Mason Hill Roar Back With New Singer and Crushing New Single “Twisted”
TAGS: Mason Hill, Tom Ward, James Bird, Marc Montgomery, Matt Ward, Craig McFetridge, Dan Weller, Scott Taylor, Enter Shikari, Bury Tomorrow, Those Damn Crows,
Mason Hill are back with a vengeance. The Glasgow-based rock four-piece have released “Twisted,” a crusher of a single that marks the arrival of new vocalist Tom Ward and signals a darker, heavier direction for the band. Huge riffs, thundering drums, and a vocal performance that swings from emotive whisper to full arena power, “Twisted” is the sound of a band that’s found its footing again and isn’t wasting a second of it.
Ward describes the song with zero ambiguity: “It’s a mix of grit and melody, a poppy chorus and a balls-to-the-wall breakdown section. 10/10 would recommend to a friend.” The song tackles toxic love with the kind of riff-driven directness that made guitarist James Bird’s original idea impossible to ignore. Ward’s voice wraps around it perfectly, and the result is one of the most immediate things Mason Hill has put out.
“Twisted” and its predecessor “Remember” are the opening shots from a fully recorded second album, produced by Dan Weller, whose credits include Enter Shikari, Bury Tomorrow, and Those Damn Crows. Four years after ‘Against The Wall’ introduced Mason Hill to a wider audience, the new record marks a genuine evolution, not a retread.
The road to this point wasn’t easy. False starts, a six-year gap between releases, a record deal that fell apart, and the departure of former singer Scott Taylor at the end of 2023 all tested the band’s resolve. James Bird is candid about how close they came to calling it: “There have been times over the years when we weren’t even sure we’d be able to keep on being a band. Even just before Tom came in, we were so close to saying, ‘Well, we tried, but let’s call it a day.'” Ward’s arrival changed everything. “When Tom put his voice to some of the demos we’d sent, that was when we knew this could work,” Bird adds.
The UK tour has already wrapped, but the album is coming, and “Twisted” makes a very strong case for it.
Our Nameless Boy have released “(Not in My Name),” the second track from their upcoming EP ‘Thorns,’ and it arrives with both a music video and a sharp political edge. The Bristol alt-rock four-piece have built something quietly ferocious here, channeling the quiet-loud dynamics of the late 90s and early 2000s US alternative scene into a track that pulls no punches about the hollowness of political posturing.
Guitarist and vocalist Iain Gorrie is direct about the song’s origins. “‘(Not in My Name)’ highlights the hollowness I often perceive in political speeches and discourse,” he says. “There are certain things that almost shouldn’t need to be said, and then when they are, it feels like there’s no substance or action to back those words up.” It’s the kind of observation that cuts deeper the longer you sit with it, and the band have wrapped it in a track that demands you pay attention.
The video, directed by videographer and I, The Lion singer Chris Evans, leans into performance over cinema, using mirrors as its central visual device. Gorrie explains the thinking: “We could metaphorically hold these mirrors up to the main character in the song, who is using their platform to publicly denounce the actions of others whilst doing nothing to actually counter such actions. Having little to no eye contact from us as we’re performing highlights how this character refuses to take a good look.” It’s a smart, purposeful visual choice.
Our Nameless Boy draw from Manchester Orchestra, Thrice, and MewithoutYou, and those influences are audible without being imitative. The band is Iain Gorrie on guitar and lead vocals, Chris Brain on bass and vocals, Ewan Simpson on lead guitar and vocals, and Will Purcell on drums and vocals. ‘Thorns’ is out now on Bandcamp and across all platforms, with an EP release show at The Croft in Bristol on May 15th.
Kathryn Grimm has released “Goodbye To The Blues,” and it does exactly what the title promises. The Portland-based singer, songwriter, and multi-instrumentalist delivers a driving, feel-good pop rock single built on a propulsive bass groove, a lilting melody, and a message that’s impossible to argue with. Grimm puts it plainly: “Love and the Blues cannot coexist.”
The single comes from an artist with a résumé that genuinely stops you in your tracks. Jeff Buckley backed her up in her original band Group Therapy. She jammed with Bo Diddley between takes on the set of Rockula. After hearing her version of “Spanish Castle Magic,” Al Hendrix reached out personally to give his blessing. She’s the featured guitarist in Michael Bolton’s video for “Dance With Me.” The Los Angeles Times said she “pummels crowds into a blissful heap,” and Billy Hulting, who has worked with Natalie Cole and Lou Rawls, called her the “voice of an angel who plays guitar like the Devil.” That’s a track record that speaks for itself.
The Sandy Beaches Cruise has announced its initial lineup for the 2027 voyage, and it’s a serious gathering of American roots music talent. The seven-day sailing departs Fort Lauderdale on January 9th aboard Holland America Line’s m/s Eurodam, with stops in Cozumel and Costa Maya, Mexico before returning January 16th. More than 100 live performances across five venues, jam sessions, songwriter sessions, and artist collaborations make this far more than a floating concert.
The 2027 roster already includes Keb’ Mo’, JJ Grey & Mofro, St. Paul & The Broken Bones, The California Honeydrops, The Band of Heathens, Paul Thorn, Marc Broussard, Shinyribs, Mike Zito, Lee Roy Parnell, Carolyn Wonderland, Jimmy Hall, Wayne Toups, Jim Quick & Coastline, Teresa James & The Rhythm Tramps, Gary Nicholson, Seth Walker, Yates McKendree, Big Joe Maher, The McCrary Sisters, Seth James, Red Young, Etta Britt, Alice Spencer, and more still to be announced. That’s a lineup that holds up against any roots music festival on land.
The cruise follows the sold-out 30th Anniversary voyage in January 2026, which featured Little Feat, Lyle Lovett, Hayes Carll, Eddie 9V, Sue Foley, and many more. StarVista LIVE President of Live Entertainment Mike Jason speaks to what makes the event endure: “The plan is to continue to respect the special feeling of the Sandy Beaches music and fans while selectively inviting new artists and guests to the party.”
Cabins are available now at SandyBeachesCruise.com, and based on the track record, 2027 won’t stay open long.
New York City has officially co-named West 8th Street “Jimi Hendrix Way,” marking the historic block where Electric Lady Studios still stands as one of the most continuously operating recording studios in the city. The ceremony, led by NYC District 2 Council Member Harvey Epstein and spearheaded by Experience Hendrix, L.L.C., served as the public launch of a new national education partnership with Stevie Van Zandt’s TeachRock, bringing a brand new multimedia Hendrix curriculum to middle and high school students across the country.
The new TeachRock lesson, Jimi Hendrix: Rock’s Trailblazing Innovator and Influential Guitarist, traces Hendrix’s journey from his Blues and R&B roots to his revolutionary impact on rock, sound design, and live performance. Co-developed with educator and musician John Anthony, it features exclusive archival footage from Experience Hendrix, L.L.C., including Hendrix’s iconic 1967 Monterey International Pop Festival performance. TeachRock partnered with NYU’s MusEdLab to build interactive tools that let students experiment with the guitar effects and sonic innovations that defined his sound.
Van Zandt frames the mission with characteristic directness. “Jimi Hendrix didn’t just play guitar, he reimagined what art could be,” he says. “I want TeachRock to transport students into that same sense of possibility and discovery I felt the first time I saw Jimi perform. His story, lyrics, and sound remind young people that creativity has no limits.” Janie Hendrix, President and CEO of Experience Hendrix, L.L.C., echoes the sentiment: “This collaboration speaks to the heart of our mission, carrying on Jimi’s legacy through education. His music is a powerful gateway for young minds to connect with history, creativity, and their own potential.”
TeachRock, founded by Van Zandt with support from Bono, Jackson Browne, Martin Scorsese, and Bruce Springsteen, has now reached more than 80,000 educators across all 50 states and over one million students worldwide. The free Hendrix lesson is available now at teachrock.org.
Bill Hader stopped by Conan O’Brien Needs A Friend and delivered one for the ages. Hader recalls the time David Lee Roth showed up to pitch his movie to the South Park writers, with one very specific condition: absolutely no involvement from the rest of Van Halen. Conan also pulls back the curtain on a group chat between Hader, John Mulaney, and Fred Armisen that nobody knew existed, and honestly, that alone is worth the price of admission.
Newcastle collective The Agency… have released “We Fell to the Floor,” a richly layered new single featuring guest vocalists Rosa Thomas and Elise Shields of fellow North-East band The Samphires. The track is out now on digital streaming platforms, and it’s one of the most emotionally complete things the band has put their name to.
The song began as a brooding romantic piece about two people holding each other up through crisis. Over time it grew into something larger. The band describes the evolution openly: “‘We Fell to the Floor’ started off as a love song about two people standing by each other through a shared crisis. Over time it’s grown into something bigger. It became about the music scene itself, about community, and about how important it is that we look after one another. Artists are a particular kind of people, and so many of us carry mental health struggles alongside all the ordinary pressures of life. We have to look out for each other.”
The result is a track that earns its emotional weight at every turn. Steven K Driver’s imposing baritone anchors the verses while Thomas and Shields bring real depth to the choruses, and mariachi horns arrive late to deliver a moment of genuine, joyful release. It’s folk noir, gothic rock, and post-rock folded into something that feels wholly its own.
The single carries extra meaning given the circumstances around it. Rosa Thomas suffered a haemorrhagic stroke in 2025, and all profits from sales of “We Fell to the Floor” go directly toward her recovery fund. It’s a record that means something beyond the music, and the music is already exceptional.
“We Fell to the Floor” is the band’s first release since the haunting “Harbour Song” in 2024, and it’ll appear on their forthcoming new album expected later in 2026. A record worth watching for.
The Black Crowes have never needed permission to be great, and ‘A Pound of Feathers’ proves it all over again. The tenth studio album from brothers Chris and Rich Robinson is out now, recorded in Nashville with GRAMMY-winning producer Jay Joyce, and it marries the rugged swagger of their early classics with hard-hitting rhythmic textures that feel genuinely fresh. Three singles are already out: “Profane Prophecy,” “Pharmacy Chronicles,” and “It’s Like That,” and they set the tone for a record that doesn’t flinch.
“Profane Prophecy” has already drawn serious attention. Louder Sound called it a gorgeously juicy whale of a rock and roller, full of strutting Stones-y sass and sumptuous Americana. The Russ Meyer-inspired video, directed by Dagger Polyester, a filmmaker Chris Robinson discovered in LA’s underground music scene, is out now and very much worth your time.
The Crowes arrive at this moment with real momentum behind them. ‘Happiness Bastards’ earned a 2025 GRAMMY nomination for Best Rock Album, with MOJO calling it a thrilling return oozing sass and swagger. A 2025 Rock and Roll Hall of Fame nomination followed. Rather than slow down, they’ve doubled down, heading into one of the biggest summers of their career.
The Southern Hospitality North American Tour, a co-headlining run with Whiskey Myers and opener Southall, is already underway and runs deep into August. The highlight of the run comes August 17 at the Hollywood Bowl in Los Angeles, where The Black Crowes, Tedeschi Trucks Band, and Whiskey Myers will share a stage for the first time ever. That’s a night worth building a trip around.
After wrapping North America, the Crowes cross the Atlantic for a UK and European run in late June and early July, including a stop at State Fayre Festival in Chelmsford alongside Kings of Leon and Elvis Costello on June 26. Their first return to the UK since a 2024 Eventim Apollo show where Steven Tyler joined them onstage as Jimmy Page watched from the wings.
Southern Hospitality North American Tour Dates:
May 17 – Austin, TX – Moody Center
May 19 – Rogers, AR – Walmart AMP
May 21 – Nashville, TN – Bridgestone Arena
May 23 – Alpharetta, GA – Ameris Bank Amphitheater
May 24 – Birmingham, AL – Coca-Cola Amp
May 26 – Brandon, MS – Brandon Amphitheater
May 27 – Orange Beach, AL – The Wharf Amphitheater
May 30 – Hollywood, FL – Hard Rock Live
May 31 – Tampa, FL – MIDFLORIDA Credit Union Amphitheatre
June 2 – St. Augustine, FL – St. Augustine Amphitheatre
June 4 – Augusta, GA – Bell Auditorium
June 6 – Charlotte, NC – Truliant Amphitheater
June 7 – Raleigh, NC – Coastal Credit Union Music Park
June 9 – Cincinnati, OH – Riverbend Music Center
June 10 – Cuyahoga Falls, OH – Blossom Music Center
June 12 – Camden, NJ – Freedom Mortgage Pavilion
June 13 – New York, NY – Forest Hills Stadium
June 16 – Columbia, MD – Merriweather Post Pavilion
June 17 – Bridgeport, CT – Hartford HealthCare Amphitheatre
June 19 – Boston, MA – Xfinity Center
June 20 – Newark, NJ – Prudential Center
July 17 – Indianapolis, IN – Ruoff Music Center
July 18 – Detroit, MI – Pine Knob Music Theater
July 21 – Toronto, ON – RBC Amphitheatre
July 22 – Grand Rapids, MI – Acrisure Amphitheater
July 24 – Tinley Park, IL – Credit Union 1 Amphitheatre
July 25 – St. Louis, MO – Hollywood Casino Amphitheater
July 28 – Shakopee, MN – Mystic Lake Amphitheater
July 30 – Kansas City, MO – MORTON Amphitheater
August 1 – Colorado Springs, CO – Ford Amphitheater
August 2 – Denver, CO – Fiddler’s Green Amphitheatre
August 4 – Lincoln, NE – Pinewood Bowl Amphitheater
August 6 – Tulsa, OK – Hard Rock Hotel & Casino
August 8 – Houston, TX – Cynthia Woods Mitchell Pavilion
August 9 – Dallas, TX – Dos Equis Pavilion
August 12 – Nampa, ID – Ford Idaho Center Amphitheater
August 13 – Salt Lake City, UT – Utah First Credit Union Amphitheatre
August 15 – Phoenix, AZ – Mortgage Matchup Center
August 17 – Los Angeles, CA – Hollywood Bowl
August 19 – Wheatland, CA – Toyota Amphitheatre
August 20 – Mountain View, CA – Shoreline Amphitheatre
Twenty years on, ‘Everything All The Time’ still sounds like nothing else, and Band of Horses are marking the occasion properly. The Gold-certified 2006 debut has been expanded into a 19-track anniversary edition, fully remastered and packed with previously unreleased studio tracks, live recordings, rarities, and demo versions that give the album an entirely new dimension. It’s out now.
The expanded edition comes with new liner notes from original producer Phil Ek, whose credits include Fleet Foxes, Built To Spill, and Modest Mouse. The artwork has been refreshed and expanded into a gatefold jacket, and the physical release arrives as a double LP. North American preorders via Sub Pop Mega Mart receive a limited Loser Edition on metallic gold vinyl, while UK and EU preorders get the opaque yellow variant.
The anniversary edition surfaces one of the most compelling new additions: “(Biding Time Is a) Boat to Row,” a previously unreleased fan favorite now accompanied by an official video directed by James Ayling of Cape Films. Inspired by the real-life story of the 52-hertz whale, the video stars Josh Whitehouse of Daisy Jones & The Six. It’s a gorgeous piece of work, and a reminder of just how deep the ‘Everything All The Time’ sessions ran.
The album introduced “The Funeral,” now double-Platinum certified and one of the most enduring songs of the modern indie rock era. It’s been sampled by Kid Cudi, placed extensively in film and TV, and reimagined in a 2025 dance edit by producer Gryffin. Songwriter and vocalist Ben Bridwell built Band of Horses from the ashes of northwest melancholic darlings Carissa’s Wierd in 2004, and ‘Everything All The Time’ was the record that announced him fully to the world.
To celebrate the anniversary, Band of Horses head out on a UK and EU headline run this fall, kicking off in Stockholm on September 25 and wrapping in Madrid on October 22. The tour hits Germany, the Netherlands, Belgium, and the UK, with stops at London’s O2 Shepherd’s Bush Empire, Glasgow’s Barrowland Ballroom, and Manchester’s Albert Hall among the highlights.
‘Everything All The Time’ (20th Anniversary Edition) Track Listing:
The First Song
Wicked Gil
Our Swords
The Funeral
Part One
The Great Salt Lake
Weed Party
I Go to the Barn Because I Like The
Monsters
St. Augustine
(Biding Time Is a) Boat to Row
Part Two
Coal Mine
Worry Song
The End’s Not Near
The First Song (Demo Version)
Wicked Gil (Demo Version)
Our Swords (Demo Version)
The Funeral (Demo Version)
Part One (Demo Version)
Our Swords (Live at The Crocodile)
I Go to the Barn Because I Like The / Monsters (Live at The Crocodile)
Showdown (Live at The Crocodile)
Part One (Live at The Crocodile)
2026 UK/EU Tour Dates:
September 25 – Stockholm, SE – Annexet
September 29 – Copenhagen, DK – Poolen
September 30 – Hamburg, DE – Große Freiheit 36
October 1 – Cologne, DE – Live Music Hall
October 3 – Nijmegen, NL – Doornroosje
October 4 – Amsterdam, NL – Paradiso
October 5 – Antwerp, BE – De Roma
October 7 – London, UK – O2 Shepherd’s Bush Empire
Lizzie Reid has never been interested in keeping things comfortable, and “Sweet Relief” makes that abundantly clear. The Glaswegian singer-songwriter’s striking new single arrives ahead of her EP ‘Undoing,’ out now, and it opens with snarling guitar lines, thundering drums, and ghostly synths that set the stage for some of the most unguarded writing of her career.
The single features friend and collaborator Hamish Hawk on guest vocals, with guitar work from Andrew Pearson, who plays alongside Reid in Hawk’s band. Together they’ve built something loud, dark, and fully uncompromising. Reid croons with more confidence than ever, and the track earns every second of its intensity.
Reid is candid about where “Sweet Relief” came from. “Sweet Relief speaks of my experience dealing with the full throws of obsession, rumination, depression, and panic,” she says. “The way I desperately attempted to comfort myself only brought momentary relief from the storm. The cycle is brutal, exhausting and incredibly sneaky. The more I searched for solutions, the murkier the waters became, making it near impossible for light to come into the frame.”
‘Undoing’ isn’t just a document of collapse. Reid frames it as something more active, an opportunity for unlearning patterns that no longer serve, a way to find new life in the wreckage. She’s not shy about rage or grief, and she’s never timid about putting her life directly into her music. That openness is exactly what has earned her support slots with John Cale, Arlo Parks, Tori Amos, and Hamish Hawk, and a reputation as a true musician’s musician.
A run of UK headline dates is underway now, with stops in Glasgow, Leeds, Manchester, London, and Bristol through early May.
