Courtney Love has never been shy when it comes to sharing her opinions about other people. Going all the way back to the early Nineties, the Hole singer has generated headlines by publicly trashing rock musicians, pop singers, movie stars, and even members of her own family. It’s a level of brutal candor you rarely see with public figures, but as Courtney Love told Rolling Stone in 1994, she simply doesn’t care what others think about her. “If people try to put me in the crazy box–’crazy fucking Courtney’–go ahead,” she said. “But if you think you’re going to stop me from where I’m going, you’re not going to do it.”
She’s been relatively quiet in recent years, but the old Courtney came roaring back in a recent interview with The Standard, where she blasted many of the biggest names in music, including Taylor Swift and Beyoncé.
As she awaits the inevitable wrath from the two biggest stan armies on the planet, let’s revisit some of her most memorable beefs from years past, along with ones she created just this past week.
Brad Pitt – According an interview Courtney Love gave Marc Maron in 2022, she lost out on a role in 1999’s Fight Club after telling Brad Pitt he couldn’t create a Kurt Cobain biopic. “I don’t know if I trust you, and I don’t know that your movies are for profit,” she claims to have said to him. “They’re really good social justice movies, but…if you don’t get me, you kind of don’t get Kurt, and I don’t feel like you do, Brad.” When news of this broke in 2022, Love took to Instagram to clarify her thoughts. “I told the story because I felt Pitt would not stop pursuing Kurt — unless I said it in public,” she said. “I don’t want Brad to be pissed off at me and become his resentment. I want him to do better. I’m not into assault. Cmon brother Pitt. I wish you well, truly. If he’s mad at me, that’s his problem. I enjoy him as a movie star immensely. Not so much as a biopic producer.”
Dave Grohl – Courtney Love and Dave Grohl have had an extremely rocky relationship going all the way back to the Nirvana days. Things heated up in the late Nineties when Grohl implied to Howard Stern that Love didn’t write many of her own songs. “That stupid motherfucker,” she said in response. “He knows exactly what I wrote, he knows exactly the input I had on [Nirvana’s] third album. Kurt came [to the studio] to play with [Hole] more than he did with Nirvana because he liked us better.”
The situation deteriorated greatly in the 2000s, especially when Love accused Grohl of inappropriate behavior towards Frances Bean Cobain, something both parties emphatically denied, but they made a fragile truce in 2014 when Nirvana was inducted into the Rock and Roll Hall of Fame. “Early on in the evening I just tapped her on the shoulder,” Grohl told Rolling Stone that year. “She turned around and I just said, ‘Hey.’ She said, ‘Hey.’ Then we gave each other a big hug. I said, ‘How are you?’ She goes, ‘Good, how are you?’ I said, ‘All right.’ And she said, ‘Let’s do this. Let’s rock this tonight.’ We’re family, no matter what. And we all love each other, no matter what.”
Wendy O’Connor (Kurt Cobain’s Mother) – Custody issues surrounding Frances Bean Cobain throughout her childhood drove a huge wedge between Love and her former mother-in-law. A low point came in 2003 when they got into a tussle during a custody hearing at the Los Angles courthouse. “Wendy went nuts,” Love said. “She shoved me, and I slapped her like a 4-year-old, though I’ve never slapped a 4-year-old…She was just screaming. I saw sheer hate. I think she realized that the paranoia power games were gonna stop.” (O’Connor was appointed Frances’ temporary guardian in 2009.)
Trent Reznor – According to multiple reports, Trent Reznor briefly dated Courtney Love after Hole toured with Nine Inch Nails in 1994. A year later, she bashed him to Spin in a highly personal matter. “Don’t call your band Nine Inch Nails,” she said, “if you have a three-inch one.” In 1999, Nine Inch Nails released the song “Starfuckers Incorporated,” and many people saw swipes at Love in the lyrics. “My god comes in a wrapper of Cellophane,” Reznor wrote. “My god pouts on the cover of the magazine/ My god’s a shallow little bitch trying to make the scene.”
Olivia Rodrigo – In 2021, Olivia Rodrigo released promotional images from her Sour Prom special that were reminiscent of the Hole’s 1994 Live Through This album cover. “Stealing an original idea and not asking permission is rude,” Love wrote. “This person’s music has nothing to do with my life. Possibly never will. It was rude, and I gave every right to stick up for my work. Don’t gatekeep me! I’m honourable as fuck to my fellow artists, and I expect the same.” Rodrigo brushed off the accusation when asked about it during an interview with GQ magazine. “To be honest, I’m just flattered that Courtney Love knows that I exist,” she said.
Madonna – Shortly after the 1995 MTV Video Music Awards, Madonna was speaking to Kurt Loder when a makeup compact landed at her feet. She looked down to see that Courtney Love threw it up. “Courtney Love is in dire need of attention right now,” Madonna said. “She’s throwing her compact at me.” This led to an agonizingly awkward encounter on live TV where Love began rambling about why she wanted to work in a hospital. “Nice clothes,” she said. “Good money…” Madonna cut her off with a legendary zinger: “And a lot of available drugs.” Earlier this week, Love shared some thoughts about Madonna. “I don’t like her, and she doesn’t like me,” she said. “I loved Desperately Seeking Susan, but for the city of New York as much as her.”
Kathleen Hanna – On the 1995 Lollapalooza tour, Love smacked Bikini Kill singer Kathleen Hanna backstage. “She was my husband’s worst enemy in the world, someone who would stop at nothing to aggravate us,” Love wrote in Spin. “I’m onstage talking to Beck when [Hole guitarist] Eric [Erlandson] comes up and says, ‘Kathleen’s behind you. You should give her some candy and freak her out.’ And there she was, sort of smirking at me. I dropped my sweater on the floor, and she sort of whispered under her breath, ‘Where’s the baby? In the closet with an IV?’ I just snapped. My hand was filled with Skittles and a couple of Tootsie Rolls. I just threw them up in the air and went, ‘BAAAAAAAAAAAAAA!’ And then she shoved me, and then I clocked her.” Nearly a quarter century later, when Bust Magazine wrote about their excitement for Bikini Kill’s upcoming reunion tour, Love commented, “Speak for yourself. Biggest hoax in history of rock and roll.”
Taylor Swift – In the ultimate demonstration that she continues to not give a shit what people think about her, Courtney Love spoke ill of Taylor Swift to The Standard this week. “Taylor is not important,” she said. “She might be a safe space for girls, and she’s probably the Madonna of now, but she’s not interesting as an artist.”
Lana Del Rey – In almost the same breath, she went after Lana Del Rey. “I haven’t liked Lana since she covered a John Denver song, and I think she should really take seven years off,” Love said. “Up until ‘Take Me Home Country Roads,’ I thought she was great. When I was recording my new album, I had to stop listening to her as she was influencing me too much.”
Beyoncé – If she didn’t anger enough passionate fan bases when bashing Taylor Swift and Lana Del Rey, she also spoke negatively about Beyoncé’s music. “I like the idea of Beyoncé doing a country record because it’s about Black women going into spaces where previously only white women have been allowed, not that I like it much,” Love said. “As a concept, I love it. I just don’t like her music.”














The Edge, Larry Mullen Jr, Bono and Adam Clayton (from left) in 1978 Patrick Brocklebank
Class photo from Mount Temple Comprehensive School in Dublin, 1978. Bono is in the front row, third from left; his future wife, then Ali Stewart, is to his left. The Edge is in the back row, center, in jacket and tie. Courtesy of U2
U2 in Berlin circa Achtung Baby Anton Corbijn
Anton Corbijn
Bono, the Edge, and Clayton perform at the Sphere in Las Vegas in 2023, with Bram van den Berg filling in for Mullen on drums Kevin Mazur/Getty Images
U2 shooting the “Street of Dreams” video in Mexico City in May Eloisa Sanchez
Michael Schwartz
Did ‘The Life of a Showgirl’ Need an Encore? And Where Is Taylor Swift Going Next?
Taylor Swift has always loved a story. It’s what has set her songwriting apart for 20 years now — and what she has used to maintain her almighty superstar status. Both in her work and in the presentation of it, Swift has woven strong narratives of heartbreak, success, redemption, torture, and glory where all of the pieces fall into place and it’s easy to root for her.
With her latest album, The Life of the Showgirl, Swift presented a sequined tale of triumph. Finally, finally, the girl who spent her whole life trying to put the feeling of love into words had changed the prophecy by getting engaged (and now married) to Travis Kelce. Professionally, Swift was at her peak, too. She’d just bought back her masters with the earnings from her historic Eras Tour, an all-encompassing career feat that inspired the project.
But there’s no debating that the musician’s 12th album was her most polarizing yet (yes, even more than the 2017 LP, Reputation). Some critics and fans alike didn’t appreciate the execution of the “showgirl” idea sonically or thematically. But hate it or love it, Showgirl was the perfect way for Swift to revel in her success — and set the stage for her next show-stopping move.
That’s why it’s so confusing that the expert storyteller decided the show wasn’t over when she released The Life of a Showgirl: The Encore with four bonus tracks. One of the strongest elements of the original album was that Swift delivered a tight 12, and only 12, songs. “There’s not a 13th, there’s not other ones coming,” she said last year. “Every single song is on this album for hundreds of reasons, you know, and you couldn’t take one out and it’d be the same album. You couldn’t add one. It’s just right.”
Now, there is suddenly more to the story with the addition of “Patient Zero,” “Cleveland!” “Pink Clouding,” and “Babylon.” Unfortunately, as many fans have pointed out, none of the songs add to the narrative set forth in Showgirl.
Swift said she wrote the bonus tracks last year following the success of the album. “We just wanted to reflect and take in how grateful we were for the moment we were in,” she said, referring to the project’s collaborators, Max Martin and Shellback. That moment found Swift newly engaged, yet her lead single back, “Patient Zero,” looks back at a past relationship. “Pink Clouding” also reflects on a former flame, but without the regretful yearning that made “Ruin the Friendship” a standout. Meanwhile, “Cleveland!” takes the gushing over-the-heels joy from “Honey” and “Wood” and adds an almost spiteful twist. And then there is the new curtain-closer, “Babylon” where Swift hands out more pearls of wisdom over an acoustic cut that would fit better on Folklore or Evermore. In fact, all four songs sound like they were plucked from previous albums like Midnights or The Tortured Poets Department. With these four tracks, she has not only confused the story of Showgirl, she’s also muddled that of Taylor Swift™.
Swift is a known mastermind, who has planned her next career move years in advance, and she’s been celebrated for her expert marketing power moves. But where does the showgirl go from here? The Encore has unleashed more questions about Swift’s next chapter rather than offer a clear path forward.
On Sunday, Swift premiered the cinematic music video for “Patient Zero” at the 2026 MTV VMAs. It’s a chilling thriller, and one of her most impressive visuals to date. Was that the point of it all, to highlight her full-throttle pivot to film? We know that the musician has a directorial debut on the way with Searchlight Pictures. Maybe she finally found the time to finish it, and that’s why she worked on the Toy Story 5 soundtrack.
The Encore could also just be a way for Swift to get her 12th album back into the conversation, just in time for the first round of voting for the 2027 Grammys. One would expect the singer-songwriter to submit the project for all of the major categories, including the coveted Album of the Year and Song of the Year. It’s unclear whether Swift will submit both “The Fate of Ophelia,” which became Swift’s longest-running Number One song atop the Billboard Hot and her new shining single “I Knew It, I Knew You” for Song of the Year — the songwriting-focused Grammy she has yet to win.
Swift has spent the last six months riding on the high of “I Knew It, I Knew You.” The song dominated on country radio — and led the musician to drop a ton of Easter eggs hinting at her big return to the genre. She could honor her songwriting legacy with a country music return timed to the 20th anniversary of her debut in October. Now that would be a great story.