Rising singer and songwriter Annie Bosko has joined six-time GRAMMY and 26-time Dove Award winner Amy Grant for a powerful rendition of “God Winks” from Bosko’s debut album ‘California Cowgirl’, released via QHMG/Stone Country Records. The collaboration was born from a season of reflection after Bosko returned home to recover from vocal cord surgery as the pandemic began, questioning her next steps. She decided to return to Nashville only when she booked a gig, which led to a chance encounter with Grant and Vince Gill. “If you’ve ever been in the presence of Amy Grant, it truly feels like you’re experiencing an angel in human form,” Bosko shares. “I respect her art just as much as I respect her as a human being. Amy and Vince were both ‘God Winks’ in my life, as divine reminders to keep going at a time when I felt lost. In an industry that can be cold and ruthless, they embody faith and integrity. Amy’s voice carries such warmth — it feels like a ‘God Wink,’ reminding you that no matter what you’re going through, God’s got your back.”
“There’s an old phrase that says ‘expect the unexpected,'” Grant adds. “In the daily rhythm of life, we all experience moments that weren’t planned for or anticipated; and the same holds true when grace and mercy show up in unexpected places. Any situation can be turned around with even a small act of kindness and love.” Written by Bosko with Rachel Thibodeau, Jet Harvey and Michael Wilkes, and produced by Trent Willmon, the track serves as a tender reminder that even during our darkest or most uncertain moments, we’re never truly alone. Featuring 19 songs with over half penned by Bosko, ‘California Cowgirl’ “interlocks toughness, confidence, heartbreak and ambition, while interweaving moments from her own story of a West Coast farmer’s daughter who chased her dreams to Nashville,” Billboard notes, praising “Bosko’s creative vision is matched by her work ethic.”
The California native will perform the National Anthem at Levi’s Stadium for the San Francisco 49ers vs. Carolina Panthers game on November 24th, following her performance at Chief’s on Broadway in Nashville for the Quartz Hill Music Group Takeover on November 17th. The Central Valley farmer’s daughter blends traditional country instrumentation with collaborations from Darius Rucker, Dwight Yoakam and Joe Nichols on her debut. She first broke out with SiriusXM and CMT favorite “Crooked Halo” and was named a Rolling Stone Country Artist to Watch, later making her late-night debut on Jimmy Kimmel Live with “Neon Baby,” which marked her first charting single at Country radio. She will join Dolly Parton for Dolly: Live in Las Vegas at The Colosseum at Caesars Palace on September 23rd, 2026.
Country singer and songwriter Filmore has announced his new album ‘Atypical’, arriving February 20th via Pitbull’s Mr. 305 Records, alongside reflective new single “365.” The 21-track project marks a bold declaration from the Missouri native, featuring co-writes on every song and a fearless fusion of Country roots and crossover creativity. The album includes his first collaboration with Pitbull on “Yeehaw” and marks Filmore’s first release since 2023’s ‘Mean Something’. After stepping back to refocus his craft while welcoming the birth of his first child and signing to Mr. 305 Records, Filmore returns with a personal refresh that has opened new levels of musical courage and sincerity. “Working with Pitbull these last few years has truly made me a better artist,” Filmore shares. “I’ve learned so much from him and I now consider him family. I’m truly blessed to have the opportunity to work with him and be a part of the Mr. 305 Records family!”
‘Atypical’ presents a modern Country mix of personal writing and lived experience, blended with the fluid lyrical flow and rhythmic thump of hip-hop, the emotional release of hard rock, and the pulse-spiking euphoria of dancehall pop. Credited as co-producer on 16 genre-bending tracks, Filmore’s long-appreciated skill with a hook takes center stage on tunes dedicated to purpose, passion, and growth, all fused together by an emotionally charged gravel road vocal croon. Album tracks “If I Was You,” “South On Me,” “Betcha Gonna,” “Hola,” and “Love Lovin You” were initially dropped as solo releases in 2024. New single “365,” co-written by Filmore with Lydia Sutherland and Brandon Day and co-produced with John-Luke Carter and Brandon Day, pairs acoustic tenderness with edgy admission as Filmore looks back on a year of missed opportunity and resolves to make the next count. “The song started off with the title and once we realized we loved ‘365’ we built the concept around that,” he explains. “It was inspired by reflecting on real-life experiences from my past while thinking about how we all look to a midnight countdown for a fresh start. As we do with New Year’s resolutions, I wanted to share that feeling of letting go of who I was and striving to be better next year.”
The new era arrives after Filmore racked up 251 million US career streams and became the first independent artist featured on Spotify’s Hot Country cover. With a reputation for electric live shows, he’s opened for Dan + Shay, Blake Shelton, Carrie Underwood, and Pitbull, while headlining his own dates and thrilling crowds at CMA Fest, Country Thunder, Stagecoach, and Watershed. Filmore most recently supported Pitbull this past summer on the European leg of his Party After Dark Tour.
Joe Jackson has announced his new album ‘Hope and Fury’, arriving April 10th on CD and 180g vinyl with a gatefold sleeve. The GRAMMY-winning artist will embark on a major world tour supporting the release, performing more than 80 shows across 14 countries from May to December. Jackson laid the groundwork for the album at Michael Tibes’ Fuzz Songs Full of Contrast, Humour and Heart Factory studio in Berlin before returning to New York’s Reservoir Studios with co-producer Patrick Dillett and his on-and-off band since 2016: “bassist for life” Graham Maby, guitarist Teddy Kumpel, and drummer Doug Yowell, augmented by Peruvian percussionist Paulo Stagnaro.
The nine-track album overflows with clever and original lyrics and funky grooves, led by Jackson’s vocals and keyboard playing. In keeping with the title, an ironic twist on ‘Land of Hope and Glory’, this is a more English Joe Jackson than we’ve seen for quite a while, with some songs suggesting a love/hate relationship with his homeland. Opening track “Welcome to Burning-By-Sea” describes a fictional seaside town inspired by Brighton and Jackson’s hometown of Portsmouth, contrasting a slice of British working-class life in 1922 with a post-pandemic version in 2022. The album offers biting sarcasm in “I’m Not Sorry,” playful mockery in “Fabulous People,” and pure silliness in “Do Do Do.” In “The Face,” an Everyman character finds himself lost in an angry and polarized political climate: “Not one of the Great Unwashed” but “One of the Great Overwhelmed.”
Two songs arrive in Jackson’s oft-cited bittersweet melodic mode: “Made God Laugh” expresses a kind of happy, grown-up fatalism about life in general, while “After All This Time” takes a similar approach to a long-term relationship. The album follows Jackson tradition by ending with slow ballad “See You In September.” Though often depicted as a chameleonic artist who constantly changes his style, Jackson insists that most of his albums are in “his own mainstream,” collections of sophisticated pop songs using different kinds of rhythms and combinations of instruments. As he said in a recent interview for the U.K.’s Chap magazine, “I always knew I was in this music thing for life. So every now and again I’m going to do something different, to keep it interesting.”
North American Tour Dates: May 11 – Poughkeepsie, NY – Bardavon 1869 Opera House May 13 – Montreal, QC – Place Des Arts – Théâtre Maisonneuve May 14 – Toronto, ON – Danforth Music Hall May 16 – Rochester, NY – Kodak Theatre May 17 – Detroit, MI – Masonic Cathedral May 19-20 – Chicago, IL – Park West May 22 – Madison, WI – Orpheum Theatre May 23 – Minneapolis, MN – Pantages Theatre May 27 – Vancouver, BC – Vogue May 28 – Seattle, WA – Moore Theatre May 30 – San Francisco, CA – Curran Theatre May 31 – San Diego, CA – Balboa Theatre June 2 – Los Angeles, CA – Orpheum Theatre June 3 – Tucson, AZ – Fox Theatre June 5 – Albuquerque, NM – Kimo Theatre June 6 – Boulder, CO – Chautauqua Auditorium June 9 – Kansas City, MO – Uptown Theater June 10 – St. Louis, MO – The Pageant June 12 – Omaha, NE – Admiral June 14 – Austin, TX – The Paramount Theatre June 16 – Houston, TX – Heights Theatre June 17 – Dallas, TX – Majestic Theatre June 19 – San Antonio, TX – Empire Theatre June 21 – New Orleans, LA – The Joy Theatre June 24 – Nashville, TN – Ryman Auditorium June 26 – Atlanta, GA – Center Stage June 27 – Charlotte, NC – Knight Theatre June 29 – Orlando, FL – Steinmetz Hall @ Dr. Phillips Center July 1 – Ft. Lauderdale, FL – The Parker July 2 – Clearwater, FL – Capitol Theatre July 7 – Washington, DC – Lincoln Theatre July 8 – New Brunswick, NJ – State Theatre July 10 – Providence, RI – Uptown Theater July 11 – Portland, ME – State Theatre July 14 – Medford, MA – Chevalier Theatre July 15 – Stamford, CT – Palace Theatre July 17 – Philadelphia, PA – The Lansdowne Theater July 18 – New York, NY – Beacon Theatre European Tour Dates: September 24 – Cork, Ireland – Cork City Hall September 27 – Dublin, Ireland – 3Olympia Theatre September 29 – Bristol, UK – Beacon October 1 – Cambridge, UK – Corn Exchange October 2 – Bournemouth, UK – Pavilion Theatre October 4 – London, UK – Palladium October 5 – Liverpool, UK – Philharmonic Hall October 7 – York, UK – Barbican October 9 – Glasgow, UK – Saint Luke’s October 12 – Paris, France – L’Olympia October 13 – Lyon, France – Le Radiant-Bellevue October 14 – Toulouse, France – Théâtre du Casino Barrière October 17 – Porto, Portugal – Casa da Musica October 18 – Lisbon, Portugal – Aula Magna October 20 – Madrid, Spain – Teatro La Latina October 21 – Valencia, Spain – Teatro La Rambleta October 23 – Barcelona, Spain – Paral·lel 62 October 25 – Bordeaux, France – Théâtre Femina October 27 – Lille, France – Théâtre Sebastopol October 28 – Stuttgart, Germany – Liederhalle/Hegelsaal October 31 – Bremen, Germany – Metropol Theater November 1 – Munich, Germany – Circus Krone November 2 – Berlin, Germany – Admiralspalast November 4 – Essen, Germany – Lichtburg November 5 – Hamburg, Germany – Fabrik November 7 – Darmstadt, Germany – Staatstheater November 9 – Zürich, Switzerland – Kaufleuten November 11 – Bologna, Italy – Teatro Duse November 12 – Rome, Italy – Auditorium Parco Della Musica (Sala Sinopoli) November 14 – Milan, Italy – Teatro Lirico November 16 – Vienna, Austria – Globe November 17 – Cologne, Germany – Gloria November 18 – Luxembourg – den Atelier November 20 – Antwerp, Belgium – De Roma November 21 – Brussels, Belgium – Ancienne Belgique November 24 – Ghent, Belgium – Vooruit November 26 – Rotterdam, Netherlands – Nieuwe Luxor November 28 – Eindhoven, Netherlands – Muziekgebouw November 29 – Groningen, Netherlands – De Oosterport December 1 – Amsterdam, Netherlands – Royal Theatre Carré
Since its original release in 1988, Talk Talk’s critically acclaimed fourth album ‘Spirit Of Eden’ has grown to become one of the most influential albums of the 80’s. A step away from its hugely commercially successful predecessor ‘The Colour Of Spring’, ‘Spirit Of Eden’ is steeped in legend for its long and improvisational recording sessions that created a body of work that would go on to be vital in the creation of post-rock as a genre and has subsequently been credited by NME in 2013 as one of the top 100 of their ‘500 Greatest Album Of All Time”, Q Magazine’s ‘40 Best Albums of the ’80s’ and was 419 in Colin Larkins acclaimed book ‘All Time Top 1000 Albums’.
This new reissue is a single-vinyl cut at half-speed by Matt Colton at Metropolis and overseen by drummer Lee Harris and Mark Hollis’ son Charlie. It will be released on 23 January 2026 and is available to pre-order here.
Upon its original release it was met with huge critical acclaim despite it being a hugely challenging album to market – the nature of the music meant that it did not offer up any obvious singles for radio promotion or the ability for the band to play it live due to its improvisational nature.
Reviews however were incredible Mojo 5/5, Uncut 10/10, Pitchfork 10/10, Record Collector 5/5, Sounds 5/5, Q 4/5, NME 7/10, Record Mirror 4/5. Record Mirror called them “a law unto themselves, unconstrained by narrow ideas of ‘what will sell'”, while Q Magazine likened the album to “the pastoral epics of the early 70s” and noted “a range, ambition and self-sufficiency that enables Hollis and co to step out of time and into their own”. Sounds said they had “evolved into contemplative muso-techs”, and “uncommonly beautiful”.
As time rolls on, the album’s importance has become more realised and it holds greater significance in the annals of time and is credited as a vital album for inspiring artists such as Sigur Rós, Mogwai, Godspeed You! Black Emperor, Low, Elbow, Doves, Graham Coxon and latter-period Radiohead.
Remember When explored the sheer genius of Schoolhouse Rock, detailing how the series employed clever lyrics and catchy tunes in three minute animations to make learning fun for a generation of children on every level. The series aired from 1973 through 1985 on Saturday mornings between cartoons, taking otherwise scholastic subjects and making them highly hummable. The retrospective features how Grammar Rock and other segments of the ABC Saturday morning educational cartoons transformed education into entertainment, creating a cultural phenomenon that taught kids everything from conjunctions to constitutional amendments through infectious melodies that stuck with viewers long after the episodes ended.
The Psychedelic Arts and Culture Trust has launched ’60 Years of the Grateful Dead’, a landmark retrospective celebrating the original art and imagery that shaped the band’s identity across six decades. Opening December 6th and running through June 1st, 2026 at The Chambers Project Gallery in Grass Valley, California, the exhibition gathers many of the original works created for the Dead’s most iconic posters and album covers. Curated by Brian Chambers, the show features artists including Rick Griffin, Stanley Mouse, Alton Kelley, Victor Moscoso, Wes Wilson, Bill Walker, and Owsley “Bear” Stanley. “This is the most ambitious exhibition I have ever planned,” Chambers says. “To see all of this history gathered under one roof will be something truly special.”
Highlights include Rick Griffin’s original pen and ink Hawaiian Aoxomoxoa drawing, considered one of the finest works of psychedelic typography, alongside his acrylic circus paintings for ‘Without a Net’, the original Europe 90 tour poster, and his first major work, the 1967 “Pow-Wow” Human Be-In poster. Bill Walker’s ‘Anthem of the Sun’ mandala, created for the band’s second album and refined for decades after its use on the cover, captures the spirit of the late sixties and the creative impact of LSD on art. Walker will attend the opening to share stories alongside Tom Constanten, who performs in a special Grateful Dead supergroup on December 5th. Historic Acid Test posters designed by Paul Foster and hand colored by Owsley “Bear” Stanley include the first public use of the name “Grateful Dead” after the band’s early Warlocks era.
The exhibition marks the first time the original Skeleton Amidst Roses illustration by Victorian artist Edmund J. Sullivan has been displayed in a Grateful Dead show. Created in 1900 and published in the 1913 edition of ‘The Rubaiyat of Omar Khayyam’, the drawing was adapted by Mouse and Kelley for the Avalon Ballroom in 1966 and for the 1971 ‘Skull and Roses’ album. The retrospective also features limited edition posters and original works by legendary artists Rick Griffin and Dennis Larkins alongside contemporary poster artists AJ Masthay and Zoltron, who carry forward the counterculture tradition. A rock concert style merchandise booth offers brand new, officially licensed and extremely limited edition Grateful Dead gear designed and curated by Zoltron, available exclusively during the exhibition.
The December 5th concert event features White Lightning with Grahame Lesh, Peter Harris, Pete Sears, Barry Sless, John Molo, Elliot Peck, and George Michalski. The exhibition opens December 6th, two days after the anniversary of the band’s founding.
Cleveland alt-rock and indie pop group Frida and The Mann have released their latest single “Let’s Get Carried Away,” a raw and emotional track about being judged and not fitting in. The band, made up of Frida Mann, Adam Cramer, Zachary Horstman, and Stefan Johnson, won Best New Artist at the 2024 Cleveland Music Awards. The song mixes dark energy with a sense of freedom, exploring the journey to self-acceptance even when the world is watching. “There’s nothing I can do to change the way they see me” and “I know you think that I’m insane / and I am” show both pain and power within that journey. Frida Mann’s personal story adds weight to the track: she grew up in an orthodox religious community where she was forbidden from singing, especially in front of men, but just three years ago took a huge leap, risking everything to follow her dream and now fronts one of Cleveland’s hottest new bands.
The Great Outdoors Comedy Festival has announced its first appearance in Mississauga, transforming Erindale Park into a hub of laughter from September 11th to 13th. The newly announced GTA expansion marks another step in the festival’s cross-country and cross-border evolution, with limited three-day passes on sale now. Mississauga joins a growing lineup of cities including Edmonton, Winnipeg, Halifax, Calgary, Vancouver, and Spokane, WA, each bringing its own personality to the festival circuit.
“Mississauga’s dynamic cultural landscape and community spirit make it the perfect addition to the GOCF family,” says Mike Anderson, President of Trixstar Live. “Known for its vibrant arts scene and diverse community, Mississauga’s energy aligns perfectly with what the festival is all about: good times, good people, and great laughs.” Victoria Clarke, CEO of Visit Mississauga, adds: “We’re proud to bring the Great Outdoors Comedy Festival to Mississauga — and even prouder that it has been chosen as the only Ontario stop for next year. The festival’s commitment to community and creativity mirrors Mississauga’s own values. Together, we’re creating a weekend that celebrates laughter, culture, and local connections. We can’t wait to see audiences come together in Erindale Park for an unforgettable weekend of comedy and fun.”
What sets the festival apart is its commitment to building community beyond the stage. Through the Great Outdoors Community Fund, the festival invests in local charities and organizations that reflect its three core pillars: Arts & Culture, Mental Health, and Sustainability. Each city stop sees meaningful support directed toward initiatives that strengthen local creative industries, foster inclusion, and create lasting impact long after the curtains close. The model ensures GOCF gives back to the same communities that make the festival experience possible.
Electronic producer Ageless (Wesley Paioff) has released his deeply introspective EP ‘Different Scenery’ via Grand Alliance Music, a cinematic exploration of perception, reflection, and evolution. The release began November 11th with lead single “No Heart At All,” a nostalgic, elegant track capturing the moment between loss and renewal, followed three days later by the full EP. “Every song is a moment seen twice — once when it happens, and again when you remember it. That space between them is where Different Scenery lives,” Ageless explains. The EP blends soulful electronica, downtempo bass, and cinematic ambiance, with shimmering synths, vintage textures, and delicate percussion layered throughout. “No Heart At All” introduces themes of emotional detachment and rediscovery through pulse-like basslines and reverberant horn echoes, while “Blind Spot” and title track “Different Scenery” complete the narrative, each piece revealing another angle of transformation.
Pete Townshend sat down with Stephen Colbert for an extended conversation on The Late Show, discussing The Who’s farewell tour, his difficult childhood, the incredible amount of unheard music in his vault, and the origins of works like “Tommy” and “Quadrophenia.” The GRAMMY and Tony winner opened up about his creative process and decades-long career with the legendary rock band. Townshend’s latest musical adventure, “Quadrophenia, A Rock Ballet,” runs at New York City Center through Sunday.
