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Rüfüs Du Sol Headlines Two Nights at The Gorge This June

Eric Alper
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Rüfüs Du Sol Headlines Two Nights at The Gorge This June

Rüfüs Du Sol are heading back to one of North America’s most iconic natural venues. The Grammy-nominated Australian live electronic trio announce a two-night headline run at The Gorge in George, Washington on June 5-6, supported by English electronic duo Maribou State. It marks their first Washington State appearance since their celebrated 2022 Surrender Tour stop at the same venue, and their first regional headline dates since playing Seattle’s WaMu Theater in 2019. Tickets are on sale now.

The Gorge setting is no accident. Perched along the Columbia River with a sweeping Pacific Northwest landscape as its backdrop, the venue has hosted Radiohead, Bob Dylan, and Tom Petty, making it a natural fit for a group whose live identity is built on the intersection of nature, technology, and immersive cinematic production. Rüfüs Du Sol have spent years developing a live show that earns that kind of stage, and these two nights will showcase their latest acclaimed project ‘Inhale/Exhale’ in a setting purpose-built for it.

The announcement follows a landmark stretch for the trio. They recently earned a Grammy nomination for Best Dance/Electronic Album and wrapped the 2025 leg of their historic Inhale/Exhale World Tour following their largest South American and European headline runs to date. Demand has been significant enough that second shows were added in Paris, Amsterdam, and Berlin. The Gorge dates continue that momentum into the Pacific Northwest with two nights that are sure to sell quickly.

Rüfüs Du Sol at The Gorge:

June 5 – The Gorge, George, WA (w/Maribou State)

June 6 – The Gorge, George, WA (w/Maribou State)

Texas Country-Rocker Koe Wetzel Gets Reflective on New Single “Time Goes On”

Eric Alper
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Texas Country-Rocker Koe Wetzel Gets Reflective on New Single “Time Goes On”

Koe Wetzel keeps building toward something. The Texas country-rocker releases “Time Goes On” via Columbia Records, a reflective, clear-eyed look at change, growth, and how fast life moves whether you’re ready for it or not. “We wrote this as an acknowledgment of how quickly life moves, whether you embrace the changes that come with it or not,” Wetzel says. Co-written with frequent collaborators Amy Allen, Carrie Karpinen, Josh Serrato, and producer Gabe Simon, the track pairs introspective songwriting with the rock-grunge-meets-country swagger that has defined his career from the start. A visualizer directed by Michael Herrick, shot at Bluejack National in Texas, accompanies the release.

The single follows “Surrounded,” which opened this new chapter and reaffirmed Wetzel’s ability to balance vulnerability with confidence. Together the two tracks sketch the outline of a broader body of work quietly taking shape, and Wetzel has already hinted on social media that “Time Goes On” might be “one of my favorites off the record.” That kind of enthusiasm from an artist who doesn’t oversell tends to mean something.

The new music arrives on the heels of serious momentum. His 2024 album ‘9 Lives’ produced debut Country radio single “High Road” featuring Jessie Murph, which held the number one spot for five weeks and was recognized as the most-played song of 2025 by Country Aircheck/Mediabase. That’s the foundation “Time Goes On” builds on, and it’s a strong one.

Leicester Alt-Rockers Mouth Culture Add Overgrown to UK Headline Tour and Tease a New Era

Eric Alper
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Leicester Alt-Rockers Mouth Culture Add Overgrown to UK Headline Tour and Tease a New Era

Mouth Culture are heading into their UK headline tour with a new addition and a cryptic hint that something bigger is coming. The Leicester alt-rockers announce nu-grunge upstarts Overgrown as support for their April run, with enigmatic vocalist Jack Voss dropping a teaser that has the fanbase paying close attention: “It’s gonna be the end of an era, if you know what I mean. See you at the front row ragers.” Tickets are on sale now.

Alongside the announcement, Mouth Culture release a live session premiering new versions of “Ratbag,” “On and On,” and “Picking Wings Off a Butterfly,” recorded at Otterhead Studios where they’ve tracked their last two EPs, ‘Mishaps Of My Mid Twenties’ and ‘Whatever The Weather.’ Produced by Jamie Ward and filmed and edited by Joe Vozza, the session captures the essence of those recordings in a rawer, more honest setting, a deliberate nod to where the group have been before signaling where they’re going.

The praise behind them is substantial. Kerrang! noted they have “the sort of supercharged intensity that makes a band stand out from the pack.” NME called them a must-see at Reading and Leeds and cited stadium-rock ballads, sharp commentary on masculinity, and mosh pit mayhem in the same breath. Rock Sound declared their rise “from the UK underground’s best-kept secret to genuine scene contenders” a joy to watch. A summer festival run including Download, Rock Am Ring, Rock Im Park, Graspop Metal Meeting, and Jera On Air backs all of that up with serious booking momentum.

Mouth Culture Upcoming UK Tour Dates (with Overgrown):

April 12 – The Brickyard, Carlisle

April 14 – Tunnels, Aberdeen

April 15 – Mash House, Edinburgh

April 16 – Arts Club Loft, Liverpool

April 18 – Polar Bear, Hull

Mouth Culture Festival Appearances:

June 6 – Rock Im Park Festival, Germany

June 7 – Rock Am Ring Festival, Germany

June 12-14 – Download Festival, UK

June 20 – Graspop Metal Meeting, Belgium

June 25-27 – Jera On Air Festival, Netherlands

Grammy-Making K-Pop Solo Star Ejae Releases Heartbreak Pop Anthem “Time After Time”

Eric Alper
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Grammy-Making K-Pop Solo Star Ejae Releases Heartbreak Pop Anthem “Time After Time”

Ejae doesn’t slow down. Fresh off making Grammy history, the singer-songwriter releases “Time After Time” via Universal Records, an infectious heartbreak anthem about the person who stays in your head long after the relationship has ended. “The melody of ‘Time After Time’ was stuck in my head for years, just like the person I wrote it about,” she says. It’s exactly the kind of emotionally precise, globally resonant songwriting that has made her one of pop music’s most compelling new solo voices.

The release arrives on the heels of a genuinely historic moment. Ejae’s breakout hit “Golden,” from the film KPop Demon Hunters, won Best Song Written for Visual Media at the 2026 Grammy Awards, becoming the first K-pop song ever to win a Grammy. The song had already won a Golden Globe and a Critics’ Choice Award and carries an Academy Award nomination for Best Original Song. That’s a run of recognition that establishes Ejae not just as a K-pop star crossing over, but as a songwriter operating at the highest level of the industry.

“Time After Time” demonstrates exactly that evolution. Moving beyond the sonic landscape of her K-pop work, the track showcases her distinctive voice and her ability to craft melodies that connect globally without losing their emotional core. It’s a natural next step for an artist whose trajectory has been anything but ordinary, and it signals that 2026 has considerably more in store.

Country Maverick Gavin Adcock Kicks Off a Big Year With New Single “Colorblind”

Eric Alper
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Country Maverick Gavin Adcock Kicks Off a Big Year With New Single “Colorblind”

Gavin Adcock wastes no time. The country maverick opens 2026 with “Colorblind,” a new single co-written with Colton Venner and Derek Bahr that sets the tone for what promises to be his biggest year yet. “It’s about losing someone you shoulda cared more for, and not realizing how much color she brought to your life,” Adcock says. It’s the kind of direct, emotionally honest writing that made his album ‘Own Worst Enemy’ one of country music’s most talked-about releases, and “Colorblind” picks up right where that momentum left off.

‘Own Worst Enemy’ arrived as the number one country debut album on the Billboard Top 200 Country Chart and the number one all-genre streaming debut on the Billboard 200 the week of release, surpassing 25 million US streams in its first week, more than double the first-week numbers of his previous album ‘Actin’ Up Again,’ released less than a year earlier. That’s the kind of trajectory that turns heads across the industry, and Adcock has clearly used the momentum well.

The road ahead is loaded. Adcock is confirmed as support on 16 dates of Morgan Wallen’s Still The Problem Tour 2026, in addition to multiple festival appearances including Stagecoach in Indio, California. He’s also had two songs from ‘Own Worst Enemy’ featured on the Madden NFL 26 Soundtrack, extending his reach well beyond traditional country audiences.

“Colorblind” is out now, and Adcock promises much more music to come in 2026.

Rita Wilson Announces Sixth Studio Album ‘Sound of a Woman’ With Title Track Out Now

Eric Alper
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Rita Wilson Announces Sixth Studio Album ‘Sound of a Woman’ With Title Track Out Now

Rita Wilson Announces Sixth Studio Album ‘Sound of a Woman’ With Title Track Out Now

TAGS: Rita Wilson, Dave Cobb, Amy Wadge, Steven Sebring, Willie Nelson, Smokey Robinson, Jackson Browne, Tim McGraw, Elvis Costello, Keith Urban, Leslie Odom Jr, Josh Groban, Vince Gill, Jimmie Allen, Sebastián Yatra, Diane Warren, Liz Rose, Dan Wilson, Patti Smith, Ed Sheeran, Kacey Musgraves, Alicia Keys, Adele, Sing It Loud Records,

Rita Wilson has found her voice, and ‘Sound of a Woman’ is the proof. The actress, producer, and singer-songwriter announces her sixth studio album, due May 1 via Sing It Loud Records, alongside the title track and lead single, accompanied by a stunning music video directed by Steven Sebring. Co-produced by Wilson and nine-time Grammy-winning producer Dave Cobb (Brandi Carlile, Chris Stapleton) and recorded at the historic RCA Studio A in Nashville, this is the most visionary and revealing work of her musical career.

“Sound of a Woman” sets the tone immediately. Co-written with Grammy Award-winner Amy Wadge, who penned Ed Sheeran’s eighteen-times-platinum “Thinking Out Loud,” the track opens with a majestic swell of strings before receding to spotlight the quiet intensity of Wilson’s voice. A piano-driven arrangement builds through scenes of hidden pain and heartbreak toward a glorious crescendo graced with gospel harmonies. “The choir on this song feels like an exaltation,” Wilson says. “Their voices represent all the people who’ve helped you get to a place of self-acceptance.” It’s a breathtaking entry point for an album that demands to be heard in full.

The album follows the arc of a woman’s life across all its triumphs, missteps, and unseen turning points, equal parts unfiltered memoir and nuanced observation of the world. Wilson describes arriving at a place of radical self-awareness after years of feeling muted by her own sense of propriety as a private person in a very public life. “Finally, I asked myself, ‘Does anyone actually know what I think or how I feel about anything?'” she says. The answer, across the full length of ‘Sound of a Woman,’ is an emphatic yes.

Wilson’s musical journey has taken her to Disney Concert Hall, the Grand Ole Opry, the Sydney Opera House, and a headline concert with The Nashville Symphony. Her previous album ‘Rita Wilson Now & Forever: Duets’ featured Willie Nelson, Smokey Robinson, Jackson Browne, Tim McGraw, Elvis Costello, Keith Urban, and more. ‘Sound of a Woman’ arrives May 1.

The All-American Rejects Announce First Album in Over a Decade With ‘Sandbox’ Due May 15

Eric Alper
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The All-American Rejects Announce First Album in Over a Decade With ‘Sandbox’ Due May 15

The All-American Rejects are back, and they mean it. The veteran alt-rockers announce ‘Sandbox,’ their first album in over a decade, due May 15 via their own Slick Shoes imprint. Released independently, the record marks a major milestone for a group whose viral resurgence over the past year has proven their multigenerational fanbase hasn’t gone anywhere, it’s only grown.

The lead-up to ‘Sandbox’ has been sharp. Singles “Easy Come, Easy Go” and “Get This” have done exactly what great comeback singles should do, demonstrating that The All-American Rejects’ instinct for anthemic, emotionally resonant songwriting remains completely intact. “Get This,” released late 2025, has already amassed nearly three million streams, charted on TikTok Viral Charts in the UK, US, Canada, and Germany, and picked up alternative radio support. A new visualizer for the track, directed by Sarah Pardini and shot and edited by Andy Knight, delivers a sexy, edgy visual that matches the song’s energy.

‘Sandbox’ arrives as the culmination of a year of explosive momentum, from viral tours to major media buzz, all pointing toward a group that has rediscovered exactly what makes them compelling. The album promises to balance the anthemic punch that defined their legacy with the emotional nuance they’ve been developing throughout this comeback chapter.

Paris-Born, San Francisco-Raised Singer-Songwriter Lolo Zouaï Announces Album ‘Reverie’ and Drops “Holding On”

Eric Alper
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Paris-Born, San Francisco-Raised Singer-Songwriter Lolo Zouaï Announces Album ‘Reverie’ and Drops “Holding On”

Lolo Zouaï returns with her most personal and fully realized music yet. The Forbes 30 Under 30 artist and songwriter announces her third studio album ‘Reverie,’ due April 24 via Because Music, alongside new single and video “Holding On,” a deeply felt track about the tension between grief and the desire to move forward. Filmed in Lacanau, France and directed by Alex Acy, the video is a love letter to friendship, written in the wake of losing her best friend Hanna in 2021.

That loss sits at the heart of ‘Reverie.’ Lolo took years to pause, grieve, write, and rediscover the meaning behind her music, and the album reflects every moment of that journey. Production moves fluidly through alternative R&B, hip-hop, pop, and Arabic influences, creating dark, sensual, cinematic textures, while Lolo sings equally in French and English, threading her Algerian roots, Parisian upbringing, and San Francisco adolescence into something that feels genuinely unlike anything else in the current landscape.

The album features French-language collaborations with Dinos on “Les Mots,” Lous and the Yakuza on “Lemon Squeeze,” and Disiz on “Coquelicot,” alongside the previously praised lead single “3AM in San Francisco,” which earned coverage from Rolling Stone and The FADER for its effortless fusion of airy vocals and punchy trap production. Beyond her own releases, Lolo’s songwriting credits include NewJeans’ “Right Now” and tracks on H.E.R.’s Grammy-winning self-titled album. With over 600 million streams, world tours supporting Dua Lipa and headline runs of her own, and fashion collaborations with Nike, Dior, Chanel, and YSL, she has built one of the more quietly essential profiles in modern music.

‘Reverie’ arrives April 24.

‘Reverie’ Tracklist:

  1. Holding On
  2. Angel, Give Them Hell
  3. 100
  4. Les mots (feat. Dinos)
  5. Baggy Jeans
  6. Drive
  7. Hiver, j’espère
  8. Toute seule à la plage
  9. Lemon Squeeze (feat. Lous and the Yakuza)
  10. Coquelicot (feat. Disiz)
  11. 3AM in San Francisco
  12. Tu me manques
  13. Desert Rose pt. 2 [COLORS SESSION]
  14. Si j’avais des ailes

Newcastle Alt-Rockers The Pale White Drop Third Album ‘Inanimate Objects of the 21st Century’ and New Single “Absolute Cinema”

Eric Alper
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Newcastle Alt-Rockers The Pale White Drop Third Album ‘Inanimate Objects of the 21st Century’ and New Single “Absolute Cinema”

The Pale White are moving as fast as the world they’re writing about. Newcastle alt-rockers Adam and Jack Hope release their third studio album ‘Inanimate Objects of the 21st Century’ via End of the Wall Recordings, alongside new single “Absolute Cinema,” a love letter to cinema culture and the slow erasure of communal experiences that once defined it. It’s their most expansive record yet, blending the anthemic punch of classic rock with the urgency and edge of modern alternative, arriving as a deliberate counterweight to their softer sophomore album ‘The Big Sad.’ Listen here.

“Absolute Cinema” opens the album’s argument with a specific memory. Adam Hope recalls going to the pictures as a kid in the mid-2000s with a tenner, enough for a film ticket, fast food, and bus fare home. “The cinema has become just another inanimate object crying for help as we navigate through this century,” he says. The song nods to Martin Scorsese as the automatic barometer for genuine cinematic ambition, sharp, anthemic, and landing with real conviction.

The album’s title frames the broader thesis. Technology is accelerating while humanity feels increasingly frozen in place, the Hope brothers argue, turning people into mannequins in their own lives. “We humans have now in fact become the inanimate objects,” Adam says. Written and recorded entirely back home in the northeast, ‘Inanimate Objects of the 21st Century’ embraces the total creative freedom the duo discovered making ‘The Big Sad,’ no outside producers, just the two of them pushing their sound as far as it’ll go.

The UK headline tour continues this week with shows in London, Bristol, Manchester, and Newcastle, wrapping with a Bearded Theory Festival appearance in May.

‘Inanimate Objects of the 21st Century’ Tracklist:

  1. Moth in the Headlights
  2. Float Away
  3. Göbekli Tepe
  4. Absolute Cinema
  5. Oh Brother
  6. Medusa
  7. Carpe Diem
  8. Mannequin
  9. This Fascination
  10. Disappoint Me
  11. All I Have To Do Is Dream

The Pale White Upcoming Live Dates:

April 14 – 100 Club, London

April 15 – Rough Trade, Bristol

April 16 – Yes Pink Room, Manchester

April 17 – Boiler Shop, Newcastle

May 23 – Bearded Theory Festival

George Birge and Luke Bryan Saddle Up for Modern Cowboy Anthem “Ride, Ride, Ride”

Eric Alper
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0
George Birge and Luke Bryan Saddle Up for Modern Cowboy Anthem “Ride, Ride, Ride”

George Birge knew exactly who this song was for. The Austin-born, Nashville-based country hitmaker releases “Ride, Ride, Ride” featuring five-time Entertainer of the Year Luke Bryan, a cut-to-the-bone modern cowboy anthem about choosing endurance over escape. Co-written by Birge with diamond-certified hitmaker Tyler Hubbard, producer Casey Brown, and Parker Welling, the midtempo powerhouse is out now and impacts country radio Monday.

The story behind the collaboration is as good as the song itself. Bryan heard “Ride, Ride, Ride” backstage after a show when Birge played it for him unprompted. “I loved the message and just thought he and the other writers had knocked it out of the park,” Bryan says. “The next morning he asked me if I wanted to be on the song with him and I honestly didn’t even hesitate.” That immediacy shows up in the recording. Bryan’s earthy vocals slide naturally into the track’s second verse before the two trade lines at the bridge, building toward a gut-punching crescendo that earns every second of its emotional weight.

The song simmers with brooding intensity from the first bar, narrating a barroom encounter with an aging cowboy whose hard-won wisdom cuts straight through the noise. It’s a song about staring down the storm rather than running from it, and it arrives at exactly the right moment. “It’s a message I think a lot of people could use right now,” Birge says. Produced by Casey Brown, the track forgoes false optimism for something considerably more durable.

“Ride, Ride, Ride” follows a run of serious momentum for Birge. His breakout “Mind On You” hit number one at country radio, followed by a second number one with “Cowboy Songs,” a Billboard Hot 100 entry with “It Won’t Be Long,” and a collaboration with Brantley Gilbert on “Small Forever.” The Cowboy Songs Tour is underway now.

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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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