The tour includes stops in Detroit, Chicago, Phoenix, Denver, Houston, Tampa, West Palm Beach, Charlotte, and more. Tickets for all newly announced dates go on sale Friday (March 29) at 10 a.m. local, with presales beginning today (March 26). See all the dates below.

Read more: Fan poll: 5 best nü-metal bands of all time

Korn are also playing their biggest U.K. show yet this summer with Denzel Curry, Spiritbox, Wargasm, and Loathe.

Korn’s most recent album is 2022’s Requiem, which was followed in 2023 with an accompanying live EP, Requiem Mass. You can pick up the EP on limited bluejay vinyl and more Korn records and merch in the AP Shop.

Korn, Gojira, and Spiritbox 2024 tour dates
Thu Sep 12 – Tampa, FL – MIDFLORIDA Credit Union Amphitheatre
Sat Sep 14 – West Palm Beach, FL – iTHINK Financial Amphitheatre
Mon Sep 16 – Alpharetta, GA – Ameris Bank Amphitheatre
Wed Sep 18 – Charlotte, NC – PNC Music Pavilion
Fri Sep 20 – Camden, NJ – Freedom Mortgage Pavilion
Sat Sep 21 – Mansfield, MA – Xfinity Center
Mon Sep 23 – Newark, NJ – Prudential Center
Wed Sep 25 – Toronto, ON – Budweiser Stage
Fri Sep 27 – Detroit, MI – Pine Knob Music Theatre
Sat Sep 28 – Chicago, IL – Credit Union 1 Amphitheatre
Sun Sep 29 – Louisville, KY – Louder Than Life*
Wed Oct 02 – Albuquerque, NM – Isleta Amphitheater
Thu Oct 03 – Phoenix, AZ – Talking Stick Resort Amphitheatre
Sat Oct 05 – Los Angeles, CA – BMO Stadium^
Sun Oct 06 – Mountain View, CA – Shoreline Amphitheatre
Tue Oct 08 – Portland, OR – Moda Center
Thu Oct 10 – Tacoma, WA – Tacoma Dome
Sat Oct 12 – Nampa, ID – Ford Idaho Center Amphitheatre
Sun Oct 13 – Salt Lake City, UT – Delta Center
Wed Oct 16 – Denver, CO – Fiddler’s Green Amphitheatre
Fri Oct 18 – Kansas City, MO – T-Mobile Center
Sun Oct 20 – Houston, TX – The Cynthia Woods Mitchell Pavilion
Mon Oct 21 – San Antonio, TX – Frost Bank Center
Wed Oct 23 – Tulsa, OK – BOK Center
Fri Oct 25 – Omaha, NE – CHI Health Center
Sun Oct 27 – St. Paul, MN – Xcel Energy Center

* – Festival Performance
^ – with Evanescence, Gojira, Daron Malakian and Scars On Broadway, Spiritbox and Vended

“We’re really excited to play a big show for our London fans in a different kind of setting,” Korn say. “It’s been seven years since we last played London, so we’re ready to bring it to Gunnersbury Park with our incredible supporting artists: Denzel Curry, Spiritbox, Wargasm, and Loathe.”

Read more: WARGASM are spitting venom

Ahead of London, Korn will play Scarborough’s Scarborough Open Air Theatre on Aug. 8 with Wargasm and Loathe, and Halifax’s The Piece Hall on Aug. 9 with Loathe. Tickets go on sale Friday, Jan. 12 at 10 a.m., with various presales starting Wednesday, Jan. 10 at 10 a.m.

Read more: Every Linkin Park album ranked

We asked our readers what the best nü-metal bands are of all time. From Deftones to Linkin Park, find the top fan picks ranked below.

5. System of a Down

System of a Down proved that nü metal wasn’t restricted to a particular style. Their self-titled debut album in 1998 introduced their mind-blowing style — then their follow-up, 2001’s Toxicity, fastened their approach. That record’s spastic lead single, “Chop Suey!,” earned countless covers and tons of radio play, showing that heavy music could get theatrical without going glam.

4. Slipknot

Though Slipknot released their brutal self-titled debut album in 1999, right on the cusp of the 21st century, the band heralded nü metal into the future. The genre pioneers dispensed face-spitting rippers (“People = Shit”) and radio-friendly cuts (“Wait and Bleed”) with pleasure, influencing countless bands along the way. By merging industrial influences and a love for hip-hop with neck-snapping riffs, Slipknot revealed how truly menacing the genre could be.

3. Deftones

Since their formation in 1988, Deftones didn’t give much credence to genre. They still offered a lot to nü metal, though, particularly with 1995’s Adrenaline and 1997’s Around The Fur. Both albums demonstrated technical riffs, dark vocals, and a hip-hop bent. Rather than follow that blueprint, though, Deftones transcended those roots in favor of a wider, more imaginative genre spectrum. The experimentalism paid off, as 2000’s White Pony became their landmark record, highlighting their own form of alternative metal with lush atmospherics.

2. Linkin Park

Linkin Park’s fusion of hip-hop, metal, and electronica launched them into the stratosphere. Their 2000 debut record, Hybrid Theory, would go on to become one of the biggest rock blockbusters of the 21st century, finding a balance between heavy music and hip-hop that made them global stars. Though the band never officially disbanded following the death of their beloved vocalist Chester Bennington, founding member Mike Shinoda has said that they have no plans for new music. Regardless, they’ve certainly left behind a tremendous legacy.

1. Korn

Korn’s twisted self-titled debut, which turns 30 next year, started a revolution. Jonathan Davis’ ferocious delivery, overtop industrial instrumentals with hip-hop beats, pioneered a sound like no other. Nearly three decades and 14 studio albums later, their dark vision has endured. “We’re always going to persevere,” Jonathan Davis told AP in 2022 as part of an oral history. “To be this many albums deep is a huge feat.”

To say Brody King is a renaissance man would be an understatement. Not only has he become a top figure in the wrestling industry in just one year after his major debut in the All Elite Wrestling (AEW) promotion, but he is also the frontman for modern hardcore’s most beloved and visceral new acts God’s Hate whenever he is not at home with his wife and two children. As a young kid from the Antelope Valley of California, King was raised on wrestling and hardcore –– eventually turning both of his passions into full-time careers through hard work and a competitive mindset. Between nationally televised fights across the country and beyond ––  to playing for 6,000 people at this year’s Sound and Fury Festival with God’s Hate, King is a prime example of doing everything to its fullest extent. 

While King is most certainly a force to be reckoned with in the ring, it’s when he steps on stage with his band God’s Hate that he takes on an entirely new form as a conductor of chaos and musical brutality where every show feels like a war zone. With endless circle pits, stage diving, and most recently illegal fireworks being set off in the crowd –– King is a can’t-miss presence that is bridging the gaps between hardcore and wrestling culture as a whole. 

Read more: Jobber pay tribute to pro wrestling with their empowering debut EP Hell in a Cell

We sat down with Brody King to discuss his influences and journey to both the major leagues and the main stage –– as well as his iconic cameo appearance on Netflix’s hit comedy series I Think You Should Leave. 

[Photo by Rebecca Lader]

Growing up as an avid fan of both wrestling and hardcore music, who were you looking up to from both sides of the spectrum? 

Wrestling has been around my life forever — my Dad got me into it as a kid — so my earliest memories were watching wrestling. I was into the Undertaker and more of the darker characters, but got out of wrestling around middle school when it started to not be as cool anymore. [From there], I got into punk music with bands like AFI, The Offspring, and NOFX. This was also the time when nu-metal was popping off as well, with bands like Mudvayne, Slipknot, and Korn. In high school, I started going to local shows. It was bands like Madball, Hatebreed, and Terror that resonated with me; this is what I [eventually] latched onto and have emulated going forward. 

How did you rediscover your passion for wrestling again, and what was the journey like to not only enter the independent circuit, but eventually be propelled to the major leagues with Ring of Honor and later All Elite Wrestling? 

I started re-watching wrestling in my mid-20s when CM Punk was [a part of the straight edge wrestling stable] Straight Edge Society, which is what initially caught my interest. I signed up for wrestling school and it was pretty quickly that I realized this was something I could do at a high level because I obviously had the look and size — but on top of that, I had the business mindset and mental toughness that comes with wrestling. With the traveling, stress, and pain that you put on your body, that stuff didn’t bother me as much as some of the other people. With my competitive nature, it was like let’s go for broke with this, and I remember telling my wife to give me five years and if I wasn’t signed to a major contract then I’d stop. Within three years, I was signed to Ring of Honor. 

January 2023 marks your one-year anniversary since your All Elite Wrestling Debut. What highlights or milestones stick out to you when reflecting on this whirlwind year? 

From one year ago almost to the date, Ring of Honor folded as a company and basically told us we were all released from our contracts. The next day, I was on the phone with [AEW president] Tony Khan, and ever since it has been unbelievable going from the lowest of lows to now incredible success. Wrestling Darby Allin on national TV was a huge full-circle moment, wrestling Jon Moxley for the AEW Heavyweight title was awesome, and even playing Sound and Fury [with God’s Hate] to 6,000 people in Los Angeles was incredible. This was one of those years that you would write a book about. 

God’s Hate has quickly become one of the most beloved and respected modern hardcore acts. What is it that you want to bring forward with the band’s performances and the overall mission statement? 

It’s evolved over time. It went from me being in a band that I enjoyed being in to now [when] seeing God’s Hate is almost like a spectacle. I don’t like the term “gimmick” for hardcore bands, but we [do] kind of have our own gimmick where it’s six cavemen up on the stage trying to go as hard as the crowd is. We all use [the band] as an outlet to let loose and give all of ourselves. Some bands set rules for what is allowed at their shows, but for ours, it doesn’t matter. If you want to fight each other, then fight each other as long as no one is getting seriously injured. I’m on stage screaming, “Kill them all,” or “More violence,” so who am I to judge? [Laughs.] 

Even the lyric “Life is hard, be harder” from the song “Be Harder” has become somewhat of the band’s motto, and such a big part of your overall story. Now fans even show up to your  wrestling matches with signs that say that. 

That has become the ethos of the band, and when you read that, it sounds macho or hard-headed — but the number of people who have told me that it helped them get through the pandemic or life, that means a lot. We wrote [“Be Harder”] to be our inspirational song for you to dig inside yourself, because only you can push yourself forward. 

What are your goals next for both your wrestling career, as well as musically with God’s Hate? 

I feel like every year we set a goal, and just blow past it. This year, I was hoping to be a part of AEW — and now I’m a huge part of it, towards the top end of the roster. Hopefully, we’ll be going for some trios titles, or even a singles title, in the future. I would love to go to Japan again with both God’s Hate and as a wrestler, and to play Sound and Fury again and see how we could step it up. I don’t know how, but maybe someone will bring a tank in the fucking pit this time. [Laughs.] 

I also have to ask, how did you end up doing a cameo appearance on season 2 of the Netflix sketch comedy series I Think You Should Leave? 

My friend Madison [Woodward] (who helps book Sound and Fury, works for [the creative collective] Brain Dead, and plays in a bunch of bands) used to run a wrestling company called Suburban Fight. I have been with him since the beginning. A producer from I Think You Should Leave came out to one of the shows, and right before the pandemic, they sent him an email asking if he knew any wrestlers who would be interested in doing a skit for the new season. [Madison] reached out to me and I was like, “Absolutely,” because I already loved the show. I forgot to tell anyone about [the cameo], and then the trailer came out, which I’m in. It became its own thing and now I’m in a sketch with [comedians] Tim Robison and Conner O’Malley, which is incredible. 

Sick New World Festival touches down in Las Vegas in May 2023 with an epic hard-rock lineup

After the recent success of the highly anticipated When We Were Young Festival in Las Vegas this past October, the city of sin is now set to host yet another groundbreaking and stacked event this May with the Sick New World Festival. The hard-rock and nü-metal-tinged festival boasts an impressive roster of headliners, including Korn, System Of A Down, Incubus and Deftones. Other artist highlights include Flyleaf (with the return of vocalist Lacey Sturm), Spiritbox, Evanescence and Turnstile, among many others. Grab your wallet chain, JNCO jeans and Adidas tracksuits because Sick New World is approaching fast and is here to help you to live your wildest nü-metal dreams. Tickets go on sale Nov. 11 here. —Alessandro DeCaro

Snail Mail is throwing a hometown Valentine’s Day Festival in Baltimore 

In celebration of her critically acclaimed sophomore album Valentine, Snail Mail is throwing a five-night Valentine’s Day festival in her hometown of Baltimore, Maryland. From February 10-14, Snail Mail will take up residency in the beloved Ottobar venue with a hand-picked guest each night. Fans will also be able to purchase a limited-edition double 10-inch heart-shaped vinyl of Valentine, designed specifically for the festival. Tickets go on sale Nov. 11 here. —Alessandro DeCaro

Lolo Zouaï is taking PLAYGIRL out on the road

Lolo Zouaï is fresh off the release of her sophomore album, PLAYGIRL, an LP that bursts with a flirtatious spirit and a cyber-future vision. Now, the pop star is taking her new songs out on the road. This March, she’ll embark on a world tour, where she’ll make stops in London, Berlin, Amsterdam and more. The U.S. leg begins April 11 in San Francisco, with Zouaï visiting Denver, Boston and Nashville, among other cities, before concluding the run May 13 in Los Angeles. Tickets go on sale Nov. 11 here. —Neville Hardman

Sega Bodega will play three special headline shows this November and December

Late last year, Sega Bodega dropped Romeo, which both invited collaboration (Arca, Charlotte Gainsbourg, Donna Missal) and showed off his love for experimental, forward-facing dance music. Now, the London producer is wrapping up the album run with three special headline shows in London, Berlin and New York City. Additionally, Bodega recently worked on Caroline Polachek’s romantic new single “Sunset,” which he co-produced and co-wrote. Grab tickets for “Romeo: The Final Act” here. —Neville Hardman

https://www.instagram.com/p/CkvQiVmNixZ/

The festival takes place May 13 at Las Vegas Festival Grounds, the same venue as When We Were Young. The bill includes many acts that shaped the genre throughout the ’90s and early 2000s, such as Korn, Deftones and System of a Down. Evanescence, Incubus, Turnstile, Flyleaf (with original vocalist Lacey Sturm), 100 gecs, HEALTH and plenty more are also set to play at the fest.

Read more: 11 most underrated nü-metal bands that shaped a generation

General admission tickets start at $249.99, with GA+ and VIP options available as well.

You can grab presale tickets Nov. 11 at 10 a.m. PT by signing up here. General public tickets are available Nov. 11 at 2 p.m. PT. For more information, visit the festival’s website.

Check out the incredible lineup below.

In his new book, Anthems We Love: 29 Iconic Artists on the Hit Songs That Shaped Our Lives, longtime music journalist Steve Baltin sits down with a plethora of musicians to examine the stories behind some of the most recognizable songs in music history.

Read more: A beginner’s guide to Linkin Park: from radio hits to rarities

“These songs have saved people’s lives. They have been played at weddings, funerals, parties. So, it was fascinating to talk with some of the greatest artists ever — U2, My Chemical Romance, The Temptations, Carly Simon, Aerosmith and more — about how these songs have changed and the stories they have heard from fans,” Baltin tells AP.

Among those 29 artists include Linkin Park founding member and lead guitarist Brad Delson, who opened up about the legacy of “In The End.”

“Many people said the song saved their lives, and Chester Bennington told me many times over the years how often he heard that from fans. I have seen on several occasions, whether at live shows or from talking to fans, how much the song means to the LP audience,” he adds.

As the band’s highest-charting single ever, Delson credits its roaring popularity to MTV, touring and the power of its music video. Read an excerpt from the chapter below.

MORE THAN TWO DECADES AFTER ITS RELEASE, Linkin Park’s debut, Hybrid Theory, remains the best-selling rock album of the twenty-first century. The band’s guitarist and co-songwriter Brad Delson believes that is a testament to the album’s strength from top to finish. “I think every song on that album is really strong,” Delson says.

The album spawned four singles — “One Step Closer,” “Crawling,” “Papercut” and the final one, “In The End.” “I think ‘In The End’ stands out even among them,” Delson says.

The song’s success upon release bears that out. While the first two singles both hit the top five on multiple Billboard rock charts, including the Alternative Airplay, Mainstream Rock and Rock And Metal, “In The End” is the track that catapulted the band into the mainstream, hitting number two on the Hot 100 and ending the year at number seven on the year-end Hot 100.

Delson traces the song’s emergence into becoming an anthem early on. “In terms of becoming an anthem, ‘One Step Closer’ came out, kind of put us on the map, like MTV, album came out, sales never really dropped after the first week, which is very rare,” he says. “We were already touring, already building a fan base, fought with our record company about what the second single would be, we thought it should be ‘Papercut,’ and they were a lot smarter and knew that ‘Crawling’ was the way to go. MTV was really important for us at that time. And if something was on MTV, it was like kids knew it. If the video was on MTV, kids knew it like nationally or internationally. ‘Crawling’ really bumped us up a whole level touring, touring, touring all the time, that all time.”

According to Delson, the early success of the first three tracks set everything up so when “In The End” was released as a single October 9, 2001 fans had become familiar with Linkin Park and were primed for the song to become a smash.

“When ‘In The End’ hit, it was like in top rotation on MTV, the video. There’s a close-up of Chester [Bennington] that’s really iconic. And so the songs being on MTV and growing, ‘In The End’ was the apex of pop culture attention around the album and it was like a climactic spotlight on the band,” he says. “And so the power of the video being in popular culture rotation on MTV and us being on tour, basically metal tours, was a really powerful phenomenon.”

The song was able to cross over into worlds, taking the band from rock and metal charts into MTV success. “I’d say the song took on a life of its own. It was on TRL, which was basically really pop stuff,” Delson recalls. “And so at that point, it’s like you’re pressing on the gas to get on the freeway and you’re starting to accelerate and that song just hit its stride. At a certain point, there was no thought of, ‘Oh, we should promote this.’ It was just like, ‘Let’s take our foot off the gas and it’s now in orbit. There’s nothing we need to do.’ The song hit launch and it’s in orbit and now it’s just in orbit.”

Though the song would eventually become a worldwide smash, Delson does not recall exactly when in the band’s early days of touring, “In The End” became the sort of sing-along smash that an entire sold-out audience screamed at the top of their collective lungs. But once the song did become a smash he noticed the crowd responded to the track in a unique way.

“At some point, and I don’t know when, the bridge of the song became the moment of the song, especially live. And that’s an unusual thing in a song because the chorus is always the most memorable part, and the bridge cords are the same as the chorus,” he says. “However, you get this new lift emotionally, lyrically, melodically. And that’s the part, that audience, that crowds at shows really embrace. When you say anthem, I think of an anthem being embraced by other people as this is their story. And ‘In The End,’ I believe, became an anthem because of the way people relate to the whole song, and in particular, the way they sing out the bridge.”

Once the song achieved anthem status it became a centerpiece of the band’s live shows around the globe, a song that fans would sing along with in the States, Europe, Asia, everywhere. And with that, there were several emotional, memorable performances. But as a fan there was likely no more emotional performance than October 27, 2017, a few months after the band’s singer, Chester Bennington, was found dead July 20 of that year.

On October 27, the five remaining members of the band came together with a wide array of special guests — from Alanis Morissette and Gavin Rossdale and to members of Korn and System Of A Down — to pay tribute to Bennington at the Hollywood Bowl. But no guest was brought out to sing the emotional “In The End,” leaving that to the capacity crowd, who poured their hearts, emotions and tears into screaming every word of the song.

Though the emotion was at peak level that night, Delson had seen that kind of outpouring from fans at the live shows for years.

“People connect very strongly with the music, really have embraced it as their own, have a true emotional connection with the music, with the songs, and you’ve seen it. There’s an outpouring of connection and emotion about these songs that it couldn’t be more personal for people, how they relate to these songs,” he says. “You can see it on an individual level when someone’s telling a story about how they connected with the song. And then you see it on a collective level in concert, when this kind of community of individuals becomes one super loud, multi-dimensional voice.

And the volume at which people sing, and particularly the bridge, I mean, the whole song, they’ll rap all the verses. And without exception, we get to the bridge, that became a moment where not only would Chester not have to sing at all, the crowd basically became louder than the PA at that moment. And so we just stopped playing, we would stop playing the whole song at that moment, we would stop the guitars and drums, and the crowd would just sing the whole song, and then we would have the hilarious task of trying to get back in sync with the song, with ourselves. However, at that moment in the song, we didn’t need to do anything. We just had to stand there and receive it.”

Now in 2022, Tinnesz is set to release his long-awaited new album, arriving this fall, with several of its singles already being released to the masses. A standout single is “Bittersweet,” which features Chris Carrabba from Dashboard Confessional, and the track couldn’t be more perfect for a summer playlist with its youthful energy and nostalgic influences at the forefront. In describing his overall sound as an artist, Tinnesz says, “The music is late ’90s, Weezer meets Nirvana, with a don’t give a shit hip-hop attitude to it,” a description that couldn’t be more accurate with Tinnesz’s sincere yet playful approach to songwriting. With his latest single “Sometimes People Suck,” Tinnesz has captured the most all-encompassing taste of what his music represents with catchy choruses, sarcasm and the ability to not take himself too seriously. 

Read more: Dashboard Confessional releases ’All The Truth That I Could Tell’–interview

If you’ve never heard of Tinnesz before, it’s likely that he will soon become a household name through his sheer relatability and overall positive demeanor. 2022 will certainly be the year to kick off a long and fruitful journey for Tinnesz. We sat down with Tinnesz for an in-depth interview to discuss his influences, songwriting process, and how his journey is just beginning. 

As a songwriter, you are no stranger to tackling many different genres of music. What were some of your early influences? 

It’s funny because now I feel like I know a lot of the people who influenced me. As a kid, I thought these people were super tough and cool. However, when I met Brian Head, who plays guitar for Korn, he was so nice. I loved Nine Inch Nails and Filter. On the more pop side, I listened to a lot of Everclear and Weezer. 

Something important to highlight from your story is your background in writing songs for other artists of various genres over the years. How did you find yourself presented with these opportunities?  

It’s crazy. I was typically the third in the room where you would have the artist, producer and then myself as the guy in the corner bringing the creative energy. I feel like that was always my job. I met a lot of random people along the way who I guess I was just buddies with. I randomly met Josh Farro and Zac Farro when they left Paramore, and from there, we started working together. I don’t think I realized I was good at lyrics and melodies until I met Josh. The more that I met people like them, the word would start to spread. I feel like it’s all about having friends who are artists and showing them stuff. 

What was the transition like from being more behind the scenes to now being an established solo artist yourself? 

I got reinspired to do my own artist stuff when I was working with a singer named Ruelle, and watching everything start from ground zero to 100 was just so inspiring and made me miss singing on stuff. A lot of ideas I had, people would be like, “Those are weird lyrics. I don’t want to put that in my song,” and so I had to be like, “OK, I’m gonna save that for later then.” [Laughs.] 

How did you link up with Chris Carrabba of Dashboard Confessional for your recent single “Bittersweet”? 

I’ve always been a fan of Chris [Carrabba] and his bands, whether that was Further Seems Forever or Dashboard Confessional. My old band was on the same management team as Chris, and they were like, “Chris is really down to co-write, so why don’t you get together with him and show each other some music?” So I randomly met him at his house and played him some of my new stuff at the time. He played me some songs from one of his upcoming records, and I was just like, “How does a guy like this still write such amazing songs for this long?” There’s always a point where certain artists fall off and stop writing great songs because they have nothing to write about anymore, but for him, he still writes such great songs. We lost touch during the COVID-19 pandemic and when he had his unfortunate accident, but we randomly reconnected at a skatepark, which is so funny. 

That feels really serendipitous considering that the music video for “Bittersweet” takes place at a skatepark as well. With that being said, did you envision having him feature on the song as you were beginning the writing process?

The coolest thing that happened from meeting Chris at the skatepark was sending him what I had so far of the record that I’m putting out, and when he heard it, he was like, “Dude, I love this stuff, and if you ever need help writing, let me know,” and I was not about to tell Chris Carrabba no. [Laughs.] I got Chris and my buddy Seth Mosley, who is a producer in town, together, and I knew it would be a killer combination. After we wrote the song, Chris was so pumped, and I asked him if he would sing on it as well. He threw his vocals on the chorus harmonies and the second verse. It was just a wild experience. 

Do you plan to perform the song live together at some point? 

I never like to assume anything, but that is definitely in the back of my mind. Especially after the music video where we are performing off of each other, it really was a moment where I low-key was like, “No big deal, I just have Chris Carrabba with my band in a music video,” and I know it would be so cool to actually perform it live together. I was teasing Chris about it, and he was like, “You’re gonna be on the road with me in no time,” so I hope we can make it happen. 

As a father and husband, how does family play a role in your life and music? 

Honestly, even with “Bittersweet” in particular, a lot of people took it as love being bittersweet, which is so right, and I love that people can have their own interpretation of it, but this song is actually about being a musician who tours and is away from their family. I can be on this amazing tour in a venue in London where everyone is singing the words back, which is an incredible experience, but when my family isn’t there, it’s a bittersweet feeling having fun but not having the people I love with me. When I get my kids ready for bed at night, I’ll think of lyrics or listen to tracks, and I don’t know what it is, but I always get the best lyrical content that’s the most authentic around people that I love. It definitely makes me work harder and makes every moment matter. It also gives me so much more to write about, and though it’s sometimes hard to have a family, it’s also beautiful. 

With your music having such powerful hooks and pop sensibilities, it doesn’t surprise me how many times it’s been synced for TV, movies and video games such as Batwoman and Apex Legends throughout the years. How did these opportunities come about? 

It’s wild because when I first started writing in this alternative space with Ruelle, we created this dark-cinematic sound with the vocals, and I felt like we were some of the only ones doing that, so that stuff just kept getting synced over and over again. Because of that, since my name was attached to those songs, people became more familiar with my music, and a lot of people sent my songs to shows. When I write, I definitely visualize what I’m writing about in my head, so it makes sense that my music would be good set to picture. I love watching movies or TV shows to steal ideas or lines and make them into a song because if it’s cool enough to be a pinnacle moment in a TV show, then it has to be cool enough for a song. Licensing companies help me a lot to get my music out there, and I never knew that these kinds of opportunities existed beforehand. It’s been life-changing, and so many people have found me through this. I’m just so thankful for what’s happened so far. 

It’s amazing to see all of these opportunities come your way from being an authentic artist who’s doing exactly what they want to do. You’re not trying to come off as a “rock star” or an “attention seeker.” You are just focused on putting out personal music and not taking yourself too seriously.  

I was teasing my friend the other day when I showed her the music video for my new single “Sometimes People Suck.” In it, I’m wearing a bunch of wigs and funny clothing in front of a green screen, and she was like, “I like that you don’t take yourself too seriously and be goofy with it.” I told her, “You’re either a thirst trap or a dork that can make people laugh.” I’m definitely not a thirst trap, so I gotta go with the second one. [Laughs.] 

What’s in store for the rest of the year? Any plans for a full-length? 

Because of how everything is with streaming, it’s more important for songs to come out one at a time. All these tracks are my “song babies,” so I don’t want to just throw them out as one big grouping. I’m putting out singles from now until October when the record is officially released. The next single coming out is with a guy named Bryce Fox, and then we are actually going to do a small tour to support the record in September and October when the record drops. I want to do a music video for every song because that’s just what this world is; just people death-scrolling until they fall asleep. I want to be in people’s death-scrolls or else I don’t exist. 

The visual for “Worst Is On Its Way” was directed by Craig Bernard and Culley Bunker.

Read more: Slipknot, The Sandbox unleash new metaverse experience KNOTVERSE

Jonathan Davis connected with Alternative Press and provided an oral history of Korn for issue #403. During the interview, he spoke about the meaning behind Requiem‘s name.

“For me, it was about [saying] goodbye to the old and hello to the new,” Davis explains. A ‘Requiem’ is a thing for the dead, which is why I liked it so much. It’s out of respect for all of the people we lost throughout the pandemic — there was so much death going on. There were so many different meanings going on, and I just liked the way it sounded. The vibe just seemed right.”

In addition, Korn are set to perform a slew of live shows across the globe. Check out the full list of tour dates below, and grab tickets here.

Watch the video for “Worst Is On Its Way” below.

Korn tour dates