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The Last Dinner Party Release Debut Album ‘Prelude To Ecstasy’

Eric Alper
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The Last Dinner Party Release Debut Album ‘Prelude To Ecstasy’

The Last Dinner Party are excited to release their critically acclaimed debut album, Prelude To Ecstasy.

The album quickly follows the band’s first BRIT Award, winning the Rising Star Award, and picking up BBC Radio 1’s Sound of 2024 in January too.

The Last Dinner Party on their album: “Ecstasy is a pendulum which swings between the extremes of human emotion, from the ecstasy of passion to the sublimity of pain, and it is this concept which binds our album together. This is an archeology of ourselves; you can exhume our collective and individual experiences and influences from within its fabric. We exorcised guitars for their solos, laid bare confessions directly from diary pages, and summoned an orchestra to bring our vision to life.”

“It is our greatest honour and pride to present this offering to the world, it is everything we are.”

At the turn of 2023, The Last Dinner Party was little more than a new name being shared amongst those that had caught them live. Great songs, strong aesthetic. Having spent much of 2022 writing those songs, road-testing them, and then taking them into the studio, it wasn’t until April when the band released the instantly more-ish, dark guitar-pop of “Nothing Matters” that seemingly everyone had now formed an opinion on them. It was an introduction that took the online world by storm, and yet behind all the excitement and narrative was a fantastically confident indie-rock song by a band doing it the old-fashioned way, out on the road.

Following a heady first-on performance to a packed crowd at the new Woodsies tent at Glastonbury, The Last Dinner Party released “Sinner,” another gloriously infectious, leftfield pop song that fuelled the fully-formed zeitgeist and set the band up for a summer that replicated that success of Glastonbury with uncomfortably packed tents ensuing at the likes of Green Man, Reading & Leeds, Latitude and End of the Road (interspersed with support slots to the likes of Florence & The Machine, Lana Del Rey and First Aid Kit). It was a breakthrough summer for one of the most talked about new British acts in years, delivering on all that early promise emphatically.

Concentrating on their own headline shows, the band skipped confidently from venue to venue, playing to bigger rooms and on wider stages. Shows sold out and shows were upgraded. In London alone, the band have moved from sell-out dates at Moth Club to Camden Assembly, Oslo to two nights at EartH, and now move on to the 3000 capacity Roundhouse on the eve of album release which has already sold out. Crucially, it’s not just London where the band finds its early fans, but right across the UK and into America too, with all five debut shows selling out several weeks in advance – and plenty more now announced and selling out quickly.

The band often set a themed dress code for the shows, with many fans relishing the task of rising to the request and donning their finery for a night with their new heroes.

But this is no case of style over substance. The release of their third single, “My Lady Of Mercy,” an almost gothic, haunting rock song, and now with this atmospheric and anthemic ballad, “On Your Side,” the band’s songwriting is testament to all the buzz and excitement already accumulated. As it should be. Rather than wilt under the spotlight, they’ve arguably become a tighter, stronger unit because of it.

The Last Dinner Party are: Abigail Morris – vocals / Aurora Nishevci – keys / Emily Roberts – lead guitar/flute / Georgia Davies – bass / Lizzie Mayland – guitar

LIVE: In-Store/Out Store Dates:
February 2nd – Pryzm, Kingston (in association with Banquet Records) SOLD OUT
February 3rd – Rough Trade East, London (afternoon show) SOLD OUT
February 3rd – Rough Trade East, London (evening show) SOLD OUT
February 5th – Resident Records, Brighton SOLD OUT
February 6th – HMV, Manchester SOLD OUT
February 7th – HMV Vault, Birmingham SOLD OUT
February 8th – Rough Trade, Bristol SOLD OUT
February 11th – Brudenell Social Club, Leeds (in association with Crash Records) SOLD OUT

Headline Dates (Europe/US/Mexico/Canada):
February 16th – Gretchen, Berlin SOLD OUT
February 17th – LUXOR, Cologne SOLD OUT
February 19th – Melkweg OZ, Amsterdam SOLD OUT
February 20th – La Maroquinerie, Paris SOLD OUT
February 21st – Le Botanique, Brussels SOLD OUT
February 23rd – Mascotte Club, Zürich SOLD OUT
February 25th – Santeria Toscana 31, Milan
February 26th – Grelle Forelle, Vienna SOLD OUT
March 4th – Trades Club, Hebden Bridge (BRITs Week War Child Show) SOLD OUT
March 19th – Lunario, Mexico City
March 21st – Scoot Inn, Austin
March 22nd – The Studio at The Factory, Dallas
March 24th – Royale, Boston
March 26th – Webster Hall, New York
March 27th – Brooklyn Steel, Brooklyn
March 29th – Studio TD, Montreal
March 30th – The Concert Hall, Toronto
March 31st – The Majestic Theatre, Detroit
April 2nd – Newport Music Hall, Columbus
April 4th – First Avenue, Minneapolis
April 5th – Turner Hall Ballroom, Milwaukee
April 9th – McMenamins Crystal Ballroom, Portland
April 10th – Hollywood Theatre, Vancouver
April 11th – The Showbox, Seattle
April 13th – Coachella Festival, Indio
April 14th – Crescent Ballroom, Phoenix
April 16th – Bimbo’s 365 Club, San Francisco
April 20th – Coachella Festival, Indio
May 29th – June 2nd – Primavera Sound, Barcelona
June 6th – June 8th – Primavera Sound, Porto
June 22nd – Hurricane Festival, ScheeBel
June 23rd – Southside Festival, Neuhausen ob Eck
July 5th– July 7th – Down The Rabbit Hole, Ewijk
July 6th – Rock Werchter, Rotselaar
July 12th – TRNSMT Festival, Glasgow
July 31st– The Truman, Kansas City
August 2nd – Hinterland Music Festival, Saint Charles, IA
August 6th – Gothic Theatre, Englewood
August 7th – The Complex, Salt Lake City

NEW UK/Ireland Autumn Tour:
23rd September – O2 City Hall, Newcastle
24th September – O2 Academy, Leeds
25th September – Octagon Centre, Sheffield 27th September – The LCR, UEA, Norwich
28th September – The Engine Shed, Lincoln 29th September – Tramshed, Cardiff
1st October – O2 Academy, Birmingham
2nd October – Rock City, Nottingham
4th October – O2 Academy, Bristol
5th October – O2 Guildhall, Southampton
7th October – 3Olympia, Dublin
10th October – O2 Academy, Glasgow
11th October – O2 Victoria Warehouse, Manchester 12th October – Mountford Hall, Liverpool
14th October – Corn Exchange, Cambridge
16th October – Eventim Apollo, London

Megan Thee Stallion And Warner Music Group Announce Innovative Agreement

Eric Alper
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Megan Thee Stallion And Warner Music Group Announce Innovative Agreement

Today, Megan Thee Stallion and Warner Music Group announced an innovative agreement that will enable the Houston native to maintain her independence as a musician while also having access to the music company’s robust global services, ranging from radio promotion to marketing worldwide.

Through the unique structure of the agreement, Megan will have distribution and resources with Warner Music, while she has full ownership of her masters and publishing.

In this agreement, the three-time, Grammy-winning artist will release music through Hot Girl Productions – her independent music and entertainment entity – and simultaneously work with Warner Music and its international affiliates. Additionally, Megan has full creative control of her music releases along with the option to bring artists that are signed to her imprint into the WMG ecosystem.

“This is the beginning of an exciting new chapter of my life and career,” Megan said. “I’m really focused on building an empire and growing as an entrepreneur, so I’m proud to take this next step in my journey and work with Max Lousada and the entire Warner Music Group team in this new capacity. I know we’re going to create history together.”

“Meg is not just a superstar,” WMG Recorded Music CEO Max Lousada said. “She’s an artistic force and a mogul in the making – authentic and unapologetic in defining her own unique place in the cultural landscape. So many relate to her remarkable story and have witnessed her come into her power on her own terms. At Warner, we’re creating an environment where original talents can explore both their creativity and entrepreneurialism, while building long-term careers. Following on her success with 300, we’re excited to continue our journey with Meg through this dynamic new partnership, with our global teams, infrastructure, and expertise supporting her every step of the way.”

“Megan continues to be an absolute trailblazer,” Roc Nation CEO Desiree Perez said. “This new chapter with Warner Music Group will shift the landscape in the music industry and empower other independent artists to follow in her footsteps and claim their power. It’s also a testament to Max’s ability to reimagine the relationships that major music companies can engage in with independent artists.”

The announcement comes on the heels of Megan’s brand-new single “HISS,” which has already reached No. 1 on Apple Music’s Global charts, Spotify’s U.S. charts, iTunes and YouTube Trending within the past week of its highly-anticipated release.

It marked Megan’s second solo release through Hot Girl Productions. In November 2023, she unveiled her single “Cobra,” which touched on mental health and focused on the importance of shedding the past and starting anew.

Universal Music Group Agreement with TikTok to Expire on January 31, 2024

Eric Alper
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Universal Music Group Agreement with TikTok to Expire on January 31, 2024

Universal Music Group announces today that its agreement with TikTok is set to expire on January 31, 2024.

The companies have not agreed to terms for a new agreement and upon expiration of the current agreement, Universal Music Group, including Universal Music Publishing Group, will cease licensing content to TikTok and TikTok Music services.

Read Universal’s “Open Letter to the Artist and Songwriter Community” below:

An Open Letter to the Artist and Songwriter Community
Why We Must Call Time Out on TikTok

Our core mission is simple: to help our artists and songwriters attain their greatest creative and commercial potential. To achieve these goals, our teams employ their expertise and passion to strike deals with partners all around the world, partners who take seriously their responsibilities to fairly compensate our artists and songwriters and treat the user experience with respect.

One of those partners is TikTok, an increasingly influential platform with powerful technology and a massive worldwide user base. As with many other platforms with whom we partner, TikTok’s success as one of the world’s largest social platforms has been built in large part on the music created by our artists and songwriters. Its senior executives proudly state publicly that “music is at the heart of the TikTok experience” and our analysis confirms that the majority of content on TikTok contains music, more than any other major social platform.

The terms of our relationship with TikTok are set by contract, which expires January 31, 2024. In our contract renewal discussions, we have been pressing them on three critical issues—appropriate compensation for our artists and songwriters, protecting human artists from the harmful effects of AI, and online safety for TikTok’s users.

We have been working to address these and related issues with our other platform partners. For example, our Artist-Centric initiative is designed to update streaming’s remuneration model and better reward artists for the value they deliver to platforms. In the months since its inception, we’re proud that this initiative has been received so positively and taken up by a range of partners, including the largest music platform in the world. We’ve also moved aggressively to embrace the promise of AI while fighting to ensure artists’ rights and interests are protected now and far into the future. In addition, we’ve engaged a number of our platform partners to try to drive positive change for their users and by extension, our artists, by addressing online safety issues, and we are recognized as the industry leader in focusing on music’s broader impact on health and wellness.

With respect to the issue of artist and songwriter compensation, TikTok proposed paying our artists and songwriters at a rate that is a fraction of the rate that similarly situated major social platforms pay. Today, as an indication of how little TikTok compensates artists and songwriters, despite its massive and growing user base, rapidly rising advertising revenue and increasing reliance on music-based content, TikTok accounts for only about 1% of our total revenue.

Ultimately TikTok is trying to build a music-based business, without paying fair value for the music.

On AI, TikTok is allowing the platform to be flooded with AI-generated recordings—as well as developing tools to enable, promote and encourage AI music creation on the platform itself – and then demanding a contractual right which would allow this content to massively dilute the royalty pool for human artists, in a move that is nothing short of sponsoring artist replacement by AI.

Further, TikTok makes little effort to deal with the vast amounts of content on its platform that infringe our artists’ music and it has offered no meaningful solutions to the rising tide of content adjacency issues, let alone the tidal wave of hate speech, bigotry, bullying and harassment on the platform. The only means available to seek the removal of infringing or problematic content (such as pornographic deepfakes of artists) is through the monumentally cumbersome and inefficient process which equates to the digital equivalent of “Whack-a-Mole.”

But when we proposed that TikTok takes similar steps as our other platform partners to try to address these issues, it responded first with indifference, and then with intimidation.

As our negotiations continued, TikTok attempted to bully us into accepting a deal worth less than the previous deal, far less than fair market value and not reflective of their exponential growth. How did it try to intimidate us? By selectively removing the music of certain of our developing artists, while keeping on the platform our audience-driving global stars.

TikTok’s tactics are obvious: use its platform power to hurt vulnerable artists and try to intimidate us into conceding to a bad deal that undervalues music and shortchanges artists and songwriters as well as their fans.

We will never do that.

We will always fight for our artists and songwriters and stand up for the creative and commercial value of music.

We recognize the challenges that TikTok’s actions will cause, and do not underestimate what this will mean to our artists and their fans who, unfortunately, will be among those subjected to the near-term consequences of TikTok’s unwillingness to strike anything close to a market-rate deal and meaningfully address its obligations as a social platform. But we have an overriding responsibility to our artists to fight for a new agreement under which they are appropriately compensated for their work, on a platform that respects human creativity, in an environment that is safe for all, and effectively moderated.

We honor our responsibilities with the utmost seriousness. Intimidation and threats will never cause us to shirk those responsibilities.

boygenius Receives The Second Annual Universal Music Group X Reverb Amplifier Award

Eric Alper
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boygenius Receives The Second Annual Universal Music Group X Reverb Amplifier Award

Universal Music Group and REVERB last night announced boygenius are the recipients of the second annual Universal Music Group x REVERB Amplifier Award. The Grammy® nominated band comprised of Julien Baker, Lucy Dacus and Phoebe Bridgers, were presented with the award by UMG Chairman and CEO, Sir Lucian Grainge; Interscope Geffen A&M Records CEO and Chairman, John Janick; Universal Music Publishing Group Chairman and CEO, Jody Gerson; and REVERB Co-founder, Adam Gardner at NeueHouse Hollywood during Billboard’s annual Power 100 event.

The award, which was introduced last year with inaugural awardee, Billie Eilish, recognizes artists best exemplifying the commitment to, and achievement of, measurable steps to reduce their environmental footprint and support of nonprofit causes through direct fan engagement at shows, online and beyond. It represents the expanded relationship between UMG and REVERB, a leading environmental nonprofit dedicated to working with musicians, festivals, venues, industry leaders and fans to reduce the footprint of music and take action on today’s most pressing environmental and social issues.

In presenting the award, Sir Lucian Grainge said, “I wanted to be here to highlight the importance of using our collective power for good.  These three exceptional artists exemplify what that means and we wanted to honor them in this room to inspire all you powerful people to do the same. It’s my great honor to present boygenius with the second annual ‘Universal Music Group x REVERB Amplifier Award.’ This award is in recognition of artists who use their music, their reach and their actions to promote positive change for people and the planet. Julien, Lucy and Phoebe, you have inspired us through your music and your work and we are deeply proud to recognize you tonight.”

Receiving this award, boygenius said:

Lucy Dacus said, “We’re grateful to be receiving this award but we have the easiest jobs of anyone involved. In addition to PTM Foundation we worked closely with REVERB, The Ally Coalition and Calling All Crows to organize tabling for our fans, educate them about local and national organizations that work to defend LGBTQ+ rights, abortion access and environmental concerns.”

Julien Baker said, “We’re honored to receive this award and promise not to let us become complacent. We realize it’s useful to publicly acknowledge and recommit ourselves to these values.. and to draw attention to causes we care about. It should be important to everyone because it’s for everyone’s wellbeing.. the perceived scarcity of a persons impact does not increase or diminish your individual responsibility to act each day in a way that protects or makes more equitable the world we inhabit together.”

Phoebe Bridgers said, “I know all three of us have been made to feel uncomfortable or unsafe at concerts when we were kids or in work environments later when we were making music ourselves so it was cool to have Calling All Crows to come  and do a demonstration on how to spot and stop sexual harassment and violence whether you see it in the crowd or within your own crew. It’s really cool to now extend the power and privilege we have to others. We try to create an environment that we would’ve benefitted from as kids.  Hopefully someday everyone’s doing this and no one is getting awards.”

Paul McCartney & Wings ‘Band on the Run’ 50th Anniversary Edition Is Now Out

Eric Alper
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Paul McCartney & Wings ‘Band on the Run’ 50th Anniversary Edition Is Now Out

50 years to the week of its original release, MPL and UMe announce the expanded 50th anniversary edition of Paul McCartney & Wings’ iconic Band on the Run, being released Friday, February 2nd.

A fixture of all-time greatest album lists for decades, the multiple GRAMMY-winning #1 smash was originally released in December of 1973. Featuring the immortal title track, worldwide hit ‘Jet,’’ the wistful ‘Bluebird,’ long-time live staple ‘Let Me Roll It,’ the multi-faceted ‘Picasso’s Last Words (Drink to Me)’ and climactic closer ‘Nineteen Hundred and Eighty Five,’ Band on the Run is undoubtedly Wings’ most successful and celebrated release ever. Experience the 50th anniversary edition of Band on the Run below.

The 50th anniversary edition of Band on the Run will be available in a variety of formats, beginning with the essential 1LP. This special vinyl edition was cut at half speed using a high-resolution transfer of the original master tapes from 1973 by Miles Showell at Abbey Road Studios, London. The single vinyl album configuration mirrors the US tracklist, which features the song ‘Helen Wheels’ and includes a Linda McCartney Polaroid poster.

The 2LP vinyl edition features the original US album, remastered at half speed, and a second LP titled “Underdubbed” Mixes Edition, housed in a premium slipcase. The set also includes two Linda McCartney Polaroid posters.

A 2CD format will feature the original US album, “underdubbed” mixes, and a double-sided fold-out Polaroid poster taken by Linda McCartney. Band on the Run (Underdubbed) will also be released digitally.

Speaking about the “underdubbed” version, Paul said. “This is Band on the Run in a way you’ve never heard before. When you are making a song and putting on additional parts, like an extra guitar, that’s an overdub. Well, this version of the album is the opposite, underdubbed.”

Band on the Run (Underdubbed) presents Band on the Run’s nine classic songs for the first time without any orchestral overdubs, available digitally. The previously unreleased rough mixes were created by Geoff Emerick, assisted by Pete Swettenham at AIR Studios, on October 14th, 1973. The tracklist, newly ordered as detailed below, mirrors the original analog tapes discovered in the MPL archives.

Finally, Band on the Run will also be available in Dolby ATMOS for the first time, newly mixed by Giles Martin and Steve Orchard.

Of the countless classic albums Paul McCartney has released throughout his illustrious career, Wings’ Band on the Run holds a place of particularly high esteem. The album not only delivered on the promise of Wild Life and Red Rose Speedway but also consolidated Wings’ status as standard bearers of ‘70s rock ’n’ roll. As the soundtrack for a decade defined by the rock radio playlists it dominated, Band on the Run would set the bar not only for Paul’s future efforts but also for generations of arena rock stars.

Exactly 50 years after its release, Band on the Run sounds as vibrant and relevant as ever, and in reaching this magnificent milestone, deserves its amazing story to be celebrated one more time.

By the summer of 1973, Paul had a fresh batch of songs earmarked for a new album. Looking through a list of EMI’s international studios, he chose Lagos, Nigeria, to be the location of its recording, becoming enthralled with the idea of recording in Africa. Just days before departure, lead guitarist Henry McCullough and drummer Denny Seiwell quit the band. Wings were now, suddenly, a trio. Paul, his wife Linda, and band member Denny Laine (along with recording engineer Geoff Emerick) toiled in the Lagos studio’s relatively rudimentary conditions, working up the new songs over two months. Disaster struck one night when Paul and Linda were robbed at knifepoint while walking home from a friend’s house, the thieves making off with a cassette of home demo recordings of the songs. Paul was able to remember the songs as he’d only recently written them.

Noted for its suite-like structure of three distinct movements, the title track ‘Band on the Run’ was not an obvious pop hit, but it would top the US Billboard Hot 100 and propel its parent album back up the charts, becoming a #1 smash in both the US and UK, returning to the top spot twice more in America, and becoming the best-selling studio album of 1974 in Australia, Canada, and the UK.

Band on the Run has only grown in stature over the years. After scooping two Grammy Awards in 1975, the Deluxe Edition of Band on the Run was awarded a third in 2012—followed by the album’s induction into the Grammy Hall of Fame in 2013. It is considered the definitive Wings album and a firm fan favorite as new generations discover its genius. It took until 2010 for ‘Nineteen Hundred and Eighty Five’ to be performed live, but now, as Paul’s solo career continues unabated, it is a regular presence in his live sets.

Paul is currently performing songs from Band on the Run and across his unparalleled catalog at shows on his acclaimed Got Back tour. First launching in February 2022, Paul completed 16 huge gigs across the US before performing what the Times newspaper described as the “best gig ever” with his history-making headline set at Glastonbury in June 2022, a show that also saw Paul team with Dave Grohl for a special duet of ‘Band on the Run.’

The current leg of the tour has seen Paul return to Australia for his first live performances there in six years. Currently performing in Belo Horizonte, Brazil, Paul will complete further concerts in São Paulo, Curitiba, and Rio De Janeiro.

2LP / 2CD Track list
Disc One – Band on the Run
1. Band on the Run
2. Jet
3. Bluebird
4. Mrs. Vandebilt
5. Let Me Roll It
6. Mamunia
7. No Words
8. Helen Wheels
9. Picasso’s Last Words (Drink to Me)
10. Nineteen Hundred and Eighty Five

Disc Two – Band on the Run (Underdubbed Mixes)
1. Band on the Run
2. Mamunia
3. No Words
4. Jet
5. Bluebird
6. Mrs. Vandebilt
7. Nineteen Hundred and Eighty Five
8. Picasso’s Last Words (Drink to Me)
9. Let Me Roll It

1LP Band on the Run
1. Band on the Run
2. Jet
3. Bluebird
4. Mrs. Vandebilt
5. Let Me Roll It
6. Mamunia
7. No Words
8. Helen Wheels
9. Picasso’s Last Words (Drink to Me)
10. Nineteen Hundred and Eighty Five

Digital Formats
Band on the Run (Underdubbed Mixes)

1. Band on the Run
2. Mamunia
3. No Words
4. Jet
5. Bluebird
6. Mrs. Vandebilt
7. Nineteen Hundred and Eighty Five
8. Picasso’s Last Words (Drink to Me)
9. Let Me Roll It

Band on the Run will also be available to stream in Dolby ATMOS.

Dead & Company Sets Las Vegas ‘Live At Sphere’ Residency

Eric Alper
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Dead & Company Sets Las Vegas ‘Live At Sphere’ Residency

Dead & Company has set a residency at SPHERE in Las Vegas consisting of eighteen shows over six consecutive weeks from May 16 through June 22. The Sphere residency will feature never-before-seen visual storytelling from Dead & Company, providing fans with the ultimate connection to the music through these innovative and immersive shows. Each weekend’s three performances will feature a unique setlist.

These shows will utilize Sphere’s next-generation technologies, including the world’s highest resolution LED display that wraps up, over, and around the audience creating a fully immersive visual environment. The venue also features the world’s most advanced concert-grade audio system, Sphere Immersive Sound, powered by HOLOPLOT, which delivers audio with unmatched clarity and precision to every guest.

To ensure that tickets get directly into the hands of fans, advance presale registration is available now HERE, powered by Seated. The Artist Presale begins Monday, February 5th at 10 AM PT. Advance registration does not guarantee tickets. Supplies are limited. The general on-sale will begin Friday, February 9th at 10 AM PT at Ticketmaster.com.

Tickets start at $145 and will reflect all-in pricing. This means the ticket price listed is the full out-of-pocket price inclusive of taxes and fees.

VIP: Vibee is the official VIP Concert & Hotel Package partner for Dead & Company’s historic residency at Sphere and is the only way to access ticket bundles for all three weekend shows. Fans can purchase various Vibee packages through the official presale beginning Friday, February 2, at 10 AM PT. Additionally, all Vibee VIP package holders will receive priority entry into the Dead & Company Fan Portal coming soon to The Venetian Resort Las Vegas. For ticket and Vibee VIP Concert and Hotel Package information, please visit: www.deadforever.vibee.com.

Dead & Company and Activist will continue their work with longtime sustainability partner REVERB to reduce the residency’s environmental footprint and engage fans to take action for people and the planet and also with HeadCount which uses the power of music to register voters and promote participation in democracy. More details at REVERB.org and HeadCount.org.

Dead & Company quickly became one of the most successful bands, touring consistently since its 2015 debut. Dead & Company has completed 10 tours, playing to more than 4 million fans across 235 shows, and became a record-breaking stadium act when it set Wrigley Field’s all-time concert attendance for a single concert, which still holds to this day. The band also holds the record number of performances at Folsom Field in Boulder, Colorado, with 13 shows; holds the record number of performances at Citi Field, home to the New York Mets, with 11 shows; broke Boston’s Fenway Park’s all-time attendance record for the most tickets sold in a single night; and ended their touring career at Oracle Park, home of the Giants baseball team, hosting its final three tour dates of the band’s career to an audience of over 118,000. Across all tours, the Dead & Company community, through the band’s legendary Participation Row, raised $13+ million to support nonprofits and environmental and social causes, with $4 million donated through charity auctions and online raffles. All of the funds raised are split between HeadCount, REVERB, and the Dead Family non-profit organizations, as well as the non-profit ocean conservation organization Oceana and MusiCares among others.

Dead & Company – Dead Forever – Live at Sphere dates:
Thursday, May 16; Friday, May 17; Saturday, May 18
Friday, May 24; Saturday, May 25; Sunday, May 26
Thursday, May 30; Friday, May 31; Saturday, June 1
Thursday, June 6; Friday, June 7; Saturday, June 8
Thursday, June 13; Friday, June 14; Saturday, June 15
Thursday, June 20; Friday, June 21; Saturday, June 22

Cultural Goods Gallery Presents Mohawk Warriors, Hunters & Chiefs/ The Art Of Tom Wilson Tehoháhake

Eric Alper
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Cultural Goods Gallery Presents Mohawk Warriors, Hunters & Chiefs/ The Art Of Tom Wilson Tehoháhake

Coming to Cultural Goods Gallery this February, Mohawk Warriors, Hunters & Chiefs will explore the personal story of Juno Award-winning singer, songwriter, musician and performer, Tom Wilson Tehoháhake. This specially organized exhibition presents a selection of works created between 2015 and 2024, and celebrates the launch of Mohawk Warriors, Hunters & Chiefs, a ground-breaking bilingual book that explores the paintings and iconography of Tom Wilson. In his early fifties, Tehoháhake accidentally discovered that he was adopted and that he was Mohawk from Kahnawake.

“There’s blood memory that happened in my art. I’ve been painting really simple images since 1997. Even with a lack of identity, I was still expressing myself as an Indigenous artist, or as a Mohawk. And sure enough, now that I know that I’m a Mohawk, that sense of identity that I was lacking is now coming completely into focus in the work that I do,” says Tom Wilson Tehoháhake.

The exhibition organized by esteemed curator David Liss, will highlight Tehoháhake’s unbelievable journey of family secrets, personal identity and resolution. The art works consist of faces and masks vaguely resembling those of certain Indigenous cultures or perhaps beings from some other realm. They look at once ancient and futuristic. These are the warriors, hunters, chiefs, tricksters and shamans; the characters and figures that embody myths and legends of the past and the future; the stories that connect Tehoháhake to his culture and his place in the universe.

On view Friday, February 2 through February, Feb. 17, Mohawk Warriors, Hunters & Chiefs features a free public book launch and artist talk on Saturday February 3, 2024 from 2pm-5pm. The art book, published by Goose Lane Editions in both English and Mohawk, showcases over 35 full-colour images of Tom Wilson Tehoháhake’s work. The collection includes paintings, sculptures, and guitars decorated with iconography inspired by beadwork. The art pieces also reflect on Tom’s upbringing in Hamilton, where he only had hints and dreams about his identity. The book includes an interview with Ryan McMahon on Tom’s artistic process, along with essays by Tom and curator David Liss, providing a comprehensive exploration of Tom Wilson Tehoháhake’s art and Mohawk identity.

Tom Wilson comes from a long storytelling tradition, and he has lived his life as a storyteller. The artwork featured in this exhibition is another chapter in his story.

Cultural Goods Gallery is located at 1444 Dupont St Unit 15, Toronto.

For more information including gallery hours visit www.culturalgoodsgallery.com.

Bif Naked Commemorates 25th Anniversary Of I, Bificus With Deluxe Edition Out Now

Eric Alper
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Bif Naked Commemorates 25th Anniversary Of I, Bificus With Deluxe Edition Out Now

Just twenty-five years ago, Bill Clinton had a scandalous affair, Teletubbies invaded American TV, and Viagra got the green light. Surprise, surprise – Bif Naked also dropped her second album, “I, Bificus,” right in the midst of this wild ride! Let’s not forget Buffy lost her virginity to the Bif song “Lucky” as she performed on Buffy The Vampire Slayer.

An infectious, eclectic blend of raucous power-pop hooks, emotive and raw lyricism, with old-school punk attitude-like Bif herself. It’s unrelenting charisma with hits like “Spaceman” “Moment of Weakness” and “Lucky” The album catapulted Bif to superstardom internationally, multiple gold records, followed by multiple platinum records, and set her on a course of global touring that still finds her doing year round concerts to this day.

Through it all Bif remains true to her loyal fans and always gives them all of herself with every performance. What better way to celebrate the lasting power of this record it’s and, of course Bif herself, than to finally release a 25th anniversary edition I, BIFICUS XXV a completely remastered album including bonus tracks and a new version of Lucky (Orchestral) and available here.

BIFICUS 25TH ANNIVERSARY REISSUE (76:00)
CD (45:30)

01 ANY DAY NOW 4:17
02 SPACEMAN 4:21
03 MOMENT OF WEAKNESS 4:25
04 LUCKY 4:25
05 PEACOCK 3:02
06 CHOTEE 3:51
07 SOPHIA 4:28
08 VIOLENCE 4:15
09 ANYTHING 4:43
10 ONLY THE GIRL 3:34
11 IF I 4:10
12 LUCKY (2023 Orchestral Mix) 4:00

Acoustic Mixes (14:00)
13 SPACEMAN (Acoustic) 3:43
14 MOMENT OF WEAKNESS (Acoustic) 2:26
15 CHOTEE (Acoustic) 3:50
16 LUCKY (Acoustic) 3:58

Martha And The Muffins Release A Bold Take On A Buffalo Springfield Classic “For What It’s Worth”

Eric Alper
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Martha And The Muffins Release A Bold Take On A Buffalo Springfield Classic “For What It’s Worth”

When a band has been around for nearly half a century, you don’t necessarily expect their music to carry any particular message beyond “Yep, we’re still alive.” The legendary Martha and the Muffins are a blessed exception: Their jaw-dropping new single “For What It’s Worth” shows they’re less concerned with their own survival than with everybody else’s.

With their radical reworking of a certain anti-violence perennial, the venerable Toronto-based group have paid full respect to the source material while simultaneously contorting it into a bone-chilling lament that couldn’t be more pertinent to the mortal dangers of today.

“Not only is Buffalo Springfield’s 1966 classic ‘For What It’s Worth’ timeless in its own right, but Stephen Stills’ poignant lyrics are more relevant than ever,” M+M mainstays Martha Johnson and Mark Gane say of their decision to adapt the seminal protest tune for a new era. “Gun violence is an ongoing societal blight, a perverse virus perpetuated by hypocrites mouthing their meaningless recitations of ‘thoughts and prayers.’ With this in mind, our interpretation is slower, darker and considers the possibility that events that were once rare and unacceptable are now met with a shrug of indifference.”

How times have indeed changed. When he wrote the song, Stills took his inspiration from some nasty altercations that had been going on between police and kids on Hollywood’s Sunset Strip. Over the ensuing years, “For What It’s Worth” became a sort of all-purpose plea for peace in strife-torn locales from Vietnam to Minneapolis. The Muppets even turned it into a broadside against hunting. But this isn’t Martha and the Muppets we’re dealing with here, so prepare yourself for something a lot more sinister: an almost unbearably tense accompaniment to the now-constant specter of yet another shot-up school or house of worship.

“We wanted it to be seriously dark and dramatic, as though something alarming might happen at any time,” Johnson says. “We decided that Mark should sing the verses with his low, doomy voice, and then I did the choruses and the ‘better beware’ sections, so that there were distinct vocal textures happening throughout the song.”

The deliberately unsettling effect is reinforced by atmospheric keyboards and guitar that manage to sound both foreboding and elegiac; you can hear the theatrical instincts Johnson and Gane have honed in their side career scoring films and TV programs.

The issue of gun violence hits close to home for both Johnson and Gane, and the song’s video director, Jason Cipparrone. Prior to producing the video for their recorded song, tragedy struck close when the band’s recently retired accountant of 40 years, Russ Manock, and his wife Lorraine Manock, were fatally shot along with three others in their Vaughan condo building in December 2022. The shocking incident garnered widespread media attention, leaving the duo in disbelief when they learned of the tragic events. In a separate but equally unsettling incident, Cipparrone experienced the impact of gun violence when he heard a shot in the hallway outside his apartment. To his horror, he discovered a gunshot victim lying just outside his door.

Johnson explains, “It’s particularly haunting to realize that the video’s ‘Gun Heads’ scene they filmed for the video took place right where this crime occurred. The hallway still bears the marks of this grim event, with a visible dent left by a bullet ricocheting off the floor. The gravity of these incidents amplifies our commitment to addressing the urgent issue of gun violence through our music and advocacy.”

Still, it’s as one of Canada’s greatest-ever gifts to rock and pop that Martha and the Muffins will always be known. All the way back in 1981, James Muretich of The Calgary Sun was already declaring “There is no other band which emerged from Canada’s fledgling punk scene of a few years ago which matters.” The 1980 international hit “Echo Beach” lit the spark of such well-deserved praise; timeless follow-ups like “Swimming” and the Danseparc album further burnished the group’s sterling reputation for canny songcraft. And with the 1984 dancefloor breakout “Black Stations/White Stations,” the band took the lead in exposing the racist underpinnings of big radio.

With Johnson and Gane consistently at the helm, Martha and the Muffins have released eight studio records since their 1977 formation, breaking boundaries and exceeding expectations every step of the way. They’ve had five Top 40 hits in their native Canada and won a JUNO Award for Single of the Year. They even introduced the world to superstar producer Daniel Lanois (who co-produced three of their records and went on to win Grammys for his work with artists like Peter Gabriel and U2). The group’s most recent offering, 2021’s Marthology: In and Outtakes, is a compilation of rare and previously unreleased tracks from the broad expanse of their illustrious career.

That tradition of excellence continues with “For What It’s Worth,” which Johnson and Gane played and recorded entirely on their own at their home studio, The Web. Mixing was done by Tim Abraham (Grand Analog/Odario). The single arrives January 19, accompanied by a music video that’s every bit as startling. Shot in stark black and white, it shows a couple of humanoid figures with literal revolvers for heads wandering from public place to public place, going about their business as if their presence is the most natural thing in the world. Gane came up with the concept, and director Jason Cipparrone– who’s not only a filmmaker but an accomplished photographer – brought it to bracing reality.

“Gun violence has become omnipresent in today’s society, and its impacts are horrifying,” Cipparrone says. “We made this film to highlight how apathy leads to integration of such themes into daily life, such as buying a bulletproof backpack for one’s child.”

If there’s one reaction Martha and the Muffins will never engender, it’s apathy. Lend an ear to “For What It’s Worth,” and you’ll hear the latest of a million reasons why.

54•40 Unveils Deluxe Remastered and Reimagined Vinyl Bundle of Their Iconic “Green Album”

Eric Alper
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54•40 Unveils Deluxe Remastered and Reimagined Vinyl Bundle of Their Iconic “Green Album”

In a nostalgic nod to the past, Canadian rock band 54•40 proudly announces the impending release of the remastered “Green Album” – Deluxe Vinyl Bundle, available for pre-order now here. Originally released in 1986, the self-titled second album, affectionately known as the “Green Album,” marked a pivotal moment in the band’s history.

Carefully curated to immerse fans in the nostalgia of the ‘Green’ days, the Deluxe Vinyl Bundle is a treasure trove of 54•40 memorabilia. The bundle includes not only the re-mastered vinyl but also alternate versions and previously unreleased songs. Fans will also delight in discovering exclusive photos, posters, stickers, and other fun memorabilia from the band’s early years.

The Deluxe Vinyl Bundle features:

  • 180 Gram White Translucent Vinyl Audiophile LP with updated reimagined inner gatefold
  • 7” Single for “Baby Ran” and “I Go Blind”
  • 24” x 36” 54-40 Poster – folded in album jacket
  • Three 8”x 10” Black and White Photographs
  • 11” x 17” Pink – Vintage Show Poster
  • 5.5” x 3.5” Band Sticker
  • Vintage 54-40 Postcard
  • Reproduction of the Original Album Sleeve

Digital Goodies for the Modern Fan

In addition to the physical bundle, fans will have access to a digital trove of content, including high-quality WAV files of all album tracks, re-mastered and MP3 versions included, with three previously unreleased songs. The digital package also features album artwork, archival photos, and exclusive posters and stickers for a complete 54•40 experience.

The band also announced a limited-edition 14” x 20”print of 54 by Phil Comparelli on 100% Cotton Rag Paper, signed and numbered and available here.

Reflecting on the significance of the “Green Album,” 54•40 shares their journey from the recording studio to signing with Warner Brothers Records:

“After recording our first album Set The Fire, we went through a period of discovery. The songwriting was starting to flow, and our band vision was becoming clearer. It started with the last couple of songs written for Set The Fire recorded by Dave ‘Rave’ Ogilvie. Those songs “A Big Idea” and “What To Do Now” would lead to defining ourselves as 54•40 – the rock combo (2 guitars, bass and drums). We went back to Mushroom Studios with Rave and recorded the Green album in late 1984. “Baby Ran,” “I Go Blind,” “Take My Hand” and other songs all emerged during this time. Signing to a record company wasn’t exactly on our radar in 1984 but we were actively promoting and touring north-south as far as Highway I-5 would take us. Seattle, Portland and in particular San Francisco became a second home for the band. Eventually shows in Los Angeles lead to record company interest. After much deliberation, Warner Brothers Records became our first label home. They would put out the Green album with the suggestion that we mix the album with Dave Jerden (Rolling Stones). The label committed to the next album which was half written at the time of signing. This was a big breakthrough for us and a turning point opportunity. The rest is history, so they say. “Baby Ran” became a hit song for us. “I Go Blind,” despite not being released as a single in the USA, became a hit for us and a massive international hit for Hootie and The Blowfish a decade later. Our thanks to Phil and Darryl, Rave, Felix and Kevin, our partners in business but mostly thanks to our fans that have embraced our band and songs.”

The band expresses gratitude to Sing! Marketplace for making this reissue possible.

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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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