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Emo Revivalists LOVELOST Bare Their Anxieties on New EP ‘Picking Petals By Your Graveside’

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LOVELOST waste no time getting under your skin. The South West UK alternative rock outfit have put out their second EP, ‘Picking Petals By Your Graveside,’ via Year of the Rat Records, a follow-up to their 2024 debut ‘COLLAPSE.’

The band blend the nostalgic ache of old-school emo with a modern edge, landing on a sound that feels fresh and deeply emotive at once. That balance has earned them serious momentum in a short span, with support from BBC Radio 1, Kerrang!, Amazing Radio, RTÉ 2XM, Primordial Radio, Distorted Sound Magazine and plenty more, plus official playlist placement across Spotify, Apple Music, Deezer, Pandora and TIDAL. They’re also proud artist ambassadors for Fender, Zildjian and Shure.

The EP’s lead video, “Sitting On The Sidelines,” shows off a band willing to wrap heavy feelings in something that moves. Frontman Tobias Faulkner describes the track as the diary entry of an anxious pessimist who only wants to be something more.

“Hoping for the best, but only seeing the worst,” Faulkner explains. “A depiction of wishing your own naivety could create an ignorance that helps you get through the day, but with the reality being you can’t just ignore the thoughts in your head. Feeling like the world is against you, that the universe is doing all it can to get in the way of your happiness, or frankly, couldn’t care less about you. All of this, dressed up in an upbeat and fast paced oxymoron that is the instrumental behind, with a whole new twist on the sound LOVELOST has provided before.”

The contrast does the heavy lifting here, racing instrumentals carrying lyrics soaked in dread, and it gives the song a restless energy that pulls you right back in. It’s a confident step forward for a young band already turning heads.

Lady A Bring Back “This Winter’s Night Tour” With Ryman Double Header

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The holidays are coming early for Lady A fans. The multi-platinum, GRAMMY-winning trio has announced their This Winter’s Night Tour 2026, a December run that wraps with a double header at Nashville’s historic Ryman Auditorium. Tickets go on sale this Friday at LadyAMusic.com, with a Fan Club presale starting Wednesday.

The limited trek kicks off December 10 at Northfield Park Racino in Northfield, Ohio, and rolls through major cities including New York and Greensboro before the two Nashville shows on December 21. It marks the second year for the festive outing, after last year’s inaugural run that USA Today described as full of big, joyful moments paired with intimate sing-alongs and storytelling.

“Last year’s Christmas shows truly filled our hearts with the magic of the season,” shares Lady A’s Dave Haywood. “We had so much fun that we couldn’t imagine not doing it again. We can’t wait for everyone to come on out with their loved ones and let’s spread some holiday cheer together.”

The setlist leans on fan favorites from the group’s festive albums ‘On This Winter’s Night’ and the extended ‘Volume 2.’ Charles Kelley, Hillary Scott and Dave Haywood have built these shows around Christmas classics and holiday originals, and the warmth of those harmonies makes them perfect for the season.

The December dates cap a busy 2026. Lady A is headlining select shows through the summer and joining Tim McGraw’s Pawn Shop Guitar Tour 2026, where they’ll play iconic ballparks like Boston’s Fenway Park on July 30 and Minneapolis’ Target Field on August 23.

Built around rich vocal harmony, vivid emotional writing, and a smooth fusion of country, rock, and pop, Lady A has spent years as one of the 21st century’s premier vocal groups. As a country radio staple, the trio has racked up 11 number one hits and more than 9 billion global streams. Their 12X platinum smash “Need You Now” stands as the highest certified song by a country group, and they’ve earned ACM and CMA Vocal Group of the Year honors three years running, alongside seven GRAMMY Awards and a long list of other accolades.

This Winter’s Night Tour 2026 Dates:

12/10 – Northfield Park Racino – Northfield, OH

12/11 – Hard Rock Casino Northern Indiana – Gary, IN

12/12 – Blue Gate Performing Arts Center – Shipshewana, IN

12/17 – Beacon Theatre – New York, NY

12/18 – Parx Casino – Bensalem, PA

12/19 – Steven Tanger Center for the Performing Arts – Greensboro, NC

12/21 – Ryman Auditorium – Nashville, TN *Matinee

12/21 – Ryman Auditorium – Nashville, TN

Mike D 5D Drops Solo Debut ‘Thank You’ With “True Colors” Visualizer

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14 years after the last new music from a Beastie Boys alum, Mike D is stepping out on his own. The hip-hop icon will release Thank You, his debut album under the Mike D 5D banner, on August 28 via Capitol Records, marking the first full-length from a Beastie Boys member since 2011’s ‘Hot Sauce Committee Part 2.’ Pre-order here.

The announcement arrives alongside a visualizer for the darkly melodic “True Colors,” which you can watch now. It follows two earlier tastes of the record, the beat-driven collage of “Switch Up” and the bombastic, high-energy “What We Got.”

Thank You collects a dozen tracks of sonically inventive post-electronic grooves and hypnotic hooks, with Mike’s unmistakable voice guiding listeners through an aural playground that refuses to sit still in any one genre. The whole thing crackles with the kind of playful, exploratory spirit that made his original band such a force.

The album traces back to a run of zero-pressure experimental sessions at Mike’s home studio. Things started with his sons Skyler and Davis, the first of a growing cast that came to include Carter Lang, Jared Solomon, Ging, Jason Lader, Eddie Ruscha, Tyran Donaldson and more, recording across a variety of locations. That fluid, intuitive approach carries through to the eclectic artwork by visual collaborators Can Can Press, Thad Higa and Charles Deroyan.

“It’s been so much fun making this music with people I love and I have grown to really appreciate in our collaboration,” Mike D said. “And I just hope it’s fun for others and not overly serious, because let’s be real, I’m releasing this music into a very strange and dark and power-fixated world that really devalues art and feelings and compassion and empathy and equality.”

The album was mixed by Derek “MixedByAli” Ali and mastered by Nicolas de Porcel. Rolling Stone has praised the project for the punk energy that fueled his band’s early breakthrough, and Grimy Goods called the live experience a wild good time.

That live show has become its own phenomenon. The Mike D 5D band, featuring Mike, Skyler and Davis alongside Eddie Ruscha, Will Graefe and Milo Ruscha, has been selling out a string of intimate, non-traditional rooms, from a Malibu surf shop and a South Pasadena auditorium to a Brooklyn roller rink. The group is currently making its way through the UK and Europe, with a stop at Portola Music Festival in San Francisco still to come.

Thank You is available to pre-order now.

Track Listing:

Switch Up

What We Got

True Colors

That’s Right

Secrets Pt. I

Secrets Pt. II

I Don’t Care

Make It Stop

Crypto

Here We Are

Back To Start

It’s Time

Thank You

2026 Tour Dates:

June 10 — Saalchen — Berlin, Germany (SOLD OUT)

June 13 — Primavera Sound Festival — Porto, Portugal

June 14 — Beyond The Pale Festival — Wicklow, Ireland

June 16 — La 2 de Apolo Nitsa — Barcelona, Spain

June 18 — Blender at Bolwerk — Kortrijk, Belgium (SOLD OUT)

June 19 — De Casino — Sint-Niklaas, Belgium (SOLD OUT)

June 20 — Beyond The Streets — Paris, France

September 26 — Portola Music Festival 2026 — San Francisco, USA

Larry Delaney, the Voice of Canadian Country Music, Dies at 83

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For more than three decades, anyone who wanted to know what was happening in Canadian country music turned to one man and one publication. Larry Delaney, the Ottawa journalist who founded, edited and published Country Music News, passed away peacefully on June 4, 2026, at the age of 83.

Born in Ottawa on August 30, 1942, Delaney spent his life in the city, eventually settling into the New Edinburgh home he shared with his wife Joanne, whom he married in 1964. He worked 26 years in the City of Ottawa’s finance department before turning his real passion into a vocation. In 1980, alongside local musician Neville Wells, he launched a modest publication called Capital Country News on a shoestring budget. Two years later it became Country Music News, and a Canadian institution was born.

The paper filled a gap nobody else would. Delaney built a network of reporters across the country, each filing monthly dispatches on the country happenings in their region. He added a Nashville report, in-depth CD reviews, feature articles, songwriter profiles, and his beloved “Top 100 Cancountry Hit Chart.” He even coined the word “Cancountry” itself. For Canadian artists who couldn’t get a column inch in their local papers, Country Music News was the one place that took them seriously, with a readership that stretched far beyond Canada’s borders.

His influence on careers was direct and lasting. He ran the first-ever cover story on Brett Kissel when the singer was just 14, walking into the office with his father. He hosted a young Johnny Reid, who sat down with a guitar and played him songs before the business had any idea who he was, and Delaney put him on a cover that helped open doors. Those stories multiplied across the years, because championing newcomers was the whole point.

The industry returned the affection many times over. Delaney was an eleven-time recipient of the CCMA’s Country Music Person of the Year award, a feat unlikely to be matched. His contributions were officially recognized in 1989 when he was inducted into the Canadian Country Music Hall of Fame. He and Joanne, who was beside him for every issue of Country Music News, were inducted into the Ottawa Valley Country Music Hall of Fame together in 1993. In 1996 he became the first recipient of the CCMA’s Stan Klees Hall of Honour Builder Award, an honour reserved for those held in the deepest respect across the industry.

Through all of it, Delaney’s greatest pride was his family. Friends remember his sharp wit, his encyclopedic musical knowledge, and a generosity that ran through everything he did. He was a devoted husband, father and grandfather who filled his home with warmth and humour.

He once explained the work simply, saying he never got into it to win awards, and that it was a case of loving what he did and never losing that love. That love is all over his legacy. Larry Delaney didn’t just cover the Canadian country music industry. He helped build it, one issue, one cover story, one believed-in newcomer at a time.

Larry is survived by his loving wife Joanne, his daughter Kenni-Jo (KJ), his son Kirk and daughter-in-law Kimberly, and his cherished grandchildren Kailee, Ashlee and Logan. The Canadian country community he spent his life documenting will carry his work forward.

Experimental Composer Jelle Dittmar Turns a Drain Pipe Into the Internet’s Most Unexpected Instrument

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Sometimes the most fascinating musical instruments aren’t found in a music store. Dutch composer Jelle Dittmar has captured the imagination of hundreds of thousands of viewers with a custom-built instrument made from a double bass string stretched through a drainage pipe. In a short but unforgettable video, Dittmar demonstrates the eerie, cinematic sounds the creation can produce, first in its raw form and then layered with effects including reverb, delay, distortion, and flanger. The result is a deep, haunting drone that prompted viewers to compare it to the soundtracks of ‘Dune’, science fiction blockbusters, Viking epics, and dark fantasy films. Whether heard dry or fully processed in a mix, Dittmar’s unconventional creation is a reminder that musical inspiration can come from just about anywhere – even the plumbing aisle.

How Luke Combs Reframed Modern Country

Picture the country charts back in 2016. Glossy pop crossovers were everywhere, tailgate anthems ruled the radio, and the sound coming out of Nashville was leaning further from the twang every season. Into that walked a bearded guy in a ballcap from North Carolina, singing in a thick baritone about heartbreak and beer and small towns, and somehow he became the biggest star the genre has produced in a generation. The way he did it tells you a lot about where country had wandered and what a huge chunk of its audience had been quietly hoping for.

Luke Combs grew up around Asheville, North Carolina, and started shaping his musical ambitions while he was at Appalachian State University, playing local bars with a sound soaked in traditional country. You can hear his record collection in everything he does. He came up on 90s country radio, and legends like Brooks & Dunn and Garth Brooks loom large over his whole approach. On an episode of the trivia show “Track Star” he rattled off artists across genres and lit up the second he heard Tim McGraw, an artist he called a staple of his childhood. That depth of knowledge isn’t a party trick. It’s the foundation everything else sits on.

What he built from those roots is what set him apart. His music fuses a love of classic country and Southern-fried soul, a blend inspired in part by modern mavericks like Eric Church and Chris Stapleton, with a hint of modern R&B layered underneath. That combination flourished on his ballads and made Combs stand apart from the slick country-pop crooners and the bro-country crowd, a distinction that helped him become a hit right out of the gate. Add in touches of Southern rock and a little bluegrass and you get a signature sound that felt like fresh air precisely because it sounded familiar.

The most important thing about Combs might be what he refused to do. He’s championed authentic storytelling and a more traditional country sound, often resisting the pop crossover trends that so many of his peers chased. In a Nashville built more and more around radio-friendly pop machinery, that was a genuine gamble. His success answered the question for good. His massive commercial run proved there’s a real appetite for that genuine approach, and it’s inspired a new generation of artists by showing that relatability and heartfelt lyrics can carry an artist all the way to global superstardom.

The hits make the case better than any think piece could. “Hurricane” arrived in 2016 and went straight to the top of the country charts. “Beautiful Crazy” turned a wedding-dance staple into a phenomenon. “Beer Never Broke My Heart” became a stadium singalong. Then his cover of Tracy Chapman’s “Fast Car” introduced a 1988 classic to a whole new audience and put Chapman back in the spotlight in a way nobody saw coming. Stack up the number one albums and the record-breaking radio runs, and you’re looking at one of the defining careers of the era.

Here’s the part that’s easy to miss. Combs reframed what a country superstar could be by leaning all the way into being ordinary, in the best sense of the word. His songwriting comes straight from his own life and the things he notices day to day, and he writes in plain, direct language instead of reaching for clever metaphor. The themes are the ones we all know, love and heartbreak and the slow ache of a small town you can’t quite leave behind. The ballcap and the beard and the boots became part of the appeal rather than a marketing costume. He’s been credited with helping bring a traditional country sound back to mainstream radio while still embracing modern production, and with his sold-out stadium tours and crossover reach, he represents the next wave of country icons.

What he leaves behind is bigger than a pile of platinum plaques. Younger artists cite him as an influence not just for the music but for how he built the whole thing, proving you don’t need to chase trends to win, you need to connect with people. In a genre that gets accused of following whatever’s hot, Combs offered a completely different blueprint, and it worked at the highest level imaginable.

He didn’t reinvent country music. He reminded it what it already was, then proved there was an enormous crowd waiting for someone to do it sincerely. That’s the quiet kind of reframing, the sort that doesn’t show up with a new subgenre or a flashy gimmick. It just moves the center of gravity. If you want a sense of where mainstream country is heading next, put on the artists following the Combs playbook and listen for the twang coming back.

Stacey King, Three-Time NBA Champion and Beloved Bulls Broadcaster, Dies at 59

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Stacey King spent his playing career standing next to greatness, and then he spent the rest of his life describing it to the rest of us. The three-time NBA champion and longtime Chicago Bulls broadcaster was found dead at his home in River Forest, Illinois on June 7, 2026, at the age of 59. Reports indicate he had fallen at home, with an autopsy still pending. For a generation of Bulls fans, his voice was the sound of basketball nights in Chicago.

An Oklahoma legend before the pros

Ronald Stacey King was born on January 29, 1967, in Lawton, Oklahoma, and came up through Lawton High School before heading to the University of Oklahoma, where he played from 1985 to 1989 under the head coach Billy Tubbs. His college career built to a remarkable crescendo. As a junior he led the Sooners to the 1988 national championship game, their first appearance in 41 years, and was named the tournament’s Most Valuable Player even in a loss to Kansas.

His senior year was the stuff of school history. King averaged 26.0 points, 10.1 rebounds and 2.3 blocks while shooting better than 52 percent, leading the Big Eight in scoring and blocks. He swept up the Big Eight Player of the Year award, consensus first-team All-American honors and The Sporting News Player of the Year. He still ranks among the top scorers and rebounders in Oklahoma history, and the program later honored his number 33.

A role player in the middle of a dynasty

The Chicago Bulls selected King with the sixth overall pick in the 1989 draft, and he played all 82 games as a rookie, earning a spot on the NBA All-Rookie Second Team. What followed was a lesson in the difference between college stardom and professional fit. The NBA writer Sam Smith viewed King as miscast on a Bulls roster already stocked with forwards Horace Grant and Scottie Pippen, and King himself recalled being unhappy at first with life as a role player before accepting the part for the sake of winning.

And win he did. King was a rotational piece during the Michael Jordan-led dynasty, collecting championships in 1991, 1992 and 1993, with a notable contribution to Chicago’s fourth-quarter comeback in Game 6 of the 1992 Finals. After Jordan’s first retirement, the Bulls traded King to the Minnesota Timberwolves in February 1994 for Luc Longley and a draft pick. His travels afterward took him through Miami, the CBA, a stint with the Dallas Mavericks and Boston Celtics, and overseas stops in Turkey and Argentina before his playing days wound down in 1999.

The second act that made him famous

For many fans, King’s biggest impact came after he stopped playing. He moved into coaching in the CBA, leading the Rockford Lightning to a finals appearance, then stepped away to spend more time with his children. He found his true calling in the broadcast booth, joining Comcast SportsNet as a studio analyst in 2004 and becoming the Bulls’ regular game broadcaster for the 2006–07 season.

By 2008 he was the lead color commentator, a role he held alongside Neil Funk and later Adam Amin, carrying it from Comcast SportsNet through to the Chicago Sports Network right up until his death. His popularity rested on an infectious enthusiasm, a gift for nicknames, and catchphrases that became part of the city’s basketball vocabulary. “Gimme the Hot Sauce” was the most famous of them. He christened Derrick Rose “the Windy City Assassin,” Kevin Huerter “Red Velvet” and Matas Buzelis “Lil Buzi Vert.” His calls of Rose’s highlight plays, in particular, became cherished pieces of Chicago sports memory.

A voice that became a fixture

There’s a particular kind of athlete who matters more for who they were around than for their own box scores, and King wore that role with humor and grace. He was never the full-time star the pros once projected, but he understood the game well enough to win three rings inside one of basketball’s great dynasties, and he loved it well enough to spend two decades helping a city fall in love with it all over again.

Stacey King is survived by the countless fans who grew up with his voice in their living rooms. If you’ve got a favorite Bulls memory from the last two decades, chances are good his call is part of how you remember it. Turn one on tonight and listen for the hot sauce.

What Musicians Should (and Shouldn’t) Be Saying on Social Media

The artists who break through on social media aren’t usually the ones posting the most or shouting the loudest. They’re the ones who’ve figured out that a feed is a conversation, not a billboard. For emerging and indie musicians, that distinction is everything, because the tools that once belonged only to major labels are now sitting in everyone’s pocket. In 2026, musicians can build fanbases, promote new releases, connect directly with listeners, and grow globally without needing a major label. The catch is knowing how to use them well.

Here’s what the people who study this stuff, and the artists who get it right, are actually doing.

Lead with story, not sales

The single most repeated finding across every guide worth reading is the same. Authenticity beats polish every time. Fans scroll past content that feels like advertising. They stop when you feel real. That doesn’t mean never promoting a release. It means the promotional posts work better when they sit inside a stream of genuine moments.

One researcher framed it beautifully, suggesting that social media provides the context that helps people understand your music, much like a description next to a painting in a gallery. Your job is to be that description. Where a song came from, the late-night voice memo that became a chorus, the gear that shapes your sound, the city that raised you.

Show the process, because people are fascinated by it

Behind-the-scenes content punches well above its weight. A 30-second clip of you laying down a vocal take, tweaking a mix, or writing a hook in a notebook performs surprisingly well. It humanizes you and builds real connection. The reassuring part for anyone on a tight budget is that none of this needs to be polished either. Phone footage and screen recordings from your DAW do the job.

Short-form video remains the fastest route to new ears, and lyric videos are quietly one of the most effective formats going. They’re cheap to produce, highly shareable, and they communicate what your song is about instantly. A viewer doesn’t even need sound on to get it.

Talk to people, not at them

The word “social” is doing a lot of work that most artists ignore. Replying to comments, running polls and genuinely engaging turns passive followers into a community. That extends to lifting up the people around you. Give a shoutout to a venue you’re performing at, bonus points for independent venues, and tag fellow musicians you’re gigging, touring or collaborating with. Supporting other artists, reposting work you love and building playlists that place your music alongside others are all quick ways to stay active and visible.

On community-driven platforms the rule is even stricter. Become a real member before you ever promote. Framing a share as part of a conversation, something like asking for thoughts on a jazz-and-trap experiment, lands far better than a flat “check out my new single.”

Pick your rooms and show up consistently

Trying to be everywhere is the fastest way to burn out and look thin. You do not need to master every platform at once. Focus on where your audience spends time. Two or three platforms done properly beat six done half-heartedly. TikTok reaches mostly 18-34-year-olds, while Facebook reaches older demographics who attend shows and buy merchandise, so let your actual listeners decide where you invest.

Then keep a steady visual identity across those profiles, the same photo, colours that match your music’s mood, so a stranger landing on any one of them instantly knows it’s you. Maintaining a sense of consistency makes your profiles look well put together, and cross-posting your big news gets it to the widest audience.

What to leave in the drafts folder

A few habits do more harm than good for an artist trying to grow:

Don’t post only announcements. Share studio clips, funny tour moments, and songs that inspire you instead of turning your feed into a stream of release dates and “out now” graphics.

Don’t chase trends that have nothing to do with you. Jumping on a format only works when you bend it to fit your identity rather than copying it wholesale, because the key is adapting trends to fit your identity as a musician instead of copying them generically.

Don’t promote and run on community platforms. Dropping a link and vanishing reads as spam. Engage first, share second.

Don’t try to market to everyone. Emerging artists often try to market their music to everyone, and the result is messaging that speaks to no one in particular.

The thread that ties it together

Strip away the platform-specific tactics and the same three words keep surfacing. The best social media strategies for musicians focus on consistency, authenticity, and connection. An emerging artist who treats every post as a chance to be real, to bring people into the work and to genuinely talk back will build something far more durable than one chasing a viral moment.

A practical closing note: pick the one platform where your fans already are, commit to it for ninety days, and keep a simple log of what landed and what didn’t. The artists who pay attention to their own data are the ones who stop guessing and start growing.

Why the Oh Yeah Music Centre Is the Beating Heart of Belfast Music

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There’s a converted whiskey warehouse in Belfast’s Cathedral Quarter that’s done more for the city’s musicians than just about any glossy concert hall ever could. The Oh Yeah Music Centre opened its doors in 2007, and it grew out of a 2005 conversation between Belfast music industry folks and Snow Patrol, with frontman Gary Lightbody throwing his weight behind the idea. The name comes from the Ash song, which is about as Belfast as it gets, and the whole point was beautifully simple. Lightbody once described what the city needed as a nexus to focus musical energy and unite the scene, and that’s exactly what got built.

A whiskey warehouse with a mission

The building runs to 14,500 square feet across three floors, and every inch of it earns its keep. There’s affordable rehearsal space, a venue that welcomes under-18s, a recording studio, a songwriting room, a café, and office units for music start-ups finding their feet. Oh Yeah became a registered charity in 2008, and it operates as a social enterprise with a mission statement worth framing: “Open Doors To Music Potential.”

What makes it special isn’t the square footage though. It’s who’s walked through those doors. Over the years the centre has hosted live events with Elbow, The Undertones, Gary Lightbody, Tim Wheeler of Ash, Duke Special, Lisa Hannigan, Foy Vance and even Jello Biafra. It launched compilation albums of homegrown talent like ‘The Oh Yeah Sessions’, giving bands a leg up when they needed it most.

The unofficial museum of Northern Irish music

Pop in and you’ll find a permanent music exhibition that’s free to visit and packed with the kind of artefacts that make a music nerd’s heart race. Electric guitars, historic gig posters, ticket stubs, stage clothing donated by famous bands, and pride of place given to Terri Hooley, the Good Vibrations legend who put Belfast punk on the map. The exhibition traces Northern Ireland’s musical story from folk through Van Morrison and The Undertones right up to Snow Patrol and beyond.

Oh Yeah also curates the annual Sound of Belfast festival and the Northern Ireland Music Prize, runs youth and older people’s programmes, and arranges music tours around the city’s most storied spots. It’s a venue, a hub, a safe space and a launchpad all at once, which is why it sits so neatly at the centre of Belfast’s identity as the island of Ireland’s only UNESCO City of Music.

And then there’s 2026

Here’s where things get properly exciting. Belfast will be the host city for Fleadh Cheoil na hÉireann 2026, which will take place from Sunday 2 August to Sunday 9 August 2026. Fleadh Cheoil na hÉireann (the Fleadh) is the world’s biggest celebration of Irish music and culture.

A little history for the uninitiated. Established in 1951, the event takes place in Ireland every August with qualifying performers from all over the world showcasing the very best of traditional music talent in all-Ireland competitions. The organising body is Comhaltas, the international movement dedicated to promoting Irish music, song and dance. And the Belfast hosting is genuinely historic, because this is only the second time the Fleadh has been held in Northern Ireland, having taken place in Derry~Londonderry in 2013 as part of the UK City of Culture celebrations.

The scale is staggering. The Fleadh is a major, high profile cultural event, expected to attract around 800,000 visitors, with peak daily attendance of up to 120,000 people. Across the eight days you’ll get concerts, street performances, céilí bands, marching bands, pageants, drama, exhibitions and the prestigious All-Ireland competitions, all spilling out across a city that already lives and breathes music. From lively pub sessions to headline concerts, pop-up street performances to prestigious All-Ireland competitions, the Belfast Fleadh is where tradition meets imagination.

Why it all connects

A city doesn’t earn the right to host the world’s biggest Irish music festival by accident. It earns it through decades of nurturing players, protecting venues, and treating music as something that belongs to everyone. The Oh Yeah Music Centre is a huge part of that story, the place where the next generation of Belfast musicians learns their craft and where the city’s musical past is kept alive and celebrated. So when the Fleadh rolls into town in August 2026, it’ll be landing in a city that’s been getting ready for this its whole life.

A practical note for anyone planning to come over: book your accommodation early, because 800,000 visitors will fill the place fast. And do leave room in your schedule to wander into the Cathedral Quarter and step inside Oh Yeah while you’re here. It’s free, it’s friendly, and it’ll tell you everything you need to know about why Belfast deserves this moment.

Fleadh Cheoil na hÉireann takes place in Belfast, August 2–9, 2026. For more information visit fleadhcheoil.ie, visitbelfast.com, and discovernorthernireland.com.