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Nero Returns With New Track "Truth," Announce New Album 'Into The Unknown': "A Bleak Kind Of Prediction On Where Humanity's Headed"

Electronic heroes NERO are back with an evocative new single, "Truth," their first new song in five years and the debut single off their 2024 album 'Into The Unknown.' Listen below and read an exclusive interview with the trio about their new music.

With their first two albums, NERO made two different kinds of statements: now, they’re about to split the difference, and head Into The Unknown .

That’s the title of the electronic trio’s forthcoming album, due out in 2024. “It definitely feels like the album that bridges the two worlds together,” the electronic trio tell GRAMMY.com.

“Quite early on, it felt like we were revisiting some of the heavier elements from [2011’s] Welcome Realit y,” they continue, “but there still is a sort of a musical and sometimes band-like feel that you get from [2015’s] Between II Worlds .”

The sonics aside, Into the Unknown completes something of a trifecta, and shines a harsh light on an increasingly probable dystopian future.

“We were always very influenced by sci-fi films such as Blade Runner, Akira, 2001: A Space Odyssey,” they say. “We were thinking about this sort of post-human world that is sort of trying to be resuscitated by AI.”

With that in mind, the barreling “Truth,” which you can hear below, is a thrilling entryway into NERO’s forthcoming adventures.

Read on for an interview with NERO, and listen to “Truth” below.

"Truth" marks your return and first new song since 2018. Why return now?

We've been writing this one since about 2019. That's when we first started working together again and collating our ideas. Shortly into that process, the world shut down due to the pandemic and there was a sort of apocalyptic feeling due to the lockdowns. This felt like a good time for us to pull out of shows and just focus on studio work so a lot of it was probably just the way that things aligned timing-wise.

What did you do in between your time away from the Nero project? What's been going on since 2018?

Well, Joe's been busy working on his solo Joseph Ray project. Alana and I were briefly working on a project called The Night, which we still want to come back to at some point. I had a project with my brother-in-law called Fickle and Vice which was a passion project of 80s pop music in which we only used 80s instruments and synthesizers. Alana and I also became parents, so that took up a lot of our time. It feels like now is a good time to bring the focus back onto Nero.

What can you tell us about "Truth"? What is the inspiration? How did it come together?

We found a recording of Amanda Palmer reading the poem "The Mushroom Hunters" by Neil Gaiman. The way she delivered it and the content of the poem really resonated with us and inspired us.

It talks about science and experimentation. I think in today's world, with the various conspiracy theories.floating around and stuff that rages on the internet, it felt good to highlight the importance of science.

She also has such a cool voice and it had this kind of 'message from the future' feel to it, which follows through to the video.

We felt the vocal really lent itself to the sci-fi intro which builds to quite a dark and menacing track. I guess this reflects our aesthetic and the sounds we have always made.

** You're also releasing a new album, Into The Unknown , in 2024. What can you tell us about the new album? What does it sound like? What can we expect? **

I like to think that this album sits somewhere in between Welcome Reality and Between II Worlds . I think it definitely feels like the album that bridges the two worlds together.

It also feels like it's part of a story arc, but is still set in the NERO universe as we travel in time from the near future, to the far future, to the year 2808 and beyond. In the case of  this album, we were thinking about a post-human world that is trying to be resuscitated by AI.

Sometimes these ideas come later, after the music has been written, but as is with anything we write, hundreds of ideas don't get used and we whittle it down so that we can find what represents both the story and the ideas that excites us the most musically.

I think quite early on, it felt like we were revisiting some of the heavier elements from Welcome Reality , but there is also a musical and sometimes band-like feel that you get from Between Two Worlds .

Your music as Nero has always featured post-apocalyptic tones and futuristic, scientific themes that explore the past, present and future of humanity. Will Into The Unknown continue that sonic trajectory? How will Into The Unknown reflect our time and humanity of the past few years?

We were always very influenced by sci-fi films such as Blade Runner , Akira , and 2001: A Space Odyssey , to name a few. What they've all got in common is that they have a post-apocalyptic and dystopian feel to them. I think synthesizers often lend themselves to that kind of imagery. The soundtracks for films like Blade Runner were seminal so picturing the mood of these films is always a good starting point for us to get creative, musically.  From those images, we can start creating sounds using our synthesizers that reference that imagery or mood.

We've amassed quite a cool synthesizer collection over the years and we love creating modern and new sounds with them. What's also cool, is that some of these synthesizers have been around for 30 or even 40 years, in the case of the Yamaha CS80.

Going back to your second question, I think with Into the Unknown, as is with any of the NERO stories, it's holding you to ransom slightly with this idea that you know humanity will end up destroying itself.

It's all pretty bleak in a way, but I guess sci-fi, (especially the dystopian kind) is, by its nature, going to be pretty bleak. The prediction is that humanity will eventually destroy itself leading way to a post-apocalyptic world.

Nero is known for its live shows. Any plans to tour the new album in 2024? Can you give us any sneak peek or a test at what your live show/tour will look in 2024?

We're definitely bringing back a live show in 2024 and hope to do maybe even a couple of different types of shows. 

Performing live has always been a big part for us. We love DJing and it's great to be able to play our music out and test it in front of a crowd.

We've really enjoyed road-testing material our entire careers. You can go down a rabbit hole in the studio and I think it's quite important to witness your audience hearing new material in real-time, but once we've finished an album, the thing that we've always really looked forward to is building a new live show.

With that, comes us thinking about how or what we're going to perform, what synths and instruments we're going to use and which kind of equipment and visuals we are going to incorporate. It's sort of like like the cherry on top when you finish the album. It's a really fun part of the job and so we are very excited about what we're planning for 2024 for our live shows, but for the moment, it's a bit of a secret.

Listen: All Of The Dance/Electronic Music 2023 GRAMMY Nominees In One Playlist

Boys Noize, Skrillex Headline Hard Summer Music Festival

By Brent Burns

I was among the estimated 30,000 EDM-loving attendees who filtered into the starlit Los Angeles State Historic Park on Aug. 3–4 for the Hard Summer Music Festival. Gary Richards, whose company Hard Events produces the festival, provided enthusiastic fans with more than 50 acts spread across four stages over two days. The arms that weren't waving in the air to the relentless music were either around a friend's shoulder or busy taking pictures of the festival's fully immersive audiovisual attractions.

Day one of the festival included explosive performances by acts such as Magnetic Man, Bloc Party, Miike Snow, and Breakbot (whose collection of catchy synth-pop was probably the grooviest set anyone would hear all weekend). But the main attraction was the evening's headliner Boys Noize, the stage name of Alexander Ridha. Before his set, I had a chance to sit down with him to discuss what we could expect from his performance, his record label Boysnoize Records and his highly anticipated forthcoming album, Out Of The Black .

After taking almost a year off the festival circuit, Ridha recently spent time in Berlin channeling the raw elements of his early days as a producer, when he was admittedly naive and experimenting with his creative process. He says he can still be found shuffling through crates of records every week, which is where he found inspiration for not only his own music, but also for the direction of the artists he's signed to his own label — a label that is now home to approximately 20 artists. And while Ridha was tight-lipped on sharing details of his set, his smirk meant he clearly had a few tricks up his sleeve. "It will be a classic festival set. Techno-ravey, and a lot of fresh stuff you've never heard before," he slyly noted.

Before joining the sweaty thousands who surrounded the main stage awaiting Boys Noize's performance, I ran into Jake Shears of Scissor Sisters, who was there to support Ridha, his longtime friend and collaborator. If I wasn't already anxiously excited to see the show, hearing someone as incredibly talented as Shears so humbly gush about Ridha's expertise made me feel like I had just awoken on Christmas morning. "Only the horses, and Boys Noize, can bring us back home tonight," laughed Shears, making a reference to the Scissor Sisters single “Only The Horses" that was co-written by Ridha.

As expected, after an echoing Boys Noize chant called for the German producer to begin his set, the robotic vocal beginning his show turned the crowd's chant to a scream-level cheer. The festival had saved its best for last, with Boys Noize giving attendees an hour of sharp-hitting techno and thumping house anthems, served by a musical connoisseur of artistic excellence. 

Day two was noticeably more crowded, and hosted an equally impressive display of virtuosic skill on stage with acts such as Dillon Francis, Zedd, Nero, and GRAMMY-winning sensation Skrillex, who was crowned with the closing slot. Accompanied by a merciless strobe, Skrillex's staging was impressive. Surrounded by what appeared to be a hybrid of a futuristic aircraft and Transformers character Optimus Prime, Skrillex was positioned in the middle with colorful screens on every side displaying warped imagery, a kaleidoscope of lighting effects and sporadic pyrotechnics synced to the artist's drum rolls and bass drops. One of the set's highlights was his remix of Benny Benassi's "Cinema," which the crowd sang along to at the top of its lungs, "You are a cinema/I could watch you forever." Even if you tried your best to remain motionless, you would have failed miserably, swaying in time.

Fans even became the feature of the festival, as the crowd's image was projected outward on main stage screens from Skrillex's point of view, giving a unique perspective to the mass of people united under the same love and devotion for the EDM culture sweeping the globe.

(Brent Burns is the dance/electronica GRAMMY.com Community Blogger.)

Dance/Electronica Comes Into Prominence In Fluorescent Fashion

"And the GRAMMY goes to … Skrillex." "And the GRAMMY goes to … Skrillex." "And the GRAMMY goes to … Skrillex!"

No, those aren't typos. The artist otherwise known as Sonny Moore, the multitalented, one-man dance/electronica music machine, returned to the GRAMMY stage at the 55th Annual GRAMMY Awards Pre-Telecast Ceremony to accept three more gold gramophones this past week. If you're experiencing a bit of déjà vu, it's because the dubstep king claimed victory again in the exact same categories he won last year, bringing his career total wins to six. His latest winnings included Best Dance Recording for "Bangarang" featuring Sirah (the title track from the album that also won Best Dance/Electronica Album), and Best Remixed Recording, Non-Classical for his remix collaboration with Nero on the latter's "Promises."

During Skrillex's first acceptance speech for Best Dance Recording, he shared that the inspiration for the album was taken from the Peter Pan idea of "never growing up." But never growing up doesn't mean never winning again because shortly after exiting, Skrillex was called back to the stage with his full Lost Boys gang in tow to collect the award for Best Dance/Electronica Album.

"None of the rappers showed up so we had to come rolling deep!" he said, motioning to a group of more than 15 of his musical "family."

Skrillex might have been the man with the statues, but he wasn't the only EDM heavyweight at the GRAMMYs. One of the presenters at this year's Pre-Telecast Ceremony was Ryan Raddon, better known as Kaskade, who gave a heartfelt nod to The Academy.

"We've got three categories this year," he began. "Now, they've got it really figured out … It's a well-oiled machine."

But that machine wasn't just confined to Sunday night. Amid the insanity of GRAMMY Week, another EDM highlight was an exclusive party that took place in downtown Los Angeles to support the Dance (RED), Save Lives album. Kaskade and Tommy Trash kicked the night off in quick succession, leaving Diplo and Skrillex to go back-to-back on the decks for the latter part of the evening. Not to be left out, Nero joined Diplo and Skrillex onstage just after midnight and, after going back-to-back for a few tracks, Nero treated the crowd to a semi-live rendition of the soon-to-be-award-winning "Promises," bringing the weekend full circle even before it had begun.

EDM thus wasn't just a one-night welcome to the ceremony, or a one-off event, but a full-fledged cog in the GRAMMY machine, and a welcomed one.

Welcome to the main stage, my favorite genre … for good.

Photo: Beth Gwinn/Redferns

10 Ways Johnny Cash Revived His Career With 'American Recordings'

On the 30th anniversary of Johnny Cash's 'American Recordings' — the first of a six-part series that continued through 2010 — take a look at how the albums rejuvenated the country icon's career and helped his legacy live on after his passing.

It's fair to say that the 1980s hadn't been particularly kind to country legend Johnny Cash . Once considered the Don of the Nashville scene, the singer/songwriter suddenly found himself dropped by Columbia Records, recording terrible parody songs (remember "The Chicken in Black"?), and addicted to painkillers after a bizarre accident in which he was kicked by an ostrich .

But as the new decade approached, Cash's reputation gradually started to recover. A 1988 tribute album, 'Til Things Are Brighter , alerted a much younger indie generation of his catalog of classics. He was inducted into the Rock and Roll Hall of Fame in 1992. And then arguably the biggest band in the world at the time, U2 , invited him to take lead vocals on Zooropa 's post-apocalyptic closer " The Wanderer ." The scene was set for a triumphant comeback, and on 1994's American Recordings , the Man in Black duly obliged.

The Rick Rubin -produced album was far from a one-off. Cash delivered three American follow-ups in his lifetime (1996's Unchained , 2000's Solitary Man , and 2002's The Man Comes Around ). And two posthumous volumes (2006's A Hundred Highways, 2010's Ain't No Grave )  further bridged the gap between his statuses as country outlaw and elder statesman — and helped further his legacy as one of country's all-time greats.

As the first American Recordings installment celebrates its 30th anniversary, here's a look at how the series deservedly rejuvenated the career of an American recording legend.

It United Him With A New Muse 

Best known for his pioneering work with Run-D.M.C. , Beastie Boys , and Public Enemy , Rick Rubin seemed an unusual fit for a sixty-something country singer whose glory days were considered decades behind him. But left spellbound by Cash's performance at a Bob Dylan anniversary gig in 1992, the superproducer offered to make the Nashville legend a superstar once more.

Cash took some persuading, but eventually agreed to join forces on the assurance he'd be in the creative driving seat, and a new unlikely dream team was born. Rubin lent his talents to all six volumes of American Recordings — co-producing the middle two with Cash's son John Carter Cash – and won the first GRAMMY of his career for his efforts. The Def Jam co-founder would also later work his magic with several other '60s heroes including Neil Diamond , Yusuf and Neil Young .

It Saw Cash Lean Into Contemporary Music More Than Ever

Cash had never been averse to tackling contemporary material. He covered Bruce Springsteen 's "Highway Patrolman" in 1983, just a year after it appeared on The Boss' Nebraska . But the American Recordings series saw the Man in Black embrace the sounds du jour like never before, whether the grunge of Soundgarden 's "Rusty Cage," electro-blues of Depeche Mode 's "Personal Jesus," or most famously, industrial rock of Nine Inch Nails ' "Hurt."

On paper, this could have been nothing short of a disaster, the sign of an aging artist desperately latching onto a much younger musical generation in a transparent bid for relevancy. But instead, Cash elevates the Gen X classics into modern hymns, his sonorous voice injecting a sense of gravitas and Rubin's production stripping things back to their bare but compelling essentials. Far from an embarrassing grandad act, this was the sound of a man respectfully making the source material his own.

It Returned Cash To The Charts 

Cash had reached the lower end of the Billboard 200 in the '80s as part of supergroups The Highwaymen and Class of '55. But you had to go all the way back to 1976's One Piece at a Time to find his last entry as a solo artist. The American Recordings series, however, slowly but surely restored the Man in Black to his former chart glories.

Indeed, while its first two volumes charted at numbers 110 and 170 respectively, the third peaked at a slightly more impressive 88 and the fourth at 22, his highest position since 1970's Hello, I ' m Johnny Cash . The posthumous fifth entry, meanwhile, went all the way to No. 1, remarkably the first time ever the country legend had achieved such a feat with a studio effort (live album At San Quentin had previously topped the charts in 1971).

"Hurt" also became Cash's first solo US country hit in 14 years in 2003. And while it only landed at No. 56 on Billboard's Hot Country Songs chart, it remains Cash's most-streamed song to date with over 600 million streams on Spotify alone.

It Included Masterful Collaborators 

As well as handing over the producer reins to Rubin, Cash also surrounded himself with some of the rock world's finest musicians. Tom Petty , Red Hot Chili Peppers ' Flea , and Fleetwood Mac 's Lindsey Buckingham and Mick Fleetwood all lent their considerable talents to Unchained . Sheryl Crow and Will Oldham did the same on Solitary Man , while Nick Cave , Fiona Apple and Don Henley joined him in the studio on The Man Comes Around .

But Cash also kept things more traditional by recruiting fellow country legend Merle Haggard , 'fifth Beatle' Billy Preston , and "Ballad of a Teenage Queen" songwriter Jack Clement , while the presence of wife June Carter Cash and son John made the third American Recordings something of a family affair.

It Went Back To Basics 

While American Recordings was, in many respects, Cash's most forward-thinking album, it wasn't afraid to keep one foot in the past, either. For one, the star recorded most of its first volume in his Tennessee cabin armed with only a guitar, a throwback to his 1950s beginnings with first producer Sam Phillips .

Cash also trawled through his own back catalog for inspiration, re-recording several tracks he believed had unfairly gone under the radar including 1955 single "Mean Eyed Cat," murder ballad "Delia's Gone" from 1962's The Sound of Johnny Cash , and "I'm Leaving Now" from 1985's Rainbow .

It Proved He Was Still A Masterful Songwriter…

Although Cash's unlikely covers grabbed most of the attention, the American Recordings series showed that his stellar songwriting skills remained intact throughout his later years, too. "Meet Me in Heaven," for example, is a beautifully poignant tribute to the older brother who died at just 15, while the folksy "Let the Train Blow the Whistle" added to Cash's arsenal of railroad anthems.

"Drive On," meanwhile, is worthy of gracing any Best Of compilation, a powerful lament to those who came back from the Vietnam War with both emotional and physical scars ("And even now, every time I dream/ I hear the men and the monkeys in the jungle scream").

…And Still A Master Interpreter 

As well as putting new spins on his own songs and various contemporary rock favorites, Cash further displayed both his interpretive and curatorial skills by covering a variety of spirituals, standards and pop hits first released during his commercial heyday.

The likes of early 19th century gospel "Wayfaring Stranger," wartime favorite "We'll Meet Again," and Simon and Garfunkel 's "Bridge Over Troubled Water" may have been firmly in Cash's wheelhouse. But more leftfield choices such as Loudon Wainwright III 's offbeat morality tale "The Man Who Couldn't Cry" proved that even when outside his comfort zone, he could stamp his own identity with aplomb.

It Made Him An Unlikely MTV Star 

Cash was 62 years old when American Recordings hit the shelves — not exactly a prime age for MTV play. Yet thanks to some inspired creative decisions, the career-reviving series spawned two videos that received regular rotation on the network. Firstly, "Delia's Gone" caught attention for two major reasons: it was directed by Anton Corbijn , the man renowned for his long-running creative partnership with Depeche Mode, and it starred Kate Moss, the world's biggest supermodel at the time, as the titular victim.  

Then nine years later, Cash picked up six nominations — winning Best Cinematography — at the MTV Video Music Awards thanks to Mark Romanek 's emotionally devastating treatment for "Hurt." Interspersing clips of the clearly fragile country singer at the rundown Museum of Cash with footage from his earlier days and artistic shots of decaying fruits and flowers, the promo perfectly embodied the transient nature of life. And it had the capacity to reduce even the hardest of hearts to tears.

It Added To His GRAMMY Haul 

Cash won almost as many GRAMMYs with his American Recordings series as he had during the previous 40 years of his career. The Man in Black first added to his trophy collection in 1995 when the first volume won Best Contemporary Folk Album. This was the first time he'd been recognized at the ceremony for his musical talents since the June Carter Cash duet "If I Were A Carpenter" won Best Country Performance for a Duo or Group with Vocal back in 1971  

Three years later, Unchained was crowned Best Country Album. And after picking up a Lifetime Achievement Award in 1999, Cash won 2001's Best Male Country Vocal Performance for "Solitary Man," then again in the same Category for "Give My Love to Rose"in 2003. He posthumously won two more GRAMMYs for Best Short Form Video, in 2004 for "Hurt" and in 2008 for "God's Gonna Cut You Down." In total, the American Recordings series won Cash six more GRAMMYs, bringing his overall count to 13. 

It Was A Powerful Epitaph

In 1997, Cash was told he'd just 18 months to live after being misdiagnosed with neurodegenerative condition Shy-Drager syndrome (later changed to autonomic neuropathy). He ended up outliving this prognosis by a good four years, but during this period, he lost the love of his life and was forced to record his swansong in-between lengthy stints in the hospital.  

Little wonder, therefore, that the American Recordings series is defined by the theme of mortality: see "The Man Comes Around," a biblical ode to the Grim Reaper ("And I looked, and behold a pale horse/ And his name that sat on him was death, and hell followed with him"), Death Row anthem "The Mercy Seat," and funeral favorite "Danny Boy." As with David Bowie 's Blackstar , Cash was able to reflect on his impermanence in his own terms in a sobering, yet compelling manner that continues to resonate decades on. 

8 Artists Bringing Traditional Country Music Back: Zach Top, Randall King, Emily Nenni & More On Why "What's Old Becomes Beloved Again"

Photo: Matt Winkelmeyer/Getty Images

GRAMMY Rewind: Watch Jon Batiste’s Encouraging Speech For His 2022 Album Of The Year Win For 'We Are'

Jon Batiste accepts the Album Of The Year award for We Are, a win that he dedicated to "real artists, real musicians."

Jon Batiste walked into the 2022 GRAMMYs with a whopping 11 nominations, making him the most recognized artist of the evening. By the end of the night, he received five GRAMMYs for Best American Roots Performance, Best American Roots Song, Best Score Soundtrack For Visual Media, Best Music Video, and the highly coveted Album Of The Year.

In this episode of GRAMMY Rewind , watch Batiste take the stage to accept the award for Album Of The Year for his sixth studio album, We Are

Batiste began his praises by acknowledging God: "I just put my head down and work on the craft every day. I love music, he said. "I've been playing since I was a little boy. It's more than entertainment for me — it's a spiritual practice." He also thanked the "many people that went into making this album," including his grandfather, nephew, father, and executive producer, Ryan Lynn.

"This [award] is for real artists, real musicians. Let's just keep going. Be you! That's it. I love you even if I don't know you," Batiste cheered.

Press play on the video above to hear Jon Batiste's complete acceptance speech and check back to GRAMMY.com for more new episodes of GRAMMY Rewind.

Watch: Jon Batiste Delivers A Heartfelt Performance Of “Ain’t No Sunshine” & “Lean On Me” | 2024 GRAMMYs Performance

• 1 Nero Returns With New Track "Truth," Announce New Album 'Into The Unknown': "A Bleak Kind Of Prediction On Where Humanity's Headed"
• 2 Boys Noize, Skrillex Headline Hard Summer Music Festival
• 3 Dance/Electronica Comes Into Prominence In Fluorescent Fashion
• 4 10 Ways Johnny Cash Revived His Career With 'American Recordings'
• 5 GRAMMY Rewind: Watch Jon Batiste’s Encouraging Speech For His 2022 Album Of The Year Win For 'We Are'

Nero Tour Dates and Upcoming Concerts

Frequently asked questions about nero, is nero on tour.

Neil Young Stuns at 2024 Tour Launch, Unveils Lost ‘Cortez the Killer’ Verse

By Andy Greene

Andy Greene

In typical Neil Young fashion, virtually nothing was revealed about his 2024 U.S. tour before it kicked off Wednesday night at San Diego’s Cal Coast Credit Union Open Air Theatre, other than the fact he’d be backed by Crazy Horse , and that Micah Nelson would be taking over guitar duties from Nils Lofgren. Would he pull a Greendale and debut an entire rock opera nobody had ever heard? Would he focus the set around the three new studio albums he cut with Crazy Horse between 2019 and 2022? Might he repeat the concept of his 2023 solo tour by spotlighting obscure Eighties and Nineties album tracks and skipping most of his hits?

They jammed for six minutes before Young sang the opening lines, igniting the crowd into a frenzy, but the big moment came near the end, when he began singing completely unfamiliar words. As he teased earlier this month , it was the legendary lost segment of the song that failed to record during the 1975 Zuma sessions because the console briefly lost power. Young recently found the lyric manuscript, and worked out where they originally fit in the song.

“I floated on the water,” Young sang. “I ate that ocean wave/Two weeks after the slaughter/I was living in a cave/They came too late to get me/But there’s no one here to set me free/From this rocky grave/To that snowed-out ocean wave.”

It was a remarkable moment to witness. After 49 years and over 540 live performances, the world finally got to hear the song as Young originally wrote it.

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Young was talking about “Scattered (Let’s Think About Livin’),” from 1996’s Broken Arrow, which was the newest song they played all evening. The rest of the set was music recorded when Briggs was alive, largely between 1969 and 1979, beginning with “Don’t Cry No Tears.” He followed it up with a triple shot of Everybody Knows This Is Nowhere : “Down by the River,” “The Losing End,” and the title track. And it was a particularly mesmerizing “Down by the River” that stretched out for 16 blissful minutes.

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Pearl jam, neil young, alanis morissette lead ohana fest 2024, phish reach jam-band bliss at the sphere in las vegas.

After the Everybody Knows This Is Nowhere mini-set, the quartet (Crazy Horse 4.0?) kicked into one of the greatest renditions of “Powderfinger” I’ve ever heard, thanks to improvisational guitar work prior to each verse by Young and Nelson. What came next was a 16-minute “Love and Only Love,” the band walking offstage, and then Young strapping on an harmonica rack for solo acoustic renditions of “Comes a Time,” “Heart of Gold,” and “Human Highway” that had the entire amphitheater singing along.

The band returned to wrap up the night with “Don’t Be Denied,” an autobiographical tale that carries a lot more emotional weight when Young sings it at age 78 as opposed to 28, and a thrashed-out “Hey Hey, My My (Into the Black).”

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He might duplicate this exact set when the tour continues the following night at the same venue. He might not repeat a single song. He may even perform a complete classic album, which is something he started doing late last year. The joy of seeing Neil Young is that you never have any idea what’s going to happen once the lights dim.

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Slipknot tour dates 2024

Slipknot is currently touring across 7 countries and has 24 upcoming concerts.

Their next tour date is at Las Vegas Festival Grounds in Las Vegas, after that they'll be at Las Vegas Festival Grounds again in North Las Vegas.

Currently touring across

• 🇳🇱 Netherlands
• 🇨🇭 Switzerland

Upcoming concerts (24) See nearest concert

Las Vegas Festival Grounds

Sick New World

Welcome to Rockville

Sonic Temple Art & Music Festival

Sonic Temple Festival

Rockin Red Dirt Ranch

Rocklahoma Festival

Louder Than Life Festival

Monster Energy Aftershock

Parque Bicentenario

Westfalenhalle

Hanns-Martin-Schleyer-Halle

Quarterback Immobilien Arena

Hallenstadion

Accor Arena

First Direct Arena

Co Op Live Arena

Utilita Arena Birmingham

Past concerts

Hell & Heaven Open Air

Blue Ridge Rock Festival

Inkcarceration Festival

View all past concerts

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Recent tour reviews

I've seen Slipknot quite a few times now, and they ALLWAYS deliver a remarkable show, with proper energy, musical quality in their performance, and almost theatrical charismatics that keeps blowing me away.

The Telenor Arena's sound ALMOST ruined the experience, as it just can't handle this sort of scale audience, the whole audio-experience seems dull and horribly low quality if you move anywhere towards the middle of the crowd or backwards in the standing section of the audience.

First part of slipknot and All of behemoth was simply drowned out, and they somehow managed to turn the sound up a notch throughout the show.. but I won't be going back there, unless they either lower the prices or upp their sound-quality.

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Slipknot were amazing, first time seeing them live. However... the sound system was dire, we really had to shift forward to hear what was going on. We could only hear the bassline and some drums. Couldn’t hear guitars or vocals clear. My videos picked the sound up a little, but you can hear everyone talking it was that quiet. Only reason I say this is that I saw Korn play with Limp Bizkit at this same venue (Arena Birmingham) in 2016... and Ray Luziers drums standing at the back of the venue near where you walk in, his snares and kicks hit you in the chest like thunder, and you could hear the clarity of the vocals, guitars, bass, everything. This time around for Slipknot unfortunately the sound just wasn’t on par which is a shame

Origionally written for kingcrimsonprog.wordpress.com

Since I hadn’t seen them since Vol. 3, there is a lot of material I have never caught live yet. As I said, I like every Slipknot album. (Probably every Slipknot song if you don’t count demos and remixes). Unfortunately, they didn’t play anything off of ‘Gray Chapter this time, which I was a bit gutted by. I really like that album and would have loved to see something like ‘Custer,’ ‘AOV’ or ‘Sarcastrophe’ live. ‘Custer’ especially. From the first time I heard it I said to myself ”that is a song that will be in their setlists forevermore.” They also only played one song from All Hope Is Gone. I guess that’s reason enough to try see them a few more times, as I really want to catch more songs I haven’t heard live before. I’m keen to hear it all.

But given how great the new album is, I was most keen to see material from We Are Not Your Kind live. I was thinking about how much I wanted it on such a regular basis since end of the week that the album was released and it had all started to click with me. Turns out I was in luck, because if you count the 2018 stand-alone single ‘All Out Life’ which technically isn’t on the album (but which features the lyric ‘we are not your kind’ repeatedly chanted and I always mentally count as being part of that album, and have attached to the album in my itunes and on my phone and just pretend it is on the album anyway), then they played 5 new songs. Aforementioned ‘All Out Life.’ Big single ‘Unsainted,’ which opened the show. The dark, weird, almost formless album closer ‘Solway Firth.’ The groovy ‘Birth Of The Cruel’ and the stompy new single ‘Nero Forte.’ It was great to see this much new material live. It shows you how much confidence the band must have in the new album, and given the audience reaction, this confidence was well placed.

Not counting intros and outros over the speakers, there were 17 tracks. 6 of which I had never seen live before. Pretty great value. No wonder they didn’t have room for much material off All Hope’ or ‘Gray Chapter. The rest of the set featured the big singles from Vol 3; ‘Duality,’ ‘Before I Forget’ and ‘Vermillion’ as well as many classic concert favourites from the debut like ‘(Sic),’ ‘Surfacing’ and ‘Eyeless’ and topped off with a few of the heavier numbers from Iowa, like ‘Disasterpiece’ and ‘People=Shit.’

Slipknot are pretty great at mixing up sets, and not just playing the same thing every tour, swapping in a surprise or two, and dropping a few expected tunes now and again for a deep cut. The (sort of) surprises in the set were first album bonus-track ‘Eeyore’ and Iowa deepish-cut ‘New Abortion’ although I have seen both live before and both have been on official live releases so not super surprising if you want to be pedantic, but I was satisfied. In terms of dropping an expected tune, this time they dropped ‘Spit It Out’ which is almost unfathomable, as therefore they didn’t do the ‘’Jump The Fuck Up’’ moment, (where they make the whole crowd crouch for a few minutes then jump up in unison) but I’ve had that three times and on all their live albums too, so I was glad to lose it if it meant more time for new songs.

In terms of stage show, it was the biggest and best I’d ever seen them. There were videoscreens all over the place (even on the drums). There was pyro and steam. There were fireworks. There was a Nikki Sixx style bass guitar flamethrower like on Motley Crue’s The End DVD. There were treadmills which the more expendable members like the DJ, Sid, would go and play about on when not needed musically. He did the moonwalk on a treadmill at one point. Their setlist didn’t feature many turn-table focused songs this time so I guess he’s got to do something. Clown got a flaming baseball bat out for the keg smashes on ‘Duality.’

Performance and sound wise, it was really good. That’s not always a given. As much as love this band, they aren’t what I’d call consistent. Some bands are just perfect every single time (Hatebreed spring to mind). Slipknot are not one of those bands. I mean, when you have 9 members, complex awkward songs with atypical structures, and a singer inside a mask running around, its hard to get everything sounding perfect…

If you look across all of Slipknot’s official and unofficial live releases, you’ll notice they have been really hit and miss over the years in terms of both vocals and audio mix. Even on just their Voliminal DVD, which features footage from a few different shows, the live stuff goes from amazing to quite poor. The 9.0 live album which I mentioned earlier features material from across a whole tour, and that album has quite poor live vocals and subpar sound mixes. Conversely though the Disasterpeices and (Sic)nesses DVDs have superb live vocals and mixes and are absolutely must-own. The pro shot live stuff from various festivals on the first two album cycles is really mixed also. I remember MTV2 used to have footage of the band on the Iowa cycle in Germany, where Corey’s vocals were really muffled and the kick drums overpowered all the guitars. When I first got into them, on the debut album cycle, the only live stuff available was bootlegs, and they were always pretty rough. You could get pirate CDs from shows like their first time in London or from dates on the US Ozzfest, but you could tell from the CD that Corey was running around, bouncing and going crazy so much, that the vocals would suffer. Even my own live experiences of the band were mixed. When I saw them live myself in Belfast the mix and vocals were brilliant and its still one of the best shows I’ve ever seen. When I saw them headlining on the Vol. 3 cycle, the vocals were poor (he has discussed in interviews over the years that he was drinking heavily in that period) but the mix was great. When I saw them supporting Metallica on that same album cycle, the mix was poor but the vocals were good. As I said, its not a given.

I guess there’s a lot of variables for the soundmen to get right and lots of chances to get it wrong. Depending on how much running and bouncing singer Corey Taylor does, and how his mask affects the microphones, there’s a big gap between his best and his worst shows.

However, tonight it was great. It was pretty close to a perfect show. I mean, if I had to pick pedantic holes in it then I guess the guitar-intro to ‘Surfacing’ sounded a bit weird, and the vocals on the chorus to ‘Nero Forte’ were a bit thin, but otherwise it was magnificent.

The sound mix was perfectly balanced. Even the additional percussion was actually audible and you could tell why they have three drummers. The bass was thick. The guitars were clear and didn’t go muddy. The drum kit was powerful and you could pick every element out individually. The vocals were just right. I couldn’t have asked for a better mix.

The band were energetic and enthusiastic and played like a band on the rise. Drums were absolutely battered. Riffs were practically thrown into the crowd. I guess buoyed by the success of the new album, they are revitalised and fired-up. This was definitely the 2nd-best I ever seen them live; sceond only to that very first time I saw them, back in Belfast in 2002, which boasted many more songs from my favourite album, Iowa, in the set, and featured the classic line-up when they were still mysterious and I was wide-eyed and young. (And to be fair, my memory of that could in fact be a little clouded in a rose-tinted teenage nostalgia).

I always regretted not seeing them live on the last two album cycles, but I would have been heartbroken to miss them this time. Thank goodness for the weird phone/website discrepancy! This was awesome. One of the bands that have meant the most to me in my whole life, playing brilliantly, with a great setlist and sounding great. This is going to be a show I remember for a long time.

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“Peter Nero is, of course, known for his piano playing, covering a range from classical concert repertoire to straight-ahead jazz. His fingers stretch as far as Tatum’s, and he practically knows no limits on the Steinway. He is also a fine conductor.” – All About Jazz

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“Art Tatum could play anything he wanted to…Oscar [Peterson] is my man…and Peter Nero plays his buns off!”” – Ray Charles

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Visiting the domus aurea: nero’s golden palace in rome.

There are few figures in Roman history as well known and reviled as Nero. The emperor supposedly played the fiddle while Rome burned. It’s not clear if he really celebrated the destruction of the city in real time, but he certainly took advantage of the fire. After the embers died down, he used the “new” space left empty by the inferno to build his Domus Aurea – Nero’s Golden Palace.

It was probably this lavish display that cemented Nero’s unpopularity. To say that his palace was massive is a bit of an understatement. The Domus Aurea covered somewhere between 100 and 300 acres, reaching from the touching the slopes of the Palatine, Esquiline, Oppian and Caelian hills.

So where is this ginormous palace now?

Most of it lies under Colle Oppio park, looking out at the Colosseum.

Vespasian, the emperor who succeeded Nero, had the palace filled with dirt and destroyed. He then went on to build the Colosseum on top of the artificial lake which Nero had built inside his palace walls.

Buried under Colle Oppio, the Golden Palace was nearly lost – but it is now possible to visit the excavation site.

But because there are ongoing excavations taking place, you are going to need a tour (I went with Through Eternity tours ) and a hard hat.

We met with our guide, Brandon, to chat about Nero and learn more about his Golden Palace. Prepped and ready to explore, we grabbed our yellow hats and followed an archaeologist into the site.

The Domus Aurea is very much an excavation in process. Nero’s Golden Palace was made up of more than 200 rooms, and some have yet to be reopened.

Despite its impressive size, they have yet to find any bedrooms or sleeping quarters – this huge complex was all about entertainment.

In addition to landscaped gardens and a manmade lake, Nero built grottos and dining rooms for his guests to relax in.

He spared no expensive – even decorating the ceilings with mosaics and building an elaborate rotating dome.

Hard to imagine, right?

Which is why part of the reason I loved this visit so much was because:

• I had no idea that the Domus Aurea was right there under the hill.
• There is a virtual reality experience that helps to animate what the Golden Palace would have looked like

I like Ancient Roman history, but I find it really hard to picture what everything looked like based on the ruins. Having this virtual reality stop was incredibly helpful (and a lot of fun).

Many of the original decorations from the Golden Palace have been lost or moved to museums, but it is still incredible to wander through the chambers that are now underground.

A tour of the Domus Aurea is a great rainy day activity since it is all inside, but a walk through the Golden Palace is also perfect in summer. You might notice in the photos that we are wearing sweaters or draped with scarves – that is because the Domus Aurea is significantly cooler than the outside temperature.

While I loved the virtual reality, my favorite stop was in Nero’s insane octagonal dining room. This is where guests would have been showered with rose petals from the spinning dome above them – much like the rose petals at the Pantheon .

If you have already seen the Colosseum – the Domus Aurea should definitely be your next stop. For the most full-service option, you can book with a company like Through Eternity. You can also buy tickets yourself here and will still be guided by an archeologist once you are inside, or book directly with CoopCulture for the lowest price if there are spots left.

Disclosure: I was invited to join the tour by a friend – but I talk about how much I liked it so often that my husband is now dying to go himself. It is a great experience! This post may contain affiliate links but they represent my honest opinion. 

Natalie is a food and travel writer who has been living in Rome full time since 2010. She is the founder and editor of this blog and prefers all of her days to include coffee, gelato, and wine.

7 thoughts on “ Visiting the Domus Aurea: Nero’s Golden Palace in Rome ”

Thank you for sharing your experience and pictures, but please next time leave the history to historians. Even a very brief scan of Nero’s Wikipedia and Encylopedia Brittanica pages would show you how poorly you come across parroting information that has always been known to be salacious gossip.

Nero was not hated. He was beloved. Rome refused to believe he was dead. They created a King Arthur/Christ myth about him that he would return to save Rome. Parthia almost went to war with Vespasian’s son because it refused to say he was dead. They were still laying flowers on his tomb in the 4th century, 300 years after his death. The Collosium got its name because it stood beside Nero’s Collosus. In 700 AD, the Venerable Bede in Britain wrote that, “So long as the Collosus still stands, so shall Rome. When the Collosus falls, so shall Rome and thus the world.” Commodus replaced Nero’s head with his own, but when ge died, Rome put Nero’s head back on. The head was bigger than the Statue of Liberty’s. They stored that giant head just waiting.

Nero gave slaves the right to take abusive masters to court and refused to allow the Senate to pass a law that would give them the right to re-enslave freedmen. He was Rome’s greatest builder and most of his projects were so ambitious they could not be finished until the invention of dynamite. He owned the land the Domus Aurea was built on. It was built in the foot print of his own house, the Domus Transitoria, that burnt down. The Domus Aurea’s Octagnonal Room is an architectural and engineering marvel. The Domus Aurea was 16,000 sqft. The White House is 40,000 sqft, Versailles is 88 million sqft. The vast majority of the Pallantine and Esquiline hills after the fire he turned in to parkland open to the whole city. It is not even clear that the Domus was even a residence, no bathrooms or kitchens have ever been found. Tacitus said he lived in a villa.

Nero was not in Rome at the time the fire broke, he rushed back ASAP, dismissed his body guards to help fight the fire, and ran all around they city organizing fire brigades. After the fire, he fed and housed the homeless on his own property at his own expense. After the fire he created Rome’s first building code, which created the Rome we know of today.

The Domus is a marvel, it is shame that is completely lost by the “Evil Nero” narrative surrounding the pictures.

Ciao! I completely agree about leaving history to the historians which is why I have tried to be as light without being inaccurate as possible.

I didn’t want to get into Tacitus or why he may be a more reliable historian than others who have written about the Great Fire. Or why Nero was so unpopular with the upper class (and how it is the upper class who writes history). Or why he had a Colossal statue of himself by his lake. Or why either he depicted himself as the sun God or Vespasian tried to erase any trace of him and changed the statue. Or why he killed his step-father, mother, and wife and was pretty horrible in his personal life but also pretty good to the wider Roman population.

But I do note that he didn’t live in the palace and it is true that he took advantage of the fire’s destruction to use the space to create his great landscaped palace.

Apologies – but I think people should go to the Domus Aurea to hear it from the researchers themselves!

Hey Natalie! Thank you for writing on your experience. This has been very helpful!

I just did a project on this building for Latin class and this article was helpful! Thank you!

I’m glad and I hope you get to visit in person one day!

Hi Natalie! Thank you for this post! I will be sure to go check it out as soon as I can get back out travelling again, Best wishes xx

I went to a high school prom in the 1970s at a restaurant if the same name at the top of this site. The view was spectacular! Sadly, it, too, burned down.

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Imagine Dragons To Unveil New Album ‘LOOM’ On June 28th & Launch North American Headline Tour

TICKETS GO ON-SALE FRIDAY, APRIL 26

New single “eyes closed” available now, entering a fearlessly bold era, imagine dragons will unveil their anxiously awaited sixth full-length album, loom (kidinakorner/interscope), on june 28, 2024., pre-order/pre-save here ..

“Imagine Dragons are flying higher than ever ….Ten years after their commercial breakthrough, the Las Vegas rockers are still scoring real crossover hits, playing to packed houses, and playing a U2-esque long game” – Billboard

“Imagine Dragons still know how to efficiently stomp stadiums into rubble…The alt-rock band remains reliably, radioactively enormous ”—Rolling Stone

In tandem with the record, the band will embark on their biggest North American headline tour to date. Descending upon legendary venues across the country, it kicks off on July 30, 2024 in Camden, NJ at Freedom Mortgage Pavilion , rolls through major markets coast-to-coast, and concludes on October 22, 2024 at Los Angeles’ iconic Hollywood Bowl . Check out the full confirmed itinerary below.

TICKETS: Tickets will be available starting with a Citi presale (details below) beginning on April 23.  Additional presales will run throughout the week ahead of the general onsale beginning on April 26 at 10AM local time at https://www.imaginedragonsmusic.com/tour .

VIP: Several VIP experiences will be available. Select packages include a signed guitar played by a member of Imagine Dragons on stage that night, a backstage tour, on-stage photo, and more!  All VIP packages include early entry, digital activities, and exclusive merchandise. Learn more at ImagineDragonsVIP.com.

PRESALE: Citi is the official card of the Imagine Dragons tour. Citi cardmembers will have access to presale tickets beginning April 23 at 10AM local time until Thursday, April 25 at 10PM local time through the Citi Entertainment program. For complete presale details visit www.citientertainment.com .

Imagine Dragons’ sixth studio album LOOM represents the pinnacle of their artistic journey of self-discovery and marks the best body of work they’ve ever made. LOOM , produced entirely by Imagine Dragons and their longtime collaborators Mattman and Robin, finds the perfect balance between the classic sounds that have made them superstars and the freshness that brought them joy in the studio. Featuring 9 brand new tracks including hit single “Eyes Closed”, LOOM signifies new beginnings on the horizon – the excitement for a new day, moments yet to come.

Last year, the members of Imagine Dragons found themselves with a rare and well-deserved break from the road—perhaps their longest in many years. So, they made the most of it by devoting that time to family and friends. Catalyzed by this respite with a refreshed perspective, the band rallied together in the studio and mined the same well of inspiration that fed their most beloved material. The musicians reflected on the past in order to catapult into a future where stylistic boundaries have disappeared entirely and anything is possible creatively. This journey has brought them to their most dynamic and definitive body of work to date, LOOM .

To herald LOOM , the band recently shared their soaring new anthem entitled “Eyes Closed.” Check out the video HERE . The track illuminates their penchant for boundary-breaking. Stretching the limits of the soundscape almost to the breaking point, they harness a burst of energy with a rafter-reaching refrain primed to soar on the upcoming summer tour.

It’s the year of the Dragons …

Tour Dates:

July 30, 2024 – Camden, NJ – Freedom Mortgage Pavilion

August 2, 2024 – Wantagh, NY – Northwell Health at Jones Beach Theater

August 4, 2024 – Holmdel, NJ – PNC Bank Arts Center

August 6, 2024 – Mansfield, MA – Xfinity Center

August 8, 2024 – Toronto, ON – Budweiser Stage

August 12, 2024 – Clarkston, MI – Pine Knob Music Theatre

August 14, 2024 – Burgettstown, PA – The Pavilion at Star Lake

August 16, 2024 – St. Louis, MO – Hollywood Casino Amphitheatre

August 18, 2024 – Tinley Park, IL – Credit Union 1 Amphitheatre

August 20, 2024 – Noblesville, IN – Ruoff Music Center

August 22, 2024 – Bristow, VA – Jiffy Lube Live

August 23, 2024  – Columbia, MD – Merriweather Post Pavilion

August 26, 2024 – Virginia Beach, VA – Veterans United Home Loans Amphitheater

August 28, 2024 – Charlotte, NC – PNC Music Pavilion

August 30, 2024 – West Palm Beach, FL – iTHINK Financial Amphitheatre

September 1, 2024 – Tampa, FL – MIDFLORIDA Credit Union Amphitheatre

September 4, 2024 – Dallas, TX – Dos Equis Pavilion

September 6, 2024 – Houston, TX – The Cynthia Woods Mitchell Pavilion presented by Huntsman

September 8, 2024 – Ridgedale, MO – Thunder Ridge Nature’s Arena

September 28, 2024 – Seattle, WA, The Gorge Amphitheatre

September 29, 2024 – Ridgefield, WA – RV Inn Style Resorts Amphitheater

October 2, 2024 – Wheatland, CA – Toyota Amphitheatre

October 5, 2024 – Chula Vista, CA – North Island Credit Union Amphitheatre

October 6, 2024 – Phoenix, AZ – Talking Stick Resort Amphitheatre

October 9, 2024 – Albuquerque, NM – Isleta Amphitheater

October 11, 2024 – Salt Lake City, UT –  Utah First Credit Union Amphitheatre

October 17, 2024 – Denver, CO – Red Rocks Amphitheatre

October 20, 2024 – Mountain View, CA – Shoreline Amphitheatre

October 22, 2024 – Los Angeles, CA – Hollywood Bowl

Photo Credit: Eric Ray Davidson

ABOUT IMAGINE DRAGONS:

Imagine Dragons continue to redefine rock in the 21 st century. Filling stadiums, crafting cloud-rattling anthems, and breaking records at every turn, diamond-certified GRAMMY® Award-winning Las Vegas quartet Imagine Dragons occupy rarified air as one of the biggest rock bands in the world. Tallying cumulative sales of 74 million album equivalents, 65 million digital songs, and over 160 billion streams, they stand out as “the only band in history to earn four RIAA Diamond singles , ” namely “Radioactive” (16x-platinum), “Believer” (13x-platinum), “Thunder” (12x-platinum) and “Demons” (11x-platinum). Since emerging in 2009, they’ve scored five consecutive Top 10 debuts on the Billboard Top 200 with Night Visions [2012] (7x-platinum) (KIDinaKORNER/Interscope), Smoke+Mirrors [2015] (platinum) (KIDinaKORNER/Interscope), Evolve [2017] (triple-platinum) (KIDinaKORNER/Interscope), Origins [2018] (platinum)(KIDinaKORNER/Interscope), and Mercury – Act 1 [2021]( KIDinaKORNER/Interscope). With the release of Mercury – Act 2 (KIDinaKORNER/Interscope) in 2022, they completed their first double-album opus produced by the legendary Rick Rubin. The hit single “Bones,” featured on Mercury Act 2, went to number one at Alternative Radio and remains in the Global Top 50 on Spotify. The band’s hit collaboration with East Atlanta-based rapper J.I.D, “Enemy,” has racked up billions of global streams and landed at #6 on the IFPI Global Singles Chart for 2022. Dominating radio, they remain one of only four bands to ever achieve consecutive Top 5 singles at Alternative radio, and the only band to repeat this feat. Most recently, Imagine Dragons made history on Spotify, as “Bad Liar” became their 10th song to surpass 1 billion streams. The band now holds the crown for the group with most billion-plus streamed songs, becoming the first in the platform’s history to have ten songs reach this milestone. Meanwhile, Imagine Dragons’ music videos for hits “Thunder” and “Believer” have garnered an astounding 2 billion YouTube views, while videos for “Radioactive” and “Demons” have surpassed over 1 billion views.  They’ve collaborated with everyone from Kendrick Lamar, Lil Wayne, and Wiz Khalifa to Avicii and film composer Hans Zimmer. Giving back, they’ve raised millions for various causes, including their pediatric cancer charity the Tyler Robinson Foundation, and frontman Dan Reynolds’ LOVELOUD Foundation and festival in support of LGBTQ+ youth. In 2022, Ukrainian president Volodymyr Zelensky named them ambassadors for UNITED 24, which benefits humanitarian aid in Ukraine. Imagine Dragons earned an impressive four nominations for the 2022 American Music Awards including “Favorite Pop Duo or Group,” “Favorite Rock Artist,” “Favorite Rock Album” and “Favorite Rock Song.” The band was also nominated for “Group of 2022” for the 2022 People’s Choice Awards. Most recently, they received an MTV VMA nomination for “Video For Good” for their acclaimed “Crushed” music video.

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.

Media Contacts

Imagine Dragons:

Carleen Donovan | [email protected]

Franny Lail | [email protected]

Hillary Siskind | [email protected]

Live Nation Concerts:

Monique Sowinski | [email protected]

Valeska Thomas | [email protected]

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Domus Aurea Tour (Nero’s Golden House)

Explore Nero's incredible Golden House and relive the excesses of the ancient emperor

Price 69 €

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duration 2 hours

group size Max. 22

Tour Overview

Descend into the lost world of ancient Rome and relive the opulent life of antiquity’s most notorious emperor on our exclusive tour of Nero’s Golden House. The emperor’s vast palace - known as the Domus Aurea because its every surface glittered with gold – was ancient Rome’s most spectacular building, and scarcely believable highlights included a rotating dining room open to the starry night sky and a massive artificial lake. Nero’s immense party pad was bulldozed and buried to make way for the Colosseum shortly after his suicide, but on this tour you’ll have the unique opportunity to wander its soaring halls again accompanied by an expert archaeologist. We’ll be able to envisage the palace in all its original glory just as it was in the time of Nero himself - keep your eyes peeled and you might just catch a glimpse of his ghost roaming the abandoned halls! *** All participants 18 and over must book as adults, there is no older student discount available for this itinerary, and due to new regulations for Domus tickets, all participants must provide full names immediately upon booking ***

• Exclusive access to the Domus Aurea
• Tickets and reservation fees
• Expert English-speaking archaeologist guide

• Stunning ancient frescoes
• The Octagonal room
• The Room of Achilles and Skyros
• The Room of Hector and Andromache

Tour Description

Discover ancient rome's best kept secret.

Your tour begins immediately after a brief introduction to the site's historical context provided by our archaeologist. Don your hard hat and you are ready to start your journey! 

We offer two special experiences on this tour: an incredible exploration of the colossal spaces of Emperor Nero’s villa, the famous Domus Aurea (Golden House), recently reopened to the public in a remarkable state of conservation, that gives you the chance to relive the splendour of the palace's rooms, gardens and incredible porticos. 

We only offer this tour of Nero’s Golden House on Friday, Saturday and Sunday.

The Fascinating History of Nero's Golden House

The Domus Aurea was an enormous complex of buildings, courtyards and gardens that extended from the Palatine Hill to the Esquiline Hill in Rome, covering the whole of the Oppian Hill - that’s an area of over 90 hectares!

Nero's main residence was on the Palatine, and from there an incredible number of buildings branched off which are still connected today via giant underground arcades (such as Nero’s Cryptoporticus, still accessible today and part of his Domus Transitoria on the Palatine Hill, which was destroyed by fire in 64 AD). Much more than a house (domus in Latin), it was a city within a city that unfolded around a vast artificial lake, the Stagnus Neronis (where the Colosseum would later be built). The buildings were surrounded by cultivated land, vineyards, pastures and forests filled with all manner of domestic and wild animals. In the main courtyard of the Domus stood a colossal statue, representing Nero as the Sun God. The pavilions on the Oppian Hill alone consisted of 200 rooms, many of them rediscovered by archaeologists, and which you will explore on our visit to Rome's most exclusive site. 

The huge complex of the Domus Aurea was designed for the emperor’s enjoyment in his free time. There he could stroll and feast with guests whilst enjoying beautiful works of art. The Golden House itself is a wonder in terms of architectural elegance and was filled with prized paintings and sculptures, many of which were collected or confiscated by the emperor in various provinces of the Roman empire. Probably among these were the original bronze of the Dying Gaul and the Galatian Suicide, taken from the Acropolis of Pergamon, and the famous statue of the Laocoon, which was found during the Renaissance and today can be found in the Octagonal courtyard of the Vatican Museums. If you want to learn more about this magnificent statue and see it for yourself, check out our  Immersive Vatican Museums tour.

Nero undertook the creation of The Domus Aurea after the terrible fire of July 64 AD, which blazed for nine days and destroyed as many as 10 of the 14 districts into which the city was divided. The damage was extensive, and many perished. According to legend, Nero enjoyed the spectacle of Rome in flames, which reminded him of the destruction of Troy. However nothing could be further from the truth - his own Domus Transitoria was badly damaged and historical sources tell us that the emperor returned quickly from Anzio to Rome - about 70 km away - to coordinate relief efforts. Nevertheless, his enemies spread the word that Nero himself had started the fire in the Circus Maximus and from there it was simply unstoppable. Most likely to create a scapegoat for himself, Nero blamed the Christians and instigated one of the most famous and bloody persecutions in history. Among the murdered Christians, the apostle Peter was crucified; centuries later, the site of his burial would become St. Peter’s Basilica. 

Incredible Architecture and Jaw-Dropping Frescoes

Nero entrusted the project of his Golden House to his renowned architects, Severus and Celer. The works were completed at an incredible speed, with many of the contructions being completed in just 4 years. The remarkable life of Nero came to an end in 68 AD, when Nero committed suicide before the army and the Senate could find him to sentence him to death for killing his mother, Agrippina, and his wife. Despite Nero’s immensely controversial life, he was proud of the achievement of the Domus: the ancient historian Suetonius cited him as saying: "Good, now I can at last begin to live like a human being. He died shortly after, aged just 31.

Suetonius described the rooms as follows: parts of the house were overlaid with gold and studded with precious stones and mother of pearl. All the dining rooms had ceilings of fretted ivory, the panels of which could slide back and let a rain of flowers, or of perfume from hidden sprinklers, fall on his guests. The main dining room was circular, and its roof revolved slowly, day and night, in time with the sky. Seawater, or sulfur water, was always on tap in the baths.

Suetonius coined the name of the Domus Aurea (Golden House) because "everything was covered with gold and covered with precious stones and shells." The most impressive spaces of the Domus Aurea are unquestionably the various rooms and courtyards, many of which have been completely restored and are part of our unique tour. 

Wander through the incredible halls of Nero's pleasure palace

Our Domus Aurea tour starts in what was a huge porch with columns; we then move on to a grotto containing a large bath with a small waterfall - even though the space is covered, it is anything but dark. Light enters from the side windows of the porch: accentuated in the changing reflections of the water, it bounces off alabaster walls and ceilings and creates a wondrous light, much like a spotlight on a river. Here we're close to the original pentagonal courtyard, which is remarkable in terms of size and structure, and just a stone’s throw from the lush gardens. From here the tour continues to the east wing of the Golden House, where the architects Severus and Celer reached the pinnacle of their trade in the Octagonal Room, the architectural heart of the complex. We'll pause for a moment before admiring the two adjacent rooms: the Room of Achilles and Skyros and that of Hector and Andromache, absolute treasure-troves of brilliantly preserved frescoes.

Next, we proceed to admire the most exclusive of all the spaces: the Octagonal Hall itself, where the magnificence of Nero’s palace never fails to leave us stunned. Our gaze is automatically drawn to the ceiling which is perforated by the form of an open eye that would have revealed an infinite expanse of space filled with stars. From this romantic and ingenious viewpoint, Nero’s fortunate guests would lie on couches and feast whilst admiring the cosmos and the works of art in the centre of the room. This incredibly ambitious structure was a unique innovation in Roman architecture, and it is no coincidence that it became a model to be emulated - such as in the majestic Pantheon.

Read more on our blog:  Nero's House of Gold and his eccentric life

Buried, Forgotten and Rediscovered: The Domus Aurea after Nero

After the death of Nero, a time of political instability followed. The emperor Vespasian firmly took hold of the reins of empire, and headed in a new direction with his government. The gardens of the Domus Aurea, disliked by the people and the senators as a symbol of Nero’s clear abuses of power and waste of money, were returned to the Romans. In just ten years the site of the original artificial lake of the Domus was transformed into a huge amphitheatre, inaugurated by Vespasian's son and new emperor Titus in the year 80 AD to host gladiator battles, which by then were very popular throughout the empire. The giant statue of Nero, created in the image of the Sun God, was moved near the entrance of the amphitheatre using 24 elephants! It was from this colossal likeness that the adjacent amphitheatre took its name - the Colosseum.

Over the coming decades the emperor Trajan successfully inflicted lasting damage to the posthumous memory of Nero, damning his name and ordering the destruction of any artifact bearing his name or image. The Domus Aurea was buried by the majestic Baths of Trajan; the Domus Aurea, a kingdom of light, was scattered and cast into the shadows where it became a kingdom of darkness.

It was only in the early 1500s that interest in the Domus was reawakened, thanks to the irrepressible passion for ancient texts and remnants that animated the culture of the Renaissance. Renaissance artists often braved dangerous conditions and ventured on nocturnal expeditions into these damp tunnels, looking for evidence of Rome's past. The most noble among these expeditioners was the Umbrian painter Pinturicchio, handsomely rewarded by the Borgia pope Alexander VI for decorating his apartments in the Vatican palace. Torch in hand, he ventured into the Domus' caves accompanied by Raphael and his assistants, where they studied and sketched the strange tangled forms and bizarre figures they saw in its frescoes. Inspired by these underground journeys, he reproduced what he saw in many of the Renaissance palaces he was hired to decorate. The artists' signatures are still engraved on the ancient ruins, and our archaeologist will help you to locate them and appreciate their meaning.

Amazing 3-D Animations on our Domus Aurea Tour

What we offer on this guided tour is a real Roman journey to discover the city's ancient splendour - a voyage into both the palace's physical remains and virtual recreations of what has been lost, bridging the gap between modern times and the days of Nero. Thanks to today’s technology, we can superimpose a virtual reality of the past onto the incredible ruins of the Domus Aurea - thick walls traversed by light flooding in from arcades, and beautiful fountains tinkling merrily in porches beyond. Even the palace's fragmentary frescoes are recreated in their entirety, and in their splendidly vivid colours we can admire the famous "grotesque" style that captivated the Renaissance artists who ventured into its dark tunnels, at first with no idea of where they were. Thanks to these virtual recreations, today we can appreciate Nero's love of art and the striking works housed within his Domus Aurea as never before - indeed, as only the emperor Nero himself and a few select guests enjoyed it in the past. For Nero’s palace was designed for the pleasure of only one man: himself. Once a palace of light before it was cast into centuries of darkness, today it is again illuminated, throwing its rays onto porches and windows, onto marbles and precious gems that endlessly fragment and disperse their light. You will see what Nero saw as you stroll unnoticed through his great palace. As you do you can almost feel a foreboding presence, threatening and lost in distant steps that echo down the centuries.

After your two hour tour you will have a new knowledge of Ancient Rome, taking home not only beautiful photos but also great memories of a truly unique experience.

Tour Reviews

5.0 (95 reviews)

Our guide Valentina was exceptional, we were met right on time at the meeting point and provided with all of the information we needed. Her narrative was fascinating and informative. I would highly recommend this tour.

Anne - Oct 11, 2023

My third time visiting Rome and finally booked this tour, in my opinion the most interesting in Rome. The tour takes place underground, our guide was incredibly knowledgeable, I loved the frescos and multimedia experience. Highly recommended!

Suzanne - Sep 23, 2023

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2024 RBC Heritage leaderboard: Scottie Scheffler nears fourth win in five starts with event to finish Monday

Weather prevented the final round from completing, but scheffler is well on his way to continuing his hot streak.

Scottie Scheffler's fourth victory in his last five tournaments will have to wait one more day. With the 2024 RBC Heritage experiencing more than a 2.5-hour weather delay Sunday, tournament action was unable to be completed before nightfall; it will instead leak into the work week. The final round at Harbour Town Golf Links will resume Monday at 8 a.m. ET with Scheffler holding a five-stroke lead at 20 under.

The world No. 1 is well clear of his nearest pursuer, Wyndham Clark, with three holes left in his tournament. Clark, meanwhile, is in the clubhouse at 15 under hoping for another runner-up check behind Scheffler. Others on the golf course like J.T. Poston, Patrick Cantlay and Sahith Theegala stand at that same number with holes to play.

Monday morning may only be a formality as Scheffler looks to be in control of just about everything -- like he has been the last two months.

Scheffler began Sunday in Hilton Head Island with one arm already slipped in the tartan jacket. Possessing a one-stroke lead, the Texan was crowned by many late Saturday evening despite the bevy of stars who had plans to upend him.

After knocking in a 6-foot par save on the 1st, Scheffler more or less turned those predictions into a reality. Chipping in for eagle on the par-5 2nd from long of the green (his 11th hole-out from off the green this season), Scheffler opened a three-stroke lead on the field and never looked back.

Charges were made by many, including a familiar foe in Clark, but none were that threatening. The reigning U.S. Open champion turned in 7-under 29 and tacked on another birdie on the 11th to get within one of Scheffler, but the pressure of perfection proved too much.

Hitting a tree with his second shot on No. 12, Clark's ball ricocheted out of bounds and led to a double bogey. Another dropped shot came on the following hole and all but secured another near miss from the U.S. Open champion.

Collin Morikawa, Ludvig Åberg, Cantlay and Theegala all hovered on the first page of the leaderboard but never truly threatened. Instead, it was Patrick Rodgers who emerged as Scheffler's greatest threat thanks to an eagle-2 at the turn. A bogey a few holes later put an end to his Cinderella story.

Remaining in the wake of mistakes was a spotless Scheffler at 19 under, four ahead of the field. Turning in 3 under, the steadiest man in the game marched forward with a heavy diet of fairways and greens before a spell of thunderstorms halted his momentum on the par-4 12th.

Inclement weather was all that could stop Scheffler as the 27-year-old returned to the golf course more than two hours later and resumed his round without a hitch. While temperatures cooled and winds freshened, Scheffler was unaffected.

He picked off a birdie on the 13th to push his lead to five before a mud ball on the 15th led to his second finding the water on the par 5. It didn't matter as Scheffler launched a pitching wedge onto the surface, spinning it left and utilizing the slope to access the tucked pin. He avoided what would have been his first dropped shot since the 3rd hole on Thursday with an emphatic par save, and he will sleep easy Sunday night knowing five strokes separate him from the field and three holes separate him from victory.

Rick Gehman, Kyle Porter, Patrick McDonald and Greg DuCharme discuss Scottie Scheffler's hold on the RBC Heritage, Nelly Korda's fifth straight victory and Miles Russell finishing top 25 as a 15 year old. Follow & listen to The First Cut on  Apple Podcasts  and  Spotify .

Play called for evening

The final group is on the green on the par-5 15th meaning they will have three holes to play on Monday. Scottie Scheffler faces a par putt from 10 feet to maintain his five-stroke lead as he stands at 20 under.

Five clear with five to go!

The only thing that can stop him is the sunlight at this rate. Scottie Scheffler adds a birdie on 13 to get to 20 under and five clear of the crew at 15 under. Without the world No. 1 this tournament would be very, very good, but alas they are all fighting for first flight honors it appears.

Conditions are considerably harder for these guys. The wind has switched, it's about 10 degrees cooler and they are racing against the clock. Scottie Scheffler and Sepp Straka make par on No. 12 and head to the par-4 13th. Wyndham Clark posts the clubhouse lead at 15 under, four behind Scheffler.

Let's play ball!

Players are on the golf course and play is set to resume. Scottie Scheffler in the final pairing has about 7.5 holes remaining and one hour until sunset meaning this thing is probably going to leak into Monday unfortunately. 

Play to resume at 7 p.m.

Coverage information, play to resume at 6 p.m. et.

The expectation is this thing will be finished today as the range is open and play is set to resume in 40 minutes at 6 p.m. ET. This will leave Scottie Scheffler a couple hours to complete just about seven holes as he left off in the middle of the 12th fairway with a four-stroke lead at 19 under.

Play suspended due to weather

The horn has sounded at 4:28 p.m. ET as a large weather system (with lightning) has engulfed Harbour Town. This comes as Scottie Scheffler stands in the 12th fairway with a four-stroke lead at 19 under over a number of pursuers up ahead of him on the golf course. Players are being brought back into the clubhouse as rules officials make an assessment on when play will return.

Rain comin' down hard

Scheffler turns in 33 with three-stroke lead.

Scheffler lets a chance slide by on the short ninth and will instead settle for a 3-under 33 on his front nine. It was highlighted by his eagle-3 on the par-5 2nd and Scheffler will head to the back side with a three-stroke edge.

Theegala thriving

Theegala cards four 3s in a row to end his front nine and get within four of Scottie Scheffler. Sahith spoke yesterday about how cool it is what Scheffler is currently doing and how it is a motivating factor for someone like him to get better. It's a great perspective and Theegala continues to get better and better, but it may not be enough this week as he is four behind with nine to go.

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Zurich Classic Round 1 Highlights

Scottie Scheffler Wins RBC Heritage

Scottie Scheffler Leads RBC Heritage Tournament

CBS Booth Recap: Scottie Scheffler Wins The Masters

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RBC Heritage: How to watch Round 4, featured groups, live scores, tee times, TV times

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Scheffler takes a one-stroke lead into Sunday at Harbour Town with an 8-under 63. Sepp Straka sits one back of him at 15-under, while Collin Morikawa sits in solo third at 14-under. Åberg carded a 3-under 68 to sit three off the pace.

Here's everything you need to know to follow the action.

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Jon Rahm can still play Ryder Cup if he does 1 thing

Jon Rahm and fellow LIV golfer Tyrrell Hatton during the 2023 Ryder Cup.

getty images

In the days following Jon Rahm’s surprise defection to LIV Golf early last December, Rory McIlroy was already thinking Ryder Cup. He spoke so resolutely that he had to have been thinking about it for days, maybe even weeks. 

“The European Tour are going to have to rewrite the rules for Ryder Cup eligibility,” McIlroy said to SkySports’ Jamie Weir . “Like absolutely, there’s no question about that. I certainly want Jon Rahm on the next Ryder Cup team.” 

As it turns out, McIlroy was thinking a bit too far ahead. There was no need for rules changes. The DP World Tour hasn’t changed a thing about how the European RC team will be created — and hasn’t even announced qualification rules yet — but barring any surprising adjustments, Rahm and his fellow European LIV players will be eligible, so long as they follow some rules. 

How? Let us explain. 

When he made that statement, McIlroy had just competed with Rahm two months earlier at the Ryder Cup in Italy, winning the biennial event in dominant fashion over the Americans. Notably, Sergio Garcia was absent. One of the best players in the history of the Cup was not considered for a captain’s pick by Luke Donald because Garcia had surrendered his DP World Tour membership. 

The key to Garcia getting a look (among other reasons) begins and ends with this DP World Tour membership. In order to be a Ryder Cup member for Team Europe, one needs to be a DP World Tour member. For Rahm and, say, Tyrrell Hatton , it is no different. They need to maintain DP World Tour membership in 2024, which means they need to earn it in 2023. This was clear last year and was reiterated by new DPWT CEO, Guy Kinnings, in a sit-down with media in Central London Friday. 

“The reality is that until we announce the qualification process, which we don’t need to do yet as that doesn’t start for another four to five months, it’s kind of speculation,” Kinnings told members of the U.K. media , according to various reports . “But, if you look at what the qualification/eligibility criteria was for 2023, then I think there has been a slight misconception because the reality is under the current rules, if a player is European and is a member of the DP World Tour and abides by the rules as they currently are — so, if you don’t get a release, there are sanctions and if you accept those sanctions and take those penalties and work with that — there is no reason why players who’ve taken LIV membership but maintain membership with the DP World Tour could not A) qualify or B) be available for selection.”

If that sounds a bit confusing, here’s the simple answer: Jon Rahm earns a one-event suspension on the DP World Tour for every single LIV Golf event he plays. Those regulations were handed down in the summer of 2022 , when LIV Golf launched, pulling players from the PGA Tour and DP World Tour to their events without first obtaining conflicting event releases. When Rahm plays in this week’s LIV event, in Australia, he gets suspended/banned from competing in next week’s DP World Tour event, the Volvo China Open. When he competes on in Singapore next week, he’ll be suspended from competing in the next DP World Tour event, the Soudal Open, in Belgium, in late May. Each time he plays, he also incurs a fine, but Rahm has no financial constraints — we all know that . 

The real trick lies in how many DP World Tour events Rahm can then play, given these hovering suspensions. Because in order to retain membership, Rahm must compete in a minimum of four DP World Tour events this season outside of the major championships. He has thus far competed in zero. Tyrrell Hatton has competed in one, the Dubai Desert Classic, back in January. 

Where does the PGA Tour-LIV deal stand? Here’s what Rory, Norman, Tiger have said

“It’s not a loophole,” Kinnings told the group , according to reports , “because that’s the rules we’ve always had and those are the rules we are going to continue to apply.”

Okay then. How exactly does Rahm thread the needle here, playing in every LIV Golf event, as he has been contracted to do, earn suspensions for the succeeding week’s DPWT event, and then still compete four times before the season is finished? He’s going to have to play plenty of golf in September, but he may really want to. That’s when the DPWT heads to his homeland, Spain. 

Looking at the schedule LIV Golf has in 2024 — which still has two events that have not been announced — Rahm will likely incur suspensions for, or struggle to travel to, every DPWT event in May and June. He could find himself available for the BMW International Open in Germany the first week of July, so if you see him playing that event, know he’s taking this all very seriously. 

Even if Rahm doesn’t play that event, he’ll likely have a stretch in the fall that allows him to play the Spanish Open, the Dunhill Links Championship, the French Open and the Andalucia Masters in successive weeks, two of those events taking place in Spain. It will be prime time European golf season as the DPWT hosts the British Masters, the Irish Open and the tour’s premier event, the BMW PGA Championship, all at the beginning of September. Then the Season of Rahm could follow. If Rahm were to play well, he may even earn enough Race to Dubai points to advance to the DP World Tour playoffs in November, after LIV’s season would have likely been finished. 

So, what are golf fans supposed to think of it? 

Once again, stay patient. Rahm will no doubt be asked about his intentions for his summer schedule in the coming weeks at the PGA Championship, if not sooner. He will be a busy golfer, either way, with the Olympic Golf Competition also on his horizon. But if he wants the Ryder Cup badly enough, there’s a path for him to follow that leads all the way to Bethpage. 

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Zak is a writer at GOLF Magazine and just finished a book about the summer he spent in St. Andrews .

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Fair to say America isn’t gripped by Liz Trussmania. Here’s what she can learn from Mr Bean

Our former PM has a dire warning and a book to sell, but it isn’t really cutting through. A bit more Brit-style bumbling might help

‘I know the name,” texts a friend when I ask if she knows who Liz Truss is, but like most Americans can’t quite put her finger on why. “Like 8%,” guesses another when I ask her to put a number on how many of her countrymen she imagines know of Truss. The standard response, in my extremely unscientific poll of Americans as to whether or not they know of Truss, however, was: “No, should I?” – the answer to which, of course, depends entirely on whether you want to understand why the Tory party is polling around 20% or whether you happen to be Liz Truss.

Truss, the only one of us to suffer that particular misfortune, was in Washington DC this week trying, like so many minor British celebrities before her, to catch the eye of the Americans. At the Heritage Foundation, a rightwing thinktank that hosted the launch of Truss’s book Ten Years to Save the West , she came bearing a “warning”. Not an ideal ice-breaker, perhaps, but one clearly tailored to an audience receptive to the frisson of the term “forces of the global left”.

She then provided a perfect illustration of how British people try to win over Americans. “I like to think of the United States of America as Britain’s greatest invention,” said Truss, a piece of comic rank-pulling that relies, for the joke to land, on the delusion that Britain is central to American thinking or penetrates American consciousness at all. Even the sorts of Americans who show up to events at the Heritage Foundation must have been politely baffled by this.

Still, it’s possible Truss did better than the other British export trying and failing to win over Americans this month. Blur’s performance at Coachella last week – and particularly that of Damon Albarn – delivered the timeless drama of a man’s idea of himself crashing into a rival and more widely held view. “You’re never seeing us again, so you might as well fucking sing it,” shouted Albarn when, during a rendition of Girls & Boys, he tried to get a call and response off the ground and the crowd remained largely unresponsive. “Know what I’m saying?” he added savagely. And they did, apparently, rewarding his yelling, sneering and eventual tip into bitterness by continuing to withhold their approval.

The challenge for Albarn, Truss and all the others who have tried to charm this particular away crowd is to project a jaunty, offhand confidence that somehow disguises the scale of the need and the fear of rejection. It can make for an odd spectacle, bad jokes and terrible sycophancy. “The world felt safer when Donald Trump was in office,” said Truss this week, and you wondered at her shamelessness – not because sucking up to Trump is unusual in America, but because, coming from a British person, even a former Conservative prime minister, you assume that she is able to see Trump marginally more clearly than her American counterparts, and that at some level she knows that we know this.

There is, however, one thing that may work to Truss’s favour in the US. British critics of Tony Blair used to hammer him for a smoothness that struck some as pseudo-American, and which contributed to his currency – or at least legibility – in the US. Margaret Thatcher’s strident persona had about it a force that, particularly since she was played by Meryl Streep in the movie, has been claimed by some in the US as “American” in flavour.

But Truss has something that can land equally well coming from British people trying to break the US: an effortless, almost Mr Bean-like social awkwardness that invites in Americans a rival condescension, and is frequently utilised by British people abroad. Truss’s odd syntax, lame jokes and occasionally unnerving eye contact may stand a better chance of landing in the US as charming eccentricity, or an extension of the standard-issue bumbling Brit.

Although, of course, in this case, it’s all moot, because no one knows who she is. The New York Times didn’t cover Truss’s book launch in Washington, nor did the Washington Post, and the book currently sits outside the top 4,000 on US Amazon. Her warning, whatever it was, will go not only unheeded but unheard – with no one more profoundly, one assumes, than Donald Trump.

Emma Brockes is a Guardian columnist

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Money latest: The 'German classic' that's a healthier and cheaper alternative to crisps

Crisps are on the menu as we see where you can make healthier choices for the best value. Elsewhere, the boss of Sainsbury's has insisted customers like self-checkouts - do you agree? Leave your thoughts in the box below.

Friday 26 April 2024 19:45, UK

• New research reveals cost of having children
• Sainsbury's boss insists customers like self-checkouts
• FTSE 100 hits another record high
• Halifax hikes mortgage rates - as entire market moves upwards

Essential reads

• Do smart meters actually save you money?
• How to buy the least unhealthy crisps
• The world of dark tourism - what is it, is it ethical and where can you go?
• Money Problem : I have a mortgage offer - will it change now rates are rising?
• Savings Guide : Why locking into fixed-rate bond could be wise move
• Cheap Eats : Michelin chef's secret lasagne tip - and expensive ingredient you shouldn't use

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The family home where Captain Sir Tom Moore walked 100 laps to raise nearly £40m for the NHS during the first COVID lockdown is up for sale for £2.25m.

The Grade II-listed Old Rectory is described as a "magnificent seven-bedroom property" by estate agents Fine & Country.

In a video tour of the house, a sculpture of Captain Tom with his walking frame can be seen in the hallway, while a photo of the fundraising hero being knighted by the Queen is on a wall in the separate coach house building.

Introducing the property, an estate agent says in the tour video: "I'm sure you'll recognise this iconic and very famous driveway behind me as it was home to the late Captain Sir Tom Moore who walked 100 laps of his garden, raising over £37m for NHS charities."

It comes less than three months after the demolition of an unauthorised spa pool block in the grounds of the property in Marston Moretaine, Bedfordshire.

Speaking at an appeal hearing over that spa, Scott Stemp, representing Captain Tom's daughter Hannah Ingram-Moore and her husband, said the foundation named after the fundraising hero "is to be closed down" following a Charity Commission probe launched amid concerns about its management.

For the full story, click here ...

"Status symbol" pets are being given up by owners who get scared as they grow up, an animal charity has said, with the cost of living possibly paying a part in a rise in separations.

The Exotic Pet Refuge, which homes parrots, monkeys, snakes and alligators among others, says it receives referrals across the country, including from zoos and the RSPCA.

"They're a status symbol. People will say, 'OK, I'll have an alligator or a 10ft boa constrictor'," co-owner Pam Mansfield told the BBC.

"But when the animal gets big, they will get too frightened to handle them, and then the pet has to go."

She added people who want to get rid of the pets sometimes call zoos for help, which then call on her charity.

In some cases, owners don't have licences to own dangerous animals, she says, blaming a "lack of understanding" for what she says is a rise in the number of exotic animals needing to be rehomed.

She says people "just don't have the space" for some snakes, for example, with some growing to as much as 12ft and needing their own room.

The cost of living crisis has also forced owners to give their pets away, she says.

Her charity has also been affected by those increased costs, with the electricity bill rising to £10,000 a month at their highest, to fund things like heated pools for alligators.

Private car parks are accused of "confusing drivers" after introducing a new code of conduct - despite "doing all they can" to prevent an official government version.

The code of practice launched by two industry bodies - British Parking Association and the International Parking Community - includes a ten-minute grace period for motorists to leave a car park after the parking period they paid for ends.

It also features requirements for consistent signage, a single set of rules for operators on private land and an "appeals charter".

Private parking businesses have been accused of using misleading and confusing signs, aggressive debt collection and unreasonable fees.

That comes after a government-backed code of conduct was withdrawn in June 2022, after a legal challenges by parking companies.

RAC head of policy Simon Williams said: "We're flabbergasted that the BPA and the IPC have suddenly announced plans to introduce their own private parking code after doing all they can over the last five years to prevent the official government code created by an act of Parliament coming into force.

"While there are clearly some positive elements to what the private parking industry is proposing, it conveniently avoids some of the biggest issues around caps on penalty charges and debt recovery fees which badly need to be addressed to prevent drivers being taken advantage of."

BPA chief executive Andrew Pester said: "This is a crucial milestone as we work closely with government, consumer bodies and others to deliver fairer and more consistent parking standards for motorists."

IPC chief executive Will Hurley said: "The single code will benefit all compliant motorists and will present clear consequences for those who decide to break the rules."

Sky News has learnt the owner of Superdry's flagship store is weighing up a legal challenge to a rescue plan launched by the struggling fashion retailer.

M&G, the London-listed asset manager, has engaged lawyers from Hogan Lovells to scrutinise the restructuring plan.

The move by M&G, which owns the fashion retailer's 32,000 square foot Oxford Street store, will not necessarily result in a formal legal challenge - but sources say it's possible.

Read City editor Mark Kleinman 's story here...

NatWest says its mortgage lending nearly halved at the start of the year as it retreated from parts of the market when competition among lenders stepped up.

New mortgage lending totalled £5.2bn in the first three months of 2024, the banking group has revealed, down from £9.9bn the previous year.

The group, which includes Royal Bank of Scotland and Coutts, also reported an operating pre-tax profit of £1.3bn for the first quarter, down 27% from £1.8bn the previous year.

An unexplained flow of British luxury cars into states neighbouring Russia continued into February, new data shows.

About £26m worth of British cars were exported to Azerbaijan, making the former Soviet country the 17th biggest destination for UK cars - bigger than long-established export markets such as Ireland, Portugal and Qatar.

Azerbaijan's ascent has coincided almost to the month with the imposition of sanctions on the export of cars to Russia.

Read the rest of economics and data editor Ed Conway 's analysis here...

Rishi Sunak has hailed the arrival of pay day with a reminder his government's additional National Insurance tax cut kicks in this month for the first time.

At last month's budget, the chancellor announced NI will be cut by a further 2p - so some workers will pay 8% of their earnings instead of the 12% if was before autumn.

The prime minister has repeated his claim this will be worth £900 for someone on the average UK salary.

While this additional cut - on top of the previous 2p cut in January - does equate to £900 for those on average full-time earnings of £35,000, there are two key issues with Mr Sunak's claim:

• Once the effect of all income tax changes since 2021 are taken into account, the Institute for Fiscal Studies reports an average earner will benefit from a tax cut of £340 - far less than £900;
• Moreover, anyone earning less than £26,000 or between £55,000-£131,000 will ultimately be worse off.

In short, this is because NI cuts are more than offset by other tax rises.

We explain below how this is the case...

Tax thresholds

This is partly down to tax thresholds - the amount you are allowed to earn before you start paying tax (and national insurance) and before you start paying the higher rate of tax - will remain frozen. 

This means people end up paying more tax than they otherwise would, when their pay rises with inflation but the thresholds don't keep up. 

This phenomenon is known as "fiscal drag" and it's often called a stealth tax because it's not as noticeable immediately in your pay packet.

That low threshold of £12,570 has been in place since April 2021. 

The Office for Budget Responsibility says if it had increased with inflation it would be set at £15,220 for 2024/25.

If that were the case, workers could earn an extra £2,650 tax-free each year.

Less give, more take

Sky News analysis shows someone on £16,000 a year will pay £607 more in total - equivalent to more than three months of average household spending on food. 

Their income level means national insurance savings are limited but they are paying 20% in income tax on an additional £2,650 of earnings.

In its analysis , the IFS states: "In aggregate the NICs cuts just serve to give back a portion of the money that is being taken away through other income tax and NICs changes - in particular, multi-year freezes to tax thresholds at a time of high inflation."

Overall, according to the institute, for every £1 given back to workers by the National Insurance cuts, £1.30 will have been taken away due to threshold changes between 2021 and 2024.

This rises to £1.90 in 2027.

The UK could face a shortage of cava due to a drought in the sparkling wine's Spanish heartlands.

The Penedes area of Catalonia is dealing with its worst drought on record, with vineyards across the region so parched the roots of 30-year-old vines have died.

It's left shrivelled red and green grapes languishing under intense sun, fuelled by fossil-fuel driven climate change.

Cava is an increasingly popular drink in the UK, with 17.8 million bottles sold in 2023 - an increase of 5% from the previous year, when Britons stocked up on 16.8 million bottles, according to the Cava Regulatory Board.

That makes the UK the fourth-biggest buyer, behind only the US, Belgium and Germany.

Workforce slashed

The problems have been compounded after Catalonia-based cava producer Freixenet announced it will temporarily lay off 615 workers, almost 80% of its workforce.

Under Spanish law, companies facing exceptional circumstances can lay off staff or reduce working hours.

This measure is expected to take effect from May and it is not known how long it will last.

Price rises

One industry source told retail publication The Grocer  that cava shortages would push up prices "certainly for next year" if there isn't enough supply.

This could last for years if the drought persists, they added.

Consumer expert Helen Dewdney told MailOnline the staff cuts at Freixenet can only mean one thing - price rises.

However, she added, supermarkets say they are not experiencing any issues right now.

Parents are being hammered by rising childcare costs, according to a new study that suggests they may spend more than £160,000 raising their child to the age of 18.

Research by Hargreaves Lansdown has found that parents with children pay £6,969 a year more than couples without.

Over 18 years and assuming an annual inflation rate of 3%, that amounts to a whopping £163,175, the investment platform said.

Its study also found that parents were less likely to have money left at the end of the month.

Single parents carry the biggest burden, with the research suggesting they have just £85 left on average compared to £365 for couples with children.

Hargreaves Lansdown also found just 23% of single parents reported having enough emergency savings to cover at least three months' worth of essential expenses, compared to 63% of couples with children.

Parents are also at a slight disadvantage when it comes to pensions, the research found, with only 43% of couples with children on track for a moderate retirement income, compared to 47% without. Only 17% of single parents have a decent projected pension fund.

Sarah Coles, head of personal finance at the firm, said "having children is one of the most expensive decisions a person can make".

She adds that as a result of having a child, "financial resilience suffers across the board", and added: "For single parents, life is even tougher, and they face far lower resilience on almost every measure.

"It means we need all the help we can get."

By Daniel Binns, business reporter

One of the top stories shaking up the markets this morning is that UK-based mining company Anglo American has rejected a major $38.8bn (£31bn) takeover bid.

Details of the attempted buyout by Australian rival BHP emerged yesterday  - sending Anglo American shares soaring.

The deal would have created the world's biggest copper mining company - with the news coming as the price of the metal hit record highs this week.

However, Anglo American has now dismissed the proposal as "opportunistic" and said BHP had undervalued the company.

Anglo's shares are slightly down by 0.8% this morning - suggesting investors may not have given up hopes that a deal could eventually be agreed.

However, overall the FTSE 100 is up around 0.4% this morning, buoyed by strong reported earnings from US tech giants Microsoft and Google owner Alphabet.

It's helped the index, of the London Stock Exchange's 100 most valuable companies, hit yet another intraday (during the day) record of 8,136 points this morning.

The winning streak comes after a week of all-time highs on the index - including a record close of 8,078 points yesterday. The score is based on a calculation of the total value of the shares on the index.

Among the companies doing well this morning is NatWest - despite the bank reporting a fall in pre-tax profits of nearly 28% for the first quarter of the year.

Shares in the lender are up more than 3% after its results were better than expected by analysts.

On the currency markets, £1 buys $1.25 US or €1.16, almost on a par with yesterday.

Meanwhile, the price of a barrel of Brent crude oil has crept up slightly to $89 (£71).

Self-checkouts - they're like marmite, people seem to either love them or hate them.

But the boss of Sainsbury's has claimed that his customers do  enjoy using self-checkouts, despite criticism that that machines don't always provide the convenience promised.

Simon Roberts told The Telegraph that there are more of them in Sainsbury's stores "than a number of years ago" as shoppers like the "speedy checkout".

But despite this, he said there won't be a time when they'll replace cashiers completely.

"Over the last year, where we've put more self-checkouts in, we're always making sure that the traditional kind of belted checkout is there," he said.

His comments come after northern supermarket Booths ditched self-checkouts at all but two of its sites after customer feedback. 

Walmart and Costco in the US have also scaled back on the systems.

Let us know in the comments - do you love or hate self-checkouts?

We've all heard consumer advice that's repeated so often it almost becomes cliché. So, every Friday the Money team will get to the bottom of a different "fact" and decide whether it's a myth or must.

This week it is...

'Smart meters save you money'

For this one, we've enlisted the help of Dr Steve Buckley, also known as the Energy Doctor and head of data science at Loop...

So do smart meters help you save? 

"The short answer is both yes and no," Steve says.

"Installing a smart meter by itself won't magically reduce your energy consumption. But, by giving you easy access to your energy usage data, smart meters pave the way for savings that you couldn't achieve otherwise."

Before smart meters, most households only found out how much energy they had used when the bill arrived. 

By that stage it's too late to address wasteful usage, leading to what's known as "bill shock". 

"With a smart meter, you can see your usage and costs in real-time through an in-home display or an app provided by your supplier," Steve says. 

"This immediate feedback encourages you to use less energy. If you measure it, you can control it."

In 2022, the Department for Energy Security and Net Zero found that homes with smart meters used about 3.4% less electricity and 3% less gas. 

"This might not seem like a lot, but it adds up to a saving of over £50 per household annually," Steve says.  

If all homes in the UK made similar cuts, that would amount to savings of around £1.5bn and a potential reduction in CO2 emissions by about 2.7m tonnes each year. 

"Good for individual households but also great for the planet," Steve says. 

Smart meters are often installed at no extra cost to the consumer - it's effectively free data for households. 

Limitations

Smart meters are more or less what you make of them - a simple, free tool that allows you to see headline figures. 

However, "without detailed analysis, it's tough to identify and eliminate" where you could be wasting money, Steve says. 

Apps like Utrack, Loop and Hugo Energy can help you work out where you might be losing money by offering a more detailed breakdown if connected to your smart meter. 

Those tools are often free, but you may need to register your card details as proof of address. 

The tools give a number of useful insights, including looking at consumption in other households of similar size or monitoring where chunks of your money are going, such as to a faulty boiler or the "phantom load" (energy wasted by devices left on unnecessarily).

Myth or must?

Although smart meters alone don't reduce energy bills, they are a vital tool to help energy efficiency and cost savings. 

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