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Country Powerhouse Gabby Barrett Finds Strength in Closure on “The Easy Part” Video

Eric Alper
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Country Powerhouse Gabby Barrett Finds Strength in Closure on “The Easy Part” Video

A breakup anthem becomes a rain-soaked story of resilience. Multi-platinum powerhouse Gabby Barrett has turned her striking single “The Easy Part” into a compelling visual, releasing the official music video via Warner Music Nashville. It’s out now. Directed by Quentin Cook and filmed in Nashville, the clip mirrors the song’s emotional tension, blending flashbacks of a once-joyful couple with the present-day journey of a woman finding strength in closure, a literal rainstorm drenching Barrett as she delivers her performance.

The song digs into the aftermath of heartbreak rather than the dramatic moment itself. “‘The Easy Part’ plays with the idea that sometimes the dramatic moment in a relationship feels like the hardest part, but often it’s what comes after that really stays with you,” Barrett shares. “The song reflects on those memories, the good and the complicated, and realizing what they meant over time. In the video, you see those moments play out as she looks back on the relationship and ultimately chooses peace and keeps moving forward.”

The track has been steadily building momentum. Co-written by Barrett alongside Michael Hardy, Zach Abend, and Jon Nite, and produced by Zach Kale, Zach Abend, and Ross Copperman, it continues gaining traction since its release, with SiriusXM showing strong support across its country channels.

The video reminds fans of the grace and powerhouse vocals that have defined Barrett’s rise, echoing the emotional intensity that first captivated audiences with breakout hits like the eight-times platinum smash “I Hope.” With more music on the horizon following her acclaimed ‘Chapter & Verse’ album, Barrett keeps carving out her own lane as a formidable voice in country music.

UK Indie Veteran Andrew Deevey Takes Aim at Austerity on “Money Can’t Buy Me Love”

Eric Alper
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UK Indie Veteran Andrew Deevey Takes Aim at Austerity on “Money Can’t Buy Me Love”

Belt-tightening Britain gets a hook-drenched anthem all its own. UK indie veteran Andrew Deevey has released “Money Can’t Buy Me Love,” a lean, urgent track that cuts straight to the nerve of the credit-crunch era. It marries melodic immediacy to sharp-eyed social commentary, laying bare a world where paychecks vanish in a blink, all wrapped in a chorus that refuses to let go. It’s out now.

The message is rooted in everyday reality. “‘Money Can’t Buy Me Love’ reflects on austerity-era realities, the squeeze of the credit crunch, rising costs, having no money and the sense that even when you do earn money, it quickly disappears,” says Deevey. “It feels like someone is always making money out of you, taxes, parking, fines, bills, it never stops. But the things that really matter can’t be bought.”

Released via Waterline Records, the track is built around driving vocals, ringing guitar, harmonica, and drum machine, delivering melodic indie-pop with soulful undertones. It was recorded at One Cat Studios, Antenna Studios in South London, and mixed, produced, and mastered by Jon Clayton, known for his work with The Monochrome Set, Band of Holy Joy, Vic Godard and The Subway Sect, and Carter USM frontman’s project Jim Bob.

Deevey brings a storied history to his solo era. Originally from Liverpool, he cut his teeth in the city’s rich music scene, earning London shows, music-press coverage, and an NME Single of the Week before relocating to London, where he narrowly missed joining The La’s, arriving just minutes too late to secure the role.

He soon joined The Caretaker Race, touring the UK and Europe extensively, including dates with The Darling Buds and The House of Love. During the ‘Hangover Square’ sessions, producer Stephen Street famously called Deevey “the next Johnny Marr,” while Melody Maker praised his playing as “a guitar incendiary of startling hugeness.” He later played guitar for The Bitter Springs, toured as the backup band for Vic Godard and The Subway Sect, and recorded a session for The Marc Riley Show.

Deevey recorded his debut album ‘Northern Soul’ within a year of going solo, with lead track “I Got The Feeling” earning international airplay and Album of the Week accolades across numerous UK stations. Shaped by the melodic guitar traditions of The Beatles and the direct acoustic energy of Jake Bugg and Gerry Cinnamon, he now performs in a stripped-down format. “I now play live with guitar, harmonica and drum machine, no waiting around,” he shares. “At one festival, someone told me, ‘You just blow them away.’ That’s the reaction I’m after.”

Manchester Post-Punk Icons Inca Babies Slink Through Noir Shadows on “Daniella”

Eric Alper
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Manchester Post-Punk Icons Inca Babies Slink Through Noir Shadows on “Daniella”

Smoky swamp-jazz grooves and shadowed city streets set the scene for the latest from Inca Babies. The Manchester post-punk icons have shared their new single “Daniella,” a sultry noir cut drifting through a haunting tapestry of desire and danger. It’s out now, pulling listeners into a tense, cinematic world where love and chaos collide.

The track comes from their ‘Reincarnation’ album, out now via Black Lagoon Records. “Daniella” is the third song on the record, re-recorded at 6Db Studios in Salford with renowned producer Simon ‘Ding’ Archer (The Fall, PJ Harvey), who worked to infuse it with a distinctive dub style. “The original version was first recorded in 1986 at Cargo Studios for the album ‘This Train,'” says guitarist-vocalist Harry Stafford.

‘Reincarnation’ is built on exactly that idea of reinvention. “Looking through our back catalogue, it occurred to me that there were tracks that should again be made available in some manner and others that would benefit from reinvention,” Stafford explains. “This whole project was to be an innovative re-imagining of old tunes, re-invented for contemporary consideration. All of them re-awakened and ‘Re-inca-rnated.'”

As foundational pioneers of the early post-punk and deathrock movements, Inca Babies remain a cornerstone of the Manchester and UK scenes. Led by Stafford alongside long-time collaborator Rob Haynes (The Membranes, Goldblade), the band helped define a dark, jagged sonic landscape that’s still influential decades on. During their initial five-year ascent, they amassed a devoted following through relentless touring, six singles, and four albums, every one of which breached the UK Indie Charts, plus a prestigious run of four BBC John Peel sessions between 1984 and 1988.

The album gathers reworked gems alongside other recent offerings. Earlier the band shared “Superior Spectre,” a live favourite from their 1984 John Peel Session, plus “Candy Mountain” with its hypnotic bass line and contemporary groove, and “Two Rails To Nowhere,” whose original 1988 version featured Inspiral Carpets’ Clint Boon and whose new expanded, Gun Club-esque version features guitarist Vincent O’Brien.

Their formation in 1983 in Manchester’s now-legendary deck-access flats of Hulme was chronicled in the 2024 documentary ‘The Making of Ghost Mechanic Nine.’ Since reforming in 2007, they’ve released four albums and toured three continents, continuing to explore goth, punk, death-rock, and jazz-blues, far from a legacy act and still commanding respect as elder statesmen of the British underground. ‘Reincarnation’ is available now on CD and everywhere digitally.

‘Reincarnation’ Track List:

01 Candy Mountain (from ‘This Train’ album, 1986)

02 Buster’s on Fire (7″ Single on Constrictor Records, 1987)

03 Daniella (from ‘This Train’ album, 1986)

04 Two Rails to Nowhere (from ‘Evil Hour’ album, 1988)

05 Jericho (from ‘Big Jugular’ 12″ EP, 1984)

06 Devil in my Room (from ‘Opium Den’ album, 1986)

07 Phantom Track (from ‘Death Message Blues’ album, 2010)

08 The Diseased Stranger’s Waltz (from ‘Rumble’ album, 1985)

09 Damnation (from ‘The Stereo Plan’ album, 2014)

10 Thirst (from ‘Opium Den’ album, 1986)

11 Superior Spectre (Extra B side of ‘Scatter’ 12″ 2014 For Record Store Day)

12 Cowboy Song (B side from ‘The Judge’ 12″ single, 1984)

Glam-Punk Outlaws Gypsy Pistoleros Conjure Gothic Chaos on ‘Dark Faerie Tales’

Eric Alper
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Glam-Punk Outlaws Gypsy Pistoleros Conjure Gothic Chaos on ‘Dark Faerie Tales’

While much of rock plays it safe, Gypsy Pistoleros are busy burning the rulebook. The self-styled world’s only Glam Punk Goth ‘n’ Roll outlaws return with their most dangerous, theatrical, and uncompromising record yet, ‘Dark Faerie Tales: A Fairytale for the Damned,’ out now on The New Church Records. It’s feral, glitter-streaked gothic punk rock with teeth.

The album draws openly from the bloodlines of The Damned, Hanoi Rocks, Killing Joke, The Cult, and the modern defiance of YUNGBLUD, but the band mutate those influences rather than imitate them. Produced and co-written by long-time sonic conspirator Dave Draper (Michael Monroe, Ginger Wildheart, The Wildhearts, Therapy?, Elvana), it fuses glam-soaked punk energy with gothic grandeur, raw fire, and apocalyptic swagger, a record for outsiders, believers, romantics, and beautiful misfits.

It follows the success of ‘Church of the Pistoleros,’ hailed as one of 2025’s most fearless and eclectic rock albums, and pushes things even bolder. Born from the band’s own mythology, ‘Dark Faerie Tales’ drifts through haunted woods and neon dreams, where sleaze-drenched punk anthems meet gothic grandeur and glam swagger burns with outlaw soul. As Overdrive put it, it’s a love letter to the beautiful and broken and proof that rock ‘n’ roll still has room for danger, drama, and glitter in the dark.

The album is available worldwide on three-colour vinyl in Neon Purple and Black Splatter and Neon Green and Black Splatter, plus a deluxe 4-panel digisleeve CD and digital. The band is Gypsy Lee Pistolero (vocals), Kerry Pistolero White (bass and backing vocals), Shane Pistolero Sparkz (guitar and backing vocals), and Chris Pistolero Hopton (drums).

Live, Gypsy Pistoleros deliver gothic theatre, glam-punk ritual, and full-on rock spectacle, part gothic carnival, part rock ‘n’ roll ritual. For fans of Alice Cooper, YUNGBLUD, Ghost, The Cult, The Damned, Hanoi Rocks, and Killing Joke, they’re heading toward one of their biggest stretches yet, including a slot at Rebellion Punk Festival, with more festival and European dates to be announced.

2026 Live Dates:

6–9 August – Rebellion Punk Festival, Blackpool Winter Gardens

Heaven & Hell Revisit Dio’s Final Act on ‘Breaking Out Of Heaven 2007–2009’

Eric Alper
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Heaven & Hell Revisit Dio’s Final Act on ‘Breaking Out Of Heaven 2007–2009’

A scorching 2007 reunion performance gets a fresh coat of HD. Heaven & Hell have released an HD-upscaled video of “The Mob Rules,” captured live at Radio City Music Hall, out now. Where the 1981 original signalled a darker turn for the band, this Radio City reading lands with the precise, massive weight that only decades of chemistry could produce.

The video previews ‘Breaking Out Of Heaven 2007–2009,’ a new collection focusing on the final chapter of Ronnie James Dio’s celebrated tenure with members of Black Sabbath. Reuniting with Tony Iommi, Geezer Butler, and Vinny Appice under the Heaven & Hell name, the band returned to stage and studio decades after their original run for an unexpected second act. The set is out now via BMG as 7LP and 4CD/Blu-ray boxed sets, each with an illustrated book featuring new liner notes by Hugh Gilmour, plus a replica tour book and poster.

The collection is a real treasure for fans. It marks the first time the complete ‘Live From Radio City Music Hall’ performance appears on vinyl, and features eight tracks making their vinyl debut, including studio recordings from ‘The Dio Years’ and select live performances. The Blu-ray expands things further with video from Radio City and ‘Neon Nights: 30 Years Of Heaven & Hell – Live at Wacken,’ plus band interviews.

The set traces the band’s full reunion arc, beginning with the triumphant 2007 New York show, followed by the Top 10 studio album ‘The Devil You Know’ in 2009, and the live album ‘Neon Nights,’ recorded later that year on tour in Germany. Taken together, it’s a fitting tribute to a late, powerful chapter in Dio’s storied career.

‘Breaking Out Of Heaven 2007–2009’ 4CD Track Listing:

Disc One: The Devil You Know

“Atom and Evil”

“Fear”

“Bible Black”

“Double The Pain”

“Rock And Roll Angel”

“The Turn Of The Screw”

“Eating The Cannibals”

“Follow The Tears”

“Neverwhere”

“Breaking Into Heaven”

“The Devil Cried”

“Shadow Of The Wind”

“Ear In The Wall”

Disc Two: Live from Radio City Music Hall

“E5150 / After All (The Dead)”

“The Mob Rules”

“Children Of The Sea”

“Lady Evil”

“I”

“The Sign Of The Southern Cross”

“Voodoo”

“The Devil Cried”

Disc Three: Live from Radio City Music Hall

“Computer God”

“Falling Off the Edge Of The World”

“Shadow Of The Wind”

“Die Young”

“Heaven And Hell”

“Lonely Is the Word”

“Neon Knights”

Disc Four: Neon Nights: 30 Years Of Heaven & Hell

“Mob Rules”

“Children Of The Sea”

“I”

“Bible Black”

“Time Machine”

“Fear”

“Falling Off The Edge Of The World”

“Follow The Tears”

“Die Young”

“Heaven And Hell”

“Neon Knights”

Kansas City Bubble-Grunge Quartet The Eradicats Turn Recovery Into an Anthem on “I Ate a Sandwich”

Eric Alper
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Kansas City Bubble-Grunge Quartet The Eradicats Turn Recovery Into an Anthem on “I Ate a Sandwich”

A small, private milestone became one of the band’s most meaningful songs. Kansas City bubble-grunge quartet The Eradicats have released “I Ate a Sandwich,” a heartfelt and deeply personal track that shows a more vulnerable side of the band while keeping the catchy hooks and playful spirit that define their sound. It’s out now here.

Known for turning life’s oddities into infectious punk songs, from overeager friendship pursuits to legendary stunt horses, The Eradicats take a more intimate approach here. The song draws on bassist and co-vocalist Kristi’s journey through eating disorder recovery, built around a single quiet moment at a teaching conference lunch that carried enormous weight for her.

Driven by bright melodies, punchy guitars, and the band’s signature mix of sincerity and humour, “I Ate a Sandwich” captures both the anxiety and the triumph of doing something that once felt impossible. It’s proof that pop-punk can be goofy and deeply meaningful at the same time.

Kristi spoke openly about what the song means to her. “I’ve been working with a therapist and dietician for just over a year now and it has transformed my life,” she shares. She described the conference lunch as a planned, supported step in her recovery, one she approached with trepidation and came through proud of herself. “The whole experience became this song and it means a lot to me because it’s goofy and fun, as our music tends to be, but it’s also deeply serious, and I hope it can resonate with anyone else who may be struggling.”

Formed in Kansas City, The Eradicats feature Kristi (bass, vocals), Josh (guitar, vocals), Chris (guitar), and Justin (drums). They first made waves with their debut EP ‘Best in Show,’ which blends the wild energy of the Pixies, the clever wit of They Might Be Giants, and the urgency of ’90s pop-punk with a dash of ska. Critics have praised that balance of humour and heart, with The Punk Site calling their music equal parts witty humour and energetic punk rock, and Punk Rock Theory noting their knack for turning everyday awkwardness into punk rock gold. With “I Ate a Sandwich,” the band expand their range without losing the playful charm fans love, delivering something catchy, courageous, and cathartic.

This is a sensitive subject, and if you or someone you know is struggling with an eating disorder, the National Alliance for Eating Disorders helpline can connect you with support.

Michigan Alt-Rockers 84 Tigers Honor a Fallen Friend on the “Two Rivers” Video With Rocky Votolato

Eric Alper
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Michigan Alt-Rockers 84 Tigers Honor a Fallen Friend on the “Two Rivers” Video With Rocky Votolato

Grief and remembrance run through the latest from 84 Tigers. The Michigan alt-rock trio have unveiled the official music video for “Two Rivers,” featuring acclaimed singer-songwriter Rocky Votolato, who appears prominently throughout. The track is a centerpiece from the band’s latest album ‘Nothing Ends,’ which is out now via Spartan Records.

The song stands as a heartfelt tribute to the late Travis Dopp of Small Brown Bike, weaving in lyrical nods to his work and honoring both his creative spirit and enduring influence. Votolato’s presence deepens its sense of remembrance and connection, lending it real emotional gravity.

“‘Two Rivers’ is a tribute to our old friend and bandmate Travis. Some of his lyrics are quoted in the song,” says Mike Reed. “When Rocky and I realized that we had both written songs with the word ‘River’ in the title separately, it was cosmic fate that brought him into the song. I had no idea what it would become, but he took it to new heights and I still get choked up when I hear it.”

The video matched the song’s spirit. “Making this video was very special,” Reed continues. “Ben did all of the filming, drone work, and editing. It was all of us sitting in the woods by the river and a fire. It felt very Michigan and an awesome way to honor Travis.”

84 Tigers formed when brothers Mike and Ben Reed (Small Brown Bike) joined longtime friend Jono Diener (The Swellers). The trio first made waves in 2022 with ‘Time in the Lighthouse,’ earning acclaim for a widescreen blend of post-hardcore urgency, ’90s alternative grit, and sweeping melodic hooks.

The road to ‘Nothing Ends’ was shaped by profound loss. Travis Dopp’s sudden passing left the band reeling and uncertain about the future. “I questioned if losing a creative partner took the energy out of my process,” Reed recalls. “Songs started and stopped. I struggled. Then one day it broke, this mantra popped into my head: Tears in your eyes. Fist in the air. That became a path forward.”

Produced by Marc Jacob Hudson, ‘Nothing Ends’ turns grief into catharsis through a raw three-piece dynamic. From the aching “Two Rivers” to the hopeful “Only Light” and the rousing “Regeneration Days” (featuring Aaron Stauffer of Seaweed/Ghost Work), the album balances devastation with defiance, building toward its closing refrain: “Everything you love will hurt you someday.”

‘Nothing Ends’ Track Listing:

The Crush of It All

Two Rivers (feat. Rocky Votolato)

Through Centuries

Fathom

Only Light

Regeneration Days (feat. Aaron Stauffer)

Navigator

The Becoming

In Infinite

Everything You Love

Brazilian Power-Pop Revivalists Banda AL9 Step Into the US Spotlight With “She Can Do It All”

Eric Alper
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Brazilian Power-Pop Revivalists Banda AL9 Step Into the US Spotlight With “She Can Do It All”

A Brazilian power-pop sensation is making serious inroads stateside. Banda AL9 are off and running in the US with their new single “She Can Do It All,” out now via Wicked Cool Records. It marks the band’s first official American single and arrives amid a surge of momentum that includes a triumphant New York City debut, a live performance on SiriusXM’s Little Steven’s Underground Garage, and one of the station’s coveted “Coolest Song in the World” honours. Listen here.

The live show is translating across borders. Fresh off a sold-out first US appearance at The Cutting Room in New York, the band packed the room with a tight, hook-filled set of chiming guitars, dual-lead vocals, and infectious enthusiasm. That same week they performed on Little Steven’s Underground Garage, a major co-sign from one of rock’s most influential tastemakers.

Written by Kurt Baker and Wyatt Funderburk, “She Can Do It All” showcases the band’s blend of classic power-pop sparkle and modern indie urgency. “As soon as we heard ‘She Can Do It All,’ it immediately felt like a perfect fit for Banda AL9,” the band share. “The song has strong, memorable melodies, great vocal openings, and lyrics about love that really reflect what the band is all about. From the first listen, we could already hear ourselves singing it.” Produced by Matheus Khouri and Thiago Khouri, mixed by Wyatt Funderburk, and mastered by Justin Perkins, the single bursts with tight harmonies and crisp guitars, with a video directed by the Khouri brothers capturing the group’s retro-tinged flair.

Formed in 2017 and led by brothers Matheus Khouri (vocals, lead guitar) and Thiago Khouri (vocals, bass), Banda AL9 first gained traction through acoustic covers before exploding online with viral originals, amassing millions of streams and over 2 million followers. Their rise has drawn major co-signs, including praise from Justin Hawkins of The Darkness and an endorsement from Steve Aoki, who covered their hit “Chama de Amor,” invited them to Tomorrowland Brazil, and joined them again in 2025 for a stadium performance at São Paulo’s Allianz Parque.

Now signed to Wicked Cool Records, founded by Little Steven Van Zandt, the band channel their Beatles-meets-early-Who energy through a distinctly Brazilian lens, fusing ’60s-inspired melodies with contemporary indie drive. “She Can Do It All” is the first taste of their forthcoming album ‘Hey! Hey! We’re Banda AL9,’ due July 17. With their US debut behind them and tastemakers firmly in their corner, Banda AL9 are stepping into their biggest chapter yet.

Garage-Rock Stalwarts The Woggles Crank It Up on New Single “Love Tick”

Eric Alper
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0

More than three decades in, The Woggles still play like the shark that has to keep moving. The garage-rock stalwarts kick off 2026 with their brand-new single “Love Tick,” out now, arriving alongside their collection ‘Stop and Take A Minute,’ a handpicked set of B-sides and rarities now out via Wicked Cool Records. Listen here.

Written by frontman “The Professor” Mighty Manfred and guitarist Peter Greenberg (Barrence Whitfield & The Savages, The Lyres, DMZ), “Love Tick” is a high-voltage dose of the band’s signature rock ‘n’ soul swagger, born out of a creative partnership that took shape during the pandemic. “Our bands touring together in the past built a friendship that led to us writing songs during the pandemic,” says Greenberg. “‘Love Tick’ tells the story of Manfred’s attraction to ladies worldwide.”

While the single surges forward with fresh electricity, ‘Stop and Take A Minute’ digs deep into the vault, gathering hard-to-find tracks, overlooked gems, and choice cuts that showcase the band’s raw power and enduring groove. Far from a simple retrospective, it captures the breadth of a group that’s spent more than 30 years keeping real rock ‘n’ roll alive and dangerous.

For a band this deep into its run, The Woggles operate as a forward-moving force rather than a legacy act. “The band is not as much an institution as a way of life,” says Mighty Manfred. “The main thing is to keep swimming, ’cause the shark has got to keep moving.” That momentum is powered by a formidable lineup: a twin-guitar attack from Graham Day (The Prisoners, Solar Flares, Thee Mighty Caesars) and Shane Pringle (Tiger! Tiger!, Bad Spell), with Pringle also on saxophone, anchored by the rhythm section of Buzz Hagstrom (bass) and Dan Elektro (drums).

Drawing from early rock ‘n’ roll and R&B through ’60s garage, soul, and the British Invasion, The Woggles fuse vintage fire into a singular sound, hard, loud, and delivered with more majesty than recklessness. Having shared stages with legends including Johnny Cash, Link Wray, and The Zombies, their live reputation remains untouchable. As Meredith Ochs declared on NPR’s All Songs Considered, a Woggles show will change your life.

Upcoming Shows:

July 31 – San Francisco, CA – Bottom of the Hill

August 1 – Sacramento, CA – Torch Club

August 4 – Palmdale, CA – Transplants Brewery

August 6 – Long Beach, CA – Alex’s Bar

August 8 – Los Angeles, CA – Permanent Records Roadhouse

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That Eric Alper

Eric Alper is a 6-time nominee for Publicist of the Year during Canadian Music Week and has overseen the publicity campaigns for over 183 JUNO Award-nominated albums (and 16 in 2025), 45 Grammy-nominated albums, including 47 JUNO Award, 58 Canadian Folk Music Award, 126 Maple Blues Award-winning albums and is also truly honoured to work with some of the biggest and most important artists of our time.

Contact me: eric@thatericalper.com

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