Pearl Jam fans spent much of the past year in suspense, waiting breathlessly to see who they’d hire as their new drummer following Matt Cameron’s departure after nearly 30 years. The big reveal was supposed to come at the third night of the Ohana Festival on Sunday when Pearl Jam played their first set since parting ways with Cameron.
“I love the mystery of it all,” Pearl Jam guitarist Stone Gossard told SiriusXM’s Jonathan Cohen on May 21. “It’s so exciting. There’s not enough mystery in the world. I think the band is very excited that we’re actually getting to play. It’s been a while, and the fact that we get to do it at Ohana makes it even doubly exciting.”
As the days ticked by until the Ohana set, nearly every possible drummer on Earth was the subject of speculation in the Pearl Jam fan community, including Stephen Perkins of Jane’s Addiction, Abe Laboriel Jr. of Paul McCartney’s band, Josh Freese of Nine Inch Nails, and a loud group of two or three fans on the official fan forum convinced that Japanese drummer Kahokiss had the job, even though there wasn’t even a tiny shred of evidence suggesting this. (Before Ohana, we ran through every single possibility we could imagine, including Animal from The Muppet Show.)
The headliner for the first night of the three-day Ohana Festival was Eddie Vedder and Friends. They never spelled out who exactly these friends would be, but he took the stage alone and played solo acoustic renditions of Pearl Jam’s “Elderly Woman Behind the Counter in a Small Town” and his solo tune “Far Behind” before calling out Irish guitarist Simon Good for Glen Hansard’s “Song of Good Hope” and Billy Idol for the Who’s “I’m One.” Up next was Pearl Jam bassist Jeff Ament, who joined Vedder for the group’s 1993 deep cut “Bee Girl.”
At this point, Vedder called for an electric guitar and began playing the opening of “Corduroy.” “I feel like I would need some friends to join me tonight,” he said, as shadowy figures appeared on a large curtain behind him. “I would need some really good friends. Do I got any extra friends back there? Some more friends?”
The curtain then dropped to reveal Pearl Jam with Abe Laboriel Jr. on drums. There was a giant question mark on his bass drum, seemingly confirming he was the answer to the burning drummer question. The opening lines of the song (“The waiting drove me mad”) seemed to suggest the waiting was over, and headlines began popping up across the internet that Laboriel was the new Pearl Jam drummer.
But some skeptical fans urged caution, especially when Vedder said, “Helping us on drums tonight, Mr. Abe Laboriel Jr.” Was it possible this was a red herring? Were “Eddie Vedder and Friends” simply Vedder, the remaining members of Pearl Jam, and one-night-only guest Laboriel? Did the question mark on his drum kit mean the real drummer remained a mystery?
In all likelihood, it seemed, the definitive answer was two days away when Pearl Jam closed out the festival. If Laboriel was still on drums at that point, surely he had the gig, right? Weren’t we promised by Gossard the mystery would be resolved at Ohana?
Well, Laboriel was indeed the drummer when Pearl Jam played their first proper, billed concert since Cameron left on the last night of Ohana. That was enough for a Wikipedia edit to go through that listed him as a member of the band. But the next day, Vedder posted a letter on Instagram that we need to run in full.
“Hello good humans,” he wrote. “Just a quick note on this Monday morning to thank each and everyone who came out to Ohana Fest this year. Three days of great groups, all of whom were further energized by the pumped up vibes from a perfect crowd. You all made our tenth year so special and we are GRATEFUL. Also wanted to extend our further appreciation to Abe Laboriel Jr. sitting in on drums for PJ. It was a joy to play with him, and he’s obviously extraordinary at his craft. The man works and PLAYS hard. It is no wonder he’s been with the ultimate Maestro Paul McCartney and his mind blowing band for decades. Thank you so much for this weekend Abe. And thank YOU Paul. We owe you big time.”
Let’s examine a few key lines here, starting with “also wanted to extend our further appreciation to Abe Laboriel Jr. sitting in on drums for PJ.” When a musician is described as “sitting in,” that generally means they are guesting. That’s not what you say when a hire a new full-time member. It’s essentially the opposite of what you say.
Now let’s talk about “thank you so much for this weekend Abe. And thank YOU Paul. We owe you big time.” This isn’t “thank you for joining Pearl Jam, Abe.” This isn’t “you are our new drummer.” This isn’t “thank you Paul McCartney for letting us steal your drummer away.” This is merely thanking Abe for “this weekend.”
What the fuck? Did Abe get cold feet about walking away from a Beatle? Can’t he make time for both jobs, especially since both acts have a huge amount of downtime every year?
More importantly, we’re really still in a state of suspense? Pearl Jam doesn’t even have any concerts on the schedule. There’s no telling when we’ll know what is going on, and nobody seems to be saying a word beyond the Vedder letter. That means the Kahokiss truthers on the forum will continue to hold out hope.
Eddie, Abe, everyone involved … this is unbearable. We need to know what’s happening. The waiting is driving us mad.














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.