Devil Wears Prada drummer's final moments ahead of deadly plane crash
San Diego Police Chief Scott Wahl said: 'I can't quite put words to describe what the scene looks like, but with the jet fuel going down the street, and everything on fire all at once, it was pretty horrific to see."
More details about a plane crash that claimed the lives of a music talent agent and five others have now been revealed - including the flight path and possible reason it crashed.
The plane had taken off from Teterboro Airport in New Jersey on Wednesday at 11.15pm ET, tracking data reveals. It's said the plan had stopped for fuel in Kansas before continue its journey to California. However, in the early hours of Thursday, May 22 the plane crashed into a San Diego neighborhood, slamming into a home and killing multiple people on the flight, including Devil Wears Prada's ex-drummer Daniel Williams.
With the home engulfed in flames and jet fuel rolling down the streets, half a dozen vehicles ignited while residents in the neighborhood of U.S. Navy-owned housing were shaken awake just before 4am by the thunderous crash and subsequent explosions
Hours before the incident, the 39-year-old star shared an image of himself at the plane's controls. He had said he was the "co-pilot now" in a message where it wasn't clear if he was joking. He had earlier captioned a post: "'Here we gooooo."
San Diego Police Chief Scott Wahl said: 'I can't quite put words to describe what the scene looks like, but with the jet fuel going down the street, and everything on fire all at once, it was pretty horrific to see."
More information has come to light about the planes flght path. The flight took off from Teterboro, New Jersey, near Manhattan, at about 11:15 p.m. Wednesday and made a fuel stop in Wichita, Kansas, before continuing on to San Diego, according to Simpson.
Based on the flight path, it was bound for Montgomery-Gibbs Executive Airport when it struck power lines about 2 miles (3.2 kilometers) southeast of the airfield, Simpson said. Audio recorded by www.liveATC.net includes a brief transmission from the pilot saying he was on final approach to the airport and was about 3 miles (4.8 kilometers) out at 3:45 a.m.
Assistant San Diego Fire Department Chief Dan Eddy said that the fog was so thick in the morning that 'you could barely see in front of you.'
No one in the neighborhood died, but eight were taken to the hospital for smoke inhalation and injuries that were not life-threatening, including a person who was hurt climbing out a window, police officer Anthony Carrasco said.
Dave Shapiro, co-founder of Sound Talent Group, and two employees were among those killed, the music agency said in a statement. Sound Talent Group has represented artists including American pop band Hanson, American singer-songwriter Vanessa Carlton and the Canadian rock group Sum 41. Hanson is perhaps best known for its earworm 1990s pop hit, 'MMMBop.' Shapiro also owned Velocity Records.
'We are devastated by the loss of our co-founder, colleagues and friends. Our hearts go out to their families and to everyone impacted by today's tragedy,' the agency said.
Six people were on board the plane, according to the Federal Aviation Administration. Authorities were still combing the scene and recovering the bodies before releasing an official number and identifying the dead, though there were not believed to be any survivors aboard the flight.
Daniel Williams, former drummer for metal band The Devil Wears Prada, posted on his Instagram on Wednesday afternoon that he was boarding the plane with Shapiro. The band posted a tribute to Williams on their Instagram page. 'No words. We owe you everything. Love you forever,' the band wrote.
Friends and fans have been paying tribute to him on social media. Taking to Twitter /X, one user wrote before any official confirmation: "Rest Easy, Daniel." Another added: "Rest in Peace Dave Shapiro, Daniel Williams, and everyone on that flight.
"Some of my very first shows were booked through Dave. I had a handful of shows with Daniel, always a pleasure to see him play. Gone way too soon."
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The Herald Scotland
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- The Herald Scotland
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However, in those days there was no social media or way of contacting the show other than phoning in and they told us that the switchboard had been jammed with people asking about 'that' band. "At that point we had no management, and we really weren't equipped to 'go'. It was such a lost opportunity but what a great experience for us. A mass audience of over five million meant when we were back in Scotland people did start to look and point at me in the street. Not for bad reasons either'. Read more After more demo tapes being sent to publishers and labels a publishing deal was finally secured with the giant EMI. Sally Perryman organised a showcase in Glasgow for the top record labels at what was then the Third Eye Centre (now the CCA), and from this they signed to Capitol. The two women began crafting the 10 songs that would appear on the album. 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Daily Mirror
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New Statesman
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Bruce Springsteen faces the end of America
Photo montage by Gaetan Mariage / Alamy When I met Patti Smith soon after Donald Trump's first victory, she said she'd ended up next to him at various New York dinners over the years, back in the Seventies, when he was pitching Trump Towers. 'We were born in the same year, and I have to look at this person and think: all our hopes and dreams from childhood, going through the Sixties, everything we went through – and that's what came out of our generation. Him.' Smith's sing-song voice was in my head at Anfield Stadium in Liverpool on one of the final nights of Bruce Springsteen's Land of Hope and Dreams tour. Springsteen was born three years after Trump and will also have sat at many New York dinners with him. Those with half an eye on the news would be forgiven for thinking that Bruce has been lobbing disses at the president from the stage between his hits, but his latest show is heavier than that: a conscious recasting of two decades of his more politicised music, with a four-minute incitement to revolution in the middle. Here is a bit of what he says: 'The America I love and have sung to you about for so long, a beacon of hope for 250 years, is currently in the hands of a corrupt, incompetent and treasonous administration. Tonight we ask all of you who believe in democracy and the best of our American experiment to rise with us, raise your voices, stand with us against authoritarianism and let freedom ring. In America right now we have to organise at home, at work, peacefully in the street. We thank the British people for their support…' Clearly few in the US are speaking out like this on stage, and Trump has responded by calling Springsteen a 'dried-out prune of a rocker (his skin is all atrophied!)' and threatening some kind of mysterious action upon his return. Springsteen, the heartland rocker, was never exactly part of the counter-culture, though he did avoid Vietnam by doing the 'basic Sixties rag', as he put it, and acting crazy in his army induction. Yet he has become a true protest singer in his final act. He wears tweed and a tie these days, partly because he's 75 and partly, you suspect, to convey a moral seriousness. When I last saw him, two years ago, I thought I saw some of Joe Biden's easy energy. Well, Bruce still has his faculties. The feeling is: listen to the old man, he has something to say. Springsteen's late years have been something to behold. At some point in the last decade he stopped dyeing his hair and started to talk in a stylised, reedy, story-book voice. The image of the America he seemed to represent shifted back from Seventies Pittsburgh to Thirties California: the bare-armed steelworker became the Marlboro Man, and in 2019 there was a Cowboy album, Western Skies, with an accompanying film in which he was seen on horseback. His autobiography Born to Run revealed recent battles with depression. And it is depression you see tonight in Liverpool – in the wince, the twisted mouth, the accusing index finger; in his entreaty to Liverpool's fans to 'indulge' his sermon against the American administration, delivered night after night, to scatterings of applause. It is a depression I recognise in older American friends who fear they're going to the grave with everything they knew and loved about their country disappearing. But depression is also the stuff of life, of energy. Springsteen has been particularly angry since the early Noughties, since the second Bush administration, but this is his moment somehow, and his song of greedy bankers – 'Death to My Hometown' – is spat out with new meaning in 2025, an ominous abstraction. The father-to-son speech in 'Long Walk Home' feels different in this politically charged world: 'Your flag flying over the courthouse means certain things are set in stone/Who we are, what we'll do and what we won't'). A furious version of 'Rainmaker' ('Sometimes folks need to believe in something so bad, so bad, they'll hire a rainmaker') is dedicated to 'our dear leader'. As much as I admire Springsteen and seem to have followed him around and written about him for years, the Land of Hope and Dreams tour made me realise I hadn't fully known what he was for. When I saw him in Hyde Park in 2023, the first 200 yards of the crowd were given over to media wankers like me, with the paying fans at the back: every single person I had ever met in London was there, mildly pissed up and whirling about with looks of mutual congratulation. Springsteen had become, to the middle classes and above, a global symbol of right-thinking, summed up by his long stint on Broadway at $800 a ticket. His dull podcast with Barack Obama was the American version of The Rest Is Politics with Rory Stewart and Alastair Campbell: men saying stuff you want them to say, to confirm what you already think about stuff (Obama was in awe of Bruce). Subscribe to The New Statesman today from only £8.99 per month Subscribe Politics was easy for Springsteen when politics consisted of external events happening to innocent people, rather than something taking place on the level of psychology, in a movement of masses towards a demagogue. The job he adopted, back in the Seventies, was to set a particular kind of American life in its political and historical context: to tell people who they were, and why they mattered. His appeal as a rock star always lay less in his words than in how sincerely he embodied them: his extraordinary outward energy, his mirroring of his audience, his apparent concern with others over himself. After 9/11, someone apparently rolled down a window and told him, 'We need you now,' so he wrote his song 'The Rising' from the viewpoint of a doomed New York fireman ascending the tower. A recent BBC documentary revealed he'd donated £20,000 to the Northumberland and Durham Miners Support Group during the strikes of 1984 – rather as he donated ten grand to unemployed steelworkers in Pittsburgh the previous year. His self-made success and songs about freedom were the Republican dream, but when Reagan tapped him up for endorsements it was a right of passage for Springsteen as a Democrat rocker to rebuff them (I'm pretty sure they tried to play 'Born in the USA' at Trump rallies too). He is quoted as saying that the working-class American was facing a spiritual crisis, years ago: 'It's like he has nothing left to tie him into society any more. He's isolated from the government. Isolated from his job. Isolated from his family… to the point where nothing makes sense.' Now, Trump has taken Springsteen's people (the Republicans were doing so long before Trump), and the interior life of the working man that Springsteen made it his job to portray has been exploited by someone else. 'For 50 years, I've been an ambassador for this country and let me tell you that the America I was singing about is real,' he says, possessively, on stage. Springsteen, like Jon Bon Jovi, sees his fans as workers. The distances travelled, the money spent, the babysitters paid for: that's what the three-hour gigs are all about. It is part of the psyche of a certain generation of working-class American musician to consider themselves in a contract with the people who buy their records. It is not a particularly British thing – though time and again I am impressed by the commitment required to see these big shows, especially when so many punters are of an age where they would not longer, say, sleep in a tent: £250 a night for a hotel, no taxis to the stadium, a huge Ticketmaster crash that leaves hundreds of fans outside the venue fiddling with their QR codes while Bruce can be heard inside singing the opening lines of 'My Love Will Not Let You Down'. Yet the relationship between a rock star and his fan is not a co-dependency: the fan is having a night out, but the rock star needs the fan to survive. It is hard to underestimate the psychological shift Springsteen might be undergoing, in seeing the working men and women of America moving to a politics that is repellent to him. He has not played on American soil since Trump's re-election and it is likely that this kind of political commentary there will turn the 'Bruuuuuce' into the boo. A Springsteen tribute act in his native New Jersey was recently cancelled (the band offered to play other songs, and the venue said no). Last week, a young American band told me they won't speak out about the administration on stage because they're not all white and they're afraid of getting deported. It is the job of the powerful to do the protesting, and, like Pope Leo, Springsteen's previous good works will mean nothing if he doesn't call out the big nude emperor now. The Maga crowd will still come to see him, of course, and yell the 'woah' in 'Born to Run' just as loud as everyone else does – perhaps because music is bigger than politics, or perhaps because politics is now bigger than Bruce. Though his political speeches in Liverpool (it's UK 'heartland' only this tour: no London gigs) feel slightly out of step with a city that has its own problems, it seems fair enough for Springsteen to be telling the truth about America to a crowd who's enjoyed their romantic visions of the country via his music for 50 years. But their own personal communion is suspended tonight, and the song 'My City of Ruins' has nothing to do with 9/11 any more: 'Come on… rise up…' In the crowd, a very old man is sitting on someone's shoulders. Bruce Springsteen and the E Street Band play Anfield stadium, Liverpool, on 7 June 2025 [See also: Wes Anderson's sense of an ending] Related
