What happens when a rock legend stops being just “the drummer from The Police” and spends decades chasing every other creative obsession?

Stewart Copeland and Billy Corgan skip the greatest hits and tumble down the Rumble Fish rabbit hole with Francis Coppola. They revisit the “hell on earth” final Police sessions and unpack why band therapy involved incense and a lot of gazing into each other’s eyes.

Also on the menu: a prison-themed song with a very John Waters title, a horse incident (Stewart insists the record be corrected), an opera that got shredded by critics, a night in a Zaire jail, and a German superfan with questionable priorities. Then it gets thoughtful: the strange weight of the rock-star “avatar,” what AI means for the musical middle class, and what happened when Stewart’s son built a digital version of him.

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Chelsea Wolfe joins Billy Corgan for a revealing conversation about witchcraft, Gnosticism, and why she was once “susceptible to cults.”

She traces the roots of her unmistakable sound—from childhood night terrors and shadow figures during sleep paralysis to the private inner world where her music first took shape. Chelsea explains how outside influences kept her feeling small and creatively trapped, and what it took to reclaim her artistic identity.

Billy revisits why the platinum-selling Adore was still considered a commercial disappointment, the Rick Rubin-produced song he removed from the album, and the price of choosing honesty over expectations.

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