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14 Musicians Who Are Poets at Heart

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There has always been a thin line between music and poetry. Both forms chase the same thing: the precise language that makes a feeling land somewhere deep and true. Some musicians treat lyrics as a vehicle for melody. Others approach every line as though it belongs on a page as much as a stage. The fourteen artists below fall firmly into the second category. These are the musicians who write with the soul of a poet and the discipline of a literary artist, the ones whose words stay with you long after the last note has faded.

Bob Dylan

Often cited as the premier poet-musician of the twentieth century, Dylan was awarded the Nobel Prize in Literature in 2016 for creating new poetic expressions within the great American song tradition. It was a moment that settled a debate that had been going on for decades and confirmed what his most devoted listeners had always known: that he was operating in a different dimension from most songwriters entirely.

Leonard Cohen

Before his music career, Cohen was already a published poet and novelist, and that literary foundation never left him. His songs carry a depth, spiritual weight, and lyrical precision that few musicians have ever matched, blending themes of love, loss, and faith into lines that feel like they were written to outlast the century.

Patti Smith

Known as the punk poet laureate, Smith merged rock with beat poetry in a way that felt genuinely radical when she arrived in the mid-1970s. She was writing poetry and plays long before her musical debut, heavily influenced by Arthur Rimbaud, and she remains one of the rare artists who moves between literary and musical worlds without any sense of compromise in either direction.

Joni Mitchell

An accomplished painter as well as a musician, Mitchell brought a painterly quality to her songwriting that set her apart from everyone around her. Her lyrics are deeply introspective and highly personal, built on unconventional melodies and images that feel like they belong in a gallery as much as on a record.

Jim Morrison

The Doors frontman viewed himself primarily as a poet and philosopher rather than a rock star, drawing inspiration from the Beat poets and the romantic literature he had absorbed during his film school years. He self-published poetry collections while fronting one of the most important bands in rock history and never stopped thinking of language as his true medium.

Tupac Shakur

A skilled and at times deeply overlooked poet, Shakur used his lyrics to provide complex, often heartbreaking insights into the social realities of the world he lived in. His writing carried a journalistic precision and an emotional honesty that placed him firmly in the tradition of the great American protest poets.

Lou Reed

As a songwriter for The Velvet Underground and as a solo artist, Reed brought a gritty, journalistic, and deeply poetic sensibility to rock music. He wrote about New York City the way great novelists write about cities, with love, brutality, and an absolute refusal to look away from the complicated truth of it.

Paul McCartney

Widely recognized for his lyrical versatility, McCartney is a master of metaphor and story-driven songwriting that delves into complex emotional landscapes with a lightness of touch that disguises just how sophisticated the writing actually is. His range across six decades of work is the range of a genuinely literary mind.

Nick Cave

A novelist and poet as well as a musician, Cave’s songwriting with the Bad Seeds is known for its dark, gothic, and narrative-driven quality. His lyrics read like short stories written at the edge of something dangerous, and his work on the page is as compelling as anything he has put to music.

John Lennon

Lennon used surrealism and blunt personal honesty in his songwriting and famously published his own verse and prose early in his career. His writing had a rawness and a wit that set him apart from almost everyone else working in popular music at the time, and his best lyrics hold up as literary documents as much as songs.

Lana Del Rey

Del Rey has published a collection of poetry called Violet Bent Backwards Over the Grass and is frequently described as a modern singer-songwriter laureate who views herself as a writer first and a performer second. Her work across both forms shares the same dreamy, melancholic, and distinctly American quality that has made her one of the most discussed artists of her generation.

Tom Waits

Waits blends surrealist imagery with a gravelly storytelling voice to create character-driven songs that feel like dispatches from a world slightly to the left of reality. He officially released a book of his poetry in 2011 and his entire body of work reads like the output of someone who has spent a lifetime thinking about what language can actually do when you push it hard enough.

PJ Harvey

A multi-instrumentalist who has released volumes of her own poetry including works inspired by her travels, Harvey has demonstrated a remarkable ability to work at the highest level in both music and literature without either form suffering for the attention given to the other. Her poetry has the same unnerving directness as her records.

John Mellencamp

Long before he was celebrated as one of America’s great heartland rock voices, Mellencamp was painting and writing poetry, and those instincts have never left his songwriting. His lyrics carry the plainspoken weight of a working-class poet who has spent a lifetime paying attention to the people and places that mainstream culture tends to overlook. He writes about small towns, forgotten lives, and the quiet dignity of ordinary Americans with a precision and an empathy that places him squarely in the tradition of Whitman and Sandburg, even if he would probably never say so himself. In 2023 he released the album Strictly a One-Eyed Jack with a book of his paintings alongside it, and his ongoing work across visual art, music, and writing confirms what his best songs have always suggested: that John Mellencamp has always been as interested in making art as he has been in making hits.

How To Find a Music Manager: A Real Guide for Independent Artists

One of the most common questions I get from artists at every stage of their career is this: how do I find a music manager? It’s a great question and one that deserves a genuinely honest answer rather than the generic advice that gets recycled endlessly across the internet. The truth is that finding the right manager is one of the most important decisions you’ll ever make as an artist, and rushing into it before you’re ready can do more harm than good. So let’s talk about what it actually takes.

The first thing to understand is what a music manager actually does. A music manager is responsible for planning and carrying out the overall creative and professional journey of a musician or band, covering a wide range of responsibilities including music production, branding and promotion, career strategies, and partnerships. They are your number one advocate and the person who handles the business so you can focus on making music. The manager is the liaison between the artist and everybody else, overseeing everything from the recording process to the album release campaign to tour routing, booking, and social media management. That is a big job and it requires someone who is genuinely committed to your career, not just someone who likes your music.

Before you start looking for a manager, you need to be honest with yourself about where you are in your career. Managers invest one to two years of work before seeing significant returns and they need to believe you are worth that bet. That means you need released music, a clear artistic identity, a consistent social media presence, and some evidence that people are actually connecting with what you do. The best artists stop asking how do I get a manager and start asking what proof would make the right manager want in, because a manager is not a rescue plan but an accelerator. Get your foundation in place first and the conversations become much easier.

When it comes to actually finding managers, the single most effective approach is a warm introduction. The artists who land management are rarely the ones who applied. They got referred, got noticed at shows, or built enough traction that managers started paying attention. This means building genuine relationships with other artists, publicists, booking agents, and producers, because all of those people know managers. Attend industry events, play shows, go to conferences like SXSW, and show up consistently. Building relationships within the music industry can help open doors to potential managers who may not have been discovered otherwise, and social media platforms like LinkedIn and Twitter are also great tools for networking and making sure you are on the right people’s radar.

If you do reach out directly, keep it tight and professional. If you go the cold email route, keep it to one paragraph covering who you are and what is happening with your career, a specific reason you are reaching out to this manager, and links to your music, socials, and press. No attachments, no long bios, and your materials need to speak for themselves in thirty seconds. Platforms like Groover also allow you to pitch directly to verified managers who are committed to listening and responding, which takes some of the guesswork out of the process. When you do connect with someone promising, ask the right questions. Find out who else they manage, how many artists they are actively working with, and what their vision is for your career specifically.

Once you find someone you connect with, understand the financial side before you sign anything. Music managers work on commission and the standard cut is usually fifteen to twenty percent of the artist or band’s gross revenue, with the exact number and details of the agreement varying widely depending on the arrangement you reach. That is a meaningful percentage of your income, which is exactly why you want to make sure the relationship is the right one before you commit. Resources like the Music Managers Forum and Music Week can furnish you with further information about managers including contact details, and focusing on key players within your genre rather than casting the net wide helps you find the most effective candidates. Take your time, trust your gut, and remember that the right manager will feel like a genuine partner, someone who is as excited about where you are going as you are.

Cowboy Mouth Premiere Retro Rockabilly Noir Video for New Single “Patty (With The Rose Tattoo)”

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Cowboy Mouth are back with “Patty (With The Rose Tattoo),” and the New Orleans rock veterans have delivered something unlike anything in their catalog. The new single swings with a retro rockabilly groove and the buzzing, untamable energy of a night that only makes sense at sunrise, built around a character so vivid and dangerous she feels like she stepped out of a film noir reel. The official music video leans into exactly that, unfolding like a dazzling tapestry of iconic femme fatales and brooding antiheroes drawn from classic American imagery. It’s out now, and it hits immediately.

The song itself is a masterclass in tension and storytelling. Patty, with her dead black eyes, smoky growl and rose tattoo, is the kind of character who lingers long after the track ends. The narrator knows he shouldn’t be this deep in the pull of her, but the hook tightens with every bar, and by the time the chorus lands, he’s already too far gone. That push and pull of danger and desire is exactly the kind of emotional territory where Cowboy Mouth have always thrived, and “Patty” finds them operating with a focus and swagger that 35 years on the road tends to sharpen rather than dull.

Cowboy Mouth was born in the late 1980s out of New Orleans’ tight-knit underground punk rock scene, when drummer and vocalist Fred LeBlanc and guitarist, vocalist and keyboardist John Thomas Griffith parted ways with their longtime projects, Dash Rip Rock and Red Rockers respectively, and channeled everything they knew into something new and relentless. What emerged was a band built on live performance as a near-religious experience, the kind of show that converts skeptics and sends the faithful home wrung out and exhilarated. That reputation has never faded.

35 years later, the accolades tell the story. Billboard Top 40 chart recognition, film soundtrack placements, an annual presence at the New Orleans Jazz and Heritage Festival and a 2011 induction into the Louisiana Music Hall of Fame. Through all of it, the band has kept a touring schedule that would challenge acts half their age, and the energy they bring to the stage has never stopped matching the ambition of their recorded work.

“Patty (With The Rose Tattoo)” is the latest proof that Cowboy Mouth’s rowdy, affirming brand of rock and roll is as vital as it’s ever been. The video is streaming now, and it’s exactly as fun as the song deserves.

Tom Petty Estate Releases Rare 1978 Paradise Rock Club Recording on Limited-Edition Split Dye Vinyl

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The Tom Petty Estate has unveiled ‘Live at the Paradise Rock Club, 1978,’ a limited-edition vinyl release that captures Tom Petty and the Heartbreakers at the very beginning of their ascent, raw, hungry and playing to a Boston crowd that was just starting to realize what it was witnessing. Only 3,000 copies have been pressed on 180g pink and green split dye color vinyl, and they’re available now through official channels, making this a genuine collector’s item for anyone serious about one of rock and roll’s most essential catalogs. Order it here.

The recording comes from a stop on the “You’re Gonna Get It!” tour, broadcast live by WBCN-FM and captured on two-track with the bootleg energy that makes early live recordings so compelling. Audio restoration was handled by longtime Petty engineer Ryan Ulyate, ensuring the electricity of that night comes through with clarity without losing the rough, immediate feel that defines the performance. It’s the sound of a band the world was still in the process of discovering, and that discovery energy is all over the tape.

“This glimpse of the past shows the power of the band and the acceptance of the band by the city leading to a great fan base there that only grew as we moved on to play both the Old Garden and also Fenway in the ensuing years,” says Alan “Bugs” Weidel, the Heartbreakers’ longtime equipment manager. “The band developed a love of Boston and the fans there that made it a memorable place we were always excited to visit. So listen and imagine yourself in that small venue, discovering one of the all-time great bands.” That invitation is an easy one to accept.

The LP features 9 performances, including 5 classic cover versions alongside Heartbreakers staples “Breakdown,” “Don’t Bring Me Down” and “Too Much Ain’t Enough.” Each copy includes artwork based on an original Shelter Records acetate found in Tom’s personal archives, adding another layer of historical significance to an already remarkable release. A splatter version was available exclusively at indie record stores on Record Store Day, making the split dye direct-to-fan pressing its own distinct edition.

The release lands in the middle of the Heartbreakers’ 50th anniversary year, a celebration that will continue throughout 2026. Over a 40-year career, Petty sold over 85 million records, accumulated over 5 billion streams, performed to more than 140 million fans worldwide, and earned induction into both the Rock & Roll Hall of Fame and the Songwriters Hall of Fame. ‘Live at the Paradise Rock Club, 1978’ is the Estate doing exactly what it does best: surfacing the archive with care and giving fans access to moments that defined everything that came after.

Vinyl Track List:

A1: Anything That’s Rock ‘N’ Roll

A2: Don’t Bring Me Down

A3: Band Intros

A4: You’re Gonna Get It

A5: Breakdown

A6: Too Much Ain’t Enough

B1: Shout

B2: I Fought The Law

B3: (Get Your Kicks On) Route 66

B4: I’m A King Bee

Luke Combs Shatters Records on the “My Kinda Saturday Night Tour” with New Album ‘The Way I Am’

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Luke Combs is rewriting the record books in real time. His “My Kinda Saturday Night Tour” has set new attendance records at every single stop since launching in March, moving through Allegiant Stadium in Las Vegas, Scott Stadium in Charlottesville, Jack Trice Stadium in Ames and Notre Dame Stadium in South Bend before landing at Ohio Stadium in Columbus, where 97,367 fans turned out for the biggest show of his career to date. Every venue. Every time. A new record.

The radio achievements running alongside the tour are equally staggering. Combs is now the first artist in history to have two different solo songs simultaneously top both the Billboard and Mediabase country radio charts. “Sleepless in a Hotel Room” sits at No. 1 on Billboard’s Country Airplay chart for its third consecutive week, while “Days Like These” earns him his 21st consecutive No. 1 on the Mediabase Country Aircheck chart, extending his own record for the most consecutive No. 1s to start a career. “Days Like These” also holds the No. 2 spot on the Billboard Country Airplay chart, making Combs the first artist to hold the top 2 spots simultaneously, and the first to do it twice, after “Fast Car” and “Love You Anyway” pulled off the same feat in 2023.

Behind all of this is ‘The Way I Am,’ his new 22-track album that debuted at No. 1 on Billboard’s Top Country Albums chart and No. 2 on the all-genre Billboard 200 with 100,700 equivalent units sold. Produced by Combs, Jonathan Singleton and Chip Matthews, the album dives deeper than anything he’s recorded before, exploring the challenges of balancing family and career, self-doubt and self-belief and the clarity that comes from narrowing your focus. A collaboration with Alison Krauss on “Ever Mine” is among its standout moments. The critical response has been overwhelming, with The New York Times calling him “the dominant hitmaker in country,” Rolling Stone praising the album as making “the convincing case that as an artist, songwriter and down-the-center representative of a genre as sprawling and red-hot popular as country music, Luke Combs contains multitudes,” and Music Row declaring “this is a superstar at the peak of his powers.”

The accolades keep stacking. A TIME100 cover story with a tribute written by Ed Sheeran. Three ACM Award nominations including Entertainer of the Year. A GQ Hype cover. Profile features in The New York Times, NPR Music, Esquire, Pitchfork and Billboard. Last year, Combs became the first country artist to headline both Bonnaroo and Lollapalooza, in addition to topping the bills at Austin City Limits, Newport Folk Festival and New Orleans JazzFest. He’s also the first country artist with 2 songs earning a billion streams on Spotify and the first with 4 singles certified RIAA Diamond.

The tour now moves through major North American stadium dates before heading overseas for a European run that includes sold-out nights at Johan Cruijff ArenA in Amsterdam, 2 sold-out nights at Slane Castle in Ireland, sold-out dates at Scottish Gas Murrayfield Stadium in Edinburgh and 2 sold-out nights at Wembley Stadium in London, with a third Wembley date still available. Canadian fans get their moment at Parc Jean-Drapeau in Montreal on May 29 and Rogers Stadium in Toronto on June 5, with the June 6 Toronto date already sold out.

Special guests vary by market. North American dates feature Dierks Bentley, Ty Myers, Jake Worthington and Thelma & James. European dates bring in The Script, The Teskey Brothers, Ty Myers and The Castellows, with Thomas Rhett joining for the Wembley run. It’s one of the strongest support lineups assembled for a country tour in years.

“My Kinda Saturday Night Tour” Confirmed Dates:

May 2 – Knoxville, TN – Neyland Stadium

May 9 – Norman, OK – Gaylord Family Oklahoma Memorial Stadium

May 15 – Green Bay, WI – Lambeau Field

May 16 – Green Bay, WI – Lambeau Field (SOLD OUT)

May 29 – Montreal, QC – Parc Jean-Drapeau

May 30 – Montreal, QC – Parc Jean-Drapeau (SOLD OUT)

June 5 – Toronto, ON – Rogers Stadium

June 6 – Toronto, ON – Rogers Stadium (SOLD OUT)

July 4 – Gothenburg, Sweden – Ullevi (Low Tickets)

July 7 – Paris, France – Accor Arena (Low Tickets)

July 11 – Amsterdam, Netherlands – Johan Cruijff ArenA (SOLD OUT)

July 18 – Ireland – Slane Castle (SOLD OUT)

July 19 – Ireland – Slane Castle (SOLD OUT)

July 24 – Edinburgh, UK – Scottish Gas Murrayfield Stadium

July 25 – Edinburgh, UK – Scottish Gas Murrayfield Stadium (SOLD OUT)

July 31 – London, UK – Wembley Stadium (SOLD OUT)

August 1 – London, UK – Wembley Stadium (SOLD OUT)

August 2 – London, UK – Wembley Stadium

Margaret Atwood Headlines Canada-Ukraine Foundation’s 30th Anniversary Gala at Toronto’s Arcadian Court

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The Canada-Ukraine Foundation marks 30 years of humanitarian action on May 29, 2026, with a milestone anniversary gala at Toronto’s historic Arcadian Court, and the evening’s centrepiece is a moderated conversation with one of Canada’s most celebrated and outspoken literary voices. Margaret Atwood, whose advocacy for Ukraine has been as clear as her fiction, will sit down for an intimate discussion on shared values, power and identity, moderated by Canada’s Ambassador to Ukraine, Natalka Cmoc. It’s the kind of conversation that earns its stage.

The numbers behind this anniversary are worth understanding. Since Russia’s full-scale invasion of Ukraine in February 2022, the generosity of Canadians channelled through CUF has raised over $100 million in humanitarian assistance, reaching more than 7 million people. That is not a retrospective figure. It represents ongoing, active work, and the May 29 gala is framed not as a look back but as a re-commitment to what lies ahead.

“The Canada-Ukraine Foundation’s 30th Anniversary is an opportunity to reflect on the extraordinary generosity of Canadians and the impact solidarity can have in times of unjust war,” says Valeriy Kostyuk, Executive Director of CUF. “As Ukraine continues to defend the democratic principles we value so deeply, this anniversary is both a celebration of what we have accomplished together and a recommitment to the work that lies ahead.” That framing gives the evening a weight that goes well beyond the usual gala format.

The moderated conversation is made possible through the support of the Temerty Foundation, the event’s official Conversation Partner. The evening also features a cocktail reception beginning at 6:30 p.m., dinner and live music, bringing together community leaders, donors and partners who have been central to CUF’s work since its founding in 1995 at the 18th Ukrainian Canadian Congress.

Arcadian Court, located at 401 Bay Street in Toronto’s Simpson Tower, is one of the city’s most storied event spaces, and the setting feels appropriate for an anniversary of this significance. Tickets and table inquiries can be directed to info@cufoundation.ca or through cufoundation.ca. Thirty years of solidarity, and the work continues.

Thompson Square Release Swampy, High-Energy New Single “Lay It On Me”

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Thompson Square Release Swampy, High-Energy New Single “Lay It On Me”

TAGS: Thompson Square, Keifer Thompson, Shawna Thompson, Johnathan Singleton, Ryan Hurd, Mickey Jack Cones, Casey Wood, Miles McPherson, Craig Young, Ilya Toshinskiy, Derek Jones, Rob McNelly, Derek Wells, David Dorn, Blackbird Studio, Georgetown Masters,

Thompson Square are out with “Lay It On Me,” a swampy, high-energy new single that marks the second release from their forthcoming album and signals exactly where the GRAMMY-nominated duo is headed. Co-written by Keifer and Shawna Thompson alongside Johnathan Singleton and Ryan Hurd, the track locks into a relaxed groove with vivid, lived-in detail, a summer night feel and the kind of easy chemistry that has always defined the best Thompson Square music. It’s out now on all digital platforms.

The writing session that produced “Lay It On Me” happened on a tour bus, the first time Hurd had ever been on one. “It was so fun to be a brand new songwriter getting an opportunity to write for a few days with Thompson Square and a hit songwriter like Jonathan,” he says. “Still such a great memory for me.” Singleton, a longtime fan of the duo, was equally energized: “We wrote a killer song, and sometimes songs take time to find their moment. I’m so glad this one is coming out.”

Produced by Mickey Jack Cones and recorded at Blackbird Studio in Nashville, the track features Miles McPherson on drums, Craig Young on bass and Ilya Toshinskiy on guitar, with Cones and Derek Jones contributing across acoustic and electric guitars, keys, programming and background vocals alongside Rob McNelly, Derek Wells and David Dorn. It’s a production that keeps the swampy feel front and center without losing the live-show energy the duo has been deliberately chasing on this new project.

“We’ve been writing a lot with the live show in mind, bringing more energy into this next project and focusing on the kind of songs we genuinely love to listen to,” say Keifer and Shawna. That approach is audible in “Lay It On Me,” a track that works as well on a back road drive as it does turned up loud at a show. For a duo with a catalog built on emotional honesty and real-relationship storytelling, adding this kind of kinetic energy to the mix feels like a natural evolution.

More than a decade after “Are You Gonna Kiss Me or Not” made Thompson Square a household name in country music, Keifer and Shawna are moving into their next chapter with the same authenticity that built their reputation in the first place. “Keifer and I really got back to our roots,” says Shawna. “But we’ve grown too, and the music reflects all of that.” With No. 1 records in 3 countries, international touring and a catalog Rolling Stone called “vivacious,” the foundation is as strong as ever.

Thompson Square’s “Lay It On Me” is out now on all digital platforms, with a video premiered on the American Country Network. More music from the forthcoming album is on the way.

Video: Slipknot Unleashed a Ferocious Headline Set at Rock am Ring 2019 Ahead of ‘We Are Not Your Kind’

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Slipknot headlined Rock am Ring in Nürburg, Germany in 2019 with the kind of controlled chaos that only a 9-piece metal outfit operating at full force can deliver, running through “Psychosocial,” “Duality,” “Before I Forget” and a hungry crowd’s first live taste of “Unsainted” ahead of the release of ‘We Are Not Your Kind.’ Corey Taylor shifted between guttural screams and melodic hooks while the rest of the band turned the legendary festival stage into an audiovisual assault that reminded everyone exactly why Slipknot remains one of the most vital live acts in heavy music.

Sharon and Jack Osbourne to Discuss Ozzy’s Legacy and What Comes Next at Licensing Expo 2026

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Sharon Osbourne and Jack Osbourne will take the License Global Main Stage at Licensing Expo 2026 on May 20 for an exclusive fireside chat on one of rock and roll’s most enduring legacies. The session, titled “The Enduring Legacy of a Rock Icon and His Family: Ozzy Osbourne and The Osbournes,” kicks off at 2:00 PM PST at the Mandalay Bay Convention Center in Las Vegas, where Licensing Expo runs May 19 to 21. It’s a conversation that arrives at exactly the right moment.

Interest in Ozzy’s legacy is building across multiple major projects at once. An upcoming biopic explores his extraordinary life and career. The BACK TO THE BEGINNING theatrical project with Black Sabbath is generating serious anticipation. And Ozzfest returns in 2027, bringing the festival back to global audiences for the first time in years. For a brand that has always operated at the intersection of music, attitude and cultural mythology, the current momentum is significant.

The Osbournes family brand is entering its own new phase of growth alongside all of this. As the groundbreaking reality series approaches its 25th anniversary in 2027, the family is developing new categories and partnerships that reflect their signature voice, humor and cultural relevance. What made The Osbournes resonate wasn’t spectacle alone. It was authenticity, and that authenticity remains the foundation of everything the brand builds on now.

“Ozzy’s legacy has always been bigger than music,” say Sharon and Jack Osbourne. “It is attitude, humor, honesty, chaos, heart, and a connection with fans that has lasted for generations. The Osbournes became part of people’s lives because it was real, and that authenticity is still at the center of everything we do.” That framing defines the approach the family is taking into the next chapter, and it’s a compelling one for any brand partner paying attention.

The fireside chat will be moderated by Jens Drinkwater and Lisa Streff of Global Merchandising Services, the team behind the ongoing expansion of the Ozzy Osbourne licensing program across fashion collaborations, collectibles, accessories, lifestyle products and emerging digital opportunities. Their work is grounded in the same rebellious spirit that built the brand in the first place, and the Licensing Expo session will offer a behind-the-scenes look at how that program continues to grow.

“The opportunity to gain rare insight from Sharon and Jack Osbourne is an exciting and unique addition to Licensing Expo,” says Amanda Cioletti, Vice President of Content and Strategy for the Global Licensing Group. “Ozzy Osbourne’s influence continues to resonate with millions of fans around the world, and The Osbournes remain one of the most recognizable families in entertainment. This session speaks directly to the power of licensing to preserve legacy, build community, and introduce iconic brands to new generations.”

Licensing Expo 2026 features over 5,000 brands across gaming, entertainment, fashion, toys and sports, with exhibitors including LEGO, Coca-Cola, Paramount, Warner Bros. Discovery, NBCUniversal, Sony Pictures and Hasbro. Registration and the full agenda are at licensingexpo.com.

Madonna Debuts New Music from ‘Confessions II’ in a Surprise Appearance at West Hollywood’s The Abbey

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Madonna showed up unannounced at The Abbey in West Hollywood last week, and what followed was one of the more remarkable nights in the iconic venue’s 34-year history. Transforming the space into CLUB CONFESSIONS to celebrate the opening of its newly expanded dance floor, Madonna and longtime collaborator Stuart Price debuted new music from her upcoming album ‘Confessions II,’ arriving July 3, giving a packed room of artists, creatives and nightlife figures an exclusive first listen to some of the most anticipated music of the year.

The choice of venue was anything but accidental. The Abbey has long been considered one of the world’s premier LGBTQ+ cultural landmarks, and debuting new music there underscored a connection to queer audiences and spaces that has defined Madonna’s relationship with her community throughout her career. It was the right room for a first listen, and the dance floor was the right place for music that clearly belongs on one.

DJs Romy, the XX singer-guitarist whose 2023 solo album ‘Mid Air’ was co-produced by Price, and Mez Monty, one of LA’s most respected house DJs rooted in the golden era sounds of New York and Chicago, kept the room moving between sets. The guest list reflected the full spectrum of music, fashion and nightlife: Addison Rae, Sky Ferreira, Lily Allen, Lola Young, Cara Delevingne, Kali Uchis, Bebe Rexha, Julia Fox, Jodie Turner-Smith, Jeremy Scott, Tom Daley, Gottmik, Symone, Sasha Colby, Trinity the Tuck and Moses Sumney among those who witnessed the debut.

‘Confessions II’ arrives July 3. If the Abbey preview is any indication, it’s going to hit hard.