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Bad Bunny’s Super Bowl Halftime Show Draws 128.2 Million Viewers In Historic Performance

Eric Alper
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Bad Bunny’s Super Bowl Halftime Show Draws 128.2 Million Viewers In Historic Performance

Bad Bunny’s halftime performance at Super Bowl LX attracted 128.2 million viewers, making it the fourth most-watched halftime show in Super Bowl history. The predominantly Spanish-language set featuring Lady Gaga and Ricky Martin trails only Kendrick Lamar’s 2025 performance at 133.5 million viewers, Michael Jackson’s 1993 show at 133.4 million, and Usher’s 2024 appearance at 129.3 million, according to Nielsen Big Data + Panel figures released Tuesday. The broadcast helped propel the game to record-breaking viewership numbers, with the second half reaching 137.8 million viewers as the Seahawks defeated the Patriots 29-13.

NBC reported that Sunday’s game became the second most-watched Super Bowl ever at 127.7 million viewers, just behind last year’s record, and the most-watched show in NBCUniversal history. The Telemundo broadcast averaged 3.3 million viewers, making it the most-watched Super Bowl in the Spanish-language network’s history, with coverage peaking during halftime at 4.8 million viewers for the most-watched Super Bowl halftime show in Spanish-language history. The performance honoring Bad Bunny’s Puerto Rican roots concluded with the singer shouting “God Bless America” while running through a list of countries in the Americas and holding up a football with the message “Together we are America.”

Social media engagement set records with four billion total views in the first 24 hours, a 137% increase year-over-year. More than half of all NFL social views came from international markets, reflecting Bad Bunny’s global reach.

St. Louis CITY SC Unveils The Tina Turner Kit In Historic Adidas Collaboration

Eric Alper
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St. Louis CITY SC Unveils The Tina Turner Kit In Historic Adidas Collaboration

In a celebration of one of the most iconic female artists of all time, St. Louis CITY SC unveiled The Tina Turner Kit, a historic collaboration with adidas honoring the Queen of Rock ‘n’ Roll and her deep ties to St. Louis.

The MLS team’s homage to Tina Turner marks the first adidas collaboration with a female music artist on a soccer kit and includes a number of cultural events to celebrate her impact on St. Louis, including a concert with the St. Louis Symphony Orchestra (SLSO), a Tina-focused pop-up shop, and a music-themed community education initiative for youth and young adults.

Born Anna Mae Bullock, Tina Turner moved to St. Louis at 16, where she found her voice performing in clubs across the region before becoming a global force – redefining performance, style, and female power on her own terms. Her story of reinvention and resilience mirrors the ethos of the city that shaped her.

Inspired by Turner’s electrifying stage presence, The Tina Turner Kit shimmers in gold – echoing the movement of her glamorous attire and the energy of her live performances. Her silhouette appears in metallic gold on the kit’s authentication tag, while her signature, rendered in CITY Red, nods to her iconic lipstick and nails.

Accented in black are Founding Partner and front-of-jersey sponsor Purina, Founding Partner BJC Healthcare on one sleeve, and an MLS and Apple TV patch lockup on the other.  Designed in partnership with adidas and BMG, custodians of Turner’s music and image rights, the kit will serve as CITY SC’s secondary jersey for the 2026 and 2027 Major League Soccer seasons.

“Not only did Tina Turner change music, she impacted culture over decades and continues to permeate it today,” said Carolyn Kindle, CEO, St. Louis CITY SC. “It is a profound honor to celebrate her influence and legacy. St. Louis has long been home to so many artists who have shaped music history and Tina stands at the top of that list.”

CELEBRATING TINA’S MUSIC

The Tina Turner Kit anchors a citywide celebration that extends beyond the pitch and will be highlighted by *Eternal: A Tribute to Tina Turner presented by Purina*, a Tina Turner tribute performance by the St. Louis Symphony Orchestra on Sunday, Feb. 15 at 7:00 p.m. at Powell Hall at the Jack C. Taylor Music Center.

SLSO Music Director Stéphane Denève and guest conductor Anthony Parnther (conductor of the soundtracks to Tenet and Black Panther: Wakanda Forever), will lead an immersive symphonic tour of Tina’s rise to stardom featuring GRAMMY Award-winning artist Brittany Howard of Alabama Shakes and St. Louis native and “The Voice” finalist Kennedy Holmes, bridging classical music, rock and modern soul in a way that mirrors Turner’s genre-defying career.

“St. Louis is a homecoming for Tina. It’s where she first felt the thrill of the stage and the joy of performing,” said Erwin Bach, who was her husband and manager. “I’m especially excited for the orchestral interpretation of ‘Proud Mary’ and the initiatives around town. Local kids will discover the power of music and how performance makes it even more meaningful. Special thanks are also extended to the Taylor family for their enthusiasm and continued support of music and sport in the St. Louis community.”

THE TINA POP-UP RETAIL EXPERIENCE

CITY SC’s tribute to Tina and her legendary career also includes a Tina Turner Pop-up Shop at City Foundry (3730 Foundry Way, Suite 137, St. Louis, MO 63110), where the new kit and other limited-edition CITY SC x Tina Turner merchandise will be available. On display at the pop-up will be a selection of artifacts from Turner’s personal collection, including one of her dresses, a GRAMMY Award, and more. The pop-up shop is open February 11-20 from 11 a.m. – 7 p.m. daily; on February 11 the shop will open an hour early at 10 a.m., and on February 18 the shop will close at 9 p.m.

The Tina Turner Kit and supporting merchandise are also available at CITY Pavilion (2118 Market St.), CITY Goods (inside Energizer Park) and www.stlcitygo.com. CITY SC is offering free kit customization (personalized name and number) of Tina Turner Kits purchased at the Tina Turner Pop-up Shop, CITY Pavilion or at www.stlcitygo.com until March 31, 2026.

COMMUNITY PROGRAM WITH LASTING IMPACT

St. Louis CITY SC will collaborate with the Center of Creative Arts (COCA) on the creation of a Tina Turner-focused music curriculum for kids and teens. Students will explore Turner’s lasting influence while giving participants the opportunity to learn and perform songs from her repertoire, along with choreography inspired by her performances. A portion of sales proceeds from The Tina Turner Kit will help fund this initiative. Celebrating 40 years as a leading community arts center, COCA provides arts education for St. Louisans of all ages, skill levels, and backgrounds through classes, camps, performances, exhibitions, and more. 

TINA TURNER NIGHT AT ENERGIZER PARK

CITY SC also will celebrate Turner at Tina Turner Night presented by SeatGeek on Saturday, Aug. 22, when the team takes on Houston Dynamo at Energizer Park at 7:30 p.m. As a tribute to the many musical contributions Turner made, CITY SC licensed the rights to one of her hits “Simply the Best” and is incorporating the song into events the team is executing to honor her legacy. Match tickets are available at www.seatgeek.com or via the STL CITY SC app.

Sparks The Rescue Announces East Coast Spring Tour Following 20th Anniversary Celebration

Eric Alper
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Sparks The Rescue Announces East Coast Spring Tour Following 20th Anniversary Celebration

Sparks The Rescue returns to the road this spring with an East Coast tour launching May 7 in Burlington, Vermont. The announcement follows the Portland rock band’s 20th anniversary celebration at the State Theatre last year, marking a renewed commitment to live performance after a period of limited activity. The eight-date run includes stops in Philadelphia, Brooklyn, Albany, Worcester, and multiple New England venues, with select shows featuring support from Wheatus, Signal the Escape, and The Sophomore Beat. “We’re so thrilled to become more active this year and start touring in the northeast,” the band shares. “After some sparse activity over the last few years, it’s become more apparent than ever that we love spending time with each other and playing music together. That’s what it’s all about and we can’t wait to reconnect with some old friends who love the songs as much as we do. See you out there.” Presales begin Tuesday, Feb. 10 at 10 am ET, with general on sale starting Friday, Feb. 13 at 10 am ET.

Sparks The Rescue Tour Dates:

5/7 – Burlington, VT @ Higher Ground

5/8 – Portland, ME @ Live at Madrid’s

5/9 – Philadelphia, PA @ Milkboy

5/10 – Brooklyn, NY @ The Woodshop

5/14 – Portsmouth, NH @ The Press Room

5/15 – Amherst, MA @ The Drake

5/16 – Albany, NY @ Empire Underground

5/17 – Worcester, MA @ Palladium Upstairs

That Time Art Garfunkel And Tab Laven Performed Rooftop “Scarborough Fair” To Announce Tour Return

Eric Alper
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That Time Art Garfunkel And Tab Laven Performed Rooftop “Scarborough Fair” To Announce Tour Return

Art Garfunkel returned to the spotlight with a rooftop performance in New York City in 2022, singing a verse from “Scarborough Fair” with guitarist Tab Laven. The intimate rendition served as the announcement vehicle for Garfunkel’s return to touring, capturing the legendary vocalist’s enduring vocal grace against the Manhattan skyline. Tin Mirror Productions filmed and released the promotional video, which features both the performance and a brief message from the artist about his upcoming dates.

SiriusXM Announces Daytona 500 Coverage

Eric Alper
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SiriusXM Announces Daytona 500 Coverage

SiriusXM will offer listeners extensive coverage of the 68th running of the DAYTONA 500 on February 15, as well as other live races happening during NASCAR’s Speedweek, access to in-car audio from drivers, and daily coverage from Daytona International Speedway.

NASCAR fans can hear it all in their cars and on the SiriusXM app on the exclusive 24/7 SiriusXM NASCAR Radio channel (channel 90).

On DAYTONA 500 race day, Sunday, Feb. 15, SiriusXM will broadcast live from the track starting at 7 am ET. When the green flag drops (approximately 2:30 pm ET) listeners will hear every lap of the race live, followed by post-race coverage that will include interviews with the 2026 DAYTONA 500 Champion and other drivers. In addition to the main race broadcast on SiriusXM NASCAR Radio, SiriusXM will also offer 10 additional Driver2Crew ChatterTM channels that will carry the in-car communication feeds of several teams throughout the race.

SiriusXM NASCAR Radio will also provide live coverage of the America 250 Florida Duel at DAYTONA on Thursday, Feb. 12 at 7 pm ET, the Fresh from Florida 250 NASCAR Craftsman Truck Series race on Friday, Feb. 13 at 7:30 pm ET, and on Saturday, Feb. 14, both the General Tire 200 NASCAR ARCA Series race at noon ET and the United Rentals 300 NASCAR O’Reilly Auto Parts Series race at 5 pm ET.

In addition to airing the live race broadcasts, the SiriusXM NASCAR Radio channel will broadcast from the infield at Daytona International Speedway throughout the week. Hosts Dave Moody, Danielle Trotta, Larry McReynolds, Mike Bagley, Pete Pistone, Brad Gillie, Todd Gordon, Mike and Angie Skinner, John Roberts, Pat Patterson and others will be live on site interviewing drivers, crew chiefs, owners and others, and providing insight on everything happening around the track.

On Thursday, SiriusXM will team up with Dirty Mo Media, the multimedia content platform of Dale Earnhardt Jr., for a series of special fan-facing shows at the Daytona Fan Zone Stage. Fans at the track will be able to watch as Dale Jr. hosts a live episode of his popular podcast, “Dale Jr. Download,” from 3-4 pm ET. Dale Jr. will be joined on stage by 2023 NASCAR Cup Series champ Ryan Blaney.

Following the episode of the “Dale Jr. Download,” several SiriusXM NASCAR Radio and Dirty Mo personalities including Danielle Trotta, Jordan Bianchi, Pete Pistone and others will team up for a live show from 4-4:30 pm ET. SiriusXM’s Dave Moody will then host a special episode of “SiriusXM Speedway” live from the stage from 4:30-6 pm ET, leading into live coverage of that night’s America 250 Florida Duel at DAYTONA.

On Monday, Feb. 16, on “The Morning Drive,” hosts Mike Bagley and Pete Pistone will be back at the track to recap Sunday’s race and interview the 2026 DAYTONA 500 champion driver, crew chief and owner.

Billboard Canadian Hot 100 And Albums Charts Adopt New Streaming Weight Methodology

Eric Alper
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Billboard Canadian Hot 100 And Albums Charts Adopt New Streaming Weight Methodology

Billboard has recalibrated the methodology for both the Billboard Canadian Hot 100 and Billboard Canadian Albums charts to align with evolving streaming economics and listener habits. The Canadian Hot 100 now operates under an updated paid to ad-supported streaming ratio of 1:2.5, effective with the chart dated Jan. 31, 2026. This adjustment narrows the gap from the previous 1:3 ratio, giving ad-supported streams greater influence in chart positions.

The shift reflects Billboard’s strategic response to increased streaming revenue and changing consumption patterns across digital music platforms. Paid and subscription on-demand streams maintain their premium weighting, but the reduced differential acknowledges the growing role of ad-supported listening in the modern music economy. The Canadian Albums chart previously adopted similar changes, effective Jan. 17, bringing both Canadian charts into methodological harmony with their U.S. counterparts.

Under the revised formula, each album consumption unit equals 2,500 ad-supported streams or 1,000 paid streams from an album’s tracks. One album sale and 10 individual track purchases continue to count as single album units. The math delivers meaningful shifts in what constitutes chart success: artists now need 33.3% fewer ad-supported streams and 20% fewer paid streams to generate an album unit compared to the previous system.

These methodology updates reshape competitive dynamics for Canadian artists and international acts charting domestically. The changes position Billboard’s Canadian charts as more responsive instruments for measuring actual listening behavior while maintaining the distinction between revenue tiers. Chart watchers will see the impact unfold across weekly rankings as streaming patterns translate into positions under the new weighting structure.

The methodology shift creates a more advantageous landscape for artists with strong ad-supported streaming audiences, particularly those who connect with younger listeners or demographics less likely to maintain paid subscriptions. Chart positions will reflect a broader cross-section of listening behavior rather than heavily favoring premium subscribers, which could elevate tracks that perform well on free tiers of services like Spotify and YouTube. Artists who previously fell short of chart milestones despite massive streaming numbers may find themselves breaking through under the new formula. The change also reduces the streaming threshold for album chart placement, making it easier for newer or independent acts to compete with established artists who traditionally dominate through physical and download sales. Ultimately, the recalibration positions the charts as more accurate barometers of actual cultural consumption rather than purely revenue-based metrics.




Em Spel Debuts New Single “The Tide” From Upcoming Album ‘Bird Or Snake’

Eric Alper
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Em Spel Debuts New Single “The Tide” From Upcoming Album ‘Bird Or Snake’

Singer-songwriter Em Spel premieres her new single “The Tide” as a second preview of her upcoming album ‘Bird or Snake’. Following the release of “Geographic” last month, this new track highlights the warm vocals and imaginative arrangements of artist Emma Hospelhorn. The song combines original vocal harmonies with elegant instrumental parts and subtle electronic textures. Hospelhorn wrote, composed, and produced all the material on the record independently. This collection of music presents a fully realized artistic vision that balances intimacy with technical sophistication.

The artist developed the track “The Tide” by blending her varied musical backgrounds in classical, punk, and free jazz. The song began as a simple skeleton featuring Hospelhorn on guitar and Eric Ridder on drums. Collaborators Katie Ernst, Dustin Laurenzi, and Mabel Kwan added bass, saxophone, and synthesizers to the recording. Hospelhorn also utilized a Korg Little Bits synth to generate specific electronic sounds throughout the piece. Mixing engineer Brian Deck finalized the track to manage the diverse range of sonic elements.

‘Bird or Snake’ serves as a joyful amalgamation of art-folk and indie rock. Hospelhorn drew upon her experience as a flutist in the avant-classical group Ensemble Dal Niente to inform her multi-instrumental approach. She wrote many of the songs in 2022 during a residency with the Eastern Frontier Foundation on Norton Island in Maine. A period of recovery from illness in 2024 allowed her to revisit these compositions with a new perspective on the peculiarities of life. This relaxed approach to the final recording process helped the artist determine exactly what each track required.

The resulting record showcases an artist finding new ways to thrive through creative exploration. Her work frequently references nature, the environment, and the sea to create a sense of liveliness and warmth. Hospelhorn successfully captures a specific sonic environment that feels both experimental and grounded. ‘Bird or Snake’ stands as a highly inspirational work within the contemporary indie landscape.

Jade Jackson Joins Aubrie Sellers For April 2026 Tour Dates Across The Southeast

Eric Alper
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Jade Jackson Joins Aubrie Sellers For April 2026 Tour Dates Across The Southeast

Jade Jackson joins forces with Aubrie Sellers for a series of co-billed tour dates across the Southeast this April. Each artist performs a solo set before taking the stage together as the duo Jackson + Sellers. This tour marks a significant moment for the pair as they bring their collaborative album ‘Breaking Point’ to live audiences with a full band. The performances highlight the chemistry between Jackson’s storytelling roots and the shared musical history of both songwriters. This stage configuration provides a unique and powerful presentation of Americana music.

The California-born songwriter recently signed with Table Entertainment for her forthcoming full-length record. This new body of work reflects her growth and creative evolution since moving to Nashville in 2021. Mike Wright Brady of Table Entertainment notes that Jackson stands as a powerful voice of resilience who honors the paths blazed by legendary artists. Her songwriting continues to blend classic country soul with a grounded and cinematic perspective. This partnership with the Nashville label signals an invigorating new chapter for her career.

Jackson expresses that this season of her career feels intentional and creatively fulfilling. She spent the last year developing a new collection of songs that represent her most proud work to date. Ending each night of the tour with the Jackson + Sellers set allows the collaborative material to receive its proper spotlight.

Tour Dates with Aubrie Sellers (full band):

TH March 12 — Nashville, TN — Gibson Garage
TH April 16 — Birmingham, AL — The Nick
SU April 19 — Louisville, KY — Zanzabar
TH April 23 — Knoxville, TN — Open Chord
SA April 25 — Nashville, TN — Analog
MO April 27 — Austin, TX — Saxon Pub
TU April 28 — Dallas, TX — AM/FM Ferris Wheeler Lounge
TH April 30 — Atlanta, GA — Smith’s Olde Bar
MO May 11 — New York, NY — Lucinda’s (SiriusXM Outlaw Country taping)

Grand Teton Music Festival Launches 9th Season Of National Radio Broadcast Series For 65th Anniversary

Eric Alper
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Grand Teton Music Festival Launches 9th Season Of National Radio Broadcast Series For 65th Anniversary

In anticipation of a landmark 65th anniversary season, the Grand Teton Music Festival (GTMF) today announces season nine of Live from the Grand Teton Music Festival – GTMF’s national radio broadcast series co-hosted by Music Director Sir Donald Runnicles and General Manager Jeff Counts. Live from the Grand Teton Music Festival comprises 13 one-hour episodes and is a production of Classic Digital Syndications, available now for free on PRX. Individual episodes air on Wyoming Public Radio on Wednesday evenings at 8 p.m. MT from today through April 30. The 13-episode show can also be listened to online at wyomingpublicmedia.org, on GTMF’s website, on SoundCloud, and on Thursdays as a podcast through Apple Podcasts, YouTube, and Amazon. To learn more about where to listen to Live from the Grand Teton Music Festival, please visit gtmf.org/radio.

This 2026 series presents previews of three new commercial recording projects for Reference Recordings with the Grand Teton Music Festival Orchestra conducted by Sir Donald Runnicles. The first of these is in Episode 4 with the Brahms Violin Concerto played by the renowned violinist James Ehnes. In Episode 12, radio listeners will get a preview of the new recording of Mahler’s Symphony No. 7 with GTMF’s legendary brass players: trumpeter Thomas Hooten and Gail Williams on horn. And finally, in Episode 13, listeners will get a sneak peek of the new recording of Brahms’ Symphony No. 4, along with Detlev Glanert’s companion piece for the Fourth Symphony, Weites Land. These performances will be released by Reference Recordings in stereo and surround sound on SACD, and in Dolby Atmos for digital download, showcasing the acoustics of Walk Festival Hall.

Additional performances featured this season include Andrea Lam’s sparkling performance of Mozart’s Piano Concerto No. 23 in A major, Augustin Hadelich’s return to the Festival Orchestra to deliver a sublime performance of Beethoven’s Violin Concerto, and dazzling string trio Time for Three in a new concerto written for them by Kevin Puts, Contact. Guitarist JIJI joins the Festival for Rodrigo’s Concierto de Aranjuez, cellist Nicolas Altstaedt presents an electrifying performance of Bloch’s Schelomo, and Sasha Cooke joins Sir Donald Runnicles for the world premiere of an incredible new song cycle by Alex Turley – the ocean’s dream of itself. 

The series includes insightful commentary by GTMF Music Director Sir Donald Runnicles and co-host, General Manager Jeff Counts. Jeff is an accomplished writer who also hosts a film review show seen and heard throughout the West. Maestro Runnicles’ career spans many continents, both in the opera house and on the symphonic stage. In addition to being Music Director of the Grand Teton Music Festival, he serves as General Music Director of the Deutsche Oper Berlin, Chief Conductor of the Dresden Philharmonie, and Principal Guest Conductor of the Sydney Symphony Orchestra. He is a regular guest conductor of orchestras all over the world. Prior to his post in Berlin, he served as Music Director of the San Francisco Opera for 16 years.

Live from the Grand Teton Music Festival 2026

Sir Donald Runnicles and Jeff Counts, Hosts

G26-01 Program 1 – Ode to Joy

Caitlin Lynch, soprano; Renée Tatum, mezzo; Clay Hilley, tenor; Seth Carico, baritone; Grand Teton Music Festival Chorus, Barlow Bradford, director

Grand Teton Music Festival Orchestra, Sir Donald Runnicles, conductor

Eric Whitacre – Lux Aurumque

Ludwig van Beethoven – Symphony No. 9 in D minor, op. 125, “Choral”

Movements 1 and 4

G26-02 – Program 2 – Nether Worlds

Sasha Cooke with the Grand Teton Music Festival Orchestra, Sir Donald Runnicles, conductor

Dobrinka Tabakova – Orpheus’ Comet

Alex Turley – the ocean’s dream of itself (World Premiere)

Sasha Cooke, mezzo-soprano

Maurice Ravel – Daphnis et Chloé, Suite No. 2

G26-03 – Program 3 – French Masterpieces

Grand Teton Music Festival Chamber Musicians

Grand Teton Music Festival Orchestra

Maurice Ravel – String Quartet in F Major

Madeline Adkins, violin; Jeffrey Dyrda, violin; Allyson Goodman, viola; Grace An, cello

Albert Roussel – Bacchus and Ariadne, Op. 43, Suite No. 2

Stéphane Denève, conductor

G26-04 – Program 4 – James Ehnes Plays Brahms

Grand Teton Music Festival Chamber Musicians

James Ehnes and Grand Teton Music Festival Orchestra

José González Granero – String Quartet No. 2 “In Times of Confinement”

Ling Ling Huang, violin; Jessica Mathaes, violin; Caroline Gilbert, viola; Grace An, cello

Johannes Brahms – Concerto for Violin in D Major, Op. 77

James Ehnes, violin and Sir Donald Runnicles, conductor

G26-05 – Program 5 – Mozart and New Tales

Grand Teton Music Festival Chamber Musicians

Grand Teton Music Festival Chamber Orchestra, Ben Manis conductor 

Andrea Lam, piano with Grand Teton Music Festival Orchestra, Sir Donald Runnicles, conductor

Meg Okura – Phantasmagoria

Stephanie Key, clarinet; David Mollenauer, cello; Mika Gregg, violin

Lynne Plowman – Life Cycles (GTMF Co-Commission)

GTMF Chamber Orchestra, Ben Manis conductor

Wolfgang Amadeus Mozart – Piano Concerto No. 23 in A major, K. 488

Andrea Lam, violin and Sir Donald Runnicles, conductor

G26-06 – Program 6 – Inspirations

Grand Teton Music Festival Orchestra, Stéphane Denève, conductor

Jessie Montgomery – Strum

Stéphane Denève, conductor

Joaquín Rodrigo – Concierto de Aranjuez

Stéphane Denève, conductor

Ottorino Respighi – Fontane di Roma

Stéphane Denève, conductor

G26-07 – Program 7 – Rediscovered Shostakovich and Rachmaninoff

Grand Teton Music Festival Chamber Musicians

Grand Teton Music Festival Orchestra

Dmitri Shostakovich – Five Pieces for Two Violins and Piano

Julianne Lee, violin; Ling Ling Huang, violin; Yvonne Chen, piano

Sergei Rachmaninoff – Symphony No. 3 in A minor, Op. 44

Kevin John Edusei, conductor

G26-08 – Program 8 – Hadelich Plays Beethoven

Augustin Hadelich with the Grand Teton Music Festival Orchestra

Ludwig van Beethoven – Coriolan Overture, Op. 62

Kevin John Edusei, conductor

Ludwig van Beethoven – Concerto for Violin in D Major, Op. 61

Augustin Hadelich, violin and Sir Donald Runnicles, conductor

G26-09 – Program 9 – If Only Film Had Existed…

Grand Teton Music Festival Chamber Musicians

Grand Teton Music Festival Orchestra

Danny Elfman – Piano Quartet – Movement 1 – Ein Ding

Karen Whitson Kinzie, violin; Brant Bayless, viola; Seoyeon Min, cello; Yvonne Chen, piano

Pyotr Il’yich Tchaikovsky – Symphony No. 6 in B minor, op. 74, “Pathetique”

Enrique Mazzola, conductor

G26-10 – Program 10 – Time for Three and Nicolas Altstaedt

Time for Three and Nicolas Altstaedt

Grand Teton Music Festival Orchestra

Ernest Bloch – Schelomo, Hebraic Rhapsody

Nicolas Altstaedt, cello and Enrique Mazzola, conductor

Kevin Puts – Contact

Time for Three – Charles Yang, Nicolas “Nick” Kendall, Ranaan Meyer

Kevin John Edusei, conductor

G26-11 – Program 11 – German Masters

Grand Teton Music Festival Orchestra, Sir Donald Runnicles, conductor

Ludwig van Beethoven – The Creatures of Prometheus Overture, Op. 43

Sir Donald Runnicles, conductor

Anton Webern – Im Sommerwind

Sir Donald Runnicles, conductor

Robert Schumann – Symphony No. 1 in B-flat Major, Op. 38, “Spring”

Christian Reif, conductor

G26-12 – Program 12 – Gustav Mahler—Ahead of his Time

Grand Teton Music Festival Orchestra, Sir Donald Runnicles, conductor

Gustav Mahler – Symphony No. 7 in E minor

Movements 1, 4 and 5

G26-13 – Program 13 – Brahms Fourth

Grand Teton Music Festival Orchestra, Sir Donald Runnicles, conductor

Detlev Glanert – Weites Land

Johannes Brahms – Symphony No. 4 in E minor, Op. 98

20 Albums With Hilariously Weird Titles That Totally Stand Out

Eric Alper
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20 Albums With Hilariously Weird Titles That Totally Stand Out

Some albums blend into the rack. Others practically leap off the shelf and yell, “Pick me!” Rock, metal, and punk have always had a flair for the absurd, the cheeky, and the downright bizarre. Whether it’s a clever pun, a surreal phrase, or something that makes you double-check you read it correctly, these titles are impossible to ignore.

Here are 20 of the best funny and weird album titles that prove a great name can be as loud as the music itself.

    The Smoker You Drink, The Player You Get – Joe Walsh
    A pun so confident it practically winks at you. Joe Walsh built a career on charm, and this title nails it.

    You Can Tune a Piano, But You Can’t Tuna Fish – REO Speedwagon
    Arena rock meets peak wordplay. It is impossible not to groan and grin at the same time.

    Weasels Ripped My Flesh – Frank Zappa and The Mothers of Invention
    Zappa specialized in titles that sounded like headlines from an alternate universe. This might be the wildest of them all.

    The Mind Is a Terrible Thing to Taste – Ministry
    Industrial menace wrapped in clever phrasing. It sounds unsettling before you even press play.

    Hairway to Steven – Butthole Surfers
    A phonetic joke that has been making people laugh for decades. Say it slowly.

    Chocolate Starfish and the Hot Dog Flavored Water – Limp Bizkit
    Bold. Ridiculous. Completely unforgettable. Late 90s energy in one sentence.

    Hooray for Boobies – Bloodhound Gang
    Pure adolescent humor, delivered with zero apology and maximum commitment.

    Take Off Your Pants and Jacket – Blink-182
    Blink at their most mischievous. A title that works on multiple levels and knows it.

    Sheik Yerbouti – Frank Zappa
    Another Zappa special. The pun hits immediately and sticks with you forever.

    Trout Mask Replica – Captain Beefheart and His Magic Band
    Surrealist rock art in four words. You do not understand it, but you respect it.

    Lick My Decals Off, Baby – Captain Beefheart and His Magic Band
    Proof that Captain Beefheart could out-weird almost anyone in the room.

    45 or 46 Songs That Weren’t Good Enough to Go on Our Other Records – NOFX
    Self-deprecating, brutally honest, and very punk. Marketing through sarcasm.

    You’re Never Alone With a Schizophrenic – Ian Hunter
    Dark humor from another era, and still one of the most eyebrow-raising titles in rock.

    Pink Bubbles Go Ape – Helloween
    Power metal meets cartoon logic. It sounds like chaos, and that is exactly the point.

    Steal This Album! – System of a Down
    A challenge, a joke, and a commentary all rolled into one.

    OU812 – Van Halen
    A simple code that becomes a punchline the second you say it out loud.

    If I Could Do It All Over Again, I’d Do It All Over You – Caravan
    Prog rock whimsy at its wordiest. Long titles were a sport, and this one wins.

    Wowee Zowee – Pavement
    Two nonsense words that somehow feel completely right.

    Swordfishtrombones – Tom Waits
    A made-up word that feels like it wandered out of a smoky late-night bar.

    Hit to Death in the Future Head – The Flaming Lips
    Sci-fi absurdity wrapped in indie rock imagination. Strange, vivid, and impossible to forget.

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    That Eric Alper

    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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