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The 1965 Icons Still Rocking in 2025

Eric Alper
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The 1965 Icons Still Rocking in 2025

They said rock ‘n’ roll wouldn’t last. But here we are in 2025, and a handful of artists who once ruled the stage in 1965 are still out there, defying time, rewriting the limits of longevity, and proving the power of a well-worn guitar riff. Here’s a look at the legends who’ve laced up their boots six decades apart.

The Rolling Stones are still grinding out stadium tours with the same bluesy swagger they had when “(I Can’t Get No) Satisfaction” topped the charts in ’65. With Mick Jagger still prancing and Keith Richards somehow immune to time, the Stones’ Hackney Diamonds tour has proven their immortality isn’t just myth—it’s muscle memory.

Bob Dylan, the voice of a generation, remains as mercurial and magnetic as ever. In 1965, he went electric at Newport and changed the face of music forever. Now, at 83, he’s deep into his Rough and Rowdy Ways tour, crooning through gravel and wisdom with a setlist as unpredictable as his legacy.

Ringo Starr still hits the road with his All Starr Band, keeping the spirit of Beatlemania alive for a new generation. In 1965, he was dodging screaming fans; in 2025, he’s grinning through a drum solo and telling jokes between songs. Peace and love never sounded so sharp.

Dion DiMucci, the Bronx street-corner crooner turned folk-blues philosopher, released new music this year and shows no signs of slowing down. He opened for Buddy Holly once—now he’s collaborating with Springsteen. Longevity isn’t just about staying power; it’s about evolving, and Dion’s still got the spark.

Willie Nelson, at 92, is still on the road—because of course he is. Back in 1965, he was penning classics like “Crazy” and cutting his teeth in Nashville. Now, he’s headlining the Outlaw Music Festival tour with his sons by his side and more weed jokes than ever. The braids may be silver, but the voice is pure gold.

Eric Clapton played with John Mayall & the Bluesbreakers in 1965 and was earning his “Clapton is God” graffiti in London. In 2025, he’s still performing selective dates with jaw-dropping precision, his guitar tone as iconic as his legacy. He’s proof that the blues doesn’t age—it just gets deeper.

Judy Collins, the folk matriarch with the crystalline voice, is still mesmerizing audiences at 85. In 1965, she was introducing Leonard Cohen to the world. Now, she’s still filling concert halls with grace, poetry, and timeless renditions of “Both Sides Now.”

The Beach Boys may look different in 2025, but Mike Love continues to lead the group on tour with a surf-rock smile and a suitcase full of sunshine. From their 1965 Summer Days (And Summer Nights!!) peak to the present, they’re still chasing that endless summer across stages worldwide.

Herb Alpert was topping charts with the Tijuana Brass in 1965, selling more records than The Beatles that year. In 2025, he’s still releasing albums and showcasing his artwork, proving that creativity can flow long after the spotlight fades.

Rod Stewart had his first hit in 1964 with Long John Baldry and was playing with the Jeff Beck Group by 1965. Fast-forward to 2025, and he’s still selling out arenas, mixing Vegas swagger with rock nostalgia and somehow never running out of leopard print.

Paul Simon was introducing the world to “The Sound of Silence” with Art Garfunkel in 1965. This year, at 83, he’s releasing new music and appearing at literary festivals discussing the poetry of songwriting, reminding us all that his words are stitched into American memory.

The Zombies, who broke out in ’65 with “She’s Not There” and “Tell Her No,” reunited in the 2000s and haven’t stopped since. With original members Colin Blunstone and Rod Argent still delivering psychedelic pop perfection, they continue to charm crowds with vintage magic and new material alike.

Roger McGuinn, co-founder of The Byrds, remains active on the folk circuit, wielding his signature Rickenbacker with the same twelve-string jangle that defined 1965’s “Mr. Tambourine Man.” While The Byrds have long since flown, McGuinn’s solo shows still shimmer with the electric folk mystique that helped birth psychedelic rock.

Paul McCartney, though not currently touring in 2025, recently played massive shows on his Got Back tour and continues to release music that blurs pop brilliance with classic rock roots. In ’65, he was busy redefining pop music; today, he’s a living monument to melody, still thrilling crowds across the world.

They’re not just survivors—they’re torchbearers. These icons remind us that while decades change, real rock ‘n’ roll doesn’t rust.

Joshua Redman Brings ‘Where Are We’ to NPR’s Tiny Desk

Eric Alper
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Joshua Redman Brings ‘Where Are We’ to NPR’s Tiny Desk

If you want to hear the soul of modern jazz breathe, listen to Joshua Redman’s Where Are We. On “Chicago Blues” and “Streets of Philadelphia,” Redman and vocalist Gabrielle Cavassa weave grit and grace into each note, with Paul Cornish’s piano bridging worlds in a moment of pure improvisational magic. But it’s “After Minneapolis” that cuts deepest—Redman’s aching sax lines and Cavassa’s voice mourn a country’s wounds with quiet fury and elegance. This is jazz with conscience, history, and heart.

10 Times The Grammys Got It Right For Best Album of the Year

Eric Alper
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10 Times The Grammys Got It Right For Best Album of the Year

The Grammy Awards often spark debate—snubs, surprises, and upsets have become annual rituals for music fans. But every now and then, the Recording Academy hits the nail on the head. Whether they honored innovation, storytelling, or sheer cultural dominance, these 10 Album of the Year wins prove that sometimes, they do get it right. Here are ten shining examples where the Grammys made the right call.

Stevie Wonder – Innervisions (1974)
Stevie Wonder’s Innervisions was musically brilliant and it was socially powerful. With tracks like “Living for the City” and “Higher Ground,” Wonder blended funk, soul, and political commentary in a way that defined an era. This was the sound of a genius at the height of his creative powers, and the Grammys rightly recognized it.

Carole King – Tapestry (1972)
Carole King’s Tapestry was a landmark moment for women in music. With its emotional honesty and timeless songwriting, it elevated the singer-songwriter genre to new heights. Songs like “It’s Too Late” and “You’ve Got a Friend” continue to resonate decades later—and its win was a triumph for storytelling and soul.

Lauryn Hill – The Miseducation of Lauryn Hill (1999)
Blending soul, rap, reggae, and gospel, Lauryn Hill’s solo debut was revolutionary. The Miseducation of Lauryn Hill broke barriers in genre and gender, becoming a cultural touchstone. Its Grammy win was historic, making Hill the first hip-hop artist to take home Album of the Year.

Taylor Swift – Folklore (2021)
In a year of isolation, Taylor Swift’s Folklore offered quiet reflection and mature songwriting. Collaborating with Aaron Dessner and Jack Antonoff, Swift departed from pop bombast for indie-folk intimacy—and it paid off. Her win was a nod to reinvention, risk-taking, and lyrical depth.

The Beatles – Sgt. Pepper’s Lonely Hearts Club Band (1968)
The Grammy voters rewarded a cultural milestone with this one. Sgt. Pepper’s rewrote the rules of what an album could be, both sonically and visually. Psychedelic, experimental, and endlessly influential, it deserved every accolade—including Album of the Year.

Outkast – Speakerboxxx/The Love Below (2004)
A bold double album that somehow fused crunk, funk, jazz, and Prince-style pop into a Grammy-winning masterpiece. Speakerboxxx/The Love Below proved that hip-hop could be eclectic, conceptual, and totally mainstream. Outkast expanded the definition of what could win.

Norah Jones – Come Away With Me (2003)
Soft, jazzy, and understated, Come Away With Me was as loud as the other nominees for record of the year—but it was the most elegant. Norah Jones’ debut came as a breath of fresh air, and her Grammy win honored subtlety over spectacle. Sometimes, quiet talent wins big—and rightly so.

Adele – 21 (2012)
Heartache never sounded so triumphant. Adele’s 21 delivered powerhouse vocals and timeless ballads like “Someone Like You” and “Rolling in the Deep.” Its commercial dominance was matched by critical praise, and the Grammy win felt like the rare moment when everyone agreed.

Daft Punk – Random Access Memories (2014)
With Random Access Memories, Daft Punk turned retro influences into futuristic gold. From the disco revival of “Get Lucky” to the analog warmth of its production, the album was a love letter to music history. The French duo’s surprise win was a celebration of craft, concept, and cool.

Billie Eilish – When We All Fall Asleep, Where Do We Go? (2020)
At just 18, Billie Eilish changed the sound of pop with hushed vocals and haunted beats. Her debut album was unlike anything else that year—dark, daring, and defiantly different. The Grammy win recognized a generational shift and a new voice that couldn’t be ignored.

The Grammys don’t always get it right, but when they do, it’s amazing to watch. These Album of the Year wins remind us that bold choices, emotional resonance, and cultural impact can—and should—be recognized. They also prove one thing: great music endures, and sometimes the Academy does, in fact, hear it loud and clear.

31 Artists Who Turned Their Names Into Songs

Eric Alper
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31 Artists Who Turned Their Names Into Songs

In the vast landscape of music, some artists have taken the bold step of crafting songs that bear their own names. These self-titled tracks often serve as declarations of identity, mission statements, or thematic anchors within their albums.

Anthrax – “Anthrax”
Featured on their debut album Fistful of Metal (1984), this thrash metal track introduces listeners to the band’s aggressive style and sets the tone for their future works.

Bad Company – “Bad Company”
From their 1974 self-titled debut, this song encapsulates the band’s rugged rock ethos and has become one of their signature tracks.

Bad Religion – “Bad Religion”
Appearing on their 1981 debut EP, this track showcases the band’s foundational punk sound and critical lyrical themes.

Big Country – “In a Big Country”
This 1983 anthem didn’t just introduce the Scottish band to the world — it doubled as a mission statement, fusing bagpipe-style guitars with optimism and scale. The title alone says it all: think big, dream bigger.

Black Sabbath – “Black Sabbath”
The opening track of their 1970 debut album, this song is often credited with laying the groundwork for the heavy metal genre.

Bo Diddley – “Bo Diddley”
Released in 1955, this song introduced Bo Diddley’s signature rhythm and became a cornerstone of rock and roll.

Body Count – “Body Count”
This 1992 track from their self-titled album blends metal and rap, reflecting the band’s confrontational style and social commentary.

Built to Spill – “Built to Spill”
From their 1993 debut album Ultimate Alternative Wavers, this track presents the band’s indie rock sensibilities and intricate guitar work.

Danzig – “Danzig”
Featured on their 1988 self-titled debut, this song blends dark themes with heavy riffs, characteristic of Glenn Danzig’s style.

Fergie – “Fergalicious”
With an iconic beat and brash delivery, “Fergalicious” turned Fergie’s name into a movement. This 2006 hit was part spell, part sass, and 100% self-branding at its finest.

Green Day – “Green Day”
An early track from their 1990 debut album 39/Smooth, this song captures the band’s youthful energy and punk roots.

Iron Maiden – “Iron Maiden”
Closing their 1980 debut album, this track has become a live staple, showcasing the band’s heavy metal prowess.

Jennifer Lopez – “Jenny from the Block”
She’s not just J.Lo — she’s still Jenny from the block. This 2002 track reminded fans that no amount of fame could erase the girl from the Bronx, cementing her legacy as a grounded superstar.

Jim Croce – “You Don’t Mess Around With Jim”
You can tug on Superman’s cape, spit into the wind — but don’t mess around with Jim. This 1972 classic from the folk-rock storyteller turned his own name into legend, mixing swagger with Croce’s signature wit.

King Crimson – “The Court of the Crimson King”
This wasn’t just a song — it was a proclamation. Released in 1969, the title track to In the Court of the Crimson King introduced the world to the majesty, mystery, and mind-melting prog of King Crimson. Long live the king.

Leonard Cohen – “Field Commander Cohen”
Part poet, part prophet, Leonard Cohen styled himself as a weary soldier of love and loss in this 1974 gem. “Field Commander Cohen” is haunting, personal, and every bit the dramatic title its author deserved.

Living Colour – “What’s Your Favorite Color? (Theme Song)”
“Living Colour’s the name,” they shout in this funk-metal mission statement from their 1988 debut Vivid. More than just a theme song, it’s a loud, proud burst of identity and genre-defying energy.

Motörhead – “Motörhead”
Originally written by Lemmy for Hawkwind, this song became the title track for Motörhead’s 1977 debut album, embodying their raw sound.Far Out Magazine

Rammstein – “Rammstein”
From their 1995 debut album Herzeleid, this song addresses the tragic Ramstein air show disaster, setting a dark tone for the band’s themes.

S Club 7 – “S Club Party”
“Don’t stop, never give up…” The 1999 hit was both a roll call and rallying cry, introducing each band member while laying down one of the most infectious pop hooks of the late ’90s.

Soulja Boy Tell’em – “Crank That (Soulja Boy)”
You! Crank it, dance it, meme it. This 2007 track launched Soulja Boy into viral superstardom and became a cultural moment, naming and claiming the genre-bending energy of a new hip-hop era.

Stray Cats – “Stray Cat Strut”
Slicked hair, upright bass, and a swagger you could hear a block away — “Stray Cat Strut” brought rockabilly into the MTV age. The 1981 anthem purrs with cool confidence, spelling out exactly who they are.

Talk Talk – “Talk Talk”
Initially performed by The Reaction, this song was re-recorded by Talk Talk for their 1982 debut album The Party’s Over, marking their synth-pop beginnings.Far Out Magazine

The 1975 – “The 1975”
Opening each of their albums with a track titled “The 1975”, the band uses this recurring motif to set thematic tones, varying in style and content.Far Out Magazine

The Clash – “Clash City Rockers”
They didn’t just start a band — they launched a sonic rebellion. On their 1977 debut, The Clash kicked down the door with “Clash City Rockers,” a song that shouted their name and their mission. Bonus points for later doubling down in “Radio Clash” and “Rudie Can’t Fail.”

The Monkees – “(Theme from) The Monkees”
Serving as the theme for their TV show, this 1966 track introduced audiences to the band’s playful pop-rock sound.

The Pretenders – “The Pretenders”
While not a song, their 1979 debut album titled Pretenders established the band’s presence in the rock scene with hits like “Brass in Pocket”.

The Velvet Underground – “The Velvet Underground”
Their 1969 self-titled third album marked a shift to a softer sound, showcasing the band’s versatility beyond their avant-garde roots.

Weezer – “Weezer”
Known for multiple self-titled albums distinguished by color, their 1994 “Blue Album” introduced hits like “Buddy Holly”, defining their geek-rock image.

Wilco – “Wilco (The Song)”
Opening their 2009 album Wilco (The Album), this track playfully addresses the band’s identity and connection with fans.

X – “X”
From their 1980 debut album Los Angeles, this track captures the band’s raw punk energy and set the stage for their influential role in the LA punk scene.

Self-titled songs serve as bold statements, allowing artists to define or redefine their identities through music. Whether as introductions, reinforcements, or reinventions, these tracks offer listeners a direct line to the essence of the artists.

Why is the User Interface Important for Any Gaming Platform?

Eric Alper
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By Mitch Rice

The gaming industry has grown significantly in recent years, and forward projections suggest further development moving forward. It’s a resilient sector and one that can continue to thrive, even in harsh economic conditions.That success also means that this is a crowded area of commerce. Along with traditional gaming, the industry widens to include professional video play, online casino operators and more. Platforms have to compete to survive, and one way in which they do this is through their website interface.

Attracting Interest

Gaming industry operators continue to receive significant investment from outside sources. This helps them to grow their brand and to introduce exciting new titles to a waiting public. The sector is continually evolving as it looks for new innovations moving forward.

Attracting that investment is crucial to future success, and each platform must pay close attention to every last detail. No matter what the industry, an effective user interface is crucial, and this is especially true for gaming.

Striking a Balance

The issue for web developers is the fact that an interface needs to tick two essential boxes. The design needs to be attractive in order to catch players’ attention, but it also has to provide optimal functionality.

Some of the most successful games have an essential element of realism attached to them. This means that they require stunning graphics in order to stand out in a crowded market. Those striking images need to be carried over into a website in order to attract the attention of a potential customer.

At the same time, a user interface must be organised. Whether the player is in the throes of a game or seeking a new title to purchase, the categories must be clear and easy to understand. It’s a delicate balance and one that is underlined most clearly by the online casino sector.

Staying Organised

Online casinos make up a significant percentage of the overall gaming industry revenue, and this is another area where the user interface is key. Across each platform, there is a huge choice of games that fall into categories such as slots, roulette, blackjack, bingo, lottery, poker, live casino and more.

There could be thousands of different games on each platform, and the challenge here is to keep things organised. This is where the balance between a striking design and an organised platform becomes even more challenging. The graphics on the website must be appealing, but players don’t want to spend time searching for their favourite games.

Each category that the casino provides must be clearly listed at the top of the homepage. It’s also important for operators to have strong search facilities, along with add-ons such as a list of recently played games.

While this need for organisation is key in the world of digital casinos, it’s a factor for all software developers in any area of the gaming industry.

In-Game Assist

Once the player has found their game, the role of an effective user interface doesn’t stop. Certain in-game aspects have to be implemented in order to make play as smooth and efficient as possible.

Depending on the game in question, players will need to understand information about their performance. They may want to know how much power they have left, or whether they have sufficient ammunition to complete their mission.

Ongoing scores are also essential for a game in motion. Even in a basic card game such as cribbage, players need to clearly understand what the scores are. Here’s where the interface has to be at an optimal level. Graphics relating to gameplay must be easy to understand and some developers make the mistake of concentrating on the main areas of gameplay, at the expense of this associated information.

A Little Help

All elements of gameplay must be backed up with an effective user interface, but players need to understand what they are getting involved with. Another common mistake among developers is to neglect the basic mechanics that explain how the game actually functions.

A developer shouldn’t, for example, assume that everyone knows how their release works simply because everyone is playing it. Standard rules, along with some tips, plus important details over in-game upgrades are among the essential information needed. Not every player wants to find things out as they go along, and one of the overlooked uses of the interface is to outline every aspect of the game’s mechanics.

When designing any website, it’s essential to pay attention to the smallest of details. Some platforms ensure all of their games are included, but they may overlook the importance of the user interface.

Everyone wants a colourful design in order to stand out, but organisation is even more important. Players demand strong functionality in order to find their favourites as quickly as possible and any brand th neglects these key elements will find themselves left behind in a seriously competitive industry.

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

 

 

Wolfgang Van Halen Releases Shreddy New Single “The End” With Horror-Inspired Video

Eric Alper
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Wolfgang Van Halen Releases Shreddy New Single “The End” With Horror-Inspired Video

GRAMMY Award-nominated songwriter, vocalist, multi-instrumentalist, and producer Wolfgang Van Halen is back with the latest single from the band he masterminds, Mammoth.

“The End” is an adrenaline-driven rocker that kicks off with a signature lead guitar riff that has become a fan-favourite element in Wolfgang’s music. The anthemic build of the intro gives way to the driving verse melody with each part carefully created and performed by Van Halen and his returning collaborator, Michael “Elvis” Baskette. The chorus is driven by the unforgettable vocal melody and the message of “Take your hand in mine and watch the end with me.”

Wolfgang Van Halen explains, “I’ve had the tapping idea on the intro for “The End” since before Mammoth. I was able to fit it into this world. It’s still over-the-top and shreddy, but it’s also melodic and controlled. Overall, I was doing some different things on the record, and I knew this was going to be a big step. Once we finished “The End” it felt really special to me.”

To coincide with the single release, Wolfgang and Mammoth have released a music video for “The End” that’s one for the history books and rarely seen in music videos anymore. Wolfgang teamed up with legendary director Robert Rodriguez to do a modern-day interpretation of Rodriguez’s 1996 hit film, From Dusk Till Dawn. The video tells the story of a rock band that is booked to play a show at a dive bar and given an ominous warning from the club owner portrayed by Danny Trejo.

Mammoth decides they know better, and things quickly turn dire for the band before a surprising revelation during the final moments ties the complete video lore from the band together. Friends of Mammoth, including Slash, Myles Kennedy, and Wolfgang’s mother, Valerie Bertinelli, all show up throughout the short film. Horror effects icon Greg Nicotero offered his talents to the video to create zombies, werewolves, and vampires that bring a deadly end to the attendees of the show.

With a short run of May dates creating excitement for a Mammoth tour, the band have also announced an autumn headline run across the USA. The End Tour kicks off on October 31st for 5 weeks. Longtime friend Myles Kennedy will be the special guest! Tickets will be on sale starting May 5th via artist presale and go on sale to the public on Friday, May 9th.

UK fans will be able to see Wolfgang Van Halen as part of the line-up at Black Sabbath’s special Back To The Beginning final concert on Saturday, July 5th at Birmingham’s Villa Park.

Tour Dates:
Nov 1 – Las Vegas, NV – House of Blues
Nov 4 – Dallas, TX – House of Blues
Nov 5 – Houston, TX – House of Blues
Nov 7 – Lake Buena Vista, FL – House of Blues
Nov 8 – Atlanta, GA – Tabernacle
Nov 9 – Charlotte, NC – The Fillmore
Nov 11 – Silver Spring, MD – The Fillmore Silver Spring
Nov 12 – Show information to come soon
Nov 14 – Montclair, NJ – The Wellmont Theater
Nov 15 – Pittsburgh, PA – Roxian Theatre
Nov 18 – Cleveland, OH – The Agora
Nov 19 – Detroit, MI – The Fillmore Detroit
Nov 20 – Columbus, OH – Kemba Live!
Nov 22 – Onamia, MN – Grand Casino Mille LACS Event Center
Nov 23 – Green Bay, WI – Epic Event Center
Nov 25 – Chesterfield, MO – The Factory at The District
Nov 26 – Chicago, IL – House of Blues
Nov 28 – Oklahoma City, OK – Diamond Ballroom
Nov 29 – Show information to come soon
Dec 2 – Kansas City, MO – Uptown Theater
Dec 3 – Denver, CO – Ogden Theatre
Dec 6 – Tempe, AZ – Marquee Theatre

Laufey Announces ‘A Matter of Time’ With Fiery New Single ‘Tough Luck’

Eric Alper
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Laufey Announces ‘A Matter of Time’ With Fiery New Single ‘Tough Luck’

A Matter of Time, the highly anticipated new album from GRAMMY-winning Icelandic-Chinese artist, composer, producer and multi-instrumentalist Laufey, is set for release on August 22.

Last month, Laufey teased the album release with a first sampling in the track “Silver Lining,” which she performed with Gustavo Dudamel and the LA Phil at Coachella last month, as well as during her headline set at New Orleans Jazz Fest. Today, Laufey is debuting the album’s new single “Tough Luck.” Of the song, Laufey explains, “‘Tough Luck’ is a fiery song about love gone wrong. I wanted to reveal an angrier side of myself—a side that this unfortunate relationship brought out in me.”

As Laufey began to craft A Matter of Time, she felt freer than ever. “Every new album for me is a blank book of stories to write,” she says, and it’s true. An artist who pours her life experiences into her work, she infused 2022’s Everything I Know About Love with coming-of-age tales revolving around leaving home, and for 2023’s GRAMMY-winning Bewitched she dove headlong into young love. Brought to life with sweeping orchestral arrangements, interwoven strains of bossa nova and jazz, and Laufey’s honeyed alto, those albums cemented Laufey as a star who can make sounds from bygone eras feel timeless.

Now on A Matter of Time, Laufey further crystalizes her singular sound—one still rooted in her beloved influences, but which forgoes any strict standards or rules. “I’m constantly thinking about classical and jazz, how to properly preserve them and pay homage. For this album,” says Laufey, “I just wanted to let my heart wander.” To that end, she teamed with a pair of co-producers, one comforting and familiar—Spencer Stewart who worked with Laufey on her first two albums —and one new to her but deeply attuned to artists looking to open up: Aaron Dessner (Taylor Swift, Ed Sheeran). Feeling sonically unrestrained gave Laufey the space to share new sides of herself while exploring sometimes heavier themes. “People expect a pretty façade of girly clothes, fantastical stories, and romantic music,” she says. “This time, I was interested in seeing how I could draw out the most flawed parts of myself and look at them directly in the mirror.” A Matter of Time finds Laufey at her most daring—and also playful—as she captures the experience of “real love” in its many forms and what it means to observe as it strips you down to your most vulnerable and anxious.

Laufey (pronounced lay-vay) has captivated a generation with virtuosic songs of love and self-discovery by manifesting her vision of jazz-and classical-infused pop music. She has become a bridge for the older music she adores, from Chet Baker to Carole King to Ravel, by offering her bold interpretation to a younger crop of listeners who have become deeply connected over time. This was all by design — Laufey’s self-assigned raison d’être — and it worked, allowing her to bring to life the whimsical universe known as “Laufey Land.”

Photographer credit: Emma Summerton

Raised between Reykjavik and Washington, D.C., she learned piano and cello as a child, later studying at Berklee College of Music. There, she wrote her debut EP, 2021’s Typical of Me, whose striking single “Street by Street” debuted at No. 1 on Icelandic Radio—the first of many achievements that have grown to include 5 billion global streams, a social media audience of 25 million, the biggest jazz LP debut in Spotify history and an album in Billboard’s Top 20 (both for Bewitched), a growing pile of Platinum plaques, a Forbes 30 Under 30 designation, and being named one of TIME’s 2025 Women of the Year. She’s sold out the Hollywood Bowl, Radio City Music Hall, and London’s Royal Albert Hall; performed backed by the LA Phil, the National Symphony Orchestra, and the China Philharmonic Orchestra; shared the stage with the likes of Jon Batiste and Raye; and collaborated on records with artists ranging from Beabadoobee to Norah Jones. More recently, Laufey announced The Laufey Foundation, with the primary mission of supporting young musicians with the resources they need, especially through youth orchestras, to reach their full potential.

LAUFEY LIVE
May 27—The Teatro Metropólitan—Mexico City, Mexico
May 31—Popload Festival—Sao Paolo, Brazil
July 30—Virginia Arts Festival at Chartway Arena—Norfolk, VA*
July 31—Virginia Arts Festival at Chartway Arena—Norfolk, VA*
August 2—Chautauqua Institution—Chautauqua, NY†
August 3—Chautauqua Institution—Chautauqua, NY†
August 7—Blossom Music Center—Cuyahoga Falls, OH‡
August 9—Saratoga Performing Arts Center—Saratoga Springs, NY§
* with The Virginia Symphony Orchestra
† with The Chautauqua Symphony Orchestra
‡ with The Cleveland Orchestra
§ with The Philadelphia Orchestra

Sacha Previews ‘Woman In The Mirror’ With Empowering Single ‘Nice Girl’

Eric Alper
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Sacha Previews ‘Woman In The Mirror’ With Empowering Single ‘Nice Girl’

As she continues to shatter expectations, country music darling Sacha releases her latest single “Nice Girl” today. The track brings listeners to the world of Sacha, who is looking to shed the weight of approval-seeking and step boldly into self-assurance. The single is the final release before her upcoming album, Woman In The Mirror, set to debut May 30th, 2025.

With production from Paul Sikes (Lainey Wilson, Dillon James, Joe Nichols), “Nice Girl” is a personal journey toward empowerment—ditching the urge to people-please and choosing instead to live on her own terms.

“A nice girl don’t rock the boat…but you gotta take control, take the wheel sometimes,” she sings with assurance. “I realized being ‘nice’ was costing me my voice,” Sacha shares. “This song is me reclaiming it.”

With much anticipation for her upcoming project, listeners can expect an album that is a brave glimpse into Sacha’s life, yet also universally relatable. Sacha uses each song as a vehicle to express her resilience, faith, and strength. Woman In The Mirror sheds a light of hope on her journey. The album is a roadmap for anyone searching for belief, belonging, and the courage to chase their dreams.

“This is a deeply personal, multi-layered project. I’m putting myself out there, but I truly believe it needs to be heard— with the hopes that someone out there feels less alone,” Sacha expresses.

You can also catch Sacha all summer long on multiple stages across the country with a full festival lineup including performances at CMA Fest, Cavendish Beach Music Festival, Boots and Hearts, Lasso Montréal, plus more see upcoming show dates below.

A trailblazer in country music, Sacha blends heartfelt storytelling with an infectious energy that captivates audiences. Since releasing her debut EP The Best Thing in July 2020, she has quickly risen as one of the genre’s most exciting new voices. Named iHeartRadio’s “Future Star” and a member of CMT’s prestigious Next Women of Country Class of 2021, Sacha has achieved numerous milestones in her burgeoning career.

Sacha’s single, “Hey Mom I Made It,” is a heartfelt anthem that has garnered over 8 million combined streams globally and climbed into the Top 10 on the Canadian country radio chart. Released as her first major-label single under Sony Music Entertainment Canada, it showcases her signature blend of authenticity and emotion.

Sacha’s certified platinum hit “What the Truck,” with The Reklaws, became the fastest Canadian country song to achieve platinum status in the streaming era. The viral sensation earned Sacha a CCMA Award for Top Selling Canadian Single in 2022, the same year she won SiriusXM’s Top of The Country contest and toured the U.S. with Maddie & Tae.

In 2023, Sacha continued to build momentum by singing the Canadian national anthem at the NHL All-Star Game and performing at major events like the UK’s Long Road Festival.

Last fall, she hit the road opening for the likes of Tenille Townes and then Owen Riegling, further cementing her place as a must-see performer in country music. She is a frequenter of all the major red carpets from the CMAs, CMT Awards, and CCMAs.

With features in Rolling Stone Country, Billboard, Music Row Magazine, and CMT, as well as placements on top editorial playlists across Spotify, Apple Music, and Amazon Music, Sacha is carving her own path and inspiring a new generation of fans.

Woman In The Mirror Tracklist:
Where To Start
Missing Out
Nice Girl
Tomorrows Left
Til I Don’t
This Girls Prayer
Find You
Hey Mom I Made It
High Life
One Hit Wonder
Woman In The Mirror

Tour Dates:
May 31, 2025 – CMAO Festival & Awards Bonfire – Hamilton, Ontario
June 8, 2025 – CMA Fest – Nashville, Tennessee
June 14, 2025 – Rodeo Ayer’s Cliff Festival – Ayers Cliff, Quebec
July 5, 2025 – Pigeon Lake Music Festival – Mulhurst Bay, Alberta
July 10, 2025 – Cavendish Beach Music Festival – Cavendish, Prince Edward Island
August 8, 2025 – Boots and Hearts Music Festival – Burl’s Creek, Ontario
August 16, 2025 – Lasso Montréal – Montréal, Québec
August 23, 2025 – Lucknow’s Music In The Fields – Lucknow, Ontario
August 29, 2025 – Smoke N’ Spurs Music Festival – Mattawa, Ontario

The Kinks Announce Final Chapter of ‘The Journey’ Trilogy

Eric Alper
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The Kinks Announce Final Chapter of ‘The Journey’ Trilogy

The Kinks, one of the greatest ever British rock groups, continue the 60th Anniversary celebrations of their illustrious musical journey with the final part of their career-defining trilogy, The Journey, out July 11 on BMG.

With The Journey – Part 1 (featuring Kinks standards such as ‘You Really Got Me’, ‘Waterloo Sunset’ and ‘All Day And All Of The Night’) and The Journey – Part 2 (which included ‘Lola’, ‘Sunny Afternoon’ and ‘Everybody’s A Star (Starmaker)’), released in 2023, The Journey – Part 3 covers their transformative RCA/Arista period spanning 1977 to 1984. The period saw the band finally break America, leaving behind their iconic pop and experimental phases, and returning to a fresh and concise style of classic songwriting that draws on their own distinct British sense of self.

Compiled by the band, the release comes on two discs. Disc 1 is made up of 11 classic tracks and hits from the era, freshly remastered from the original ¼” production master tapes including ‘Come Dancing’, ‘Destroyer’, ‘Living On A Thin Line’ and more.

Disc 2 is a very special release featuring never-before-heard recordings, discovered in the Konk archive, from the band’s euphoric, historic Royal Albert Hall show from July 11th 1993, including formidable renditions of ‘You Really Got Me’, ‘Till The End of the Day’, and ‘Sunny Afternoon’ among many others. A reminder of the band’s exceptional, dynamic live shows, the celebrated show, which reflects all aspects of the band’s three decade career, was a welcome homecoming following a run of arena shows throughout the US, marking three decades since their first performance there. While Britpop set the musical backdrop for the UK, the gig showcased an iconic British band in an iconic British setting, reclaiming their place in history…not that their place in history has ever really been in question. “As far as performances go, it was a high point achievement of The Kinks,” Dave Davies said of the show. This set – captured from a simple desk mix – illustrates how vital the band The Kinks remained as a live act.

Available on 2CD, 2LP, Digital and HD Digital formats. The physical formats contain track-by-track commentary by the band and new liner notes from Phil Alexander. You can listen to the packages first cuts, ‘Destroyer (2025 Remaster)’ and ‘I’m Not Like Everybody Else (Live at the Royal Albert Hall, 1993).

CD 1:

1. Catch Me Now I’m Falling (2025 Remaster)
2. (Wish I Could Fly Like) Superman (2025 Remaster)
3. A Rock’n’Roll Fantasy (2025 Remaster)
4. Sleepwalker (2025 Remaster)
5. Living On A Thin Line (2025 Remaster)
6. Come Dancing (2025 Remaster)
7. Around The Dial (2025 Remaster)
8. Do It Again (2025 Remaster)
9. Better Things (2025 Remaster)
10. Destroyer (2025 Remaster)
11. Low Budget (2025 Remaster)
12. Misfits (2025 Remaster)

CD 2:

1. One of Our DJs Is Missing (Live at the Royal Albert Hall, 1993)
2. Till The End of The Day (Live at the Royal Albert Hall, 1993)
3. Where Have All The Good Times Gone (Live at the Royal Albert Hall, 1993)
4. Low Budget (Live at the Royal Albert Hall, 1993)
5. Apeman (Live at the Royal Albert Hall, 1993)
6. Phobia (Live at the Royal Albert Hall, 1993)
7. Only a Dream (Live at the Royal Albert Hall, 1993)
8. Scattered (Live at the Royal Albert Hall, 1993)
9. Celluloid Heroes (Live at the Royal Albert Hall, 1993)
10. I’m Not Like Everybody Else (Live at the Royal Albert Hall, 1993)
11. Dedicated Follower of Fashion (Live at the Royal Albert Hall, 1993)
12. The Informer (Live at the Royal Albert Hall, 1993)
13. Death of a Clown (Live at the Royal Albert Hall, 1993)
14. Sunny Afternoon (Live at the Royal Albert Hall, 1993)
15. You Really Got Me (Live at the Royal Albert Hall, 1993)
16. Days (Live at the Royal Albert Hall, 1993)

 

Got $250,000? The Beatles White Album Trio Numbered 007–009 Can Be Yours

Eric Alper
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Got $250,000? The Beatles White Album Trio Numbered 007–009 Can Be Yours

In a landmark acquisition for music collectors and Beatles fans alike, Rockaway Records has secured an extraordinary trio of 1968 Beatles White Album LPs, numbered 007, 008, and 009.

Valued collectively at $250,000, this set not only includes the lowest three-digit U.S. number to ever surface (“007”), but is also believed to be the lowest sequentially numbered group of White Albums ever offered for sale anywhere in the world.

According to noted Beatles experts and authors Frank Daniels and Bruce Spizer, these “three-digit” White Albums were made as a test run for the number stamper at Bert-Co in Los Angeles, where the cover slicks and inserts were printed. Low numbered White Albums from the US and UK are extremely collectable, with numbers less than 100 selling for tens of thousands of dollars each. Numbers less than 10 are virtually unheard of, with an extreme example being Ringo Starr’s personal UK mono pressing “No. 0000001”, which sold in 2015 for almost $800,000.

This unique and irreplaceable set of Beatles White Album LPs is valued at $250,000, available to purchase at Rockaway Records here

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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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