.”

The same day that UMG released their open letter, a representative from TikTok responded, saying: “Universal Music Group has put their own greed above the interests of their artists and songwriters.” TikTok’s response aimed to portray the platform as one that “serves as a free promotional and discovery vehicle for their [UMG’s] talent.” Although it is true that artists often see an increase in attention from exposure on TikTok, this increased traffic is rarely sustained on a long-term basis.

Artists on TikTok are paid per video rather than per view. According to the music promotion company, SoundCampaign, artists with an 100% share of their own royalties receive $0.003 (£0.0024) per video that features their music. Artists receive no payment with regards to views on individual videos that include their work.

UMG has accused TikTok of “selectively removing the music of certain… developing artists, while keeping on the platform… audience-driving global stars.” In response to these poor negotiations, UMG has pulled some of its music from TikTok. Aiming for maximum disruption UMG has, at time of writing, removed both Drake’s and Taylor Swift’s official music from TikTok.

Universal’s actions have already been received poorly by many TikTok creators. TikTok creator Evan Cronin, who spoke to The New York Times today, has had music retroactively removed from his videos, making his content an “essentially a dead post”.

Artists have responded with their own reactions to the UMG dispute, with indie singer Beabadoobee acknowledging the removal of her work from TikTok. In her response, Beabadoobee posted a video that includes a version of her song ‘Talk’ played at two times speed in order to circumvent automated copyright recognition on the platform.

Whether this dispute reaches a resolution or not, it is clear that, for now, many of the world’s largest artists will have their music entirely removed from TikTok. With UMG having no current disputes with other short-form video platforms like Instagram Reels and YouTube Shorts, it remains to be seen whether TikTok creators will end up migrating to other platforms which have working relationships with UMG.

Since 2011, Pool has taken a significant shift right, choosing to focus his work on American culture-war issues like LGBTQ rights. Tim Pool hosts a daily podcast on YouTube and is well known online for his inflammatory and discriminatory comments surrounding the LGBTQ community. One of Pool’s largest talking points surrounds a conspiracy theory that suggests that LGBTQ community deliberately recruits children into their movement for political purposes. This conspiracy also implies that there is a sexual element to this recruitment process. In the wake of a 2022 shooting at Club Q, an LGBTQ club in Colorado, Pool attempted to justify the attack by saying “Club Q had a grooming event”.

We shouldnt tolerate pedophiles grooming kids

Club Q had a grooming event

How do prevent the violence and stop the grooming? https://t.co/loVoG3A3ot

— Tim Pool (@Timcast) November 22, 2022

As reported by Loudwire, the post shared by Christianson was a quote tweet by Pool regarding an interview with mixed martial arts fighter, Sean Strickland. When asked whether he would accept having a gay son, Strickland returned the question to his interviewer who said that he would have “no problem with it”. In response to his interviewer, Strickland said: “You’re a weak f*****g man”. The fighter then went on to say that: “ten years ago, to be trans was a mental f****n’ illness and now all of a sudden, people like you have f****n’ weaselled your way into the world… you [Strickland’s interviewer] are an infection”. On January 17th, Tim Pool replied to Strickland’s interview, saying “F*****g A+ guy right here”. Evoking far-right sentiments of social disease with regards to LGBTQ people, both Pool’s and Strickland’s comments are intensely derogatory.

HOLY FUCK Fucking A+ guy right here Thanks bud light for bringing us this message on the infection that is the woke left https://t.co/G17Drog39b — Tim Pool (@Timcast) January 17, 2024

This thread was reposted by Architects’ Adam Christianson for a brief period, before being promptly removed. On January 19th, Christianson apologised for his actions, saying: “that retweet was a total accident!”. However, some online are sceptical of Christianson’s backpedalling, citing his history of reposting and liking tweets that share similar sentiments to those of Pool. Christianson has previously liked and retweeted content from other commentators like Zuby Music who has previously evoked conspiracies reminiscent of those pedalled by the likes of Tim Pool.

Shit! That retweet was a total accident!! I don’t endorse anything that guy says other than fuck Trudeau. Sorry for the panic everyone! Complete all-thumbs moment.

— Adam Christianson (@adamarchitects) January 19, 2024

Speaking at a gig in Paris yesterday the band’s frontman, Sam Carter, said: “nobody on this stage judges anybody for their gender, their race, and whoever they are in love with. We never have, we never will”. Although the video does not explicitly mention Christianson’s online activity, many online have drawn a connection between the two events.

Sam Carter has spoken on stage about Architects views in lieu of a recent post shared by guitarist Adam Christianson. “No one on this stage judges anyone for their gender…” @therottendoll_pic.twitter.com/5B1xcD7P1Z — State of the Scene (@SOTSPodcast) January 24, 2024

After announcing a US tour, starting in May of this year, Architects are currently on their European tour that will run until February.

On morrisseycentral.com, The Smiths’ frontman’s personal blog, Morrissey stated that, “I invented the group name, the song-titles, the album titles, the artwork, the vocal melodies, and all of the lyrical sentiments came from my heart … and so it’s a bit like saying Mick Jagger had nothing to do with the Stones.” Grandiose comparisons to Mick Jagger aside, Morrissey believes that other ex-Smiths members are taking credit for his work. In reference to the Smiths’ 1983 signing to Geoff Travis’ Rough Trade records, Morrissey said: “Several news sites now claim that the initial meeting at Rough Trade Records was with “Johnny Marr and Andy Rourke,”. Morrisey’s website lacks any citation or direct reference to the “several news sites” he mentions. A quick google search will reveal that Wikipedia and several major news publications credit both Morrissey and Marr with the signing.

While the specific claims made by the 64-year-old singer may be unverified, it is true that many fans and industry veterans have turned their back on Morrissey. However, rather than a result of greedy ex-band-members, Morrissey’s poor reputation is the result of his right-wing political opinions. Although The Smiths’ original material expressed relatively progressive messaging around class, the monarchy, and organised religion, Morrissey’s more recent affiliations with far-right politics has pushed him away from the mainstream.

In a 2019 performance on Jimmy Fallon’s The Tonight Show, the singer wore a badge that featured the logo of the now-defunct For Britain Party. For Britain was a far-right fringe party led by Anne Marie Waters that promoted an anti-Islamic, anti-immigration policies which was host to ex-members of the British Nationalist Party (BNP) who were deemed too extreme for the UK Independence Party (UKIP). Speaking with Fiona Dodwell on blogsite Tremr in 2018, Morrissey expressed sympathy for Stephen Christopher Yaxley-Lennon, better known as Tommy Robinson, saying: “it’s very obvious that Labour or the Tories do not believe in free speech… I mean, look at the shocking treatment of Tommy Robinson”. For those who don’t know, Tommy Robinson is the far-right nationalist founder of the English Defence League (EDL), who has been convicted of multiple crimes that include assault of a police officer, ownership of a false passport, and the stalking of a journalist.

Morrissey has an esteemed past and a solidified position in British music cannon which will never change however, Morrissey’s claim of “cancel culture beings at home” mirrors that of many allegedly disgraced celebrities whose politics frequently land them in hot water. It is not ex-band-members who are tarnishing the legacy of the Smiths, but it is instead the reactionary far-right politics which he continues to promote.

The advert, as well as two posters that featured Kendall Jenner for the same brand, received complaints that the imagery was “offensive and irresponsible, because they objectified women; and” was “inappropriate for display in an untargeted medium.”  Whilst the ASA concluded that the posters featuring Kendall Jenner were found to be within regulatory standards since she is covered to a degree that the ASA considers “no more than mildly sexual”, the ASA deemed the poster featuring FKA Twigs to be “overtly sexual and… not suitable for display in an untargeted medium.”

The key contention held by the ASA is that Barnett’s poster relies upon nudity to draw the viewer’s attention instead of the advertised clothing. In this regard, the ASA ruled that the poster “used nudity and centred on FKA Twig’s physical features rather than the clothing, to the extent that it presented her as a stereotypical sexual object”.

Despite a response from Calvin Klein that argued that the “Images were not vulgar and were of two confident and empowered women who had chosen to identify with the Calvin Klein brand”, the ASA ruled that the advertisement “must not appear again in the form complained of”.

In response to the ASA, FKA Twigs took to Instagram to say: “I do not see the ‘stereotypical sexual object’ that they have labelled me.” She added “in light of reviewing other campaigns past and current of this nature, I can’t help but feel there are some double standards here.” What makes this ruling especially contentious, to many online, is the use of male models in equally suggestive marketing, receiving no criticism.

Although the ASA may have a technical case for pulling the FKA Twigs poster, it is hard to ignore that the singer openly endorses the poster and feels that she was able to “express myself exactly how I wanted to”. FKA Twigs cited women of colour like “Josephine Baker, Eartha Kitt and Grace Jones” who pushed boundaries in art and performance as inspiration for her work. Within this context, FKA Twigs’ feature has been deemed by many online to be entirely uncontroversial, with American indie-rock artists Mattiel commenting: “I see discipline in this photo. Many many years of discipline and thoughtful caretaking of the self.” 

I’ve been waiting to drop Gas Me Up (Diligent) since teasing it April last year, worked hard getting the artwork right for my album rollout which is about my parents coming to the UK in the 80’s, Skinhead, Football culture and it has been taken offensively by many and I can…

— Big Smoke – (@Skepta) January 10, 2024

After the artwork was posted, many were quick to point out that the photograph evoked imagery of the Holocaust. Men lined up with shaved heads in combination with the phrase “GAS ME UP” can understandably be taken as a tasteless pun, in reference to the millions of victims systematically murdered by the National Socialist Party throughout the early 1940s. According to Adenuga, this was by no means the intention, following up his first tweet with another post outlining how the artwork was inspired by British Skinhead and football culture of the 1980s, rather than anything more sinister. Citing the cultural environment that his parents entered when they moved to the UK from Nigeria in the 1980s, the track’s artwork was designed to capture the image of British football culture. In a follow up tweet, Skepta shared a selection of images that were used to inspire the creation of the “Gas Me Up (Diligent)” artwork. Speaking on the matter, Skepta said: “I can honestly see how my single artwork without context can be deemed offensive, especially in a time like this but again that was not my intention.”

I can honestly see how my single artwork without context can be deemed offensive, especially in a time like this but again that was not my intention. But after some thought I don’t feel like I could continue being the artist you all know and love if my art is policed, I have to… pic.twitter.com/59oUOPe8Hp

— Big Smoke – (@Skepta) January 10, 2024

To ‘gas’ someone or to be ‘gassed’ means to be excited for someone or about something. Pioneering Grime MC Dylan Mills, also known as Dizzee Rascal, used the colloquial term in a similar way with his track ‘Don’t Gas Me’ in 2018. The track is about Dizzee wishing to avoid being hyped up by others because he hypes himself up enough. In a similar manner, Skepta’s “Gas Me Up (Diligent)” means that he wishes for others to be excited for him and his music.

Some fans have applauded Skepta’s hasty removal of the controversial single cover with one Twitter user saying: “Thank you for taking and down and going with different artwork”. However, many other Twitter users have expressed their dissatisfaction with the change, claiming that the decision is a suppression of artistic expression. Given that Skepta has gone on record several times to say that the Holocaust reference was by no means his artistic intention, he is well within his right to remove the work.

Skepta’s single “Gas Me Up (Diligent)” will release on January 26 as planned in the lead up to his new studio album Knife & Fork.

During The 1975’s headline set at the Good Vibes Festival last July, Healy had attempted to demonstrate his disdain for Malaysian anti-LGBTQ+ laws by locking lips with bassist Ross MacDonald. Thirty minutes later, the band were asked to end their show and leave with immediate effect.

The following day, much to the disappointment of thousands of ticket-holders, Communications and Digital Minister Fahmi Fadzil announced the cancellation of the entire three-day festival. Naturally, the incident didn’t take long to spark a major online dispute, with many condemning Healy for disrespecting foreign culture.

In the aftermath, The 1975 faced legal action, with the festival’s organiser, Future Sound Asia, demanding the band pay £2 million in damages. Healy and co. heeded their lawyers’ advice and kept quiet about the lawsuit for months, but now, the singer has finally addressed the controversy in a 10-minute speech.

On Monday, Healy told fans at a Dallas concert that he had been advised not to talk about what happened in Malaysia, but that he had “cracked” and “genuinely just [didn’t] care anymore”. Reading from a prepared statement on his phone, the frontman launched into a lengthy defence of his actions at the Good Vibes Festival:

“The 1975 did not waltz into Malaysia unannounced – they were invited to headline a festival by a government who had full knowledge of the band’s well-publicised political views and its routine stage show. […] Me kissing Ross was not a stunt simply meant to provoke the government; it was an ongoing part of The 1975 stage show which had been performed many times prior.”

“To eliminate any routine part of the show in an effort to appease the Malaysian authorities’ bigoted views of LGBTQ people would be a passive endorsement of those politics. As liberals are so fond of saying, ‘silence causes violence, use your platform’, so we did that. […]”

“The Malaysian authorities were irate because homosexuality is criminalised and punishable by death in their authoritarian theocracy. That is the violent reality obscured by the more friendly term “cultural customs.”

The singer described some of the online response as “puzzling”, adding that “lots of people, who appear to be liberal people, contended that the performance was an insensitive display of hostility against the cultural customs of the Malaysian government and that the kiss was a performative gesture of allyship.”

Addressing these claims, Healy remarked: “The idea of calling out a performer for being performative is mind-numbingly redundant as an exercise. Performing is a performer’s job.”

In defence of accusations that condemned his stunt as a form of colonialism, Healy said that “to call The 1975’s performance colonialism is a complete inversion of the word’s meaning” and that “[they] have no power at all to enforce [their] will on anyone in Malaysia.” In fact, the singer revealed off-handedly that they were briefly imprisoned by the Malaysian authorities.

Watch the full speech below:

Matty Healy’s full speech on Malaysia incident in Fort Worth tonight

Thanks to Emily and talktorossabouit#The1975 #SATVB pic.twitter.com/1DfP18kXND

— The 1975 TH (@the1975_thteam) October 10, 2023

 

Waters’ defence comes after an investigation by the Campaign Against Antisemitism (CAA) uploaded a video accusing him of repeated derogatory references to Jews. The Dark Side Of Roger Waters, which is available on YouTube, includes a number of serious claims by those who have worked with the outspoken ex-Floyd bassist over the years, including Bob Ezrin, the co-producer behind the band’s acclaimed 1979 album The Wall.

Watch the video below:

Waters, who was initially reluctant to acknowledge CAA’s allegations, has now published a lengthy statement dismissing the documentary as “a flimsy, unapologetic piece of propaganda” and “without any foundation in fact”.

“All my life I have used the platform my career has given me to support causes I believe in,” he wrote. “I passionately believe in universal human rights. I have always worked to make the world a better, more just and more equitable place for all my brothers and sisters, all over the world, irrespective of their ethnicity, religion or nationality, from indigenous peoples threatened by the U.S. oil industry to Iranian women protesting for their rights.”

“That is why I am active in the non-violent protest movement against the Israeli government’s illegal occupation of Palestine and its egregious treatment of Palestinians,” he continued. “Those who wish to conflate that position with antisemitism do a great disservice to us all.”

Waters goes on to explain that the CAA’s core purpose is “waging partisan political campaigns against critics of the state of Israel” and that the organisation “manipulates footage and quotations to serve its agenda”.

“The film totally distorts and misrepresents my views about the Israeli state and its political ideology, Zionism,” he continues. “It relies on a definition of antisemitism that sees criticising Israel as inherently antisemitic and assumes that Zionism is an essential element in Jewish identity. These opinions, clearly shared by the presenter and the two interviewees, are widely contested by many, including many Jewish people.”

Read Waters’ full statement, which also addresses more concrete accusations, here.

The record-breaking songwriter is, of course, no stranger to controversy – allegations of antisemitism have plagued him throughout 2023. He drew criticism earlier this year for performing in a Nazi-like get-up during a concert in Berlin, prompting an investigation from the German police.

Waters, however, has always maintained he is not an antisemite and claims critics are missing the point of his shows.

Photo credit: Sharon Alagna