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The Royal Albert Hall 18th March 2024 The first of two shows at The Royal Albert Hall marks the end of an era, as Roger Daltry steps aside after a glorious 24 years as the curator of the Teenage Cancer Trust. Under his watch, £32 million has been raised from ticket sales alone. So while we've been watching some great music, we've also helped to support young people living with cancer. It's always terrific to see The Who live. Their zeal and energy would put most youngsters to shame. Sure, they're not jumping around the stage anymore - but given that Daltry turned 80 a few weeks earlier and Townshend follows closely behind, they can still put on a great show. Although they seemed a little bit weary this time around. The show was also more chaotic than last year's exceptional stop-off at the O2 Arena, but that could be explained by a mix-up with the set list (apparently due to backing singer Billy Nicholls swapping the set list for one that they hadn't rehearsed! *) They burst onto the stage with a version of 'Can't Explain', which feels a little disjointed as if they are not all quite on the same page. Then the orchestra strikes up with the triumphant 'Overture', (the track that has started all their sets for the last five years), even so, listening to it live again after years of listening to it on worn-out vinyl is nothing short of magical. As the band push on through a compilation of songs from the 1969 rock opera, it's amazing to watch them still perform tracks like 'Pinball Wizard' and 'Amazing Journey' over 50 years later. Even though its leading men may have aged, the music is still timeless. The backing of the orchestra takes The Who's music into a different stratosphere and gives Townshend's music the arrangement it deserves. Mind you, we were lucky to hear it at all: Townshend announces "I look confused because I wasn't expecting to play Tommy", which then causes a bit of bickering between the band and prompts Daltry to comment  "I've got a set list but I can't fucking read it!" It's funny to watch this dynamic: had it been the good old days somebody might have lobbed a chair across the stage. Thankfully the orchestra seemed to have a handle on things and the band played more or less the setlist from their last tour. Daltry messes up his mic swings, Zack Starky appears to mouth 'sorry' to Daltry during one song. Later on, Townshend grumbles that his hearing aid app is being tampered with and at another point, he needs to change out an amp. I was thinking or perhaps hoping that he might smash up another guitar in frustration. With all this banter and comedy no wonder Daltry and Townshend are a beloved British double act! The orchestra leaves the stage for a well-earned break and the band launches into a selection of their hits 'My Generation' and 'Behind Blue Eyes' being a highlight. The behemoth track that everyone's waiting for: 'Won't Get Fooled Again' doesn't disappoint, as Daltry's primal scream could be heard somewhere down Exhibition Road! The orchestra returns for a blistering selection from Quadrophenia. After a rough ride early in the set, the band steel themselves for 'The Rock' and 'Love, Reign o’er Me' and a terrific finale of 'Baba O’Riley'. Things are clearly far from seamless in tonight's show, but hey that's the reality of a live performance. In classic Who fashion they are far too cool to cover this up and have always adopted a two-fingered approach to such nonsense. As Townshend points out the band were 'among friends' and The Who's fans are certainly some of the most loyal in rock and really who gives a fuck! We're here to raise money for a great cause: whoever follows Daltry's work for the Teenage Cancer Trust has big shoes to fill. Rock on the mod spirit! https://teenagecancertrust.org/ *According to the Blog on the band's official website Billy did make the list, but they weren't his choices and took the flack for somebody else)

You've heard it literally everywhere since the 1980s: on radio stations all around the world; sung by Tom Cruise, Alec Baldwin and Mary J. Blige in the film Rock Of Ages; covered by the cast of the TV show Glee and soundtracking the iconic final scene of legendary TV show The Sopranos. Journey photo credit: Mike Savoia Now, JOURNEY's timeless rock anthem ‘Don't Stop Believin'’ has officially been declared the "Biggest Song Of All Time" by Forbes. According to the RIAA (Recording Industry Association of America), the smash hit rock song that has thrilled music fans for over four decades is now an 18-times-platinum-certified single. Writing on Twitter/X, Journey’s founder member and lead guitarist Neal Schon commented, “We now officially have the biggest song in the world ever in the history of music! Congratulations to all 👆🏻🙌🏻👌🏻” Released in October 1981 for JOURNEY's seventh studio album Escape through Columbia Records, ‘Don't Stop Believin'’ quickly became the band's signature song. Neal Schon, wrote the instantly recognizable bass line, and keyboardist and rhythm guitar Jonathan Cain had kept the song title from encouragement his father gave him as a struggling musician living on Sunset Boulevard. Decades after its release, the song became the best-selling digital track from the twentieth century, with over seven million downloads. The enduring anthem has garnered myriad achievements, including being selected by the Library of Congress for preservation in the United States National Recording Registry as being "culturally, historically, or aesthetically significant," becoming 10x Platinum in Australia, 7x Platinum in New Zealand, 4x Platinum in the UK and 2x Platinum in Denmark, and in 2021 receiving the GRAMMY Hall of Fame award. JOURNEY originally formed in San Francisco in 1973 and soon became one of the biggest bands in America, with nineteen Top 40 Billboard hits in the US, and huge global hits such as ‘Don’t Stop Believin’, ‘Open Arms’, ‘Faithfully’, ‘Any Way You Want It’ and ‘Separate Ways (Worlds Apart)’, taking them to over 100 million album sales worldwide. The band – featuring lead guitarist Neal Schon, keyboardist Jonathan Cain and vocalist Arnel Pineda – released their sixteenth and most recent studio album, entitled Freedom, in 2022 and embarked on their 50th Anniversary tour in 2023. Currently on a headline arena tour of the USA, JOURNEY will be spending the summer on a co-headline stadium tour of America with Def Leppard, before bringing their much-anticipated 50th Anniversary tour to the UK & Ireland this autumn. Main support on all dates comes from the acclaimed Illinois power-pop quartet CHEAP TRICK, who are also celebrating their 50th Anniversary this year. Neal Schon comments, "It's been too long since we've seen you all! We are all very excited to be coming back to the UK and playing with our good friends Cheap Trick, who I’ve known and played with since the 70s. It’s going to be a great party for all!" CHEAP TRICK are loved around the world for their instantly identifiable and hugely influential union of wit, melody, powerhouse pop hooks and razor-sharp riffs. With global hits such as ‘Surrender’, ‘The Flame’, ‘Dream Police’ and ‘I Want You To Want Me’, they released their most recent studio album In Another World in 2021 to global acclaim. JOURNEY + CHEAP TRICK UK & IRELAND TOUR DATES 2024 Wed 30 October          Cardiff Utilita Arena Thu 31 October            Nottingham Motorpoint Arena Sat 02 November         Glasgow OVO Hydro Mon 04 November      Belfast SSE Arena Tue 05 November        Dublin 3Arena Fri 08 November          Manchester AO Arena Sat 09 November         Leeds First Direct Arena Mon 11 November      Liverpool M&S Bank Arena Wed 13 November      Birmingham Utilita Arena Sat 16 November         Newcastle Utilita Arena Sun 17 November        London The O2 TICKETS ON SALE – aegp.uk/journey

The Anglo-Dutch rock/pop act The Dave Foster Band will release their third album at the end of May. Intriguingly titled and dynamic sounding, ‘Maybe They’ll Come Back For Us’ is helmed by acclaimed guitarist/multi-instrumentalist Dave Foster and vocalist Dinet Poortman, but also features star turns from guitarist Steve Rothery of Marillion, bassist Mark King of Level 42 and singer Carly Bryant (ex Big Big Train), as well as regular collaborators that include bassist Neil Fairclough (Queen + Adam Lambert), drummer Leon Parr (Steve Rothery Band), pianist Anthony Hindley and string arranger Stephen Boyce Buckley. ‘Maybe They’ll Come Back For Us' will initially be available on CD and LP formats (aqua blue vinyl), with download and streaming options to follow on 28th June. A first single and video from the album for its opening song, ‘Sleep Spindles’, is available from today. “I learned about sleep spindles while reading the brilliant 'Why We Sleep' by Matthew Walker,” says Foster. “In short, they are a specific brain wave pattern that researchers believe is a process that our brains use for long term memory consolidation and sensory processing. When I first read the phrase I wrote it down as a potential song title.” “I remember loving the title when Dave suggested it,” adds Poortman, “figuring that different wave patterns that can be measured in your brain were like individual places you can visit and have all sorts of experiences. I used to be a lecturer in Neuropsychology and did a course that taught me all about sleep spindles and the different stages of your brain while concentrating, at rest and asleep. In the process of writing the lyric for the song I was having sleep issues for pretty much the first time ever and it got me thinking about the effects of sleep, or no sleep at all.” Discussing the album as a whole, Foster explains that “we wanted to make sure that the recording process was as relaxed as when we made our last record ['Glimmer'], as it makes a big difference feeling like you have things under control,” states Foster. “We split the studio time between The Forge in Oswestry, where we laid down Leon’s drums and Neil’s bass with Al Unsworth on engineering and mixing duties, and my own home set-up, where we recorded Anthony’s piano wizardry, most of my guitar work and Dinet’s vocals, which really sparkle.” Asked about the additional guests, he reveals that “I had previously asked Steve Rothery if he would perform on a track. Once I had the structure for the new song 'These Tendencies’, I immediately thought that he would enjoy playing over it. We've known each other for so long and know each other's playing so well that these decisions become easy. I adore his solo on it.” As for Mark King, he adds: “we have a mutual friend who I asked to pass on a message enquiring if he might be up for playing on the song ‘Talent To Failure’, and thankfully he said ‘yes’. It was exciting that he wanted to work with us.” The cover artwork for ‘Maybe They’ll Come Back For Us’ features a distinctive and highly colourful photograph by Japan-based Tsuki Kitsune. “I found him by chance on Instagram and as soon as I looked at his profile I knew I'd found something special. He was great to deal with and I think that the cover is one of the best photographs I've ever seen,” Foster concludes. Taken from the new album 'Maybe They'll Come Back For Us' to be released on Friday 31st May (Physical) and Friday 28th June (Streaming). Pre-order at: Burning Shed - https://burningshed.com/store/english... The Bandwagon USA - https://thebandwagonusa.com/en-gb/col... Dinet Poortman - Vocals Leon Parr - Drums Dave Foster - Guitars, Bass & Keyboards

We take a look at some highlights from the eclectic mix of music that's landed in our inbox this week Joe Bonamassa - 'The Last Matador of Bayonne' In a continued celebration of his historic performance at the iconic Hollywood Bowl, Joe Bonamassa announces the release of his latest single “The Last Matador Of Bayonne” from the acclaimed live album and film Live At The Hollywood Bowl With Orchestra, out May 17th via J&R Adventures. This emotionally charged song offers listeners a vivid narrative, blending Bonamassa’s signature guitar prowess with the grandeur of a full orchestra, encapsulating the essence of bravery and the contemplative spirit of a matador facing his fate. “The Last Matador Of Bayonne” was arranged by legendary composer David Campbell and also features a captivating trumpet solo by Rashawn Ross, longtime Dave Matthews Band member. The song was hand-picked from Joe’s 2011 Studio Album “Dust Bowl” to be on this orchestra set. "There’s a Bayonne in France, which is where this song got its title,” Bonamassa shares. “I was doing amphitheater dates in Europe back in 2010 with ZZ Top, and in a lot of these cities, when they say 'Amphitheater,' they’re not kidding. They’re talking about Roman-style bullrings. Over the years, I think they phased out the killing of the bulls. The matadors are there more for show these days. But during one of these gigs, I was standing in one of the areas where the matadors were kept, and I saw this little door. So, I opened it and I saw this little prayer booth, where I guess a matador would sit and pray before going out to face a bull. I started to think, Who was the last guy to do this? It was a great concept for a song - again, to think that you may die doing what you do for a living." Following the album's lead single, the riveting live rendition of Bobby “Blue” Bland’s classic “Twenty-Four Hour Blues,” “The Last Matador Of Bayonne” continues to showcase Bonamassa's ability to convey deep, resonant stories through his music. This release further emphasizes the dynamic range and emotional depth present throughout Live At The Hollywood Bowl With Orchestra, offering fans a new layer of storytelling woven with blues and rock. Live At The Hollywood Bowl With Orchestra showcases Bonamassa’s virtuosic blend of blues and rock but also elevates fan-favourite tracks with grandiose orchestral arrangements by some of Hollywood's finest – David Campbell, Trevor Rabin, and Jeff Bova. “Very few gigs represent my journey in music more than the Hollywood Bowl. I moved to Los Angeles in 2003 in search of opportunity and cheaper rent than New York City. My first gig at The Mint was attended by 5 of my friends and that's all. We have played The Greek Theatre many times since, but the Bowl has always been a dream. The orchestra and the sheer scale of the event and venue is something I will never forget. I am so grateful that we filmed this special event in my life,” reminisces Bonamassa. Available in CD/DVD, CD/BR, 2 LP Vinyl, and digital formats, the release captures the essence of Bonamassa’s career, highlighting his exceptional talent and the impactful fusion of blues, rock, and orchestral music. UK & European pre-order link for New Live Album and Film from https://lnk.to/joebonamassa North American pre-order link for New Live Album and Film from https://joeb.me/OrderLFTHBWO Bonneville - 'Chimpanzee' UK singer/songwriter and proud feminist Bonnie Milnes, aka Bonneville returns for 2024 with compelling new single “Chimpanzee” alongside her debut studio album “New Lady” out Friday 22nd March. At the age of 19, Bonnie, originally from York, moved to Manchester. Peering out from a high-rise flat in student halls on Oxford Road, she found herself comparing her feelings to the chimpanzee they shot into space in the 1960s. Feeling a thousand miles from home, spaced from bad-weed and heartbreak, Bonneville wrote Chimpanzee. Chimpanzee transcends this compelling narrative, providing a melancholic atmosphere, echoing the sentiments of drifting around, feeling lost in space. Paired with Bonneville’s alluring vocals the track has country influences, painting a hazy but vivid picture on her experience of moving away from home for the first time. Within the album itself, her overall narrative is inspired by real life events and journeys. Other tracks including “The World (Was Built By A Man),” “Lady Be Free,” and “You Know,” are all narratives upon inequality of women, and they inspire feelings of freedom and escapism. The album reflects Bonneville’s diverse taste in music, with a nod to the nostalgia of noughties pop soul, including notes of country, neo-soul, jazz, and compelling sonic influences throughout. All production on the project is from Isaac Mccinis (Crooked Rooms Studios,) recorded at Young Thugs Studios, and mastering was by Kevin Tuffy (Mastering Engineer of the Year 2022) at Man-Made-Mastering in Berlin. New Lady mixes sensitive production and classic, quality song writing. The strength found in community that threads through the lyrics is reflected in the album’s production, written with a small group of friends and musicians whom Bonneville trusted with intimate stories. Alongside her musical career, Bonnie Milnes is also an aspiring actress, with credits including 2023 series “The Gallows Pole”, written and directed by Shane Meadows. Chimpanzee is out Friday 22nd March, along with debut album New Lady- https://kycker.ffm.to/newlady For more information on Bonneville: https://missyorkshiregold.com https://www.instagram.com/missyorkshiregold/ https://www.facebook.com/BonnevilleUK Avenged Sevenfold - 'Cosmic' Multi-platinum headliners Avenged Sevenfold (comprising M.Shadows, Synyster Gates, Zacky Vengeance, Brooks Wackerman, and Johnny Christ) have debuted a trippy new music video for “Cosmic,” directed by Chris Hopewell (Radiohead, Run The Jewels). Following a grim reaper’s travels on a psychedelic journey, the 7½ minute song features the 78-piece San Bernardino Symphony Orchestra and is taken from their latest album ‘Life Is But A Dream…’. Avenged Sevenfold is currently on their Life Is But A Dream… tour in the USA, with support from Poppy and Sullivan King. They will be headlining Download Festival on June 16th alongside other European festival headline slots. See the dates below and visit https://www.avengedsevenfold.com/tour for more details as well as tickets and VIP packages. Avenged Sevenfold recently launched their groundbreaking Season Pass loyalty program. Fans who are already streaming their music, buying merchandise, and attending live shows can opt-in for free to collect points.  These points can then be redeemed for up to 25 levels of rewards – everything from merch discounts to demos to band meet & greets. These rewards will be automatically available via a claim system and dropped into their digital wallet where they can redeem or sell them. More info can be found HERE. 'LIFE IS BUT A DREAM...' 2024 TOUR DATES: Mar 19 – Indianapolis, IN – Gainbridge Fieldhouse Mar 21 – Uncasville, CT – Mohegan Sun Arena Mar 23 – Manchester, NH – SNHU Arena Mar 25 – Pittsburgh, PA – PPG Paints Arena Mar 26 – Columbus, OH – Nationwide Arena Mar 28 – Knoxville, TN – Thompson Boling Arena Mar 29 – Raleigh, NC – PNC Arena Mar 31 – Newark, NJ – Prudential Center May 25 – Jakarta, Indonesia – Madya Stadium June 5 – Hamburg, Germany – Barclays Arena June 7 – Nurburg, Germany – Rock am Ring June 9 – Nurnberg, Germany – Rock im Park June 11 – Basel, Switzerland – St. Jakobshalle June 13 – Firenze, Italy – Firenze Rocks June 14 – Nickelsdorf, Austria – Nova Rock June 16 – Derby, UK – Download Festival June 19 – Copenhagen, Denmark – Copenhell Festival June 21 – Dortmund, Germany - Westfalenhallen June 22 – Dessel, Belgium – Graspop Festival June 24 – Amsterdam, Netherlands – Ziggo Dome June 26 – Viveiro, Spain – Resurrection Festival June 27 – Clisson, France – Hellfest June 30 – Lisbon, Portugal – Evil Live Festival

The London Palladium 17th March 2024 Robert Plant is arguably one of the greatest frontmen of all time. As lead singer of Led Zeppelin, he made the mould for the identikit rockgod. His name may be on top of the poster with his latest musical venture, but Saving Grace is very much an ensemble project. The band enter first, with Plant and vocalist, Suzi Dian taking to the stage together. Dressed in black they blend into the dimly lit proscenium arch. Despite the inevitable whoops and cheers from the audience, it's all very unassuming as they cover the African-American spiritual song 'Gospel Plow'. There are a few square dance steps from Plant as he grooves to the music, and a few softly spoken jokes or introductions to the songs during the night, but throughout the show he remains an enigmatic figure; a conduit for these folk songs. When he plays the harmonica, he seeks encouragement from the audience and rallies them to clap and stomp along; it's a fleeting reminder of his younger self. At 75 years young, Robert Plant's commitment to creating exciting and modern arrangements of traditional music is still a top priority. He also has the knack of working with some gifted female vocalists. Suzi Dian's willowy vocal intertwines with Plant's unmistakable twang and layers up these folk retellings. It's not only their sublime harmonies, they work together as one unit - tenor and mezzo adding weight to the vocal lines, with neither one overshadowing the other. They are also blessed with an exceptional band Oli Jefferson (percussion), Tony Kelsey (mandolin, baritone, acoustic guitar), and Matt Worley (banjo, acoustic, baritone guitars, cuatro) who delight in playing their instruments in different styles ranging from world music to rock. Let's not forget the elegant vocal from Dian along with her accordion playing throughout the evening. Led Zepplin songs 'Friends' and 'The Rain Song' are given some rearrangements to fit the Americana/folk vibe of Saving Grace. Of course the whole Led Zep catalogue draws from African-American blues music mixed with traditional English Folk anyway, but these renditions feel more rootsy than before. Later in the set is a cover of Bert Jansch's track 'It Don't Bother Me', which is fitting for a man who was responsible for the folk revival in the UK. Jansch has had a resurgence in recent years thanks to being championed by the likes of Bernard Butler and Robert Plant of course. When Plant announced the band would perform a song by Los Lobos, I expect several people (myself included) had a throwback to their 1987 party hit 'La Bamba', forgetting that the band have a rich musical heritage behind them. 'Angel Dance' is a great starting point to reconnect with Californian band's music. 'Gallows Pole', a traditional song made famous by Zeppelin follows before the troupe joins together for a spellbinding acapella rendition of 'As We Bid You Goodnight'. Saving Grace have certainly gone all out for this current tour, playing bigger venues and bringing their unique blend of timeless music to the masses. Taylor McCall, a talented troubadour was supporting this evening. His latest album 'Mellow War' was released last month.

Manic Eden released one solitary gem of an album in 1994, and today, Music Theories Recordings / Mascot Label Group is proud to announce the reissue of the self-titled album on 12 April. It will be released on CD, and made available digitally and on vinyl for the first time. It was 1993, and Whitesnake was on a hiatus. David Coverdale was working on an album with Led Zeppelin guitarist Jimmy Page. Adrian Vandenberg (Guitar/Keys), Rudy Sarzo (Bass) and Tommy Aldridge (Drums) decided to put a band together. Remembering the time, Vandenberg says, "Rudy, Tommy and I just came out of the glamorous '80s, having surfed the world's biggest stages on the waves of the multi-million selling Whitesnake albums ‘1987' and 'Slip Of The Tongue'. The expensive, polished Whitesnake videos had been all over MTV non stop. Then the Grunge scene hit." Vandenberg wanted a more 'organic' sound, one that reminded him of the bands he grew up listening to; Cream, Free, Jimi Hendrix, Led Zeppelin and Mountain. "They still sound timeless and exciting and a bit 'rough around the edges'," he continues. "Pretty much always recorded in a very short period of time, so the spontaneity, dynamics and emotion in the musicians' performances are right in your face. Mixed in such a way that the listener feels he or she is right there in the room while the band is playing." The moment came for them to return to their roots; bluesy, honest, in-your-face and 'organic' music. After a week or two of rehearsing in Palm Springs, they started working in a small, funky, authentic 70’s recording studio in Los Angeles. They had recruited Ron Young, the singer from American hard-rockers Little Caesar, to take on vocals for the recording. Young came off the back of two acclaimed albums with Little Caesar and a cameo appearance in the Hollywood blockbuster movie Terminator 2. The band had already recorded the instrumental tracks, and Young adapted his vocal lines to the tracks. His instantly recognisable signature style fitted the songs and their approach perfectly. The recordings were done in about two weeks, 70's style. Looking back, Vandenberg reflects, "When the album got its worldwide release, it was tough to get radio airplay because of the drastically changed 'music fashion of the week'. Of course, we were anxious to hit the road and tour all over the place, but in the end, we only did an acoustic tour in France, which was a lot of fun. While in Paris, we recorded an extremely budget-friendly video for the song 'Do Angels Die', filmed by two students from the film academy in Amsterdam. Still one of my very favourite videos and songs of my career." He finishes by saying, "Personally, this album is a timeless work of honest, organic ‘Blues-Rock With a Twist' by four musicians who've always been in the music business out of passion for music and who play from the heart. I've always been very proud of the Manic Eden album that my friends Ron, Rudy, Tommy and I recorded in 1993. After hearing the songs a million times, I still play the album regularly, which says a lot. It’s the real deal." Thirty years later, honest, authentic hard-rock is flying high by both the original torchbearers and those inspired by it, so what better time for 'Manic Eden' to resurface as a hidden gem from a bygone era.

A blast from the past with The Lemon Twigs, some energetic rock from DE'WAYNE and prepare to go intergalactic with Soul Extract The Lemon Twigs - 'A Dream Is All I Know' NYC sibling duo The Lemon Twigs share the theatrical epic “A Dream Is All I Know", the (near) title track and latest taste of their forthcoming album, "A Dream Is All We Know", out May 3rd on Captured Tracks. Merging ripping guitars, zig-zagging harmonies and bittersweet nods to love and loss, today’s single captures those sort of spacey, fleeting moments in our everyday experience. Says Brian on writing the track: “This song is about impermanence and the dreamlike nature of our day to day lives. It was written when I was feeling a strong sense of unreality in my kitchen. Unfortunately, “Unreality In My Kitchen” didn’t have much of a ring to it so we had to go with “A Dream Is All I Know” as the title.” Today’s single is accompanied by an all new music video edited and directed by Michael and Brian D’Addario themselves, marking their directorial debut. Shot on film in NYC, the video pictures the band moving through their day in an absurdist reverie, skipping through scenes at school, on stage, in the clouds… the Twigs are dazed and confused, in more ways than one. Recorded completely to tape and mixed and mastered by Brian and Michael themselves on of-the-era equipment, A Dream Is All We Know presents a tracklist that is historically accurate, but altogether new. From the timeless tropes of the Lennon-McCarthy songbook - including the most explicit example yet, with co-production on “In The Eyes Of The Girl” by Sean Ono Lennon - to the skyrocketing harmonies of the Wilson family and nods to The Move, Big Star, Tradewinds and more, A Dream Is All We Know revisits the 1968 sound the D’Addarios teased the potential of making almost a decade ago on Do Hollywood. But with five albums, collaborations with everyone from Weyes Blood to Tim Heidecker, stages shared with Phoenix, Bleachers, Arctic Monkeys, and their musical hero Todd Rungren, and praise from Elton John, The Zombies, Gerard Way, Iggy Pop, and many more under their belt, A Dream Is All We Know is a clear demonstration of the growth the brothers have undergone in their journey from doe-eyed teenagers eager to make music reminiscent of their heroes, into visionary songwriters and arrangers whose oeuvre is itself a source of inspiration to other artists. Following 2023’s emotionally charged Everything Harmony - which The Guardian called “totally perfect,” Questlove praised for going “full Debarge”, and The Needle Drop’s Anthony Fantano revealed was the source of his #1 most played song of the year - A Dream Is All We Know showcases the brothers playing with a newfound sense of intuition after years spent perfecting their craft. Pre-order A Dream Is All We Know here: https://lemontwigs.ffm.to/adreamisallweknow.opr DE'WAYNE - 'Synthesizer' FEARLESS RECORDS is pleased to announce the addition of rock artist DE'WAYNE to the global roster. DE'WAYNE is an artist who has taken risks his whole life and is now putting that exact energy into the music he creates. DE'WAYNE is an alternative rock singer from Houston, Texas, who is redefining how it's done by showcasing a raw and tasteful blend of genres. The music combines elements of rock, pop, and soul, with a mission to show people we shouldn't live in boxes — and neither should our music. Throughout his nascent career, he has constantly reinvented himself, leaving fans both guessing and thrilled, all the while picking up new ones along the way. The NME called out his ability to be "equally at home belting out throaty howl or indulging in his velvety soulfulness" and praised, "the sense of fun and experimentation that’s crucial to good mainstream-minded rock music is very much alive" that defines DE'WAYNE's music. To celebrate the signing news DE'WAYNE has released new single 'Synthesizer' and shared new video. "Synthesizer' is a love letter to my best friend," DE'WAYNE says. "Sometimes, it's easier to say these things in a song rather than in person. I was inspired by The Commodores, who wrote 'Brick House' about the perfect woman — in their eyes. I wanted to take the word synthesizer and make it SEXY and give it a new meaning. To anyone who listens to this, I hope they find the synthesizer in their life." The song has already been added to Spotify's flagship rock playlist MARROW, which is a mirror and vehicle, and a reflection of what is truly driving today's rock youth culture, evolution, and limitless trajectory. Soul Extract - 'Innerspace' Soul Extract continues his orchestral rock journey with Void Chapter member and labelmate Brian Skeel in this new single cinematic rock single "Innerspace." Purchase/Stream: https://link.fixtmusic.com/innerspace Building up momentum from the start "Innerspace" is an ethereal journey into the microcosms. In his own words Soul Extract explains, "From my passion of the microscopic unseen world came a track that will hopefully pique the interest of those who have dismissed the subatomic and quantum world as mundane science. Working with Brian Skeel on this song is what brought this idea to life and I am super thankful to share this with him." Fueled by guitars, synthesizers, and a dynamic vocal performance from Soul Extract "Innerspace" explores the depths of the smallest worlds we've yet to touch. Orchestral strings blending with chugging guitars, and impassioned vocals, powerful rhythms, ethereal melodies, and the electrifying combination of bass, drums, electric guitar, and synthesizers that Soul Extract has come to be known for "Innerspace" is truly a prime example of cinematic rock at its best. Take the journey inside. You won't regret it. Cerebral. Beautiful. Violent. Soul Extract taps into a wealth of human emotions and experiences to generate a listening space that is as intense and unpredictable as life itself. The highly personal inspiration for Soul Extract’s creations gives every song an invigorating level of creative clarity, and the artist’s willingness to smash through genre barriers puts him at the forefront of modern music. Although Soul Extract’s stylistic approach fits within the broad scope of electronic rock, labels can’t begin to describe the exploratory, borderline progressive nature of the songs themselves. Josh Mullis, the architect behind Soul Extract’s elaborate compositions, brings a deconstructive mindset to his craft, tearing apart genres and fusing their most compelling elements back together to build calculated and highly detailed tracks. This analytical approach to Soul Extract began to take shape in 2013, and after years spent synthesizing the sounds of metal, electronic, and orchestral music, the artist unleashed his fiery debut album, Circadian Algorithm. Loaded wall-to-wall with emotive vocals and explosive instrumental sections, the album has laid the foundation for a developing career with an upward trajectory. Mullis’ passion for music began at a young age, and he has traditionally pulled from deeply personal events for his creative stimulus. Finding escape from family struggles by picking up a guitar as a teenager, Mullis discovered those early creative efforts were able to carry him through unpredictable times. As an adult, a motivating force for his music rests within humanitarian endeavors, as Mullis donates proceeds from Soul Extract to New Day Foster Home (http://www.newdayfosterhome.com), a charity that supported the health of his adopted daughter at an early age. For Mullis, music is an indescribable force capable of sparking intense emotion, and this force is the essence of an artist in its purest form. As the project name suggests, Soul Extract is Josh Mullis’ unaltered expression of himself, and his passionate approach to songwriting shines through on every track he produces. "Innerspace" is available now on all platforms from FiXT.

Norah Jones's latest album 'Visions' was inspired by those ideas that drift into your consciousness in the wee hours. Many creatives will know the feeling of desperately scrambling for a pen and paper as a fragment from a dream bobs into your mind and hoping to catch it before it floats off into the ether once more. This is an album that very much feels like a 4am notebook: there's a mix of sounds and vignettes from across Jones's career - there's jazz, blues, folk, country, soul. It tosses and turns and is impossible to pin down from one track to the next, but mostly all delivered in a very safe, cozy space. 'Running' is one of the more dynamic and heavier tracks on the album draws inspiration from that mule kick out of bed. Tonally it feels a tad out of place with the more serene lullabies of the album, but it will certainly shake you out of the album's comfort zone. It's not just her and the piano either, the album continues to blend other sounds with her distinctive vocals, which are unchanged by time. She weaves in retro grooves and tones this time too. 'Staring at the Wall' plays with harmonies like Linda Rondstadt and Emmylou Harris did - no surprises considering Harris and Jones have worked together. Sure, the songs don't jump out at you in the same way that 'Come Away With Me' did, but this is Jones playing with music and focussing on her love for melody and harmony. The snappy ditty 'On My Way' sees Jones doing just that in bucket loads. 'Paradise' pairs an old out-of-tune honky tonk piano and Jones's pitch-perfect tone. This discordance has a charm all of its own. 'Queen of the Sea' has another tight harmonic against a trudging rhythm, placed with minimal chords with Jones's vocal riding on the crest of a wave. The album may not be a career-best for Norah Jones, but it's far from a low point. Listening to 'Visions' is like that wonderful moment when you have just roused from a glorious slumber.

Lucassen & Soeterboek’s Plan Nine have revealed the fun new comic-book themed animated video for “Ice On Fire.”  The song is taken from the album 'The Long-Lost Songs' which will be released on 17th May via Music Theories Recordings / Mascot Label Group. The song rockets its way out of the 80s and into the fresh faced 2024 with all the flamboyance, stadium sized melodies and insatiable chorus of many 80s rock classics. Talking about the song Arjen Lucassen says, “Howdy y’all! I’m proud to present to you the second Plan Nine video and single, Ice of Fire. It was very hard to pick a second single, because we love them all! So we had the label pick this one. As you can hear this track is quite different from the first bluesy song Before the Morning Comes. I think you’ll agree that this track sounds quite 80’s. Which is no surprise…  because we wrote it about 35 years ago! The clip is illustrated by Elan Lopez and edited by Dionne Mokkenstorm at Mascot Label Group. We hope you will enjoy all the silliness, have a real good time and let us know what you think!” It was the early nineties, and musical polymath Arjen Lucassen had begun working on several projects: a solo album, a progressive-rock opera and a rock album. Around this time, he watched singer Robert Soeterboek perform live with Bodine, his former early-eighties heavy metal band. "His vocals truly impressed me, a rarity!" Lucassen recalls. "He had the charisma and power of singers like David Coverdale and Robert Plant. Discovering that we really got along personally, we decided to collaborate on some songs, just for fun." They would meet daily in Lucassen's small ‘studio’ - a bedroom with a mattress and an old 8-track tape recorder. There, they recorded around 20 basic ideas. They brought in Peter Vink on bass, Cleem Determeijer on Hammond, and Rob van der List on drums, who has since passed away, and attracted interest from producers and labels. In the early-nineties Grunge landscape, landing a record deal was challenging. Some labels were interested but hesitated due to fears about being able to sell albums in the era dominated by bands like Nirvana and Pearl Jam. Eventually, the repeated rejections wore them down. "I decided to start working on my rock opera project, expecting it to be the last musical thing I would ever do. My Final Experiment, so to speak!" Lucassen adds. Fast forward to 2022, and they revisited those recordings. They recently revealed the first song from the album,  Before The Morning Comes. The album encapsulates a glorious treasure trove of 11 original songs with a loving 70s and 80s nod. It's a blistering romp through the good time rolling rocker of "Let It Ride", the Beatles-esque "Doctor Robert's Medicine Show," the bluesy groove of "Annie Moore," the chugging glam stomp of "High-Speed Chase" to the 80s metal of "Ice on Fire”, whilst "The Preacher" would fit on a number of Arjen's back catalogue records. The bonus disc features all the demos and some more newly recorded tracks. Lucassen continues, "We wanted the best and most suitable musicians for this album who could tour with Robert. Koen handled the powerful drums. Rob van der Loo (Epica) laid down a solid bass foundation. The talented Irene Jansen delivered amazing backing vocals, as always. And, one of the world's best guitarists, Marcel Singor, played the virtuoso solos with his immediately recognizable style." The Long-Lost Songs are lost no more. Plan Nine is reborn, giving the long-lost songs a second life!

PLANET ROCK 48-HOUR TICKET PRE-SALE STARTS 10AM GMT WEDNESDAY 13th MARCH AT PLANETROCK.COM TICKETS ON GENERAL SALE 10AM GMT FRIDAY 15 MARCH AVAILABLE FROM ALTTICKETS.COM GIGANTIC.COM, TICKETMASTER.CO.UK, SAMANTHAFISH.COM Photo Daniel Sanda “Samantha Fish is a total badass.” – Powerplay Magazine “Samantha Fish is a force to be reckoned with.” – Guitarist Magazine Following last year’s Death Wish Blues UK Tour with Jesse Dayton, celebrated American blues rock guitarist Samantha Fish returns to the UK in October 2024 for her 10-date Bulletproof Headline Tour. Planet Rock’s 48-hour ticket pre-sale starts 10am GMT on Wednesday 13 March via planetrock.com. Tickets go on general sale 10am GMT on Friday 15th March via www.alttickets.com, www.gigantic.com, www.ticketmaster.co.uk (Edinburgh show), & www.samanthafish.com. “I am thrilled to tour the UK in October,” says Samantha. UK audiences are incredible.” Samantha was recently Grammy-nominated for “Contemporary Blues Album of the Year” for her collaboration with Jesse Dayton on Death Wish Blues. This month, Total Guitar Magazine voted Samantha as one of the “Top 100 Greatest Blues Guitarists” of all-time. Samantha will play a selection of songs from her entire catalogue of albums including Wild Heart, Chills & Fever, Belle of the West, Death Wish Blues, Faster, and Kill Or Be Kind (the latter features the fan favourite, Bulletproof). After launching her recording career in 2009, Samantha established herself as a rising star in the contemporary blues world. The charismatic singer-guitarist-songwriter has earned a reputation as a guitar hero and a powerful live performer, while releasing a series of acclaimed albums that have shown her restless creative spirit consistently pushing her in new, exciting, and often unexpected musical directions. The New York Times called Fish, "An impressive blues guitarist who sings with sweet power," and "One of the genre's most promising young talents." Her hometown paper, the Kansas City Star wrote: “Samantha Fish has kicked down the door of the patriarchal blues club and displays more imagination and creativity than some blues veterans exhibit over the course of their careers." Samantha believes her musical future is an open road. "I'm never going be a traditional blues artist, because that's not who I am," she says. "But it's all the Blues for me. When Muddy Waters and Howlin' Wolf came out, what they were doing didn't sound like anything that had been done in Blues before. You've got to keep that kind of fire and spirit. I'm never going to do Muddy Waters better than Muddy Waters, so I try to be who I am, and in doing that, I find my best voice.” Birmingham, Town Hall Friday 4 October 2024 Brighton, Chalk Saturday 5 October 2024 London, Koko Sunday 6 October 2024 Norwich, Epic Studios Monday 7 October 2024 Cardiff, Tramshed Tuesday 8 October 2024 Bath, Komedia Wednesday 9 October 2024 Leeds, Project House Thursday 10 October 2024 Nottingham, Rock City Friday 11 October 2024 Newcastle, Boiler Shop Saturday 12 October 2024 Edinburgh, Queen’s Hall Sunday 13 October 2024

PLEASE TELL US A BIT ABOUT YOURSELF. I’m Al Aston, and I’m the singer-songwriter behind Atomic Agent, a Finnish Hard Goth Rock band. I sing and play all the instruments on all the songs so far, so Atomic Agent has been my solo effort until now that I’ve formed a line-up in order to rehearse for future live shows. Still searching for a lead guitarist though. At the moment I’m running this and a certain metal band as my main acts. TELL US ABOUT YOUR LATEST ALBUM OR SINGLE The debut album, Secret Society, was released last December, and it features ten songs. Some are fresh and some a bit older, but I wanted the album to have a dynamic collection of songs that would give you an idea how varied the material can be, and it’s still just a narrow glimpse. Some of it is faster, some slower and heavier, some brighter, some gloomy, some more disciplined, some with more of a jamming feeling to it and so on. Amongst all the guitar-oriented rocking there is a delicate piano track too, called No Higher Force. I had originally planned that Secret Society – named after the title track – would be the name of the second album, but I somehow just had this sudden feeling one day, that I’d have to include that song on the debut already, so I also had to rename the debut album. WHICH SONG WOULD YOU SAY SUMS UP YOUR SOUND THE BEST? I guess I have to go with Kiss the Sky. It has some calmer moments on the verses, and faster stuff on the choruses. DESCRIBE YOUR MUSIC IN A FEW WORDS. Dark, emotional, melodic, groovy, varied. WHO HAVE YOUR BIGGEST INFLUENCES BEEN? The first influence would have been The Sisters Of Mercy, but since the days of those first songs, the sound has expanded quite a bit, into some more guitar-oriented stuff in the vein of Love Like Blood and Fields Of The Nephilim. The groove owes a lot to some rockabilly/psychobilly and punk acts, I think. But for name-dropping purposes I could mention a long list of the likes of Billy Idol, Danzig, Nick Cave, Rosetta Stone, Paradise Lost, Type O Negative, Sielun Veljet, Smack etc. HOW DID YOU GET INTO MUSIC? I bought an Elvis Presley Best Of cassette with my allowance when I was a kid. I was flabbergasted by songs like Suspicious Minds, Hound Dog and In the Ghetto and there you had it. Whereas most of the other kids listened to stuff made for children, I listened to real music. I also remember liking David Bowie, Leonard Cohen, Dead Kennedys and Stray Cats early on, before Heavy Metal turned a whole new leaf, and that actually sparked me playing music myself. I’ve always been involved with music. First by listening of course, then by playing, co-arranging gigs, then by writing reviews and interviews and so on, so you could say I pretty much live and breathe music. WHAT IS THE CREATIVE PROCESS LIKE FOR YOU WHEN MAKING MUSIC? There is no one specific process, but the most typical case would be coming up with a cool guitar melody, and then building the rest around it. Sometimes I come up with nice lyrical line that just starts playing in my head. Some other times it can be a new riff, a compelling drum rhythm or a bass pattern. And for writing lyrics it can be pretty much anything that sets it up. WHAT DO YOU THINK WOULD BE THE COOLEST COLLABORATION PROJECT BETWEEN YOU AND ANOTHER ARTIST? I’m open to collaborations, and actually there is a two-way collaboration in the works with a certain Finnish talent, but more about that later. But it would be nice to make a song with Mirel Wagner, who is a Finnish singer-songwriter with an extraordinary knack for some very grim and minimalistic stories. PLEASE TELL US A RANDOM FACT ABOUT YOURSELF. I have a wonderful, batshit crazy Husky/Wolfhound-mix that not only I love to bits, but who also occasionally drives me crazy with her goofball antics and endless energy. I also build Steampunk/Weird Science-styled lamps whenever I have the time (which is not much, thanks to making music and having the wacky dog). WHAT IS THE BEST ADVICE YOU’VE BEEN GIVEN? “Do not pee on an electric fence.” Did it anyway, which made the very young me understand why it was told not to do so originally. Maybe that’s where I got my natural groove. IF YOU COULD CHANGE ANYTHING ABOUT THE INDUSTRY, WHAT WOULD IT BE? That’s a can of worms, but here goes shortly: I’d make all the digital streaming platforms give artists a bigger chunk of their income, and lower the prices of physical releases a little bit at the same time. WHAT'S NEXT? A few single and music video releases, then an EP later on, and then the second full- length album. In the meanwhile, we’ll be rehearsing a live set and it makes me giddy to think how much fun this stuff will be onstage. I also want this band to get a lot attention of course!

Everette Release Their First Single & Video ‘High and Lonesome’ from their new EP ‘Keys To Kentucky’  Multi-talented country roots & rock ‘n’ roll duo Everette release their single ‘High and Lonesome’, along with its accompanying video. The track is taken from their brand-new EP ‘Keys To Kentucky’, due out this May, which spearheads the stripped-back, back to basics style they’ve found so effective in live touring. ‘High And Lonesome’ is their first single to kick off this new stage of Everette’s journey: brimming with melodies that lean towards tradition and grassy back porch rock n roll rooted in southern storytelling and heartland hooks. Photo Credit: Sean O'Holloran Everette are two Kentucky natives: Anthony Olympia and Brent Rupard. The pair first started making music together in the college bars and honky-tonks of Bowling Green, KY. — a sound they’re returning to with the new EP. Over the past few years, this pair from Bullitt County, KY, have covered the US from corner to corner and ventured forth to Europe, taking their vibrant, life-enhancing music — rooted in country rock ‘n’ roll and southern storytelling — far and wide, on stage after stage, including playing the Grand Ole Opry 11 times and touring with Brothers Osborne and Cadillac Three. After wooing the crowds at C2C in the UK in 2022, Everette played The Long Road Festival, leading Maverick magazine to proclaim, “Everette were one of the talking points of the whole festival!” As Six Shooter Magazine said of their UK shows “if you have a ticket, you’ll be in for a treat.” Live touring has heavily influenced the new ‘Keys To Kentucky’ EP.  “We’ve toured a lot with just me and Anthony on our acoustic guitars,” says Brent Rupard. “We love plugging up electric guitars and playing full band, but there is something about the freedom that comes along with just us two jamming together. It brings a raw human element to the performance that we can feel our crowd respond to.” So, whilst most of Everette’s previous records have been based on a swampy, electrified full-band sound, on stage Brent and Anthony have often found a more natural and organic connection with their audiences when they pare down to two guitars, returning to their roots.  Vibrant audience and fan response to Everette’s stripped-back sound has inspired the duo to make it the foundation of their latest EP. “We’re leaning more organic and acoustic-driven,” the duo proclaims, “We stripped back all the flash and focused on a raw, live-in-the-studio, sound. Resonator guitars, vintage acoustics, drum set supplemented with aluminum baking pans, and meat-headed bass guitar. Junkyard orchestra with a few upscale instruments playing first chair.” “We’ve connected so deeply to our fans with a more acoustic stripped-back organic sound (and it comes so naturally for us), so we felt it would be unforgivable not to record new music with that in mind.” “In ‘High and Lonesome’,” say Brent and Anthony, “we take you on the wild rollercoaster ride that has been our lives over the last 10 crazy years. The highest highs and loneliest lows, burning up blacktop from one stage to the next, and everything in-between. Check out that authenticity and Everette energy in its potent, pared to the bone form with ‘High and Lonesome’, Out now on all digital platforms. and watch out for the ‘Keys To Kentucky’ EP, due out this May, High And Lonesome out now on all digital platforms: HERE Website: https://weareeverette.com/ Facebook: https://www.facebook.com/WeAreEverette X: https://twitter.com/WeAreEverette Instagram: https://www.instagram.com/weareeverette/?hl=en