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The sopranos: what the song in the final scene really means.

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The final scene of The Sopranos sees Tony's story suddenly cut to black, but not before Journey's "Don't Stop Believin'" plays out, a song choice with various meanings and possible interpretations in the context of the show's ending. Widely (and rightly) regarded as one of the greatest TV shows of all time, The Sopranos went out with one of the most audacious and shocking finales in history, as the screen suddenly went dark, leaving many viewers wondering what had happened and whether or not their cable had cut out.

Even by The Sopranos ' own standards, it's a scene ripe for analysis, and one that has been pored over and debated upon ever since, with various answers to questions such as whether or not Tony Soprano (the late James Gandolfini) actually died or not. Of course, while whether or not Tony died is a natural question to ask, it's also not completely the point of those final moments. They instead tie into the larger themes of the show and of the dangers of the life Tony leads, and that's in part supported by the decision to have Journey playing in the scene.

Related:  The Sopranos: How Christopher Is Related To Tony (He's Not His Nephew)

One of the key refrains in "Don't Stop Believin'" is the line "It goes on and on, and on, and on," , which is repeated several times throughout and feels particularly apt when discussing Tony 's life, and his final scene in particular. It doesn't matter so much whether or not he dies there, perhaps whacked by the guy in the Member's Only jacket, but rather that he will one day be killed. That he's destined to spend the rest of his life looking at who is walking through the door ahead of him, or checking over his shoulder, because that's the life he's chosen and he has painted such a target on his back. In other words, even if he does live, what he's experiencing in those final moments will go on and on, and on, and on.

Of course, it's also possible to interpret the song as a message of hope for the viewers too, or at least those who want to think that Tony wasn't killed . In that case, "Don't Stop Believin'" takes on a more optimistic quality, allowing audiences to keep on believing that Tony survives. That, too, has a meaning both broader and deeper though, especially when applied to the show as a whole. The Sopranos is, at least in part, a dissection of the American Dream, and what that really entails. To not stop believing is a core tenet of said Dream, and so as the show ends - in an episode called "Made In America", no less - then it's one final comment on that, reflecting back upon what the entire run of The Sopranos has been about.

Chase himself has discussed the song choice in a breakdown of The Sopranos finale for the DGA , noting that a key reason for using it was the music, which he shot the scene too, allowing for all those necessary cuts between Tony and the door, and setting the tempo for a scene that, although it should be fairly nondescript (it is, after all, just a family eating at a diner) takes on a suspenseful, purposeful energy and quickening sense of dread. Of the decision to cut out just as the lyric "don't stop" is sung, Chase adds: "The ceiling I was going for at that point, the biggest feeling I was going for, honestly, was don't stop believing. It was very simple and much more on the nose than people think. That's what I wanted people to believe. That life ends and death comes, but don't stop believing." Whether Tony died or not, it's clear from the masterful final moments of The Sopranos , and its use of Journey's "Don't Stop Believin'", that one day he will, but that viewers themselves will never give up believing either.

Next: The Sopranos' Cut To Black Ending Explained

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David chase chose journey for ‘sopranos’ finale because song was hated by crew.

The writer-director dropped by the 'WTF With Marc Maron' podcast to chat about his latest project, 'The Many Saints of Newark.'

By Ryan Parker

Ryan Parker

Former Senior Reporter

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David Chase had three songs in mind that he wanted to use in the final moments of The Sopranos — and he went with the one the crew hated.

While a guest on the WTF With Marc Maron podcast  on Monday, the writer-director talked about his career, which obviously included his legendary HBO series. Having no interest in rehashing what the ending means, Chase did say he had multiple songs in mind for the iconic moment. He would ultimately choose “Don’t Stop Believin’.”

“I didn’t know Journey was the answer,” Chase told Maron of the process. “In preproduction [for the final season], there was going to be a song at the end [Tony] was going to play in the jukebox. I was in the scout van with the department heads … and I had never done this before. I said, ‘Listen, I’m going to talk about three songs that I am thinking about for ending the show.'”

One of the three Chase could not remember, but Al Green’s “Love and Happiness” was in the running, along with “Don’t Stop Believin’,” Chase explained.

And they went, ‘Oh, Jesus Christ, no. Don’t do that! Ugh. Fuck.’ And I said, ‘Well, that’s it. That’s the one,'” Chase said of his reaction to the vitriol directed at Journey. “I wasn’t saying that just to throw it in their face. That was kind of my favorite, and it got a reaction of some kind. So I can make this song loveable, which it had been.”

While talking about the series ending, Chase mentioned that different endings had been shot in order to discourage any leaks, but he did not go into detail about the faux curtain drops.

The Many Saints of Newark , which Chase developed and co-wrote, is due in theaters and on HBO Max on Oct. 1.

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‘Sopranos’ Creator Chose Journey’s ‘Don’t Stop Believin’ for Finale Because His Crew Hated It

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Journey ‘s 1981 rock song “Don’t Stop Believin'” will forever be associated with “ The Sopranos ” series finale, and fans of the HBO series has the crew’s disdain for the single to thank for that. Speaking to Marc Maron on the “WTF” podcast (via The Hollywood Reporter ), “Sopranos” creator David Chase remembered his crew’s hostile reaction to his pitch for Journey’s “Don’t Stop Believin'” to close out the Emmy-winning series. Chase said one crew member told him: “Don’t do that! Ugh. Fuck.”

“I didn’t know Journey was the answer,” Chase told Maron about the process of choosing “The Sopranos” series finale song. “In pre-production [for the final season], there was going to be a song at the end [Tony] was going to play in the jukebox. I was in the scout van with the department heads…and I had never done this before. I said, ‘Listen, I’m going to talk about three songs that I am thinking about for ending the show.’”

Chase previously revealed that Al Green’s “Love and Happiness” was one of the final contenders for “The Sopranos” series finale. The creator opted for Journey because of the passionate response by his crew.

“They went, ‘Oh, Jesus Christ, no. Don’t do that! Ugh. Fuck.’ And I said, ‘Well, that’s it. That’s the one,’” Chase said. “I wasn’t saying that just to throw it in their face. That was kind of my favorite and it got a reaction of some kind. So I can make this song lovable, which it had been.”

The last scene of “The Sopranos” runs nearly five minutes and is scored entirely to “Don’t Stop Believin’.” The music plays as Tony Soprano’s family meets him at a diner for dinner, but other suspicious-looking patrons at the diner may or may not be there to put a hit on Tony. The tension escalated as Tony’s daughter, Meadow, frustratingly tries to park her car outside of the diner. The uplifting Journey track acts as a counterpoint to the drawn out tension onscreen. The song is cut short when the screen cuts to black with Tony’s fate up in the air.

Chase is returning to the world of “The Sopranos” with the upcoming prequel movie “The Many Saints of Newark.” The film launches in theaters and HBO Max on October 1.

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Journey’s ‘Don’t Stop Believin” Wasn’t Lock for ‘Sopranos’ Finale

Journey ’s “Don’t Stop Believin’” soundtracks one of the most infamous scenes in TV history: the ending sequence from  The Sopranos series finale. And according to the HBO crime-drama’s creator, David Chase , it earned that distinction in part because of how much his crew hated it.

“I didn’t know Journey was the answer,” Chase recently recalled on the WTF With Marc Maron podcast, noting he was also considering Al Green ’s “Love and Happiness” and another song he can’t remember. “In preproduction [for the show’s final season], there was going to be a song at the end [that protagonist Tony Soprano] was going to play in the jukebox. I was in the scout van with all the department heads … and I had never done this before. I said, ‘Listen, I’m going to talk about three songs that I am thinking about for ending the show.’”

When Chase brought up Journey’s 1981 hit, his coworkers recoiled with disgust. “And they went, ‘Oh, Jesus Christ, no. Don’t do that! Ugh. Fuck,’” he remembered. “And I said, ‘Well, I guess that’s it. That’s the one.’ I wasn’t saying that just to throw it in their face. That was kind of my favorite, and it got a reaction of some kind. So I can make this song lovable, which it was — it had been.”

Chase, who also said they filmed multiple endings in order to negate leaks, chatted with Maron to promote the upcoming Sopranos prequel The Many Saints of Newark . The film — cowritten by Chase and Lawrence Konner, and directed by Alan Taylor — hits U.S. theaters on Oct. 1, in conjunction with a monthlong release on HBO Max .

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The Sopranos Ending Explained: A Diner, Death, And Don't Stop Believin'

It's been 14 years since HBO's hit series "The Sopranos" ended, and people are still arguing about the last moments of the series finale. Danger surrounds antihero Tony Soprano on all sides; he's a wanted man by both the FBI and the family and crew of his recently departed nemesis, Phil Leotardo. One by one his family members join him for dinner at a local diner, but before daughter Meadow can walk in, the scene cuts dramatically to black. 

People have argued for years over whether or not that meant Tony died, and just recently The Hollywood Reporter declared they finally had the answer. (Spoiler: They didn't, it's the same kind of non-answer showrunner David Chase has been giving for over a decade.)

While the prequel film " The Many Saints of Newark " gave us more insight into the history of the crime family, it didn't give us any answers on what happens down the line. Let's dig into the final episode of "The Sopranos" to dissect one of television's most powerful and divisive endings.  

What's with Paulie and the cat?

Animals are hugely symbolic in "The Sopranos." Tony's ducks represent his loving side, while the bear that stalks outside their home represents the ever-present dangers that surround the family because of their unique lifestyle. The orange cat, however, is of special significance, because high-ranking mob family member Paulie (Tony Sirico) believes the cat is a jinx. The cat sits and stares at a photo of Christopher (Michael Imperioli) after his death, and even after Paulie moves the photo, the cat continues to stare at it. 

Paulie explains his fears to Tony and the other wise guys: "These are snakes with fur. The old Italians'll tell ya, you can't even put 'em around a baby. They suck the breath right out." 

Both Paulie and Tony view the cat as a connection to Christopher, and they both have guilt over how their treatment of him led to his downward spiral and eventual demise. (Tony feels more guilt, obviously, as the one who actually snuffed him out.) While Tony views the cat as a way to show kindness in spite of it all, Paulie sees the feline as a symbol of death. When he sees the cat, he thinks of all of his many sins, and knows the time is coming when he'll have to pay the piper. 

Did Tony die?

This is the big question, isn't it? While Chase said in that THR interview that he imagined Tony dying when he first came up with the scene, he left it open-ended for a reason. Whether or not Tony kicks the bucket in the diner isn't really the important thing to focus on, because the ambiguity is what's terrifying. That ambiguity is what made fans across the country furious when the finale first debuted, and it's why people are still talking about the finale today. 

Tony's death is kind of a Schrödinger's cat situation. It doesn't matter whether he's dead or alive at the end of it, because the pondering is the important part. Like Paulie's many superstitions, the specter of death will always be looming over Tony. People in his line of work don't get to retire and die of old age, they tend to get a bullet in the back or wear a pair of cement shoes and go swimming. Even if he walked out of the diner that night, he would always be looking over his shoulder. Death will always be watching, waiting, and none of Tony's feeble attempts to better himself will prevent that outcome. At some point, Tony has to die, and the diner scene establishes that it could be at almost any time. After all, not seeing your death coming and getting blindsided is a repeat theme in both "The Sopranos" and " The Many Saints of Newark. " Tony's chances of death might be higher now that he's basically started a war with another crime family by killing Leotardo, but the chance was  always there. 

There are a handful of wilder theories out there that claim Tony actually died at other points in the series and the events thereafter are his way of processing his death, but that starts to get a little too " whole universe in a snowglobe " for me. 

Why the cut to black?

"Made in America" hammers in the ambiguity with its infamous cut to black; the screen lingers on a silent void for about 10 seconds before the credits roll. A lot of contemporary viewers were baffled, believing their cable had cut out just before the final shot. It's tempting to think the harsh smash cut to nothingness is a visual metaphor for Tony being suddenly clipped. But again, the whole point of the ending is to make you think about what you just watched, so maintaining ambiguity is key.

No interpretation is truly wrong because the series refuses to state its answer. Tony will die, and it might have been in that diner, but it's just as valid to say it happened later. Critic Matt Zoller Seitz  suggested :

"It could be, as I wrote in my original recap hours after the finale aired, that the character who died there was us, the spectator. We don't get to watch the show anymore. He whacked the viewer."

The cherry on top? Seitz gave this comment in a debate about the cut to black's meaning. It's telling that we, as humans, grasp for conclusions even when denied. After all, the point of the original Schrödinger's cat thought experiment is that its existence is something we simply can't know for sure.

Life rarely gives us the catharsis of a narrative or a tidy ending. Even if we're not in the same line of work as Tony, we never know when we'll die; one wrong step on a random day and that could be lights out. The cut to black and the ambiguity surrounding it captures the fundamental anxiety of being alive.

The lingering threat of the law

Tony doesn't only have to worry about the other mob families coming for him, because the Feds are on his tail, too. After giving up some basic information on a couple of Muslim locals in exchange for the whereabouts of Leotardo, Tony knows there's a good chance there's an indictment coming his way. He's only barely played ball with the FBI, giving them tiny tidbits of information without playing his hand or snitching on any of his own guys. 

Tony's family hated living on the lam while they were hiding from Leotardo's crew, so how are they going to feel if Tony goes to prison? Or worse, if they have to go into witness protection? Could you see Carmela (Edie Falco) living in suburban Ohio with a minivan and a mousy brown bob haircut? No, me either. The Soprano family has gotten used to a life of luxury, and Tony knows that he could lose that at any minute the same way he could lose his life. No amount of therapy could ever help Tony deal with the anxiety of knowing he's pretty doomed, one way or the other. 

What David Chase says

"The Sopranos" creator David Chase loves an anti-climax and the ending feels like another example of that. Instead of Tony dying outright, we only get to partake in paranoia about when he might die.

Chase has been asked ad nauseam about the ending, again showing people won't accept the lack of an answer. One of his earliest responses was published by the local New Jersey newspaper, the Star-Ledger, the day after the finale aired. Chase explained :

"I have no interest in explaining, defending, reinterpreting, or adding to what is there. No one was trying to be audacious, honest to God. We did what we thought we had to do. No one was trying to blow people's minds, or thinking, 'Wow, this'll (tick) them off.' People get the impression that you're trying to [mess] with them and it's not true. You're trying to entertain them."

Interviewed for "The Sopranos: The Complete Book," Chase added it was "pathetic" that people wanted Tony to die after rooting for him for so long. He also noted :

"I must say that even people who liked it misinterpreted it, to a certain extent. This wasn't really about 'leaving the door open.' There was nothing definite about what happened, but there was a clean trend on view — a definite sense of what Tony and Carmela's future looks like. Whether it happened that night or some other night doesn't really matter."

Chase's refusal to divulge anything slowly cracked. In 2008, speaking to Entertainment Weekly , he admitted (after a long pause): "There's more than one way of looking at the ending. That's all I'll say."

In 2019, while speaking to Seitz and Alan Sepinwall for their book "The Sopranos Sessions," Chase referred to an abandoned ending idea as a "death scene" for Tony. The authors clarified in a Reddit AMA that Chase wasn't referring to the final ending with this description.

Were there any alternate endings?

What was the abandoned ending that Chase described in "The Sopranos Sessions"? Tony driving through the Lincoln Tunnel to a meeting with New York mob boss Johnny Sack (Vincent Curatola), with the screen fading to white or black before he arrived. The audience still wouldn't see Tony's brains getting blown out, but the implication would be heavier. After all, in this take, Tony would be going to a meeting with a rival, not having dinner with his family.

That brings us back to that Hollywood Reporter interview , where Chase said this ending would be a reflection of the show's opening credits (Tony driving home to New Jersey from New York):

"At the beginning of every show, he came from New York into New Jersey, and the last scene could be him coming from New Jersey back into New York for a meeting at which he was going to be killed."

This time, he revealed that the final ending came to him by chance:

"I was driving on Ocean Park Boulevard near the airport and I saw a little restaurant. It was kind of like a shack that served breakfast. And for some reason I thought, "Tony should get it in a place like that." Why? I don't know. That was, like, two years before."

Chase still refuses to say one way or another what happened to Tony but he has become less guarded over the years. It seems he's accepted that fans will read too much into anything he says, even if he'd much prefer we take the ending on its own terms.

Don't Stop Believin'?

The ambiguity around whether or not Tony dies in the diner may never be solved (and it honestly probably shouldn't.) There is one burning question left about the "Sopranos" finale, however: why "Don't Stop Believin'"? Clearly Tony wasn't going to get things "Any Way You Want It," but does the Journey song have a hidden meaning for the series?

As it turns out, the "Sopranos" crew just really hated the song, and Chase thought it would be funny to use it. He had a couple of different songs in mind for the final scene, but whenever he told crew members about his Journey pick, their annoyed reactions amused him. Beyond that, it's an ironic song choice given Tony's position; the song is about surviving against the odds, and the odds are not in Tony's favor. When the scene cuts to black and ends immediately after the word "stop," it's a harsh goodbye. After all, in the world of "The Sopranos," you rarely see the end coming. 

Who is 'Members Only' (and did he kill Tony)?

The camera doesn't focus on only the Soprano family during the final scene of "Made in America." There's someone else, a new character we've never seen before (Paolo Colandrea). He's referred to as "Members Only" due to the lettering on his jacket.

Members Only enters the restaurant just before AJ (Robert Iler), takes a seat at the bar, looks over his shoulder, then goes to the bathroom. Some have speculated he's the man who killed Tony; we don't see him leave the bathroom because Tony doesn't notice him before it's too late. Colandrea admits people often ask him if his character killed Tony, but he won't say.

David Chase has said the character refers back to a scene in "The Godfather," where Michael Corleone (Al Pacino) goes to a restaurant bathroom to retrieve a hidden gun and then executes his dining mates with it. But since we don't see Tony's death happen, maybe Members Only isn't a hitman at all. Chase, who says he didn't want the character to look "particularly menacing," indicates his presence is another manifestation of Tony's paranoia: "[Tony] can never be sure that any enemy is completely gone. He always has to have eyes behind his head."

And if Members Only is the guy who killed Tony, who is he? Nobody, and that's the point. "Donnie Brasco" said that mobsters' best friends kill them, but in "The Sopranos," whackings are more ignominious. Phil Leotardo was killed by minor DiMeo Family soldier Walden Belfiore (Frank John Hughes) in a surprise shooting, not by Tony in a blaze of glory. If/when Tony does die, it's likely it'll be at the hands of someone he's never met, whether a made man or just a begrudged relative of the countless people he's hurt or angered over the years.

The improbable story of the Journey classic that keeps coming back to life

From Mafia finales to Arnold Schwarzenegger: the brilliant and often bizarre and afterlife of Journey’s Don't Stop Believin'

When the screen cut abruptly to black and the strains of Journey ’s Don’t Stop Believin’ went silent at the finale of iconic TV show The Sopranos in 2007, it might have symbolised the death of Tony Soprano, but it began a new life for Journey’s enduring classic.

The song’s revival provided an extraordinary new chapter in a fairytale story that began back in 1981 and continues to this day. After its Sopranos -assisted revival, the song became a belated UK Top 10 hit in 2009 (it limped to a paltry No.62 when it was originally released), been streamed almost half a billion times on Spotify and been covered by everyone from Steel Panther to erstwhile teenyboppers Hanson. These days, Don’t Stop Believin’ is a kind of unofficial American national anthem – and it’s thanks in a large part to Tony Soprano. 

“That’s the incredible power of mixing music and images,” explains Gary Calamar, whose job as one of Hollywood’s top music supervisors is to find that perfect mix. “That Sopranos scene was incredible, the final scene of one of the best TV shows ever. There was a huge audience with big expectations for the finale. Plus, the song is a great mix of heavy whack hairband rock with Steve Perry wailing his heartfelt and, dare I say, inspiring lyrics.”

Calamar compares the use of Don’t Stop Believin’ with other memorable scenes involving specific songs: Night Ranger 's Sister Christian in Boogie Nights , Stealers Wheel's Stuck In The Middle With You in Reservoir Dogs , Sia’s Breathe Me in Six Feet Under . “When you have a big music scene like that it has a massive impact,” he says. “It really gets under your skin and sticks with you.”

“I think the song’s continued popularity goes back to its core meaning,” says Kara Wright, the A&R coordinator with publishing company Peer Music. “ Don’t Stop Believin’ carries a timeless message that says don’t stop believing in you – don’t stop believing in the world – don’t stop believing in anything. Life goes on (and on and on) regardless whether you’re a small-town girl, a city boy, the Sopranos or a member of your high-school glee club.”

The public’s insatiable appetite for Don’t Stop Believin’ was underlined just two years after its use on The Sopranos when it featured in the pilot episode of the TV show Glee in May 2009. The cast’s version of Don’t Stop Believin’ topped that of Journey’s original, reaching No.4 in the US Top 100 and echoed the digital download success of the original, going gold in the US with sales of over 500,000. The Glee cast later covered the song again, resulting in combined sales of 973,000 for both versions. It fared equally well in Britain where the Glee cast’s recording debuted at No.5.

To further emphasise the seemingly limitless affection for the song, in addition to its high-profile inclusion on The Sopranos and Glee , versions of Don’t Stop Believin’ have appeared in – deep breath – Family Guy, Scrubs, South Park, My Name Is Earl, Just Shoot Me, Benidorm, Eastenders, TV Burp , countless editions of The X-Factor and American Idol, Swedish Idol, Australian Idol … you get the picture.

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While Don’t Stop Believin’ ’s 2007 inclusion on The Sopranos is considered by many to mark the beginning of its latest wave of popularity, in an article in the LA Times, Journey’s Jonathan Cain – who wrote the song along with Steve Perry and Neal Schon – cited its use in the 1998 Adam Sandler comedy The Wedding Singer as the spark. Though Gary Calamar, who is also a DJ on LA-based radio station KCRW, begs to differ. “For better or worse I don’t think Don’t Stop Believin’ ever went away. I’ve always felt its cheesy presence.”

Ten years later Sandler and Don’t Stop Believin’ were reunited in Bedtime Stories . In the interim it featured in the 2003 drama Monster starring Charlize Theron. The actress, who was also the film’s producer, had been so keen to include the track that she personally wrote a letter to Steve Perry. After viewing the proposed scene, Perry agreed to the song’s use and even became the film’s music consultant.

The song is in the title of the Journey documentary Don’t Stop Believin’: Everyman’s Journey , while other films to feature it include View From The Top, The Comebacks, Cloudy With A Chance Of Meatballs and The Losers .

Gary Calamar, whose list of credits includes House, Dexter and After The Sunset , understands why the song is featured so regularly. “In a way, using these songs is like batting practice for a music supervisor, you know you have a good chance of hitting it out of the park with one of these old power ballads and a big, over the top scene.”

“It’s a feelgood song with a positive message and a memorable melody,” says Kara Wright, “and it’s an anthem that can be accepted and applied to any kind of situation.”

To back her words, scour Spotify and you’ll come across a dizzying list of artists who have covered the track in all manner of styles, from symphonic metallers Northern Kings to dungaree-clad downhome rockers Hayseed Dixie. There are classical versions, bluegrass versions, acapella versions, dance versions and lounge jazz versions. Scour YouTube and you’ll even come across a reggae cover alongside versions by Panic! At The Disco’s Brendan Urie, John Mayer, Stashrip and even audio of a workout set to the tune by none other than Arnold Schwarzenegger.

Don’t Stop Believin’ is a perennial live favourite, and not just for Journey. During its lifespan it’s been covered by an array of artists. Notable among recent live performances was its inclusion on Kanye West’s set list during his 2008 Glow In The Dark tour while a charity event for the Rainforest Fund at Carnegie Hall in May brought together the unlikely combination of Lady Gaga, Bruce Springsteen , Elton John , Sting, Debbie Harry and Shirley Bassey for an encore of the song.

 “I think the revival of Don’t Stop Believin’ can be greatly attributed to the exposure and emphasis that entertainment platforms such as TV, video games and advertising now offer to music – an ideal medium that works well for current and classic titles,” says Kara Wright.

The song’s inspirational message has made it a favourite with sports teams, never with greater impact than with the Chicago White Sox. During the 2005 season the hapless baseball team adopted Don’t Stop Believin’ as their rally cry. The team duly went on to reach the World Series for the first time in 80 years with Steve Perry being invited to attend as they swept the Houston Astros in four games.”

It’s hard to go anywhere these days without being exposed to the song in some form. All across America innocent ‘Stop’ signs have been transformed into Journey tributes with the simple addition of two words.

Wherever you do go, you can even be wearing your Don’t Stop Believin’ knickers or clutching your Don’t Stop Believin’ teddy bear. Its omnipresence is why Kara Wright feels Don’t Stop Believin’ is “at the forefront of other songs decades old being revitalised and reintroduced to popular culture.”

Wright believes the song’s success paved the way for others. Absolutely, given the digital revolution and multimedia phenomenon, I think it’s an extraordinary time for classic rock songs to find new leases on life. In this way, long-forgotten music will continue to be revived as younger audiences gain new found appreciation for rock history. The universe of catalogues yet to be unleashed is thrilling.”

And what of the men who wrote it? Unsurprisingly, the song closes every Journey show these days, though given its popularity, it would probably induce riots if it didn’t.

Former singer Steve Perry has a more complicated relationship with song. The only times Perry has sung onstage since he stepped away from music in 1995 came when he made guest appearances at three shows with the band Eels in 2014. And while he did sing Journey songs with the group, Don’t Stop Believin’ wasn’t one of them.

The original version of this article appeared in Classic Rock issue 153

Kevin Murphy is a writer, journalist and presenter who's written for the Daily Telegraph, Independent On Sunday, Sounds, Record Mirror, Kerrang!, Metal Hammer, Noise, Select and Event. He's also written about film for Empire, Total Film and Directors Guild of America Magazine.

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