Live Nation presents Ken Carson’s “WTF EU&UK Tour” for March 2026, bringing the Atlanta rap innovator’s high-voltage live show to major UK arenas. Fresh off his first Billboard 200 #1 album, ‘More Chaos’, Carson continues a breakout run that has reshaped the sound and style of modern hip-hop.
Ken Carson WTF 2026 EU&UK Tour Dates:
Mar 15 – Manchester, UK @ AO Arena
Mar 16 – London, UK @ OVO Arena Wembley
Rising country artist and actor Jet Jurgensmeyer returns with “Nothing On You,” a smooth, heartfelt track that captures the rush of falling for someone who eclipses everything else. Co-written with Grant Bias and Hannah Dorothy Bristow, the song blends modern country polish with classic slow-dance romance, the kind that feels built for neon lights and worn wooden floors.
“I really wanted a song that would paint a beautiful picture of a love story,” Jurgensmeyer shares. “When Bias, Hannah, and I sat down to write together, I had this melody stuck in my head. I imagined it as a song that felt like two-stepping with someone in a Texas bar. The words naturally fell onto the page, and now we have a song that I absolutely love!” That vision comes through in every chorus.
Recorded at Farmland Studio in Berry Hill and co-produced by Jurgensmeyer and Dan Frizsell, the track highlights his continued growth as both writer and performer. Warm instrumentation keeps things intimate, while the hook lands with radio-ready confidence.
“Nothing On You” follows the breakout success of “Red,” which has surpassed a million streams and carried a unifying message that resonated widely. Its official video, filmed at Galloway Farms and directed by the Riker Brothers, leaned into sweeping rural visuals and American symbolism. With his 2024 album ‘The Ride: Phase 2’ already expanding his range, Jurgensmeyer continues to balance music and acting with steady momentum.
Mt. Joy are stretching their victory lap into 2026. Following the breakout success of ‘Hope We Have Fun,’ the band has announced a major expansion of their North American tour, marking their tenth anniversary with some of the biggest headline shows of their career. The new run includes a return to Madison Square Garden, two nights at Red Rocks Amphitheatre, and a milestone stop at TD Garden.
The band’s 2025 run set the tone, moving nearly 200,000 tickets nationwide and selling out venues like The Greek Theatre and the United Center. The album landed in the Top 10 on Spotify’s U.S. Album Chart, while tracks including “Highway Queen (feat. Maren Morris)” and “She Wants to Go Dancing” broke into AAA Radio’s Top 10. Their blend of anthemic folk-rock and open-hearted storytelling continues to resonate at scale.
The newly announced dates, billed as Mt. Joy: Celebrating 10 Years of Mt. Joy, begin this spring and stretch into a packed summer and fall schedule. Highlights include Morrison’s Red Rocks Amphitheatre, Los Angeles’ The Greek Theatre, Chicago’s Huntington Bank Pavilion at Northerly Island, and a massive September return to Madison Square Garden, followed by TD Garden and Merriweather Post Pavilion.
Accessibility and impact remain central. One dollar from every ticket sold will be donated to charity, with the 2026 beneficiary to be announced. Since 2022, the band has raised more than $700,000 for organizations including the ACLU, Family Reach, and the American Brain Tumor Association. Their stripped-back version of “Lucy” alone raised $23,437, reinforcing that for Mt. Joy, community extends well beyond the stage.
Mt. Joy 2026 Hope We Have Fun Tour: Part II Dates:
Apr 9 – Hollywood, FL @ Hard Rock Live Hollywood
Apr 11 – St. Augustine, FL @ St. Augustine Amphitheatre
Apr 14 – Birmingham, AL @ Coca-Cola Amp
Apr 16 – Wilmington, NC @ Live Oak Bank Pavilion
Apr 17 – Charlotte, NC @ PNC Music Pavilion
Apr 18 – Atlanta, GA @ Synovus Bank Amphitheater at Chastain Park
Apr 21 – Kansas City, MO @ Starlight Theatre
Apr 23 – New Orleans, LA @ Champions Square
Apr 24 – Dallas, TX @ Longhorn Backyard Amphitheater
Apr 25 – Austin, TX @ Moody Center
June 4 – Essex Junction, VT @ Midway Lawn at Champlain Valley Expo
June 5 – Cleveland, OH @ Jacobs Pavilion
June 6 – Lexington, KY @ Railbird Festival
June 9 – Sterling Heights, MI @ Michigan Lottery Amphitheatre at Freedom Hill
June 10 – Pittsburgh, PA @ Stage AE
June 12 – Manchester, TN @ Bonnaroo
June 13 – Charleston, SC @ Credit One Stadium
Aug 13 – Morrison, CO @ Red Rocks Amphitheatre
Aug 14 – Morrison, CO @ Red Rocks Amphitheatre
Aug 15 – Greenwood Village, CO @ Fiddler’s Green Amphitheatre
Aug 18 – San Diego, CA @ The Rady Shell at Jacobs Park
Aug 20 – Los Angeles, CA @ The Greek Theatre
Aug 21 – Los Angeles, CA @ The Greek Theatre
Aug 22 – Phoenix, AZ @ Arizona Financial Theatre
Aug 25 – Ogden, UT @ Ogden Twilight Concert Series
Aug 26 – Bonner, MT @ KettleHouse Amphitheater
Aug 29 – Bend, OR @ Hayden Homes Amphitheater
Sept 11 – Ottawa, ON @ Hard Rock Casino Ottawa
Sept 12 – Toronto, ON @ RBC Amphitheatre
Sept 17 – New York, NY @ Madison Square Garden
Sept 18 – Columbia, MD @ Merriweather Post Pavilion
Sept 19 – Boston, MA @ TD Garden
Sept 22 – New Haven, CT @ Westville Music Bowl
Sept 25 – Camden, NJ @ Freedom Mortgage Pavilion
Sept 29 – Richmond, VA @ Allianz Amphitheater at Riverfront
Oct 3 – Chicago, IL @ Huntington Bank Pavilion at Northerly Island
Atlanta blues guitarist, vocalist, and songwriter Tinsley Ellis announces his new album ‘Labor Of Love,’ arriving January 30. The self-produced project marks his second acoustic release following ‘Naked Truth’ and his first to feature all original material. The record will be available on CD, Georgia peach-colored vinyl, and digital platforms. Ellis also unveils the first single, “Hoodoo Woman,” alongside a striking video directed by filmmaker Troy Bieser.
“Hoodoo Woman” channels the spirit of Mississippi Hill Country blues. “It’s inspired by R.L. Burnside,” Ellis explains. “I did shows with R.L. here and in Europe, and his music became ingrained in my soul.” The track opens the album with grit and drive, setting the tone for a collection steeped in tradition yet rooted firmly in the present.
Across 13 original songs, Ellis explores floods, fire, voodoo spirits, heartbreak, and redemption. From the John Lee Hooker-style groove of “Long Time” to the Skip James-inspired “To A Hammer” and the Son House stomp of “Sunnyland,” the album reflects decades of hard-won experience. A visit to Bentonia, Mississippi, where he spent time with blues master Jimmy “Duck” Holmes at the Blue Front Café, further shaped the sound.
Ellis recorded the album using six open tunings across his 1969 Martin D-35, 12-string Martin D-12-20, and 1937 National Steel O Series guitars. He also plays mandolin on three tracks for the first time in his career. After years touring with a band, Ellis has embraced solo acoustic performances on his “Two Guitars And A Car” tour, returning to the raw foundation of the blues. For him, the title says it all.
Fifteen years in, Los Angeles alt-metal mainstays Volumes are still evolving. The quartet — Michael Barr, Raad Soudani, Myke Terry, and Nick Ursich — announce their fifth album, ‘Mirror Touch,’ arriving digitally on December 12 via Fearless Records, with physical editions following February 27. It marks another chapter for a band that has pushed through lineup shifts, industry swings, and personal battles while keeping a loyal audience close.
Today, the band unveil the video for “Bad Habit,” a track that swerves sharply from expectations. While the guitars retain their familiar heft, Volumes lean into melody and synth textures, trading their usual barrage of screams for fully clean verses and choruses. The result is an alt-metal cut that feels expansive and vulnerable without losing weight.
“‘Bad Habit’ is a song about identifying that habits that are deemed bad for you or unhealthy are sometimes the only thing getting you through life,” shares Barr. “Is there a balance that can be achieved? Typically, no.” The honesty hits hard, wrapped in hooks that linger long after the final chorus.
Across a decade and a half, Volumes have amassed more than 167 million U.S. streams and built their reputation on polyrhythmic, prog-leaning heaviness fused with hardcore grit. From ‘Via’ to ‘Happier?,’ they have refined their attack while sharing stages with Ice Nine Kills, Born of Osiris, Dance Gavin Dance, and Counterparts. ‘Mirror Touch’ signals another leap forward.
‘Mirror Touch’ Track Listing:
“Sidewinder“
“Bottom Dollar”
“Bad Habit”
“California”
“Adrenaline”
“Stitch”
“S.O.A.P.“
“Dream”
“Worth It”
“Suffer On” (Feat. Black Sheep Wall)
London art-rock outfit KillerStar announce their second album ‘The Afterglow,’ arriving March 20 via High Wire Records. The band introduce the record with lead single “So Easy,” a glam-leaning rush that captures their knack for reshaping classic rock touchstones with a modern spark. After earning four-star praise for their debut, the band return with sharper focus and bigger ambition.
“So Easy” opens with a glittering guitar riff that feels lifted from a lost glam anthem, propelled by driving rhythms and layered with rich harmonies from The Webb Sisters. Just as the track settles into its swagger, Mike Garson’s piano redirects the mood into something more reflective. Earl Slick doubles guitars with Rob Fleming, while Mark Plati anchors the low end, bringing serious pedigree to the track.
Rob Fleming says, “We are excited to release So Easy, the first song from our upcoming second album. It’s an adventurous rock song, with hooks and twists and turns. Hopefully the joy and energy we had writing and playing it translates well to the listener.” Across ‘The Afterglow,’ KillerStar expand into progressive detours, arena-sized hooks, and psychedelic textures while keeping their musicianship front and center.
Produced by Fleming and James Sedge alongside Dave Eringa, the album was recorded in London, New York, and Los Angeles, with mastering by Joe La Porta and Miles Showell. The “So Easy” video, directed by JJ Eringa, reimagines a modern Bonnie and Clyde tale packed with subtle band references. KillerStar celebrate the release with two album launch shows at London’s 100 Club on March 6 and 7, continuing a run of sold-out performances at the iconic venue.
Perfection is tidy. Great records are not. Somewhere between the red light turning on and the final mix, someone swears, laughs, drops something, or shouts across the room. The tape keeps rolling. The producer shrugs. History is made. Here are ten gloriously human moments that slipped through the cracks and made the songs even better.
The Rolling Stones – “Gimme Shelter” – Mick Jagger’s “Woo!”
When Merry Clayton’s voice detonates mid-song, Mick Jagger lets out an astonished “Woo!” in the background. It is a spontaneous reaction to a take that scorched the room, and leaving it in makes the moment feel even more electric.
The Kingsmen – “Louie Louie” – The Dropped Drumstick
Around the 54-second mark, the drummer drops his stick and blurts out an expletive. The track went on to be investigated for hidden obscenity, yet the most obvious swear word was hiding in plain sight the whole time.
The Beatles – “Hey Jude” – The Missed Chord
Paul McCartney flubs a chord and mutters, “Fucking hell,” under his breath. It is mixed low, almost like a secret for headphone listeners, a tiny crack in an otherwise towering anthem.
Led Zeppelin – “Since I’ve Been Loving You” – The Squeaky Pedal
John Bonham’s bass drum pedal squeaks through the entire track. It should be distracting. Instead, it feels like the sound of hard blues being physically wrung out of the kit.
Neutral Milk Hotel – “Oh Comely” – The Shouted “Holy Shit!”
After an eight-minute emotional tightrope walk, someone in the room blurts out, “Holy shit!” The exclamation stays, turning a fragile performance into a shared, stunned victory.
The Who – “Happy Jack” – “I Saw You!”
At the end of the track, Pete Townshend shouts, “I saw you!” reportedly catching Keith Moon sneaking around during backing vocals. It is chaos, camaraderie, and classic Who mischief in one immortal yell.
R.E.M. – “The Sidewinder Sleeps Tonite” – Michael Stipe’s Laugh
Michael Stipe struggles to get through a line referencing Dr. Seuss and cracks up mid-chorus. The giggle remains, giving the single a burst of joy that no rewrite could manufacture.
Pearl Jam – “Rearviewmirror” – The Flying Drumsticks
At the end of the song, you can hear the clatter of drumsticks hitting something. Frustration, intensity, and release collide in real time, and the chaos is left intact.
The Beach Boys – “Barbara Ann” – The Cracking Up
You can hear the band laughing and barely holding it together as they sing. The looseness makes the track feel like you are in the room, not listening to a carefully assembled pop machine.
Pink Floyd – “Wish You Were Here” – The Throat Clear
Just before the first guitar line, there is a distinctly human throat clear and string noise. It is intimate, almost intrusive, and it makes the opening feel like someone stepping into the room with you.
Because sometimes the magic is not in the note that was meant to be played, but in the noise that was never meant to be heard.
Animated alt-rock innovators Gorillaz are finally heading to Studio 8H. The Damon Albarn-led virtual band will make their first-ever appearance on ‘Saturday Night Live’ on March 7, joining host Ryan Gosling for what promises to be one of the season’s most talked-about episodes.
The performance lands just days after the release of their ninth studio album, ‘The Mountain.’ True to form, the project includes an eclectic lineup of collaborators, with names like Sparks, Black Thought, Dennis Hopper, and IDLES attached to the record. Gorillaz have spent decades blending animation, genre fusion, and live spectacle, and their SNL debut marks a milestone moment for the band.
Gosling returns for his fourth time as host, following previous appearances in 2015, 2017, and 2024. He will be promoting his upcoming sci-fi film ‘Project Hail Mary,’ based on the Andy Weir novel, ahead of its theatrical release. His last hosting stint produced one of the show’s most viral sketches, and expectations are high for another memorable night.
‘Saturday Night Live’ will also feature first-time host Connor Storrie with musical guest Mumford & Sons on February 28, followed by a March 14 episode with host and musical guest still to be announced. As for March 7, the stage is set for cartoon icons, cinematic spectacle, and a long-awaited debut from one of Britain’s most inventive bands.
Timothy Very, longtime drummer for Atlanta indie-rock band Manchester Orchestra, has died at 42. The band confirmed his sudden passing in a statement shared on social media, describing him as “the most beloved human being any of us were lucky enough to know in this life.” No cause of death has been disclosed.
Very joined Manchester Orchestra in 2011 following the departure of drummer Jeremiah Edmond. Over the next 15 years, he became the band’s longest-serving drummer, contributing to albums including ‘Cope’ (2014), ‘A Black Mile to the Surface’ (2017), and ‘The Million Masks of God’ (2021), as well as 2023’s ‘The Valley of Vision’ EP. His steady, expressive playing became central to the band’s evolving sound.
“The entire Manchester Orchestra family has been devastated,” the band wrote. “Tim was instantly likable and interacted with everyone he met with kindness and warmth. His humor and energy were the very foundation that held together the entire MO universe.” They also reflected on his love for family, calling him “a more joyful dad” than most could imagine.
Born in Pensacola, Florida, Very began playing drums as a teenager and cited Dave Grohl as an early influence. He once described himself as a “songwriter’s drummer,” focused on serving the song rather than overpowering it. From touring internationally to helping shape some of the band’s most acclaimed releases, Timothy Very left a lasting mark on Manchester Orchestra and the wider rock community.
The 2026 Daytona 500 is already feeling the pressure, and the green flag has not even dropped. With rain in the forecast for Sunday afternoon and evening in Daytona Beach, NASCAR moved the start time up one hour in hopes of staying ahead of the weather. The Great American Race is now set to begin Sunday at 1:30 p.m. ET, with the green flag scheduled for approximately 2:13 p.m. ET on FOX.
According to FOX Weather, rain chances sit at 7 percent around 4 p.m. ET and increase to 12 percent by 7 p.m. ET. Thunderstorms are expected later in the evening. Highs are projected near 79 degrees with light winds, but as the FOX Forecast Center noted, the longer the race runs, the more the weather becomes a factor. Light to moderate rain could begin moving in around 6 p.m. ET, with possible lightning after 8 p.m.
Last year’s Daytona 500 was heavily impacted by rain, with two delays totaling more than three and a half hours before William Byron took the win. Weather has already played a role in the 2026 NASCAR season as well, with the Clash at Bowman Gray stretching over three and a half hours in wet and chaotic conditions.
With a stacked field led by pole sitter Kyle Busch and front-row starter Chase Briscoe, anticipation is high at Daytona International Speedway. NASCAR’s decision to adjust the start time could prove crucial in keeping the action on track and avoiding another marathon delay under Florida skies.
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Eric Alper is a 6-time nominee for Publicist of the Year during Canadian Music Week and has overseen the publicity campaigns for over 183 JUNO Award-nominated albums (and 16 in 2025), 45 Grammy-nominated albums, including 47 JUNO Award, 58 Canadian Folk Music Award, 126 Maple Blues Award-winning albums and is also truly honoured to work with some of the biggest and most important artists of our time.
Contact me: eric@thatericalper.com
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