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Video: RY X Turned a Brazilian Desert Into a Cathedral With His Cercle Performance

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In July 2023, RY X stood in the middle of Lençóis Maranhenses National Park in Brazil, a vast desert landscape dotted with lagoons, and delivered a performance for Cercle that felt less like a concert and more like a meditation. Atmospheric indie-folk, electronica, and ambient textures merged into something genuinely transportive, with melancholic guitar, deep vocal lines, and subtle electronic layers building a soundscape that matched the landscape surrounding it. Live percussion and visual effects added dramatic depth, and his performance of “Howling” captured the particular magic RY X does better than almost anyone working in this space. The set drew from his 2022 album ‘Blood Moon’ alongside earlier material, including tracks from ‘Dawn,’ the 2016 album that first announced him as a singular voice. Cercle has built its reputation on pairing exceptional artists with extraordinary locations, and this one ranks among their finest recordings.

Paul McCartney and Ringo Starr Finally Record a Proper Duet With “Home to Us”

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Two Beatles. One song. First time ever. “Home to Us,” the new duet from Paul McCartney and Ringo Starr, is out now on MPL/Capitol, and the weight of what it represents is matched by the warmth of the track itself.

The song is the second single from McCartney’s forthcoming album ‘The Boys of Dungeon Lane,’ due May 29. It started simply enough: McCartney and producer Andrew Watt invited Starr to lay down a drum track. Then the scope expanded. Starr is the only guest drummer on the entire album, and “Home to Us” became something neither had done before in over five decades of working alongside each other.

McCartney wrote the song with Starr specifically in mind, drawing on their shared working-class Liverpool roots. Starr initially planned to contribute only a line or two. McCartney pushed for more. “I rang him and he said he thought I only wanted him to sing one or two lines,” McCartney recalled. “So we took my first line, Ringo’s second line, and then we had a duet. We’d never done that before.”

The emotional core of the track is rooted in place and memory. McCartney explains it directly: “In writing the song I’m talking about where we came from. In common with a lot of people, you come from nothing and you build yourself up. Ringo was from the Dingle, and that was well hard. He said he used to get mugged coming home, because he worked. Even though it was crazy, it was home to us.”

Backing vocals come from Chrissie Hynde and Sharleen Spiteri, both friends of McCartney who stepped in after he felt the track needed female voices. The result is a song with real texture and genuine emotional depth, built around alternating verses and a shared chorus that sounds completely natural.

‘The Boys of Dungeon Lane’ is framed as an autobiographical survey of McCartney’s post-war Liverpool childhood. He plays most instruments on the record, echoing his 1970 solo debut ‘McCartney.’ The lead single, “Days We Left Behind,” arrived in March. The full album arrives May 29.

“Home to Us” is the first original vocal duet McCartney and Starr have ever recorded. Their previous collaboration, the 2023 Beatles track “Now and Then,” was built around a John Lennon vocal originally recorded in 1994 and restored using AI technology introduced to them by director Peter Jackson. That was billed as the final Beatles song. This is something different: Two surviving friends from Liverpool, singing together, for the first time.

Beastie Boys’ Mike D Ends a 15-Year Silence With Debut Solo Single “Switch Up”

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Fifteen years is a long time to wait. “Switch Up,” the debut solo single from Mike D, is out now, and it marks the first new music from any member of the Beastie Boys since ‘Hot Sauce Committee Part Two’ in 2011.

The track started in Mike D’s home studio during sessions with his sons, Davis and Skyler Diamond, who record and perform together as the indie-dance duo Very Nice Person. What began as a family experiment became something worth releasing. The single was co-produced by Very Nice Person and Carter Lang, mixed by Derek “MixedByAli” Ali at No Name Studios, with artwork by San Francisco-based artist Thad Higa.

“Switch Up” premiered live on May 7 at Mike D’s sold-out show at Plaza Nightclub & Dance Hall in Los Angeles, dropping while he was still on stage. That kind of release is a statement in itself. The track carries drum ‘n’ bass influence, a melodic bassline, synth textures, guitar, and strings that arrive with real emotional weight toward the end.

The Plaza show is part of a series of deliberately intimate, unconventional performances Mike D has been staging. Previous stops included Brothers Marshall Surf Shop in Malibu and The Ojai Valley Women’s Club. Upcoming dates include Sid the Cat Auditorium in South Pasadena on May 10, and two nights at Xanadu Roller Arts in Brooklyn on May 22 and 23.

The road back to this moment has been gradual. In April, the Diamond brothers brought their father on stage for a surprise show, where he performed Beastie Boys cuts including “Looking Down the Barrel of a Gun” and “So What’cha Want.” The response made clear the appetite for new music was very much alive.

Since the death of Adam “MCA” Yauch in 2012, the Beastie Boys’ legacy has been maintained through vinyl reissues, a greatest hits album, a Spike Jonze-directed documentary, and an official New York square at the corner of Ludlow and Rivington, the site of the Paul’s Boutique cover shoot. In March, Mike D and Ad Rock released a deluxe reissue of ‘To the 5 Boroughs’ as a triple-vinyl and double-CD set with 11 bonus tracks.

“Switch Up” is a solo debut that carries real history behind it, and it holds up on its own terms. Whether it signals a larger project remains to be seen, but as a first move, it lands exactly right.

Upcoming Tour Dates:

May 10 – South Pasadena, CA – Sid the Cat Auditorium

May 22 – Brooklyn, NY – Xanadu Roller Arts

May 23 – Brooklyn, NY – Xanadu Roller Arts

Josh Groban’s ‘Cinematic’ Arrives With Jennifer Hudson, a Hollywood Star, and Arena Tour

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Josh Groban has been building toward ‘Cinematic’ for a long time, and the album lands today via Reprise Records with the full weight of that anticipation behind it. Ten tracks. Ten film songs. One of the most carefully assembled vocal projects of his career. Listen here.

Produced by Greg Wells, whose credits include Wicked, The Greatest Showman, Adele, and Taylor Swift, ‘Cinematic’ was recorded in both Los Angeles and London. The source material runs deep: The Godfather, Casablanca, The Lion King, Ghost, Coco, Pinocchio, and more. Groban didn’t just cover these songs. He found new emotional territory inside them.

Standout moments are plentiful. “Unchained Melody” becomes a duet with Jennifer Hudson. “Moon River” features Josh’s father, Jack Groban, on trumpet. “Can You Feel the Love Tonight” is performed with the Gay Men’s Chorus of Los Angeles. A Sicilian-language rendition of “Brucia La Terra” from The Godfather is exactly as stunning as it sounds.

Groban speaks to the intention behind the project directly. “Each one represents a moment in film that has resonated across generations,” he says, “and I approached them with a deep respect for their original impact. At the same time, I wanted to find new emotional colors within them.”

Earlier this week, Groban received his star on the Hollywood Walk of Fame, a milestone that arrives at a fitting moment. He performs “Skyfall” on Good Morning America this Monday, May 11, appears on Late Night with Seth Meyers on Tuesday, May 12, and performs “Stand By Me” on The Kelly Clarkson Show on Thursday, May 14. His Q with Tom Power interview is out today.

This follows the completion of his GEMS World Tour, which covered Hawaii, Taiwan, Singapore, Indonesia, the Philippines, Japan, New Zealand, Australia, Ireland, the United Kingdom, France, Germany, and the Netherlands. The road doesn’t stop there.

In June, Groban heads out across North America with special guest Jennifer Hudson, opening in Montreal on June 2 and Toronto on June 4, then moving through Boston, Philadelphia, New York, Nashville, Atlanta, Tampa, and beyond through July 3 in Salt Lake City. This fall, he returns to The Colosseum at Caesars Palace for GEMS The Las Vegas Residency.

Off stage, Groban’s Find Your Light Foundation awarded over $1.5M to 257 nonprofit organizations in 40 states in its most recent grant cycle, reaching over 600,000 K-12 students. Since launching 20 years ago, the foundation has donated over $7.5M to arts education organizations across the U.S.

‘Cinematic’ Tracklist:

  1. As Time Goes By (Casablanca)
  2. Skyfall (James Bond’s Skyfall)
  3. Brucia La Terra (The Godfather)
  4. Can You Feel The Love Tonight (The Lion King) featuring the Gay Men’s Chorus of Los Angeles
  5. When You Wish Upon A Star (Pinocchio)
  6. Unchained Melody (Ghost) with Jennifer Hudson
  7. Remember Me (Coco)
  8. Moon River (Breakfast at Tiffany’s) featuring Jack Groban
  9. Against All Odds (Against All Odds)
  10. Stand By Me (Stand By Me)

North American Tour with Special Guest Jennifer Hudson:

June 2 – Montreal, QC – Place Bell

June 4 – Toronto, ON – Scotiabank Arena

June 6 – Boston, MA – TD Garden

June 7 – Philadelphia, PA – Xfinity Mobile Arena

June 10 – Hershey, PA – Giant Center

June 12 – New York, NY – Madison Square Garden

June 16 – Nashville, TN – Bridgestone Arena

June 17 – Atlanta, GA – Gas South Arena

June 19 – Tampa, FL – Benchmark International Arena

June 20 – Hollywood, FL – Hard Rock Live at Seminole Hard Rock Hotel & Casino Hollywood

June 24 – Columbus, OH – Schottenstein Center

June 25 – Detroit, MI – Little Caesars Arena

June 27 – Chicago, IL – Allstate Arena

June 28 – St Paul, MN – Grand Casino Arena

July 1 – Denver, CO – Ball Arena

July 3 – Salt Lake City, UT – Maverik Center

Josh Groban: GEMS The Las Vegas Residency:

October 2 – Las Vegas, NV – The Colosseum at Caesars Palace

October 3 – Las Vegas, NV – The Colosseum at Caesars Palace

October 7 – Las Vegas, NV – The Colosseum at Caesars Palace

October 9 – Las Vegas, NV – The Colosseum at Caesars Palace

October 10 – Las Vegas, NV – The Colosseum at Caesars Palace

Margaret Cho and Jane Wiedlin Team Up for the Gloriously Unfiltered “Yer Dihh”

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Margaret Cho and Jane Wiedlin didn’t ease into 2026. They recorded “Yer Dihh” on New Year’s Day in San Francisco, and the result is exactly as bold, unfiltered, and unapologetic as that origin story suggests. The track is out now, and it’s making itself known.

Written by Margaret Cho, Jane Wiedlin, and Travis Kasperbauer, with music by Wiedlin and Kasperbauer, “Yer Dihh” is a pulsating, sex-positive banger built for clubs and cranked speakers. It was produced by Wiedlin and Kasperbauer at Lucky Recording Company, and it features both artists on vocals in full, committed form.

Cho doesn’t mince words about what the collaboration means to her. “The Go-Go’s was my very first concert and I lived my childhood dream of getting to collaborate with Jane Wiedlin on this amazing song,” she says. “It’s a banger and I’m so excited for everyone to bang to it.”

Wiedlin, a songwriter with decades of landmark pop history behind her, came into this one with her eyes wide open. “In all my years of being a songwriter, I did NOT see this coming,” she says. “It was 100% fun from start to finish. In these repressed and bigoted times, I’m so glad to support Margaret with a silly, hot, and sex-positive song.”

The video matches the track’s energy without blinking. Uncut and raw, it features an ensemble of comedy and drag superstars including Alaska Thunderfuck, Guy Branum, Dylan Adler, Sherry Vine, Dina Martina, Sam Oh, Rachel Scanlon, Scott Silverman, Kenny Hash, Roz Hernandez, Solomon Giorgio, Daniel Webb, Zach Noe Towers, Dana Goldberg, and Matteo Lane. It’s a full-on celebration and a deliberate statement.

“Yer Dihh” is the kind of track that reminds you what fearless pop collaboration sounds like, two artists fully in on the joke and fully committed to the groove. It demands to be played loud.

Diamond Cafe Turns Unspoken Longing Into Something Electric With “If Only”

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Some songs live in the space between feeling and action. “If Only,” the new single from Diamond Cafe, goes straight there and doesn’t look back. Out now via Warner Music Canada, the track is written and produced entirely by Diamond Cafe himself, and it marks a distinct shift into darker sonic territory.

Heavy bass, a driving guitar line, and Diamond’s powerful vocals build tension from the first bar. The arrangement is tense and deliberate, pulling the listener into a moment of suspended emotion. He sings, “If only tonight was the night I could tell you, of all of the risk I would take,” and the line lands exactly as it should.

Diamond describes the creative core plainly: “‘If Only’ pulls from the texts I never sent. It lives in that space between what you feel and what you’re too afraid to say out loud. It’s everything I wish I said… just too late to matter.”

“If Only” follows “No Wonder,” released earlier this year, and continues a run of momentum that accelerated hard through 2025. That year saw Diamond Cafe handpicked by Teddy Swims as direct support for his North American arena tour, bringing his performance to tens of thousands of new listeners across the continent.

Beyond the arena run, Diamond sold out headlining shows in Los Angeles, Brooklyn, Toronto, Chicago, and Paris, twice, within the same calendar year. Those aren’t numbers you accumulate by accident. They reflect an artist whose live show has become a genuine event.

Tastemaker platforms took notice early. Appearances on On The Radar and Cadillac Chronicles helped establish Diamond as a name worth watching well before the mainstream caught up. Pitchfork dubbed him a “pop-funk prodigy.” RANGE Magazine called him “Canada’s next sparkling, 24-carat superstar.” Supporters include Anderson .Paak, Zack Fox, F1 driver Lewis Hamilton, PNAU, and the legendary El DeBarge, who joined Diamond on stage for a surprise duet at his sold-out LA debut.

His creative résumé runs deep. Collaborations with Free Nationals, SG Lewis, Jenevieve, and Bones. Production credits alongside BNYX on Zack Fox’s wood tip EP. Featured appearances on Gashi’s album ‘1984’ and the Cool Kids’ album ‘BABY OIL STAIRCASE / CHILLOUT’. Sync placements in HBO’s Ballers, Netflix’s The Lake, and Prime Video’s Flinch round out a profile that crosses every lane.

Now signed to Warner Music Canada and with new music building, “If Only” is another sharp, emotionally precise entry from one of the most compelling artists working right now.

Protected: When Roof Repairs Are Enough and When a Full Roofing Solution Becomes Necessary

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11 Albums That Could Be Movie Soundtracks

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Cinema and music have always shared the same grammar. Tension, release, character, atmosphere, narrative arc. The best film scores don’t just accompany images, they generate them. And occasionally, a record arrives that does this without a single frame of footage attached. These 11 albums think in scenes. They have acts. They have protagonists. A good director would know exactly what to do with any one of them.

‘The Dark Side of the Moon’ — Pink Floyd (1973)

The Wizard of Oz sync has been documented and debated for decades, and the fact that it holds up at all is the point. This is an album structured around anxiety, mortality, and the passage of time, precisely the architecture of a great dystopian sci-fi film. Stanley Kubrick would have understood it immediately.

‘The Rise and Fall of Ziggy Stardust’ — David Bowie (1972)

The concept is already written. An alien messiah descends to Earth as a rock star, gets consumed by the very audience that worships him, and disintegrates. The character arc is complete, the themes are rich, and the music is extraordinary. This film should have existed 40 years ago.

‘Dummy’ — Portishead (1994)

Every track on this record establishes location, mood, and emotional stakes within the first 30 seconds. That’s a screenwriting skill. The trip-hop production and Beth Gibbons’ voice build a 90s European noir world so completely that the screenplay practically writes itself. Carol Reed would have loved it.

‘To Pimp a Butterfly’ — Kendrick Lamar (2015)

This album has a three-act structure, a recurring narrator, thematic motifs that develop across the runtime, and a final scene where Kendrick interviews Tupac from beyond the grave. The spoken word passages function as voiceover. The whole record is a film that happens to be music.

‘Hounds of Love’ — Kate Bush (1985)

Side two, “The Ninth Wave,” follows a consciousness drifting between life and drowning. It’s nine minutes of the most precisely constructed surrealist filmmaking never committed to celluloid. Agnès Varda could have made something extraordinary with this material. Someone still could.

‘Random Access Memories’ — Daft Punk (2013)

This record understands production the way a cinematographer understands light. Every texture, every transition, every guest appearance is a deliberate compositional choice. The Giorgio Moroder monologue alone functions as a film prologue. Put this behind a futuristic romance and you’d have something close to perfect.

‘Blood on the Tracks’ — Bob Dylan (1975)

Dylan once said this album was inspired by Chekhov, and you can hear it. The characters are specific, the situations are vivid, and the emotional register shifts from track to track the way a great script moves between scenes. John Cassavetes could have done something devastating with this record.

‘If I Can’t Have Love, I Want Power’ — Halsey (2021)

Halsey released a 45-minute feature film alongside this album, which confirms the instinct. The industrial production and gothic atmosphere build a fully immersive dark fantasy world. Trent Reznor and Atticus Ross produced it, two people who already know exactly how to score a film.

‘Robbie Robertson’ — Robbie Robertson (1987)

Daniel Lanois produced this record, and his fingerprints are all over it, that particular quality of sound that feels like a place rather than a performance. Southern Gothic, atmospheric, and slightly out of time. This album is the score to a neo-noir film that nobody ever made, and that’s a genuine loss.

‘Viva la Vida’ — Coldplay (2008)

Brian Eno’s production gives this record an orchestral sweep that most film composers spend entire careers chasing. The title track sounds like the fall of an empire from the inside. As a historical drama or fantasy epic, this album would be doing half the director’s work for them.

‘The Black Parade’ — My Chemical Romance (2006)

A dying patient moves through death and whatever follows. The narrative is structured, the emotional arc is complete, and the music moves between operatic bombast and genuine tenderness with real dramatic control. This is a fully realized musical drama. The stage adaptation is overdue, let alone the film.

Everything You Need to Know About Growing Your Music on TikTok Right Now

Let’s talk about TikTok. Not the dance trends, not the viral moments, not the algorithm horror stories. Let’s talk about what TikTok actually is for musicians right now, which is the single most powerful organic discovery tool that’s ever existed in the history of recorded music. That’s not hyperbole. That’s just where we are.

The music industry spent decades building walls between artists and audiences. Radio gatekeepers, label budgets, playlist algorithms controlled by a handful of people in corner offices. TikTok knocked all of that down. A 19-year-old bedroom producer in Saskatoon now has the same shot at reaching 10 million people as a major label artist with a seven-figure marketing budget. That’s genuinely exciting, and if you’re an artist who hasn’t fully committed to the platform yet, here’s why you should.

The first thing you need to understand is that TikTok isn’t a music streaming platform. It’s a content platform where music lives. That distinction matters more than anything else in this conversation. People don’t come to TikTok to listen to your album. They come to be entertained, surprised, moved, and delighted. Your job is to make content that does one of those things, and then let the music do the rest.

Don’t think about going viral. Seriously, don’t. Chasing virality is the fastest way to make content that feels hollow and performs accordingly. Instead, think about consistency. The artists who build real audiences on TikTok are the ones who show up regularly, who document their process, who let people into the room where the music gets made. That access is what builds loyalty, and loyalty is what converts casual viewers into fans who’ll actually buy a ticket or stream an album on repeat.

Here’s what actually works. Post the moment a song comes together. That 30-second clip where the hook locks in and you can hear it in your own face, that’s gold. Post the mistakes. Post the version that didn’t work before you found the one that did. Post yourself reacting to the song three months after you wrote it. Post the story behind the lyrics. TikTok audiences are hungry for authenticity, and musicians have an almost unlimited supply of it if they’re willing to share it.

Your hook needs to happen in the first two to three seconds. Not the first 10, not the first 30. Two to three seconds. If your video doesn’t grab attention immediately, TikTok’s algorithm won’t give it a second chance, and neither will the person watching. This isn’t cynical, it’s just the nature of the format. Think of it like radio. You had about that long to grab someone before they changed the station. Same principle, smaller screen.

Sound quality matters more than video quality. This surprises people, but it’s consistently true. A slightly grainy, handheld video with great audio will outperform a beautifully lit, professionally shot clip with muddy sound every single time. You’re a musician. Your audio is your strongest asset. Use it.

Use TikTok’s native tools. Duets, stitches, trending sounds used creatively rather than literally. These aren’t gimmicks, they’re features the algorithm actively rewards. When you engage with other creators’ content through duets and stitches, you’re borrowing their audience for a moment. Do that thoughtfully and consistently and you’ll find your own audience growing in ways that feel organic rather than manufactured.

Don’t ignore the comments. This sounds obvious but it’s where most artists drop the ball. Your comments section is a direct line to the people who are responding to your music in real time. Reply to them. Make videos responding to specific comments. The algorithm loves this kind of engagement and your audience loves feeling seen. Both of those things matter enormously.

Cross-promotion is your friend, but don’t just dump your TikTok content on Instagram and call it a strategy. Tailor your content for each platform. What works on TikTok often needs to be reformatted for Reels, and what works on Reels doesn’t always translate back. Think of each platform as its own ecosystem with its own culture. Respect that and it’ll respect you back.

Posting time matters less than posting consistency, but if you’re looking for a starting point, early mornings and early evenings in your target time zone tend to perform well. Aim for at least three to five posts a week when you’re building momentum. It sounds like a lot, but once you start thinking of your creative process as content, you’ll find the material is already there. You just need to start capturing it.

Finally, and this is the most important thing, don’t wait until your music is finished to start showing up. The journey is the content. The rough demo, the lyric that isn’t working yet, the moment you figure out the bridge, all of it is worth sharing. TikTok rewards creators who bring their audience along for the ride. Musicians who do this well don’t just gain followers. They build communities, and communities are what sustain a career long after any single viral moment has faded.

Your music deserves to be heard. TikTok is one of the best tools ever built for making that happen. Now go use it.