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Leftover Salmon Carry The Groove Coast To Coast On Winter And Spring Tour 2026

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Colorado jamgrass legends Leftover Salmon have announced their Winter and Spring Tour 2026, bringing their Polyethnic Cajun Slamgrass sound across an ambitious stretch of dates that runs from Alaska to Hawaii. The tour opens January 9 and 10 at Alyeska Resort in Girdwood before winding through the Southwest, Southeast, and Midwest, mixing theaters, ballrooms, and beloved dance floors along the way. Stops include Charleston Music Hall, Haw River Ballroom, Garcia’s in Chicago, and a Texas run through Dallas, Austin, and Gruene Hall.

The road circles back to Colorado for WinterWonderGrass Steamboat Springs from February 27 through March 1, before closing with a three-night Hawaiian finale in Kilauea this April. Led by Vince Herman and Drew Emmitt, Leftover Salmon continue a decades-long run built on joy, spontaneity, and deep musical chemistry, blending bluegrass, Cajun, rock, country, and improvisation into shows that thrive on shared energy. This tour keeps that spirit moving city to city, stage to stage, with the same warmth and open-hearted groove that has made the band a constant presence in American roots music.

Leftover Salmon Winter And Spring Tour 2026 Dates:
January
9–10 – Alyeska Resort – Girdwood, AK
15 – La Rosa – Tucson, AZ
16 – Virginia G. Piper Theater at Scottsdale Center for the Performing Arts – Scottsdale, AZ
17 – Orpheum Theater – Flagstaff, AZ
18 – National Hispanic Cultural Center – Albuquerque, NM
19 – Charleston Music Hall – Charleston, SC
20 – Haw River Ballroom – Saxapahaw, NC

February
21 – Peace Center Peace Concert Hall – Greenville, SC
22 – Walker Theatre – Chattanooga, TN
27–Mar 1 – WinterWonderGrass – Steamboat Springs, CO

March
5 – Stoughton Opera House – Stoughton, WI
6–8 – Garcia’s – Chicago, IL

April
2 – Granada Theater – Dallas, TX
3 – Radio/East – Austin, TX
4 – Gruene Hall – New Braunfels, TX
17–19 – Porter Pavilion at Anaina Hou Community Park – Kilauea, HI

Hudson Westbrook Locks Into The Groove On “Pretty Privilege” As Texas Momentum Builds

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Texas country breakout Hudson Westbrook returns with “Pretty Privilege,” his first new release since his Top 10 debut album ‘Texas Forever’, delivered via Warner Music Nashville. Co-written with Beau Bailey and Lukas Scott, the track slides into a flirtatious, addictive groove that leans confidently into Westbrook’s melodic instincts and easy charm, adding another sharp chapter to his fast-moving catalogue.

The official music video keeps the spotlight on the fans, directed by Emma Kate Golden and filmed at Westbrook’s sold-out headline show at Cooks Garage in Lubbock. Shot around a surprise first listen ahead of the show, the video captures real-time reactions and shared excitement, grounding the release in community and connection. With “House Again” continuing its climb at country radio and the Texas Forever Fall Tour rolling nationwide, “Pretty Privilege” lands as a focused, feel-good moment that keeps Westbrook’s forward motion firmly intact.

One Hundred Moons Sink Deeper Into Shadow And Control On “The Architect”

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Ontario shoegaze outfit One Hundred Moons continue their slow-burn ascent with the release of “The Architect,” a dark and immersive new single arriving ahead of their upcoming album ‘Black Avalanche’. Anchored by a resonant bass line and layered with ominous textures, the track unfolds patiently, building tension through atmosphere and momentum before collapsing into stark stillness. The song wrestles with self-imposed pressure, overthinking, and personal accountability, framing its narrative around the idea that control and consequence often originate from within.

Built on dynamic contrast, “The Architect” leans into unease as a creative force, using sound to mirror spiraling thought patterns and internal reckoning. It offers a focused glimpse into the terrain explored across ‘Black Avalanche’, where mood, melody, and tension remain tightly bound.

Southern History Remixed Connects Rock ’n’ Roll To Race And Power In The American South

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Southern History Remixed by Michael T. Bertrand is out now, examining how popular music shaped and reflected the social history of the United States South from the late nineteenth century through the rise of rock ’n’ roll. Moving from jazz and barn dance radio to gospel, Black radio programming, and rhythm and blues, the book positions music as a central force in the region’s cultural development rather than a sidebar to political history.

Bertrand traces a long-running struggle over southern identity, showing how music both reinforced and challenged white supremacy as the region wrestled with race, class, and change. Rock ’n’ roll emerges as a working-class, biracial form that heightened racial anxieties while cutting across entrenched cultural lines, culminating in a close examination of Elvis Presley’s popularity within a segregated society. By treating music as an active participant in history, the book reframes how cultural expression intersects with power, resistance, and social transformation.

Ain’t Stretch Their Sound On “Long Short Round” With Six Minutes Of Tension And Release

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South London quintet Ain’t continue a relentless run with their expansive new single “Long Short Round,” arriving after a sold-out London headline show, a packed UK tour with THUS LOVE, and a string of high-profile showcases across the UK festival circuit. The release follows earlier singles “Pirouette” and “Jude” and lands as the band’s most ambitious statement yet, extending their reputation from feverish word of mouth into fully realized recorded form.

Recorded with Ali Chant, “Long Short Round” unfolds across just over six minutes, weaving together post-punk bite, shoegaze haze, and the stranger edges of 90s guitar music. Fuzz-laden guitars and harmonized hooks drive the opening stretch before the song opens into a more reflective movement that nods to New York guitar lineage and early-2000s Midwest indie-rock emotional weight. Built around the idea of small rituals that comfort without curing, the track rewards patience and close listening, marking Ain’t as a band willing to let songs breathe, sprawl, and leave a lasting impression.

Mini Skirt Tear Into “Squeeze Down” Ahead Of ‘All That We Know’ With Pub Rock Bite

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Byron Bay pub punks Mini Skirt return swinging with their new single “Squeeze Down,” a jagged blast of garage punk intensity released ahead of their second full-length album ‘All That We Know,’ out now via Bad Vibrations. Written in the aftermath of the band’s first EU and UK tour, the track channels isolation, defensiveness, and a sharpened sense of identity, driven by urgent vocals, skin-splitting drums, and dirty guitar tones that lock straight into the lineage of Australian pub rock.

‘All That We Know’ follows five years after debut album ‘Casino’ and expands Mini Skirt’s raw, melodic approach into a tightly packed set of songs rooted in modern Australian life. Mixed and mastered by Mikey Young, the album balances grit and clarity, with Jacob Boylan’s lyricism cutting cleanly through the noise. Paying homage to the spirit of X and Radio Birdman while carving their own lane, Mini Skirt deliver a record that moves fast, hits hard, and rewards close attention from start to finish.

John Minton Documents Music And Memory In ‘Folk Music and Song in the WPA Ex-Slave Narratives’

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Folk Music and Song in the WPA Ex-Slave Narratives by John Minton is out now as the first complete account of the music, song, and dance documented in the WPA ex-slave narratives. Drawn from interviews conducted between 1937 and 1940 with roughly 3,500 formerly enslaved people, the book examines one of the most significant bodies of African American folklore ever assembled. Minton situates these musical traditions within the lived realities of slavery, the Civil War, Emancipation, Reconstruction, and the rise of Southern apartheid, grounding every song and practice in its social and historical setting.

Extensively quoted, fully annotated, and carefully indexed, the volume traces spirituals, hymns, work songs, ballads, minstrel songs, ring plays, dances, lullabies, and more, offering detailed references for every musical item mentioned in the narratives. With 134 illustrations and a clear overview of how the narratives were collected and preserved, the book opens this vast archive to both scholars and general readers. Recently honored with the 2025 Wayland D. Hand Book Prize and a Special Award for Scholarly Excellence and Cultural Impact from the American Folklore Society, the work stands as a definitive resource on music, memory, and African American cultural history.

Tommy Womack Confronts Irony And Reality On “Just Another Shooting” From ‘Live a Little’

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Nashville indie-rock singer-songwriter Tommy Womack has released his new single “Just Another Shooting,” produced by Eric Roscoe Ambel and taken from his album ‘Live a Little,’ out now. Written in the aftermath of the 2023 Covenant School shooting, the song leans hard into irony, adopting the voice of a hardcore gun owner to expose the emotional numbness and cultural stalemates surrounding American gun violence. The writing cuts sharply, pairing sardonic observation with a delivery that refuses to soften its message.

Recorded at Ambel’s Brooklyn studio Cowboy Technical Services, ‘Live a Little’ unfolds as an eleven-track portrait of perspective gained through time, humor, and hard experience. The sessions brought together a tightly focused band including Jeremy Chatzky on bass and Kenny Soule on drums, with Womack handling guitars, harmonica, and mandolin alongside Ambel’s guitars, keys, and backing vocals. “Just Another Shooting” stands as the album’s most arresting moment, using wit and discomfort as tools to force attention and reflection, and reaffirming Womack’s reputation for writing songs that stare directly at the parts of life many would rather avoid.

156/Silence Announce Pure Noise Records Signing With New Single “Our Parting Ways”

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Pittsburgh metal quintet 156/Silence have announced their signing with Pure Noise Records and mark the moment with the release of their new track “Our Parting Ways” alongside an official music video. The song arrives as their first new material since the 2024 full-length ‘People Watching’ and leans into the band’s signature emotional weight, pairing stark lyricism with a controlled, heavy-handed build that lingers long after each section lands.

The band describe “Our Parting Ways” as a meditation on memory, distance, and shared history, written with an eye toward reflection rather than closure. The signing signals a new chapter for 156/Silence, aligning them with a label long associated with boundary-pushing heavy music and artist-driven growth. With a new partnership in place and fresh material already surfacing, the band step forward with clarity and momentum, grounded in connection and ready to expand their reach.

Kyle Wildfern Steps Forward With ‘What a Life’ And A Debut Built On Big Swings

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Toronto-based singer, songwriter, and producer Kyle Wildfern has released his debut album ‘What a Life,’ a ten-track statement that moves freely between intimacy and scale while threading love, loss, faith, and fate into sharp focus. Raised playing bass in his local church before expanding into songwriting and production, Wildfern brings that foundation into a record that jumps from stripped-back confessionals to full-bodied anthems with ease. Songs like “Sin in the Nude,” “Top Rope,” and “Day Drunk” highlight his knack for pairing emotional directness with adventurous sound choices, while his background as a producer and international collaborator including work with GOT7 gives the album a wide-angle sense of ambition. ‘What a Life’ lands as a confident introduction, built on range, momentum, and a willingness to chase big emotional turns.