Alan Jackson is going home to say goodbye. The country music legend has announced “Last Call: One More For The Road — The Finale,” a star-studded farewell concert set for June 27, 2026 at Nashville’s Nissan Stadium. Tickets go on general sale April 15. The lineup joining Jackson on stage includes Luke Bryan, Eric Church, Luke Combs, Riley Green, Cody Johnson, Miranda Lambert, Jon Pardi, Keith Urban, Carrie Underwood, and Lee Ann Womack.
Jackson wrapped his final road show in Milwaukee in 2025, telling the crowd he had one last thing left to do. “I just felt like I had to end it all where it all started,” he said. “That’s in Nashville, Tennessee. Music City.” The farewell is the close of a touring career that began 40 years ago when Jackson and his wife drove to Nashville with a U-Haul trailer chasing a dream that turned into one of the most successful runs in country music history, more than 75 million records sold, dozens of number ones, and a catalog that defined neotraditional country for an entire generation.
The decision to step away is personal and health-driven. Jackson revealed in 2021 that he has Charcot-Marie-Tooth disease, a chronic neuropathy condition that affects balance and mobility. He’s also been clear about wanting to spend more time with family, including a growing number of grandchildren. “I don’t want to be away like I had to be in my younger days,” he said when he announced the farewell tour in 2024. For Jackson, this isn’t about leaving music. It’s about choosing what comes next.
The June 27 show at Nissan Stadium will be the punctuation mark on a career built entirely on Jackson’s own terms. He never chased crossover trends, never reinvented himself for new audiences, and never needed to. The music held. The fans stayed. And now, the man who drove into Nashville four decades ago with nothing but ambition gets to leave it on a stage surrounded by the genre he helped shape.
John Nolan, the British stage and screen actor whose six-decade career bridged the Royal Shakespeare Company and the Nolan cinematic universe, died Saturday at the age of 87. The Stratford-Upon-Avon Herald first reported his passing. No cause of death was disclosed.
Born in Westminster on May 22, 1938, Nolan trained at the Drama Centre London and built his foundation in classical theater, performing with the Royal Court Company and the RSC before establishing a long television career in Britain. He played the title role in the 1970 BBC miniseries Daniel Deronda, starred across two seasons of the environmental drama Doomwatch, and earned recognition for his stage work under director Trevor Nunn at the National Theatre. He was, by all accounts, a theater man first.
His connection to his nephews Christopher and Jonathan Nolan brought him to a vastly wider audience. He appeared in Christopher’s debut feature Following in 1998, then as Wayne Enterprises board member Douglas Fredericks in Batman Begins and The Dark Knight Rises, and again in Dunkirk in 2017. On television, Jonathan cast him as the enigmatic former MI6 agent John Greer in Person of Interest, a role he played across 27 episodes from seasons two through five. His final screen credit was Dune: Prophecy in 2024.
Christopher paid tribute directly: “My uncle John was the first artist I knew, and he taught me more than anyone about the search for truth in acting and the joys of creative achievement. I miss him terribly.” His wife, actress Kim Hartman, described him as “a free spirit, who always knew what he wanted and acted on his own terms, the only truly original thinker I think I ever knew.” He is survived by Hartman, their children Tom and Miranda, and grandchildren Dylan and Kara.
Asha Bhosle died Sunday in Mumbai at the age of 92, following hospitalization for a pulmonary chest infection and exhaustion. Her son Anand confirmed her passing. She leaves behind a career spanning more than eight decades, over 12,000 recorded songs in more than 20 languages, and a voice that defined the sound of Indian cinema for generations. The Guinness Book of World Records recognized her in 2011 as the most recorded artist in music history.
Born Ashalata Dinanath Mangeshkar on September 8, 1933 in Goar, Maharashtra, Bhosle began singing at nine years old after the death of her father, classical singer and actor Deenanath Mangeshkar. She recorded her first film song for the Marathi film Majha Bal in 1943, at age ten. Where her older sister Lata Mangeshkar became synonymous with classical grace and virtuous heroines, Bhosle carved her own lane entirely, bringing bold, dynamic energy, sensuality, and remarkable range to characters and songs that no one else could touch. She worked fiercely to build a sound and style that stood apart, and she succeeded completely.
Her partnership with composer R.D. Burman, whom she married in 1980, stands as one of the most transformative creative relationships in Bollywood history. Together they produced decades of landmark recordings across cabaret, rock, ghazal, disco, and classical styles. “It is only Pancham who has uncovered my range as a singer,” she said of Burman in 2023. Their collaboration lasted until his death in 1994. She also worked with O.P. Nayyar, Sachin Dev Burman, Khayyam, and A.R. Rahman, among many others, earning two National Film Awards, seven Filmfare Awards for Best Female Playback Singer, the Dadasaheb Phalke Award in 2000, and the Padma Vibhushan in 2008.
Bhosle’s reach extended well beyond Bollywood. She collaborated with Boy George, recorded with R.E.M.’s Michael Stipe, teamed with the Kronos Quartet on a Grammy-nominated album of R.D. Burman compositions, and inspired Cornershop’s 1997 international hit “Brimful of Asha.” Her final recording, “The Shadowy Light” with Gorillaz, released earlier this year on their album ‘The Mountain,’ paired her voice with imagery of a soul crossing into the afterlife. In an Instagram message posted by the band, she reflected on what awaited her: “I shall become one of those sounds, which shall eventually become a musical note in a beautiful song which shall be heard by several generations for thousands of years.”
She performed live at Dubai’s Coca-Cola Arena on her 90th birthday, singing and dancing for three hours. At a press conference before the show, she declared: “Mein iss film industry ki aakhri Mughal hoon.” I am the last Mughal of the film industry. She was right.
Limberlost have form when it comes to making noise, and “Give It to Me (Redux)” is the clearest statement yet of where this band is headed. A reimagined version of their 2023 European fan favourite, the new recording layers high-energy guitar riffs, thunderous drums, and the kind of dual vocal firepower that stops you mid-scroll. It’s bigger, sharper, and considerably harder hitting than its predecessor.
The band’s twin lead vocalists, Brittany Lauren and Sammie Gorham, are both classically trained opera singers, and that foundation gives Limberlost something most rock acts simply don’t have: genuine vocal range married to genuine rock grit. On “Give It to Me (Redux)” that combination does real work, cutting through a production that’s simultaneously cinematic and raw, bridging classic rock intensity with a contemporary alternative edge.
The lineup has grown considerably stronger with recent additions. Metal Hall of Fame bassist Steve Unger, known for his work with Metal Church and Autograph, brings veteran technical depth to the recordings and the live show. His son Devon Unger handles lead guitar, and the pair add a new dimension to what was already a formidable unit rounded out by Anthony Ciarochi on keys and founding drummer Mike Burt.
The band is managed by Paul Crosby, drummer of multi-platinum rock act Saliva, and the strategic backing shows. ‘Beautiful Scars’, their acclaimed album, produced three SMR Top 50 singles and two award-winning videos with over a million views each. A new EP, ‘Villain’, is due later this year.
Fifteen years is a long time between records. Soulive have spent that stretch doing other things, building other projects, living other musical lives, and ‘Flowers’ arrives with the relaxed confidence of a band that never doubted it had another album in it. Recorded at Flóki Studios in northern Iceland under executive producer Chad Pike, it’s the sound of Eric Krasno, Alan Evans, and Neal Evans picking up exactly where they left off, and then going somewhere new.
The album moves through jazz, funk, R&B, and blues with the ease of a group that has spent 25-plus years internalizing all of it. Opener “XI” sets the mood immediately, a deep, haunting groove with Krasno’s reverb-drenched guitar oozing swagger over the Evans brothers’ locked-in rhythm. “Baby Jupiter” gets the body moving, “3 Kings” pays tribute to B.B., Freddie, and Albert King with the kind of blues fluency that only Krasno can deliver, and “Basher”, a nod to Don Cheadle’s Ocean’s Eleven character, showcases the trio’s stop-start telepathy at its most playful.
The sole vocal appearance comes from Grammy-winning soul artist Van Hunt on “Flowers at Your Feet”, a Parliament-influenced centrepiece that broadens the album’s palette without disrupting its flow. The closing stretch, from “Pikes Place” through the symphonic warmth of “Window Weather”, lands like the payoff of a well-earned journey. This is an outfit still operating with borderline telepathy, and ‘Flowers’ captures that bond in full.
Soulive have two dates at Ardmore Music Hall outside Philadelphia on April 24 and 25. Limited opportunities to hear this material live, so the window is tight.
‘Flowers’ is out now.
Upcoming Dates:
April 24, Philadelphia Area, PA, Ardmore Music Hall
April 25, Philadelphia Area, PA, Ardmore Music Hall
The Brian Wilson estate has been doing right by the legend’s catalog, and ‘On Tour 1999-2007’ is the latest proof. Released by Oglio Entertainment as a Record Store Day exclusive on April 18, the live album draws from eight years of Wilson touring with his celebrated backing band, capturing a period that reminded an entire generation exactly what made him one of the great figures in American music.
Only 2,000 copies are being pressed, which tells you everything you need to know about how quickly this one will move. The backing band assembled across these recordings is remarkable in its own right: Darian Sahanaja on keyboards and musical direction, Jeff Foskett on guitar and vocals, Probyn Gregory handling trumpet, French horn, and keyboards, Paul Mertens on woodwinds, and orchestral contributions from The Stockholm Strings ‘n’ Horns. These were not casual live shows.
The tracklist pulls from deep in Wilson’s catalog, touching ‘Friends’ and “Meant For You”, “Busy Doin’ Nothin'”, “Desert Drive”, and a version of “She’s Leaving Home” that carries real weight in this context. The selection reflects the kind of setlist curation that made Wilson’s late-career touring so affecting for audiences who saw it firsthand.
Oglio Entertainment recently released a revamped 25th anniversary edition of ‘Live at the Roxy Theatre’, originally from 2000, making this the second significant archival release from the Wilson vaults in short order. ‘On Tour 1999-2007’ is available at independent record stores worldwide on April 18, in strictly limited quantities.
HeyBobby! arrive fully formed. Gina Del Vecchio and Bobby Peek’s debut album, ‘The Unclouding of Otilla Vanilla’, is a 12-track rock opera that introduces a project with a clear vision, a complete narrative world, and the craft to back it up. It’s out now, and it demands to be heard as a whole.
The story follows Otilla Vanilla, a young singer drawn into the orbit of industry power broker Vivienne St. Clair, also known as “Big Shooter.” What begins as opportunity curdles into something more complicated, and the central question the album keeps asking is a sharp one: what will she sacrifice to be seen? It’s a story as old as rock ‘n’ roll and told here with real urgency and cinematic weight.
Each of the 12 tracks pairs with a corresponding visual episode, combining AI-driven imagery with traditional artistic design to extend the narrative beyond sound. HeyBobby! are clear that the music itself is built on real instruments, real voices, and real emotion. The technology serves the storytelling, not the other way around. Broken 8 called it “a seamless collision of traditional rock craftsmanship and cutting-edge visual storytelling,” and that reads accurately.
The Further described it as “a complete multimedia universe where rock and theater converge.” That’s the ambition, and ‘The Unclouding of Otilla Vanilla’ earns it. This is rock narrative pushed into genuinely new territory, episodic, immersive, and fully realized from the first track to the last.
Charlotte Sands has been building toward this moment since her 2018 debut, and ‘Satellite’, her sophomore album, is out now. The LA-based alt-pop force has done it entirely on her own terms, fully independent, over 300 million global streams deep, and with a sound that keeps expanding in every direction she points it.
Latest single “back to you” is a strong closer to the album’s pre-release run, opening as a slow, introspective burn before cracking open into a cathartic, emotionally charged chorus. Sands describes the track plainly: “It’s the loop you fall into when you ignore your intuition and mistake warning signs for butterflies.” That kind of self-aware lyrical precision has defined her writing, and it lands hard here. The song sits comfortably alongside recent singles “Afterlife”, “neckdeep”, “HUSH”, and “one eye open”, all of which appear on the album.
‘Satellite’ pushes her genre-blurring instincts further than anything she’s released before. The record feels personal and arena-sized at the same time, a combination that’s genuinely difficult to pull off and that Sands makes sound natural. She’s charted in the US Top 40 for more than 15 weeks and took home Best Breakthrough Album at the Heavy Music Awards. Those aren’t small numbers for an independent artist working without a major label behind her.
The live game has always been a core part of how Sands operates. She’s shared stages with My Chemical Romance, 5 Seconds of Summer, and YUNGBLUD, and headlined her own global run in 2024 behind ‘can we start over?’. In 2026, she joins Simple Plan’s European tour, a significant step in her international reach.
Joe Jackson has never been an artist who stays still, and ‘Hope And Fury’, his first studio album since 2019’s ‘Fool’, makes that abundantly clear from the opening notes. New single “Fabulous People” is out now, and it leans into the rhythmic, radio-forward side of Jackson’s range, built around a tight dance groove and the kind of melodic wit that’s been his calling card for nearly five decades.
The album was shaped across two cities and two studios. Jackson laid the groundwork at Michael Tibes’ Fuzz Factory studio in Berlin before heading to New York’s Reservoir Studios with co-producer Patrick Dillett. His core band came with him: bassist Graham Maby, guitarist Teddy Kumpel, drummer Doug Yowell, and Peruvian percussionist Paulo Stagnaro, whose Latin textures add a new dimension to the record. The result draws from across Jackson’s catalog, landing somewhere between ‘Fool’, ‘Laughter and Lust’ (1991), and ‘Night and Day’ (1982).
The first single, “Welcome to Burning-By-Sea”, sketched a fictional English seaside town, part Brighton, part Portsmouth, as a sharp-eyed microcosm of modern Britain. “Fabulous People” shifts the mood without losing the sharpness. Together, the two tracks map out an album with real range and something genuine to say.
‘Hope And Fury’ is out now on earMUSIC, available on digisleeve CD and 180g gatefold vinyl. To support it, Jackson and his band are heading out on a massive world tour covering 80 shows across 14 countries, starting in North America in May and moving into Europe in September through December.
This is a serious touring commitment from an artist who clearly has no interest in coasting, and the setlists across a catalog this deep will be worth the ticket price alone.
North America Tour Dates:
May 11, Poughkeepsie, NY, Bardavon 1869 Opera House
Manchester Orchestra have spent over two decades building one of the most emotionally demanding catalogs in rock, and ‘Union Chapel, London, England’ finds them doing something genuinely unexpected with it. The 21-track live album, out now via Loma Vista Recordings, was recorded during a sold-out three-night residency at London’s historic Union Chapel in fall 2023, and it reframes the band’s music entirely, stripping the songs back to voice, strings, and the resonance of gothic chapel walls.
What Andy Hull and Robert McDowell have created here is liturgical in the truest sense. Hull’s vocals, always the band’s most powerful instrument, have nowhere to hide in this setting, and he doesn’t try. The rendition of “The Grocery” alone, pulled from 2017’s ‘A Black Mile To The Surface’, is a breathtaking piece of work, a vocal performance Pitchfork-praised material reborn in a completely new context. Paste got it right: “Manchester Orchestra’s dynamism is made for echoing concert halls.”
Hull reflects on London’s place in the band’s history with real feeling: “The town has become a kind of canon in our lives. A way to compare past with present.” The residency drew from across their entire catalog, touching ‘Mean Everything to Nothing’ (2009), ‘The Million Masks of God’ (2021), and ‘The Valley of Vision’ (2023). The result is a rare document of a band in genuine dialogue with their own past.
The album is available on 2LP vinyl in translucent Sea Blue (retail) or opaque Silver (artist store and tour), and in 2xCD format with an 8-page roll-fold booklet. Hull took the material on a solo US tour this spring, with multiple dates selling out, including both Chicago nights at Old Town School of Folk Music, New York’s Le Poisson Rouge, and Boston’s City Winery.
Tracklist:
Intro (Union Chapel, London, England)
I Know How To Speak (Union Chapel, London, England)
The Grocery (Union Chapel, London, England)
The Maze (Union Chapel, London, England)
The Gold (Union Chapel, London, England)
Deer (Union Chapel, London, England)
Angel of Death (Union Chapel, London, England)
I Can Barely Breathe (Union Chapel, London, England)
Capital Karma (Union Chapel, London, England)
The Way (Union Chapel, London, England)
The River (Union Chapel, London, England)
Telepath (Union Chapel, London, England)
Simple Math (Union Chapel, London, England)
I Can Feel A Hot One (Union Chapel, London, England)
