I had a chat with singer-songwriter I’MMORTAL about her new single, "UNCANNY VALLEY," which was released on February 14, 2025. Photo courtesy of Stefy Lin. How did you come up with the title, "Uncanny Valley"? I’MMORTAL: I actually learned about the AI term "Uncanny Valley" first, and instantly decided to make a song with that as a title. What was the songwriting process like? I’MMORTAL: The songwriting process was so much fun! It’s not a very personal song and was more of a fun experiment, so writing was easy and smooth. How long was the process in creating the song from start to finish? I’MMORTAL: The whole process took about a year. I wrote the song in about a month, and it was kind of just sitting in my hard drive for a few months. I always hit a wall at the bridge, so it was just a bridge-less song. Then, I got the inspiration to finish it a few months later. Do you have a favorite moment from making the song? I’MMORTAL: My favorite moment was recording the vocal layers for the second pre-chorus. Those weird robot layers were unplanned and happened in the moment. I love spontaneous ideas that work out like this! Did you face any challenges while creating the song? I’MMORTAL: Yes, I always have issues when I hit the bridge of a song. I like songs that evolve and change, so it’s important to me that something new happens. Especially with this song, I wanted it to shape-shift a little at the bridge. I have so many versions of "Uncanny Valley" with different bridges for this track. Can you describe the song using three words? I’MMORTAL: Shapeshifting, glitchy, and eerie. What was the process like for creating the cover art? I’MMORTAL: Honestly, I had this whole set planned out for the cover art that I eventually used for press photos. However, the photo we ended up using was just a headshot with a black background. I had a little vote amongst the photo team, and some close friends, and the headshot came out on top. The styling was definitely out there, and the special effects makeup was really creepy and grotesque, but it’s so me and it emits the eerie "Uncanny Valley" feeling. Are you currently working on any new music? I’MMORTAL: Yes, I am working on so much music. It’s more in the trance/acid-pop realm. I work alone currently (I would love to work with other producers!!) so my songs always take ages to finish. Listen to ‘UNCANNY VALLEY’ HERE Follow I'MMORTAL on her socials: Instagram | Facebook | Soundcloud | Youtube | Spotify

March 13, 2025 — Burton Cummings Theatre, Winnipeg, Manitoba, Canada On a chilly March evening, the legendary Burton Cummings Theatre warmed up with the unmistakable sound of Johnny Cash — as performed by one of the world’s most respected tribute artists, Shawn Barker. Making his long-awaited Winnipeg debut, Barker’s The Man in Black: A Tribute to Johnny Cash  was nothing short of a masterclass in musical storytelling and authenticity. Before even strumming his first chord, Barker had the crowd in the palm of his hand, his rich baritone voice and vintage stage presence immediately conjuring the spirit of Cash. Starting with "The Wreck of The Old '97," the show’s first half delivered hit after hit with classics like "Big River," "Folsom Prison Blues," and "I Walk the Line," each met with roaring applause and foot-stomping energy. Barker’s band played tight and true, and the chemistry between them added to the transportive magic of the night. Barker’s conversational banter between songs made the night feel intimate. He spoke warmly about bringing this show across North America and his excitement about playing Winnipeg for the first time — even promising to return next year. Judging by the audience's reaction, that return can’t come soon enough. Photos by Samuel Stevens Photography. After a well-deserved twenty-minute intermission, the second half took some creative and unexpected turns. It opened with a rousing "Riders in the Sky" before diving into the playful "One Piece at a Time" and the iconic "Man in Black." But what truly set Barker’s performance apart was his willingness to lean into the later years of Cash’s career. His cover of "Rusty Cage" (originally by Soundgarden) mixed with a surprise mashup of Alice In Chains’ "Man In The Box" was a bold, thrilling highlight. And he didn’t stop there — Cash’s famed interpretations of "Personal Jesus" and "Hurt" were performed with raw emotion, showcasing Barker’s deep understanding of Cash’s gravitas and vulnerability. In a heartfelt moment, Barker’s rendition of "Sunday Mornin’ Coming Down" paid beautiful homage to Kris Kristofferson, followed by an unexpected but crowd-pleasing cover of Elton John’s "Tiny Dancer." The show continued its spiritual crescendo with "Will the Circle Be Unbroken?" and the whirlwind energy of "I’ve Been Everywhere." Of course, no tribute would be complete without "Ring of Fire," which had the entire theatre singing along. And just when the crowd thought the night was over, Barker returned for an encore with "Cocaine Blues" — a fiery finale that left the room buzzing long after the last note rang out. For his first time in Winnipeg, Shawn Barker delivered not just a tribute, but a full-bodied celebration of Johnny Cash’s timeless legacy. From the early Sun Records hits to the darker, introspective American Recordings era, Barker honoured every chapter with heart and authenticity as pure as he could. If his promise to return next year holds true, Winnipeg will surely welcome him back with open arms.

Nashville singer-songwriter Bo Staloch recently released his new EP, The Garden , on March 14, 2025. The EP consists of a six-song tracklist and features his singles, “Give It A Break" and “The Garden.” Can you share what headspace you were in when creating “The Garden” and “Give It a Break”? Bo: I started “Give It A Break" on my last tour last fall. I write subconsciously, I never sit down and think I'm gonna write a song about this, it just kind of comes out. Subconsciously I was definitely thinking about a relationship I had gotten out of. That mixed with the blend of the energy surrounding me of the tour and all these live shows and being with the band. All of a sudden, the second half of “Give It A Break" is this huge release of energy. I sing in the song that I'll be fine and it's a declaration of one day I'll be fine. “The Garden” was the first song that I made and wrote for this project. I started writing it in our family home in Minnesota. I was surrounded by family. My manager and his daughter were there. One morning I was sitting on the piano and we were all playing with his daughter. In the original demo, she's playing in the background and you can hear her laughing behind me singing. I think the inspiration for that song came from being surrounded by family. It's about my future children and letting go of fear for them. Have there been any lessons you’ve learned over the last year that have influenced your growth as an artist? Bo: For sure, I think the main thing that I've learned about life in general is that if something feels right then it's probably right. Whether that's in songwriting, or if you want to add a piano to a song you should probably add the piano. Or with decision - making, friends or relationships. If something feels wrong or you're hesitating about something. There's a reason it feels that way and you should listen to yourself. Most of the time you're right. I've definitely found that. I feel so lucky that I've trusted myself and trusted the way I feel about things because it's gotten me this far which is pretty crazy. What elements of the creative process have you learned to prioritize as you’ve grown as an artist? Bo: I think really leaning into the trust you have for yourself and your artistry is super important. A Lot of times writers get writer's block, if you learn to trust yourself and whatever you're writing about is what you're supposed to be writing about. That's so important, you go into a session and you're writing a pop song then write the pop song. It clears up space for you to write whatever. Leaning into yourself and who you are because that's most important. When you’re writing, do you have a certain setting or visual in mind for your songs? Bo: We’ve been trying to find a symbol for my music and my project. It took me a while to think about. My dad is from Minnesota and he grew up on a farm there. We would visit the farm and at the front there is this huge willow tree. I remember playing in the willow tree and losing myself but also finding myself and it was this special awesome thing. I think whenever I write a song, subconsciously I try to recreate that feeling of being in the willow tree. What was the process like for creating the cover art for "Give it A Break"? Bo: We have an awesome team at Capitol Records. I’ve gotten close with the creative director of our team. It took a lot of brainstorming and different ideas. The shot of my face on the cover art is from a picture we took in this beautiful home in Laurel Canyon in LA. I think that shot set the tone for the song and we had some awesome designers help with the editing and other components to the cover art. It all stems from that Laurel Canyon picture and how we were supposed to fit that into the cover art. What’s your favorite part of performing live, and how do you connect with your audience during shows? Bo: The act of actualizing the songs and having it be tangible. It feels so much more personal. Seeing people's live reactions to my music, whether that's opening for another band and hearing my music for the first time. Or coming to the show for me. It's just the coolest thing ever and I feel like the luckiest thing ever that I get to do that. My favorite thing about playing live music is creating that feeling for people. Something that they will remember and creating a moment for someone. I don’t know how I got lucky to do that. Also sharing the stage with my best friends and just having fun is a blast. Throughout your career has there been a live performance that stands out as especially meaningful or unforgettable? What made it so special? Bo: I had a headline show in Dublin, Ireland last summer and that was really crazy to me. Just the fact that there were people coming there for me across the world was crazy and something I didn't expect to happen. I hadn’t released a song in a year. It was a crazy moment and I'll always remember that. I played that show with one of my best buddies and to share the stage with him and live that moment was awesome. You are about to embark on The Trilogy Tour with Ashe this spring, which will be the first time you’re touring after releasing The Garden EP. What can fans expect from your performance? Bo: I hope they expect fun and kind of similar to the EP. The live set is really unique and diverse. It goes through ups and downs energy-wise and song-wise. I think me and the band do a cool rendition of all the songs live that kind of adds to it. I enjoy our set and live sound as much or more than the recorded stuff. Being in the room with them and doing these songs live is such a cool and special thing, I think it sounds awesome. I'm pumped for everyone to hear it. Your newest single, “The Garden” is a vulnerable and heartfelt declaration of love and the importance of family. What inspired you to make this song the title of the EP? Bo: I think a few reasons, the fact that it was the first song that truly felt like me. That was super important to me. The fact that a garden is a tangible thing and is something you can place yourself in while listening to the EP. That's a really cool thing. Also family is a really important thing to me and to have this song that is strictly about family and love for family and future kids. It’s very powerful to be the main thing and the title of the EP, it's special to me. What can fans expect from the EP, and what do you hope they take away when they listen? Bo: I think people can expect a pretty vulnerable and emotional piece of writing and music. All these songs come from a real and deep place from me. Everything was super intentional whether that was the drum sounds, just everything had so much intention behind it. It really feels like a part of me. People can expect a bunch of emotions and I want people to be able to listen and feel whatever you need to feel and be whoever you need to be while listening. Place yourself in the garden, whatever the garden means to you. Listen to “The Garden” HERE See Bo on Tour: HERE Follow Bo on his socials: Instagram | TikTok

On a chilly Monday night in Winnipeg, the Club Regent Event Centre was transformed into an intimate haven for rock fans as Theory of a Deadman brought their Unplugged Canadian Tour  to town. With stripped-back arrangements, candid storytelling, and a few unexpected surprises, the night was a memorable showcase of musicianship and hometown pride. Before Theory of a Deadman took the stage, the audience was treated to a stunning opening set from The Tea Party  frontman, Jeff Martin. Performing solo, with just a mic, stomp pad, and his trusty twelve-string guitar, Martin captivated the crowd with his signature rich baritone and masterful guitar work. Jeff Martin. Photos by Samuel Stevens Photography His setlist was a journey through both nostalgia and artistry, beginning with "Coming Home" and "The Grand Bazaar." He weaved in "Winter Solstice" and a heartfelt rendition of Daniel Lanois’ "The Messenger," which drew a hushed reverence from the audience. One of the most stirring moments came during his solo song "The Kingdom," where he seamlessly intertwined John Lennon’s "Imagine" into the bridge — a poignant reminder of music’s power to unite. He closed his set with a mesmerizing medley of "Zahira," "Halcyon Days," and "Sister Awake," reminding everyone why he remains one of Canada’s most cherished voices. Then came the main event. Theory of a Deadman, fronted by Tyler Connolly, took the stage to enthusiastic cheers. Right from the opening notes of "Gentleman," it was clear the band was here to have fun and deliver a show that felt equal parts rock concert and basement jam session — an ode to the band's earilest roots. The band’s playful energy was contagious, especially on tracks like "Lowlife" and "Blow," where Connolly’s storytelling and dry humour shone between songs. One of the night’s most unique moments came when the band broke into a spirited jam of "Dueling Banjos" — something nobody saw coming but everyone enjoyed. Winnipeg’s local flair was honoured with a special performance of "Livin’ My Life Like a Country Song," featuring Manitoba’s very own country artist Kendra Kay, who joined the band onstage and absolutely owned the moment, drawing loud cheers from her hometown crowd. Theory of a Deadman. Photos by Samuel Stevens Photography Slower moments like "All or Nothing" and "Santa Monica" provided perfect opportunities for singalongs, with the audience’s voices rising to meet the band’s. Theory also paid tribute to their rock influences with a beautifully executed cover of Alice in Chains’ "Got Me Wrong," reminding us of the band’s grunge roots and versatility. Just when you thought things couldn’t get more fun, "Bitch Came Back" took on new life with a playful medley that included snippets of Journey's "Don’t Stop Believin’" and Van Halen’s "Jump" — it was a party, plain and simple. For the encore, the band leaned into their Canadian roots with a soulful and reverent cover of Leonard Cohen’s "Hallelujah," sending chills through the entire sold-out room. Then came "Rx (Medicate)," elevated with fun interludes of Guns N Roses "Paradise City," Pantera's "Walk," and Blur's "Song 2" — blurring genre lines and showing off the band’s playful confidence. They closed the night with the fiery "Bad Girlfriend," sending everyone home with smiles and hoarse voices. All in all, Theory of a Deadman’s Unplugged show was more than just an acoustic set; it was a celebration of connection — between bandmates, special guests, and a crowd eager to laugh, sing, and reminisce. With moments both tender and rowdy, and a spotlight on Canadian talent, Winnipeg got exactly what it hoped for: a night to remember.

March 7, 2025 – The Park Theatre, Winnipeg, Manitoba, Canada Jully Black’s long-awaited return to the Canadian touring circuit after seventeen years was nothing short of spectacular. The Songs & Stories Tour, featuring the electrifying R&B/funk band Melafrique as the opening act, turned The Park Theatre into a soulful sanctuary filled with passion, power, and pure musical joy. Kicking off the night, Melafrique delivered an impressive performance that showcased their signature blend of R&B, funk, and soul. The band’s rich instrumentation, tight grooves, and smooth harmonies quickly won over the audience. Their setlist included an array of infectious originals alongside some classic covers, demonstrating their versatility and undeniable stage presence. By the time they wrapped up their set, the crowd was more than ready for the night’s main event. Melafrique. Photos by Samuel Stevens Photography As the lights dimmed and the first notes of "Made A Way" echoed through the venue, the anticipation was palpable. Jully Black emerged, exuding confidence and charisma, setting the tone for an unforgettable night. Dividing her performance into distinct thematic sections, she took the audience on an emotional and musical journey spanning the depth of her career. Opening with "Made A Way," Jully immediately captivated the crowd with her powerhouse vocals and commanding presence. The energy only escalated as she launched into "Queen," "Foo Foo Gyal," and "Mi Nah Fraid," blending reggae and R&B influences effortlessly. This opening act served as a powerful reminder of why she remains a force in Canadian music. Transitioning into her second set, Jully brought the dance vibes with hits like "Running," "Recalculate," and "DJ Play My Song." The infectious beats had the audience moving, while "Never Lost My Sight" and "Sweat" infused a mix of introspection and fiery energy. Jully’s synergy with her band was impeccable, each note and rhythm executed flawlessly. The third segment of the show dialled up the sultry vibes. Dubbed the "Sexy" set, it featured emotionally charged and seductive performances of "Imaginary Love," "Half Empty," "Until I Stay," and "Fever." The dimmed lighting and sultry instrumentation made this section particularly mesmerizing, showcasing Jully’s ability to balance strength and vulnerability in her artistry. Following a brief intermission, the show’s tone shifted to a more intimate atmosphere with an acoustic set. Stripped down and raw, "I Travelled" and "Just A Moment" allowed Jully’s storytelling prowess to take center stage, highlighting the emotional depth of her lyrics. These moments felt personal and profound as if she was sharing pieces of her soul with each note. Jully Black. Photos by Samuel Stevens Photography Emerging in a new outfit, Jully launched into Bob Marley’s "Redemption Song," a tribute that resonated deeply with the audience. The empowering "Glass Ceiling" followed, before she closed the night with her timeless hit, "Seven Day Fool." The entire sold-out venue erupted in cheers and applause as she delivered the final notes, solidifying the evening as a triumphant celebration of her return to the Canadian stage. Jully Black’s Songs & Stories Tour stop in Winnipeg was a masterclass in live performance. From high-energy anthems to intimate acoustic moments, she showcased every facet of her artistry. The night was not just about music—it was a shared experience of resilience, empowerment, and joy. With Melafrique setting the stage and Jully Black delivering an unforgettable performance, this concert was undoubtedly one for the books.

How would you describe your music to any person who may have never heard it before? Mitch: The bulk of my music is a mix of Southern blues and Australian folk. I often perform live as a one-man band, playing vocals, multiple guitars, harmonica, kick and snare drums, and tambourine. What’s the significance of your musical moniker? M: Well, my name is Mitchell King, but I went with Mitch King because it flows better and is easier for people to remember. What are your musical influences? M:  My music draws influence from artists like the John Mayer Blues Trio and Kim Churchill. Growing up, I was drawn to legendary guitarists like Stevie Ray Vaughan, Santana, and Jimi Hendrix, among others. What are your musical inspirations? M:  I’ve been busking since I was 15, and it became both my life and my way of making a living. I’m fortunate enough to have turned music into a career. It doesn’t feel like too much work because I love it. The freedom music has given me keeps me inspired to keep writing and recording. A lot of my songs are inspired by nature, personal experiences and realisations. If given the chance, what musician or musicians would you like to collaborate with? M:  Right off the top of my head, collaborating with John Mayer would be an amazing experience. What’s your new song about? M:  “Keep the Flame” explores the mindset needed to stay resilient during tough times. What feels painful now could ultimately serve a greater purpose. I wrote the song inspired by the thought, "All it takes is just one flame to light the dark," and built the idea from there. What’s something you hope people take away from "Keep the Flame"? M:  If my new song can add value to people’s lives and bring them pleasure, then that is my goal fulfilled. It's often amusing how people perceive my songs and lyrics differently as the music can be left to the listeners interpretation. Do you have any favorite songs to perform live? It could be your own music or even a cover. Any reason why? M:  "Coming Back" and "Southerly Change" are two of my favourite original songs to perform. They’re upbeat and usually get the crowd moving. I’ve played them hundreds of times now, and they’ve become muscle memory. There’s a special energy in these songs when I perform them live. If you could perform a show this very second anywhere in the world, where would it be? Is there any particular venue(s) or city/cities that come to mind? M:  The first place that comes to mind is the Red Rocks Music Festival in the U.S. It just seems like an amazing venue. I’d love to perform all around the world, though – there are so many places I’d love to play. What do you currently have planned for the remainder of the year? M:  It's going to be a busy 2025!  I’ve got an Australian tour lined up to support the "Keep the Flame" release.  Then, I'll be releasing a new single mid-year, followed by a final single/album expected for release in late 2025. Thanks for the time today, Mitch. Is there anything else you’d like to add before you go? M:  I hope people get to hear my new song "Keep the Flame" and enjoy it. Follow Mitch King on his socials: facebook.com/mitchkingmusic Instagram.com/mitchkingmusic youtube.com/mitchkingmusic twitter.com/mitchkingmusic

“OVER AND OVER” — STREAM | WATCH SOPHOMORE ALBUM GROWING PAINS OUT ON APRIL 11 — PRE-SAVE HEADLINE NORTH AMERICAN TOUR KICKING OFF SOON + DATES WITH LAKE STREET DIVE ANNOUNCED — SEE ALL DATES HERE Trousdale, Los Angeles’ most heavenly harmonic trio, today release their album’s next single, “ Over And Over .” Upbeat and cathartic, the track ushers in the upcoming warm months of a summer of independence. Banding together to power through the tough phases of healing after a breakup, Quinn D’Andrea, Georgia Greene and Lauren Jones anthemically affirm that they don’t need to hear how much better their ex is doing — Stream .  “As soon as John Mark Nelson brought this song idea to us, we knew it was special,” shares Georgia Greene. “There’s never a good time to run into your ex , and it’s even worse when they’re bragging about how well they’re doing now. It’s a gut punch to hear the ‘good news’ because you can’t help but wonder, ‘are they doing so well now that they’re without me?’ We were thrilled that John Mark invited us to finish writing about that universally unsavory experience.”  In today’s official video , Trousdale is playing satirical versions of their exes, invading their privacy and disturbing their peace. Referential to Taylor Swift’s “You Belong With Me” video, the trio can’t seem to get a moment alone to heal when their past keeps creeping in — Watch .  With their talent shining through the brightest live, Trousdale have also announced their upcoming headline Growing Pains tour . Beginning in Philadelphia at the end of April, the 28-date run will come to a close with a massive hometown show in Los Angeles on June 21. The tour will feature a collaborative opening set from Beane and Nia Ashleigh .  Following the devastation of the wildfires in Trousdale’s home city, the band is partnering with The Ally Coalition on behalf of The California Community Foundation’s Wildfire Recovery Fund . $1 from each ticket will support both mid-term and long-term efforts to rebuild and restore the lives of California’s most affected and underserved populations.  The artist presale and VIP packages go on sale today at 10am local. The Troufriends VIP Meet & Greet Experience will include an exclusive pre-show meet and greet, acoustic performance, a signed zine, limited edition merch, and more. General on-sale for all tickets will open at 10am local on Friday, January 17. See all tour dates here and below.  UPCOMING GROWING PAINS TOUR DATES: April 30 - Philadelphia, PA - Foundry* May 1 - Carrboro, NC - Cat’s Cradle* May 2 - Atlanta, GA - Smith’s* May 3 - Nashville, TN - Basement East* May 5 - Madison, WI - High Noon Saloon* May 6 - Minneapolis, MN - Fine Line* May 8 - Chicago, IL - Thalia Hall* May 9 - Detroit, MI - El Club* May 10 - Toronto, ON - Velvet Underground* May 11 - Montreal, QC - Petit Campus* May 13 - Boston, MA - Sinclair* May 15 - Richmond, VA - Broadberry* May 16 - Washington, DC - 9:30 Club* May 17 - New York, NY - Irving Plaza* May 29 - Dallas, TX - Sons of Hermann Hall* May 30 - Houston, TX - White Oak (Upstairs)* May 31 - Austin, TX - 3TEN ACL Live* June 3 - Phoenix, AZ - Valley Bar* June 4 - San Diego, CA - Quartyard* June 11 - Denver, CO - Bluebird* June 12 - Salt Lake City, UT - Soundwell* June 13 - Boise, ID - Shrine* June 14 - Portland, OR - Mission Theater* June 16 - Vancouver, BC - The Pearl* June 17 - Seattle, WA - Neumos* June 19 - San Francisco, CA - Chapel* June 20 - Healdsburg, CA - Little Saint* June 21 - Los Angeles, CA - El Rey Theatre* *with a collaborative opening set from Beane and Nia Ashleigh All tour info here ! Trousdale’s upcoming second LP was primarily recorded live in the room and co-produced by the band and John Mark Nelson. With co-writing talent lent to them from Mags Duval, John Mark Nelson, and Lawrence Rothman, the trio utilized a live rhythm section on this record, resulting in a more cohesive and tighter sound than they’ve ever had before. Across 12 remarkable and relatable tracks, Growing Pains points a finger at the weight of life and offers a light at the end of the tunnel. So far, Trousdale has released “Want Me Back” and title track “Growing Pains.” A new sense of delight has surrounded the band as listeners have been treated to defiant, empowering anthems across the spectrum of genres. The album will arrive in full on April 11 via Independent Co. — Pre-Save. Last year, Trousdale released Out of My Mind Deluxe while touring extensively across North America. Highlights include sold-out headline dates, supporting The Teskey Brothers , Glen Hansard and Lake Street Dive , and festival performances at Bonnaroo , Green River Festival and Whale Jam . Trousdale also released an Audiotree live session and contributed to NOISE FOR NOW’s Songs For Sex , a benefit compilation album in support of sexual and reproductive rights alongside  Jason Isbell and the 400 Unit , Andrew Bird and more.  ABOUT TROUSDALE: For Trousdale—the trio of Quinn D’Andrea, Georgia Greene, and Lauren Jones—the ache of growing through change, of facing down existential anxiety, and matters of the heart are all intimately familiar. “We can acknowledge the strides we’ve made and be grateful, but we’ve talked a lot about how tired we are,” Jones says with a laugh. “We’ve been thinking a lot about the tension that comes with change, wanting it, fighting it, embracing it, but learning to thrive in that moment.” On Trousdale’s upcoming LP, Growing Pains (due April 11th), the band works through those struggles to find strength, courage, and growth in each other. “From what was, something new can always grow,” D’Andrea says. The album was recorded largely live in the room and co-produced by the band and John Mark Nelson, a songwriter who has also co-written and produced songs for Suki Waterhouse and Shaboozey, as well as engineered tracks for the likes of Taylor Swift and Mitski. While working with co-writers like Mags Duval and Adam Yaron expanded the band’s purview, the trio credit John Mark Nelson as a particularly powerful guide. “He’s always thinking about the big picture and staying out of the weeds,” Jones laughs. “We used to live in the weeds. But John Mark helped us focus on the album as a whole.”  Trousdale’s debut album, 2023’s Out of My Mind , earned raves from the likes of the Boston Globe, Consequence, and Atwood Magazine for its powerful songwriting, immaculate harmonies, and ability to bridge gaps between country and indie pop. On Growing Pains , the three songwriters evolved their style, writing rough ideas on their own, then refining and finishing them in the room together. “ We’re all adding to each other’s ideas, drawing from personal experiences and then expanding them into something more people can connect with,” D’Andrea explains. As good as Trousdale sounds when they lean into their gold-hued pop, the group work their country flair into the material more masterfully than ever before. Across 12 remarkable tracks, Growing Pains stares down all the weight of its title, a trio of strong, independent women facing the threats of loneliness, broken hearts, loss, and more, and converting it into transformative, uplifting music. “It's a reminder that even in the coldest moments, renewal is always possible,” D’Andrea explains.  Check out more from Trousdale: Website | Instagram | TikTok | YouTube | Spotify | Apple Music

Winnipeg’s self-proclaimed nerdiest rock band, Colour By Numbers, embarks on an ambitious journey with Thaddeus Vol. 1 , set for release on March 8, 2025, the first installment in a rock opera trilogy that follows the trials and tribulations of its titular character. With a narrative centered around Thaddeus, a punk rocker striving for stardom while navigating personal and band conflicts, the EP fuses storytelling with an expansive musical palette, making for an engaging and unpredictable listening experience. From the opening track, "Thaddeus," Colour By Numbers sets the stage with an anthemic rock introduction that encapsulates the protagonist's drive and ambitions. The band’s knack for melody shines through in "Starry Night," a track that blends alt-rock sensibilities with a dreamy, almost nostalgic atmosphere chock-full of keys and synths. Meanwhile, the EP's third track, "Human Centipede," shifts gears into a grittier, more raucous punk sound, injecting energy and chaos into the narrative. One of the most intriguing aspects of Thaddeus Vol. 1  is the band's willingness to step outside their traditional four-piece rock setup. Experimenting with synths, drum machines, and layered arrangements, they add depth to their compositions, enhancing the theatrical nature of the record. "I Have A Table" offers a playful, quirky, punk-laden interlude that showcases the band’s humour and penchant for offbeat lyricism, while "Live For The Moment" soars with its '80s-inspired vibrant instrumentation and emotionally charged delivery. The EP closes with "Fade Out," a reflective and moody piece that leaves listeners eager for the next volume in the trilogy. Recorded at Winnipeg’s No Fun Club with Aaron Bartel (Apollo Suns) and Rob Hill, the EP boasts a polished yet dynamic production. Bartel’s contributions, including mixing duties and saxophone flourishes, enrich the album’s sonic layers, while guest vocals from fellow Winnipegger Flora Luna, add an ethereal touch to select tracks. Overall, Thaddeus Vol. 1  is an impressive start to Colour By Numbers’ ambitious rock opera. It not only highlights the band’s evolution but also their ability to weave compelling narratives through a diverse range of musical styles. Whether you’re a fan of straight-up rock, piano-driven ballads, or high-energy punk, this EP has something to offer. With Thaddeus Vol. 2  and Thaddeus Vol. 3 on the horizon, Colour By Numbers has successfully piqued interest in what’s to come next for their protagonist—and their sound. Check out more from Colour By Numbers: Website   | Facebook | Instagram | YouTube

Listen to “Too High To Cut My Hair” HERE Watch the “Too High To Cut My Hair” Music Video HERE Today, Little Feat – criminally underrated pioneering rock band, who blend genres from blues to country, and some of the most skilled musicians of all time and architects of the Americana sound – announced they are back with a dynamic new album, Strike Up The Band, set for release May 9 via Hot Tomato. Today, they released their new single, “Too High To Cut My Hair,” and a hilarious music video which stars Lilly Winwood as an inebriated hairdresser who tries and fails to cut the hair of each band member. The single and video was premiered by PASTE MAGAZINE who stated, “the guys sound as good as ever, cutting a funk track with the fire of a wicked blues tempo.” The single is a trademark Feat funk-fueled jam, written by Fred Tacket and featuring Sam Clayton’s classic low C growl, is the perfect reintroduction to a band who are back to their very best. Band leader Bill Payne says of the song, “ Fred Tackett shines all over this record, as he always does, but in particular in his writing. “Too High To Cut My Hair” is based on a true story where he and his wife Patricia were in a hotel room in New Orleans. Fred had asked for a trim, but decided that she was too high to cut his hair. And then he thought, “oh my god, what a title!” People love the humor in our records, a cherished entree to those when they find it. So I'm happy this song displays that humor, and in full. It's also got the classic Sam Clayton doing his, three octaves below middle C voice in there - Too High To Cut My Hair! Everyone that has heard it has said, “That’s a Little Feat song”, and I know what they mean! ” From the very first note of Strike Up The Band , you will hear Little Feat–who have been rocking and rolling since 1969– mean business. Songs like “4 Days Of Heaven, 3 Days Of Work,” “Shipwrecks,” “Midnight Flight,” and “Bluegrass Pines (feat. Molly Tuttle, Larry Campbell & Teresa Williams)” are as dexterous, considered, and creative as any song in the Little Feat canon to date.  Their lyrics are inventive, transportive, abstract and emotive in their pursuit of celebrating the good times and holding you close in the bad. Guitars scream and slide, pianos rock and boogie, drums shuffle you down the road in the way that only Little Feat can. This is the album Little Feat fans have been waiting for and is an undeniable statement from a band who in many ways are just getting started in their 56th year.    Little Feat built a cult following in the late 60s and 70s for their pioneering gumbo of New Orleans rhythm-and-blues, country, hard-rock, funk and jazz. Celebrated as a key influence by icons from Bonnie Raitt to The Rolling Stones, yet commercial success remained at arms length. Songs like “Dixie Chicken,” “Spanish Moon,” “Fat Man in the Bathtub,” and “Rock and Roll Doctor” are legends in the rock and roll songbook. They have released a total of 16 studio albums and 10 live albums to date. Through the ups and downs, love and loss, the lineup shifts, and endless touring they have remained together and the closest of friends.  Their wilderness years, when the band were on periods of hiatus, are worth noting. A band who as individual musicians have collaborated with a laundry list of legends including Bob Dylan, Boz Scaggs,  J. J. Cale, Buddy Guy, Jimmy Buffett, Doobie Brothers, Emmylou Harris, Bryan Adams, Pink Floyd, Bob Seger, Toto, Linda Ronstadt, Jackson Browne, Carly Simon, James Taylor, Stevie Nicks, Robert Palmer, Bob Weir, Mick Fleetwood, Phil Lesh - you name a musician from the classic rock era, they have likely played with them!  Their elastic line up has included the late great Lowell George, founding drummer, Richie Hayward,  and guitarist Paul Barrere, and to this day features founding member Bill Payne on keys, alongside the classic line up of Fred Tackett on guitars/vocals, Kenny Gradney on bass, and Sam Clayton on percussion/vocals. They recently enlisted younger members Scott Sharrard on lead/vocal and Tony Leone on drums/vox which reinvigorated their creative spirits and live show.  Together with producer Vance Powell (Phish, Chris Stapleton, Jack White), and collaborators including Blackberry Smoke’s Charlie Starr and Grateful Dead lyricist Robert Hunter, they created their new album, Strike Up The Band, destined to be considered their later year magnum opus.  “‘Strike Up The Band’ really began in the winter of 2019 when I was subbing for Paul Barrere, and he passed away on the day of that first show, ” said Scott Sharrard, “ continuing through the pandemic shut down (and a lot of practicing and songwriting during that time), to our return to the road in 2021. Then on to our recording field trip to Memphis that resulted in the Grammy-nominated blues album of classic blues covers 'Sam's Place’. That one gave us all the chance to tighten up as a band and re-visit the Rosetta Stone of rock and roll, The Blues. We have paid a lot of dues to get here, and all roads have led us to this new album. ”  “ When discussing the album with the band and where it sits in our canon ,” said Bill Payne “ our predecessor to this record in my mind was ‘Let It Roll.’ We are in a similar position to introduce Little Feat once again with this new collection of songs. It is my feeling that, from what we had been playing over the last few years, there’s no question the overwhelming majority of fans would accept the album for what it is: an unmistakable iteration of Little Feat that highlights, with great songs and musicianship, the very best of an ongoing legacy, expressly evoking and expanding upon what people think of when they hear Little Feat.” With a GRAMMY nomination for their recent album Sam’s Place , a newly announced national tour and much more in the works, Little Feat are not weathered statues in the hall of rock fame. They remain the collective and creative force they have always been. As they sang in 77’, “ Time Loves A Hero” , and believe with Strike Up The Band , the mainstream recognition that has eluded Little Feat all these years, is now firmly in their grasp.  “ In the end, Little Feat is a sound and a feeling, you know it when you hear it, ” said Scott Sharrard, adding, “ We humbly offer you 'Strike up the band' Little Feat's new album of 13 original songs. Turn it up and let it roll.”   TRACK LIST:  4 Days of Heaven, 3 Days of Work   Bayou Mama   Shipwrecks   Midnight Flight   Too High To Cut My Hair   When Hearts Fall   Strike Up The Band (feat. Larkin Poe)   Bluegrass Pines (feat. Molly Tuttle, Larry Campbell & Teresa Williams)   Disappearing Ink   Love and Life (Never Fear)   Dance a Little   Running Out of Time with the Blues   New Orleans Cries When She Sings TOUR DATES: May 5 Mon - Rutland, VT - Paramount Theatre * May 6 Tue - Medford, MA - Chevalier Theatre * May 8 Thu - Port Chester, NY - The Capitol Theatre * May 9 Fri - Montclair, NJ - Wellmont Theater * May 10 Sat - Ithaca, NY - State Theatre * May 12 Mon - Akron, OH - Goodyear Theater * May 13 Tue - Shipshewana, IN - Blue Gate Performing Arts Center * May 15 Thu - Nashville, IN - Brown County Music Center * May 16 Fri - Davenport, IA - Capitol Theatre * May 17 Sat - Des Plaines, IL - Rivers Casino Des Plaines * May 19 Mon - Peoria, IL - Prairie Home Alliance Theater * May 23 Fri - Chandler, AZ - Gila River Resorts & Casinos Wild Horse Pass * Jun 13 Fri - Santa Cruz, CA - Rio Theatre * Jun 14 Sat - Napa, CA - Blue Note Napa Summer Sessions at Meritage Resort* Jun 15 Sun - Reno, NV - Grand Theatre at Grand Sierra Resort * Jun 18 Wed - Eugene, OR - McDonald Theatre * Jun 19 Thu - Boise, ID - The Egyptian Theatre * Jun 21 Sat - Airway Heights, WA - Spokane Live at the Spokane Tribe Resort & Casino # Jun 22 Sun - Redmond, VA - Marymoor Live # Jun 24 Tue - Bonner, MT - Kettlehouse Amphitheater # Jun 25 Wed - Pocatello, ID - Portneuf Health Trust Amphitheatre # Jun 26 Thu - Salt Lake City, UT - Red Butte Garden Jun 28 Sat - Winter Park, CO - Blues From The Top Aug 29-31 - Charlestown, RI - Rhythm & Roots 2025 Sep 15-21 - Ketchikan, AK - Keeping the Blues Alive at Sea - Alaska 2025 Oct 14 Tue - Birmingham, AL - Alabama Theatre * Oct 15 Wed - Franklin, TN - Firstbank Amphitheater < Oct 17 Fri - Raleigh, NC - Red Hat Amphitheater < Oct 18 Sat - Charlotte, NC - PNC Music Pavilion < Oct 19 Sun - Atlanta, GA - Atlanta Symphony Hall * Oct 21 Tue - Richmond, VA - Allianz Amphitheater at Riverfront < Oct 22 Wed - Wilmington, NC - Live Oak Bank Pavilion at Riverfront Park < Oct 24 Fri - Baltimore, MD - The Lyric Baltimore * Oct 25 Sat - Huntington, NY - The Paramount * Oct 26 Sun - Red Bank, NJ - Count Basie Center for the Arts * 2026 Jan 11-18 - Fort Lauderdale, FL - Sandy Beaches Cruise 2026 Jan 18-25 - Fort Lauderdale, FL - The Big Easy Cruise 2026 * Strike Up The Band Tour # Little Feat & Nitty Gritty Band: Dirty Feat Tour < With Tedeschi Trucks Band (Live in 25 Tour)

March 6, 2025 Sidestage Photos by Samuel Stevens Photography

Listen to “Aiming At My Head” HERE   Watch the music video HERE The newest and soon to be biggest name in indie rock Sawyer Hill has released brand new track “Aiming At My Head” in advance of his upcoming Heartbreak Hysteria out on April 18th via Sawyer Hill/(dis)harmony under license to AWAL Recordings, Inc- Presave HERE .  The EP is an intimate journey through Sawyer’s inner self - exploring the highs and lows, heartbreak and anxiety of young life and a unique amalgamation of alternative, rock and timeless post punk. Earlier today, American Songwriter published their exclusive interview with Sawyer discussing the new song and upcoming EP release, and described the track as, “a blistering, punk rock anthem with indie undertones [featuring] poignant lyrics sung in Hill’s commanding voice.”    “Aiming At My Head,” with its pounding drums and crunchy rock guitars, showcases Sawyer’s knack for biting, melancholic and introspective lyrics, sung with a mesmerizing and distinct baritone that is Sawyer’s alone.  On the new track, Sawyer said “‘Aiming At My Head” is a fuck you letter to friends you let you down. The people who will act completely indifferent to your face, but then go behind your back and tear you down.”  The new song follows Sawyer’s release of 2024’s “High On My Lows,” “For The Hell Of It,” and “Need Me Now” all of which will be included on his upcoming EP Heartbreak Hysteria. The new music was produced by Chris Greatti (Willow, Yungblud, MGK, Poppy) and Suzy Shinn (Fall Out Boy, Panic! At The Disco, 5 Seconds of Summer) and the EP will feature new to be released songs including “Aiming At My Head.”  American Songwriter discussed the story behind Sawyer's new single, which explored “recent estrangement” from a former best friend and previous musician he worked with. Talking exclusively with American Songwriter , Sawyer said “It was really hard to deal with that.” Adding it is “so much like being in a relationship, but there’s no songs for this sort of friend breakup.”   American Songwriter also discussed Sawyer's incredible journey from Arkansas garage band to the international stage. American Songwriter stated, “ spending the last decade making music in a garage and playing gigs at local bars, sometimes performing four hours away for just ten people. Though he’s about to embark on a headline tour, where he’ll play for much larger crowds than that, Hill said he does music not for recognition, but “for the love of the game. ”” Reflecting on his upcoming 32-city run, making stops at some of the country's iconic venues including Los Angeles’ Troubadour on March 29th, New York’s Bowery Ballroom on April 26th, and Nashville’s Exit/In on May 2nd , Sawyer said to American Songwriter , “ When I was growing up, I went to all these basement shows. There was this huge DIY scene here Fayetteville, Arkansas.” Sawyer added, “ It was really cool. I saw all of these great shows . That’s kind of the spirit that I wanna bring to everywhere around the country. That same intimate rock show energy that I feel like is kind of missing from rock as a genre these days .” Fans can purchase tickets at www.sawyerhillmusic.com . On what to expect from the EP, American Songwriter says Sawyer “toes the line anywhere from hard rock to alt-indie rock” as he tries “ to make music that is somewhat emotionally significant for people .” Sawyer grew up in a very religious Pentecostal Church household, convincing his parents at 14 years old parents signed a notarized affidavit that allowed him to play in bars & clubs - so long as he was playing music and not drinking. Parents placated, he held down a medical tech day job (until he was fired for posting his music on his social media), and performed for a better part of a decade in dive bars and local haunts of greater Northwest Arkansas, until his 2022 released song “Look at the Time” exploded when a live clip was posted online. The grungy rock hymn was written years earlier.  A song which friends would beg him to perform at Lunchapalooza - a lunchtime music jam at his high school. The song moved his sister to tears while she was listening to him sing it in the bedroom next door. A song destined to become a smash hit.  Early in 2024 the song launched him into the stratosphere, when it topped Spotify’s Viral 50 chart in the US, hit 65 million views and 120 million video views.  The catalyst kicked off a new music career- 10 years in the making. Going from playing local shows to his first ever U.S. headline tour which sold over 15,000 tickets, as well as sold out dates in Europe and highly praised performances at Bonnaroo, Austin City Limits and Reeperbahm in Germany.  Sawyer Hill 2025 North American Tour:  March 21st - Dallas, TX - Dada Dallas March 22nd - Austin, TX - Antone’s March 23rd - Houston, TX - The Heights Theater March 26th - Phoenix, AZ  - Crescent Ballroom March 28th - San Diego, CA - Quartyard March 29th - West Hollywood, CA - Troubadour  March 30th - Berkeley, CA - Cornerstone Craft Beer & Live Music  April 1st - Portland, OR - Hawthorne Theatre April 2nd - Seattle, WA - The Crocodile April 4th - Salt Lake City, UT - Soundwell April 6th - Denver, CO - Bluebird Theater  April 8th - Minneapolis, MN - Fine Line  April 9th - Chicago, IL - Bottom Lounge April 15th - Indianapolis, IN - Old National Centre April 16th - Cleveland, OH - Beachland Ballroom & Tavern  April 18th - Ferndale, MI - The Magic Bag  April 19th - Toronto, ON - The Garrison  April 22nd - Cambridge, MA - The Sinclair April 23rd - Philadelphia, PA - The Foundry At The Fillmore Philadelphia April 24th - Washington, DC - The Atlantis  April 26th - New York, NY - Bowery Ballroom  April 27th - Asbury Park, NJ - House of Independents April 28th  - Carrboro, NC - Cat’s Cradle April 30th - Charlotte, NC - Amos’ Southend  May 1st  - Atlanta, GA - The Loft  May 2nd  - Nashville, TN - Exit/In May 3rd - Fayetteville, AR - George’s Majestic Lounge  Jun 7-9 - Herzberg, Germany - PFINGSTROCK Open Air  Jun 12 - Hradec Kralove, Czechia - Rock For People 2025  Jun 13 - Nickelsdorf, Austria - Nova Rock 2025 Jun 20 - Landgraad, Netherlands - Pinkpop 2025 Jul 6 - Werchter, Belgium - Rock Werchter 2025 Find out more from Sawyer Hill: Website | Instagram | TikTok | Facebook | YouTube

Los Angeles-based pop-rock duo Senses returns with their electrifying new EP, i'm still breathing , which is out March 14, 2025, via Hopeless Records. It's a bold and emotionally charged collection that solidifies their place in the modern emo landscape. Hot off a whirlwind year of relentless touring alongside artists like Charlotte Sands and Boys Like Girls, lead vocalist and guitarist Madison Taylor and drummer Nick Sampson have fine-tuned their sound into an explosive blend of unfiltered emotion, infectious hooks, and anthemic choruses. i'm still breathing  captures their raw intensity and lyrical vulnerability, offering a compelling reflection on resilience, self-discovery, and personal battles fought in the face of adversity. Opening the EP with "diamonds on your dagger," the track takes Senses into new sonic territory, fusing pulsating energy with a darkly poetic lyricism. "diamonds on your dagger" explores the beauty found in hardship, embracing the concept that pain can lead to strength. With its sharp, punchy instrumentation and Taylor’s gripping vocal delivery, the song carries an almost cinematic feel—haunting and exhilarating but endlessly catchy. Arguably one of the most poignant songs on the EP, "stabilizer" tackles the highs and lows of mental health with raw honesty. Using the metaphor of a mood stabilizer, Senses crafts a song that resonates deeply with those navigating emotional turmoil. The chorus swells with anthemic urgency, mirroring the ongoing fight to find balance in a chaotic world. It’s a perfect example of the band’s ability to blend personal storytelling with arena-sized hooks. Taking a slightly moodier approach, "Pull Me Under" leans into atmospheric but punchy verses before exploding into a powerhouse chorus. The song delves into themes of feeling overwhelmed and seeking escape, yet ultimately finding the strength to push forward. This one is bound to be a fan favourite in a live setting, as its dynamic build-up makes for a euphoric crowd moment. With a rush of high-energy guitars and Taylor’s signature soaring vocals, "every little thing" immediately sets the tone. The track balances its biting honesty with an undeniably catchy melody, channeling the frustration of wanting control over life’s constant unpredictability. It’s a quintessential Senses anthem: emotionally charged, rhythmically dynamic, and impossible not to sing along to. With a pounding beat and a grittier, almost softer, pop-punk edge, "me against me" dives into the internal struggle of self-doubt and personal demons. The lyrics paint a portrait of a relentless inner battle, with Taylor’s voice carrying both the weight of self-inflicted pressure and the defiance to overcome it. Sampson’s drumming provides a driving force, making this track a standout for fans craving cathartic intensity. Closing out the EP with an adrenaline-fueled declaration of triumph, "nosebleeds" serves as an anthem for underdogs and dreamers alike. The song pulsates with defiance, addressing the frustration of being underestimated while celebrating the sweet taste of proving doubters wrong. It’s an empowering and raucous finale, leaving listeners with a sense of exhilaration and victory. With i'm still breathing , Senses delivers an unfiltered, high-energy EP that encapsulates the emotional rollercoaster of self-discovery and resilience. Each song brims with a potent mix of angst and hope, proving once again why the band has rapidly ascended in the alternative scene. Madison Taylor’s powerhouse vocals and Nick Sampson’s hard-hitting percussion provide a formidable foundation for their dynamic sound, while the deeply personal lyrics forge an undeniable connection with listeners. As Senses continues to carve their place in the genre, i'm still breathing  serves as a testament to their evolution and their unwavering dedication to crafting music that resonates. Whether you’re screaming along in your car, finding solace in the lyrics, or witnessing their electrifying live performances, this EP is a must-listen for fans of emotionally driven, anthemic rock. One thing’s for sure: Senses aren’t just still breathing—they’re thriving. Find out more from Senses: Website | Spotify |  Instagram  |  Facebook | TikTok  | YouTube

Slayer with special guests Lamb of God, Anthrax, Behemoth, and Testament. May 22, 2018 Bell MTS Place Although this show may have begun earlier than most shows tend to, the early start time didn't prevent fans from filling the venue as the thrash metal band, Testament, hit the stage. Testament recently stated in an interview that this Slayer farewell tour is going to act as the band's last run to support their 2016 released album, Brotherhood of the Snake, before starting work on their next full-length album. Having a discography spanning thirty-five years, the band performed songs from throughout their catalogue including " Brotherhood of the Snake ," " Practice What You Preach ," " Into The Pit ," and a few more songs. Second to the stage was Behemoth, the blackened death metal band hailing out of Gdańsk, Poland. At first, it did not seem that the vocalist and guitarist, Nergal, was very impressed by the energy given from the Winnipeg audience. But, as the show went on, the crowd became more and more energetic with each song. Behemoth started their set off strong with their songs, "Ov Fire and the Void," "Demigod," and "Ora Pro Nobis Lucifer," and ending their performance with, "O Father O Satan O Sun!" Following Behemoth was Slayer's "Big Four" brethren, Anthrax. On the heels of the band's newly released two-hour live DVD, Kings Among Scotland , which was released last month on April 27, Anthrax came to have another great time with the famously known Winnipeg crowd. Anthrax was just in Winnipeg this past February at the Burton Cummings Theatre with Killswitch Engage and Havok on The Killthrax Tour. Anthrax performed all their gems, starting huge with "Caught in a Mosh," which got the Winnipeg crowd riled up right off the bat. Some other songs performed were "I Am The Law," "Indians," and the Joe Jackson cover, "Got the Time." Before the band made their way off stage, they continued to get the Winnipeg audience to sing the Canadian national anthem, O Canada, just as they did the last time they were here in Winnipeg. The second last was the heavy metal/metalcore band Lamb of God. This marked the band's second time back in Winnipeg since the unfortunate event in 2010 -resulting in the arrest and jail time of vocalist Randy Blythe in Prague in June 2012, which led to the band’s North American tour being cancelled. It's been two years since their performance at the Burton Cummings Theatre with Clutch and Corrosion of Conformity in June 2016. Lamb of God just released their brand new cover album, Legion: XX , just last Friday, May 18. Legion: XX was released under their old moniker Burn The Priest to mark the band's twentieth anniversary. The band performed a variety of music from their catalogue with such songs as, " Omerta ," "Ruin, " " Walk With Me in Hell ," " 512, " " Laid to Rest, " " Redneck, " and more. It’s no secret vocalist Randy Blythe is friends with Winnipeg’s own Chris Jericho. So a shout-out from the band before, " Walk With Me in Hell " made crystal clear sense occurring sometime during the band's time on stage. Photos by Samuel Stevens Photography. The final band of the night is the one act everyone came to see one final time in Winnipeg, Manitoba, Canada. As a band for three years shy of four decades, as well being part of the thrash metal, "Big Four" alongside Metallica, Megadeth, and Anthrax, and touring the globe countless times over the years, the band has come to terms to retire with one colossal final world tour. "Slaaaaaayer!" rang throughout Bell MTS Place as "Delusions of Savior" was played over the tape. As soon as the curtain dropped, Slayer went right into the songs, "Repentless ," " Blood Red, " and " Disciple." Performing a hefty nineteen-song farewell set spanning their entire career, the fans were in for quite the treat. Slayer sure wanted to go out with a bang, assembling a powerful lineup of bands for their final world tour and a hell of a setlist to tie it all together. The band performed all the fan favourites including, " Hate Worldwide ," " War Ensemble ," " Black Magic ," and " Seasons in the Abyss , " and ended the set strong with songs, " South of Heaven," " Raining Blood," " Chemical Warfare ," and the appropriately titled, " Angel of Death."

JENNIE’s long-awaited debut studio album, Ruby , marks a bold new chapter in her already illustrious career. Released on March 7, 2025, via ODDATELIER and Columbia Records, Ruby  is a fifteen-track sonic journey that showcases JENNIE’s evolution as an artist beyond her BLACKPINK roots. With a blend of pop, R&B, hip-hop, and electronic influences, the album is a testament to her artistic versatility, cementing her as a global force in the music industry. The debut album, inspired by Shakespeare’s As You Like It , presents itself as a musical theater piece, unfolding in acts that explore themes of love, self-discovery, and resilience. The opening track, “Intro: Jane,” featuring the multi-instrumentalist FKJ, sets the stage with dreamy instrumentals and an ethereal vocal delivery, drawing listeners into JENNIE’s world. JENNIE wastes no time in asserting her dominance with “like JENNIE,” a track that radiates confidence and unapologetic self-expression. She follows this with “start a war,” an emotionally charged anthem about fighting for a loved one. One of the album’s standout collaborations is “Handlebars,” featuring Dua Lipa, a sultry yet powerful track that blends seductive melodies with razor-sharp lyrics. Another highlight on the album is the track “ExtraL,” featuring Grammy-award winning rapper Doechii, which turns up the heat with a fierce rap exchange that showcases both artists’ undeniable chemistry. While JENNIE embraces her bold and sassy persona, while conveying important messages of inpowerment in tracks like “Mantra” and “Damn Right,” featuring artists Childish Gambino and Kali Uchis, she also delves into more deeply personal themes. “Love Hangover,” featuring Dominic Fike, is a raw and emotionally intense exploration of a toxic yet addictive relationship. Fike’s melancholic delivery complements JENNIE’s hauntingly vulnerable vocals, making it one of the most poignant moments on the whole album. JENNIE takes a playful approach with the track “with the IE (way up),” which cleverly samples Jennifer Lopez’s 2002 hit song "Jenny From The Block." It's when she transitions to the hypnotic track “ZEN,” a song that blends minimalist production with meditative lyricism, that she embodies the album’s overarching themes of self-reflection and personal rebirth together. Tracks like “F.T.S.” and “Filter” see JENNIE experimenting with even more different sounds, seamlessly fusing electronic beats with her signature vocal delivery. The album rounds out with “Seoul City," a track that acts as an ode to her hometown, and the shimmering and cinematic “Starlight,” which captures the essence of reaching for the stars while staying grounded. The album's closing track, "twin," which acts as the album's sole balla d , ends the album off with JENNIE expressing feelings of regret and nostalgia —a poignant end to Ruby . Ruby  is more than just an album—it’s a statement. JENNIE has proven that she is not just a performer but an artist with a clear vision and an unwavering sense of self. By blending theatrical storytelling with genre-spanning soundscapes, she creates an album that is both deeply personal and universally relatable. Whether she’s delivering powerhouse anthems or intimate ballads, JENNIE commands attention at every turn. With Ruby , she has not only stepped into her own but also set a new standard for what it means to be a global pop powerhouse. Find out more from JENNIE: Instagram  | TikTok  | YouTube  | X

Listen to “Smoker” HERE Watch Music Video  HERE Jack Van Cleaf announced the release of “Smoker,” his grungy folk-rock single, and the official music video directed by Sam Lindsey. “Smoker” is featured on his forthcoming sophomore album, JVC , released May 9 via Dualtone Records. Planting its flag halfway between the worlds of indie rock and Gen Z folk, it asks big questions about identity, home, and adulthood. The album is the culmination of a journey that began during his teenage years. " This album is all about the vertigo of growing up, It's about re-defining and re-understanding yourself. " Jack has also announced a spring tour kicking off April 3 through May 21 with stops including New York, Nashville, Chicago, Austin, and more; plus, support by special guests Ethansroom and Emma Ogier. Tickets for New York are on sale now and shows during May 11-21 go on sale Friday, March 7 at 10am local. For more info, visit https://www.jackvancleaf.com/#tour .    On the Baerd-produced track specifically, Jack stated, “ Smoking is something I’ve put down and taken breaks from but come back to fairly consistently since I was sixteen. I remember having this conversation with a co-worker and realizing one day “Oh, I’m a ‘smoker.’” It made me think about what I would’ve thought of myself as a little kid, because “smokers” scared me back then. The term felt foreign to me. The first image in the song looks at teenagers standing around a grocery store parking lot; I imagine them smoking cigarettes; they have tattoos and pierced ears, any of these things that apply to me now. The song is cataloging all the life you’ve lived in a way, some of which you might not be the most proud of — reckoning who you are now with who you were as a kid and who you thought you’d be when you grew up — recognizing the differences — wondering what needs to change .” Years after penning his first song as a high school freshman in San Diego, Jack headed east to Nashville, where he studied songwriting at Belmont University and released his debut album, Fruit from the Trees , after graduation. Jack experienced unprecedented early industry debut album buzz, drawing the attention of the likes of Noah Kahan, opening for him on Jack's first ever major US tour, as well as touring with artists from Briston Maroney to Madi Diaz. When his single “Rattlesnake” landed him a spot on Spotify's 2024 Best New Artist List with tastemaker playlist "juniper," it drew over 13 million streams, and one fan in particular, Zach Bryan, became a major champion of Jack, covering the track on his social media.  This unexpected success induced an intense period of self-doubt in Jack, " I was shell-shocked," he remembers. "I'd spent my whole life being told what to do every single day, and I always dreamed about growing up to be my own boss. Then graduation came, and I got what I wanted… but I realized I had no idea how to function on a day-to-day basis. " He regrouped and retreated to his songwriting and found solace in creating music in far-flung locations like Joshua Tree and the Texas/Mexico border, where he and producer Alberto Sewald (Katy Kirby, Sierra Hull) created this remarkable body of work. Those geographic choices were deliberate, their landscapes evoking the spiritual barrenness of Jack's lyrics. "I felt like I was staring into an emotional desert when I wrote these songs, experiencing this feeling of desolation around me and looking for little signs of life," he explains.  Alongside all-star collaborations with established stars like Zach Bryan and Gatlin — who features on seize-the-day anthem "Teenage Vampire" — the album also features his closest friends, Austin Burns, Ethan Fortenberry, Hunt Pennington, Adam Carpenter, Nathan Cimino, and Aaron Krak - plus Annika Bennett and Heaven Schmitt (aka Grumpy) who contribute background vocals - whom he met during his time at Belmont University and remain part of his closest creative circle.  Previously, Jack’s confessional and cathartic folk songs have garnered comparison to sparse verses of Nathaniel Rateliff and Gregory Alan Isakov and the directness of Kris Kristofferson and Leonard Cohen. On JVC , Jack takes another approach, focusing on blurring the dividing lines between acoustic singer-songwriter and electrified indie music. The result is an expansive sound, sparse one minute and grungy the next, dreamt up by an artist who's never been afraid to write songs that shine a light on his own challenges.  A sharply-written record that measures the long, winding road from past to present, deftly capturing the vertigo of early adulthood, drawing on his own struggles with his post-college success and disorientation that followed.  Songs like "Green" is a climate-conscious song whose indie rock pop hooks heighten the song's activist bite and moody acoustic rocker "Shouldn't Have Gone to L.A." find Jack in transit, caught between locations without a clear anchor. His songs draw on deeply personal experiences including a constant evolving approach to religion and the emotional gravity of young adulthood to its full. Jack recently released a new version of single "Rattlesnake," a reimagination of his own viral hit featuring a new duet with friend and fan Zach Bryan. It also featured every musician who had appeared on the song’s first recording, a group composed of Jack’s best friends from college. Setting up shop at Electric Lady Studios, they recorded the heart of the new production live, leaning into instinct and inspiration as Zach and Jack traded off lines in the spur of the moment while co-producer Eddie Spear captured their camaraderie. Listen to single HERE . Watch music video directed by Ivey Redding HERE On the track, Jack stated, " Zach started sharing the song on social media, then eventually sent me a DM that said, 'If you ever want to record a version of this with me, I’m in!'" Jack remembers, adding "Zach really inspired me in the studio. I was moved by his dedication to the moment and capturing something alive, rather than painstakingly pursuing perfection with endless takes. ” Zach Bryan stated on Instagram, “ To become the best of friends with people through music in the city. Think that may be the point of all this. Jack & me re-recorded one of the best written songs of all time (jack is a genius) and hope u guys listen to it. ” With JVC , Jack Van Cleaf turns personal experience into something universal: a soundtrack to the years we all spend in existential free-fall, and while he finds gravity in the chaos, he has also made an album set to establish him as one of the biggest breakout singer-songwriters of his generation. JVC TRACKLIST: Off to the Races Piñata Still Rattlesnake (feat. Zach Bryan) Using You Go Home, Danny Shouldn’t Have Gone to L.A. Thinkin’ About It Green Teenage Vampire (feat. Gatlin) Smoker Hikikomori Couch Potato Life Follow Jack on his socials: Instagram: https://www.instagram.com/jackvancleaf/ Facebook: https://www.facebook.com/jackvancleaf4/ YouTube: https://www.youtube.com/@jackvancleaf TikTok: https://www.tiktok.com/@jackvancleaf?lang=en Bandcamp: https://jackvancleaf.bandcamp.com/ X: https://x.com/CleafJack

More about the podcast: The Music Storm Podcast is an interview podcast about getting to know people within the music industry. From musicians, photographers, venue hosts, and even lighting and sound techs, you name it, they may appear. This podcast will be very diverse and asking people what they think the music industry will become, where it’s heading to, and so much more. You can find the podcast wherever you listen to podcasts HERE .

Watch Now Here Tickets On Sale Now for Spring Tour with Youth Fountain Alternative band Good Terms has debuted a brand new cover of Blondie’s “ Call Me ”. Their explosive version of the iconic track was crafted as part of Musora’s On The Spot Series , in which artists are brought into the studio and given a surprise song to reimagine in their own style. Watch as Good Terms works out their version of “Call Me” here: https://youtu.be/2H6BVOsXQJY . Fans can also stream the cover, which is now out via Secret Friends Music Group , here: https://orcd.co/goodtermscallme . Furthermore, all Bandcamp proceeds from the song will be donated to vocalist Brian McShea and fiancée Stephanie Raynor’s GoFundMe , started after the couple lost their home in the California wildfires. Their story has since captured national attention , providing hope and inspiration amidst the terrible tragedies. “ My favorite part of how this cover turned out was the process! It was so different for us; usually songs take over a year to be completed, and we almost never arrange things all together in a room with our instruments. It was a great feeling to start with an already-written song and just work out what we thought would be fun to play (and easy enough to arrange and remember well enough to play live in just one session) ,” shares vocalist/guitarist Brian McShea. “ Moments like Geo and I working out the screaming and Zach writing a breakdown by himself while we all muted him until he was ready to show us usually happen over the course of many months, and to have them happen simultaneously was such an easy care-free feeling. If I had to pick an actual moment of the arrangement as my favorite, it would definitely be the second pre-chorus, where Geo and I trade screams over solo drums with some big chord stabs. It’s so hardcore and fun to perform.   Adds guitarist Zach Boucher : “ Honestly, going into this experience was a little terrifying for me. I love the jam and collaborative live arranging, and I have done that more with the other guys in the room (in different bands/scenarios) than I have with most other people in my life, but Good Terms as a band had never done something like this together before. Going into this, I felt a pressure to deliver something 'Good Terms' with a process totally foreign to us, but the result was ultimately the furthest thing from my fears. Getting a result that is decidedly 'Good Terms' has only ever been achieved by me being able to sit alone with a song on my computer and write, re-write, tinker, etc. for as long as I felt necessary, but this arrangement we created together is actually one of the most genuinely 'Good Terms' sounding things we’ve ever made. Musora created the most comfortable and seamless environment for us to be creative in. The pressure and the deadline were extremely freeing, we knew we had to end the day with something finished that kicked ass and we did just that. Because of this experience, we’ve already discussed ways that we’d like to incorporate this type of workflow into our creative process for new songs. It makes me feel a little silly that we haven’t been doing this together since day one. ”   Musora Content Director Ron Jackson also expressed his excitement at working with Good Terms: “ I’ve been a fan of Good Terms for a while because they bring the full package—tight chemistry, strong communication, and a deep understanding of music. They grasp what it means to be a band today, from the humor to the hustle of self-promotion on social media. They’re natural on camera, and I knew their intensity would do well with our audience. I couldn’t be more excited for this episode—it’s going to be an absolute banger!” Good Terms recently announced that they would be supporting Youth Fountain on the band’s spring headline tour, kicking off on May 28th . Tickets are on sale now and available at https://goodtermsband.com/tour .   About Good Terms: Good Terms are back with a new album Burnout , it is the sound of a band dismantling any preconception of who they are and what they sound like, putting every musical option back on the table and diving headfirst into every unorthodox influence. Good Terms formulated 12 songs that are completely unique from each other and then sowed every piece back together into one cohesive work with multiple intertwining lyrical themes of identity, alienation, and perspective. Burnout is anxious, hopeful, confused, angsty, longing, joyous, loving, regretful, pissed, wistful, sincere, and cathartic. It juxtaposes moments that feel like the sonic recreation of the dread meme with others that feel like the triumphant ending scene of The Land Before Time. This album will have you simultaneously clearing your sinuses from extreme levels of stank face, dusting off your old air guitar, wanting to do spin kicks in your living room, reconnecting with your younger self, and wishing that you took an extra bite of your crazy aunt’s special brownie. It’s mosh-ready, 420-friendly, and hell yeah brother approved.   Burnout is supported with nearly half their album spinning on stations as SiriusXM Faction Punk and idobi Radio on rotation and North American tours including a recent sold out direct support tour with  Hawthorne Heights  and west coast tour with  Driveways  earlier this month. The album began to take shape when the song " Cough " took a viral whirlwind leap in July 2024 and has soared as the band's go-to jam. You can find Burnout in vinyl shops as Banquet Records, Rough Trade (EU/UK), Amoeba Records, Fingerprints Records , and many more.   “Burnout is the most stupidly ambitious thing that I’ve ever tried to create. We didn’t know exactly what kind of band we wanted to be going into this, we just knew we wanted to be ‘us,’ and the pursuit of that was not easy. We tried to eliminate any notion of “we can’t do that” and just ask ourselves “why not?” at every creative impasse. The album is called Burnout mostly because of the intersection of all the lyrical themes, but it’s also because after producing this album and pouring over every single note and transient, this album has genuinely taken everything out of me. We made 12 songs that we didn’t know how to make going in, and we did it all completely by ourselves. Every single song was written, performed, produced, and mixed by members of Good Terms. The back and forth nearly broke us many times, but I think the end result is something undeniably singular. I am so damn proud of what my friends and I created together here.“  - producer and guitarist of Good Terms -  Zach Boucher Good Terms is: Brian McShea - Lead Vocals & Guitar Zach Boucher - Guitar & Vocals Ivan Barry - Guitar & Vocals Geo Botelho - Bass & Vocals Brendan McCusker - Drums Find out more from Good Terms: www.goodtermsband.com www.facebook.com/GoodTerms69 www.instagram.com/goodtermsband www.x.com/goodtermsband www.youtube.com/@goodterms www.tiktok.com/@goodterms

Canadian singer-songwriter Alex Runions returns with his third studio album, Above the Clouds and On the Ground , which will be self-released on March 7, 2025. A departure from his earlier commercial country sound, this record showcases a more eclectic, introspective approach that blends Americana, folk-rock, and country influences. Recorded and produced by WCMA winner Chris Burke-Gaffney (MacKenzie Porter, Chantal Kreviazuk) at nB Studios just outside of Winnipeg in East St. Paul , Runions' third album feels like an honest reflection of his personal growth and life experiences. From the first note, Above the Clouds and On the Ground  signals a shift in Runions' artistic identity. Stripping away the gloss of mainstream country, he embraces a raw, heartfelt singer-songwriter style that prioritizes storytelling and authenticity over radio-friendly polish. Runions himself describes the album as a deeply personal project, allowing him to create music that resonates with his true self rather than fitting into a specific industry mold. The album’s ten tracks weave through themes of love, loss, nostalgia, and redemption. "On An Island" sets the tone with a melancholic reflection on emotional distance, while "Day by Day" offers an intimate glimpse into the struggles of overcoming addiction. "Tell 'Em All" stands out as an anthem of moving forward, while the album's anthemic lead single "Missing Piece" delivers a touching ode to finding one’s perfect match. However, the album isn’t without its lighter moments—"Watching the World Go By" revels in youthful nostalgia and how fast life flies by, and the infectious tune "Our Backyard" celebrates the simple joys of living in the moment. But Runions doesn't shy away from heavier themes, either. This is where the album takes a bit of a darker turn with "Agreeable Grey," which explores the slow fading of passion, and the album's penultimate track, "A Song for My Dog," tugs hard at the heartstrings with its tribute to a beloved pet of Runions. The closing track, "Settling Up," which conveys a strong sense of sadness and reflection, leaves listeners on a note of redemption and newfound purpose. Above the Clouds and On the Ground  is a testament to Alex Runions’ evolution as an artist. While his past accolades—including a Top 50 Canadian radio hit, multiple SCMA Awards, and performances at many high-profile events around Canada and America—cemented his place in the Canadian country music scene, this album sees him stepping into a more vulnerable, authentic space. With deeply personal songwriting and a newfound musical freedom, Runions offers a record that is both uplifting and grounded in profound real-life experiences. This is a must-listen for fans of country, folk-rock, and Americana who appreciate heartfelt storytelling and rich musicality. Whether you're a longtime follower of Runions or a newcomer to his music, Above the Clouds and On the Ground  is a compelling album that captures the beauty of life’s highs and lows with pure sincerity and grace. Check out more from Alex Runions: Instagram: @AlexRunions Facebook: @AlexRunionsMusic TikTok: @alexrunions Twitter: @AlexRunions Spotify: artist.sptfy.com/R2jD YouTube: @AlexRunionsMusic

February 16, 2025 Whittier Park - Tente Rivière Rouge Photos by Samuel Stevens Photography

For nearly two decades, Whitechapel has been a dominant force in deathcore and extreme metal, continually pushing their sound into darker, heavier, and more experimental territories. With their ninth full-length album, Hymns in Dissonance , set for release on March 7, 2025, via Metal Blade Records, the Tennessee heavyweights strip away any lingering melody from past releases and dive headfirst into pure, relentless brutality. Described by guitarist Alex Wade as their "heaviest album to date," Hymns in Dissonance  is a concept-driven assault that revisits the merciless intensity of their early years while forging new depths of sonic malevolence. Thematically, Hymns in Dissonance  crafts a twisted narrative centered on a cult leader gathering followers to enact a ritual of destruction. Vocalist Phil Bozeman’s storytelling has always been a crucial element of Whitechapel’s evolution, and here, he weaves a macabre tale of corruption, violence, and apocalyptic devotion. The album’s title plays into the concept perfectly—hymns traditionally evoke harmony and peace, but these tracks revel in dissonance and chaos, representing the seven deadly sins through a progressively sinister journey. Sonically, Hymns in Dissonance  is a towering monolith of aggression. While the band’s past two records, The Valley  (2019) and Kin  (2021), leaned into atmospheric and melodic elements, this album dials back the introspection in favor of sheer, unrelenting force. The guitar work from Wade, Ben Savage, and Zach Householder is some of the most ferocious of Whitechapel’s career, utilizing deep, grinding riffs and unsettling progressions. Bassist Gabe Crisp and drummer Brandon Zackey provide a punishing rhythm section, with Zackey's relentless blast beats and surgical precision adding another layer of intensity. The album opener, "Prisoner 666," immediately sets the tone with an ominous introduction that erupts into a crushing display of Whitechapel’s signature sound. Echoing the ferocity of This Is Exile  (2008), the track seamlessly blends groove-laden chugging with frantic tremolo-picked passages. "Hymns in Dissonance," the title track, follows with a disorienting mix of chaotic riffing and Bozeman’s guttural roars, painting a vivid picture of the cult’s indoctrination. One of the album’s standout moments, "A Visceral Retch," channels pure death metal energy, incorporating Cannibal Corpse-inspired riffs and gruesome lyrical imagery that perfectly encapsulates the sin of gluttony. Elsewhere, "Diabolic Slumber" leans into blackened death metal influences, shifting tempos unpredictably while evoking a sense of eerie stillness before descending into pure auditory hell. Instrumental interlude "Ex Infernis" serves as a haunting transition, preparing the listener for the album’s final descent into madness. The latter half of the record only intensifies, with "Hate Cult Ritual" harkening back to Whitechapel’s earliest work, utilizing Drop A tuning to amplify its bone-crushing weight, and with a guitar solo to boot. The closing track, " Nothing is Coming for Any of Us ," is an unrelenting finale, shifting into lower tunings and suffocating atmospherics, leaving listeners with an overwhelming sense of impending doom. Phil Bozeman once again proves why he is one of the most formidable vocalists in metal. His performance on Hymns in Dissonance  is nothing short of monstrous, from his signature deep growls to an expanded range of high-pitched shrieks and mid-range roars. The album’s narrative allows Bozeman to explore different vocal deliveries, embodying both the cult leader and his followers with distinct tones. He describes the recording process as “a new-age feel to a classic sound,” refining his techniques while embracing the raw aggression that defined Whitechapel’s earliest works. For the first time, Whitechapel opted to produce the album entirely in-house, with Householder taking the lead. Having closely studied longtime collaborator Mark Lewis over the years, Householder steps up to deliver a polished yet savage production. The mix is intentionally suffocating, ensuring that every note hits with maximum impact. Guitar tones are thick and unrelenting, drums are razor-sharp, and the low-end frequencies hit like a sledgehammer. The decision to shift down to Drop F tuning for select breakdowns adds an extra layer of crushing heaviness, solidifying Hymns in Dissonance  as one of the band’s most physically punishing releases. With Hymns in Dissonance , Whitechapel reasserts their dominance in the extreme metal scene. The album is a relentless exercise in brutality, conceptually rich and musically devastating. Longtime fans will appreciate the nods to their deathcore roots, while newcomers will be drawn in by the sheer force of their sound as a whole. While Kin  and The Valley  showcased the band’s ability to evolve, Hymns in Dissonance  proves that Whitechapel can return to their most vicious form without sacrificing depth or storytelling. For those who have been yearning for a Whitechapel album that captures the sheer savagery of their early days while refining their craft to new levels of sonic violence, Hymns in Dissonance  is a dream—or rather, a nightmare—come true. Check out more from Whitechapel: Website  | Facebook  | Twitter  | Instagram  | Youtube