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Concord Bicycle Music is very pleased to announce that it has entered into a worldwide licensing agreement with The Traveling Wilburys to represent the iconic band’s entire catalog, including physical and digital reissues.

For the first time ever, the super group’s music will be available on streaming services, beginning June 3, 2016, along with the re-launch of the hugely successful Traveling Wilburys Collection box set as a limited-edition, uniquely numbered 2-CD 1-DVD box set, standard 2-CD 1-DVD package, deluxe 180-gram vinyl box and for the first time as high-resolution downloads. The release includes albums (Vol. 1 and Vol. 3), bonus tracks and a DVD featuring footage of the band from the first chord to the final mix.

When originally released in 2007, The Traveling Wilburys Collection debuted at #1 in the U.K. and six other countries and entered the U.S. charts at #9, making it the highest chart debut of a box set at the time, and has since been certified Gold.

The previously released albums Traveling Wilburys Vol. 1 and Traveling Wilburys Vol. 3 feature music’s greatest singer-songwriters — George Harrison, Jeff Lynne, Roy Orbison, Tom Petty and Bob Dylan — as the legendary band the Traveling Wilburys.

The Wilburys formed in 1988 after Dylan, Harrison, Petty, Lynne and Orbison assembled at Dylan’s Malibu, California studio to record a B-side for the Harrison single “This Is Love.” The resulting song, “Handle With Care,” was instead released under the Wilburys name, with the artists posing as a band of brothers. George later said, “I liked the song and the way that it turned out with all these people on it so much that I just carried it around in my pocket for ages thinking, ‘Well what can I do with this thing?’ And the only thing to do I could think of was do another nine. Make an album.” The original album release, Traveling Wilburys Vol. 1, achieved great success; after hitting No. 3 on the Billboard Top 200 chart, the certified double Platinum album earned a GRAMMY® for Best Rock Performance by a Duo or Group.

Traveling Wilburys Vol. 3, the group’s second album, was released in 1990 and dedicated to Lefty (Roy Orbison) Wilbury, who passed away in late 1988 before recording could be completed. “She’s My Baby” and “Wilbury Twist” became radio hits as the album reached #11 in the U.S. and was certified Platinum.

In late 2015 my wife Candace and I launched #HALLer to bring an exclusive group of social media influencers and friends together with artists in a unique experience. #HALLer creates the opportunity to sit down with interesting artists in conversation that is broadcast live through social media. #HALLer is not an interview, but an authentic exchange of thoughts, ideas and questions. Our inaugural #HALLer featured the Indigo Girls and garnered more than one million impressions throughout the hour we were live and trended #2 on Twitter in Canada (even with the Blue Jays playing in the World Series rounds while we were in session).

The next #HALLer event is one that we’re really excited about and I hope that you can join us by watching online and participating, too!

Frank Warren, Founder, Curator, Author of PostSecret will be joining us on April 18 between 8:00pm-9:00pmET on my Twitter stream. Frank is the founder and curator of PostSecret; an ongoing community art project where people mail in their secrets anonymously on one side of a postcard. The works have been exhibits in galleries and museums around the world including; MoMA. There have been six New York Times bestselling PostSecret books and the PostSecret blog has garnered over 750,000,000 hits. Frank continues to share secrets at colleges and events, including TED. He recently received the Mental Health Advocacy Lifetime Achievement Award. Every Sunday he continues to post secrets at his site and believes that our secrets can cut or heal.

#HALLer in working in conjunction with Mirvish Productions, who are bringing PostSecret: The Show to Toronto. The performance is an immersive, poignant journey through the humor and humanity of the personal stories we keep to ourselves, and on rare occasions, share with others. Projected images, videos, three actors and a guitarist guide the audience through crowd-sourced narratives revealing the true stories behind the secrets. Frank Warren, Internet phenomenon and recipient of the Mental Health Advocacy Lifetime Achievement Award, collaborated with an award-winning team of theatre professionals to bring PostSecret to life, theatrically, for the first time. With the bravery of Rent and the surprising honesty of The Vagina Monologues, PostSecret: The Show is a breakthrough in audience sourced storytelling that reaches beyond the confines of the stage, reminding audiences that secrets can be both walls and bridges.

Michael Franti & Spearhead will release their ninth studio album, SOULROCKER, on Friday, June 3 via Fantasy Records, which is their first album on the label. SOULROCKER features the new song, Crazy For You – a joyously upbeat rhythmic pop song that highlights Franti’s soulful vocals and encompasses his socially conscious outlook.  You can listen to it here, and pre-order the album via iTunes, and Amazon.  With each order, fans receive an instant download of the songs Crazy For You and Once A Day. The band will hit the road on a national headlining tour with multiple festival performances (see full tour dates below).

SOULROCKER was co-produced with Jamaican producers Stephen “Di Genius” McGregor (son of reggae luminary Freddie McGregor) and Dwayne “Supa Dups” Chin Quee (known for his work with artists like Bruno Mars and John Legend). Michael Franti & Spearhead have introduced a new sensibility to their potent hybrid of hip-hop, rock, folk, and reggae: a gracefully arranged take on electronic music that more than fulfills the band’s mission of making impassioned music you can dance to. Along with harnessing the Bay Area-based band’s dynamic energy for a more powerful impact than ever before, SOULROCKER shows Franti’s singular ability to channel frustration into music that’s both thought-provoking and triumphantly hopeful.

“Right now is a very challenging time for people, for our nation and the planet,” says Franti, a longtime activist and past recipient of Global Exchange’s Domestic Human Rights Award. “But I really believe that music can help fight war and violence and hatred. The world needs that more than ever now, so my intention with this album was to make music that could bring people together.”

While each selection on SOULROCKER began with Franti working out melodies on his acoustic guitar, many of the album’s songs ultimately evolved into beat-powered tracks that reveal a close and nuanced understanding of the electronic genre. “One of the first records I had as a kid was a Kraftwerk seven-inch that I got from the giveaway bin at the UC Davis radio station, KDVS,” recalls Franti, who grew up in Davis, California. “We always do a DJ set at the end of our shows, and I wanted to try bringing in those dance and electronic elements but still keep the organic instrumentation that I’ve always loved.”

Franti’s message of positivity and political consciousness, once an outlier in music, has found momentum in the mainstream in recent years – a phenomenon that compelled him to push his artistry even further on SOULROCKER. “I feel a deeper sense of purpose in music today than I ever have in my career,” he says. “The album’s really about me challenging myself and growing, and just trying to make the most inspiring music I possibly can for this intense, crazy and wonderful time we’re all living in.”

Be sure to catch Michael Franti & Spearshead on tour to experience SOULROCKER and other classics live.


  1. Crazy For You
  2. My Lord
  3. Get Myself To Saturday
  4. Summertime Is In Our Hands
  5. We Are All Earthlings
  6. Still Standing
  7. Good To Be Alive Today
  8. My Favorite Wine Is Tequila
  9. Once A Day
  10. We Do This Every Day
  11. I Got Love For Ya
  12. Do You Feel The Way That I Do
  13. Love Will Find A Way


4/16 – Charleston, SC – Southern Ground Music & Food Festival
4/17 – Ft. Lauderdale, FL – Tortuga Festival
4/22 – New Orleans, LA – Nolafunk Jazzfest Series @ Republic
4/23 – Oxford, MS – Double Decker Arts Festival
4/24 – Atlanta, GA – Sweetwater 420 Festival
5/27 – Napa, CA – BottleRock Music Festival
5/29- Monterey, CA – California Roots Music and Arts Festival
6/2 – Jim Thorpe, PA – Penn’s Peak
6/3 – Pittsburgh, PA – Three Rivers Festival
6/5 – Hunter, NY – Mountain Jam
6/12 – Russell Township, OH – LaurelLive
6/15 – Portland, ME – Thompson’s Point^
6/16 – Boston, MA – House of Blues^
6/17 – Silver Spring, MD – The Fillmore^
6/18 – Stratton, VT – Wanderlust Festival
6/19 – Philadelphia, PA – The Fillmore^
6/21 – Ann Arbor, MI – Ann Arbor Summer Festival^
6/22 – Grand Rapids, MI – Meijer Gardens^
6/24 – Des Moines, IA – Simon Estes Amphitheater
6/25 – St. Paul, MN – Twin Cities Jazz Fest
6/26 – Bayfield, WI – Lake Superior Big Top Chautauqua^
6/28 – Chicago, IL – Concord Music Hall^
6/30 – Milwaukee, WI – Summerfest
7/2 – Ottawa, ON – Ottawa Jazz Festival
7/29 – Kaslo, BC – Kaslo Jazz Festival
8/3 – Costa Mesa, CA – Pacific Amphitheatre*
8/4 – Mammoth Lakes, CA – Mammoth Festival**
8/5 – Flagstaff, AZ – Pepsi Amphitheater**
8/6 – Durango, CO – Three Springs**
8/7 – Morrison, CO – Red Rocks Amphitheatre**
8/9 – Salt Lake City, UT – Red Butte Garden
8/11 – Bend, OR – Les Schwab Amphitheater**
8/12 – Troutdale, OR – Edgefield**
8/13 – Tamarack, ID – The Huckleberry Jam
8/16 – Missoula, MT – Big Sky Brewing Company**
8/17 – Spokane, WA – Knitting Factory Concert House**
8/19 – Lake Tahoe, NV – MontBleu Resort & Casino**
8/20 – Lincoln, CA – Thundervibes
8/25 – San Luis Obispo, CA – Avila Beach Resorts**
8/26 – Las Vegas, NV – Brooklyn Bowl**
8/27 – Tucson, AZ – The Rialto Theatre**
8/28 – Santa Fe, NM – The Santa Fe Opera House**
^ w/Chali 2na & The Funk Hunters
*w/ G. Love & Special Sauce
**w/ Zella Day

Written by Toronto-based music journalist Jesse Locke (AUX, Weird Canada) Heavy Metalloid Music is the official biography of Hamilton’s legendary psych/proto-punk band Simply Saucer, who first launched into orbit in 1973. They were so far outside of the curve during their original ’70s lifespan that they wouldn’t be recognized until their recordings were finally released in 1989 as the posthumous collection, Cyborgs Revisited. An expanded 40th anniversary edition of Cyborgs Revisited will be soon be re-released on celebrated garage label In The Red.

When punk hit Canada in the late 1970s Simply Saucer became quasi-rivals of Teenage Head (even stealing guitarist Steve “Sparky” Park) and existed on the fringes of the Toronto scene. Their live shows blew minds and their work ethic was unmatched, rehearsing nearly every night (including Christmas) in the basement of the infamous Saucer House. After a decade of obscurity, the band was finally swallowed up by a black hole of drugs, crime, supernatural rituals, and suicide. After 40 years, Simply Saucer have slowly found their way back to earth.


Part oral history and part zine-style chronicle, Heavy Metalloid Music includes interviews with current and former members of Simply Saucer, plus their musical contemporaries, writers, fans, label heads, and others sucked into the Saucer’s tractor beam. Alongside a collection of rarely seen photos and other vintage materials, it also shares the story of Thee Gnostics, The Battleship, Ethel, and Zacht Automaat. These Hamilton psychedelic survivors have carried on the spirit of Simply Saucer, proving there has always been something in Steeltown causing expanding heads to create their own fantasies.


Heavy Metalloid Music will be available at select independent bookstores across Canada, online retailers as well as the  Eternal Cavalier Press website in November 2016. An exclusive excerpt and interview with Jesse Locke is now available at Open Book.

Jesse Locke has become Simply Saucer’s official biographer and contributed the liner notes to Saucerland, a new collection of Simply Saucer archival recordings released on Logan Hardware/Galactic Zoo Archive.

“The idea of a group of record collectors creating their own version of the Velvet Underground, Hawkwind, and Soft Machine in complete isolation and with limited means (in the early 1970s no less!) is completely awe-inspiring,” says Locke. “Of course their versions turned out way weirder than their heroes, with dystopian lyrical themes of cyborgs, Nazis, and comic book super-villains.”

Simply Saucer’s sole studio recordings of this era took place in the basement bunker of brothers Bob and Daniel Lanois, who would famously go on to work with the likes of Brian Eno, U2, and other musical bigwigs. The sessions were a raw, off-the-floor shamble, with several songs captured in a single take. The lyrics, influenced by sci-fi, comic books, and first-hand experiences with crime-infested street life, were written in a Beat-style stream of consciousness.

“After getting to know the band members throughout hours of interviews, I also discovered that they’re a lot like me and my friends,” says Locke. “Their story should be relatable to anyone in a hometown band that never made it big, but it’s also completely unique.”

The Mark Gordon Company and The Koch Company along with Chinese entertainment studio Pegasus Media Group (“Pegasus”) and China Film Group, announced today that they are teaming on the English-language feature film EDGE OF THE WORLD from Oscar® winning screenwriter David Seidler and Jacqueline Feather. Pegasus and China Film Group will finance the action-filled transcontinental love story, which will be produced by Mark Gordon, Hawk Koch, and Jianjun “Jay” Sun. Jeff Aghassi will serve as an executive producer. The feature is anticipated to be filmed on location in China later this year.

Based on actual events from the 1930s, EDGE OF THE WORLD is an epic love story that features the self-driven New York socialite and fashion designer Ruth Harkness. When her on-again off-again fiancé goes missing while searching for a mythical creature in China, she goes to Shanghai to find out what happened. The dire news sends her on a harrowing quest deep into the heart of China and leads Ruth to unexpected love and adventure that subsequently introduces the West to the first living Panda.

“EDGE OF THE WORLD whisks audiences away on a gripping journey around the world, and we are fortunate to lend even greater authenticity to the story by filming in China and its beautiful settings. I am happy to be working with Pegasus, China Film Group, and my good friend Hawk in bringing this gripping film to life,” said Gordon.

Added Koch, “I am excited to be able to make EDGE OF THE WORLD in China. This project has the potential to be a classic action adventure love story.”

“China is on the way to overtake the US as the world’s largest film market in 2017 based on last year’s 48.7% box office growth. We believe co-production is the best approach for U.S. and Chinese filmmakers to take advantage of this huge market opportunity considering China’s current import quota system,” said Sun, producer and president of Beijing-based Pegasus Media Group. “EDGE OF THE WORLD has the potential to become a successful model for future U.S.-China co-productions and we look forward to working with Mark and Hawk, as well as our long-time partner China Film Group.”

Seidler won an Academy Award® for writing THE KING’S SPEECH. Seidler and Feather have co-written a number of feature films including THE KING AND I and QUEST FOR CAMELOT.

Paul Simon will release Stranger to Stranger, his 13th solo album, on June 3rd via Concord Records. Full of thrilling, imaginative textures, Stranger to Stranger conjures a vivid and vital new context to Simon’s well-established virtuosity as a singer and songwriter. The record, his first since 2011’s acclaimed So Beautiful or So What, ushers the listener into a brave new musical world where expectations are defied and exceeded, as they were thirty years ago with another masterwork, Graceland. Listen to the album’s first single, “Wristband” below.

Produced by Simon and his longtime musical partner Roy Halee, Stranger to Stranger’s adventurous sonic spirit is abundantly clear right from the darkly humorous first two songs, “The Werewolf” and “Wristband.”

“It’s about getting you to actually hear something in a new way. It’s about making music that sounds old and new at the same time; music with a sense of mystery,” Simon explains of his and Halee’s experimentation on the album.

The first song written for the album, “Insomniac’s Lullaby,” led Simon to the musical possibilities first suggested by Harry Partch — the 20th century American composer and theorist who created custom-made instruments in microtonal tunings. To capture the sounds of Partch’s unusual instruments such as Cloud-Chamber Bowls and the Chromelodeon, Simon took his equipment to the laboratory at Montclair State University in New Jersey, where the original Harry Partch instrument collection was being curated.

An experimental session with the percussionist in Simon’s band and a group of Flamenco musicians provided the initial rhythmic premise for Stranger to Stranger and inspired the grooves that were the basis for four songs on the album — “The Riverbank,” “The Werewolf,” “Wristband” and “Stranger to Stranger.”

Stranger to Stranger’s collage of sound also includes the Italian electronic dance music artist Clap! Clap!, whose album Tayi Bebba, blending African field recordings and EDM, Simon admired. Clap! Clap!’s sound can be heard on three tracks: “The Werewolf,” “Wristband” and “Street Angel.”

“Sound is the theme of this album as much as it’s about the subjects of the individual songs. If people get that, I’ll be pleased,” explains Simon. “The right song at the right time can live for generations. A beautiful sound, well that’s forever.”

Stranger to Stranger – Track List:
1. The Werewolf
2. Wristband
3. The Clock
4. Street Angel
5. Stranger to Stranger
6. In a Parade
7. Proof of Love
8. In the Garden of Edie
9. The Riverbank
10. Cool Papa Bell
11. Insomniac’s Lullaby

Paul Simon’s Stranger to Stranger will be available in a range of formats including the 11-track standard edition, a special 16-track deluxe edition (featuring 5 bonus tracks) and a 180-gram vinyl edition.

Directed, written by and starring Ricky Gervais, “David Brent: Life On The Road” is a feature length film which sees a documentary crew catching up with David Brent twelve years on from the mockumentary ‘The Office’. Brent is now a travelling salesman, chasing his dream of rock stardom by self-financing a UK tour with his band, ‘Foregone Conclusion’. The film will be released on August 19, 2016.

Musician, painter and poet Joseph Arthur acquired a Steinway Vertegrand piano from the early 1900’s, moved it into his Red Hook, Brooklyn studio and saved it from the storm (Sandy, propped on cinderblocks, while the neighborhood flooded).  He learned some of its history:  the piano had been a part of the same family for a century, somewhere in Connecticut.   Written entirely on that piano, The Family, out June 3 through True North Records) is mostly a work of fiction and a meditation on the idea of family.

“Nothing in this album comes from judgment,” explains Joseph. “These are stories being told from different voices and mysterious times, which hopefully resonate with all the families everywhere.”  (Joseph’s full notes are below.)

Produced, recorded and performed by Joseph, The Family was mixed and sequenced by Tchad Blake, who has collaborated with Arthur on some of his mostly well-known work, including  “Honey and the Moon” and “In the Sun” (covered by Michael Stipe and Peter Gabriel).

Joseph Arthur on The Family


I never really sat down at a piano and asked for much from it. Though for me, piano runs deep as the nucleus of my relationship with music. It’s how I started. And a thing I hated – not unlike three hundred million suburban kids before and after me. But this thing in my world as a kid just stood there like a judgment of failure and a stunning opportunity, all at the same time. And was used that way against me and for me. And thus began my long, weird relationship with music. This saviour. This damnation. And I won’t apologize for the Emo direct sloppiness of this description. There’s no way to soft sell it. 

Music quickly became the cornerstone of my identity out of need. And it has remained that way ever since. It’s a need to transcend this reality for another, and it’s what we all seem to strive for in one way, or another. For me, music means freedom and is still the best place to put all the love-frustration-pain-suffering-euphoria-bliss-magic I can muster. It always pays back and pays back in full.

A piano restorer in Carroll Gardens found my 1912 Steinway Vertegrand piano for me. When it came up on Craigslist, he said he was baffled by it. It came to my place for $1,600, all in. It was a steal.  There are famous photos of John and Paul (The Beatles) playing identical pianos, writing their early hits. My piano tuning friend gave it the full inspection and tuning, but little to no repair was needed.  It was like out of a time capsule. It was aged, and it had character. But nothing compared to what it was and how old it is. It had lived in Connecticut with the same family for generations, and it simply had become an artifact, despite sentimental value. Beyond all measure, though entirely impersonal to me, it had become a thing the family could no longer afford to deal with (as all things in this realm finally become.) And how unfortunate/fortunate for it to end up in an industrial garage space/studio off the coast of the waters of Red Hook, Brooklyn, where early in its new life it faced near devastation.  It was only saved by friends who lifted it on cinderblocks when Sandy came to fuck us all. 

But it survived.

We survived.

This record evolved right around the time the piano made its way to Brooklyn. I’d had a random conversation (is anything random?) with a woman I judged to be into speed and pills (okay, by her own admission). She was telling me about her problems with her ex-husband hounding her about the kids. This inspired the song, “You Wear Me Out”, which became the catalyst for the concept of this record about family dynamics. I set out to make an album that centred about all of the aspects and all of the relationships of “The Family”.  And how fitting that these songs should begin on that hundred-year-old Steinway that had only ever belonged to one family. 

So the songs just came. One after the other. It felt like some dumb divine clockwork. Everything else I had, or was doing, went out the window and seemed tired and irrelevant. I hadn’t yet released “Boogie Christ”, but I dove into this passionately.

“The Family” story is mostly a work of fiction.  This isn’t about my family.  It’s about family.

I did interview my parents. I asked for stories – anything they could recall. I remember thinking how strange it was that I hadn’t really asked before, and also how relatively little they seemed to know. I think many modern American families operate like this. Off the top of my head, I don’t even know much about my heritages. I know that one of my grandfathers comes from Spain, and the other comes from Scotland. My grandmothers are mixes that I can’t recall, and so it goes. We blend. Our histories are lost or confused. This is no bad thing, mind you. It’s life and it’s great, and I’m all for it. We should blend. We should progress. But I digress…

I used facts from things my folks told me and then quickly fictionalized. Not as a rule, but because I wasn’t interested in creating a personal history, or telling a story that no one really knows. I utilize the personal to imbibe reality into the universal.

For example, when I refer to ‘sister’ in “Sister Dawn”, I’m not speaking about my sister, though I did use her actual name in the song, “The Family”. However, it was me who would climb up every tree. And that wasn’t in West Virginia, either. It was in Akron, Ohio. But we did go to Anmoore, West Virginia every summer and every Christmas, and we did play football there. 

I incorporated actual names of people who meant something to me, and for whatever reason, never changed them. Perhaps I should have. But songwriters know that names hold weight and are hard to change.

The songs are sung from the perspective of different characters, both male and female, both child and adult, in different times in history. World War II factors in heavily to the story, but for me it was always just about war right now—the loss we all have right now. That’s why I let it surround the main story, which is the way family dynamics shape us and make us who we are. 

“When I Look At You” is sung from the perspective of a mother looking at her son as she is dealing with losing her husband to the war. As a songwriter, there was great freedom to take myself far out of the equation. And yet the songs felt like these things had been waiting for me, waiting for me to get out. Maybe they were stored up in that piano. Or maybe writing from that thing that had threatened me most was really setting me free. The story is non-linear and abstract, and works to help make it less personal and more universal. (An aside: I asked Tchad Blake to sequence it. He has a peculiar talent for this, as well as for mixing. This album came alive not only through his mixes, but through his sequence and edits.)

“Wishing Well” is about going to the mall in the late ‘70s/early ‘80s; it was the only suburban destination for my best friend, Jeremy and me. We’d spend hours with stolen twenties, playing Asteroids or Pac-man, smoking menthol cigarettes I stole from my mom, and joints we got any other kind of way — and looking at that freaky well in the center of it all — the weird display of financial lunatic freedom, right in the middle of the celebration of capitalism that was wooing us to sleep through sticky treats and flashing lights. But at the mall we could make some wish, to what or who, I don’t know. But no one ever seemed to take that money (from the wishing well). And lets hope at least some of those wishes came true. I know mine did.

In West Virginia, you could see the highway from a tiny porch of this little house that had been destroyed. It only exists, like it only ever existed, up here in the spirit where everything is eternal and forgiven, and the complicated aspects that make us these remarkable things called humans. That’s what I was trying to document here. That’s the story I was trying to tell. Love and loss. Dysfunction and surrender. Hopelessness and abuse. And the thing that somehow allows us to transcend it all. To let the things that at one point impaired us, be the same things from which we develop, or like a blessing, get our strengths. 

Nothing in this album comes from judgment. These are stories being told from different voices and mysterious times, which hopefully resonate with all the families everywhere. 

The last song on the record, “Daddy, The War Machine”, is sung from the perspective of an innocent child, with his simplistic understanding of where his father went, and why – and then with the complexity of his loss and absence. Then the grown-up in him sings almost with defiance, or even as a challenge, with a boxer’s pose at the end. It is the loss endured and turned into fearlessness – a kind of punk rock exuberance inviting the reality of this war machine that is the nature of man. It’s a celebration of it all. An acceptance and a love letter. To life. And to all families, including mine.

Joseph Arthur

March 2016


About Joseph Arthur

Born in Akron, Ohio, Joseph has been described by The Guardian as “a driven, visionary character…he might just be a genuine mad genius” and NPR Music as ““a ‘triple threat’ artist since the mid-’90s, bridging music, poetry and painting with prolific creativity and unyielding inventiveness.”  Discovered by Peter Gabriel in the mid-90s, Joseph became the first artist signed to Peter’s Real World Records.  “It has been great to watch his evolution,” says Gabriel.  “Jo is a really unusual, interesting, and talented artist in music and art.”

In addition to touring a solo musician, Joseph exhibits his paintings worldwide (they can be found online at the Museum of Modern Arthur).  He hosts the podcast series Nothing to Talk About and published book of poetry, including his latest, I Miss the Zoo and Other Poetry Selections (EM Press).   Arthur’s music has covered by Michael Stipe and Coldplay, and remixed by Justin Timberlake for the Hurricane Katrina benefit EP, In the Sun.  He’s a member of RNDM with Jeff Ament and Fistful of Mercy with Ben Harper and Dhani Harrison, and has released close to 30 solo albums and EPs, including Lou, a tribute to his friend Lou Reed.


“The Family”
“Sister Dawn”
“With Your Life”
“They Called Him Lightning”
“When I Look at You”
“Wishing Well”
“Machines of War”
“Ethel Was Born”
“You Wear Me Out”
“Hold on Jerry”
“You Keep Hanging On”
“The Flag”
“Daddy, The War Machine”


Tour Dates
April 16  Paris, France  Le Trianon
April 17  London, UK  Borderline
April 20  Bridgeport, CT  The Acoustic
April 21  Sellersville, PA  Sellersville Theater
April 22  New York, NY  Rubin Museum of Art
May 16  Los Angeles, CA  The Troubadour
May 17  San Diego, CA  Music Box
May 19  Seattle, WA  The Triple Door
May 21  Vancouver, BC, The Cobalt
May 23  Portland OR, Alberta Rose Theatre
June 5  Madrid, Spain  Café Berlin
June 6  Barcelona, Spain  Side Car
June 8  Hamburg, Germany  Knust
June 9  Berlin, Germany  Gruner Salon
June 10  Munich, Germany  Strom
June 11  Cologne, Germany  Luzor
June 13  Amsterdam, Netherlands  De Vondelkerk
June 14  Antwerp, Belgium  Bourla
June 16  Zurich, Switzerland  Exil

Rising Toronto producer, River Tiber (born Tommy Paxton-Beesley) is a vocalist, multi-intrumentalist and thriving live-performer whose music combines R&B, rock and electronic tones.

Today, Pitchfork has the official stream of “Illusions” and Zane Lowe premiered the track as a “World Record” on his Beats 1 show. “Illusions” is River Tiber’s new collaboration with Pusha T, which was co-produced by KAYTRANADA & Doc McKinney. The track will be released as a two-song digital single on April 8th via Red Bull Sound Select, which will feature a second track, “Gravity,” also coproduced by KAYTRANADA.

River Tiber has also announced a string of west coast tour dates with Kaytranada. All dates below.

“Illusions” is the first Red Bull Sound Select track release by a Canadian artist. KAYTRANADA and Paxton-Beesley are friends and frequent collaborators, so the integration came together naturally. Paxton-Beesley shaped his parts of the project during his travels from LA to Paris, back to LA and home to Toronto over several weeks in late 2015 and early this year.

“I had played at 30 Days in LA the night before heading to Paris for Red Bull Music Academy. When I was flying, the attacks happened at Bataclan and the Academy had to be cut short. After a couple days, I went back to LA. That experience was the most surreal…a bizarre juxtaposition of moods,” said River Tiber.

River Tiber recalls, “the night before the session with Push and Kay in LA, I had food poisoning… and hadn’t slept or eaten. Me and Kay had made this beat a couple days before, Push came through and killed his verse in one take. He’s a master…that session was amazing and inspiring.”

The song was completed back in Toronto during a marathon stretch at the studio of legendary producer Doc McKinney. “I did a few sessions with Doc and we rearranged the structure, writing and production – he really challenged me to find the song. We would start in the afternoon and go overnight, I barely saw the sun for a few days. I wrote the chorus in the last session – it felt right. The song isn’t really about this story, but that’s where it comes from. I tried to take a piece of what I observed in LA and turn it into something universal.”

River Tiber has been a Red Bull Sound Select artist since 2014. His first showcase in Toronto was supporting BADBADNOTGOOD. He then headlined October 2015’s showcase, at Toronto’s Adelaide Hall with fellow Red Bull Sound Select artists Charlotte Day Wilson and Tennyson. In November 2015, River Tiber opened for Flume, alongside Taskforce, at Red Bull Sound Select Presents: 30 Days in LA, and was one of three Canadians selected to attend Red Bull Music Academy Paris in 2015.

Tour Dates:

5/24 San Diego, CA – Observatory North ^
5/25 Los Angeles, CA – The Fonda Theatre ^
5/26 Orange County, CA – The Observatory ^
5/27 San Francisco, CA – Mezzanine ^
^ w/ Kaytranada