Tom DeLonge is an American musician turned public figure in the UFO/UAP field. Born December 13, 1975, in Poway, California, he first gained prominence as co-founder, co-lead vocalist, and guitarist of Blink-182 during its early years, through its mainstream successes, and following reunions. Separately, he formed Angels & Airwaves in 2005, pursuing expansive, atmospheric rock and multimedia storytelling. Alongside his music, DeLonge has authored books, directed films, and launched business ventures spanning fashion and creative-tech.

What distinguishes him today in the UAP community is his role as founder of To The Stars Inc., a company combining entertainment, science, and aerospace with the aim of exploring unidentified aerial phenomena.

DeLonge’s interest in UFOs predates his company; songs like “Aliens Exist” (from Blink-182’s 1999 album Enema of the State) reflected long-held fascination. That fascination evolved into institutional claims when To The Stars, co-founded in 2017 with figures such as Harold E. Puthoff and Jim Semivan, presented itself as a bridge between government sources, scientists, and public disclosure. The organization has released books, film and television projects (for example Unidentified: Inside America’s UFO Investigation), and asserts involvement in the 2017 leaks of three U.S. military videos—known as FLIR, GIMBAL, GOFAST—that show aerial objects of uncertain origin.

These leaked videos were later officially released by the Department of Defense, validating they were not fabricated.

DeLonge’s claims span a mix of public records, attributed testimonies, and more speculative statements. He has alleged that To The Stars possesses non-terrestrial metamaterials—materials claimed to have unusual structural and compositional properties unlike known terrestrial or military applications. Investigations of these materials have been described by the company as ongoing and with varying quality of chain-of-custody documentation. Whether these materials will yield scientifically demonstrable anomalies remains unresolved.

Additionally, DeLonge has spoken (in interviews and company statements) about connections with government officials, intelligence operatives, and whistleblower-style disclosures. Some steps (video releases, public statements) have been corroborated; others (alleged telekinesis, alien agendas) are far more speculative and widely challenged.

Financial and organizational challenges have also shaped how his work is seen. To The Stars has been criticized for its economic structure: it launched with ambitious fundraising goals (including a Regulation A+ offering aiming at tens of millions of dollars), yet experienced low uptake and substantial deficits early on. Such financial strains have raised questions in scientific and journalistic circles about sustainability and potential overpromising. Some researchers applaud that DeLonge has helped de-stigmatize UAP discussion, pushing the issue into official government channels; others caution that much of what is presented remains anecdotal or lacks reproducible evidence.

DeLonge matters in the disclosure space because he occupies a rare crossover role. His background in popular culture gives him media access; his claimed relationships with former intelligence and aerospace insiders give his statements more perceived weight than many fringe theorists. He actively promotes the idea that UAPs (or UFOs) are not just mysteries but possibly transformative technologies, with potential impacts on security, science, and society. Whether or not all of his assertions hold up under scientific scrutiny, his influence has shifted what conversations about UAPs look like in the U.S.—from ridicule toward greater institutional investigation and public awareness.