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 .

On March 22, 2026, Rise Against returned to Winnipeg alongside rising acts Destroy Boys and Koyo, delivering a night that balanced urgency, catharsis, and community. The show marked night two at the Burton Cummings Theatre, and it wasn’t just a sold-out show—it was a statement. With it being both openers’ first time in the city over the course of these two shows, the energy inside the historic venue felt especially electric—like Winnipeg knew it had something to prove. Koyo. Photos by Samuel Stevens Photography Koyo kicked things off with a set that wasted no time establishing their emotional, melodic hardcore roots. Opening with “Moriches,” the Long Island band immediately locked into a groove that felt both nostalgic and fresh. Tracks like “I Might Not” and “Life’s a Pill” carried a raw vulnerability, while “You’re On the List (Minus One)” and “Anthem” leaned into that classic, anthemic hardcore spirit. By the time they ripped through “Mile a Minute” and closed with “Ten Digits Away,” the crowd had fully bought in—sing-alongs were loud, and the pit was already alive. For a Winnipeg debut, Koyo didn’t just make a good first impression—they made a lasting one. Destroy Boys. Photos by Samuel Stevens Photography Destroy Boys followed with a set that turned the intensity up several notches. From the opening punch of “You Hear Yes,” their performance was chaotic in the best way possible. Frontperson Alexia Roditis commanded the stage with a mix of grit and charisma, making songs like “Crybaby” and “American River” feel both confrontational and deeply personal. “Shadow (I’m Breaking Down)” and “Boyfeel” added emotional weight to the set, while “Beg for the Torture” and “Muzzle” kept the crowd moving at full speed. By the time they closed with “Fences,” the room was in a frenzy. For their first time in Winnipeg, Destroy Boys delivered a set that felt urgent and unfiltered—exactly what punk should be. Up next was the main attraction, Rise Against. Opening with the explosive “Re-Education (Through Labor),” the Chicago punk veterans immediately reminded everyone why they’ve remained one of the most vital voices in the genre. The setlist was a carefully curated mix of fan favourites and deeper cuts, with “Under the Knife” and “Give It All” hitting early and hard. “Help Is on the Way” and “The Good Left Undone” showcased the band’s knack for pairing melody with message, while newer material like “Nod” fit seamlessly into the set. Rise Against. Photos by Samuel Stevens Photography One of the most memorable moments of the night came with “Chamber the Cartridge,” performed by the band live for the first time since 2024. The deep cut was met with a roar from longtime fans, proving just how much this band’s catalogue means to their audience. Similarly, “Like the Angel” made its first live appearance since 2024 during the encore, adding another layer of nostalgia and surprise. The mid-set acoustic moment with “Hero of War” and “Swing Life Away” brought a brief but powerful pause to the chaos, with the entire theatre hanging onto every single word. But any sense of calm was quickly shattered by “Prayer of the Refugee,” which closed the main set in explosive fashion. The encore was nothing short of perfect. “Make It Stop (September’s Children)” carried an emotional weight that resonated deeply, before “Like the Angel” and the ever-iconic “Savior” sent the crowd home on the highest note the band could achieve—voices hoarse, bodies exhausted, and spirits lifted. Night two of Rise Against’s Winnipeg stop wasn’t just another tour date—it was a celebration of punk rock in all its forms. From Koyo’s heartfelt melodies to Destroy Boys’ chaotic energy and Rise Against’s seasoned, message-driven anthems, the night felt like a full-circle moment for the genre. For a city that doesn’t always get first-time visits from fast-rising acts, this show proved that Winnipeg shows up—and the bands will remember it.

The North American leg of the I Feel Everything Tour came to a fittingly intimate and electric close on March 21, 2026, as Maggie Lindemann took the stage at The Regent Theater  in Los Angeles. Backed by the raw emotion and alt-pop edge of her i feel everything  era, Lindemann delivered a set that felt both cathartic and deeply personal, bringing the tour’s themes of vulnerability and resilience full circle. With support from Ayleen Valentine, the night unfolded as a tightly knit, high-energy finale—one last shared moment between artist and fans after a run through North America. As the final notes rang out, it was clear the tour didn’t just showcase a new chapter for Lindemann—it solidified her connection with a crowd that felt every word right alongside her. All photos by Mikey Jablonski.

Before the release of Don Broco's brand new album, Nightmare Tripping , which is due for release on March 27, 2026, via Fearless Records, the band's bassist, Simon Delaney, was gracious to lend some time out of his busy schedule to talk about the record. You plan to release your fifth studio album, Nightmare Tripping , on March 27, 2026. How do you think this record compares to your last four albums and your four EPs? Si: This record is definitely our most focused effort into the heavier side of Don Broco. We wanted to make a record that was a hard-hitting, heavy statement compared to some of our earlier albums, which have been a bit more eclectic in style. Was there anything you did differently from those last couple of releases on this new record? Rather, were there different methods of writing, or anything to change up the process in any type of way? Si: The main thing we focused on this time round was trying to move quickly and keep everything as fun as possible… Writing should be fun, but it’s so easy to get lost in the weeds with it. This time round, we made a really conscious effort to switch things up as soon as anything felt like a chore. How was the overall writing and recording process for the new album? Si: It was a lot of fun. We took a few writing retreats to get out of our houses and get ourselves inspired by a different location, which was fun. Sonically, most bands have a direction they want an album to take. Did you think that you got what you wanted with this record? Si: Yes, absolutely. We set out to make a record, which felt heavy and still retained the quirk of Don Broco, and I feel we’ve definitely done that.   Every record of yours has always been a surprise. Either you are dabbling as a full-on rock outfit, or throwing in some funky or electronic bits, or delivering full-blown hard rock tracks. What made you guys fall into a much harder, more metal territory for this record? Si: Primarily, we were a live band before anything else. We spend so much time on the road, and at the live shows we’ve just been enjoying the heavier side of Broco. With that in mind, I felt it was the right time to concentrate our efforts on making a heavy record that would be a lot of fun to play live.  How did the collaboration come about with Nickelback’s Chad Kroeger and Ryan Peake on the album’s title track? Were they always receptive to doing a heavier track like “Nightmare Tripping”? Si: A few years ago, we played a headline show in Vancouver. A few days later, we got a lovely email from Nickelback’s management telling us that Ryan had been down to the show with his brother, who is a massive fan. Ryan became the champion of DON BROCO in the Nickelback camp. We were told how much they liked the band and how the whole team really vibed with what we were doing. It was a real pinch yourself moment for us. Fast forward a few years, and we’ve written "Nightmare Tripping". The song was already crazy, but Rob had the idea to make it even crazier by asking Nickelback if they fancy being on it… It was the easiest exchange we’ve ever had as a band. They came back saying they loved the track and how could they help. Within a few days, they’d sent over their parts, and it was all done! Similar question, how was it working with the Architects’ vocalist Sam Carter on the album’s heaviest track, “True Believers”? Si: We are huge fans of Architects and what they’re doing. Sam is a legend, and as soon as we’d written "True Believers," the tone and the subject matter of the song seemed such a good fit to have him involved. Again, he’s a gentleman and a professional; he made the whole thing so easy. He came over and recorded his parts, in between being on tour with Linkin Park, and the rest of his history… A class act. You have probably collected a huge Rolodex of musicians' contact info over the years as you’ve been on the rise in the scene. Is there anyone that you would love to collaborate with in the future that you haven’t yet? Si: I think we’d love to do a track with System Of A Down. This is the longest wait between Don Broco records. How have you guys matured both as people and musicians since the release of Amazing Things ? Si: It’s the longest gap between records, but that’s mostly because we were touring Amazing Things for so long, rather than it taking us a long time to write Nightmare Tripping . I think we’ve grown to be a lot less precious about our ideas and, if something is not working, to just move on quickly. It’s so easy to get hung up on trying to make songs work, but if they’re not able to in that moment, being able to move on is an important ability to have. Music can surely be an emotional catharsis, and how these songs are delivered, and the song’s subject matter is so immense. Do you credit anyone for the styles you chose to write and perform in on this record? Where does the album’s title, Nightmare Tripping , come from? How does it represent the album’s eleven songs as a whole? Si: I think on this record we wear our influences on our sleeve a bit more than on our previous works. Certainly, a lot of the early 2000s nu metal, which we grew up on, is a very evident stylistic reference. Bands like System Of A Down, Korn, and Incubus. I feel like you can definitely hear in there. The song "Nightmare Tripping" is a really good representation of the album. It’s heavy, quirky, emotional, and it flicks between different states within itself.  What’s something you want listeners of the new album to take away from it? Si: That life can sometimes feel like waking up from one nightmare straight into another one, but no matter how dark things can seem, there’s always light, and there’s always a way through it. Last one for today, you’ve been on some reputable record labels over the years, such as Sony/Epic and Sharptone. What made Fearless Records the fit for Nightmare Tripping ? Si: They are a great team who are super passionate about music. When we met them, we had an instant chemistry, and we knew they were the right people to handle this record. Thanks, Simon, for taking the time to talk about the album! I hope I can see you come through Winnipeg, Canada, on tour sooner rather than later! Before you go, is there anything you would like to add? Si: Play it loud! [Smiles]. Check out more from Don Broco: Website | Facebook  | Instagram

Five years removed from I Won’t Care How You Remember Me , Tigers Jaw return with Lost on You —a record that doesn’t just mark time passing, but wrestles with what time actually means. Across its eleven tracks, the Scranton-bred quintet leans into the idea that the past, present, and future aren’t separate checkpoints, but something messier, more intertwined. The result is one of the most reflective and emotionally cohesive releases in their entire catalogue—an album that feels lived-in rather than simply written. Working once again with longtime collaborator Will Yip (Movements, Turnstile) at Studio 4, the band captures a warmth and immediacy that mirrors their live show. There’s a looseness here—intentional, earned—that allows every member to breathe. Ben Walsh and Brianna Collins continue to operate as one of indie rock’s most compelling dual-vocal forces, trading perspectives like two sides of the same memory. “Primary Colors” is among the record’s standout moments, leaning into shimmering midtempo alt-rock reminiscent of Jimmy Eat World and Weezer without ever feeling derivative. Collins’ line—“I understand it all now / It’s not supposed to make sense”—serves as a quiet thesis statement for the album. There’s no grand resolution here, just acceptance. The album's lead single, “Head is Like a Sinking Stone,” follows and sets the tone early, pairing a driving, familiar Tigers Jaw rhythm with one of Walsh’s most vivid lyrical concepts to date. Inspired by a recurring childhood dream, the track balances unease with a strange sense of beauty—an emotional duality that echoes throughout the whole album. It’s a reminder that Tigers Jaw are still finding new ways to articulate the intangible. That sense of acceptance becomes more intimate on “BREEZER,” a Collins-led track that drifts in a dreamlike haze. It’s inward-facing, almost meditative, exploring cycles of insecurity and self-perception without trying to neatly resolve them. The production mirrors that headspace, allowing moments to linger and dissolve rather than push forward. Elsewhere, Tigers Jaw tap into the sonic DNA they’ve spent over a decade refining. “Baptized on a Redwood Drive” and “Anxious Blade” carry a steady, propulsive energy, while “Ghost” stands out as one of Walsh’s most poignant lyrical performances. The track captures the eerie disconnect of encountering someone who once meant everything—and now feels like a stranger. It’s a simple premise, but Tigers Jaw give it emotional weight without overcomplicating it. Even the quieter moments of the record, like the trio of tracks, “Light Leaks Through,” “Staring at Empty Faces (Immigrant),” and “Roses + Thorns,” feel immensely purposeful. There’s a patience to this album that reflects the band’s five-year gap between releases—they didn’t rush to say something new, they waited until they had something true to say out loud. By the time the record's title track “Lost on You” closes things out, Tigers Jaw aren’t offering up any answers. Instead, they leave listeners with a feeling: that understanding yourself—and your place in time—isn’t about clarity, but coexistence. Past versions of who you were don’t disappear; they echo, inform, and sometimes haunt who you are now. Lost on You  doesn’t reinvent Tigers Jaw, nor does it even try to. Instead, it refines everything that’s made them enduring: emotional honesty, melodic precision, and a willingness to sit with uncertainty. It’s a record that trusts its listeners to find meaning in the blur—and in doing so, becomes one of the band’s most quietly powerful releases to date. Check out more from Tigers Jaw: Website | Facebook | Twitter | Instagram

MOODY JOODY UNVEIL PROPULSIVE POP BANGER “ LORETTA’S LAST CALL ”  ALONGSIDE AN ELECTRIFYING OFFICIAL MUSIC VIDEO  BAND SET TO OPEN FOR THE MAINE THIS SPRING  WATCH / LISTEN As they gear up for the release of their highly anticipated, in-the-works and forthcoming new album due later this year, rising pop trio Moody Joody return with another slice of pop perfection via their latest single, “ Loretta’s Last Call ,” a pure pop confection that details a last-ditch effort to reclaim a romantic relationship. “I wanna call but am I allowed to?/dont think I could live without you,” co-lead vocalist/guitarist Kaitie Forbes and co-lead vocalist/synth player Kayla Hall sing with courageous conviction at the hook. “This song brings out our ‘hopeless romantic’ side,” says Forbes. “ Romanticizing a past relationship, and really leaning into the yearning of it all. It’s that feeling at the end of a rom-com, when the protagonist realizes they’ve made a huge mistake and they’re frantically running through a city or wherever they are trying to get to this person to tell them they’ve messed up and can’t picture their life without them. It’s their last call; their last chance. I like to picture it ending well – with a dramatic kiss as the end credits roll.” “On our last tour opening for the band Arizona, I was walking down the street in Boston with my ex’s sister who was our tour manager at the time,” adds Hall. “We were debriefing the debauchery and crash out I’d had over my ex the night before at our Philly show. The kind of crash out where I’m crying to my ex’s mom at the merch table after the show level crash out. We walked by a bar called Loretta’s Last Call and I wrote it down in my notes app where most of my initial lyrics and ideas live. I originally thought maybe I’d save it for a country write, an ode to Loretta Lynn, or something in the future. The day we were in the studio hashing out the song we still hadn’t landed on a chorus and I remember pulling up the title and throwing it out there. Ironically and unintentionally, the song beautifully captures a place and time and emotion I was feeling when I wrote that title down during a specific chapter of heartbreak, longing, yearning that I don’t know would’ve been captured otherwise had we not written this song. It’s a special one to me and for anyone out there romanticizing a past relationship in a place of longing, my heart goes out to you.” Multi-instrumentalist/producer Andrew Pacheco adds of ‘Loretta’s Last Call’: "It's one of my favorite songs on the record. The bridge— where the band is just gleefully jamming while the vocals are pleading — kind of encapsulates that feeling of someone breaking down in the back of the bar on a night out. It’s that juxtaposition that really makes the song for me.” It’s been a thrilling past year for Moody Joody, who released their debut EP Dream Girl and were subsequently included on Rolling Stone’s “Songs You Need To Know” list. Moody Joody is set to open for The Maine this spring on the beloved band’s “I Love You...But I Chose The Maine” Tour from April 23- May 1.  ABOUT MOODY JOODY: Moody Joody does not fit in any boring box — nor would they ever want to. Equal parts swoony, sexy, and, well, moody, the Nashville trio – which includes co-lead vocalist/guitarist Kaitie Forbes and co-lead vocalist/synth player Kayla Hall, and multi-instrumentalist/producer Andrew Pacheco –  is all about “owning your humanness,” according to Hall (singer, synth player). “For us as women, it’s about the good, the bad — everything that comes under that feminine archetype.” In 2025, the rising pop trio released their critically acclaimed debut EP, Dream Girl , an exploration of the beauty in the breakdown, which received praise from  The Fader, Rolling Stone and NME  and was playlisted on Spotify's "New Music Friday “and "Young & Free" as well as Amazon's "Breakthrough Pop", Apple's "Early Start" and Vevo's "Fresh Alternative.” The group is currently gearing up for the release of their highly anticipated, in-the-works and forthcoming new debut full-length album due later this year. Check out more from Moody Joody: TIK TOK | INSTAGRAM | FACEBOOK | X

A decade removed from the quiet, windswept vulnerability that first defined them, Seafret return with Fear Of Emotion . This brand-new record doesn’t just revisit their roots but reframes them through hard-earned growth, renewed purpose, and striking emotional clarity. Set for release via Nettwerk Music Group on March 27, 2026, the duo’s fourth studio album feels less like a continuation and more like a rebirth. From the outset, Fear Of Emotion  signals a shift. “River of Tears” crashes in with a stormier, more cinematic weight than anything in the band’s early catalogue—its brooding intensity setting the tone for an album that’s unafraid to sit in discomfort. It’s a bold opening statement, one that immediately distances this era of Seafret from the stripped-back innocence of their breakout hit “Atlantis,” while still preserving the emotional sincerity that made that track resonate on such a massive scale. What makes this album so compelling is the balance it strikes between expansion and intimacy. Tracks like “Signal Fire” introduce subtle country textures, while “Cloud” and “Standing By You” lean into polished, full-bodied arrangements that give their sound a wider, more anthemic reach than the previous tracks. Yet, Seafret never lose sight of the quiet spaces in between. “Desert Heart” is a prime example—achingly simple and tender, it recalls the duo’s earliest work, proving that sometimes their most powerful moments still come from restraint rather than scale. Lyrically, Jack Sedman’s writing feels more observational and mature than ever. There’s a lived-in quality to these songs—stories of fractured relationships, emotional distance, and the slow reconciliation that follows. “Wait” captures this beautifully, turning the ache of absence into something almost triumphant, while “Love In Reverse” and “Guilty” wrestle with miscommunication and regret in ways that feel painfully real rather than melodramatic. Collaboration plays a pivotal role in shaping the album’s emotional landscape, and each guest feels purposefully chosen rather than ornamental. “Driftwood,” featuring James Morrison, is a standout—a haunting, end-of-the-world ballad that frames love as both fragile and essential. Their voices intertwine with a natural chemistry that elevates the song into something quietly devastating. Similarly, KT Tunstall brings a weathered warmth to the track “Five More Seconds,” which explores the tension of a relationship on the brink, capturing the desperate hope of holding on just a little longer. Meanwhile, the album's closing track, “Nobody Sees Us,” featuring rising Scottish singer-songwriter Katie Gregson-MacLeod, offers one of the album’s most intimate moments. Built on delicate acoustic textures, it feels almost voyeuristic in its closeness—two voices sharing a private world untouched by outside noise. It’s a subtle but powerful reminder of Seafret’s ability to make even the smallest emotional moments feel expansive. The album’s sequencing plays like a journey through heartbreak, reflection, and ultimately, a sense of quiet acceptance. By the time it closes out, there’s no grand resolution, but rather a feeling of understanding: that emotion, in all its messiness, is something to be embraced rather than feared. What truly elevates Fear Of Emotion  is its sense of perspective. This is a band that has weathered the unpredictability of the industry, experienced both viral resurgence and creative uncertainty, and come out the other side with a clearer vision of who they are. There’s a full-circle quality in returning to work with familiar collaborators from their early days, but instead of nostalgia, it fuels progression. In many ways, Fear Of Emotion  is exactly what its title suggests—a record that stares vulnerability in the face and leans into it without hesitation. It’s richer, more dynamic, and more self-assured than anything Seafret has released before. Not just a testament to how far they’ve come, but proof that their story is far from over. Check out more from Seafret: Instagram | Spotify

The Come Get Your Girl Tour stop in Montreal on March 20, 2026, brought an electric, intimate energy to Le Studio TD, perfectly suited for a night of alt-pop catharsis. Headliner Lights delivered a vibrant, emotionally charged set packed with fan favourites and newer material, blending pulsating synths with raw, heartfelt moments that kept the crowd fully locked in the entire set. Opening the night, Softcult set the tone with their hazy, shoegaze-infused sound, creating a dreamy yet gritty atmosphere that gradually built anticipation for the headliner. Together, the lineup made for a dynamic evening that highlighted the depth and evolution of Canada’s alternative scene, all within the close-quarters intensity of one of Montreal’s most beloved venues. All photos by Ryan Rumpel .

I couldn’t help but notice that y’all are playing Nashville tomorrow night. What excites you most about playing in Music City? Before this trip, literally, the guys were telling me about every single stop of what we were eating and doing. When we got to Nashville the guys were like just wait and experience it. Y’all have a cover of "Cotton Eye Joe" on this album, an old American folk song, believed to be set to an even older Irish folk melody. What is it about this kind of music that you find so inspiring? For me, it was all part of my upbringing. When I was growing up, I would visit my gran and grandad who live at the top of Scotland. We would have a cassette tape of this Scottish folk band. During those trips I had my parents flip the cassette front and back all the way there. Growing up with Scottish folk music is embedded in me. All folk music in the world kinda relates; it's universal. That and "Cotton Eye Joe" there's just something in it that's close together. What has been the most meaningful part of this album and tour cycle for y’all? I think being together, it sounds cliché and cheesy, but there is a sort of magic that happens when doing this together. From the early days till now, it's been growing and growing; we’re in a room together sharing these experiences. Getting to take that across the world is something special. Being brothers and best friends, and that's the amazing part of making this album. If you could choose three songs from the album to play for a new fan, what would they be, and in what ways do they represent you as a collaborative force? I’m gonna steal the cop out answer and say “Angles’ Share,” it’s the title track of the album, and I think it sums up the album completely. When we wrote it, we knew there was something in that song people were gonna love. I’m gonna go for “Milarrochy Bay,” writing that song happened on the spur of the moment when a gentleman told us where to go in Scotland, and we wrote a song about it. I would say “Islay,” it’s a love story about a guy and a girl. The secret meaning behind it is that we went to the island of Islay, where they make single malt scotch whiskey. We fell in love with Islay and whiskey. It's a special place in our hearts. Where did the tile Angles’ Share come from? Why does it represent the album? So Angles’ Share is a term that comes from the whiskey process. When whiskey is being made and distilled then put in wooden barrels. Basically, the whiskey in the barrels is maturing for so long, years and years. Over that time, some of that whiskey evaporates into the air. That whiskey that you lose is called the Angels’ Share. That’s what creates the flavor and the certain types of whiskey. That kind of sums up the album as well. Us three coming together and creating something special. Just like a few of the songs on the album, we've all lost someone. Everyone has lost someone, but even though you lost them, they're not entirely gone because part of them still lives on in you. It’s all of that together combined. How has collaborating with each other shaped the visual identity of the project (from press photos to live performances and music videos)? The special thing about coming together was that we helped Nathan work on his 1994 album. When he created that world, it celebrated Scottish culture. We wanted to create that visually, so when we’re playing live, we have a traditional pub as the background. We wanted to celebrate that as if you had stumbled into a pub and came across this band playing. We wanted to create that visually; it’s light-hearted and nonchalant, playing in a pub. For photographers capturing your live shows, which moments do you feel are essential to photograph in order to truly convey the energy, emotion, and essence of your performance? There's lots of moments, Nathan's on top of the speakers, some where we come together, speeches and toasting the audience, Scottish poems, crowd interactions, and band moments. We think about every part of the process, how do we dress, look on stage, how do we have the best time and how to make this a full-blown thing. Looking back at the songwriting and production of this album, was there a particular moment that stood out as a creative highlight for you, something that you felt truly captured the essence of this collaboration? The very first song. We've been working with Nathan for a few years. We sat down and wrote “Heather On The Hill”. Everything changed after that. Since that moment, we've been telling stories of Scotland, brotherhood, and friendship. Doing it in our own way, too. You (Nathan and Saint Phnx) have already released albums on your own. What has it been like collaborating and sharing the recording space with another artist? Did you find it easier or more difficult? It's been smooth, everything we've done from the start to where we are at with the album. Then, turning the show into what it is live, touring the world. It's been the smoothest process. That's why it's been so successful. It's a testament to everyone loving what we are doing. It's been natural, not forced, and all the fans are enjoying it. What's one of your favorite things about hometown shows? The Scottish culture is crazy. My favorite thing is having all your friends and family are at the show. Seeing everyone enjoying the show that’s what makes this all worthwhile. Follow Nathan Evans and Saint PHNX on Instagram: Nathan Evans '  Instagram   | Saint PHNX's Instagram

There’s something special about seeing July Talk in a room like the Burton Cummings Theatre—a venue steeped in history, now shaking under the weight of one of Canada’s most electrifying live acts. On March 20, 2026, the Touch X Tour made its stop in Winnipeg, and for those in attendance, it wasn’t just a concert—it was a full-body experience. Taylor Jackson. All photos by Samuel Stevens. Kicking off the night was hometown talent Taylor Jackson, whose set served as a warm and intimate entry point into the evening. There’s always an added layer of connection when a local artist takes the stage, and Jackson embraced that moment fully. Taylor's performance felt both grounded and expansive, drawing in early arrivals with a confident presence and emotionally resonant songwriting that set the tone without overshadowing what was to come. Then came the main event. From the moment July Talk stepped onto the stage, the energy in the theatre shifted. The band dove headfirst into a full front-to-back performance of their second album, Touch , which was released ten years ago, transforming the record into something far more visceral in a live setting. Opening with “Picturing Love,” the band immediately established the push-and-pull dynamic that defines their sound—equal parts tension and release, chaos and control. Tracks like “Beck + Call” and “Now I Know” carried a magnetic urgency, with the interplay between Leah Fay and Peter Dreimanis acting as the emotional core of the performance, as always. Fay’s unhinged, kinetic stage presence contrasted beautifully with Dreimanis’ gritty, commanding delivery, creating a constant sense of unpredictability that kept the audience locked in. “Johnny + Mary” offered a haunting, stripped-back moment that hushed the crowd, while “Strange Habit” and “Push + Pull” quickly reignited the room with pulsing intensity. By the time “Lola + Joseph” and “So Sorry” rolled around, the band had the entire theatre in the palm of their hand—every beat, every lyric landing with amplified weight. Closing the Touch  portion with the album's title track, which felt almost cathartic. There’s a narrative thread running through the album, and hearing it performed in sequence gave it a newfound clarity, like watching a story unfold in real time rather than flipping through its pages. But July Talk wasn’t done. July Talk. All photos by Samuel Stevens. The second half of the set shifted gears into a celebration of their broader catalogue, and the energy somehow climbed even higher. “Love’s Not Dead” and “Headsick” hit with ferocity, while “I Am Water” provided a moment of introspection amid the chaos. “Certain Father” and “Life of the Party” showcased the band’s range, moving seamlessly between vulnerability and explosive release. “Paper Girl” and “Guns + Ammunition” brought the main set to a thunderous close, leaving the crowd buzzing and hungry for more. Of course, the encore delivered. “Summer Dress” felt like a communal singalong, a rare moment where the intensity gave way to pure connection. And then came “The Garden”—a fitting, emotional finale that left the room suspended in a kind of quiet awe before erupting into applause. What makes July Talk so compelling live isn’t just their sound—it’s their commitment. Every movement, every vocal inflection, every moment on stage feels intentional yet completely unrestrained. At the Burton Cummings Theatre, that translated into a performance that was as theatrical as it was raw. For Winnipeg, it was more than just another tour stop. It was a reminder of what live music can be at its best: immersive, unpredictable, and deeply human.

As The Maine  – John O’Callaghan, Kennedy Brock, Jared Monaco, Garrett Nickelsen, and Pat Kirch – ramp up to the release of their forthcoming new tenth studio LP, Joy Next Door , set for an April 10 release date, the beloved rock band continues to peel back the curtain on the highly anticipated new project. Having already released the LP’s first two singles –  “ Die To Fall ,” and “ Quiet Part Loud ” – the Maine now return with another stunning single: the propulsive and energetic “ Palms ,” out today.  Highlighting people’s increasing inability to let life play out as it will, not to mention our collective desire to forever maintain a semblance of control no matter the circumstances, O’Callaghan sings at the chorus: “Don’t think/It all happens for a reason/Fuck that/Well the night is unknown/Don’t think, let it happen.” “‘ Palms ’ was written at zero hour. And while the demo took all but 30 minutes while I was at home, we didn’t get it to final form for another couple of months after,” O’Callaghan says. “It may have been a function of thinking too much, but I’m glad we clawed our way through to get it to where you hear it now because it brings a little levity and balance to Joy Next Door . Plus, my four-year-old loves to hear her Dada say the F word. I hope you dig it, too (the song, not just the swear word.)" As The Maine gears up for the release of Joy Next Door , they’re preparing to hit the road beginning in March for their first Stateside headline tour in nearly two years — the biggest on sale of their career to date – as well as an 8-city European headline tour kicking off this September, the band’s biggest European outing to date. Additionally, they’ll be performing their new single “Die To Fall” on The Kelly Clarkson Show this April. Kicking off on March 24, 2026, at the Brooklyn Bowl in Las Vegas, the Maine’s 26-date headlining tour finds the beloved five-piece gracing legendary stages across the country, in locales from their native Phoenix to Los Angeles, Chicago, Brooklyn and beyond. Arriving at the height of the band’s career, the forthcoming Joy Next Door is arguably the band’s most essential album yet. Unsurprisingly for a band that’s always valued the artistry and craft of an album, the new LP was written and recorded in sequential order to emphasize the storytelling approach to the LP. Furthermore, following the band’s longstanding tradition of each era relating to a specific color, the Joy Next Door era is green. “Every album of ours has a color that represents it, and Joy Next Door is the green era. The green grass on the album art feels like it matches perfectly with the organic instrumentation and imperfections left intact on the album," says Pat Kirch (drums) A vibrant and ever-evolving rock band with over one billion global streams to date and more than 1 million followers across social media, The Maine have cultivated a dedicated fanbase over their nearly two-decade career that’s included nine studio albums (2008-2023), five of which charted on the Billboard 200. They’ve continued to chart their own course since their inception with their 2008 debut album, Can’t Stop Won’t Stop , including the Top Five Alternative Radio hit in 2022 with “ Loved You A Little .” Over the course of their acclaimed career, the band has toured and performed at festivals worldwide, including Bonnaroo and Lollapalooza, as well as headlining their own sold-out 8123 Fest in their hometown of Tempe, Arizona.   Stay up to date for all things The Maine at their website or via Instagram . MAINE US TOUR DATES: Mar 24, 2026 Brooklyn Bowl - Las Vegas, NV Mar 25, 2026 The Van Buren - Phoenix, AZ - SOLD OUT Mar 27, 2026 The Observatory North Park - San Diego, CA - SOLD OUT Mar 28, 2026 The Novo - Los Angeles, CA Mar 29, 2026 Regency Ballroom - San Francisco, CA Mar 31, 2026 The Showbox - Seattle, WA Apr 1, 2026 Roseland Theater - Portland, OR Apr 3, 2026 Ogden Theatre - Denver, CO Apr 9, 2026 First Avenue - Minneapolis, MN Apr 10, 2026 The Salt Shed - The Shed - Chicago, IL Apr 11, 2026 The Masonic - Jack White Theatre - Detroit, MI Apr 12, 2026 Kemba Live! - Columbus, OH Apr 14, 2026 Stage AE - Pittsburgh, PA Apr 15, 2026 History - Toronto, Canada Apr 17, 2026 Franklin Music Hall - Philadelphia, PA Apr 18, 2026 House of Blues Boston - Music Hall - Boston, MA Apr 19, 2026 9:30 Club - Washington, DC - SOLD OUT Apr 21, 2026 Brooklyn Paramount - Brooklyn, NY Apr 23, 2026 The Fillmore Charlotte - Charlotte, NC Apr 24, 2026 Marathon Music Works - Nashville, TN Apr 25, 2026 The Masquerade - Heaven - Atlanta, GA Apr 26, 2026 House of Blues - Lake Buena Vista - Lake Buena Vista, FL Apr 28, 2026 Jannus Live - St Petersburg, FL Apr 30, 2026 House of Blues Houston - Music Hall - Houston, TX May 1, 2026 Stubb's Waller Creek Amphitheater - Austin, TX May 2, 2026 The Bomb Factory - Dallas, TX THE MAINE EUROPEAN TOUR DATES: September 17, 2026 – Stadthalle – Cologne, Germany September 18, 2026 - Paradiso - Amsterdam, Netherlands September 19, 2026 - Kesselhaus - Berlin, Germany September 20, 2026 - den Atelier - Luxembourg City, Luxembourg September 23, 2026 - SWG3 TV Studio - Glasgow, UK September 24, 2026 - O2 Institute - Birmingham, UK September 25, 2026 - Roundhouse -London, UK September 26, 2026 - Academy- Manchester, UK

On their fourth studio album, Burning at Both Ends , Nicolle Maroulis pushes Hit Like a Girl  into their most collaborative—and arguably most fully realized—era yet. Out March 27, 2026, via Cryptid Records, the record feels like both a culmination of everything the project has explored since You Make Sense  (2017) and a bold step forward shaped by the chemistry of a now-solidified live lineup, including Mol White and Mike Davis. From the outset, Burning at Both Ends  leans into contrast—tenderness and volatility, intimacy and catharsis, polished synth-pop textures colliding with jagged emo grit. It’s an album that thrives in that tension, never settling for one emotional register when it can inhabit several at once. The early singles make that immediately clear. “Keepsake Theory” bursts open with a thunderous urgency, pairing shimmering synths with serrated guitar work from Jacob Blizard. Maroulis’s vocal performance is gripping—equal parts accusation and ache—as they dissect the absence of tangible memories in a relationship that clearly meant more to them than it did to the other person. It’s the kind of song that feels tailor-made for late-night drives and crowded basement shows alike. “Only Have Myself” sharpens that emotional blade even further. Built around a driving rhythm section and a slow-burning intensity, it unpacks the fallout of a polyamorous relationship gone wrong. The repeated, screamed refrain lands like a breaking point—raw, unresolved, and painfully honest. It’s one of the album’s most devastating moments, not because it’s loud, but because it refuses to offer easy closure. Still, Burning at Both Ends  isn’t all emotional wreckage. “Are You In Love?” featuring Zayna Youssef of the emo rock band Sweet Pill, injects a refreshing sense of lightness. The track leans into '80s and '90s-inspired synth pop, with buoyant melodies and intertwined vocals that capture the fragile excitement of new romance. It’s playful without feeling disposable—a reminder that joy, too, can be complex. That balance continues on “Once and For All (I Gotta Forget You),” which channels the spirit of early 2010s DIY scenes. There’s a communal, almost nostalgic energy here—the kind of song that feels destined to echo back from a crowd. Beneath its infectious hooks, though, lies a narrative of self-preservation, with Maroulis framing the act of letting go as both painful and necessary. Deeper cuts like “Requiem For a Friend,” “Romanticize,” and “Funeral Collage” round out the album’s emotional arc, exploring grief, memory, and how one can reshape past relationships to survive them. These tracks lean more into atmosphere, allowing space for reflection while still maintaining the melodic sensibility that defines Hit Like a Girl’s sound. Sonically, the album pulls from a wide palette—midwest emo, indie rock, synth pop, and even flashes of hardcore—but none of which ever feels disjointed. Instead, it mirrors the unpredictability of the experiences it documents. Fans of Tigers Jaw, The Anniversary, and Rainer Maria will find familiar touchstones, but Burning at Both Ends  ultimately carves out its own identity through its specificity and emotional clarity. What makes this record stand out most, though, is its perspective. Maroulis continues to center queer and trans experiences without softening their edges, offering narratives that feel both deeply personal and widely resonant. There’s no attempt to universalize by diluting the details—instead, the album trusts that honesty will do the work. In that sense, Burning at Both Ends  lives up to its title. It’s an album fueled by intensity—creative, emotional, and collaborative—and while it often dwells in the aftermath of heartbreak, it never feels defeated. If anything, it’s a testament to endurance: the kind that comes from feeling everything fully and choosing to keep going anyway. Check out more from Hit Like A Girl: Facebook | Instagram | Website | X

On a quiet Thursday night in Winnipeg, the Park Theatre transformed into something far greater than a concert venue—it became a space for cultural reverence, reclamation, and connection. As part of her Inuktitut Tour, Elisapie brought an arresting and deeply moving performance to the stage on March 19, 2026, delivering a set that felt both intimate and expansive, rooted in heritage while echoing across generations. With no opening act, the evening belonged entirely to Elisapie. The absence of a support slot only heightened the anticipation in the room, allowing the audience to settle into the gravity of what was about to unfold. When she finally stepped onstage, the reception was warm and immediate—Winnipeg knew it was in the presence of something special. Opening with “Uummati Attanarsimat (Heart of Glass),” Elisapie set the tone early: familiar melodies reimagined through the lens of Inuktitut language and Inuit storytelling. It wasn’t just a cover—it was a transformation. Each note carried a sense of purpose, breathing new life into songs that many in the crowd had grown up with. This thread continued throughout the night, with highlights like “Taimangalimaaq (Time After Time)” and “Sinnatuumait (Dreams)” striking a delicate balance between nostalgia and reinvention. Her voice—clear, haunting, and emotionally precise—floated effortlessly over stripped-back arrangements from her band, often leaving the room in near silence between songs as the audience absorbed every word. But the performance wasn’t solely about reinterpretation. Originals like “Call of the Moose” and “Wolves Don’t Live by the Rules” grounded the set in Elisapie’s own artistic identity, weaving together themes of land, resilience, and self-determination. These moments added texture to the show, reminding the audience that this wasn’t just a tribute—it was a statement. Photos by Samuel Stevens Photography. One of the most powerful aspects of the evening was Elisapie’s ability to shift emotional gears seamlessly. “Isumagijunnaitaungituq (The Unforgiven)” carried a quiet intensity, while “Californiamut (Going To California)” felt almost dreamlike in its delivery. Later, “Taimaa Qimatsiniungimat (Hey That’s No Way to Say Goodbye)” and “Qimatsilunga (I Want To Break Free)” leaned into themes of departure and liberation, resonating deeply in a live setting. By the time she reached “Qaisimalaurittuq (Wish You Were Here),” the room felt unified—strangers sharing in a collective moment of reflection. It was the kind of performance that didn’t just ask for attention; it earned it. The encore only solidified the night’s emotional arc. “Quviasukkuvit (If It Makes You Happy)” was delivered with a gentle warmth, while the closing number, “Inuuniaravit (Born To Be Alive),” brought an unexpected lift—ending the evening not in melancholy, but in quiet celebration. What made this show truly remarkable wasn’t just the setlist or the performances themselves—it was the intention behind them. Elisapie’s Inuktitut Tour is an act of preservation and empowerment, breathing life into language and culture in a way that feels both deeply personal and universally accessible. At the Park Theatre, that mission resonated loudly. This wasn’t just a concert—it was an experience that lingered long after the final note faded.

On their fifth studio album Nightmare Tripping , Don Broco don’t just evolve—they detonate expectations. Marking their first release via Fearless Records, the Bedford quartet leans harder than ever into the chaos that has long defined them, crafting a record that feels simultaneously unhinged and meticulously calculated. It’s heavier, darker, and more sonically adventurous than anything in their catalogue, yet still unmistakably Don Broco. From the outset, Nightmare Tripping  establishes a sense of unease. “Cellophane” slices through with jagged riffs and an almost schizophrenic vocal performance, as Rob Damiani pivots between smooth croons, snarls, and full-throated screams. It’s a track that encapsulates the album’s core tension—vulnerability masked by bravado—while nodding to nu-metal’s resurgence without ever feeling derivative. The production, helmed by Dan Lancaster, is crisp yet volatile, allowing every glitchy electronic flourish and down-tuned guitar to hit with maximum impact. “Disappear” follows with a stark emotional pivot. Built on pulsing rhythms and ghostly textures, it’s one of the band’s most affecting tracks to date. The drum and bass-inspired breakdown arrives like a panic attack in slow motion, underscoring the song’s lyrical weight—grappling with the guilt of walking away from someone in crisis. It’s this willingness to sit in discomfort that elevates Nightmare Tripping  beyond a simple heavy record. The album’s title track, featuring Nickelback’s Chad Kroeger and Ryan Peake, is as surreal as its premise suggests. The massive collab of the year is crunchy, swaggering, and unexpectedly cinematic. “Nightmare Tripping” blurs the line between dream logic and arena-rock spectacle. Kroeger’s unmistakable grit adds a layer of grit that complements Damiani and Matt Donnelly’s dynamic interplay, resulting in one of the album’s most anthemic moments. Elsewhere, “Euphoria” showcases the band’s uncanny ability to fuse opposites. It’s seductive and aggressive, sleek and explosive—driven by a funky bassline that wouldn’t feel out of place in a club, yet anchored by crushing guitars. The chorus is pure Don Broco: massive, euphoric, and built to echo across festival crowds. Similarly, “Hype Man” thrives on that same duality, shifting between rap-adjacent verses and towering hooks, all while celebrating the camaraderie that has kept the band grounded since their early days. Tracks like “Somersaults,” “Ghost In The Night,” “Pacify Me,” and “Swimming Pools” expand the album’s sonic palette even further, weaving in electronic textures, unexpected rhythmic shifts, and some moments of eerie restraint. Meanwhile, “True Believers,” featuring Sam Carter of Architects, delivers a ferocious high point—pairing Carter’s signature intensity with Don Broco’s genre-defying instincts for a track that feels both cathartic and confrontational. What makes Nightmare Tripping  truly compelling is its thematic undercurrent. There’s a persistent sense of instability—of blurred realities, emotional burnout, and the search for connection in a fractured world. Whether it’s the psychological unravelling of the title track or the introspective fragility of “Disappear,” the album never shies away from the darker corners of the human experience. Closing with “The Corner,” the band opts for something more reflective, offering a moment to exhale after the preceding chaos. It’s a subtle but effective comedown, reinforcing the album’s emotional arc without neatly resolving it. If there’s any criticism to be made, it’s that Nightmare Tripping  can feel overwhelming on first listen. Its constant pivots—both stylistically and emotionally—demand attention and patience. But that’s also its greatest strength. In an era where predictability often reigns, Don Broco have doubled down on unpredictability, creating a record that rewards repeated listens and refuses to be boxed in. With Nightmare Tripping , Don Broco haven’t just raised the bar—they’ve shattered it, rebuilt it in their own image, and set it on fire. It’s a bold, chaotic, and exhilarating statement from a band that continues to redefine what modern rock can be, and could be. Check out more from Don Broco: Website | Facebook | Instagram | Youtube

After more than three decades of defiance, urgency, and unwavering conviction, Good Riddance return with Before The World Caves In —a record that doesn’t just feel timely, it feels necessary. Arriving seven years after their previous record Thoughts and Prayers , the band’s tenth full-length is less a comeback and more a reaffirmation: a reminder that melodic hardcore can still be a vehicle for both catharsis and confrontation in an increasingly fractured world. From the opening moments of “There’s Still Tonight,” the tone is set with a familiar yet sharpened edge. The band hasn’t lost a step—if anything, they’ve refined their attack. Breakneck rhythms collide with tightly wound melodies, while frontman Russ Rankin delivers every line with a sense of urgency that borders on desperation. It’s not nostalgia driving this record; it’s survival. What makes Before The World Caves In  stand out in Good Riddance’s catalogue is its deliberate pacing. While the band’s hallmark speed and aggression remain intact on tracks like “Drive Faster” and “No More System To Believe In,” there’s a noticeable willingness to stretch their dynamics. Songs like “All Just Rain” introduce space and atmosphere, allowing tension to simmer before boiling over. This push-and-pull gives the album a sense of narrative weight—each track feels like part of a larger emotional and political arc rather than a standalone burst of energy. Lyrically, Rankin leans fully into the darkness he described. Tracks like “Poverty Of Language” and “Devoid Of Faith” grapple with disillusionment, systemic collapse, and the erosion of truth, while “Posse Comitatus” and “No Imperfect Way” cut sharply into themes of control, accountability, and moral compromise. Yet, even at its bleakest, the album resists nihilism. There’s a thread of resilience running through these songs—a belief that acknowledging the chaos is the first step toward resisting it. The pair of tracks, “To Suffer Is The Name” and “Thoughts Words Scars,” are particularly striking, balancing introspection with broader social commentary. It’s in these moments where the band’s evolution is most apparent; they’re not just shouting at the world anymore—they’re dissecting it, questioning it, and implicating themselves within it. The album's closing track, “What Kind Of Day Has It Been,” serves as a reflective comedown, tying together the album’s themes with a sense of weary clarity. It doesn’t offer easy answers, but it doesn’t need to. The strength of Before The World Caves In  lies in its honesty—its refusal to simplify complex emotions or realities. For longtime fans, this record hits like a natural progression—fierce, thoughtful, and unmistakably Good Riddance. For newcomers, it’s an ideal entry point into a band that has never wavered in its message, only deepened it. In a genre that often thrives on immediacy, Before The World Caves In  proves that longevity can bring not just consistency, but growth. It’s an album that meets the chaos of the present moment head-on—and refuses to blink. Check out more from Good Riddance: Website   |  Instagram  |  TikTok  | Facebook

March 15, 2026 Big Night Live All photos by Dave Shrewsbury.

How would you describe your music to any person who may have never heard it before? Omer: A beautiful blend of metalcore and symphonic metal. What's the significance of your band's name? Omer: During the COVID lockdowns, Venice had no gondolas in the canals, so dolphins were sighted there. I knew that had to be the band name right away. What are your musical influences? Omer: The first album draws a lot of influence from the classic metalcore I grew up on, like As I Lay Dying, Trivium, Killswitch Engage, and Avenged Sevenfold. For my next album, I'm trying to draw inspiration from more modern bands like Catch Your Breath, Deadlands, and Our Promise. If given the chance, what musician(s) would you like to collaborate with? Rather, this is to either write a song or be featured on a track. Omer: Trivium, without even thinking about it, Matt has literally been my childhood guitar hero. What's the album about? Omer: It talks about how I dealt with the loss of my dad, the five songs in the middle represent the five stages of grief, for example. What's something you hope people take away from the new songs on the album? Omer: I really hope I can help people deal with whatever kind of loss they're dealing with right now. Which songs on the album were the most fun to write, and which were the most challenging to write? Omer: "Future Paradise" for both, the parts there give me goosebumps, while it's also the most difficult to play. What did you allow yourself to do creatively for this song that you haven’t in the past? Omer: I am trying to get into mainstream media, so I'm trying to follow some sets of rules, but it wouldn't be MY album if I didn't let some of my own creativity in. Do you have any favourite song(s) off the new album? Omer: Songs are like children, you don't pick favourites! When you find yourself in a creative rut, what do you usually turn to? Any habits, environments or even non-musical sources that help you reconnect with your creativity? Omer: Listening to tons of other songs, either stuff I know or checking out new stuff. Do you have any favourite songs to perform live? It could be your own music or even a cover. Any reason why? Omer: I have a full list ready to be played on shows, one cover each, can't wait to fill it. There are super challenging songs like Ghost Walking by Lamb of God, and super fun and easy songs like The Death of Me by Asking Alexandria. Every song has its own kind of charm and reasoning to play live. What do you currently have planned for the remainder of the year? Omer: To finish recording my second album! Hopefully, it'll be out in 2026. If your music were a type of food, what would it be and why? Omer: A vegan burger. I love the raw aggression of metalcore, but I never swear in my lyrics, and I talk about deep emotional stuff. I actually hate songs that are about releasing anger. I can't listen to Linkin Park and Pantera because of that! What's the most random thing that has ever inspired you to write a song? Omer: Listen to the lyrics of "Evolution," while it talks about how my dad lived a full life even with severe heart problems, the lyrics describe how humans persevered through everything nature true at it. The earthquake in Türkiye in February 2023 made me think about it. Thanks for the time today, Omar. Is there anything else you may want to add that I didn't cover before you go? Omer: No, thank you! My name's Omer Cohen, I'm the songwriter of Venice Revive! Here are all our socials. Thank you so much! Check out more from Venice Revive: https://linktr.ee/venicerevive

On Saturday, March 14, 2026, Canadian pop sensation Lauren Spencer Smith brought her Art of Being A Mess World Tour to the House of Blues in Anaheim, California. Fellow rising Canadian pop singer-songwriter Sofia Camara and the whimsical pop artist Maisy Kay supported her. Opening the show, Maisy Kay set a dreamy, intimate tone. Her cover of Adele's “Rolling in the Deep” reimagined the song with an edge, showcasing her vocal ability while making it her own. She has a strong voice and great stage presence. Maisy Kay. All photos by Sabrina Shahryar. Sofia Camara followed with a performance that captivated the entire crowd. Fans quickly got involved, singing along and creating a moment that felt really connected. She has an incredible voice and a natural stage presence that makes her easy to watch. I was honestly blown away at how amazing her voice is, so that by the end of her set, I fully became a fan. Sofia Camra. All photos by Sabrina Shahryar. By the time Lauren Spencer Smith took the stage, the crowd was more than ready, and she delivered a performance that felt both emotional and immersive. Her set went beyond just singing. By creating real moments with the audience, fans were invited to share personal secrets before the show that were then read aloud later during the show. Some insane secrets were shared that night. Lauren Spencer Smith. All photos by Sabrina Shahryar. Following this moment of the night, she then sang her new song, “SECRET,” off the deluxe edition of THE ART OF BEING A MESS . Another interactive element was the “Wheel of Feels,” where she had a fan come on stage and spin a wheel, which had different colors. Each color was a different song Lauren would sing next. It landed on Red, and she sang “Happier Than Ever” by Billie Eilish. Having followed her over the past few years, it was clear how much she’s grown; her voice feels even more powerful, and her stage presence is more confident and natural than ever.

This coming weekend, popular streamer Ludwig Ahgren is hosting his first-ever Mogul Chessboxing Championship event inside the Galen Center in Los Angeles on December 11, 2022. The event will place 18 of the biggest content creators, chess players, and Super Smash Bros. competitors from YouTube and Twitch and see them step into the squared circle to play both chess and box in quick succession until a winner is crowned by winning either sport. Ludwig Ahgren -better known professionally and mononymously as Ludwig- is an American live streamer, YouTuber, podcaster, esports commentator, and Super Smash Bros. competitor. Ludwig has also become well-known within the chess community after partaking in the first-ever PogChamps tournament in 2020. Later that year, he became a commentator for the PogChamps 2 event. The following year, Ludwig returned as a player for the PogChamps 3 and PogChamps 4 -which both took place in 2021. Now, Ludwig is upping the ante with a new venture in creating and hosting his twist on the dual sport of chessboxing. While the exact rules of Ludwig's Mogul Chessboxing Championship haven't been shared, and we don't know exactly how they'll play out. The precise rules are set to be announced closer to the event. However, the typical rules of chessboxing consist of alternating rounds of chess and boxing, and each one lasts only a few minutes -three minutes is the ordinary length. A quick break between rounds occurs and lasts approximately a minute long. The referee will determine a winner by the means of checkmate, resignation, knockout, or disqualification. Usually, in case neither player wins in regulation, the competitor ahead in boxing points is rewarded the win. Tickets for in-person attendance are currently available and can be purchased here and start at $60 USD. For those around the globe that can't attend in person, Ludwig announced on a previous stream that he doesn't want to make any money off this event from pay-per-view. With this intention, Ludwig's chessboxing event will be completely live-streamed on his YouTube for free, and he is hoping to attract the most viewers he has ever had on an event. Currently, the event will showcase 18 of the biggest names in the streaming and chess communities at the event. This includes names such as Myth, Disguised Toast, Sardoche, boxbox, PointCrow, and Abroad In Japan, to name a select few. Also featured on the fight card will be Aman Hambleton, who is a Canadian Chess Grandmaster and UK International Chess Master, Dina Belenkaya, who currently holds the title of Woman Grandmaster, International Chess Master Lawrence Trent and chess streamer Andrea Botez. The Fight Card: SMASH UNDERCARDS: Fiction vs. Kalindi Joshman vs. spud INFLUENCER CARDS: Boy Boy vs. Myth Disguised Toast vs. PointCrow Abroad In Japan vs. Papaplatte Sardoche vs. Toph Nathan Stanz vs. boxbox Dina Belenkaya vs. Andrea Botez MAIN EVENT: Lawrence Trent vs. Aman Hambleton See the Mogul Chessboxing Championship announcement here: In-person tickets are on sale now and are still available here .

On their fifth full-length album, Loss, Portuguese masked metal collective GAEREA once again proves that evolution and extremity don’t have to be mutually exclusive. Set for release on March 20, 2026, via Century Media Records, Loss  finds the Porto-born band pushing further beyond the boundaries of black metal while maintaining the emotional intensity and spiritual ferocity that have defined their ascent over the past decade. For a band that began as a bedroom project rooted in the raw aggression of traditional black metal, GAEREA’s transformation has been fascinating to witness. Earlier works like Unsettling Whispers  (2018) and Limbo  (2020) leaned heavily into the genre’s relentless darkness, while Mirage  (2022) and Coma  (2024) began introducing more melodic and atmospheric dimensions. With Loss , the band takes those ideas even further, crafting a record that feels both expansive and deeply personal. Opening track “Luminary” wastes no time announcing this shift. It begins with cinematic grandeur before detonating into blast beats and cascading guitar lines that feel equal parts feral and cathartic. The band’s ability to weave beauty into brutality has never been sharper. Beneath the sonic assault lies a surprising sense of accessibility—chorus-driven structures and melodic hooks that linger long after the track fades. The album's lead single, “Submerged,” dives straight into the album’s emotional core. A torrent of tremolo riffs and suffocating atmosphere mirrors the lyrical theme of drowning beneath the weight of one’s own thoughts. It’s one of the record’s most intense moments, yet the clarity of its songwriting reveals a band more confident than ever in balancing chaos with cohesion. That emotional turmoil continues on “Hellbound” and “Uncontrolled,” where GAEREA explore themes of guilt, imposter syndrome, and internal corrosion. The vocals oscillate between visceral shrieks and unexpected moments of clean singing—like the track “Submerged”—another step in the band’s ongoing evolution. Rather than diluting their intensity, these melodic passages add new layers of vulnerability. At the center of the album lies “Phoenix,” arguably the record’s defining moment. Rising from a bed of brooding atmosphere, the track blossoms into an anthemic surge of melody and catharsis. It’s the sound of transformation—both musically and thematically—capturing the album’s central idea of confronting pain in order to transcend past it. The second half of the album expands the sonic palette even further. “Cyclone” is different from any of the other tracks. It starts with pristine, clean singing, then becomes relentless, driven by whirlwind riffing and thunderous percussion. However, it remains endlessly melodic, while “LBRNTH” (stylized as “Labyrinth”) twists through shifting tempos and hypnotic textures, almost an interlude of sorts. These tracks showcase GAEREA’s ability to create immersive soundscapes without losing the visceral punch that defines extreme metal. “Nomad” offers one of the album’s most introspective moments. Built on a haunting melodic backbone, the track reflects the restless wanderer who runs from self-confrontation—a powerful metaphor for alienation and emotional collapse. The band’s ability to translate existential turmoil into towering sonic architecture is nothing short of remarkable. The closing track, “Stardust,” brings the journey to a poignant conclusion in a massive eight-minute epic. Elegiac and atmospheric, it feels like a slow, yet extremely deep exhale after the album’s emotional storm. Inspired by the loss of a close friend, the song carries a fragile beauty that lingers long after the final notes fade, encapsulating the album’s themes of grief, memory, and healing. In the end, the track is still immensely heavy in every way possible. Throughout the nine tracks that make up Loss , GAEREA remain unmistakably themselves even as they stretch the limits of their sound. The band’s fusion of black metal intensity, post-rock atmosphere, groove metal rhythm, and surprisingly melodic songwriting continues to carve out a space uniquely their own. Their masked anonymity and ritualistic live identity may emphasize collective symbolism, but the music itself feels intensely human—raw, conflicted, and searching. With Loss , GAEREA haven’t abandoned their past—they’ve simply expanded it. The DNA of black metal still courses through every blast beat and tremolo riff, yet the band refuses to be confined by genre expectations. Instead, they stand as something much more rare: a band willing to expose vulnerability without sacrificing extremity. Nearly a decade into their journey, GAEREA are no longer chasing comparisons to the giants of the genre. They’ve become something far more compelling—an entity entirely their own. And with Loss , they may have created their most powerful statement yet. Check out more from GAEREA: Instagram | Facebook | Website | TikTok