HEADLINE: Humble Pie’s ‘Live In Cincinnati 1983’ Captures Steve Marriott’s Electrifying Final Shows
TAGS: Humble Pie, Steve Marriott, Jim Leverton, Fallon Williams, Dave Thompson, Small Faces, Noel Redding, Fat Mattress, Cleopatra Records,
BLOG POST:
Cleopatra Records brings Humble Pie’s ‘Live In Cincinnati 1983’ to CD and vinyl for the first time on March 13th. The album captures one of Steve Marriott’s final performances with the band at Annie’s on Kellogg Avenue in Cincinnati on December 7, 1983. The set blazes through career highlights like “30 Days In A Hole,” “I Don’t Need No Doctor,” and “Hallelujah I Love Her So,” plus two bonus studio tracks from 1982. Music historian Dave Thompson provides liner notes that trace the journey to this electrifying show.
By early 1982, Marriott had relocated to Atlanta and formed a new lineup with bassist Jim Leverton and drummer Fallon Williams. Despite years of setbacks, including a collapsed Small Faces revival and a doomed 1980 Humble Pie reformation plagued by record label inactivity and health issues, Marriott was ready to reclaim the stage. This version of the band refused to deliver simple nostalgia. “I don’t want to get sunk in nostalgia,” Marriott explained. “[But] I don’t think you can escape your history, and I don’t even want to.”
The Cincinnati recording demonstrates how Marriott reimagined his catalog with fresh arrangements and unexpected covers. Songs like “Five Long Years” showcase his fiery guitar work, while tracks such as “Whatcha Gonna Do About It” and “Walking The Dog” pulse with renewed energy. The performances crackle with the spontaneity and swagger that defined Marriott’s stage presence, transforming familiar material into something immediate and vital.
This album stands as a powerful document of an artist who remained uncompromising until the end. Marriott’s ability to balance humor with virtuosity, crowd interaction with intense musicianship, makes every moment compelling. ‘Live In Cincinnati 1983’ proves that even in his final chapter, Steve Marriott commanded the stage with the same fire that made him a legend.
The Hold Steady are marking 20 years of ‘Boys and Girls in America’ with Constructive Summer 2026, a multi-city celebration packed with rock shows, Storytellers sets, and community-driven events. The series begins in Boston April 30 through May 3 at The Sinclair before heading to Chicago June 11 through June 13 for a weekend finale that brings the album’s spirit roaring back to life.
Boston features three full rock shows and a special Sunday matinee Storytellers performance, alongside a Friday Soundcheck and Happy Hour and a Saturday Pub Quiz. In Chicago, the band delivers a seated Storytellers set at Thalia Hall, a sweat-soaked night at Empty Bottle, and an all-day outdoor event at The Salt Shed with special guests Built To Spill, Bully, and Titus Andronicus.
The celebration extends overseas with The Weekender 2026 in London March 5 through March 8, featuring performances at The Dome, Electric Ballroom, and Dingwalls. Constructive Summer captures everything that has made The Hold Steady enduringly vital: big songs, loyal fans, and weekends built for singing every word.
THE HOLD STEADY – LIVE 2026:
THE WEEKENDER 2026 – LONDON March 5 – The Dome (Special “Storytellers” Show) March 6 – Electric Ballroom March 7 – Electric Ballroom (SOLD OUT) March 8 – Dingwalls (SOLD OUT)
CONSTRUCTIVE SUMMER 2026 – BOSTON April 30 – The Sinclair May 1 – The Sinclair May 2 – The Sinclair May 3 – The Sinclair (Special “Storytellers” Matinee)
CONSTRUCTIVE SUMMER 2026 – CHICAGO June 11 – Thalia Hall (Seated “Storytellers” Show) June 12 – Empty Bottle June 13 – The Salt Shed Outdoors (Fairgrounds) *
w/ Special Guests Built To Spill, Bully, and Titus Andronicus
Sparta and VEEPS have unveiled the world premiere of Scenic Drive, a striking new documentary centered on frontman Jim Ward. Shot in stark black and white, the 40-minute film captures Ward returning home to El Paso, retracing formative steps while preparing for the next chapter of the band’s journey. The result is intimate, reflective, and quietly powerful.
Scenic Drive follows Ward on both a literal and emotional road trip. Revisiting songs from earlier in Sparta’s catalog, he connects past and present as the band moves toward a forthcoming record. The film acknowledges that growth does not erase history. It honors it. Watching Ward revisit these spaces and songs feels deeply human and unexpectedly moving.
The global premiere is streaming now on VEEPS, with a limited edition Scenic Drive t-shirt and bundle available for pre-order. The documentary stands as a poetic meditation on time, memory, and creative evolution.
Brighton indie collective Soft Top return with their new single “Your Aching Words,” out February 13 via Crafting Room Recordings. Led by songwriter Miles Goodall, the project blends classic soft rock warmth with modern indie intimacy, drawing inspiration from Andy Shauf, Matt Maltese and Steely Dan. Early support from BBC Radio 6 and BBC Introducing Sussex has positioned Soft Top as one of Brighton’s most intriguing emerging voices.
Recorded during an intense three-day session at Brighton Electric before being shaped further in home studio spaces across the city, “Your Aching Words” layers orchestral flourishes, vocal harmonies and richly textured arrangements around a deeply personal narrative. The conceptual track explores love, jealousy and mortality, following a central character caught between emotional fallout and a life-altering accident, closing with a fourth-wall-breaking confession.
Beyond the studio, Soft Top have built a strong live presence, sharing stages with George Bloomfield, World News, Jaakko Eino Kalevi and Honeyglaze. The seven-piece outfit continues to anchor itself in Brighton’s creative community, with Goodall also organizing Mumfest, an annual festival supporting the Clatterbridge Cancer Unit.
War On Women and Smartpunk Records kick off a major new chapter with the announcement of the band’s fifth full-length album, ‘Time Under Tension,’ arriving May 8th, 2026. Known for pairing razor-sharp advocacy with explosive punk energy, the band stretches into alt-rock and indie textures on the new record, signaling both evolution and urgency.
The lead single, “Messages Unsent,” reveals a more vulnerable side. Vocalist Shawna Potter calls it the first true love song she has written for the band, reflecting on mortality, devotion, and the fear that comes with having something real to lose. The accompanying video revisits their first post-2020 tour, capturing the fragile joy of live music’s return and mirroring the song’s bittersweet emotional core.
With 11 new tracks blending muscle and melody, ‘Time Under Tension’ promises both catharsis and reflection. The band will support the release with a run of headline shows this spring, followed by dates alongside Subhumans in May.
TIME UNDER TENSION TRACK LIST:
Precious Problem
Spun Sugar
Messages Unsent
More Than Muscle
Serve
Shapes
Feels Good
Malevolence
Balance
The Movie Fear Starring Reese Witherspoon
Hunger Stones
TOUR DATES:
03/18 – Pittsburgh, PA @ Little Giant 03/19 – Columbus, OH @ Used Kids Records 03/20 – St Louis, MO @ Duck Room 03/21 – Kansas City, MO @ Recordbar 03/23 – Denver, CO @ HQ 03/24 – Salt Lake City, UT @ The Beehive 03/25 – Boise, ID @ Treefort Music Fest* 03/26 – Seattle, WA @ The Vera Project 03/27 – Portland, OR @ Dante’s 03/28 – Arcata, CA @ Rampart Skatepark 03/29 – Oakland, CA @ Doll Fest*
*No Oceanator
TOUR DATES (w/ Subhumans):
05/06 – Houston, TX @ Bad Astronaut 05/07 – Corpus Christi, TX @ House of Rock 05/08 – San Antonio, TX @ Rah Rah Room 05/09 – Austin, TX @ 29th Street Ballroom 05/10 – Dallas, TX @ AM/FM
Melissa Aldana has released her third Blue Note album, Filin, a stunning ballads album that presents a collection of songs drawn from Cuba’s Filin music tradition. The album features the Chilean-born saxophonist in a remarkable quartet with pianist Gonzalo Rubalcaba, bassist Peter Washington, and drummer Kush Abadey, as well as special guest vocalist Cécile McLorin Salvant on two songs.
For as long as she’s been a recording artist, Aldana has wanted to make a ballads record. With archetypes like John Coltrane’s classic 1963 LP Ballads as her North Star, Aldana saw a slow-tempo project as a way to advance her lifelong quest for sound.
“I transcribe Sonny Rollins, Wayne Shorter, John Coltrane, Joe Henderson, Lester Young, Charlie Parker, and Don Byas, among many others. For them the sound itself is a tool to express an emotion,” she explains. “Every single note is a whole world. So there is a technical side to playing, but then there is this mystical side of sound that… I still don’t know exactly what it is.” A ballads record, she believed, would help her burrow deeper into the essence of her sound.
To start, she reached out to Rubalcaba, a revered pianist and one of her “biggest heroes” who she has longed to work with at project-length. His suggestion proved a revelation: Aldana should interpret the Filin music of his native Cuba, a gorgeous yet still-unheralded tradition of richly arranged romantic song that thrived between the late 1940s and early 1960s. Filin — the word derives from “feeling” — “created a dialogue between traditional Cuban trova, the bolero and jazz, redefining Cuban musical identity,” Rubalcaba explains. “Filin elevated lyrics to a level of greater poetic and colloquial intimacy, and gave rise to instrumentalists and singers of great virtuosity and creative elegance.”
To Aldana, Filin songs presented a deeply meaningful new ideal: They reminded her of the lovelorn standards she’d internalized as a jazz saxophonist, but with lyrics sung in her native tongue. “They felt like the ballads that I love from the Great American Songbook,” she says, “but because the lyrics are in Spanish, I was able to connect to these songs in a way that I never thought I could.”
With Rubalcaba as her guide, she began exploring the history of Filin music and working with him to pare down the songs that spoke to her. A plan coalesced: Rubalcaba would craft the arrangements and play piano alongside the rhythm tandem of Washington and Abadey. Aldana’s dear friend McLorin Salvant, would sing on two numbers, and Blue Note Records President Don Was would produce, offering his trademark oversight, at once discerning, empathic and open.
The end product is, in a word, stunning. It’s also unlike anything else in Aldana’s catalog — or in 21st-century jazz on the whole. Throughout these eight tracks, the ensemble enacts a kind of stirring and emotional minimalism — a quiet intensity that places paramount importance on Aldana’s radiant delivery of the melody. This music moves slowly, simmering forward with great deliberation and restraint, which is all the more impressive once you consider the runaway virtuosity these players are capable of.
Perhaps most remarkable, however, is the fact that this incredibly patient program is never less than compelling; like great cinema, it holds its audience rapt without bells and whistles. When Aldana solos, she plays in a way that contrasts the longform harmonic probings she’s best known for. Her improvising here is mellifluous and moves like gossamer, with a newfound focus on accenting the core tunefulness. “I wasn’t trying to play the perfect jazz solo,” she says. “I was just trying to play inside the band — to leave space and be as present as I could, let the songs breathe. I’m older too, so I might be feeling less like I have something to prove. I also just felt in my gut that I wanted to do a ballads record,” she adds, “that I have something to say.”
MELISSA ALDANA – TOUR DATES: Feb. 14 – Festival de Jazz de San Juan – San Juan, Argentina Feb. 16 – Teatro Nescafe de las Artes – Santiago Chile March 17 – Music Center De Bijloke – Ghent, Belgium March 18 – Fasching – Stockholm, Sweden March 19 – Teatro Sociale – Bergamo, Italy March 20 – Zig Zag Bar – Berlin, Germany March 21 – Köln Philharmonie – Köln, Germany March 24 – Teatro Metropolitan – Catania, Italy March 25 – Teatro Golden – Palermo, Italy March 27 – Menorca Jazz Festival – Menorca, Spain March 28 – Clarence Jazz Club – Málaga – Spain May 12 – Jazz Sous Les Pommiers – Coutances, France May 31 – Jersey City Jazz Festival – Jersey City, NJ June 5-7 – Jazz Showcase – Chicago, IL June 11 – Keystone Korner – Baltimore, MD June 19-21 – Birdland – New York, NY July 10 – Jazz à Vienne – Vienne, France
Visit melissaaldana.net for a full list of Aldana’s tour dates including performances with the Gerald Clayton Quintet at the Village Vanguard (Feb. 24-March 1) and the all-star tour Coltrane 100: Both Directions At Once featuring Joe Lovano, Nduduzo Makhathini, Linda May Han Oh, and Jeff ‘Tain’ Watts (April 8-18).
Free jazz collective Irreversible Entanglements announces their return with their fifth studio album, Future Present Past, out March 27th via Impulse!. The announcement comes alongside the release of two singles, “Don’t Lose Your Head” and “Vibrate Higher” both featuring friend and frequent collaborator MOTHERBOARD.
Don’t lose your head messing with the gods is the imperative that kicks off Irreversible Entanglements’ new double single. “Don’t Lose Your Head” serves as a rallying cry, with vocalists Camae Ayewa and featured guest MOTHERBOARD both offering up subdued yet passionate deliveries. Where DLYH features a tight arrangement over an agile Tcheser Holmes groove, “Vibrate Higher” answers in a more brooding and looser vein, reflecting its genesis as a live recording for a capacity crowd at Brooklyn’s Pioneer Works (recorded on bassist Luke Stewart’s birthday). It opens with Keir Neuringer’s atmospheric synth drones punctuated by Stewart’s expressive bass, growing into a barrage of percussion, as voices and horns alike enjoin the listener to make like its title. As the music’s uneasy density seems to reach its breaking point, Ayewa calls for a “different atmosphere,” and trumpeter Aquiles Navarro shifts the song with dissonant perfection as though through a portal into an entrancing rhythmic vamp. It’s the type of composed-in-the-moment journey that leaves Irreversible Entanglements’ audiences feeling truly transported.
For their fifth album, the band gladly returned to historic Van Gelder Studio in October of 2024 to record most of the main tracks. Future Present Past sees the quintet at the height of its group improvisational-compositional-rhythmic powers, weaving diasporic liberation music into our shared story of existence – futures full of possibility, the present with all its uncertainties, and strands of the past as wellsprings of ancestral wisdom. To flesh out this more complex sound, additional recording and production took place over the following nine months. Jonathan Schenke worked closely with the band editing and arranging in his Brooklyn studio in the summer of 2025 and Andrew Lappin returned to mix the collection. Guests MOTHERBOARD and Helado Negro seamlessly blend into the collective sound. The result is a call to action by the band, who recognize that no one is coming to save us; we must look after each other.
The band shared this statement about the record:
The weight of a certain world can feel cruel and unusual. Another world uplifts. We form as five and transform into billions. Billions of us on this planet sharing this journey through existence—futures full of possibility and potential, the present with all its anxieties and uncertainties, pasts as wellsprings of ancestral wisdom and histories’ warnings.
This album is five standing on the shoulders of legions. The healers, the alchemists, the rebels, the mothers and fathers who have fought and weaved and invented new ways of being, seeing, and balancing the frequencies of this planet towards trans-dimensional liberation and universal understanding.
We assume our role in this music as messengers, continuing in the tradition’s long march along the arc of the universe. Freedom fighters telling us not to lose our heads amidst imposed chaos. It is our duty to vibrate higher, beyond the noise, above the hype, away from the novelty, over the walls, across the borders: to keep going.
The spirit moves us to sing these fight songs, to sing fight songs, we overcome. To hold on, to keep going, together we overcome.
Future Present Past comes out on March 27th via Impulse! and you can preorder or save it HERE.
Irreversible Entanglements Live Thursday, March 26th – Queens, NY – Knockdown Center (co-release show with Shabaka)) Friday, March 27th – Philadelphia, PA – Solar Myth Saturday, March 28th – Philadelphia, PA – Solar Myth Friday May 1st – Turin, IT – Torino Jazz Festival Saturday May 2nd – Cagliari, IT – Teatro Massimo Tuesday May 5th – Innsbruck, AT – Treibhaus Wednesday May 6th – Antwerp, BE – De Roma Thursday May 7th – Liege, BE – Jazz à Liège
About Irreversible Entanglements
Irreversible Entanglements (IE) is a free-jazz quintet with an experimental punk mentality, consisting of poet/vocalist Camae Ayewa (often known as Moor Mother), bassist Luke Stewart, trumpeter Aquiles Navarro, saxophonist Keir Neuringer, and drummer Tcheser Holmes.
It is an award-winning band together for a decade playing deeply improvised, rhythm music full of love and social commitment. IE came together spontaneously, organically, in April of 2015 at “Musicians Against Police Brutality,” a day of protest, sound and discussion in Brooklyn. All were artists and activists of varying degrees: Philadelphia-based Ayewa and Neuringer and DC-based Stewart as veterans of the Mid-Atlantic noise-hardcore-experimental scene, while Holmes and Navarro as recent New England Conservatory grads. Each of the studio albums that followed – 2020’s Who Sent You? and 2021’s Open The Gates – developed this legend further.
In 2023, IE signed to the fabled Impulse! Records and released the album Protect Your Light, a collection of eight examples of how IE’s collaborative composition strategies and Ayewa’s in-communion verses result in some of the most potent music being made in the 21st century. The album landed in several ‘best of’ end of year lists, including The New York Times, Pitchfork, Stereogum, Paste, Vulture and others.
Recently, IE returned to Van Gelder to record their most accomplished work to-date, Future Present Past, due March 27, 2026. Their second recording for the Impulse! label, it is an album of five standing on the shoulders of legions: the healers, the alchemists, the rebels, the mothers and fathers who have fought and weaved and invented new ways of being, seeing and balancing the frequencies of the planet towards trans-dimensional liberation and universal understanding.
Irreversible Entanglements Future Present Past (Impulse!) Tracklisting 1. Juntos Vencemos (feat. Helado Negro) 2. Don’t Lose Your Head (feat. MOTHERBOARD) 3. Vibrate Higher (feat. MOTHERBOARD) 4. Panamanian Fight Song 5. We Know (feat. MOTHERBOARD) 6. Hold On (feat. MOTHERBOARD) 7. Keep Going (feat. MOTHERBOARD) 8. The Messenger 9. The Spirit Moves 10. We Overcome (feat. Helado Negro)
Today, stutter house and “in the round” touring pioneer, BUNT., returns with his heartfelt spin on the beloved global phenom “Sweet Disposition” by Australian rockers The Temper Trap, “What If You Fly (Sweet Disposition),” out now via Arista Records. Today also brings the news of his remix with superstar Taylor Swift of her worldwide smash “Opalite” coming soon.
On the reason behind “What If You Fly (Sweet Disposition), BUNT. shares,
“I don’t think there’s a phrase I connect with more: ‘What if you fall? … But what if you don’t? What if you fly?’ We’re so scared of the unknown, of failure. We’re used to asking about the worst possible outcome instead of the best one and that mindset quietly dictates our lives and the decisions we make. There’s something incredibly hopeful about this quote. Some of you have heard my speech at the end of every show. It’s always been about the same thing: encouraging you to try, to explore, to really experience life. It’s not success I wanna praise. It’s just life on its own. you will fall probably more than once. Hopefully, you do. because that’s part of it. Trust me, it feels even better when you’ve fallen a few times before. And last year was my „what if you fly?“ moment. A sold out stadium show for 9000 people in a very early stage of my career. We didn’t know if we were gonna sell the tickets. We didn’t know if we would have a proper show for 9000 people. It was all question marks. And Imagine I wouldn’t have tried it. I would have missed one of, if not the, best moments of my life.. playing this record for the first time in Mexico City in that stadium.”
BUNT.’s ethos has always been to bring everyone together and he continues to do that not only with these new tracks, but with his impressive and continuous global touring. Having played over 156 shows and moved over 150,000 tickets in 2025, it was his biggest year yet which included shows on 5 out of 7 continents and his signature pop-ups in NYC, LA, Mexico City, Hamburg, London, Berlin and more. 2026 is already on track to surpass last year with 100+ more dates on the calendar including a 20k cap venue in Cologne GER, 30k tickets in Munich, headlining Electric Love Festival in Austria, Under the K In NY, a Vegas residency at Wynn, and shows across North America, South America, Europe and Australia in addition to his Coachella debut and stops Lollapalooza South America, India, EDC Las Vegas with more pending announce.
“What If You Fly (Sweet Disposition)” follows a string of successful releases and collaborations from BUNT. including his hits with Elley Duhé, Tom Odell, The Chainsmokers and Tiësto, cementing his position as one of the most exciting acts of the present, living up to Spotify’s choice to include him among “10 Dance Artists to Watch.”
Earlier this year, BUNT. was featured in the Rolling Stone x Sonos collaboration in which he discusses his humble and impressive road to success while dissecting his hit song “Clouds” which currently sits at over 450 million streams worldwide! With over 1 billion streams spanning across BUNT.’s catalog, he continues to create a positive atmosphere and community amongst his listeners and at every live performance.
BUNT.’s story isn’t one of overnight success. It’s a testament to resilience, dedication, and an unshakable belief in his craft. For over a decade, he worked in the background, shaping his sound without major recognition. Eight years into his journey, everything changed. In January 2023, his track Clouds became a global phenomenon, proving that persistence pays off even when the odds are stacked against you.
His path to success was anything but conventional. After finishing high school, BUNT. trained at a car company and explored advertising work, but music was always his true calling. A video shoot opportunity in the U.S. became a turning point. He left his job, moved stateside, and went all in. He contributed productions for legendary artists like Avicii and toured alongside Gryffin, but just as things were gaining momentum, the pandemic forced him back to Germany. With touring income gone and an uncertain future ahead, BUNT. worked three jobs to support himself. Yet even in the toughest moments, he never stopped making music. Unknowingly, he was crafting the foundation for what would soon be known as Stutter House.
Then came Clouds. What started as a snippet on TikTok in December 2022 exploded into a movement. By its official release in January 2023, the track had already amassed 50 million impressions, debuting at #15 on the Billboard Hot Electronic Songs Chart. Since then, it has garnered over 350 million streams, cementing BUNT. as one of dance music’s most exciting new forces.
BUNT. isn’t just redefining electronic music in the studio. He’s changing the way it’s performed. Breaking the traditional DJ mold, he plays IN THE ROUND, removing barriers and immersing himself fully with his audience. His shows aren’t just events. They’re communal experiences, raw, intimate, and electric. From pop-up gigs in a car wash and a luchador arena in Mexico City to a London mash-and-pie shop and a NYC barbershop, he’s proving that dance music doesn’t need a club to thrive. It belongs everywhere.
Since Clouds’ release, BUNT. has surpassed 750 million streams, performed more than 350 shows across the U.S., Canada, Australia, Europe, Southeast Asia, India, and South America, and sold over 200,000 tickets worldwide. In 2025, he reached a new milestone with his first stadium headline show at Mexico City’s Velódromo Olímpico, selling out in just two weeks. Along the way, his forward-thinking sound and boundary-pushing live approach have led to collaborations with Ellie Goulding, The Temper Trap, Sam Tompkins, Tom Odell, Elley Duhé, and Tiësto.
Now, with 2026 underway, BUNT. is entering a new era. With major festival appearances at Coachella and Lollapalooza across South America and India, alongside the debut of his Open Air IN THE ROUND series, the momentum is undeniable. What began as a decade of quiet persistence has become one of the most exciting breakout stories in electronic music, and BUNT. is only getting started.
Today, New York-based singer-songwriter Sarah Kinsley shares her new EP Fleeting via Verve Forecast/Fontana. The stunning EP features breakout singles ‘Lonely Touch’ and ‘Fleeting,’ and Sarah’s first studio collaboration on “After All” with British artist Paris Paloma. The Fleeting EP marks Sarah’s first body of work since her acclaimed debut album, Escaper (2024). Listen to Fleetinghere and order the EP, including exclusive Blueberry Jam color vinyl,here.
Yesterday, Sarah’s “Truth of Pursuit” video was released, directed and edited by Sarah, the video finds her surrounded by a collection of keyboards and blueish hues, as she dances to an imagined future with a new crush. But soon, a scream, and Sarah returns to the truth, reaching out for what could have been.
Written in the back of cabs zipping across New York City and produced alongside friend and collaborator Jake Aron, the Fleeting EP captures both the pain and beauty of impermanence. Over five powerful tracks, Sarah explores what it means to “to feel deeply and truly, despite knowing everything is fleeting.”
This spring, Sarah will head out on the road for a 30-date headline tour of North America and the UK/Ireland, kicking off in Seattle on March 25th and closing out at London’s KOKO on May 28th. Full tour listings can be found below, with tickets available here.
Sarah’s last full album, Escaper, was incredibly well received and turned not only the heads of the critics, but of superstar Chappell Roan, who put the spotlight on Sarah’s talent via Instagram. The album was a razor-sharp, leftfield pop record sculpted by a bright new talent. Now, Fleeting is no different: five melody-rich pop songs that weave through dreamlike imagery and cosmic instrumentation.
Tracklist: Lonely Touch Truth Of Pursuit Reverie After All (with Paris Paloma) Fleeting
Sarah Kinsley Live 2026:
March 25 – Seattle, WA – The Crocodile March 26 – Vancouver, BC – Hollywood Theatre March 28 – Portland, OR – Wonder Ballroom March 30 – San Francisco, CA – August Hall March 31 – Los Angeles, CA – The Fonda April 1 – San Diego, CA – Music Box April 3 – Santa Fe, NM – Meow Wolf April 4 – Denver, CO – Marquis April 7 – Austin, TX – Mohawk April 8 – Houston, TX – House of Blues – Bronze Peacock Room April 9 – Dallas, TX – The Echo Lounge & Music Hall April 11 – Atlanta, GA – The Loft At Center Stage April 12 – Orlando, FL – The Abbey April 14 – Carrboro, NC – Cat’s Cradle April 15 – Charlotte, NC – The Underground April 17 – Nashville, TN – Exit/In April 18 – Columbia, MO – Blue Note Columbia April 19 – Chicago, IL – Thalia Hall April 21 – Toronto, ON – The Mod Club April 22 – Toronto, ON – The Mod Club April 23 – Quebec, QC – Le Studio TD April 25 – Washington, DC – The Howard Theatre April 26 – Boston, MA – Royale April 28 – Brooklyn, NY – Brooklyn Steel May 20 – Dublin, IE – The Button Factory May 22 – Glasgow, UK – The Garage May 23 – Manchester, UK – Gorilla May 25 – Birmingham, UK – O2 Institute 2 May 26 – Bristol, UK – The Fleece May 28 – London, UK – KOKO
The latest installment of The Beach Boys critically acclaimed reissue series, We Gotta Groove: The Brother Studio Years, chronicles and celebrates the music the group made between 1976-77 at their Brother Studio in Santa Monica, Calif., when Brian Wilson returned to producing and songwriting, most notably exemplified on the fan favorite album, 1977’s The Beach Boys Love You. The six-disc box set quickly sold out of its first run upon announce but is once again available to pre-order exclusively at The Beach Boys official store and uDiscover Music, where it will ship on March 20th. The full collection is now available to stream everywhere.
We Gotta Groove gathers this pivotal period, recorded between 1976-77 at Brother Studio into one place for the first time, anchoring itself around a newly remastered edition of The Beach Boys Love You (1977) and the album sessions, the first-ever official release of the long-shelved Adult/Child sessions, and a wealth of outtakes and alternates from the transitional 15 Big Ones (1976) sessions. These recordings powered the era’s “Brian’s Back!” campaign — launched to rebalance the band’s commercial fortunes — which presented Brian as returning to full creative command even as his participation in the studio remained uneven and, at times, fragile.
The box set (3CD & 3LP), co-produced by acclaimed producer/mixing engineer James Sáez and longtime Beach Boys historian Howie Edelson, with artistic direction from band archivist Alan Boyd, offers an in-depth look at Brian’s late-’70s burst of songwriting and producing while also showcasing the essential contributions of Dennis Wilson, Carl Wilson, Mike Love and Al Jardine. The 73-track collection, boasting 35 unreleased and 22 newly mixed tracks, presents the majority of the album sessions across three LPs with additional outtakes, alternate mixes and demos on three CDs, which also include the same tracks as the vinyl. The albums are packaged in a handsome 12.75” x 12.75” slipcase emblazoned with a picture of the stunning stained-glass window that hung in Brother Studio and features a 40-page booklet with extensive, illuminating liner notes by co-producer Edelson that draws on new and archival interviews with all of The Beach Boys and the Brother Studio engineer team of Stephen Moffitt, Earle Mankey and John Hanlon to tell the story of this integral and influential era. The booklet is filled with a slew of rare photos, tape box images and artifacts of the era and a complete sessionography detailing when and where every recording was made.
Upon returning home from Holland where they recorded their 1973 album of the same name, The Beach Boys relocated their homebase from Brian’s Bel Air mansion to a former X-rated movie theater at 1454 5th St. in Santa Monica, Calif., that they christened Brother Studio. The studio was designed and headed up by Stephen Moffitt who had previously created Geordie Hormel’s Village Recorders – a West L.A. mainstay for so many top acts over the years. In addition to The Beach Boys, Brother hosted sessions by Elton John, Eric Carmen, The Runaways, Helen Reddy, The Paley Brothers, and The Quick, among others.
The first disc of We Gotta Groove features The Beach Boys Love You which has been newly remastered from the original 1977 mix, alongside 10 period outtakes, providing a fuller picture of the fruitful album sessions that lasted from October 1976 to January 1977. Recorded largely at Brother Studio with Brian at the console and playing most of the instruments, Love You strips the group to blocky analog synthesizers, pounding piano, and close-mic’d vocals. Its distinctive sound world — driven by ARP and Oberheim synths rather than traditional Beach Boys instrumentation — has since become one of the most studied and influential aspects of the album, turning songs about parenthood (“I Wanna Pick You Up”), romance (“Roller Skating Child”), the cosmos (“Solar System”), and talk show hosts (“Johnny Carson”) into something both childlike and unexpectedly modern. Mike and Al’s unmistakable vocal signatures — from Mike’s bass and baritone leads to Al’s crystalline high parts — play a crucial role in grounding Brian’s synthesizer-driven arrangements, while Carl’s controlled, elegant leads and Dennis’s rough-edged emotional intensity add depth and contrast throughout.
While divisive among critics and fans at release, Brian frequently cited Love You as his favorite Beach Boys record, calling it “the best album we ever made.” Over the ensuing nearly five decades since its release, it has become a cult classic and a touchstone for musicians far outside classic rock circles. R.E.M. guitarist Peter Buck has also singled it out as his favorite Beach Boys album, and generations of indie and alternative artists have gravitated toward its cracked vocals, minimal synth-pop textures, and outsider sincerity — hearing in it a proto-new-wave sensibility as much as a late-period Beach Boys LP. As Edelson writes in the liners, “Upon the initial release of The Beach Boys Love You, non-believers picked up on the D.I.Y. punk ethos from the Lower East Side all the way to the hipper enclaves across Europe. Today, Brian Wilson’s left field use of keyboards in the 1970s is considered to be an early influence for 1980’s New Wave, Synth Pop, and New Romantic record makers.”
If Love You is the era’s officially released peculiar masterpiece, Adult/Child is its whispered legend. Recorded in 1977 with arranger Dick Reynolds, whose sophisticated Four Freshmen–style charts Brian had idolized since youth, the shelved album leans into big-band swing, lounge textures, fitness jingles, and some of Brian’s most disarmingly intimate originals, including “Still I Dream of It” and “It’s Over Now.” Brian sidestepped the electronic buzz found on Love You and instead tapped into a simpler era. “I wrote a song for Frank Sinatra once called ‘Still I Dream Of It.’ He didn’t say yes to the song. It was a beautiful song about loneliness and hope. The song ended up on an album named Adult/Child, which was filled with those kinds of songs. It was a Beach Boys album that never came out,” Brian remarked in an interview.
Prepared for release but ultimately vetoed and left in the vault, Adult/Child circulated for decades only through collectors’ tapes and bootlegs, attaining near-mythical status among fans. Its mixture of big-band pastiche, autobiographical confession, and unabashed eccentricity left both the label and parts of the band uncertain how to present it, resulting in its quiet shelving. We Gotta Groove finally assembles the material in a coherent album sequence for the first time, supplemented by new 2025 backing-track mixes and session highlights. The group’s distinctive vocal blend, including prominent contributions from Mike, Al, Carl and Dennis adds warmth and cohesion to Brian’s idiosyncratic material, revealing Adult/Child as more of a Beach Boys project than its mythology has often implied.
We Gotta Groove also offers a new perspective on 15 Big Ones through its wealth of studio material rather than its familiar running order. Combining oldies covers with new Brian-penned compositions, the 1976 album, which marked the group’s first long player to feature a “Produced by Brian Wilson” credit since 1966’s Pet Sounds, divided critics even as it returned The Beach Boys to the U.S. Top 10 and produced a major hit with “Rock and Roll Music.” 15 Big Ones was mostly recorded between March through May 1976 at Brother Studio and released quickly after in July of that year. The new set offers the opportunity to hear a variety of covers that were in contention for the album but ultimately didn’t make the cut, including “Mony Mony,” “Running Bear,” “Shake, Rattle & Roll, “On Broadway,” and “Sea Cruise.” Hearing these outtakes reveals the muscular band interplay and dense vocal arrangements beneath the mid-’70s production gloss — including Mike’s dominant lead on the hit single, Al’s powerful vocal contributions, and Carl’s pivotal production leadership — reconnecting the album to the group’s deep studio-craft traditions.
This period also coincided with The Beach Boys’ transformation into one of America’s most successful touring acts, playing massive summer-circuit shows even as their studio recordings grew stranger, more insular, and more Brian-centric behind the scenes. Across its six discs, We Gotta Groove places these contradictions into context, highlighting parallel creative threads in the Beach Boys universe: Dennis’s haunting “Holy Man,” Carl’s developing compositions that would later evolve on L.A. (Light Album), Mike and Al’s essential vocal and conceptual contributions, and a suite of Brian’s studio-cassette demos that reveal Love You and Adult/Child in their most vulnerable form — just voice and keyboard, unvarnished and immediate.
Pulling together newly mixed tracks like “We Gotta Groove,” “Hey There Mama,” and “Short Skirts,” along with finally finished versions of long-circulating titles, We Gotta Groove: The Brother Studio Years reframes 1976–77 as one of the most revealing and creatively restless chapters of the band’s evolution — a moment when all five Beach Boys were navigating change, rediscovering their creative identities, and shaping a deeply human turning point in the continuing story of The Beach Boys.
WE GOTTA GROOVE: THE BROTHER STUDIO YEARS Disc 1 — The Beach Boys Love You Album (1977 Mix) LP1 Side 1 1. Let Us Go On This Way 2. Roller Skating Child 3. Mona 4. Johnny Carson 5. Good Time 6. Honkin’ Down The Highway 7. Ding Dang
LP1 Side 2 8. Solar System 9. The Night Was So Young 10. I’ll Bet He’s Nice 11. Let’s Put Our Hearts Together 12. I Wanna Pick You Up 13. Airplane 14. Love Is A Woman
Love You Outtakes (CD Only) 15. Ruby Baby * 16. Marilyn Rovell * 17. Sherry She Needs Me * 18. Lazy Lizzie * 19. We Gotta Groove (2025 Mix) * 20. Hey There Mama (2025 Mix) * 21. Clangin’ (2025 Mix) * 22. Love Is A Woman (Al Jardine Vocal) * 23. Johnny Carson (Alternate Mix With Intro) * 24. You’ve Lost That Lovin’ Feeling *
Disc 2 — Adult/Child Sessions LP2 Side 1 1. Life Is For The Living * 2. Deep Purple * 3. It’s Over Now 4. Still I Dream Of It 5. Everybody Wants To Live * 6. Lines * 7. It’s Trying To Say *
LP2 Side 2 8. Shortenin’ Bread * 9. New England Waltz * 10. Life Is For The Living (Backing Track) * 11. Deep Purple (2025 Backing Track Mix) ** 12. It’s Over Now (2025 Backing Track Mix) ** 13. Still I Dream Of It (2025 Backing Track Mix) **
1974 – 1977 Select Outtakes (CD Only) 14. Holy Man (2025 Mix Carl Wilson Vocal) ** 15. Carl’s Song 1 (It Could Be Anything) (2025 Mix) ** 16. Carl’s Song 2 (Angel Come Home) (2025 Mix) ** 17. String Bass Song (Rainbows) (2025 Mix) ** 18. 10,000 Years Ago * 19. Gimme Some Lovin’ (2025 Mix) * 20. Honeycomb (Marilyn Wilson-Rutherford Vocal) * 21. In The Back Of My Mind (1975 Alternate Take 2025 Mix) **
Disc 3 — 15 Big Ones Outtakes and Alternate Mixes
LP3 Side 1 1. Just Once In My Life (2025 Mix) ** 2. Mony, Mony (2025 Mix) * 3. Running Bear (2025 Mix) * 4. Shake, Rattle And Roll * 5. On Broadway (2025 Mix) ** 6. Sea Cruise (2025 Mix) **
LP3 Side 2 7. Chapel Of Love (2025 Mix) ** 8. Short Skirts (2025 Mix) ** 9. TM Song (2025 Backing Track Mix) ** 10. Rock And Roll Music (2025 Backing Track Mix) ** 11. Had To Phone Ya (2025 Deconstructed Mix) ** 12. Just Once In My Life (2025 Backing Track Mix) **
Love You Alternate Mixes (CD Only) 13. Let Us Go On This Way (Alternate Mix) * 14. Mona (2025 Deconstructed Mix) ** 15. Honkin’ Down The Highway (Billy Hinsche Vocal) * 16. Ding Dang (Session Highlights and Unedited 2025 Mix) ** 17. Solar System (2025 Backing Track Mix) ** 18. The Night Was So Young (2025 Vocals Only Mix) ** 19. Let’s Put Our Hearts Together (2025 Coda Mix) **
Love You Brian Cassette Demos (CD Only) 20. That Special Feeling (Demo) * 21. It’s Over Now (Demo) * 22. They’re Marching Along (Demo) * 23. Love Is A Woman (Demo) * 24. Mona (Demo) * 25. Airplane (Demo) * 26. Let’s Put Our Hearts Together (Demo) * 27. I’ll Bet He’s Nice (Demo) * 28. Still I Dream Of It (Demo) *
