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Colorado String Quartet Big Richard Bring “Make The World Go Away” Down From the Stage

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Big Richard have shared their interpretation of “Make The World Go Away,” the Hank Cochran classic that closes their debut album ‘Pet’ and has become the defining moment of their live show. The Colorado quartet, comprising Grammy and Emmy Award-winning cellist Joy Adams, mandolin and guitar player Bonnie Sims, fiddler Eve Panning, and bassist Hazel Royer, release the track as a standalone purchase alongside an extensive North American tour. You can listen here.

The song’s role in their live show is anything but conventional. Rather than closing with a barn-burner, the four members unplug, descend from the stage, and perform the song among the crowd. “We like to go out in the crowd and play ‘Make The World Go Away,'” Adams writes. “It’s like a great big collective hug between all of us.” After sets built around sharp social and political commentary, the gesture lands with real weight.

‘Pet’, released February 6 on Signature Sounds, has already drawn serious attention. No Depression named Big Richard their Artist Spotlight for February, calling it “a true protest album for this moment, a sonic revolt, a call to arms.” The Bluegrass Situation praised the record’s “unrivaled vibrancy,” and Eric Alper of SiriusXM called it “a record that breathes with a kind of intensity you rarely hear anymore.” Recorded live to tape in single-shot performances, the album captures exactly what Big Richard sound like when they mean it.

The band hits the road hard through the summer, including festival appearances at Back Porch Music Festival, Tico Time Bluegrass Festival, Big Ponderoo Music and Art Festival, and Rocky Mountain Folks Fest.

Tour Dates:

Mar 18, The Grandin Theatre, Roanoke, VA

Mar 19, Pearl Street Warehouse, Washington, DC

Mar 20, The 8×10, Baltimore, MD

Mar 21, 118 North, Wayne, PA

Mar 22, The Birdhouse Center for the Arts, Lambertville, NJ

Mar 24, The Bitter End, New York, NY

Mar 25, StageOne at FTC, Fairfield, CT

Mar 26, ZenBarn, Waterbury Ctr, VT

Mar 27, One Longfellow Square, Portland, ME

Mar 28, Back Porch Music Festival, Northampton, MA

Mar 29, Club Passim, Cambridge, MA

Apr 3, Tumbleroot Brewery and Distillery, Santa Fe, NM

Apr 4, FUSION 708, Albuquerque, NM

Apr 23, Sherbino Theater, Ridgway, CO

Apr 24, Paradise Theatre, Paonia, CO

Apr 25, The State Room, Salt Lake City, UT

May 1, Pierce Hill Performing Arts, Viroqua, WI

May 2, Stoughton Opera House, Stoughton, WI

May 16, Tico Time Bluegrass Festival, Aztec, NM

Jun 26, Big Ponderoo Music + Art Festival, Sisters, OR

Aug 7, Rocky Mountain Folks Fest, Lyons, CO

John Osborne and Fender Unveil a Signature Telecaster Built Around His Legendary 1968 Original

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Fender Musical Instruments Corporation announces the John Osborne Telecaster in collaboration with the Grammy-winning guitarist John Osborne. A highly customized signature model inspired by his personal, road-tested 1968 Telecaster guitar, the John Osborne Telecaster is designed for expressive, dynamic playing; this instrument blends classic Fender craftsmanship with innovative performance features, including the signature B String Bender. Launching as part of Fender’s celebration of the Telecaster’s 75th anniversary, the John Osborne Telecaster honors both the enduring legacy of this iconic guitar and the distinctive artistry of one of the most influential players in modern country music.

ā€œThere are a lot of amazing guitars in this world, but none are as versatile as the Telecaster,ā€ said John Osborne. ā€œIt just works with every song, works with every genre; I want someone to pick it up and take this instrument that I’ve played for so long, and blaze their own trail with it.ā€

John Osborne is a Grammy-winning guitarist and songwriter best known as one half of Brothers Osborne, the multi-platinum duo behind numerous Top 10 hits and fan-favorite anthems like ā€˜Stay a Little Longer ’ and ‘It Ain’t My Fault.’ With multiple ACM and CMA Awards to their name, MCA’s Brothers Osborne have helped redefine modern country music with a sound that blends raw authenticity and rock energy. Widely regarded as a ā€œplayer’s player,ā€ Osborne has earned a reputation for his expressive bends, soaring solos and tone-driven approach that puts guitar craftsmanship at the forefront of today’s country landscape.

ā€œWorking with John Osborne was really about honoring the way he plays and finding a way to bring that into a guitar other players could connect with,ā€ said Max Gutnik, Fender’s Chief Product Officer. ā€œWe began with his original ’68 Tele and collaborated closely with him to shape a signature model that feels true to who he is as a player. From the B-string bender to the road-worn feel, it’s unmistakably John’s guitar, but it’s built to inspire anyone who wants to explore that sound and make it their own.ā€

The John Osborne Telecaster centers on its Fender B String Bender, a signature mechanism that raises the B string a full step, unlocking the pedal steel-inspired bends and sweeping lead lines that define Osborne’s sound. As Fender’s first-ever in-house designed B-bender, this feature is a standout for players seeking that signature pedal steel-style expression. Built on a balanced alder body with vintage-inspired aesthetics, the guitar delivers professional-grade tone and sustain. Custom-voiced pickups cover everything from shimmering cleans to growling overdrive, making the guitar as versatile in the studio as it is on stage.

Key Features:

  • Fender B String Bender mechanism – Allows players to achieve pedal steel-style bends and expressive lead lines, a signature element of John Osborne’s playing.
  • Road Worn Olympic White finish – Captures the authentic wear and character of a gigging musician’s trusted instrument, combining vintage aesthetics with a broken-in feel.
  • Custom-voiced John Osborne Telecaster pickups – Designed to deliver shimmering clean tones, growling overdrive, and the tonal versatility John relies on for studio and stage.
  • ’68-Style Maple Neck With Maple Cap Fingerboard – Smooth playability and classic Fender feel, providing comfort and precision for long sets or recording sessions.
  • 3 Compensated Brass Barrel Saddles – Ensures perfect intonation across the strings while retaining signature snap and twang.
  • Custom Pickguard – Tailored specifically for John Osborne’s signature look and style, completing the aesthetic of a road-tested, performance-ready instrument.

Watch as John Osborne shares the story behind the guitar and performs two songs live in Nashville with Brothers Osborne and explore the origins of the B-Bender as John Osborne makes his signature Telecaster weep, wail and sing along. Beyond Brothers Osborne, John Osborne has continued to expand his creative footprint in recent years, emerging as a sought-after producer known for his instinctive musicianship and artist-first approach in the studio. His production credits include acclaimed projects such as the Grammy-nominated album Ashley McBryde Presents: Lindeville, as well as recent work with rising talents including Grace Bowers and Caylee Hammack, further cementing his reputation as a trusted collaborator across generations of artists. John is currently in the studio with Brothers Osborne working on new music set for release later this year, continuing to evolve the duo’s signature sound while pushing his own musical boundaries even further.

John Osborne Telecaster (MSRP: $2199.99 USD, Ā£1,849 GBP, €2,199 EUR, $3699 AUD, Ā„330,000 JPY) Grammy-winning guitarist and songwriter John Osborne has shaped modern country music with his expressive playing and distinctive tone, earning multiple top 10 hits and accolades from both the Academy of Country Music and Country Music Association. The John Osborne TelecasterĀ® is closely modeled on his personal, road-tested instrument, translating the guitar he relies on night after night into a production-ready signature model. Its Fender B String Bender allows players to achieve the pedal steel-inspired bends and lead lines that define Osborne’s sound, while the Road WornĀ® Olympic White finish and custom pickguard capture the authentic look and feel of a gigging musician’s trusted instrument. Custom-voiced John Osborne Telecaster pickups, a ’68-style maple neck with maple cap fingerboard, and 3 compensated brass barrel saddles deliver the tone, precision, and playability that Osborne demands, from shimmering cleans to growling overdrive. Every element of the guitar reflects Fender’s commitment to artist-driven design and Osborne’s personal style, offering players a professional-grade instrument built to perform in the studio, on stage, or anywhere inspiration strikes.

How international students evaluate master’s programs in music

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By Mitch Rice

International students pursuing master’s programs in music face complex choices that go beyond institutional reputation. Evaluating programs requires close consideration of teaching methods, cost, and alignment with personal career goals. Understanding which factors truly influence the decision-making process is key to a successful application.

The masters in music landscape is complex, as candidates consider options across continents and traditions. You quickly find that brand prestige is only one part of a multifaceted decision. Universities in Spain, for instance, can come into play alongside institutions from other well-known destinations mid-sentence as students weigh not just quality but fit. Making sense of the different program features, funding routes, and compliance barriers is essential for international applicants seeking long-term success in performance, teaching, or music technology.

Defining academic and career goals clearly

When evaluating masters in music programs, clarifying your goals is one of the first decisive steps. Are you seeking heightened performance skills, a focus on music education, or developing your composition abilities? The field extends beyond the traditional conservatory, including opportunities in music business, research, and technology. Identifying which of these tracks aligns best with your ambitions will focus your search and help avoid distractions related to generic prestige or popular locations. Matching a program’s curriculum to your development areas is critical, whether you are aiming for solo performing, teaching, or composing for media.

Pay close attention to how each course structures its instruction and assessment. Some masters in music pathways offer a blend of performance-based and research-led elements, while others may emphasize theory or pedagogy. The teaching language, style of ensemble work, expectations around rehearsals, and assessment formats can vary widely. Depending on your background, you may also need to consider additional language requirements or support provisions for international students. Being clear about how these factors contribute to your growth will make it easier to choose the right environment.

Evaluating quality, recognition, and cost realities

Understanding quality signals within masters in music programs is important for informed comparison. Accredited institutions often make faculty profiles and audition standards easy to review, giving you a sense of academic rigor and practical orientation. Alumni career outcomes provide insight into how successfully a program transitions graduates into their chosen fields. Not all programs labeled as ā€œindustry connectedā€ provide meaningful professional links, so investigate concrete examples of employer partnerships or internship opportunities.

The tuition structure is another area demanding close attention. Besides headline course fees, masters in music degrees can incur expenditures for materials, instrument provision, and health services. It is important to consider these elements when planning for realistic living costs. A thorough budget that factors in fees alongside everyday expenses helps you compare programs on a like-for-like basis. Funding eligibility may vary for international applicants, so explore available merit scholarships, assistantships, or third-party arts funds early in the process.

Assessing compliance challenges and personal fit

International students in masters in music programs may encounter visa and compliance requirements that can affect study plans and future opportunities. Work-hour limits, proof-of-funds processes, and internship regulations must be understood well in advance of starting your application. These constraints may impact participation in some ensemble projects or access to paid music-related work, so you need to factor them into both short- and long-term goals.

Cultural and practical fit shapes the everyday learning experience in masters in music study. Departmental mentorship style, rehearsal expectations, and support services for international students contribute to a sense of belonging and academic resilience. Performance culture and alumni networks help inform training quality and ongoing connections in your chosen discipline. To make an effective decision, develop a simple checklist comparing program strengths, faculty focus, alumni results, and compliance realities rather than relying on marketing or rankings alone.

Data and information are provided for informational purposes only, and are not intended for investment or other purposes.

Sammy Adams Is Back and Bringing the “LIGHT” With His Big Noise Music Group Debut

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Sammy Adams returns with “LIGHT,” his debut single with Big Noise Music Group. The track arrives as the first statement of a new chapter, built on pop-driven melodies, alternative edge, and the hip-hop roots that first made Adams a name worth knowing. It lands with the kind of emotional directness that only comes from lived experience.

That experience is significant. Following a nearly fatal accident in 2019 and years of rehabilitation, Adams re-emerges with something to say. “LIGHT” captures the vulnerability and hard-won optimism of that journey. “Life’s wild,” Adams says. “This record is for the ones who kept me afloat when I was sinking in self-doubt and overthinking during uncertain times.” The track is dedicated to his daughters Andie and Khaki, his family, and his closest friends.

“LIGHT” was produced in close collaboration with Big Noise co-founder John Feldmann, whose credits include blink-182 and Avril Lavigne. “Sammy is such an easy guy to work with,” Feldmann says. “He’s always got such great ideas and has an incredible voice. It’s just a pleasure working with such a talented guy.” The pairing brings out the best in both artists, and the result is one of Adams’ most focused and affecting releases to date.

Sammy Adams hits the road this summer, appearing at Vans Warped Tour Long Beach on July 25 and 26.

Tour Dates:

July 25–26, 2026, Vans Warped Tour, Long Beach, CA

Video: Fred Again.. and Thomas Bangalter Reunite for “One More Time” at Alexandra Palace

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This one is already legend. A clip from Fred again..’s USB002 Tour stop at Alexandra Palace in London captures the moment Daft Punk’s Thomas Bangalter joined him onstage for a live performance of “One More Time,” and the footage has been circulating hard since it dropped.


Gorgon City, Chase & Status, and Bambii Lead Brooklyn’s New “Why Not Now?” Electronic Music Festival

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A new electronic music event is arriving in Brooklyn this Memorial Day weekend. EMW Presents and ZERO Productions launch the inaugural “Why Not Now?” festival across two nights, May 23 and 24, 2026, at Industry City. Set within the complex’s open-air courtyards at 2nd Avenue and 36th Street, the boutique-style event transforms an industrial Brooklyn landmark into a multi-stage electronic music destination. The event is 21+ only.

Saturday, May 23 is headlined by North London house duo Gorgon City, joined by Italian tech-house producer GENESI, New York underground mainstay Linska, rising artist TOBEHONEST, and genre-blending performer Dreya V. Doors open at 7 p.m., with the night running through 3 a.m.

Sunday, May 24 closes the weekend with a headline DJ set from drum and bass duo Chase & Status. The night also features the North American debut of Joy (Anonymous) B2B MPH, UK garage pioneer Flava D, and Toronto-born experimental electronic artist Bambii. Sunday runs 7 p.m. to 2 a.m.

“Why Not Now? invites audiences to experience the future of music in the present moment,” organizers said. The lineup delivers on that promise, pairing established international names with emerging talent across two stages, all within one of Brooklyn’s most distinctive open-air settings.

Tickets go on sale Wednesday, March 11 at 10 a.m. ET. General admission weekend passes start at $149, with VIP passes from $289. Full details at whynotnowfest.com.

Festival Dates:

May 23, 2026, Industry City, Brooklyn, NY Headliner: Gorgon City Also featuring: GENESI, Linska, TOBEHONEST, Dreya V Doors 7 p.m., close 3 a.m.

May 24, 2026, Industry City, Brooklyn, NY Headliner: Chase & Status Also featuring: Joy (Anonymous) B2B MPH, Flava D, Bambii Doors 7 p.m., close 2 a.m.

British Royal Mint lanza una moneda conmemorativa oficial de las Spice GirlsĀ 

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Si de verdad quieres poseer un pedazo de la historia del pop, mĆ”s vale que lo hagas cuanto antes. British Royal Mint celebra 30 aƱos del icónico Girl Power con una moneda oficial de las Spice Girls, en honor al revolucionario debut de “Wannabe” y su primer Ć”lbum, “Spice”.

La moneda coleccionable de 5 libras rinde homenaje al grupo femenino mĆ”s vendido de todos los tiempos. Las Spice Girls irrumpieron en las listas de Ć©xitos en 1996, alcanzando el nĆŗmero uno en 37 paĆ­ses, lo que impulsó un movimiento de “Girl Power” que inspiró a millones.

The Royal Mint’s 2026 Spice Girls Ā£5 Commemorative Coin celebrating 30 years of Girl Power
The Royal Mint’s 2026 Spice Girls Ā£5 Commemorative Coin celebrating 30 years of Girl Power

El llamativo diseño, creado por el artista Ffion Gwillim, captura a los cinco miembros posando en silueta, junto a sus autógrafos auténticos, inmortalizando el fandom y la nostalgia de los 90.

Por primera vez en la colección Leyendas de la Música de The Royal Mint, los fans pueden celebrar a las icónicas Spice Girls con cinco diseños de empaque de edición limitada, cada uno limitado a 15.000 monedas en todo el mundo, que representan a una integrante diferente del grupo: Baby Spice, Ginger Spice, Posh Spice, Scary Spice y Sporty Spice. Este homenaje oficial permite a los fans poseer una pieza de la historia del pop, celebrando a un grupo cuyo mensaje de Girl Power conquistó el mundo.

La banda comentó: “Es un gran honor para nosotras ser homenajeadas por The Royal Mint y seguir los pasos de verdaderos Ć­conos de la mĆŗsica. 2026 marca un aƱo especial para nosotras, ya que celebramos el 30Āŗ aniversario de nuestro sencillo y Ć”lbum debut. Nunca imaginamos que serĆ­amos reconocidas de esta manera: el primer grupo femenino en recibir su propia moneda… Ā”Un momento inolvidable para el Girl Power!

Lucy Mackenzie, directora de Concepto de Producto de la Royal Mint, afirmó: “Las Spice Girls no solo dominaron la mĆŗsica pop, sino que definieron los 90. Ahora, fans y coleccionistas pueden poseer una pieza de ese legado. El empaque Ćŗnico que celebra cada Spice Girl la convierte en uno de nuestros lanzamientos de Leyendas de la MĆŗsica mĆ”s coleccionables. Ā”El Girl Power ha vuelto! Anticipamos una gran demanda por parte de fans y coleccionistas devotos de todo el mundo que buscan darle vida a su colección“.

Las Spice Girls se unen a Freddie Mercury, Elton John, David Bowie, George Michael, Shirley Bassey y Paul McCartney en la serie de monedas Music Legend de The Royal Mint.

Disponible a partir del 3 de marzo de 2026 en el sitio web de The Royal Mint, la moneda presenta el retrato oficial de Su Majestad el Rey Carlos III en su anverso y también estÔ disponible en Gold Proof, Silver Proof y como impresiones de edición limitada.

Helen O’Shea and Brad Butcher Deliver a Quietly Devastating SinĆ©ad O’Connor Tribute

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Helen O’Shea has released “Last Day of Our Acquaintance,” a duet with Australian Golden Guitar Award-winning artist Brad Butcher, honouring the late SinĆ©ad O’Connor. The track, originally from O’Connor’s landmark 1990 album ‘I Do Not Want What I Haven’t Got’, is the latest single from O’Shea’s upcoming tribute album ‘Songs In The Key Of O’, arriving May 1. Hot Press has already called it “a stunning tribute.”

The performance earns that praise. O’Shea’s interpretation leans into the song’s trance-like arrangement and plain, devastating storytelling, while Butcher’s restrained delivery adds a layer of shared heartbreak that deepens the original’s quiet devastation. Produced by two-time Grammy winner Marc Swersky, the track features strings from Nathan Bishop and Nicole Scorsone, drums from Aaron Comess, and backing vocals from Brielle Brown, Michelle Moore, and Lauren O’Shea.

“It’s always a pleasure working with like-minded artists who put the art of music making at the forefront of what they do,” Butcher says of the collaboration. “I was honoured to be invited to sing on this track and be a small part of this project.” O’Shea’s previous single, “Caged Birds,” featuring Liam O’MaonlaĆ­ of Hothouse Flowers, earned two consecutive weeks on the RTƉ Radio 1 Recommends List.

‘Songs In The Key Of O’ is a 12-track love letter to O’Connor and Dolores O’Riordan, blending originals with carefully chosen covers. The album features an impressive roster of collaborators including James Maddock, Michelle Moore (Bruce Springsteen’s E Street Choir), The Carlile Family Band, Fiona Tyndall, and more. It is engineered by Jack Daley, mixed by Seth Von Paulus, and mastered by Leon Zervos.

Limerick-born and New Jersey-based, O’Shea brings her AmeriCeltiCana sound to material that clearly means everything to her. ‘Songs In The Key Of O’ arrives May 1.

Tracklist:

  1. “Caged Birds” (Original, ft. Liam O’MaonlaĆ­)
  1. “Rock And Roll Angel” (Original, ft. Barry Murphy)
  1. “Chaos” (Original)
  1. “Dense Water Deeper Down” (Cover, ft. Brielle Brown, Sharon Lasher, Fiona Tyndall, Jo Wymer)
  1. “Dreaming My Dreams” (Cover)
  1. “If U Ever” (Cover, ft. James Maddock)
  1. “Saving Grace” (Cover)
  1. “Last Day Of Our Acquaintance” (Cover, ft. Brad Butcher)
  1. “Lost” (Cover)
  1. “Unbecoming (KO Version)” (Original, ft. Fiona Tyndall)
  1. “Shine” (Original, ft. Michelle Moore)
  1. “There Will Be Days” (Original, ft. Caroline Carlile and The Carlile Family Band)

New York Songwriter Lawrence Kim Asks the Hard Questions on New Single “Line and Key”

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Lawrence Kim is making his solo debut count. The New York City-based songwriter releases “Line and Key,” the second single from his forthcoming debut album ‘The Hours And The Times’, due May 15. The track features Kid Millions (Oneida, Man Forever) and Eoin Russell (Songs: Ohia) on pedal steel, with mixing by John Agnello. A video, continuing the black-and-white Brooklyn visual saga directed by Meredith Truax, is out now on YouTube.

“Line and Key” carries a deceptively simple question at its core: “Will you ever learn?” It is the kind of track that earns repeated listens, layered and unhurried, with the kind of depth that only comes from assembling exactly the right collaborators. Kim wrote, produced, arranged, played, and sang the bulk of ‘The Hours And The Times’ himself, then brought in a well-chosen cast of contributors to round out the record.

That guest list is worth noting. Alongside Kid Millions and Russell, the album features Emma Tricca, Rachel Cox (Oakley Hall), Alexandra Helgerson, Stephen Chen (Ghost Funk Orchestra, San Fermin), Peter Hess (Philip Glass Ensemble), Dana Lyn, and more. Kim, a former member of BMX Bandits, Scam Avenue, and The Amber Smith, and touring guitarist for Ryn Weaver, spent years in bands before turning inward. “I like being in bands,” he says. “It’s like being in a gang. Us versus the world.”

‘The Hours And The Times’ is, by Kim’s own description, an album about being alone, which is not necessarily the same thing as being lonely. “I didn’t set out to make an album around that,” he says, “but that’s what I ended up with.” The record’s first single, “Madeleine,” arrived last month alongside a super 8 video also directed by Truax.

The album release show is set for May 17 at Mama Tried in Brooklyn, 4pm. ‘The Hours And The Times’ arrives May 15.

Tracklist:

  1. New Jetsetter
  2. Sawyer
  3. Madeleine
  4. Rodeo (ft. Emma Tricca and Rachel Cox)
  5. Best Western
  6. Escape Artist (ft. Rachel Cox)
  7. Line and Key (ft. Kid Millions)
  8. Diver
  9. Go Lay Yourself Down Again

Jam Bands Meet Academia: Phish Studies 101 Turns the Groove Into a Graduate Seminar

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There are college courses about The Beatles, Bob Dylan, and hip-hop culture. Now add another to the syllabus: Phish. Yes, the band whose concerts can stretch songs into half-hour improvisational journeys is now the subject of organized academic study. Welcome to Phish Studies 101, where the jams get analyzed, the fans become scholars, and the music is treated like a living, breathing text.

Run by the Phish Studies Association, the online course series invites fans, researchers, and curious listeners to explore the music and culture surrounding the legendary jam band. The next session takes place March 25, 2026, from 8:00 to 9:30 p.m. EST, and costs $25 – or comes included with a $40 annual membership in the organization.

And this is not just a fan club with a PowerPoint.

The classes feature music scholars who break down Phish’s improvisational techniques, compositional structures, and the mechanics behind those sprawling jams that can turn a three-minute song into a cosmic expedition. In previous sessions, participants dove deep into how the band constructs its improvisations, examining rhythm shifts, harmonic movement, and the collective musical intuition that makes each performance unique.

Think of it as part music theory, part cultural studies, and part guided tour through the weirdest and most joyful corners of jam-band history.

Phish Studies 101 first launched in October 2024 with three online classes and a guided listening session where scholars dissected some of the band’s most famous jams. The response was strong enough that the program now runs twice a year – once in the spring and once in the fall – giving fans regular chances to go full music-nerd on their favorite band.

Membership in the Phish Studies Association comes with more than just access to the classes. Members receive newsletters, announcements about conferences, calls for academic papers, and updates about new publications exploring the band from scholarly perspectives. In other words, if you have ever wanted to write a serious paper about a 28-minute live version of “Tweezer,” this is your crowd.

The idea of studying a jam band in an academic setting might sound unusual, but it fits perfectly into the growing field of popular music scholarship. Universities have long studied jazz improvisation, folk traditions, and rock history. Phish, with its massive live archive, devoted fan community, and constantly evolving performances, offers a rich musical ecosystem to explore.

Besides, anyone who has spent time at a Phish show knows that the music already feels like an ongoing experiment.

Now, there is just a syllabus to go with it.