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Grupo Frontera Bring the “Triste Pero Bien C*brón Tour” to U.S. Arenas This Summer

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Grupo Frontera has announced a 27-date U.S. arena run as part of their “Triste Pero Bien C*brón Tour,” the most ambitious touring campaign in the Southern Texas quintet’s history. Promoted by Live Nation, the U.S. leg opens July 16 with a hometown show at Bert Ogden Arena in Edinburg, Texas, and closes September 12 at Kia Center in Orlando. General on-sale tickets are available March 13 at 10AM local time at LiveNation.com, with Citi cardmember presales running March 10 through March 12.

The tour takes its name from “Triste Pero Bien Cabrón,” a collaboration with Myke Towers from the group’s latest album, ‘Lo Que Me Falta Por Llorar.’ The U.S. run follows completed dates across Colombia, Panama, Costa Rica, Honduras, El Salvador, Guatemala, Mexico, Europe, and the United Kingdom, placing this campaign on a genuinely global scale.

The routing hits hard. Austin’s Moody Center, Inglewood’s Intuit Dome, SAP Center in San Jose, Red Rocks Amphitheatre in Morrison, the Allstate Arena in Rosemont, and Prudential Center in Newark are among the marquee stops on a run that covers both coasts and everything between. VIP packages including meet and greet opportunities, preshow lounge access, and exclusive merchandise are available through vipnation.com.

“Triste Pero Bien C*brón Tour” U.S. Dates:

July 16 – Bert Ogden Arena – Edinburg, TX

July 18 – Sames Auto Arena – Laredo, TX

July 19 – Frost Bank Arena – San Antonio, TX

July 22 – Moody Center – Austin, TX

July 23 – Toyota Center – Houston, TX

July 24 – American Airlines Center – Dallas, TX

July 31 – Mortgage Matchup Center – Phoenix, AZ

August 1 – Michelob ULTRA Arena – Las Vegas, NV

August 2 – Toyota Arena – Ontario, CA

August 6 – Viejas Arena – San Diego, CA

August 7 – Intuit Dome – Inglewood, CA

August 8 – Save Mart Center – Fresno, CA

August 9 – SAP Center – San Jose, CA

August 12 – Golden 1 Center – Sacramento, CA

August 13 – J Resort Festival Grounds – Reno, NV

August 15 – Theater of the Clouds – Portland, OR

August 16 – WAMU Theater – Seattle, WA

August 21 – Red Rocks Amphitheatre – Morrison, CO

August 23 – Maverik Center – West Valley City, UT

August 26 – Allstate Arena – Rosemont, IL

August 28 – Prudential Center – Newark, NJ

August 30 – MGM Music Hall at Fenway – Boston, MA

September 4 – EagleBank Arena – Fairfax, VA

September 5 – The Red Hat Amphitheater – Raleigh, NC

September 6 – Gas South Arena – Duluth, GA

September 11 – Yuengling Center – Tampa, FL

September 12 – Kia Center – Orlando, FL

John Fogerty Extends the “Legacy Tour” With Steve Winwood for a 2026 Run

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John Fogerty is taking the “Legacy Tour” into the fall with a string of newly announced dates alongside Steve Winwood, kicking off in Tinley Park in September before moving through Boston, Atlantic City, Charlotte, Miami, and more. Presales begin March 10 at 10AM local time, with the general on-sale March 13 at 10AM local time.

The tour announcement arrives alongside another major milestone. Fogerty will receive the Johnny Mercer Award at the Songwriters Hall of Fame Induction and Awards Gala on June 11 in New York City. It is the organization’s highest honor, reserved for songwriters whose body of work has fundamentally shaped American music. Few careers make a stronger case for that distinction than Fogerty’s.

The past several months alone have included headline sets at JazzFest, Glastonbury, SXSW, and The Hollywood Bowl, induction at the American Music Honors, the BMI Troubadour Award, and sold-out shows at The Beacon Theatre to mark his 80th birthday. Fogerty is not coasting on legacy. He is actively extending it.

Songs including “Proud Mary,” “Fortunate Son,” “Born on the Bayou,” “Bad Moon Rising,” and “Have You Ever Seen the Rain” have sold more than 100 million copies worldwide, with three surpassing one billion streams each. The title track of ‘Centerfield’ remains the only song ever inducted into the Baseball Hall of Fame. This fall’s run with Steve Winwood is another chapter in one of rock’s most enduring and hard-earned stories.

2026 “Legacy Tour” Dates:

March 14 – Festival Vive Latino 2026 – Mexico City, Mexico (already happened)

March 18-21 – Planet Hollywood Resort & Casino – Las Vegas, NV (already happened)

June 26 – Thunder Valley Casino Resort – Lincoln, CA

September 3 – Credit Union 1 Amphitheatre – Tinley Park, IL (with Steve Winwood)

September 5 – Constellation Brands Marvin Sands Performing Arts Center – Canandaigua, NY (with Steve Winwood)

September 6 – Tanglewood Music Center – Lenox, MA (with Steve Winwood)

September 8 – Leader Bank Pavilion – Boston, MA (with Steve Winwood)

September 9 – Hartford Healthcare Amphitheater – Bridgeport, CT (with Steve Winwood)

September 11 – Ocean Casino Resort – Atlantic City, NJ (with Steve Winwood)

September 12 – Northwell Health at Jones Beach Theater – Wantagh, NY (with Steve Winwood)

September 13 – Bethel Woods Event Gallery – Bethel, NY (with Steve Winwood)

September 15 – Wolf Trap National Park for the Performing Arts, Filene Center – Vienna, VA (with Steve Winwood)

September 16 – Skyla Credit Union Amphitheatre – Charlotte, NC (with Steve Winwood)

September 18 – The Saint Augustine Amphitheatre – St. Augustine, FL (with Steve Winwood)

September 19 – Coachman Park, The BayCare Sound – Clearwater, FL (with Steve Winwood)

September 20 – Seminole Hard Rock Hotel & Casino – Hollywood, FL (with Steve Winwood)

October 2 – WinStar World Casino & Resort, Lucas Oil Live – Thackerville, OK

South Carolina Trumpeter Matt White Reimagines the Dolly Parton Songbook Through Jazz, Gospel, and Southern Folk

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Matt White is doing something genuinely uncommon. The South Carolina-based trumpeter, composer, and arranger has built a full album around the early songwriting of Dolly Parton, approaching her catalog not as tribute or novelty but as serious cultural excavation. Matt White’s Dolly arrives May 15 in digital and CD formats, self-produced and deeply considered from the first note to the last.

The ensemble White assembled reflects the seriousness of the undertaking. Vocalist Liz Kelley, guitarist Tim Fischer, organist Demetrius Doctor, and drummer Colleen Clark join White on cornet, working through arrangements that preserve the original melodies, lyrics, keys, and modulations while reshaping the surrounding musical language entirely. The result sits at the intersection of Southern sacred tradition, chamber arranging, and open improvisation, and it earns every inch of that space.

The project traces back to a late-night moment during the recording of White’s previous album Lowcountry, when a young Dolly Parton performing “The Bridge” appeared on his screen. White immediately recognized the 3-3-2 rhythmic pattern at the heart of the song, the same pattern embedded in ring-shout traditions present in Gullah communities he had studied for years. A new album came into focus right there. “She’s the greatest living American,” White says of Parton, “because she embodies the things we hope this country can be.”

Lowcountry, co-produced with Quentin E. Baxter of Grammy-winning South Carolina ensemble Ranky Tanky, drew national attention and serious critical praise. The Wall Street Journal and DownBeat both took note of White’s gift for connecting living traditions to contemporary practice without reducing either. Matt White’s Dolly extends that commitment into one of the most iconic bodies of American songwriting ever written.

White currently serves as Professor, Chair of Jazz Studies, and Director of the Center for Southern African American Music at the University of South Carolina School of Music. His research runs deep, and this album shows exactly what that depth sounds like when it meets a great song.

Tracklisting:

  1. Down from Dover
  2. My Blue Tears
  3. 9 to 5 (1)
  4. The Bridge
  5. 9 to 5 (2)
  6. The Carroll County Accident
  7. 9 to 5 (3)
  8. Jolene
  9. Little Bird

Neo-Soul Icon Jill Scott Returns With First Album in a Decade and a World Tour to Match

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Jill Scott is back, and she is doing it at full scale. The Philadelphia-born neo-soul icon has announced To Whom This May Concern, her first album in over a decade and the follow-up to 2015’s Woman. Alongside it comes a world tour of genuine ambition, running from early June through November and touching the United States, Europe, the United Kingdom, and South Africa.

The domestic run is extensive and deliberately paced, with multiple nights booked in Nashville, Washington D.C., Atlanta, New York, Philadelphia, Oakland, Los Angeles, Chicago, and more. Scott plays her hometown of Philadelphia across three nights at The Met in late July. These are not quick in-and-out market stops. This is an artist giving her audience real time and real access.

The international stretch carries the same weight. Scott hits Birmingham, Manchester, Brussels, Berlin, Paris, and Amsterdam before two nights at the Royal Albert Hall in London on October 13 and 14. The tour closes with dates in Pretoria and Cape Town in November, rounding out one of the most geographically complete tours any artist has announced this year.

To Whom This May Concern arrives after more than ten years of quiet, and the demand behind this tour reflects exactly how much that absence has meant to Scott’s audience. The venues are large, the nights are stacking up, and the appetite is real.

Jill Scott has always understood the relationship between a song and the person it reaches. This tour is that philosophy made physical, city by city, night by night.

To Whom This May Concern World Tour Dates:

June 4 – Nashville, TN – Ryman Auditorium

June 5 – Nashville, TN – Ryman Auditorium

June 11 – Washington, D.C. – The Theater at MGM National Harbor

June 13 – Washington, D.C. – The Theater at MGM National Harbor

June 14 – Washington, D.C. – The Theater at MGM National Harbor

June 16 – Charlotte, NC – Belk Theater at Blumenthal Performing Arts Center

June 18 – Raleigh, NC – Durham Performing Arts Center

July 10 – Atlanta, GA – Fox Theatre

July 11 – Atlanta, GA – Fox Theatre

July 16 – New York, NY – Kings Theatre

July 18 – New York, NY – Kings Theatre

July 19 – New York, NY – Kings Theatre

July 24 – Philadelphia, PA – The Met

July 25 – Philadelphia, PA – The Met

July 27 – Philadelphia, PA – The Met

August 6 – Oakland, CA – Paramount Theatre

August 7 – Oakland, CA – Paramount Theatre

August 11 – Los Angeles, CA – YouTube Theatre

August 12 – Los Angeles, CA – YouTube Theatre

August 15 – Las Vegas, NV – Pearl Theater

August 20 – Chicago, IL – The Chicago Theatre

August 22 – Chicago, IL – The Chicago Theatre

August 23 – Chicago, IL – The Chicago Theatre

August 26 – Detroit, MI – Fox Theatre

August 30 – Houston, TX – Smart Financial Centre at Sugar Land

September 3 – Irving, TX – The Pavilion at Toyota Music Factory

September 29 – Birmingham, England – O2 Academy

October 1 – Manchester, England – O2 Apollo Manchester

October 5 – Brussels, Belgium – Bozar

October 6 – Berlin, Germany – Tempodrom

October 9 – Paris, France – Zenith

October 10 – Amsterdam, Netherlands – AFAS Live

October 13 – London, England – Royal Albert Hall

October 14 – London, England – Royal Albert Hall

November 7 – Pretoria, South Africa – SunBet Arena

November 11 – Cape Town, South Africa – GrandWest Arena

K-Pop Solo Star Yves Brings Her “Soft Era: X” North America Tour to U.S. Stages This Spring

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Yves is bringing her 2026 North America Tour to major U.S. markets this May, one of her most expansive solo runs on American stages to date. The South Korean singer-songwriter, widely recognized as a former member of LOONA, has built a compelling solo catalog since striking out on her own, and this spring run gives North American fans the fullest picture yet of who she is as a standalone artist. Tickets are on sale now at shptickets.com.

The tour draws heavily from Soft Era: X, Yves’ acclaimed recent album, which includes collaborations with PinkPantheress among others. The set spans powerful pop anthems and introspective ballads, showcasing the kind of range that has driven her international profile steadily upward. This is a live show built around an artist in full creative command of her own story.

The U.S. leg opens May 8 in Los Angeles and hits seven major markets before wrapping May 23 in Chicago. Seattle, San Francisco, Dallas, Atlanta, and New York City all feature on the run. Additional dates spanning Canada, Brazil, Uruguay, Argentina, Chile, and Colombia round out the full tour, underscoring just how far Yves’ reach has grown since going solo.

The tour is promoted by Sean Healy Presents, an independent national K-pop promoter operating since 1996 with a track record that includes Taemin, ONEW, ARTMS, and P1Harmony. That is a serious pedigree behind a serious touring artist.

Yves has earned every stage she is stepping onto this spring. The solo era is fully underway, and this tour makes that unmistakably clear.

2026 North America Tour Dates:

May 8 – Los Angeles, CA – Alex Theater

May 11 – Seattle, WA – Showbox SODO

May 13 – San Francisco, CA – Palace of Fine Arts

May 15 – Dallas, TX – The Bomb Factory

May 17 – Atlanta, GA – Center Stage

May 20 – New York, NY – Palladium Times Square

May 23 – Chicago, IL – Copernicus Center

EMF Are Back in North America and “Unbelievable” Is on the Setlist

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EMF are returning to North America for a ten-date East Coast run this May, their fourth visit in two years. The British dance-rock quintet kick off May 7 in Philadelphia and work their way through Buffalo, Toronto, Montreal, Boston, New York City, and more before closing out May 16 in Hamden, CT. NYC art-rock outfit Ecce Shnak supports throughout. Tickets are on sale now at most dates.

The tour carries real weight. This year marks 25 years since Schubert Dip, the debut album that launched “Unbelievable” to Number 1 on the Billboard Hot 100 and made EMF a global household name. Guitarist Ian Dench puts it plainly: “You all in the U.S. will always hold a special place in our hearts because you took us into yours.” Expect “Unbelievable,” “Lies,” “I Believe,” and “Children” all in the set.

The classics share the stage with newer material. The Beauty and the Chaos (2024) and EP Reach for Something Higher (2025) both factor into the setlists, including “Hands in the Air” and “LGBTQ+ Lover,” two tracks inspired by the band’s last U.S. run. EMF have been building momentum steadily since their return with Go Go Sapiens in 2022, and a new album is already on the way.

Formed in 1989 in Cinderford in England’s Forest of Dean, EMF built their sound from a combustible mix of dance, rock, and pop energy. James Atkin, Ian Dench, Derry Brownson, Stevey Marsh, and Aid Todd have been at it for over three decades now, and their live show has lost none of its voltage.

This is a band that earned their place in the ’90s canon and has spent the last few years reminding everyone exactly why. May is going to be loud.

East Coast Tour Dates:

May 7 – Philadelphia, PA – Nikki Lopez

May 8 – Buffalo, NY – Town Ballroom

May 9 – Toronto, ON – Dance Cave

May 10 – Montreal, QC – Le Ritz Montreal

May 11 – Boston, MA – City Winery

May 13 – New York, NY – Sony Hall

May 14 – Millersville, PA – Phantom Power

May 15 – Baltimore, MD – Metro Gallery

May 16 – Hamden, CT – Space Ballroom

My SiriusXM Show This Week: Ani DiFranco, Dr. Margena A. Christian, Peter Ormerod, and The Space Between

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My SiriusXM show: Interviews with musician/author Ani DiFranco; Dr. Margena A. Christian, author, It’s No Wonder: The Life and Times of Motown’s Legendary Songwriter Sylvia Moy; Peter Ormerod, author, David Bowie and the Search for Life, Death and God; Rising rockers The Space Between!
Sat 8am + 2pm, Sun 12pm, Wed 2pm + 7pmET, Channel 167, and anytime on the SiriusXM app.

Rising Rocker Cody Jasper Gets Loud and Personal on Scorched-Earth New Single “Dirty”

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Cody Jasper releases “Dirty” today via Megaforce Records, the latest single from his forthcoming third album ‘Rock Is Dead,’ arriving April 10. The track is exactly what the title promises: huge distorted synth bass, fuzzed-out guitars, and amps pushed to the edge of collapse. Jasper wrote it about a toxic relationship with a narcissist, and the production channels that experience into something that sounds, as he puts it, like revenge.

“‘Dirty’ is a personal song about a very toxic relationship I was in,” Jasper shares. “It ruined me but also forced me to look inward and figure out who I really was. In the end, it brought me out on top.” The song features one of the most ferocious guitar solos of his career, and the sonic architecture around it holds nothing back. This is rock music with genuine grievance behind it, and that distinction matters.

‘Rock Is Dead’ was produced and engineered by Aleks von Korff, whose credits include Muse, Coldplay, and U2, and recorded at Red Room Studio, the home studio of Muse’s Matt Bellamy. The 10-track album moves through alternative, hard rock, punk, classic rock, and blues without breaking stride. Warren Haynes appears on “American Dream,” and the title track earned a notable endorsement from Billy Corgan, who called it “a banger.” RIFF Magazine described that song as “a swaggering middle finger” that “sounds like it was captured in one blistering take.”

The album is a deliberate argument. Rock is not dead. Jasper makes that case with guitar tone, songwriting muscle, and the kind of full-commitment performance that the genre was built on.

Blues Rock Powerhouse Joanne Shaw Taylor and Orianthi Deliver a Searing, Soulful Gut-Punch With “What Good Is My Love?”

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Joanne Shaw Taylor releases “What Good Is My Love?” today via Journeyman Records, a slow-burning blues rock collaboration featuring Australian guitarist and singer-songwriter Orianthi. Two of the most formidable guitarists in modern blues rock on the same track, trading solos over a groove built around heartbreak and hard-won emotional honesty. The result is exactly as powerful as that pairing deserves.

The song sits with a specific kind of pain. “We’ve probably all been in the position at some point in life when the love we had and give isn’t returned,” Joanne says. “I wanted to write a song for those of us who have had to question, ‘What good is my love if it’s not enough?'” That question drives every bar of the track, from its simmering opening to the electrifying guitar exchanges that erupt as the song builds toward its emotional peak.

Orianthi’s solo carries the full weight of the song’s central wound. Her playing adds dimension and fire to an already charged performance, her melodic leads cutting through the blues grit with precision and feeling. The chemistry between the two guitarists is immediate and genuine, two distinct styles finding common ground in the emotional truth of the lyric.

“What Good Is My Love?” follows “Hell Or High Water,” a blues gospel anthem about perseverance that has been gaining traction across streaming platforms and radio. Both tracks preview Joanne’s forthcoming studio album, due later this year, and together they signal a record with serious range and real emotional depth.

Joanne Shaw Taylor has been one of blues rock’s most consistent and commanding voices for years. This single, and this collaboration, confirms she is operating at a career-best level.

Eve and Gwen Stefani Break Down the Making of Grammy-Winning Classic “Let Me Blow Your Mind” for Vevo Footnotes

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Eve and Vevo have released a new Footnotes episode dedicated to “Let Me Blow Ya Mind,” the Grammy-winning 2001 collaboration with Gwen Stefani that remains one of the most iconic records either artist has ever made. The episode features exclusive commentary from both women on the recording process, the collaboration, the music video, and the song’s lasting place in hip-hop and pop history.

Eve is candid about what the record meant to her at the time. “The record is meant to be fun and cocky and celebratory,” she says. “I was in the music business and here to stay.” The session came together at Interscope through Dr. Dre, with Scott Storch adding keys that locked the track into place. Dre’s insistence shaped the final result directly. “You’re not leaving the studio until this song is done,” he told her. “I hated him that day, but I’m so happy he made me stay.”

The Gwen Stefani collaboration was not a given. Eve was actively advised against it. “I got told that that was never going to work, that people would be like, ‘Why are these two chicks together?'” She pushed back on instinct, trusting that the chemistry would translate. It did. Stefani echoes the feeling: “We appreciated each other’s worlds and coming together, we knew we were going to create something new and have this fresh energy.”

The music video brought its own mythology. Jadakiss and Styles P, fellow Ruff Ryders, make cameos at the bar. Dr. Dre appears at the end bailing both women out of jail. The video won the 2001 MTV Video Music Award for Best Female Video. The following year, the song won the Grammy for Best Rap/Sung Collaboration, the first time that category had ever been awarded.

Eve’s instincts were right on every count. The Footnotes episode is a sharp, generous look back at a record that still sounds as confident and alive as the day it was made.