K-pop superstars Itzy return with their highly anticipated new mini album ‘Tunnel Vision’, released via JYP Entertainment, Imperial, and Republic Records. Featuring six new tracks, the release frames a sensory-driven journey centered on renewal and intensity, pushing past calm introspection in favor of bold movement and emotional release. The project marks a clear step into broader sonic territory for the group.
Led by a hip-hop-focused title track, ‘Tunnel Vision’ arrives alongside a visually striking music video that highlights the group’s precision choreography and high-impact performance style. Sonically, the mini album moves from the industrial edge of “Focus” through hyper-pop cuts like “Nocturne” and “8-Bit Heart,” the UK Garage–inspired “Flicker,” and the electronic pulse of “DYT,” which explores embracing love without hesitation. The record stands as the group’s most stylistically varied release to date.
‘Tunnel Vision’ follows recent mini albums ‘Girls Will Be Girls’ and ‘Gold’, the latter reuniting all five members and featuring tracks including “Imaginary Friend” and “Vay” with Changbin of Stray Kids. The group has also announced their 3rd World Tour, launching in Seoul with three nights at Jamsil Indoor Stadium on February 13, 14, and 15, continuing the global momentum built during their Born to Be tour across 28 countries.
Warner Records artist Warren Zeiders has announced the Warren Zeiders World Tour 2026, marking his first global headline tour across the United States, Australia, and Europe. The tour begins March 26 in Virginia Beach, Virginia. The announcement follows a landmark year of touring and releases that has expanded Zeiders’ international reach.
The tour arrives as Zeiders wraps his sold-out Relapse, Lies & Betrayal Tour, concluding November 22 with a hometown arena show at Hershey’s Giant Center. Earlier this year, he completed his first European headlining run, selling out dates across Norway, Switzerland, and the UK. Since releasing his 21-track album ‘Relapse, Lies & Betrayal’, Zeiders has also shared faith-driven releases including “How Great Thou Art” and the original song “Only Bible,” co-written with Ryan Hurd, Daniel Ross, and Joe Clemmons.
Zeiders continues to build momentum following the recent No. 1 success of “Love in Letting Go” featuring Lanie Gardner on SiriusXM The Highway’s Hot 30 Countdown. His recent run also includes a No. 1 country radio single, a CMT Award for Breakthrough Male Video of the Year, and seven placements on Billboard’s 2024 year-end charts. The 2026 World Tour extends that momentum to new territories while reinforcing his growing global presence.
Warren Zeiders World Tour 2026 Dates: Mar 26 – Virginia Beach, VA @ The Dome Mar 27 – Bensalem, PA @ Parx Casino – Parx Xcite Center Mar 28 – Verona, NY @ Turning Stone Resort & Casino Apr 2 – Birmingham, AL @ Avondale Brewing Company Apr 3 – Brandon, MS @ Brandon Amphitheater Apr 4 – Durant, OK @ Choctaw Casino & Resort Durant Apr 9 – Lexington, KY @ Manchester Music Hall Outdoors Apr 10 – Cherokee, NC @ Harrah’s Cherokee Casino Resort Apr 11 – Anderson, NC @ Wendell’s Dippin Branch Apr 15 – Salt Lake City, UT @ Maverik Center Apr 16 – Denver, CO @ Fillmore Auditorium Apr 17 – Albuquerque, NM @ Rio Rancho Events Center Apr 18 – Phoenix, AZ @ Arizona Financial Theatre Apr 22 – Modesto, CA @ The Fruit Yard Apr 24 – Reno, NV @ Grand Sierra Resort and Casino Apr 26 – Indio, CA @ Stagecoach May 13 – Perth, AU @ Metro City May 16 – Melbourne, AU @ Festival Hall May 17 – Sydney, AU @ Hordern Pavilion May 19 – Brisbane, AU @ The Fortitude Music Hall May 22 – Rockhampton, AU @ Great Western Hotel Aug 28 – Essex, VT @ Champlain Valley Exposition Oct 11 – Glasgow, UK @ O2 Academy Glasgow Oct 14 – Manchester, UK @ Manchester Academy Oct 15 – Bristol, UK @ Bristol Academy Oct 16 – Birmingham, UK @ O2 Academy Birmingham Oct 18 – London, UK @ Roundhouse Oct 21 – Utrecht, NL @ TivoliVredenburg Oct 23 – Zurich, CH @ X-TRA Oct 24 – Munich, DE @ Tonhalle Oct 25 – Cologne, DE @ E-Werk Oct 27 – Frankfurt, DE @ Batschkapp Oct 28 – Berlin, DE @ Huxleys Neue Welt Oct 29 – Hamburg, DE @ Georg Elser Halle Oct 31 – Stockholm, SE @ Fållan Nov 2 – Oslo, NO @ Sentrum Scene
Following the release of her sophomore album ‘Ur an Angel I’m Just Particles’, multi-platinum alt-pop artist Benee has announced a 2026 North American headline run titled the “Particles Tour.” The tour launches February 27 at Goldfield Trading Post and runs through April 3, concluding at The Fonda Theatre. Along the way, Benee will perform at venues including The Fillmore, Hollywood Theatre, Metro, The Concert Hall, Paradise Rock Club, and Irving Plaza.
Presales begin Tuesday, November 11, ahead of the general on-sale Friday, November 14 at 10 am local time. ‘Ur an Angel I’m Just Particles’ was written and recorded over the past three years and captures Benee’s process of translating everyday confusion and emotional overload into alternative pop. The album includes her recent single “Princess,” a collaboration with PinkPantheress, and continues her blend of playful production with candid lyricism.
The album rollout follows a steady run of singles including “Cinnamon,” “Underwater,” “Off The Rails,” “Animal,” and “Sad Boiii.” Benee also recently contributed the song “What” to the second season soundtrack of Netflix’s Nobody Wants This, and spent the summer touring Europe and the UK supporting Tate McRae. With the Particles Tour, Benee brings the new record to the stage across the US and Canada, extending the album’s world into a full-scale live setting.
Benee 2026 Particles Tour Dates:
Feb 27 – Sacramento, CA @ Goldfield Trading Post Feb 28 – San Francisco, CA @ The Fillmore Mar 2 – Portland, OR @ Wonder Ballroom Mar 3 – Seattle, WA @ The Crocodile Mar 4 – Vancouver, BC @ Hollywood Theatre Mar 6 – Salt Lake City, UT @ The Grand At The Complex Mar 7 – Denver, CO @ Gothic Theatre Mar 9 – Minneapolis, MN @ Varsity Theater Mar 10 – Chicago, IL @ Metro Mar 12 – Toronto, ON @ The Concert Hall Mar 13 – Buffalo, NY @ Electric City Mar 14 – Boston, MA @ Paradise Rock Club Mar 16 – Philadelphia, PA @ Brooklyn Bowl Philadelphia Mar 19 – New York, NY @ Irving Plaza Mar 20 – Washington, DC @ 9:30 Club Mar 21 – Carrboro, NC @ Cat’s Cradle Mar 23 – Nashville, TN @ The Basement East Mar 24 – Atlanta, GA @ Terminal West Mar 26 – Dallas, TX @ The Echo Lounge & Music Hall Mar 27 – Austin, TX @ Scoot Inn Mar 30 – Phoenix, AZ @ Crescent Ballroom Mar 31 – San Diego, CA @ House Of Blues San Diego Apr 3 – Los Angeles, CA @ The Fonda Theatre
St. Catharines, Ontario–based singer-songwriter Dre Dupuis makes his full-length debut with the self-titled album ‘Dre Dupuis’, recorded entirely in his laundry room on a vintage Tascam Portastudio. Written and tracked during late-night sessions, the record leans into lo-fi immediacy while staying grounded in direct, personal songwriting. The album channels a DIY spirit associated with Guided By Voices, pairing raw textures with melodic warmth.
“I wanted to make a record on my own at home,” Dupuis shares. “I finally decided to save up some cash, quit my job at the time, and go all in.” With no overarching concept, the songs emerged naturally from isolation and routine. “They were all written and recorded at night,” he adds. “Just the ramblings of a guy and his Portastudio in his laundry room.” Sonically, the album pulls from the sharp punch of The Strokes, the introspection of Andy Shauf, and the harmony-driven richness of The Beach Boys.
The focus track “Daylight” opens the album and stands as one of its earliest compositions. Built from sampled drums, self-recorded percussion, and live one-pass mixing, the song reflects Dupuis’ stripped-back process and commitment to simplicity. “I drank coffee late at night and didn’t sleep until I had a finished song,” he recalls. ‘Dre Dupuis’ documents a return to joy through persistence and solitude, capturing the clarity that can emerge from working alone in the smallest of rooms.
Sheffield dance-punk quintet Life Aquatic Band have shared their new single “Stuck In The Mud,” out today. The track serves as the title cut from the band’s forthcoming four-track EP, produced by Shuta Shinoda, due for release on February 20, 2026. Marking their first time working with a producer, the EP captures a more focused and shadowed version of the band’s sound while retaining its kinetic core.
Known for high-energy, genre-hopping performances, Life Aquatic Band leaned into dancefloor-driven intensity while drawing inspiration from DEVO, The B-52’s, LCD Soundsystem, Hot Chip, and Fat Dog. “We were really chasing the early 2000s electro clash movement, with also a lot of the New York No Wave movement of the 1970s,” the band explain. For the first time, guitars were largely removed from the process, with only fragments appearing on “Buggin Out,” heavily resampled into noise rather than melody.
The EP’s title reflects its thematic focus on frustration, repetition, and release. Recorded to tape, the sessions blend live instrumentation with synth-driven textures, shaping a dense but deliberate sound. “Shuta really helped us make this sound concise,” says vocalist and guitarist Ben Allen. “We’ve learned to be more selective with our maximalism.” Built on hypnotic grooves, percussive found sounds, and tension-filled loops, “Stuck In The Mud” anchors an EP that documents growth, restraint, and a darker palette without losing momentum.
Belgian speednoise band RONKER have announced their second album ‘Respect The Hustle, I Won’t Be Your Dog Forever’, set for release on January 30, 2026 via LABELMAN. The new cycle begins with lead single “No Sweat,” out now. The track delivers a fast, uncompromising mix of post-punk, noise rock, and hardcore, driven by tight rhythms and sharp melodic edges that keep the intensity locked in from start to finish.
“No Sweat was one of the first songs we wrote for the record,” the band explain. “The mission statement was clear and simple: a visceral, bred-for-the-moshpit style track that doesn’t overstay its welcome.” Written as a blueprint for the album, the song moves from a garage-honed hardcore intro through thrash-leaning verses into a stop-start finale inspired by groove-heavy experimentation.
‘Respect The Hustle, I Won’t Be Your Dog Forever’ is a concept album centered on coping mechanisms, overstimulation, and the excesses of a rock and roll lifestyle. While still aggressive, the record adopts a more layered approach to songwriting, drawing from influences that range from Refused and Slayer to David Bowie and the Spiders from Mars. Formed in 2020 and forged on the road, RONKER continue to define their self-coined speednoise sound through relentless live performance, following appearances at festivals including HELLFEST, Pukkelpop, and 2000trees.
Legendary Canadian rock band 54-40 return with their highly anticipated new album ‘PORTO’, out now. The announcement follows the debut of four powerful new singles, “Running for the Fence,” “Die To Heaven,” “Time Will Tell,” and “Virgil,” released today, marking the beginning of a bold new chapter for one of Canada’s most celebrated bands.
Frontman Neil Osborne describes the project as “an album about renewal and resilience — it’s about the work it takes to keep creating, to stay connected, and to keep loving what you do.” Bassist Brad Merritt adds, “We’ve always tried to write songs that feel honest and grounded in real life. These new tracks capture that — they sound like where we’ve been, but also where we’re going.”
Formed in 1981 in Tsawwassen, British Columbia, 54-40 quickly became a cornerstone of Canada’s alternative rock movement. The band’s name — drawn from the 54°40′ northern boundary line once disputed between the United States and British North America — reflects both their West Coast origins and their independent spirit. Founders Neil Osborne and Brad Merritt, joined by guitarist Dave Genn and drummer Matt Johnson, forged a sound defined by melodic songwriting, poetic lyrics, and a steadfast work ethic.
Across five decades, 54-40 have produced a deep catalogue of era-defining hits, from “I Go Blind,” “Ocean Pearl,” “Since When,” and “One Day in Your Life” to “She-La,” “Nice to Luv You,” and “Love You All.” With multiple Platinum-certified albums, sold-out tours, and an enduring presence on Canadian radio, their music continues to resonate with generations of fans.
‘PORTO’ was recorded with longtime producer Warne Livesey in Portugal and reaffirmed the band’s creative vitality. Osborne recalls, “It felt like the songs were writing themselves — we just had to get out of the way and let them happen.” That spirit of immediacy carries into ‘It Takes A Lot’, a record that explores endurance, artistry, and the balance between reflection and momentum.
Few bands have left as deep an imprint on Canadian music as 54-40. Emerging from the post-punk wave of the early ’80s, they helped define a distinctly Canadian alt-rock sound — one rooted in grit, melody, and introspection. Alongside peers like The Tragically Hip and Blue Rodeo, 54-40 helped shape a national identity in rock music, blending thoughtful lyricism with accessible, anthemic hooks.
Their influence extends across generations. Dozens of artists — from Our Lady Peace to Arkells — cite 54-40 as a foundational inspiration. Their timeless songwriting and commitment to authenticity have earned them numerous Juno Award nominations, as well as induction into the Canadian Music Industry Hall of Fame and the B.C. Entertainment Hall of Fame and a permanent place in the country’s cultural fabric.
As the band approaches its 45th year, 54-40 continue to command stages with the same energy and purpose that defined their beginnings. Their live performances remain electric — a mix of grit, musicianship, and camaraderie honed over thousands of shows. Osborne says, “When we play live, it’s not nostalgia. It’s about connection — with the crowd, with the songs, and with each other.”
With ‘PORTO’, 54-40 reaffirm their place as one of Canada’s most important rock institutions. The band will announce North American tour dates later this fall in support of the new record, bringing both their classics and latest material to fans across the country. As Osborne sums it up, “After all these years, we still feel lucky — we still love doing this. And that’s what it takes a lot of.”
Music history is littered with stories of “what if” and “someday,” but every so often, an artist decides to stop waiting for the stars to align and starts carving out their own constellation. In an era of hyper-compressed digital singles, Carla Muller is doing something refreshingly traditional: she’s telling stories that actually need the time they take. Her new single, “Hold The Door” from the album In Between out today, is a piece of a larger, lived-in puzzle that connects the dots between mid-century romance and the frantic pace of the modern world.
Carla Muller’s path to the Toronto recording scene wasn’t a straight line. Based in Woolwich, Ontario, Muller spent years balancing family life with a “life-long dream to share my music with the world”. It wasn’t until 2020 that she began recording at the legendary Canterbury Music Company, working alongside veteran engineers like Jeremy Darby and Julian Decorte. Her evolution from writing lullabies for her children to collaborating with heavyweights like Jason Fowler and Mark Lalama speaks to a late-blooming creative “floodgate” that, once opened, couldn’t be closed. As Muller puts it, “I write from my heart, for the people I love, and for myself—past and present”. She has surrounded herself with a rotating cast of Canada’s finest session players—names like Nathan Hiltz, Ross MacIntyre, and Gary Craig—to bring a sophisticated folk sensibility to her biographical tales.
“Hold The Door” is a masterclass in narrative songwriting, co-written with Scott Metcalfe. The track captures the lightning-bolt moment her parents met sixty years ago—a story involving borrowed heels, a wing-tipped automobile, and a dash of 1960s chivalry. Musically, the track is anchored by Metcalfe’s piano and colored with the rustic textures of Chris Quinn’s banjo and Drew Jurecka’s violin, creating a sound that feels both nostalgic and immediate. Lyrically, the song moves from the literal to the metaphorical, using the “door” as a symbol for life’s transitions, featuring poignant lines such as: “The day they first met he drove her home / In her pretty bright blue dress and borrowed heels” and “The wolf’s done kicked it in, so let’s all dance across the floor / ‘Cause we can’t hold the door anymore”.
The inspiration for “Hold The Door” came from observing her parents’ six-decade marriage. Muller reflects on the serendipity of their meeting, noting how her father saw her mother from across the room and was immediately smitten. For Muller, the song is about a “life well-lived” and the realization that while we try to control our circumstances, sometimes the most beautiful moments happen when we finally stop trying to hold the door against the inevitable changes of time.
One thing Carla doesn’t do right now is tour. With an assurance that comes from time and lessons learned, she says, “I would be giving up the very thing I’m always writing about – family, friends and home if I did that. No, I work from home and from Toronto, staying at The Drake, my favourite home away from home. Home is where the magic happens – that’s where the stories flow from. I also need to stay close to my parents, family and my new grandson. I don’t want to miss a single moment.” Following the January 23rd release, Carla Muller is expected to make several promotional appearances to support the new albums, In Between, which will launch January 23rd. Notably, Muller continues her philanthropic commitment, with 50% of proceeds from the sales and streams of the track “We’ll Be Alright” directly benefitting the Food Bank of Waterloo Region. All CD and vinyl sales of In Between will also send 25% of her proceeds to FBWR.
“Hold The Door” serves as a vital bridge in Muller’s career, moving from the folk-leaning roots of her early collaborations in Erin, Ontario, toward the polished, collaborative sound of her latest work. It anchors her upcoming album, In Between, positioning her as a songwriter who can translate private family history into a universal language of resilience. In a world that often feels like “nothing would ever be the same again,” Muller’s music argues that as long as we have these stories, we’ll be ok.
Yukon musician and producer Matthew Lien has released ‘Full Circle’, his 25th album and most ambitious project to date. Curated from forty years of songwriting, the album features Lien’s signature blend of acoustic styles from folk to pop wrapped in lush environmental soundscapes.
The hallmark of this release is a breakthrough immersive format Lien developed specifically for earphone listening, which earned the 2021 Yukon University Innovation Prize. This production technique moves beyond traditional stereo fields to a binaural format that serves as a periscope for the ears.
A central piece of this immersive journey is the new single and music video for “I’m Gonna Pray”, a track composed by longtime friends Paul Gatien and Leah DeForrest. The song serves as a profound tribute to Lien’s close friend and bassist, Paul Scott Stephens, who participated in the recording after receiving a terminal diagnosis. This international undertaking involved eighteen of Stephens’ closest musical friends recording in six different studios across the Yukon, British Columbia, and California, providing a final opportunity for them to join him in music. The project filled the bassist’s final months with friendship and music, and the day after the final mixing session, Stephens returned home to Canada where he passed away shortly after.
The production of ‘Full Circle’ relies on the Neumann KU-100 binaural microphone, a specialized mannequin head used to capture a digital fingerprint of physical spaces. To solve the challenge of preserving immersion in a studio setting, Lien utilized convolution reverb by capturing binaural directional impulse responses in twenty-two historically significant locations across North America, Europe, and Asia. These digital acoustic fingerprints, taken in spaces like the Marble Hall of the St. Florian Basilica and St. Martin’s Church, allow the recordings to impart the specific spatial and cultural qualities of those environments onto the instruments. This process of acoustic archaeology ensures that every instrument occupies a unique sense of space without the immersive quality collapsing.
The album was mastered by Grammy-winning engineer Michael Romanowski, who elevated the immersive qualities of the recordings captured by Lien and his team. In total, the project involved fifty-two musicians, eight engineers, and four foley artists recording in eighteen locations across six countries. Lien notes that with the proliferation of smartphones and earphones, the timing is perfect for a format that offers this level of depth and realism. ‘Full Circle’ is now streaming on all major platforms, and listeners are encouraged to use earphones to experience the full immersive effect of the 22 acoustic spaces woven into the music.
Matthew Lien’s “I’m Gonna Pray” immersive music video is available now on YouTube.
— In the sophisticated landscape of Canadian jazz, few stories resonate with as much profound emotional truth and artistic resilience as that of Kim Kaskiw. A Toronto-born, Ottawa-based vocalist, composer, and trailblazing tuba player, Kaskiw has unveiled her latest album, The Latin Jazz Fusion Project, a work that serves as a vibrant bridge between the worlds of Latin, Jazz, Funk, and Fusion. Drawing from a life defined by music, Kaskiw has crafted a collection that honours the deep lineage of jazz storytelling. This album is a resounding celebration of life’s beauty and the power of perseverance, marking a significant addition to the broader musical world of Latin Jazz fusion.
The history of this record is inextricably linked to Kaskiw’s remarkable journey through a devasting 2020 diagnosis of musicians’ focal dystonia, a neurological condition that threatened her ability to perform. Rather than retreating, she utilized her diagnosis as a creative catalyst, collaborating with tenor saxophonist and arranger Joey Berkley—who also lives with the condition—to craft an album that serves as both a triumph of will and a masterclass in superb musicianship. “My motto has always been: If not now, when?” Kaskiw shares of the recording process. “I wanted to find a way to express myself fully in the studio and cheat dystonia in the process. I think I succeeded!”. The resulting sessions, featuring stellar musicians from Toronto, Ottawa, and New York City, radiate with the warmth of a musician who has turned vulnerability into unshakeable strength.
Central to the album’s brilliance is the new single, “HER”. A piece inspired by legendary vocalist, Nancy Wilson. “Nancy Wilson was my all-time favourite singer and could deliver a song with deadly precision. I wanted to write an impactful song that has a ‘hard right hook’ like how she sang, ‘Guess Who I Saw Today?’” ‘HER’, Kaskiw’s original slow Bossa Nova track, features a haunting harmonica solo by Normand Glaude that elevates the piece to another level of poignancy. Beyond this standout single, the album is punctuated by several essential highlights: the first track, “Come To Me,” showcases Kaskiw’s unique triple-threat talent as a composer, tuba player and powerful vocalist with unlimited vocal range featuring Joey Berkleys tenor sax and arranging; the funky recovery anthem “Rise Up,” which nods to the rhythmic genius of Tower of Power and includes tuba in the horn section; and the intricate “Sol Sista,” a rhythmic tribute to her sister’s 50th birthday utilizing unique time signatures.
Thematically, The Latin Jazz Fusion Project is an expansive exploration of love, loss, and the healing power of the present moment. Through tracks like “Here and Now,” Kaskiw communicates a universal message of empathy and hope, speaking directly to those who have lost a loved one to cancer. “Black Rooster” inspired by a trip to Brazil hearing a crowing rooster all night in minor seconds, or the grateful tribute of “Waltz for JP” dedicated to her musical mentor, JP Allain, the album’s core theme remains constant: the celebration of the human condition through musical expression.
Kaskiw’s all original compositions and lyrics invite the listener into a world of emotional truth, reminding us that music is a steady, powerful force that heals and uplifts.
This album carries immense musical significance as it bridges jazz story telling, delivery and modern, soaringly original Latin Jazz Fusion. Kaskiw not only raises awareness for millions of musicians worldwide who suffer from musicians’ focal dystonia, she raises the human spirit itself. It is an important artistic statement that respects the heritage of the genre while boldly expanding its boundaries through the inclusion of the tuba in a jazz-funk context. The Latin Jazz Fusion Project is a testament to creativity which is the ultimate driver of human expression, even in the face of life’s most profound challenges.
