Page 2 – That Eric Alper

Elvis Costello Brings ‘Radio Soul!’ Tour To Niagara Falls This September

Music

Eric Alper

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Jun 2, 2026

Elvis Costello Brings ‘Radio Soul!’ Tour To Niagara Falls This September

One of the sharpest songwriters of the last 50 years is coming to Niagara Falls. Elvis Costello & The Imposters with Charlie Sexton land at the OLG Stage at Fallsview Casino on Saturday, September 12, 2026, as part of the ‘Radio Soul! The Songs of Elvis Costello from the Early Days to the Late Hours’ tour.

Costello rose up in the late ’70s and never stopped moving, folding rock, punk, pop, jazz and orchestral music into a catalogue that runs hundreds of songs deep. He’s a Grammy winner and a Rock & Roll Hall of Fame inductee, and the live show still crackles. Expect the classics that built his name plus the new material that keeps him vital.

The hits run long. “(What’s So Funny ‘Bout) Peace, Love and Understanding,” “Veronica,” “Alison,” and “Oliver’s Army” only scratch the surface of a songbook that’s been covered across every genre imaginable.

The company around him carries serious pedigree too. Charlie Sexton, guitarist, songwriter and producer, has recorded with Ron Wood, Keith Richards, David Bowie and Bob Dylan. Costello himself has worked alongside Paul McCartney, Burt Bacharach, Tony Bennett and Allen Toussaint over the decades, a guest list that reads like a music history syllabus.

This is a night built for a room that knows the words. The OLG Stage at Fallsview ranks as the number 1 venue in Canada by size, a 5,000-seat hall overlooking the Horseshoe Falls, and it’s the kind of space these songs deserve.

Cathy Price, Vice President of Marketing and Resort Operations for Niagara Casinos, called Costello one of the most profoundly influential figures in popular music, with songs that keep resonating across generations.

Tickets go on sale Friday, June 5 at 10:00 a.m. through ticketmaster.ca.

Alan Doyle’s Sold-Out East Coast Kitchen Party ‘Tell Tale Harbour’ Returns To Toronto

Music

Eric Alper

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Jun 2, 2026

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Alan Doyle’s Sold-Out East Coast Kitchen Party ‘Tell Tale Harbour’ Returns To Toronto

The crowds spoke, and Mirvish Productions listened. After a sell-out run during the 2025/26 season, the musical comedy ‘Tell Tale Harbour’ rolls back into Toronto’s Royal Alexandra Theatre this winter, December 22, 2026 to January 24, 2027.

Great Big Sea’s Alan Doyle co-wrote the show and stars as Frank, anchoring a story that runs on equal parts mischief and heart. The reviews tracked the reaction. The Toronto Star called it hilarious with an enormous heart. Global News landed on feel-good and fun, wonderfully written and performed.

The setup is pure Atlantic Canada. A small harbour loses its fish plant, and the whole village scrambles for a way to survive. A frozen french fry factory could save everyone, bringing jobs and a future, but the deal comes with a catch. The town needs a full-time resident doctor.

So the townspeople do what any proud community would do. They spin the truth, stage an elaborate charm offensive, and try to convince an interim doctor to make the move permanent. It’s as relatable as it is ridiculous, and it celebrates the people who build a life on the edge of the mighty Atlantic.

The score and the laughs hit the level you’d want from the best East Coast kitchen party, warm and rowdy and built to send a crowd home grinning. Based on Ken Scott’s screenplay ‘The Grand Seduction’, the show comes co-created by Adam Brazier, Alan Doyle, Bob Foster and Edward Riche.

Doyle leads a deep Original Canadian company. The cast features AP Bautista as Marie, Joel Cumber as Gus, Susan Henley as Vera, Gabrielle Jones as Gina, Melissa MacKenzie as Kathleen, Laurie Murdoch as Yvon, Kale Penny as Dr. Chris, and Alison Woolridge as Barbara, among others.

Joining them are Toronto musician and actor Michael Cox on swing, Saccha Dennis (& Juliet Toronto) as Louise, and Trevor Patt (Disney’s The Lion King, Toronto 2024) as Chip.

Brian Hill directs, with orchestrations, arrangements and music direction by Bob Foster, and choreography by Robin Calvert. The production first played the Royal Alexandra as part of Mirvish Productions’ 2025-2026 Main Season, in co-production with The Confederation Centre of the Arts, developed with support from the National Arts Centre’s National Creation Fund.

Tickets go on sale Monday June 15 at 10AM at mirvish.com or by calling 1.800.461.3333.

Performance Schedule: Tue – Sat: 7:30PM Wed: 1:30PM Sat / Sun: 2PM

Holiday Schedule: Thu Dec 24: 1:30PM Fri Dec 25: No performance Sat Dec 26: 2PM & 7:30PM Sun Dec 27: 2PM & 7:30PM Tue Dec 29: 1:30PM & 7:30PM Wed Dec 30: 1:30PM & 7:30PM Thu Dec 31: 1:30PM Jan 1: No performance

The Concept Album Is Back, and Kendrick Lamar Is the Reason

Eric Alper

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Jun 2, 2026

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The Concept Album Is Back, and Kendrick Lamar Is the Reason

We live in the most singles-obsessed era music has ever seen. Streaming rewards the standalone hit, the playlist add, the fifteen-second TikTok hook, and most artists have happily adapted by releasing songs designed to survive on their own. Then there’s Kendrick Lamar, who has spent his entire career treating the album not as a loose collection of tracks but as a single, intricate piece of storytelling. And here’s the remarkable part: he keeps winning. In a world built to punish the long-form, Kendrick has made the cohesive, narrative-driven album feel essential again. He survived the singles era and proved there’s still a deep hunger for something more.

To understand why, you have to start with ‘good kid, m.A.A.d city’. Critics noted it was a concept album with an autobiographical narrative, and Kendrick built it like a film, literally. The LP’s artwork labels it “a short film by Kendrick Lamar,” and the 12-track narrative paints a vivid picture that fully immerses the listener into summer ’04 in Compton, telling the story of how a good kid in a bad neighborhood escapes the cycle of gang violence. The structure is daring: he’s compared the narrative to Pulp Fiction, as the chronology jumps from the middle to the end to the beginning of the album. Songs are told from shifting perspectives, some through his new-found viewpoint as Kendrick Lamar and some through the perspective of his younger persona K.Dot. This was a major-label rap debut engineered to be experienced front to back, in order, as one continuous story.

What makes Kendrick a master of the form is that he refuses to repeat the same trick. Across his catalog, ‘To Pimp a Butterfly’ works as a refracted version of ‘good kid’, trading a single narrative woven through many voices for multiple narratives told in one voice, while ‘DAMN.’ breaks down into individual stories, each song its own self-contained world. He treats each project as a fresh structural problem to solve, and his ambitions scaled up accordingly. ‘To Pimp a Butterfly’ was a sprawling, 78-minute portrait of America and his dangerous place in it, layered with funk and jazz. Kendrick himself framed his entire creative identity around this approach, saying on the album’s release, “I pride myself on writing now rather than rapping. My passion is bringing storylines around and constructing a full body of work, rather than just a 16-bar verse.”

Crucially, his commitment to the form has amplified his cultural relevance. The deepest, most demanding album of his catalog became one of the most widely discussed records of its decade. Seven years after its release, ‘To Pimp a Butterfly’ had more than 1.5 billion streams on Spotify and continued to hold its place in the zeitgeist, with individual tracks taking on lives of their own. “Alright” became a Black Lives Matter anthem, “The Blacker the Berry” served as its flip side, and “How Much a Dollar Cost” delivered a haunting meditation on mortality set to a Radiohead piano loop. A 78-minute jazz-rap song cycle produced a protest anthem chanted in the streets. That’s the proof that concept albums still pierce the mainstream when they’re built with this much intent.

So why does this matter beyond Kendrick himself? Because he’s reset expectations for what an album can be in the streaming age. He’s shown a generation of artists that artistic ambition and commercial success can coexist, that audiences will still sit with a full body of work if you give them a reason to. His roots were in the form from the very beginning, going back to early projects like ‘Section.80’, which featured two central characters, Tammy and Keisha, who appear in and out of frame as aspects of their lives are relayed. The concept album spent years on the margins while the industry chased singles. Kendrick Lamar dragged it back to the center, one short film at a time, and made the rest of music remember that the album, done right, is still the most powerful canvas an artist has.

How to Build a Music Website That Works

Eric Alper

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Jun 2, 2026

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Here’s the situation every artist faces in 2026: your fans are scattered across platforms you don’t control, fed by algorithms that can bury you overnight. Your website is the one place that’s entirely yours. It’s your digital home base, where fans discover your music, where promoters learn who you are, and in a world dominated by social platforms and unpredictable algorithms, having your own corner of the internet is your foundation. The encouraging part is that it has never been easier to build one. You don’t need to know code, learn design, or hire an expensive agency. Here’s how to make a site that actually does its job.

Start with the few pages that matter

Resist the urge to build something sprawling. You can improve it over time, so start by publishing the essentials: your homepage, about page, music page, and contact page. That’s enough for fans and promoters to understand who you are and what you offer. As your career grows you can add more, with a fuller setup typically including Home, Music, Shows, Store, EPK, and a Contact page so fans and event organizers can easily navigate.

Pick a domain and platform that fit your goals

Your web address is part of your brand. Choose a domain that matches your artist or band name so fans can easily find you, which also strengthens your branding and makes your site look more professional when you share links on streaming platforms or social media. For the platform itself, the right choice depends on what you want. Bandzoogle is built for musicians and offers tools like stores and EPK templates, Squarespace focuses on design with easy drag-and-drop editing that works well for visual artists, and Shopify is best for selling merch with strong store features.

Make the three core actions effortless

This is the single most important principle, and the one most artists get wrong. Fans usually want three things: to listen to music, to see tour dates, and to buy merch. If these actions are hard, the website fails. Build everything around those three jobs. Put a music player with streaming integration front and center, add upcoming dates with ticket links in a simple calendar layout, and keep your store clean and easy to reach.

Capture emails and keep streaming links visible

A mailing list is the audience you actually own, immune to any algorithm change. The mailing list must be visible and should appear at the top of the homepage, and streaming links should be easy to access. This matters more than ever, because fans crave a direct line to you. A 2025 Music Industry Report found 92% of fans expressed a deep desire to feel a more intimate connection with their favorite artist, 78% said exclusive behind-the-scenes content made them feel more connected, and 85% believed direct communication channels bridged the gap between them and the artist.

Keep a press-ready EPK on hand

Promoters and journalists make fast decisions, so give them everything in one place. Press mentions or achievements should be listed, including links to reviews or charts, because all these elements help others understand the artist quickly, so a strong EPK increases the chances of opportunities. A downloadable version adds extra value.

Build for mobile and for speed

Most of your visitors are arriving on a phone. Mobile-responsive design is essential, since 64.95% of web traffic is mobile, and your core features should include a music player with streaming integration, high-quality photos and videos, tour dates with ticket links, contact information, and social media links. Speed is just as critical. Site speed is very important, so images should be compressed before upload to help pages load faster.

Avoid the most common mistake: over-design

It’s tempting to load your site with effects, but restraint wins. Many musicians over-design their websites by adding too many effects or animations, which slows down the site and hides important content. Simplicity works best, clear design improves user experience, and fast access to key features increases engagement. When your music, your shows, and your store are one tap away, your website stops being a digital flyer and becomes the working hub of your career. Build for the fan in a hurry, and you build for everyone.

Where to Buy Vinyl in Belfast (and Why This Summer Is the Time to Do It)

Music

Eric Alper

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Jun 2, 2026

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Where to Buy Vinyl in Belfast (and Why This Summer Is the Time to Do It)

Belfast has always been a music town, but this August it becomes the music town. From Sunday 2nd to Sunday 9th August 2026, Belfast hosts Fleadh Cheoil na hÉireann, the world’s biggest celebration of Irish music and culture — only the second time it has ever come to Northern Ireland, and the first time for Belfast, with over 800,000 people expected across eight days of street sessions, stage concerts and competitions. And after a day soaking up fiddles and bodhráns on the street, there’s no better souvenir than the music itself, pressed onto wax. The good news? Belfast punches well above its weight for vinyl — the city centre is compact, the scene is fierce, and the shops are run by people who have been living and breathing music here for decades. Here’s the full crate-digger’s map.

Sick Records

Start in the heart of the Fleadh action. Sick sits at 78 North Street, right in the Cathedral Quarter, and it’s the city’s home of brand-new releases. When it opened in 2014, it gave Belfast a legitimate independent record store stocking only new releases — something the city hadn’t really seen since the early days of Dragon Records. It was famously championed by Belfast DJ and producer David Holmes, who would crowbar the shop’s name into interviews. Your stop for the latest pressings and Record Store Day exclusives.

Dragon Records

58 Wellington Pl · +44 7437 469732 · 4.9 (56) · Open, closes 6 p.m. A long-running old-school shop up a flight of stairs just off City Hall, like a collector’s living room that got out of hand — rows of well-thumbed rock, punk, metal and indie alongside country and folk. Reviewers call it very well stocked with rare and hard-to-find records.

Voodoo Soup Records

17 Winetavern St · +44 7563 147949 · 4.6 (101) · Open, closes 6 p.m. A friendly second-hand haven near Smithfield Market, behind CastleCourt, run by the welcoming Martin/Fisher family. Praised for a fantastic selection, good prices and friendly staff.

Hectic Records

45–47 Rosemary St · +44 7563 147949 · 4.8 (12) · Open, closes 6 p.m. A tucked-away city-centre spot with a wide selection of records and very nice staff.

Young Savage — Vintage Clothing, Records and Books

22 Church Ln · 4.7 (66) · Open, closes 5:30 p.m. Records mixed in with vintage clothing and books — a fantastic, well-curated shop with friendly people and good music.

Alchemy Vintage And Arts

Above Blue hairdressing, 46 Hamilton St · +44 7717 462893 · 5.0 (23) · Open, closes 5 p.m. A small, lovingly curated collection run by lovely folks (reviewers single out Ian as a gem), with a gloriously curated selection and good prices.

hmv

3–6 Castle Pl, Donegall Pl · +44 843 221 0116 · 4.3 (906) · Open, closes 6 p.m. The high-street option, with serious depth — a great location and a massive stock of vinyl for all tastes.

Sound Advice Belfast

Banana Block, 310 Newtownards Rd · 5.0 (53) · Opens 11 a.m. Wed. A cosy, inclusive space inside the Banana Block that’s become a cornerstone of the east Belfast scene — a proper old-school record shop with friendly, knowledgeable staff.

Banana Block

PortView Trade Centre, 310 Newtownards Rd · 4.6 (415) · Opens 10 a.m. Wed. The wider venue housing Sound Advice — a brilliant spot with excellent food retailers and, of course, a brilliant record shop.

First Press

381 Beersbridge Rd · 5.0 (27) · Opens 9 a.m. Thu. A fantastic place for vinyl lovers, with a great selection and very fair prices.

Bread and Records

381 Beersbridge Rd · 4.6 (25) · Opens 8 a.m. Thu. Part bakery, part record shop, sharing the Beersbridge Road address — top coffee, beautiful buns and a wealth of the best records.

Radio Starr

Oh Yeah Music Centre, 15–21 Gordon St · +44 7824 807103 · 4.7 (47) · Open, closes 5 p.m. A small curated shop and hub inside the Oh Yeah Music Centre, with a great selection and a welcoming atmosphere.

Belfast Underground Records

4.5 (67). Owned and operated by legendary local DJ Dilly, this one’s a go-to for crate-diggers — a good shop with helpful, unpretentious staff.

Bending Sound Records

2 Bank’s Ln · +44 28 9122 5510 · 4.9 (283) · Open, closes 5 p.m. Stocked with a good selection of new and pre-owned vinyl at reasonable prices.

VinylMatters

21B Railway St · +44 7548 991982 · 5.0 (6) · Open, closes 4 p.m. A great record shop with knowledgeable and friendly people running it.

Vanilla Records

4 William St · +44 28 8676 6463 · 5.0 (28) · Open 24 hours. Decently priced records and a flawless buying experience.

Go to Joe

+44 7751 175621 · 5.0 (3) · Open, closes 5 p.m. A small CD specialist for completists, with excellent service and top marks.

Cool Discs

Lesley House, 6 Foyle St · +44 28 7126 0770 · 4.6 (201) · Open, closes 5:45 p.m. A Derry institution worth the trip if you’re touring further afield — a great shop with a massive collection and friendly staff.

Richer Sounds Belfast

7 Smithfield Square N · +44 333 900 0070 · 4.7 (450) · Open, closes 5 p.m. Picked up records but need something to play them on? A great store with everything you need for playing vinyl and very helpful staff.

Voodoo

11A Fountain St · +44 28 9027 8290 · 4.5 (1.3K) · Open, closes 1 a.m. Not a record shop but a beloved live music bar to round off a day of digging — fantastic music, great staff and friendly, helpful security.

A few practical notes for Fleadh week: the city-centre shops cluster tightly between Cathedral Quarter, Smithfield and Rosemary Street, so you can cover several in a single stroll. Expect crowds with 800,000 visitors in town, so go early in the day, and as the seasoned diggers say — bring a tote, some patience, and leave space in your suitcase. Belfast’s vinyl scene has spent decades waiting for a week like this. Go give it a dig.

Fleadh Cheoil na hÉireann takes place in Belfast, August 2–9, 2026. For more information visit fleadhcheoil.ie, visitbelfast.com, and discovernorthernireland.com.

K-Pop Juggernauts aespa Drop “Whiplash” and “Dark Arts” into PUBG MOBILE for Global Crossover

Music

Eric Alper

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Jun 1, 2026

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K-Pop Juggernauts aespa Drop “Whiplash” and “Dark Arts” into PUBG MOBILE for Global Crossover

aespa are bringing their futuristic style straight into the battleground. PUBG MOBILE has announced a collaboration with the global K-pop group that runs from today through June 30, dropping a full slate of aespa-themed in-game content for a limited time. The tie-up pulls the group’s bold visual identity and chart-topping sound into one of the world’s most popular mobile games.

The centerpiece is a collectible in-game album featuring aespa’s hit tracks “Whiplash” and “Dark Arts,” both usable as lobby music. Players can also recreate the group’s choreography through dance emotes inspired by those songs, while outfits modeled on KARINA, GISELLE, WINTER, and NINGNING let fans show off aespa’s unmistakable look. Individual voice packs for each member round out the personal touches.

“Dark Arts” carries some history here. It originally debuted in July 2025 as the collaboration track for aespa x PUBG: BATTLEGROUNDS and quickly became a fan favorite. After a successful rollout in Japan and Korea earlier this year, the track and its themed content now launch worldwide. Fans can unlock the “Dark Arts” album through the PUBG MOBILE Global Open Event, with “Whiplash” available via the Perk Exchange system.

The collaboration goes deep on collectibles. A limited-time Prize Path serves up aespa-themed items including a customized frying pan, a firearm skin, and a helmet, rounding out the lineup with a full run of rewards. The whole package is the kind of crossover that meets a global fanbase right where it already plays. The PUBG MOBILE x aespa event is live in-game from June 1 to 30, free to download on the App Store and Google Play.

Live Nation and Dale Play Join Forces to Supercharge Spanish-Language Music in Argentina

Music

Eric Alper

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Jun 1, 2026

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Live Nation and Dale Play Join Forces to Supercharge Spanish-Language Music in Argentina

Live Nation is doubling down on one of South America’s biggest music markets. The company announced a strategic partnership with Dale Play to keep expanding live Spanish-language music in Argentina and to back the development of Latin and regional artists. As part of the deal, Live Nation acquires a majority stake in Dale Play Live.

Dale Play founder and CEO Federico Lauria stays on to lead the company’s creative and strategic direction, continuing to develop Latin artists and Spanish-language content across global markets. The move pairs Live Nation’s international muscle with Dale Play’s local artist development and deep cultural ties to a new generation of artists and audiences.

The partnership builds on Live Nation’s existing footprint in the country. DF Entertainment, its long-standing Argentine partner, keeps a central role in growing international live music events there, while Dale Play focuses on Spanish-language artists and homegrown content.

Both sides framed the deal as a launchpad. “Buenos Aires is the second largest music market in South America and a priority for Live Nation,” said Michael Rapino, president and CEO of Live Nation Entertainment, calling Dale Play a complement to the DF Entertainment partnership and a boost to Spanish-language music worldwide. Lauria pointed to the bigger vision. “Dale Play was founded with the vision of supporting artists and building a platform that empowers them to grow locally and globally,” he said. “Being partners with Live Nation represents a tremendous opportunity to continue expanding artists from Argentina and Latin America to the world.”

Peter Gabriel Unearths a 30-Year-Old Track with “A Hard Lesson”

Music

Eric Alper

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Jun 1, 2026

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Peter Gabriel Unearths a 30-Year-Old Track with “A Hard Lesson”

A song Peter Gabriel started nearly four decades ago has finally found its moment. To mark the May 31 blue moon, the art-rock visionary shared “A Hard Lesson,” the newest track from his forthcoming album ‘o\i’. Gabriel wrote the song and co-produced it with Mike Elizondo, and the first version out is the Bright-Side Mix by Mark “Spike” Stent.

The track’s roots run remarkably deep. “This is the oldest track of the project. It probably started in the late 80s or early 90s when I was in Senegal,” Gabriel says, recalling the polyrhythms that first captivated him there, the tension between threes and fours that sparked the song. He describes it as quirky, strange, and long, a journey about finding your place and how you fit in, threaded with old R&B and folk references.

The song spent years in the “almost” category before surfacing. “It’s had to wait 30 or 40 years before actually hitting the surface,” Gabriel says. “Some things will mature and evolve spontaneously, and some will just stay hidden-away in a box until their moment in the light appears.” That long gestation means it carries more fingerprints than anything else on the record, assembled like a jigsaw from contributions gathered across the decades.

Gabriel walked through the build piece by piece. Tony Berg, his A&R in the 90s, added guitar, David Rhodes layered in plenty over the years, and Richard Evans once cut a more industrial version that left traces behind. A harpsichord synth sample gave the chorus its folky character, augmented by Evans on mandolin and other organic instruments. Elizondo co-produced this version and added his fat bass, with Abe Rounds contributing fluid rhythms. The result is rich and patient, the rare song that earns its long runtime.

The artwork comes from still images of a film by Belgian-born, Mexico City-based artist Francis Alÿs, his ‘Cuentos Patrióticos’, made with Rafael Ortega, which references a 1968 protest where civil servants made sheep noises rather than show support for the government. “I saw this image of the pole, the man and the sheep and it leapt out at me,” Gabriel says, drawn to how it spoke to ideas of place. The Dark-Side Mix of the song arrives on the next new moon, with further album details to follow.

Gary Clark Jr. Maps Out Sprawling 2026 Tour with a Surprise NYC Club Show

Music

Eric Alper

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Jun 1, 2026

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Gary Clark Jr. Maps Out Sprawling 2026 Tour with a Surprise NYC Club Show

Gary Clark Jr. is chasing the feeling that started it all. The four-time Grammy winner has announced an extensive run of U.S. headline dates carrying him through the summer and into October, fleshing out a 2026 itinerary that already includes the sold-out back half of his Antone’s residency in Austin plus festival stops at Newport Jazz, Bourbon & Beyond, and Eric Clapton’s Crossroads.

The extension grew out of a string of shows that reconnected Clark to the blues that first inspired him. In February he played back-to-back nights at Buddy Guy’s Legends in Chicago, where Guy himself joined him onstage. Last month he kicked off an eight-show residency at Antone’s, the iconic Austin club where he got his start at 15 and which he now co-owns as a partner. That love of the form runs all through this run.

To ring in the tour, Clark has one more trick up his sleeve. Tuesday night he plays New York City’s 250-cap Mercury Lounge before a string of previously announced dates. Then on June 4-5 he joins Bruce Springsteen for Music America: The Songs That Shaped Us, a multi-act event celebrating America’s 250th birthday at the OceanFirst Bank Center on the campus of the new Bruce Springsteen Center for American Music.

The new shows pick up August 27 in Dallas, just ahead of his August 29 set at the Buddy Guy Blues Festival in The Woodlands. From there Clark hits New Orleans, Atlanta, Chicago, Detroit, Denver, Seattle, Los Angeles, and many more. Landing mid-stretch is Clapton’s Crossroads Guitar Festival on September 26-27, held this year in Austin, Clark’s hometown and the place that first put him on the map.

Clark plans to premiere new material on the road and release fresh tracks soon, music that reflects his push to bring earthy swagger back into the form. The work continues his evolution of heavy blues and soul into a modern, guitar-driven sound with real power and panache. His reach has grown well beyond the stage too, from playing blues legend Arthur “Big Boy” Crudup in Baz Luhrmann’s ‘Elvis’ to serving as music director for Jon Stewart’s Mark Twain Prize ceremony at the Kennedy Center, where he performed with Springsteen.

Presales start Tuesday, June 2, ahead of the general sale on Friday, June 5 at 10 am local time.

Gary Clark Jr. 2026 Tour Dates:

June 02, New York, NY, Mercury Lounge

June 03, Huntington, NY, The Paramount

June 06, Vienna, VA, Wolf Trap – Filene Center

June 08, Red Bank, NJ, Count Basie Center for the Arts

June 10, Portland, ME, State Theatre

June 11, Wilkes-Barre, PA, The F.M. Kirby Center for the Performing Arts

June 12, Port Chester, NY, The Capitol Theatre

June 13, Syracuse, NY, New York State Blues Festival 2026

June 18, Austin, TX, Antone’s

June 25, Austin, TX, Antone’s

July 02, Austin, TX, Antone’s

July 09, Austin, TX, Antone’s

July 17, Beech Mountain, NC, Beech Mountain Resort Summer Music Series

Aug 01, Newport, RI, Newport Jazz Festival

Aug 27, Dallas, TX, Majestic Theatre

Aug 28, San Antonio, TX, The Aztec Theatre

Aug 29, The Woodlands, TX, Buddy Guy Blues Festival

Aug 30, New Orleans, LA, Orpheum Theater

Sept 01, Atlanta, GA, The Eastern

Sept 02, Greenville, SC, Peace Center – Peace Concert Hall

Sept 03, Durham, NC, Durham Performing Arts Center

Sept 05, Selbyville, DE, Freeman Arts Pavilion

Sept 08, Glenside, PA, Keswick Theatre

Sept 10, Boston, MA, Paradise Rock Club

Sept 12, New York, NY, Beacon Theatre

Sept 14, Northfield, OH, MGM Northfield Park – Center Stage

Sept 16, Detroit, MI, The Fillmore Detroit

Sept 17, Chicago, IL, The Chicago Theatre

Sept 19, St. Paul, MN, Fitzgerald Theater

Sept 21, Des Moines, IA, Val Air Ballroom

Sept 22, Madison, WI, The Sylvee

Sept 24, Louisville, KY, Bourbon & Beyond

Sept 26, Austin, TX, Crossroads Guitar Festival

Sept 27, Austin, TX, Crossroads Guitar Festival

Oct 13, Denver, CO, Paramount Theatre

Oct 14, Salt Lake City, UT, Eccles Theater

Oct 16, Seattle, WA, 5th Avenue Theater

Oct 17, Spokane, WA, Knitting Factory Spokane

Oct 20, Portland, OR, Revolution Hall

Oct 22, Sacramento, CA, Channel 24

Oct 23, Oakland, CA, Fox Theater

Oct 24, San Luis Obispo, CA, Fremont Theater

Oct 26, Los Angeles, CA, The Orpheum Theatre

Oct 27, San Diego, CA, Humphreys Concerts by the Bay

Oct 28, San Diego, CA, Humphreys Concerts by the Bay

Video: Alice Cooper Brings the Guillotine to Wacken Open Air In 2013

Music

Eric Alper

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Jun 1, 2026

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Video: Alice Cooper Brings the Guillotine to Wacken Open Air In 2013

Alice Cooper turned the world’s largest metal festival into his own horror theatre. The shock-rock pioneer played Wacken Open Air in Germany on August 2, 2013, delivering a spectacular main-stage show drawn from a career that stretches back to the 1960s and broke wide open with 1972’s “School’s Out.” The sound leaned on the gritty guitars of Nita Strauss and Ryan Roxie, Glen Sobel’s forceful drumming, and Cooper’s theatrical vocals, fusing hard rock with horror-movie atmosphere. Props did the rest, as he wielded a guillotine, a snake, and a parade of costumes to amplify his commanding presence. Part of his Raise the Dead tour, the set celebrated a revival of his classic sound, and the band played with a fierce energy that reaffirmed his legacy as rock’s great theatrical showman.