Jimmie Allen has a new single out, and it hits exactly where it’s meant to. “Live Another Day” is available now, pairing Allen’s warm, unmistakable voice with an uplifting groove that feels both personal and universal.
Allen wrote the song from a deeply reflective place. “I wrote ‘Live Another Day’ from the base idea of thinking about the life I had planned for myself when I was 19 vs how it changed the older I got,” he says. “No matter what life throws at you, good or bad, we must always find a way to push and move forward. Continue to fight, love and Live Another Day.”
The track speaks to moments of uncertainty and change, acknowledging that setbacks and unexpected turns are part of life. It doesn’t preach or overreach. It simply reminds you that showing up, even on the hardest days, matters. That message lands with quiet authority throughout every verse.
“Live Another Day” delivers a warm, upbeat energy that makes it easy to return to, a track built for the moments when motivation runs low and a boost is exactly what’s needed. It’s one of Allen’s most inviting releases in recent memory.
The single follows ‘Drop It Like a Tailgate,’ his high-energy collaboration with NFL legend Pacman Jones. Allen keeps the momentum going with something altogether different, and altogether necessary.
Varials have a new album out and a video to match, and both demand your attention. ‘Where The Light Leaves’ is out now via Fearless Records, and the Philadelphia-based metal outfit has shared the video for “The Hurt Chamber,” one of the most striking tracks in their catalog.
The song moves at a measured, deliberate pace. Varials built their reputation on walls of sound and metallic fury, and “The Hurt Chamber” proves that heavy music doesn’t require speed to hit hard. The track is melodic, patient, and unsettling, closing with a keys-driven fade-out that belongs in a psychological thriller.
Vocalist Skyler Conder has a specific idea behind the song. “It’s a song strictly about being addicted to a high that is inevitably difficult to break,” he says. “Whether that be love, drugs, or a certain type of situation, you become blind to what’s happening. The ache becomes a salvation of sorts. You enter the hurt chamber and you never want to leave.”
There’s a remarkable production footnote here. Conder recorded his vocals in a single take on the first try. The band debated reworking melodies and trying new ideas, but ultimately agreed the original take was too good to touch. That instinct paid off. The immediacy in his performance is audible throughout.
‘Where The Light Leaves’ is out now via Fearless Records. Watch “The Hurt Chamber” video now.
Mary Beth Hurt, a quietly commanding actress whose nuanced performances enriched some of American cinema and theater’s most celebrated works, died on March 29, 2026, in Manhattan. She was 79. Her husband, filmmaker Paul Schrader, and daughter Molly Schrader confirmed the news, noting that she had lived with Alzheimer’s disease since 2015.
Born Mary Beth Supinger on September 25, 1946, in Marshalltown, Iowa — the same small town that produced actress Jean Seberg, who once babysat her — Hurt came to acting through the theater halls of the University of Iowa and later NYU’s Tisch School of the Arts. She made her New York stage debut in 1974 and never really left, appearing on Broadway fifteen times over nearly four decades.
Her film debut came in Woody Allen’s Interiors (1978), where she held her own against a cast that included Diane Keaton, Geraldine Page, and E.G. Marshall. She went on to appear in Chilly Scenes of Winter, The World According to Garp, Martin Scorsese’s The Age of Innocence, and Six Degrees of Separation, among many others. She earned three Tony nominations — for Trelawny of the “Wells”, Crimes of the Heart (for which she also won an Obie Award), and Benefactors — and was beloved by directors and fellow actors for an improvisatory gift.
She is survived by her husband, Paul Schrader, her daughter Molly, and her son Sam.
Hamilton played host to one of the most memorable nights in Canadian music history as the 55th annual Juno Awards unfolded over two evenings. More than 40 awards were handed out at the March 28 gala, setting the stage for the live broadcast the following night — and the night belonged to one artist above all others.
Tate McRae’s Historic Sweep
If there was a defining story of the evening, it was Tate McRae’s extraordinary clean sweep of the night’s biggest categories. The Calgary-born pop star took home album of the year for So Close to What, artist of the year, single of the year for “Sports Car,” and pop album of the year — the latter accepted on her behalf by rapper Tobi. Four awards. Four wins. One night.
The McRae vs. Bieber storyline was the talk of the industry: Justin Bieber, whose comeback album Swag II led nominations alongside McRae, and left empty-handed. Both stars still have a shot at the TD Juno Fan Choice Award, voted on by the public and announced during the March 29 broadcast.
Aysanabee’s Double Win
Among the night’s most celebrated moments was Aysanabee walking away with not one but two Junos — contemporary Indigenous artist of the year and alternative album of the year for Edge of the Earth. The dual win underscored how fully his work has broken through into the Canadian music mainstream while remaining rooted in its origins.
First-Time Winners Steal the Show
For all the big names, some of the warmest receptions were reserved for first-time Juno winners. Electronic artist Debby Friday was visibly thrilled picking up dance recording of the year for “Bet On Me.”
Director Karena Evans took home music video of the year for helming Kendrick Lamar and SZA’s “Luther.”
Begonia and Bahamas shared the adult alternative album of the year award in a tie — a result both seemed genuinely delighted by.
Daniel Caesar’s Songwriter Honours
Daniel Caesar was awarded songwriter of the year — a recognition of a quietly stellar creative year. Caesar is also set to receive the International Achievement Award during the March 29 broadcast, cementing his status as one of Canada’s most important musical exports.
Looking Ahead
With the broadcast night still to come — bringing the TD Juno Fan Choice Award, Rush’s Alex Lifeson and Geddy Lee teasing a surprise appearance ahead of their reunion tour, and more — the 55th Junos is shaping up to be a landmark edition. Canada’s musical landscape has never looked more alive.
Full List of Winners
2026 JUNO AWARD WINNERS NIGHT 1 | GAGNANTS DES PRIX JUNO 2026 SOIRÉE 1
SINGLE OF THE YEAR PRESENTED BY SUNRISE RECORDS I SINGLE DE L’ANNÉE PRÉSENTÉ PAR SUNRISE RECORDS
Sports car Tate McRae RCA*Sony
ALBUM OF THE YEAR PRESENTED BY MUSIC CANADA I ALBUM DE L’ANNÉE PRÉSENTÉ PAR MUSIC CANADA
So Close To What Tate McRae RCA*Sony
ARTIST OF THE YEAR PRESENTED BY SIRIUSXM CANADA I ARTISTE DE L’ANNÉE PRÉSENTÉ PAR SIRIUSXM CANADA
Tate McRae RCA*Sony
CLASSICAL ALBUM OF THE YEAR (SOLO ARTIST) I ALBUM CLASSIQUE DE L’ANNÉE (SOLO)
Preludes by Chopin, Bach, Rachmaninoff, Messiaen, Górecki Jan Lisiecki Deutsche Grammophon*Universal
CLASSICAL ALBUM OF THE YEAR (SMALL ENSEMBLE) I ALBUM CLASSIQUE DE L’ANNÉE (PETIT ENSEMBLE)
Kevin Lau: Kimiko’s Pearl Mariko Anraku, Conrad Chow, Ron Korb & Rachel Mercer Bravo Niagra*Independent
CLASSICAL ALBUM OF THE YEAR (LARGE ENSEMBLE) I ALBUM CLASSIQUE DE L’ANNÉE (GRAND ENSEMBLE)
Benedict Sheehan: Ukrainian War Requiem Axios Men’s Ensemble, The Tenors and Basses of Pro Coro Canada conducted by/dirigé par Michael Zaugg featuring John Tessier and Yuliia Zasimova Cappella*Naxos
JAZZ ALBUM OF THE YEAR (SOLO) I ALBUM JAZZ DE L’ANNÉE (SOLO)
JAZZ ALBUM OF THE YEAR (GROUP) I ALBUM JAZZ DE L’ANNÉE (GROUPE)
East Meets West: Connections Winnipeg Jazz Orchestra Chronograph
VOCAL JAZZ ALBUM OF THE YEAR I ALBUM DE JAZZ VOCAL DE L’ANNÉE
Get Out of Town Laura Anglade Justin Time*Nettwerk/F.A.B
INSTRUMENTAL ALBUM OF THE YEAR I ALBUM INSTRUMENTAL DE L’ANNÉE
LOTUSLAND Aaron Paris Independent*Too Lost
BLUES ALBUM OF THE YEAR I ALBUM BLUES DE L’ANNÉE
Hear My Heart Steve Marriner Cordova Bay*Fontana North/Symphonic
TRADITIONAL ROOTS ALBUM OF THE YEAR I ALBUM ROOTS TRADITIONNEL DE L’ANNÉE
Heal The Divide Morgan Toney Ishkōdé*Universal
CONTEMPORARY ROOTS ALBUM OF THE YEAR I ALBUM ROOTS CONTEMPORAIN DE L’ANNÉE
Strange Trip Ahead Mariel Buckley Birthday Cake*Secretly Distribution
COUNTRY ALBUM OF THE YEAR I ALBUM COUNTRY DE L’ANNÉE
The Hard Way Cameron Whitcomb Atlantic*Warner
ADULT ALTERNATIVE ALBUM OF THE YEAR I ALBUM ADULTE ALTERNATIF DE L’ANNÉE
My Second Last Album Bahamas Barchords*Universal
Fantasy Life Begonia Birthday Cake*Secretly Distribution
ALTERNATIVE ALBUM OF THE YEAR I ALBUM ALTERNATIF DE L’ANNÉE
Edge Of The Earth Aysanabee Ishkōdé*Universal
ROCK ALBUM OF THE YEAR PRESENTED BY LONG & MCQUADE MUSICAL INSTRUMENTS I ALBUM ROCK DE L’ANNÉE PRÉSENTÉ PAR LONG & MCQUADE MUSICAL INSTRUMENTS
No Hard Feelings The Beaches AWAL
METAL/HARD MUSIC ALBUM OF THE YEAR I ALBUM DE MUSIQUE MÉTAL/HARD DE L’ANNÉE
Shadow Work DESPISED ICON Nuclear Blast*Believe/ADA
ADULT CONTEMPORARY ALBUM OF THE YEAR I ALBUM ADULTE CONTEMPORAIN DE L’ANNÉE
Better Broken Sarah McLachlan Concord*Universal
POP ALBUM OF THE YEAR PRESENTED BY PERONI NASTRO AZZURRO 0.0 I ALBUM POP DE L’ANNÉE PRÉSENTÉ PAR PERONI NASTRO AZZURRO 0.0
So Close To What Tate McRae RCA*Sony
DANCE RECORDING OF THE YEAR I ENREGISTREMENT DANCE DE L’ANNÉE
Bet On Me Debby Friday Royal Mountain*Universal
UNDERGROUND DANCE SINGLE OF THE YEAR I SINGLE DANCE UNDERGROUND DE L’ANNÉE
Phantom Vibrations feat. Teddy Bryant Gene Tellem Love Injection*!K7
ELECTRONIC ALBUM OF THE YEAR PRESENTED BY NISSAN I ALBUM ÉLECTRONIQUE DE L’ANNÉE PRÉSENTÉ PAR NISSAN
Shades of Meridian ÈBONY Turbo*!K7
RAP SINGLE OF THE YEAR I SINGLE RAP DE L’ANNÉE
Who’s Driving You? TOBi, Saukrates & Jully Black Warner*ADA
RAP ALBUM/EP OF THE YEAR PRESENTED BY MY SINGING MONSTERS I ALBUM/MICROALBUM RAP DE L’ANNÉE PRÉSENTÉ PAR MY SINGING MONSTERS
DRY CRY SadBoi LVRN*The Orchard
TRADITIONAL R&B/SOUL RECORDING OF THE YEAR I ENREGISTREMENT R&B/SOUL TRADITIONNEL DE L’ANNÉE
Say Yes Melanie Fiona PUBLIC/COLTURE*Stem
REGGAE RECORDING OF THE YEAR I ENREGISTREMENT REGGAE DE L’ANNÉE
Welcome To Paradise Naomi Cowan Dreamspace/7th C*ADA
CHILDREN’S ALBUM OF THE YEAR I ALBUM JEUNESSE DE L’ANNÉE
Maestro Fresh Wes Presents: Young Maestro “Rhyme Travellers – Back to the Time Machine” Young Maestro Independent
COMEDY ALBUM OF THE YEAR PRESENTED BY SIRIUSXM CANADA I ALBUM D’HUMOUR DE L’ANNÉE PRÉSENTÉ PAR SIRIUSXM CANADA
Dragonflies Adam Christie Independent
TRADITIONAL INDIGENOUS ARTIST OR GROUP OF THE YEAR I ARTISTE OU GROUPE AUTOCHTONE TRADITIONNEL DE L’ANNÉE
On The Move Bear Creek Hidden Lake*Independent
CONTEMPORARY INDIGENOUS ARTIST OR GROUP OF THE YEAR PRESENTED BY DESTINATION INDIGENOUS I ARTISTE OU GROUPE AUTOCHTONE CONTEMPORAIN DE L’ANNÉE PRÉSENTÉ PAR DESTINATION INDIGENOUS
Edge Of The Earth Aysanabee Ishkōdé*Universal
FRANCOPHONE ALBUM OF THE YEAR I ALBUM FRANCOPHONE DE L’ANNÉE
Journal d’un Loup-Garou Lou-Adriane Cassidy Bravo*Believe/F.A.B
CONTEMPORARY CHRISTIAN/GOSPEL ALBUM OF THE YEAR I ALBUM CHRÉTIEN/GOSPEL CONTEMPORAIN DE L’ANNÉE
Jubilate Ryan Ofei Independent*Believe
GLOBAL MUSIC ALBUM OF THE YEAR I ALBUM DE MUSIQUE GLOBALE DE L’ANNÉE
Ghoyoum Kazdoura Independent
SOUTH ASIAN MUSIC RECORDING OF THE YEAR PRESENTED BY TD I ENREGISTREMENT SUD-ASIATIQUE DE L’ANNÉE PRÉSENTÉ PAR TD
P-POP CULTURE Karan Aujla & Ikky Warner
ALBUM ARTWORK OF THE YEAR I GRAPHISME D’ALBUM DE L’ANNÉE
Kevin Moore (Art Director/Directeur artistique), Kyle Joinson (Photographer/Photographe)
Tsunami Sea – Spiritbox BMG*Universal
MUSIC VIDEO OF THE YEAR PRESENTED BY CITY OF HAMILTON I VIDÉOCLIP DE L’ANNÉE PRÉSENTÉ PAR LA VILLE DE HAMILTON
John Darnielle and Matt Douglas walked into Sony Hall in November without a rehearsal and delivered one of the more memorable sets of the year. That kind of confidence only comes from two things: deep trust in the material and a genuine comfort with the unexpected. The Mountain Goats have both in abundance.
The stripped-back duo show, part of “An Evening with The Mountain Goats and Molly Tuttle,” served as a WFUV benefit at Sony Hall. The timing aligned with the release of a new Mountain Goats album, ‘Through This Fire Across from Peter Balkan’, a title Darnielle says arrived in a dream. Two tracks from the record made the set, including “Rocks in the Pockets,” played live only for the third time, and “Broken to Begin With.”
Douglas moved fluidly between electric guitar, tenor sax, piano, and keyboards across the evening, while Darnielle held the room with stream-of-consciousness intros that zigzagged from rural Iowa to Merle Haggard to Waylon Jennings to Ozzy Osbourne without ever losing the thread. His candid, sombre reflection on his complicated relationship with his late stepfather gave the set real emotional ballast, landing just before “Southwestern Territory.”
The set closed with “No Children” from 2002’s ‘Tallahassee’, Darnielle yelping the final line with full commitment. It was a fitting exit.
Hannah Jadagu started making music on her iPhone in a bedroom in Dallas. That origin story matters less than what she has built since, but it does frame the trajectory: two full-length albums, a devoted following, and a sound that keeps maturing without losing the intimacy that made people pay attention in the first place.
‘Describe’, Jadagu’s sophomore record, is out now. The Dallas-raised, Brooklyn-based indie synth-pop artist threads ethereal synths, atmospheric reverb, and genuinely addictive hooks through a record that pushes toward emotional honesty at every turn. Distance, time, and what Jadagu calls “love-adjacent” themes run through the album, grounded by a stated goal that’s deceptively simple: make music that helps listeners get at the truth of human experience. ‘Describe’ gets there.
For a WFUV Studio A session recorded on the album’s release day, Jadagu performed a three-song set with guitarist and bassist Garrett Chabot and drummer Isabella Croce. The set included “Gimme Time,” “Doing Now,” and the popular “My Love,” serving as a warm-up for her album release show that same night at Brooklyn’s Public Records, where she had the crowd singing along to songs they were hearing for the first time.
That ability to pull a room in immediately is not incidental. It is exactly what Jadagu’s music does, whether the room holds five people or five hundred. The FUV Live session is also available as a podcast on Spotify, Apple Podcasts, and Amazon Podcasts, with new episodes dropping every Monday.
Neko Case has spent over two decades building one of the most singular catalogs in American music, and 2025 made clear she has no intention of slowing down. Her eighth studio album, ‘Neon Grey Midnight Green’, recorded and produced in her Vermont home studio, arrived alongside a New York Times bestselling memoir, The Harder I Fight the More I Love You. That kind of creative output demands attention on its own terms.
‘Neon Grey Midnight Green’ is a bold, fully realized record. Case moves through grief, love, and the natural world with the ferocity and defiance that have always defined her writing, anchored by sweeping string arrangements from Denver’s PlainSong Chamber Orchestra. These songs have real weight, and they carry it without effort.
For a WFUV Marquee concert at the Sheen Center, Case brought her full band: guitarist Paul Rigby, bassist Andrew McKeag, guitarist and vocalist Nora O’Connor-Kean, drummer Kyle Crane, and keyboardist Adam Schatz. The nine-song set included three tracks from ‘Neon Grey Midnight Green’, “Rusty Mountain,” “Louise,” and “Wreck,” delivered with the kind of intimacy the album’s themes deserve.
Case also spoke during the session about her ongoing work with The New Pornographers and her decade-long collaboration with screenwriter Calli Khouri on a musical adaptation of the 1991 film “Thelma & Louise.” Two decades in, the ambition keeps expanding.
Tyler Ballgame arrived with something to prove, and ‘For the First Time, Again’ delivers on every bit of it. The debut album from the Los Angeles-based, Rhode Island-raised singer and songwriter landed in late January on Rough Trade, backed by serious industry buzz and a wave of strong notices from critics who recognize the real thing when they hear it.
The record earns that attention. Produced by Jonathan Rado (Foxygen, The Killers, Miley Cyrus) and Ryan Pollie (Los Angeles Police Department), ‘For the First Time, Again’ moves between the wide-open romantic sweep of “I Believe in Love” and the bluesier, aching pull of “You’re Not My Baby Tonight” with impressive range. Ballgame’s vocals carry undeniable echoes of Roy Orbison and Elvis Presley, but his delivery has its own weight and dimension. This is not imitation. It’s a voice that has lived something.
That backstory matters. Ballgame, born Tyler Perry, has navigated depression and stalled momentum to reach this moment, and the emotional honesty embedded in these songs reflects exactly that journey. The production is bright and generous, but the songs hold up without it.
For a recent WFUV “FUV Live” Marquee session recorded at the Bitter End, Ballgame scaled back with Max Woobs on piano and Clay Fuller on guitar and backing vocals, performing “I Believe in Love,” “Let You Down,” and “Matter of Taste.” Stripped down, the songs land just as hard.
Two icons of counterculture just made it official. Dr. Martens has announced its first-ever creative partnership with Metallica, producing a limited-edition footwear collection that pulls directly from the band’s most definitive visual eras. The designs are sharp, the sourcing is deep, and the result earns the collaboration.
The collection centers on Dr. Martens’ signature eight-eye boot in two versions. The standard edition features artwork from Metallica’s 1988 “Damaged Justice” tour, rendered by legendary visual artist Pushead. The second is a black-on-black build nodding to the band’s 1991 self-titled record, The Black Album, available exclusively through Metallica.com. Both are exactly what a collaboration like this should be: specific, considered, and rooted in real history.
Rounding out the drop is Dr. Martens’ three-eye shoe, carrying Pushead’s artwork from Metallica’s 1986 “Damage Inc.” tour. Every piece in the collection is built from durable Backhand leather and loaded with custom Metallica details: a branded ‘M’ heel stud, special-edition dog tags, and an extra set of laces printed with the phrase “Boredom comes from a boring mind.” Nothing here feels like a cash grab.
Dr. Martens frames the partnership around a shared philosophy rooted in outsider identity and self-expression, values both brands have carried across decades of mainstream success without abandoning. That alignment gives the collection genuine credibility beyond the merch shelf.
The full cast for “Cats: The Jellicle Ball” is here, and this production means business. The reimagined Broadway staging of Andrew Lloyd Webber’s musical begins previews at the Broadhurst Theatre on March 18, with an official opening night set for April 7.
Newly added to the company is Leiomy Maldonado as Mavacity, alongside Kya Azeen as Etcetera and Bryson Battle as Jellylorum. In a genuinely remarkable piece of casting, Ken Ard, who originated the role of Macavity in the 1982 Broadway premiere of “Cats,” joins the production in the newly conceived role of DJ Griddlebone. That kind of full-circle casting is rare, and it lands with real weight.
Much of the returning Off-Broadway ensemble from Perelman Performing Arts Center comes back for Broadway, anchored by Tony Award winner André De Shields as Old Deuteronomy, Chasity Moore as Grizabella, Junior LaBeija as Gus, and Sydney James Harcourt as Rum Tum Tugger. The continuity between the Off-Broadway and Broadway runs gives this production a cohesion that serves it well.
“Cats: The Jellicle Ball” is co-directed by Zhailon Levingston and Bill Rauch, with choreography by Omari Wiles and Arturo Lyons. The full Off-Broadway creative team returns for the Broadway engagement. Casting is by Victor Vazquez and Sujotta R. Pace of X Casting.
