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Squeeze Unearth ‘Trixies,’ The Album They Wrote As Teenagers Fifty Years Ago

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Squeeze just released ‘Trixies,’ an album more than 50 years in the making, out now. Here’s the twist: it’s the band’s first album in eight years, yet also the very first one they ever wrote. Chris Difford (then 19) and Glenn Tilbrook (then 16) penned these songs at the dawn of their partnership, building a collection of stories set in a fictional nightclub. Five decades later, the pair have finally completed the circle and brought that teenage vision to life.

Long before classics like “Up The Junction,” “Tempted,” “Cool For Cats,” and “Labelled With Love,” before the 2008 Ivor Novello Award for Outstanding Contribution to British Music, the world tours and festival sets, there was ‘Trixies.’ The collection runs through crime-scene vignettes like “The Place We Call Mars” and “Don’t Go Out In The Dark,” the riotous come-hither charge of “Why Don’t You,” and the evocative acoustic scene-setter “You Get The Feeling.”

Difford explained why the songs sat on the shelf so long. “We fully committed ourselves to songwriting but this was three or four years before we even got to make our first record. Long story short, these were songs that we just didn’t have enough musical experience to record properly,” he says. After rediscovering the original 1974 cassette, the band, who’ve played more than 600 shows since reuniting in 2007, finally had the chops to do them justice.

Tilbrook lit up talking about the return. “The songs that we wrote then astound me. I’m proud of them now, and I’m particularly proud that it was young us that did that. These are very much the same songs that we wrote then. The only difference is that now I can teach the songs to the rest of the band. Back then, I didn’t even know what the names of the chords were,” he says.

Produced by Squeeze bassist Owen Biddle (The Roots, John Legend, Al Green), ‘Trixies’ has sparked a fresh creative surge. An album of brand-new Squeeze songs, recorded right alongside ‘Trixies,’ is already finished and waiting in the wings. “The act of revisiting the Trixies songs had me in tears, partly because they’re so good, but also because I’m aware of all the stuff that I’ve still yet to hear and write,” Tilbrook says. Difford echoes the joy: “It really fills me with joy that at my age we can discover that we wrote such great songs when we were teenagers. I’m very proud of that,” he says. The whole project glows with the rare thrill of a band rediscovering its own beginnings.

Squeeze hit the road this fall behind the record, including a stop at the legendary Hollywood Bowl and their most ambitious UK tour to date, the 16-date Tried, Tested and Trixies Tour, with Billy Bragg joining as Very Special Guest.

2026 Tour Dates:
September 19 – Los Angeles, CA – Hollywood Bowl (with Adam Ant and The English Beat)
September 26 – Louisville, KY – Bourbon & Beyond Festival

The Red Jumpsuit Apparatus Super-Size ‘X’s For Eyes’ With A Surprise Guest And Four New Tracks

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The Red Jumpsuit Apparatus just dropped the deluxe expanded edition of ‘X’s For Eyes,’ and it’s out now. The Florida rockers loaded the new version with four additional tracks: the previously released “Angels Cry,” “Perfection” featuring Mayday Parade’s Derek Sanders, “Not Today,” and a Screams Version of “Slipping Through (No Kings).” They’ve also shared a lyric video for “Not Today” to mark the occasion.

Frontman Ronnie Winter is fired up about what the expansion brings. “The surprise guest vocalist and alternate versions really make this the most exciting deluxe edition in the history of our career,” he says.

The 11 original songs on ‘X’s For Eyes’ found the band cranking up their caffeinated pop sensibilities, throwing down punishing riffs, and folding in more electronic and ambient textures, all topped off with Winter’s high-pitched emoting. A-list cameos from Sleeping With Sirens’ Kellin Quinn on “Always The King” and Escape The Fate frontman Craig Mabbitt on “Worth It” pushed the record into one of the strongest entries of the band’s catalog. Winter used the album to work through deep, post-pandemic thoughts, and the band keeps the energy charged whenever the lyrics turn melancholy, ready to launch these songs into mosh pits and dance floors. The four new additions super-size a record that already connected, and they’re built to please the RJA faithful.

Formed in 2004 in Jacksonville, Florida, the band has racked up Gold and multi-Platinum singles, including their 5x Platinum smash “Face Down” (over 176 million YouTube views) and 2x Platinum “Your Guardian Angel” (over 37 million views), plus a 2x Platinum debut album, ‘Don’t You Fake It.’ They’ve logged over 1.5 billion career streams across two decades. “The core fanbase has always been there. It’s a family band. Why? Because we stick up for people,” Winter says. Their 2006 single “Face Down” carried anthemic choruses alongside a pointed message about domestic abuse, earning both sales accolades and devotion from crowds around the world.

Kip Moore Floors It On Guitar-Slinging New Anthem “Levee” And Maps A World Tour

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Kip Moore just made his return with “Levee,” an anthemic, guitar-slinging banger built for the fast lane, out everywhere now through Virgin Music Group. The multi-platinum singer/songwriter co-produced the track with Andrew DeRoberts (Stephen Wilson Jr., Tate McRae, Zac Brown Band), and it features guest vocals from Hillary Lindsey. An official video, directed by PJ Brown, follows a wayward Moore across a barren southwestern landscape.

Moore dug into where the song came from. “‘Levee’ is an expression of frustration with the loudness of the world. Everybody being self-righteous, the constant bickering. We’re simply in a graceless age. People are obsessed with their own voice and being the beacon of truth. We’re all flawed humans from a million different backgrounds. I can feel the ground hemorrhaging. That opening verse came out of me in seconds as a scream,” he says.

The track storms out of the gate with the kind of full-throttle energy that’s defined Moore’s biggest moments. It’s a loud, cathartic release of frustration, and it lands hard with electric guitars roaring underneath.

“Levee” arrives alongside news of Moore’s Reason To Believe World Tour, where he’ll headline stadiums and arenas across Australia, New Zealand, South Africa, Europe, the US, and the UK. South Africa stands out as a highlight, with a run of shows at SuperSport Park Stadium in Pretoria and Cape Town’s GrandWest Arena marking his first trip back since 2024. He’s built a massive following there, with his 2023 arena show becoming the fastest sell-out in Cape Town history, topping Sting and drawing crowds of more than 40,000 fans.

The world tour follows a co-headlining run with Billy Currington and select arena dates supporting Cody Johnson. Before the global trek kicks off, Moore heads overseas for a performance at the Holland International Blues Festival in the Netherlands and a set at State Fayre in Chelmsford, UK.

Leslie Odom Jr Crosses The Ocean To Reprise His Tony-Winning Aaron Burr On The West End

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Leslie Odom Jr is crossing the Atlantic this summer to make his West End debut, stepping back into the role of Aaron Burr in Lin-Manuel Miranda’s ‘Hamilton.’ The nine-week strictly limited engagement runs July 3rd through September 5th at the Victoria Palace Theatre, with producers Jeffrey Seller and Cameron Mackintosh sharing the news.

Odom knows this role inside and out. He won the Tony Award for Best Actor in a Musical for his portrayal of Burr, along with a Grammy for his work on the original cast recording. He returned to the part on Broadway last fall for a sold-out 12-week season, and now he’s taking it across the ocean for an international audience.

Odom spoke about the return. “Returning to ‘Hamilton’ and revisiting the role of Aaron Burr with the growth and perspective of time has been a profoundly healing artistic experience. I am having so much fun! I am thankful to Cameron Mackintosh and Jeffrey Seller for the invitation to make my West End debut with this fabulous company. The London production will grant me a few more glorious weeks to share Lin-Manuel’s music with an international audience who, I have learned, love this show as much, if not more, than I. I’m crossing the ocean and I just can’t wait,” he says.

His résumé reaches well beyond the stage. In 2020, he starred as Sam Cooke in the film adaptation of ‘One Night in Miami,’ a performance that earned him Academy Award, BAFTA, Critics’ Choice, Golden Globe, and Screen Actors Guild nominations. He also wrote, composed, and performed the film’s original song “Speak Now,” landing an Oscar nomination and a Critics’ Choice Award for Best Song. His other screen credits include ‘Glass Onion: A Knives Out Mystery,’ ‘Murder on the Orient Express,’ ‘The Good Wife,’ ‘Abbott Elementary,’ and ‘The Many Saints of Newark.’ He also delivered a Tony-nominated turn in the 2023 revival of ‘Purlie Victorious.’

Odom joins a London company led by Alex Sawyer as Alexander Hamilton, Bente Mulan as Eliza Hamilton, Emily-Mae as Angelica Schuyler, and Jonathan Andrew Hume as George Washington, among others. His return promises to be one of the summer’s hottest tickets on the West End.

Anne Wilson And Cole Swindell Trade Verses On Soul-Stirring Faith Duet “Still Do”

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Anne Wilson and Cole Swindell just delivered a reimagined version of “Still Do,” out now, and it gives a fan favorite a whole new dimension. The platinum-certified, Grammy-nominated Wilson originally cut the song for her 2025 album ‘Stars,’ and this fresh take brings Swindell into the fold as the two trade verses on doubt, distance, and the long road back to faith.

Written by Wilson alongside Jeff Pardo, Matthew West, and Trannie Anderson, the duet pairs Wilson’s soaring delivery with Swindell’s grounded perspective. The central message holds steady throughout: no matter how far you’ve wandered, grace is still within reach. An all-new lyric video arrives alongside the release.

Wilson shared what the song means to her. “‘Still Do’ is such a special song to me because it’s a reminder that no matter how much life changes – or how many doubts we walk through – God’s faithfulness never changes. I’m so excited to have Cole join me on this new version. He brings so much heart and authenticity to the collaboration, and I truly can’t wait for everyone to hear it,” she says.

Swindell felt the same pull. “I am so honored that Anne asked me to be part of such a special song. I loved ‘Still Do’ the first time I heard it and it has really resonated with where I am at in life right now. Getting to work with Anne was incredible and I hope everyone enjoys it,” he adds.

Wilson released her third studio album, ‘Stars,’ last fall via Capitol Christian Music Group. The sweeping 12-track collection captures her at a defining moment, growing up on record, reconciling grief with grace, and finding faith that endures when dreams take a different shape. She co-wrote all 12 tracks, working with producers Jeff Pardo, Jonathan Smith, and Ross Copperman, plus writers like Trannie Anderson, Blake Pendergrass, Emily Weisband, and Andy Albert. The two voices lock together beautifully here, warm and full of conviction.

Wilson also expands her message beyond the stage with her new 40-day devotional, ‘Hey Girl: You Are Seen, Loved, and Made for More,’ via K-Love Books, written to help young women discover their worth and identity in Christ. She’ll bring her music to some of Christian and country music’s biggest fairs and festivals this summer.

Kameron Marlowe Digs Into Soul-Drenched Country On Raw New Single “No Need For Leavin'”

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Kameron Marlowe just shared “No Need for Leavin’,” a slow-burning new single out now via Sony Music Nashville, and it’s one of the rawest performances of his career. The country riser captures that quiet, late-night moment when love hangs by a thread and the choice comes down to fighting for it instead of walking out the door.

The track runs on bluesy grooves and steel guitar accents that keep Marlowe rooted in his country foundation. He grew up on a wide stretch of influences, from Keith Whitley to Stevie Ray Vaughan to BB King, and you can hear all of it here. Leaning into gritty, soul-drenched belts, he pushes his voice into bold new territory.

Marlowe broke down where the song lives. “This one isn’t about begging for someone to stay. It’s about that moment when you know things are slipping away and you decide you’re not done fighting yet,” he says.

Produced by Austin Goodloe, “No Need for Leavin'” peels back a new layer of Marlowe’s sound and hints at more to come. He also dropped a music video for the track, shot entirely in black and white, with a stripped-down setup that follows him performing across settings drawn from the song itself. The single connects with grit and feeling, a confident step from one of country’s fastest-rising voices.

Marlowe keeps a busy road ahead too, including summer dates on Ella Langley’s Dandelion Tour.

Alien Ant Farm Roars Back With Redemption Anthem “Reasons” And A Fall Album On Deck

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Alien Ant Farm just released “Reasons,” a charged-up new single out now via Judge & Jury Records. The track opens a fresh chapter for the SoCal rockers, who are leaning into new collaborations after more than two decades together. It’ll land on their forthcoming album, due out this fall.

The song carries a real story. Written by Rome Ramirez (formerly of Sublime with Rome) and Andreas Ramirez, with production from Howard Benson, “Reasons” came together through deep Southern California roots. Alien Ant Farm and Sublime with Rome have shared the same scene for years, and at one point shared the same management. When the team brought the song to the band, they grabbed it and gave it an edgier spin.

Frontman Dryden Mitchell explained what pulled him in. “‘Reasons’ resonates with me because I love the notion that some people, if granted the opportunity of a second chance, actually make the change in themselves to be present and reliable to someone. This song is tight and concise, and an ANThem to all who have wanted to actually make that change for the better. This song is about redemption and making your wrongs right. It’s about second chances after hurtful, dumb mistakes. Recording this song with the Judge and Jury production team has been a joy and a privilege to remember for a lifetime,” he shares.

“Reasons” is the band’s first track built alongside Judge & Jury’s production crew, a lineup stacked with rock heavyweights: Howard Benson (My Chemical Romance, Skillet, Papa Roach), Neil Sanderson (Three Days Grace), Mike Plotnikoff (Van Halen, Aerosmith, Buckcherry), and Joe Rickard (Breaking Benjamin, Starset, In Flames). The result is a tight, muscular rock single that hits with momentum and heart.

There’s more on the way too. Alien Ant Farm will mark the 25th anniversary of their breakthrough album ‘ANThology’ with a special vinyl edition arriving this year.

Bebe Rexha Lights Up The Dance Floor With Pulsing New Single “New Religion”

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Bebe Rexha just dropped “New Religion,” a high-voltage dance anthem built for sweaty summer nights and packed club floors. The track pulls from the timeless DNA of “Insomnia,” the 1995 classic from electronic legends Faithless, and reshapes it for a new generation. Rexha takes that hypnotic bassline and wraps it around her commanding vocal, turning a dance landmark into a sleek, modern club record.

The song arrives with an official visual and serves as the focus track from Rexha’s upcoming album, ‘Dirty Blonde.’ It’s a confident, body-moving record that honors the original while pushing its pulse forward.

Rexha opened up about where the song came from. “‘New Religion’ is really my salvation on the dance floor. It’s about letting go and getting lost in the music. I was in a dark place when I wrote it, and I realized music had always been the one thing that never left me — it’s always had my back, even in a tough industry and a heavy world. I wanted to write a love letter to music itself. When the bass hits, you feel it in your chest, and suddenly you feel alive again. That’s what this song is about for me — feeling safe in the music and remembering that spark. I hope when people hear it, it makes them want to get up and dance, but more than that, I hope it makes them feel alive,” she says.

The multi-platinum hitmaker keeps blurring the lines across pop, dance, and electronic music, and “New Religion” lands with the kind of euphoric energy that fills rooms. It’s another bold step for a songwriter who’s spent her career chasing the feeling of a perfect drop.

Why Zach Bryan Feels Different From Nashville

Every so often an artist comes along who doesn’t so much break the rules as cheerfully ignore that they exist. Zach Bryan is that artist for this moment in country music, and the joy of him is that he got to the top of the mountain without ever once asking the mountain for permission. Let’s celebrate exactly why this Oklahoma songwriter feels so refreshingly, thrillingly different from the polished machine of Music Row.

He Came Up Completely Outside the System

Here’s the origin story that makes fans grin. Bryan didn’t move to Nashville, work the writers’ rooms, and wait to be discovered. He rose outside the traditional Nashville system entirely, sharing songs online while still enlisted in the US Navy and gaining a loyal following through social media and grassroots fan support. A guy in fatigues, recording songs because he had to get them out of his chest, building an army of fans one raw upload at a time. That’s not a record-label rollout. That’s a folk hero origin story, and people can feel the difference.

The Music Is Gloriously Unpolished

Nashville has spent decades perfecting a certain gleaming sound. Bryan went the other way, and it’s wonderful. He’s known for raw, emotionally direct songwriting and a stripped-back sound rooted in Americana and modern folk-country, with music that feels personal, unfiltered, and deeply narrative-driven. The themes come straight from real life. His writing, shaped by growing up in a military family and his own experiences, often explores loneliness, belonging, heartbreak, and working-class identity. These are songs that sound like they were lived first and recorded second.

He Writes and Produces It Himself, His Way

Here’s a detail that tells you everything about how he operates. His brand-new record is a sprawling, ambitious, do-it-my-way statement. With Heaven on Top, released on January 9, 2026, was written and produced entirely by Bryan and contains 25 tracks, including 24 songs and one spoken poem. Twenty-five tracks. A spoken poem. Try getting that past a radio-focused committee. And he’s not slowing the creative engine down to chase a formula either. The album’s single “Say Why” opens with acoustic strings and violin before thundering rhythms, meaty guitars and exuberant horns kick in, drawing comparisons to Bruce Springsteen, with lyrics about his journey to sobriety. That Springsteen comparison is the right neighborhood. This is heartland storytelling, not chart engineering.

He Says What He Means

Part of what makes Bryan feel different is that he treats his platform like it’s actually his. He’ll wade into real subjects, even thorny ones, the way the great American songwriters always have. In late 2025 he posted a snippet of his song “Bad News” referencing ICE immigration raids, prompting wide coverage and responses from government officials. Agree or disagree, you’re watching an artist use his voice without first running it past a focus group. That fearlessness is a big part of the charm.

He Collaborates Across the Map

Bryan also refuses to stay neatly in a single lane, and the results are a blast. His 2025 single “Bowery” featured rock band Kings of Leon, blending a sparse acoustic opening with the band’s trademark guitar tone into a hybrid of folk ballad and rock anthem. Country purists and rock fans alike showed up for it, because Bryan’s whole vibe is that good songs don’t need a genre passport.

He Fills Stadiums on His Own Terms

And here’s the most celebratory part of all. Doing it his own way hasn’t kept him small. It’s made him enormous. Bryan has become one of the most influential artists of the 2020s, and his 2026 touring takes him to stadiums across the US and overseas, from massive American football venues to Murrayfield in Edinburgh, Tottenham Hotspur Stadium in London, and Páirc Uí Chaoimh in Ireland. The kid uploading songs from the Navy now sells out the biggest rooms on the planet, and his rise reflects something joyful happening in the genre. It mirrors a major shift in country music, where authenticity and storytelling have become as commercially powerful as mainstream radio success.

The Takeaway

Zach Bryan feels different from Nashville because he proves you don’t have to choose between staying true and going huge. He writes his own songs, produces his own records, speaks his own mind, sings about real life, and lets the fans, not the format, decide. In a town built on polish, he’s a glorious reminder that sometimes the rawest voice in the room is the one everybody ends up wanting to hear. And the best part? He’s clearly just getting started.

What The Beatles Can Teach You About Ending a Successful Partnership at the Right Time

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We tend to think of the breakup as the failure. The relationship that ended, the company that split, the partnership that dissolved. But anyone who has spent time advising businesses or couples will tell you the same thing: the real failure usually lies elsewhere. It’s staying too long, or leaving so badly that you torch everything you built. And there’s no better case study in both the wisdom and the difficulty of ending well than the most successful creative partnership in history. The Beatles gave us so much, and one of their quieter gifts is a masterclass in how and when to walk away from something great.

Lesson 1: A Partnership Can Outlive Its Purpose, and That’s Okay

The first thing to understand is that the Beatles had reached a point where they were ready to be something new. One of the formal reasons put forward for the dissolution was that the Beatles had ceased to perform together as a group, so the purpose of their partnership had been fulfilled.

This is one of the gentler truths any successful partnership can come to accept. The reason you came together can quietly complete itself while the legal and emotional structure remains standing. A band ready to make solo music, a company whose founders now feel called toward different things, a couple whose original shared mission has been beautifully accomplished. The partnership can be a tremendous success and still be ready to conclude. Recognizing that difference, between “this failed” and “this finished what it set out to do,” is the beginning of ending with grace.

Lesson 2: Notice When the Stabilizer Is Gone

Here’s a pattern worth remembering with care. The Beatles felt the ground shift after they lost the one person who held the whole structure together. The death of their manager Brian Epstein in 1967 left them rudderless, and McCartney later compared it to suddenly losing their dad, since Epstein had been their guide and the buffer between their artistry and the brutal realities of fame.

The lesson here is a kind and practical one: keep an eye on who in your partnership is quietly doing the stabilizing work. Often there’s one person, or one shared structure, that absorbs the friction and keeps everyone pointed in the same direction. When that steadying force changes or steps away, it’s a moment to pay loving attention, because the partnership may need a new source of stability, or it may be a sign that a new chapter is beginning for everyone.

Lesson 3: Protect Your Partnership From the Wrong Outside Influence

Much of the Beatles’ pain came down to a disagreement over who they let into the room. After Epstein died, Allen Klein took over managing Apple Corps, and the financial situation grew precarious, with Harrison later recalling the whole thing as simply a mess. McCartney saw it differently from his bandmates, and that split over an outside party became the fault line. His basis for arguing the others had violated their partnership agreement was that they had appointed Klein as manager over his objection and that he had been kept in the dark about the band’s finances.

For any partnership, the takeaway is warm and useful: be thoughtful and aligned about who you invite into your inner circle, whether that’s an investor, a manager, an advisor, or anyone whose decisions touch what you’ve built together. A shared, trusting decision about outside influence keeps a partnership strong. A divided one can quietly become the thing that pulls it apart.

Lesson 4: Structure Your Partnership So Individual Success Is Celebrated

This one is fascinating, and genuinely instructive for modern partnerships. Under the original plan for Beatles and Company, all income paid into the company was ultimately split four ways, and that included earnings on solo projects. Some members were perfectly happy with this, while McCartney came to feel ready to bet on himself. He may simply have believed his own career going forward would be worth more than a quarter share in an ongoing partnership, having begun to think of himself as a separate agent for some time.

There’s real wisdom to draw from this. When you build a partnership, think early and generously about how individual growth will be handled down the road. The happiest long-term partnerships tend to leave room for each person to flourish on their own terms, so that personal success feels like a shared joy rather than a tension. Designing that flexibility in from the start is one of the kindest things partners can do for their future selves.

Lesson 5: End It Cleanly, Even When That Takes Courage

The most striking part of the Beatles’ story is how much courage it took to formally let go. In August 1970, McCartney began steps to dissolve the partnership, and the only way to break the deadlock was to take legal action, so on December 31, 1970, he filed a suit in the London High Court to dissolve The Beatles & Co. It was a hard road, and it took time to resolve. The case ground on into the decade, the court eventually found in McCartney’s favour, and The Beatles as a legal entity came to an end on December 29, 1974.

History has been kind to that decision. Freed from the constraints of their partnership, McCartney, Lennon, Harrison, and Starr each went on to solo careers that further cemented their legacies. The lesson lands softly but firmly: ending a partnership cleanly, even when the process feels daunting, can free everyone to do their best work next. A clear, honest conclusion is a gift to all parties, not a betrayal of what came before.

The Beautiful Paradox

Here’s the heart of it. The Beatles remain the most beloved band in history, and the fact that they parted ways takes nothing away from that. If anything, their willingness to let the partnership rest allowed four extraordinary people to keep growing. That’s the gentle paradox worth carrying into your own work and relationships: ending something at the right time, and in the right way, can be one of the most respectful and loving things you ever do for it. The goal was never to make it last forever. The goal was to honour what it was, and to let everyone walk forward whole.