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9 Musicians Who Turned Pain Into Art

It’s not necessarily true that you need to be sad to make great art — but it helps. Heartbreak, loss, and life’s messiest moments have inspired some of the most powerful music ever recorded. Here are nine artists who turned pain into something unforgettable.

Adele
When Adele sang “Someone Like You,” she didn’t just sing about heartbreak — she felt it. Her breakup with a long-term partner poured straight into ‘21,’ an album that defined modern soul-pop confessions and made everyone cry into their hairbrush.

Kurt Cobain
Cobain’s lyrics were therapy in distortion. Through Nirvana’s ‘In Utero,’ he turned confusion and vulnerability into explosive grunge poetry that spoke for a generation still figuring out how to feel.

Amy Winehouse
‘Back to Black’ was a diary set to Motown grooves. Winehouse transformed heartbreak into timeless soul, creating songs that still ache with honesty and unmatched vocal grit.

Johnny Cash
Cash’s late-career cover of “Hurt” became a masterclass in musical redemption. His trembling voice carried a lifetime of reflection and turned a Nine Inch Nails song into his own final confession.

Taylor Swift
Every era of Swift’s discography holds a new chapter of heartbreak turned art. ‘Red’ shimmered with nostalgia and pain, turning love’s chaos into poetic pop storytelling that resonated worldwide.

Lauryn Hill
‘The Miseducation of Lauryn Hill’ carried joy, betrayal, and rebirth all in one. Her music channeled emotional depth through gospel, hip-hop, and soul, setting a new gold standard for truth in R&B.

Billie Eilish
Billie’s whisper-soft delivery and dark pop production came from teenage isolation and anxiety turned creative spark. ‘When We All Fall Asleep, Where Do We Go?’ transformed introspection into stadium-sized emotion.

Bob Dylan
Dylan turned heartbreak into folk history. “Blood on the Tracks” was born from a disintegrating relationship, but it became a universal meditation on love, regret, and time’s strange mercy.

Mary J. Blige
‘My Life’ transformed struggle into strength. Blige turned her battles with addiction and heartbreak into soulful testimony, shaping R&B’s emotional blueprint for decades to come.

Pain doesn’t guarantee greatness, but when artists embrace it, they remind us how human we all are. Sometimes, the best melodies come from the messiest emotions — and that’s what makes music feel so alive.

Sam Fender Wins 2025 Mercury Prize for ‘People Watching’

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Sam Fender was announced tonight, Thursday 16th October, as the overall winner of the 2025 Mercury Prize for his album ‘People Watching’.

Broadcaster Lauren Laverne hosted the 2025 Mercury Prize ‘Albums of The Year’ ceremony live from Newcastle’s Utilita Arena, marking the first time the prestigious awards show has been held outside of London. A delighted Sam Fender received the trophy from Broadcaster & DJ Sian Eleri – presenting on behalf of the judging team – before performing the title track ‘People Watching’ from his winning album to a standing ovation.

The judging panel said: ‘This year proved that the album remains the format of choice for artists to best present a body of work. That, however, made our job as judges of the 2025 Mercury Prize for Album of the Year is more challenging than ever. All 12 records on the shortlist worked so well on their own terms, ranging from ancient ballads to futuristic electronics. After much discussion, however, we all decided on one album that stood out for its cohesion, character and ambition. It felt like a classic album, which will take pride of place in record collections for years to come. ‘People Watching’ by Sam Fender is both melody-rich and expansive, marrying heartland rock with the realities of everyday life and the importance of community. These are thoughtful songs with broad appeal, as cinematic as they are intimate, making ‘People Watching’ a worthy winner of the 2025 Mercury Prize for Album of the Year.

The Awards Show featured live performances from many of the twelve shortlisted artists, including Emma-Jean Thackray, FKA twigs, Jacob Alon, Joe Webb, Martin Carthy, Pa Salieu, Pulp, Sam Fender and Wolf Alice, who each played one track from their shortlisted album. The Prize’s broadcast partner BBC Music provided coverage of the event with Deb Grant and Nathan Shepherd broadcasting live from Newcastle on BBC Radio 6 Music and BBC Sounds, while BBC Four and BBC iPlayer showed the Awards Show from 9.30pm.

The move to Newcastle, in partnership with Newcastle City Council and The North East Combined Authority, signals a new dawn for the prestigious Prize, with the Awards Show proving to be another fantastic night celebrating the best British and Irish music of the year.

This year’s ceremony came at the end of an unprecedented week of celebrations in and around host city Newcastle. Powered by Generator – the North’s leading music development agency – the Mercury Prize Newcastle Fringe was a bold, region-wide celebration to bring the North East’s phenomenal music scene and iconic venues alive like never before. Running from Thursday 9th to Wednesday 15th October, the Mercury Fringe saw the region filled with live music, creative energy and new opportunities to not only showcase the North East’s incredible talent but to engage everyone; from local schools and music hubs to emerging artists, talent networks, established musicians, cultural organisations and music lovers eager to discover something new. Events included live gigs curated alongside local promoters, genre-spanning workshops and roundtables, a major industry conference, and intimate conversations with some of the UK’s most exciting and influential artists.

The Mercury Prize recognises the best new British & Irish music, celebrating artistic achievement across an eclectic range of contemporary music genres. As an independent arts prize, it champions the album format, acts as a snapshot of the year in music and often provides a major platform for up and coming artists and their musical work. The Prize has been an important milestone in many artists’ journeys, providing a stepping stone to wider success in the UK and Ireland as well as internationally.

Each year, the shortlist is curated by an independent judging panel of music industry professionals who are eternally passionate about spotlighting artistic achievement across a range of genres. The 2025 Mercury Prize judges are: Danielle Perry – Broadcaster (Absolute Radio/Jazz FM) & musician; Jamie Cullum – Musician & Radio 2 Broadcaster; Jamz Supernova – 6 Music Broadcaster and DJ; Jeff Smith – Head of Music, Radio 2 & Radio 6 Music; Lea Stonhill – Music Programming Consultant; Mistajam – Songwriter, DJ & Broadcaster; Phil Alexander – Creative Director, Kerrang!/Contributing Editor, Mojo; Sian Eleri – Radio 1 Broadcaster & DJ; Will Hodgkinson – Chief Rock & Pop Critic, The Times; Sophie Williams – Music Writer & Broadcaster. The Chair of the judging team is Jeff Smith.

The 2025 Mercury Prize 12 ‘Albums of the Year’ are:

CMAT ‘EURO-COUNTRY’
Emma-Jean Thackray ‘Weirdo’
FKA twigs ‘EUSEXUA’
Fontaines D.C. ‘Romance’
Jacob Alon ‘In Limerence’
Joe Webb ‘Hamstrings & Hurricanes’
Martin Carthy ‘Transform Me Then Into A Fish’
Pa Salieu ‘Afrikan Alien’
PinkPantheress ‘Fancy That’
Pulp ‘More’
Sam Fender ‘People Watching’
Wolf Alice ‘The Clearing’

Your Favorite Color Unveils Emotional New Single “Where Did It All Go Wrong”

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Following a breakout year of international touring and a string of compelling releases, indie alt-rock band Your Favorite Color returns with their most vulnerable single to date: “Where Did It All Go Wrong?”

Building on the momentum of the anthemic “Forever” and the cathartic, confessional “Less in Love,” Your Favorite Color continues to carve out their place in the modern alt-rock landscape – striking a chord with listeners drawn to unfiltered honesty and emotional depth.

Written during a period of emotional unraveling, the track captures the internal fallout of chasing dreams and losing yourself in the process. It began with a haunting instrumental and cinematic arrangement, which laid the groundwork for introspective melodies and confessional lyrics. Leaning into a heavier, more atmospheric sound than their previous releases, the production mirrors the weight of a story steeped in regret and confusion.

“This song is about battling identity, isolation, and emotional disconnection after moving to Los Angeles – the weight of regret and confusion that comes from setting out to transform, only to end up lost in the process,” shares the band.

With aching lyrics like “I’m afraid of losing you, of losing me” and “I’m not ashamed, but I wish I was,” the track leans into raw emotion and heavier textures – blending ambient alt-rock with moody, late-night introspection. It’s a sharp turn from the liberating anthems “Less in Love” and “Forever,” revealing a deeper layer of the band’s artistic identity.

The Cramps Return to Vinyl with Three Classic Psychobilly Reissues

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UMe will reissue three seminal albums from psychobilly pioneers The Crampson vinyl next Friday October 24, 2025. These pressings include brand new Standard Black Vinyl LP versions of Songs The Lord Taught Us, Psychedelic Jungle, and Bad Music For Bad People. Alternately, uDiscover Music will also exclusively feature limited-edition pressings of Bad Music For Bad People on a Glow-In-The-Dark LP and Psychedelic Jungle on a Fluorescent Green LP—each with a special art print.

The LPs are all now available to order via uDiscover Music HERE.

The Cramps initially materialized in the seventies with an uncanny and undeniable psychobilly seance of garage rock, gutter punk, voodoo blues, and dusty rockabilly steeped in trashy late-night horror imagery and sinisterly subversive fashion all their own. 

Their debut LP, Songs The Lord Taught Us, dropped in 1980 and effectively entrenched them at the forefront of the underground as a game-changing force. Indicative of its lasting imprint on punk music and culture, it has generated over 100 million streams and counting fueled by the likes of “Fever, “TV Set,and “Garbageman. Stereogum pegged the latter at #1 on its “The 10 Best Cramps Songs, proceeding to add, “Throughout their career, The Cramps stressed that rock ‘n’ roll was not simply a style of music, but a lifestyle. ‘Garbageman’ encapsulates the classic sex, drugs, and rock ‘n’ roll.Meanwhile, the signature “I Was A Teenage Werewolf” has gathered north of 24.9 million Spotify streams.

Songs The Lord Taught Us continues to receive unanimous retrospective praise as well. Pitchfork graded it 8.7, going on to profess It’s a perfect album for Halloween, but it’s true all year: You can gather up the detritus of this rotten culture and invert it, turn it into something that’s both endlessly familiar and terrifyingly new.” Classic Rock notably summed it up as “an astonishing calling card that’s as much a history lesson as it is an affirmation that rock’n’roll in its most elemental state remains unbeatably exciting.

Just a year later, the group really hit their stride on Psychedelic Jungle. Recorded at A&M in Hollywood and self-produced by the band, it first landed on record store shelves in May 1981. Beyond “Green Fuzz” and “Primitive, it housed their inescapable cover of “Goo Goo Muck”—originallyby Ronnie Cook and the Gaylads. 41 years since Psychedelic Jungle released, “Goo Goo Muck” appeared during a definitive sequence of Tim Burton’s NETFLIX series Wednesday in 2022. Giving title character Wednesday serious moves, Jenna Ortega choreographed and performed her own mega-viral dance routine to the tune, leading to a surge of activity on social media and resulting in 138 million Spotify streams on the track. Inciting tastemaker chatter, Variety noted, Ortega made The Cramps’menacing brand of rockabilly her own,” and Billboard christened it a “psychobilly classic.NYLON marveled at how, “she delivers an incredible dance scene to the groovy, psychobilly tune of The Cramps‘Goo Goo Muck’.”

Then, there’s Bad Music For Bad People. This compilation collates 11 key cuts from The Cramps on one body of work, serving as the perfect gateway into their world. It boasts “Goo Goo Muck, “Garbageman,” “TV Set,” “Uranium Rock,and “Human Fly.” 

As new generations of fans revel in the brilliantly crass catalog of The Cramps, these albums provide the ultimate soundtrack for Halloween.

SONGS THE LORD TAUGHT US TRACKLISTING:

Side One:

1.     TV Set

2.     Rock On The Moon

3.     Garbageman

4.     I Was A Teenage Werewolf

5.     Sunglasses After Dark

6.     The Mad Daddy

Side Two:

1.     Mystery Plane

2.     Zombie Dance

3.     What’s Behind The Mask

4.     Strychnine

5.     I’m Cramped

6.     Tear It Up

7.     Fever

PSYCHEDELIC JUNGLE TRACKLISTING:

Side One:

1.     Green Fuz 

2.     Goo Goo Muck

3.     Rockin’ Bones

4.     Voodoo Idol

5.     Primitive

6.     Caveman

7.     The Crusher

Side Two: 

1.     Don’t Eat Stuff Off The Sidewalk

2.     Can’t Find My Mind

3.     Jungle Hop

4.     The Natives Are Restless

5.     Under The Wires

6.     Beautiful Gardens

7.     Green Door

BAD MUSIC FOR BAD PEOPLE TRACKLISTING:

Side One:

1.        Garbageman

2.        New Kind Of Kick

3.        Love Me

4.        I Can’t Hardly Stand It

5.        She Said

Side Two:

1.        Goo Goo Muck

2.        Save It

3.        Human Fly

4.        Drug Train 

5.        TV Set

6.        Uranium Rock 

Thomas Rhett and Niall Horan Team Up for New Version of “Old Tricks”

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In a surprise collaboration that’s already turning heads across genres, Thomas Rhett and Niall Horan are teaming up for a second version of “Old Tricks.” Originally featured on ABOUT A WOMAN (Deluxe) with Blake Shelton, the new alternate pairing arose from Horan’s genuine affinity for the honky-tonk singalong, which led to a no-pressure, in-the-moment creative collaboration between friends that was quickly turned around for release. Their voices blend with effortless charm, adding new color to track where Thomas Rhett takes a “lighthearted look at aging, ego, and the cold, hard truth that time catches up with everyone” (Country Central).


“Niall and I have been buddies for six or seven years now—anytime I’m over in the UK or he’s in Nashville, we always try to link up. We’d talked about doing something together for a long time, but I never imagined it would be this song. I was at the Masters this year and went to hang out with Niall and Noah Kahan, and out of nowhere Niall goes, ‘I’m so mad you didn’t ask me to sing on “Old Tricks.”’ I said, ‘Man, you were the last person I would’ve thought would even like this one!’ He kept texting me about it after and he knew all the words,” Thomas Rhett says. “With how fired up he was and his connection with Blake, it felt like a full-circle moment and turned into something really fun. I’m pumped it’s finally out there and hope y’all love it as much as we loved making it.”

“I’ve known Thomas Rhett for years now, and every time we’re in the same city, we end up catching up like no time’s passed. I actually heard ‘Old Tricks’ by accident one day when I was in the studio with my friend and producer Julian Bunetta who was working on the song. It came on and I was instantly hooked. I told Thomas Rhett straight up I was gutted he didn’t ask me to jump on it. I just loved everything about it, it’s a proper country song. Next thing I know, I’m in the studio laying vocals down,” Horan comments. “It felt easy, natural, like it was always meant to happen. I’m buzzing for people to finally hear it.”

Out now, ABOUT A WOMAN (Deluxe) builds on what fans and critics alike have called Thomas Rhett’s “best work yet” (Country Living). Expanded to 25 tracks, the Deluxe edition adds nine new songs that spotlight his ever-evolving artistry. From the romantic sweep of “On A River” to the retro Southern soul of radio single “Ain’t A Bad Life” (feat. Jordan Davis), the new additions “enrich the project’s themes of love, longevity and gratitude, widening its stylistic reach without sacrificing the heart that drives it” (Entertainment Focus). Stream the full album or purchase the Amazon exclusive vinyl HERE.

Pairing his laid-back perspective with a vocal drenched in casual country soul, Thomas Rhett has spent just over 10 years gathering 24 Number Ones, 16 billion streams and armfuls of awards–eight ACM Awards including 2020 “Entertainer of the Year,” two CMA Awards, five GRAMMY® Awards nominations, plus trophies from the CMT Music Awards, Billboard Awards and iHeartRadio Awards, in addition to being recognized with five CMA Triple Play awards for penning three No. One songs within a 12-month period, he’s never remained static. With both songwriting prowess and charisma, his career has been fueled by equal parts energy and emotion, to continually keep fans on their toes. He recently wrapped his 2025 BETTER IN BOOTS TOUR, which brought his “plethora of hits” (Spokesman Review) to arenas and amphitheaters nationwide this summer including his sold-out headlining debut at Boston’s Iconic Fenway Park. He will be making his highly anticipated return to the UK in 2026 as direct support for Luke Combs at Wembley Stadium on July 31 and August 1.

Katseye Bring Fierce Vocals and Monster Magic to Reimagined ‘Fright Song’

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Mattel, Inc. has unveiled that Monster High and global girl group Katseye have teamed up to debut a musical collaboration: a reimagined version of the brand’s iconic anthem, “Fright Song,” now available on all major streaming and digital download platforms. Alongside the “Fright Song,” a high-energy music video, brings the next generation of fans into a stylishly spooky world of celebrating belonging and what makes you unique.

“Katseye embodies our core values of Monster High – bold creativity, fearless self-expression, and a commitment to lifting up others,” states Krista Berger, Senior Vice President of Barbie and Global Head of Dolls, Mattel. “Katseye grew up as a fan of the brand. We’re thrilled that this collaboration brings our iconic Monster High anthem to life in a whole new way, while continuing our mission to create a world where everyone is proud to be their authentic self.”

Originally released in 2010, “Fright Song” remains the No. 1 track in the Monster High brand’s history, with more than 87.9 million global audio streams to date. Now, Katseye’s version injects fresh vocals, updated song lyrics, and an empowering tempo that celebrates individuality — a core tenet of Monster High and the breakout group.

Known for their breakout EP Beautiful Chaos, which charted at No. 4 on the Billboard 200, and hit singles “Gnarly” and “Gabriela,” Katseye continues their rise with the new “Fright Song” music video. The group, first introduced to fans through the Netflix original series Pop Star Academy, transforms into custom-created monsters inspired by each member’s heritage and personal strength. From a shapeshifting Rakshasa to a mystical sea creature, the video blends cinematic visuals, advanced lighting effects, and dynamic choreography to bring the monsters to life in a stylishly spine-tingling, monsterfied school-day dreamscape.

“Monster High has always stood for celebrating what makes you unique and using your voice to remind every ghoul that they belong, which is exactly what we try to do through our music,” states Katseye. “Having grown up fans of Monster High dolls and content, recreating “Fright Song” and designing our very own monster identities has been such a dream. We hope the Eyekons feel the love and energy we poured into this project.”

To mark the collaboration, Monster High and Katseye designed custom one-of-a-kind dolls inspired by each Katseye member. These exclusive dolls fuse each girl’s signature style with her unique monster alter ego. Though the dolls are not for sale, they serve as a tribute to the creative process behind the collaboration.

74 Facts About Ace Frehley: The Spaceman Who Took Rock to the Stars

Today, the world says goodbye to Ace Frehley — the original lead guitarist of KISS and one of the most influential figures in rock history. In honor of his 74 years, here are 74 facts celebrating the man who brought outer space to the stage.

  1. Ace Frehley was born Paul Daniel Frehley on April 27, 1951, in The Bronx, New York City.
  2. He passed away on October 16, 2025, in Morristown, New Jersey, at age 74.
  3. His parents were Esther Anna (Hecht) and Carl Daniel Frehley.
  4. His father was of Dutch descent and his mother was of German descent.
  5. Ace was the youngest of three children.
  6. His family was musical — both parents played piano, and his father was a church organist.
  7. Ace received his first electric guitar as a Christmas gift in 1964.
  8. He began playing guitar at age 13.
  9. He was self-taught and never took a formal guitar lesson.
  10. His early influences included Jimi Hendrix, Jeff Beck, and B.B. King.
  11. His friends nicknamed him “Ace” in high school for his success with dating.
  12. He attended DeWitt Clinton and Theodore Roosevelt High Schools in The Bronx.
  13. A guidance counselor once suggested he pursue graphic arts.
  14. Before music, he worked as a mail carrier, cab driver, and furniture mover.
  15. Ace credited playing guitar with “saving his life.”
  16. His early bands included The Outrage, King Kong, and Cathedral.
  17. He auditioned for KISS in late 1972 after seeing a classified ad.
  18. He showed up wearing one red and one orange sneaker to the audition.
  19. He was officially hired as KISS’s lead guitarist in early 1973.
  20. Ace designed the original KISS lightning bolt logo.
  21. He created the band’s “Spaceman” persona based on his love of science fiction.
  22. He first painted silver stars around his eyes for KISS performances.
  23. He worked as a cab driver while KISS was getting started.
  24. In 1974, KISS released their self-titled debut album featuring Ace’s “Cold Gin.”
  25. “Shock Me,” inspired by a real onstage electrocution, became his first KISS vocal in 1977.
  26. His wild, smoking guitar solos became a KISS concert trademark.
  27. He co-wrote “Love Theme from KISS,” the only track featuring all four original members.
  28. Ace was the only KISS member to appear on all of the band’s first nine studio albums.
  29. His 1978 solo album Ace Frehley went platinum.
  30. The single “New York Groove” reached the Top 20 in the U.S.
  31. A star was officially named after him in 1981.
  32. Ace left KISS in 1982 after creative disagreements.
  33. He launched his new band, Frehley’s Comet, in 1984.
  34. Frehley’s Comet released its self-titled debut in 1987.
  35. The single “Into the Night” hit No. 27 on Billboard’s Mainstream Rock chart.
  36. The song “Rock Soldiers” was inspired by Ace’s real-life 1982 police chase.
  37. His album Trouble Walkin’ (1989) featured Peter Criss on backing vocals.
  38. Frehley reunited with KISS in 1996 for their original lineup reunion tour.
  39. He contributed “Into the Void” to the 1998 KISS album Psycho Circus.
  40. His final KISS performance was at the 2002 Winter Olympics closing ceremony.
  41. He returned to solo work after leaving KISS in 2002.
  42. His 2009 album Anomaly marked his first solo release in 20 years.
  43. Space Invader (2014) debuted at No. 9 on the Billboard 200.
  44. He performed with Rob Zombie, Slash, and Tommy Lee at VH1 Rock Honors in 2006.
  45. Ace reunited with KISS on the 2018 KISS Kruise.
  46. He was inducted into the Rock & Roll Hall of Fame in 2014 with KISS.
  47. He declined invitations to appear on KISS’s farewell tour in 2019.
  48. He appeared with Peter Criss and Bruce Kulick at the 2022 Creatures Fest.
  49. His 2024 album 10,000 Volts debuted at No. 72 on the Billboard 200.
  50. 10,000 Volts topped Billboard’s Hard Music and Rock Album charts.
  51. He planned to release Origins Vol. 3 in 2025.
  52. Ace’s autobiography No Regrets became a New York Times Bestseller in 2011.
  53. He often used a smoking Gibson Les Paul guitar onstage.
  54. He once used a Les Paul that emitted lights matching the song tempo.
  55. His guitar solo on Alive! inspired countless young players.
  56. He played the theremin in live shows for a sci-fi effect.
  57. Ace’s “Shock Me” solo remains one of rock’s most recognizable.
  58. He starred in the 1978 TV movie KISS Meets the Phantom of the Park.
  59. He appeared in the 1999 movie Detroit Rock City.
  60. He made guest appearances on Family Guy and VH1 Rock Honors.
  61. His first band to record professionally was Molimo in 1971.
  62. He was briefly credited on KISS’s Creatures of the Night though he didn’t play on it.
  63. He co-wrote “2,000 Man” for Dynasty (1979), originally a Rolling Stones song.
  64. He collaborated with Peter Criss again on Criss’s Cat 1 album.
  65. He once performed “Black Diamond” live with Pearl Jam at Madison Square Garden.
  66. He played lead guitar on a 2006 “God of Thunder” supergroup performance.
  67. He was featured on several tribute albums, including Smell the Fuzz: Guitars That Rule the World 2.
  68. He was ranked No. 14 on Guitar World’s list of Greatest Metal Guitarists.
  69. He was known for his unorthodox thumb-over-neck playing style.
  70. Paul Stanley once said Ace shook his whole arm for vibrato instead of his hand.
  71. Ace described himself as an “unschooled musician” who couldn’t read music.
  72. He lived in both Edmonton and Montreal during his career’s later years.
  73. His legacy is cemented in both hard rock and heavy metal history.
  74. Even after his passing, his riffs, humor, and cosmic spirit will forever echo through rock and roll.

Rest easy, Spaceman. The stars are louder tonight because of you.

Brad Paisley Announces Festive New Album ‘Snow Globe Town’ with Hallmark-Themed Single “Leave The Christmas Lights On”

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Global country music superstar Brad Paisley is set to release a new Christmas album on November 7th, Snow Globe Town, via MCA. The 16-track album features eight new songs written by Brad with some all-time favorite Christmas classics.

To celebrate the announcement of his second Christmas album, Paisley is releasing a new song from the record, “Leave The Christmas Lights On,” available now at all digital retailers. Also available is “Counting Down The Days,” written by Brad and Chris Dubois, as the official anthem of Hallmark Channel’s 16th annual Countdown to Christmas programming event, which launches Friday.

“I had so much inspiration writing songs for Hallmark’s A Grand Ole Opry Christmas movie,” Paisley shares. “It sparked a real creative energy that was honestly hard to stop so we made an entire album.”

The result is an album written by the newly inducted Nashville Songwriter Hall of Fame member that is full of Brad’s comedic wit, dynamic storytelling, masterful musicianship and stellar production.

Paisley, a Grand Ole Opry member since 2001, has also co-written two additional songs for inclusion in Hallmark’s A Grand Ole Opry Christmas film. The new, original movie starring Nikki DeLoach (Curious Caterer Mysteries, Our Holiday Story) and Kristoffer Polaha (A Biltmore Christmas, The Christmas Quest), is set to premiere Thanksgiving weekend, Saturday, November 29th at 8 pm ET/PT on Hallmark Channel, streaming the next day on Hallmark+. Paisley will also appear in the film alongside many familiar faces from the Opry and country music.

Tomorrow (Thurs, Oct 16th), Paisley will perform as part of an exclusive Hallmark kick-off event in Nashville to celebrate their upcoming Countdown to Christmas programming.

Disgusting Sisters Drop Dark, Dancefloor-Ready Hot Chip Remix of “TGIF”

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Disgusting Sisters today share a Hot Chip remix of new single “TGIF”. The duo (and real life sisters) released their debut single “Killing It” last year via Speedy Wunderground and have since then toured with Two Door Cinema Club and received critical support from the likes of NME and Radio 1. “TGIF” has received support from Clash, DIY, Ones To Watch, Still Listening and many more.

On the remix, Disgusting Sisters say “The original song – our second single – dropped on September 10. When Hot Chip agreed to do a remix, we honestly couldn’t believe it. We’ve always looked up to them: they’re masters of emotional, off-kilter dance music that hits hard but never loses its soul. Their remix takes “TGIF” somewhere darker and more hypnotic – stretching it out, warping the edges, and pulling you into its late-night spiral.

To go with it, filmmaker Maxi McLachlan created a reimagined, experimental version of the original music video – fragmented, dreamlike, and twisted, like seeing the night through the eyes of the werewolves.

This whole release feels like the after-hours version of “TGIF” – stranger, sweatier, and a little more unhinged.