Guitar virtuoso Julian Lage has released Scenes from Above, his fifth Blue Note album, the second made in collaboration with revered producer Joe Henry, and his first with a striking new quartet featuring keyboardist John Medeski, bassist Jorge Roeder, and drummer Kenny Wollesen. Scenes From Above is available now on an antique brown vinyl variant available exclusively on the Julian Lage Artist Store and the Blue Note Store, as well as black vinyl, CD, and all digital formats.
Where 2024’s GRAMMY-nominated Speak to Me was Lage’s grand statement as an improvising bandleader helming an ensemble through a diverse set of tunes, Scenes from Above is about being a band member himself, about Lage exploring the tunes he has written with a crew he has built with that entirely in mind. Its nine tracks frame a brilliantly open experience, with four astounding players giving and taking space in equal measure as they explore these songs in one space, in real time.
“I came in with a desire to present this as an egalitarian thing, rather than ‘I’m the leader — let’s build something around me,’” Lage says. “This is music that’s connected to our own growth and development individually and within our relationships with one another, with no sense that anybody’s expecting anything.”
The album’s nine compositions resulted from what Lage calls a writing sprint ahead of a residency at SFJAZZ which marked the live debut of the band. As he thought about each of their qualities as players and hypothesized about how they might interact, he set a timer for 20 minutes, wrote a tune, recorded it once, and then began again. “My dream with composing, really, is to have something to talk about once we’re together,” he says. “It’s not the end-all, be-all.”
“Julian really thinks about things, has a lot of intention,” says Medeski. “But it’s a beautiful combination of caring about the concept and direction and of being free and in the moment.” Scenes from Above radiates both qualities in tandem, and that’s what makes the album so poignant and timely.
Lage will celebrate the arrival of Scenes From Above with a busy international live schedule including a just-announced North American fall tour with the new quartet beginning October 14 in Vancouver. Upcoming dates also include quartet performances at the Big Ears Festival (March 29) in Knoxville and a concert at the Royal Festival Hall in London (May 15). For complete details and ticket information, please visit www.julianlage.com/tour.
Music will once again play a central role in the Opening Ceremony of the Olympic Winter Games, to be held on 6 February 2026.
Among the highlights of one of the world’s most anticipated events, two leading figures of the international music scene will perform: Lang Lang, one of the most celebrated and influential pianists of our time, and Cecilia Bartoli, the world-renowned mezzo-soprano and extraordinary ambassador of the great Italian opera tradition.
Their participation further enriches a ceremony already featuring artists such as Mariah Carey, Andrea Bocelli, Laura Pausini, Pierfrancesco Favino, Sabrina Impacciatore, and Matilde De Angelis. It promises to be an emotional journey inspired by the theme “Armonia.” The Opening Ceremony will unite sport, art, and culture, in the spirit of the Olympic values of dialogue and sharing (tickets are still available through this link).
Two artists with different backgrounds and repertoires, who have collaborated for years, sharing a vision of music as a powerful means of connection between peoples, generations and cultures.
Cecilia Bartoli, one of the most authoritative voices on the international operatic scene, will bring the timeless power of the Italian tradition. Beloved by audiences and critics alike, throughout her career Bartoli has interpreted the classical repertoire with intelligence, passion and rigour. Her unmistakable and intense voice will shape one of the most evocative moments of the evening.
Lang Lang, a global piano superstar, has long been a key figure in bringing classical music beyond its traditional boundaries, engaging new and diverse audiences worldwide. With his magnetic presence and extraordinary talent, he has performed on the world’s most prestigious stages, becoming a global emblem of artistic excellence.
In a global setting of an Olympic Opening Ceremony, music emerges as a universal language, celebrating unity through diversity while transforming the event into a truly shared experience. In constant dialogue with imagery and performance, music will not merely accompany the show but will play a central narrative role, becoming an integral part of the story unfolding before audiences around the world.
Celebrated pianist Jan Lisiecki returns to the concertos of Wolfgang Amadeus Mozart, a decade after recording Nos. 20 and 21 for his DG debut album (“beautiful Mozart playing, direct, unmannered and fresh” – The NewYork Times). Set for release as the music world marks the 270th anniversary of Mozart’s birth, Lisiecki’s latest recording presents a contrasting but complementary pair of works in E flat major, Concertos Nos. 9 and 22. Joining the pianist are conductor Manfred Honeck and the players of the Bamberger Symphoniker. “Recording these two works was a dream of mine,” says Lisiecki, “and I’m very glad to have been able to do so with a dream team, too.”
The album, whose booklet includes notes by the pianist himself, will be issued digitally and on CD on 17 April 2026. A limited-edition version of the CD, complete with signed art card, will be available exclusively from the DG Shop. The central Andante from Concerto No. 22 will be released for streaming on 23 January to coincide with Mozart’s birthday four days later.
Ever since he first worked with Maestro Honeck in Chicago in 2019, Jan Lisiecki had been keen to record with him. “I immediately felt that he had such an affinity and respect for Mozart’s music and was able to communicate it with the orchestra – the phrasing, the elegance, the beauty,” he recalls. “So to work with him on a recording of Mozart is an absolute joy and privilege.”
Lisiecki’s praise extends to the musicians of the Bamberger Symphoniker. “They’re dedicated, passionate and also respectful of tradition,” he says. “It’s inspiring to find musicians who have vigour and freshness, but also follow the indications of the composer and the urgings of the conductor – and of the soloist too!”
That collaborative spirit shines through these deft and insightful readings of two works Lisiecki calls “singular masterpieces” – even among Mozart’s many superlative works in the genre. “I think,” he adds, “Mozart had an innate connection with E flat major and was able to write such beautiful works in this key. Sometimes composers feel at home in certain places and certain keys, and one senses that here.”
Written in 1777, Piano Concerto No. 9 is notable for the way in which it instantly sets up a closely entwined dialogue between soloist and orchestra that continues throughout the work. Another fascinating aspect of the score is that the composer’s original cadenzas have survived, allowing Lisiecki and his team “to fully embrace and respect Mozart’s intentions”. He particularly prizes that of the second movement: “it’s absolutely spectacular, and to have this grand, quite dense cadenza in the second movement of a piece is revolutionary”.
Mozart composed Concerto No. 22 in Vienna in 1785, at around the same time as he was writing Le nozze diFigaro. Here too, there is close interplay between the solo and orchestral writing, while a striking role is given to the clarinets, making their first appearance in one of Mozart’s piano concertos. As Lisiecki observes, the composer “ensured that these instruments were utilized to their full potential, employing technically demanding and musically intricate passages throughout the work”.
In a recent review, Bachtrack writes about Jan Lisiecki’s performance of No. 22 with the Seattle Symphony and Peter Oundjian: “In the first movement, [he] played with the care, delicacy and religiosity one hopes for in Mozart: exacting, yet emotional. His technical fluency made his performance seem effortless, but not easy. The melancholy Andante came off as boldly expressive but not overdramatic. The final Allegro sparkled with wit and incisiveness. Lisiecki’s cadenzas throughout went beyond technical expertise to an almost heavenly level.”
Following the reissues of ‘Crime Of The Century’ and ‘Crisis? What Crisis?’, Supertramp continues the 50th anniversary celebrations in their half-speed remaster reissue series with Even In The Quietest Moments…, Breakfast In America and…Famous Last Words….
As per the first two releases in the series, all three records have been remastered at half-speed by Miles Showell at Abbey Road Studios. They are available to pre-order now from HERE and will be released on March 20, 2026. ‘Crime Of The Century’ and ‘Crisis? What Crisis?’ are available now from here.
Even in the Quietest Moments… was originally released in April 1977 and is the band’s fifth album. It was an instant hit, charting at number 16 in the Billboard Album Charts, and the album’s opening track, ‘Give A Little Bit,’ also broke into the Billboard Hot 100. To this day, the track has been streamed over almost 800 million times. Just a year after its original release, the album was ranked 63rd in The World Critic Lists, which recognised the 200 greatest albums of all time as voted for by notable rock critics and DJs.
Their sixth album, ‘Breakfast In America,’ is their biggest commercial success. Released in March 1979, it has sold over 22 million worldwide, generated 2 billion global streams and spent 88 consecutive weeks in the Billboard 200. It spawned hit singles – ‘The Logical Song,’ ‘Goodbye Stranger,’ and ‘Take The Long Way Home,’ all of which broke into the Billboard Hot 100, with ‘The Logical Song’ becoming their most prolific streamed track (over 900 million to date) spending 17 weeks on the chart. The album’s title track also achieved international success, breaking into the UK top 10 and songs like ‘Oh Darling’ have become beloved fan favourites. The album has gone on to receive a whole host of accolades, including two Grammy Awards and an Ivor Novello Award (for ‘The Logical Song’). It was ranked 207th in The Guinness All Time Top 1000 Albums, 69th in Classic Rock Magazine’s Greatest British Rock Album of All Time, 43rd in Triple M’s 100 Greatest Albums of All Time as voted by Australian listeners, and 294th in Colin Larkin’s renowned book ‘All Time 1000 Albums’.
…Famous Last Words… was released in October 1982 and is the final album to feature the band’s ‘classic line-up’ of Hodgson, Davies, Helliwell, Thomson, and Siebenberg. The album was a commercial success, reaching number 5 in the U.S. Billboard Album Charts and number six in the UK. Roger Hodgson left the band in 1983 after which the group continued as a quartet.
This Supertramp half-speed remaster reissue series gives this catalogue a greater depth of sound that allows reappraisal of some of the most enduring songs of all time. Their albums are some of the most ground breaking in British rock history.
TRACKLISTS:
Even In The Quietest Moments Side A 1. Give A Little Bit 2. Lover Boy 3. Even In The Quietest Moments 4. Downstream
Side B 1. Babaji 2. From Now On 3. Fool’s Overture
Breakfast In America Side A 1. Gone Hollywood 2. The Logical Song 3. Goodbye Stranger 4. Breakfast In America 5. Oh Darling
Side B 1. Take The Long Way Home 2. Lord Is It Mine 3. Just Another Nervous Wreck 4. Casual Conversations 5. Child Of Vision
…Famous Last Words… Side A 1. Crazy 2. Put On Your Old Brown Shoes 3. It’s Raining Again 4. Bonnie 5. Know Who You Are
Side B 1. My Kind Of Lady 2. C’est Le Bon 3. Waiting So Long 4. Don’t Leave Me Now
Five-time GRAMMY® Award-winning neo-soul trailblazer Erykah Badu commemorates the 25th anniversary of her influential sophomore album, Mama’s Gun, with the release of new limited-edition Vinyl options out now. The 2LP UMeEcomm variant is pressed on Gold Black Ice Vinyl and features a newly redesigned gatefold jacket, alternate cover, and special lithograph. Order HERE.
Finally, the Vinylphyle edition of Mama’s Gun features this album’s first ever hi-res remaster since its original CD release, sourced from the original production tapes. The 2LP, which features new liner notes personally penned by Badu, was cut by Joe Nino-Hernes at Sterling Sound Nashville and pressed at RTI on 180g Black Vinyl. The Vinylphyle edition dropped yesterday and is available HERE
The indisputable influence of Mama’s Gun looms over every corner of the culture. It first arrived in stores on November 21, 2000. It peaked at #11 on the Billboard 200, scoring her strongest first-week sales ever and moving north of 191K copies. Within the span of only four weeks, it reached the threshold for a Platinum certification from the RIAA. Not to mention, this landmark body of work garnered three GRAMMY® Award nominations, including “Best Female R&B Vocal Performance” and “Best R&B Song” for “Bag Lady” and “Best R&B Song” for “Didn’t Cha Know?”
Indicative of the record’s impact, it has claimed spots on numerous marquee lists such as Rolling Stone’s “The 500 Greatest Albums of All Time,”Pitchfork’s “The 200 Best Albums of the Last 25 Years,” and NPR’s “The 150 Greatest Albums Made By Women,” among many others. Resonating from one generation to the next, it has also impressively tallied over 1 billion streams. Retrospectively, Pitchfork rated it a rare “9.4,” marveling at how, “She made a record that wore its awareness of the larger traumas and challenges that complicate human intimacy on its sleeves.”
Badu also partnered with Spotify in their latest Anniversaries video series, where she reflects on the past 25 years and performs select tracks from Mama’s Gun. Watch HERE
Badu’s unparalleled alchemy of soul, R&B, jazz, rock, reggae, and poetry underscores these 14 tracks, enshrining Mama’s Gun as a game-changer whose influence continues to grow.
Check out the full tracklisting below.
Badu closed out 2025 canvasing North America on the “Mama’s Gun 25 World Tour,” performing the LP in its entirety.
TRACKLISTING: 1. Penitentiary Philosophy 2. Didn’t Cha Know 3. My Life 4. … & On 5. Cleva 6. Hey Sugah – Interlude 7. Booty 8. Kiss Me On My Neck 9. A.D. 2000 10. Orange Moon 11. In Love With You 12. Bag Lady 13. Time’s A Wastin 14. Green Eyes
UMe celebrates the 40th anniversary of Pretty in Pink, the beloved 1986 film from Writer/Executive Producer John Hughes with a limited-edition reissue of its iconic soundtrack, available March 13. As essential as the film itself, the music captures the story’s emotional truth—freezing moments in time with the vivid clarity of memories that linger for decades. Film soundtracks hold a rare power to shape identity, influencing who we are, where we belong, and the social experiences that define youth. Few filmmakers understood the coming-of-age experience quite like John Hughes, and Pretty in Pink stands as one of his most enduring cultural touchstones.
Anchored by era-defining songs including The Psychedelic Furs’ Top 5 title track “Pretty in Pink,” OMD’s iconic “If You Leave,” The Smiths’ “Please, Please, Please Let Me Get What I Want,” and Echo & The Bunnymen’s sweeping anthem “Bring on the Dancing Horses,” and INXS fan-favorite deep-cut, “Do Wot You Do,” the Pretty in Pink soundtrack became a defining voice of its time—shaping mood, identity, and belonging in ways few films ever achieve. More than four decades after its theatrical release, Pretty in Pink continues to resonate across generations, its music and themes echoing with each new audience navigating the universal challenges of growing up.
The 40th Anniversary edition will be released as a limited-edition ‘Pretty in Baby Pink’ 1LP, housed in a gatefold sleeve featuring film photography, and will include two bonus tracks previously unavailable on the soundtrack: Otis Redding’s “Try a Little Tenderness” and Talk Back’s “Rudy.” A standard-weight black 1LP featuring the original tracklist will also be available. Preorder the 40th Anniversary editions of Pretty in Pink HERE.
The 40th Anniversary edition is released with the kind cooperation of Hughes Music and Paramount Pictures.
1LP ‘Pretty in Baby Pink’ Color Tracklist:
SIDE A 1. “If You Leave” – Orchestral Manoeuvres in the Dark (OMD) – 4:24 2. “Left of Center” – Suzanne Vega (feat. Joe Jackson) – 3:32 3. “Get to Know Ya” – Jesse Johnson – 3:33 4. “Do Wot You Do” – INXS – 3:17 5. “Pretty in Pink” – The Psychedelic Furs – 4:40 6. “Try A Little Tenderness” – Otis Redding – 3:49
SIDE B 1. “Shell-Shock” – New Order – 6:04 2. “Round, Round” – Belouis Some – 4:06 3. “Wouldn’t It Be Good” – Danny Hutton Hitters – 3:43 4. “Bring on the Dancing Horses” – Echo & The Bunnymen – 3:58 5. “Please Please Please Let Me Get What I Want” – The Smiths – 1:50 6. “Rudy” – Talk Back – 4:17
1LP Black Tracklist:
SIDE A 1. “If You Leave” – Orchestral Manoeuvres in the Dark (OMD) – 4:24 2. “Left of Center” – Suzanne Vega (feat. Joe Jackson) – 3:32 3. “Get to Know Ya” – Jesse Johnson – 3:33 4. “Do Wot You Do” – INXS – 3:17 5. “Pretty in Pink” – The Psychedelic Furs – 4:40
SIDE B 1. “Shell-Shock” – New Order – 6:04 2. “Round, Round” – Belouis Some – 4:06 3. “Wouldn’t It Be Good” – Danny Hutton Hitters – 3:43 4. “Bring on the Dancing Horses” – Echo & The Bunnymen – 3:58 5. “Please Please Please Let Me Get What I Want” – The Smiths – 1:50
Teen sensations Molly Ringwald (Sixteen Candles, The Breakfast Club) and Andrew McCarthy (St. Elmo’s Fire) drew rave reviews for their starring performances in this hit love story, directed by Howard Deutch, and executive-produced and written by John Hughes (Ferris Bueller’s Day Off, Planes, Trains, and Automobiles). Andie is a high school girl from the other side of town. Blane’s the wealthy heartthrob who asks her to prom. But as fast as their romance builds, it’s threatened by the painful reality of peer pressure. From its bittersweet story to its hip New Wave soundtrack, the film features great supporting performances from Harry Dean Stanton, Jon Cryer, Annie Potts, and James Spader. Available now on Digital in remastered 4K Ultra HD from Paramount Pictures and returning to theatres over Valentine’s day, February 13 – 16 from Paramount Pictures and Fathom Entertainment.
With his latest critically acclaimed project, Evangeline vs. The Machine, up for the Best Contemporary Country Album nod at next weekend’s GRAMMY Awards, 11-time nominee Eric Church is already entering 2026 at full throttle. Last night, Jan. 22, the Chief launched the new year with an intimate underplay at Washington, D.C.’s The Anthem, kicking off leg 2 of his Free the Machine Tour and setting the stage for a spring run from the man celebrated by Pollstar for “his high-energy, Springsteen-esque marathon performances.”
The Free the Machine Tour returns following a landmark 2025 run that reaffirmed Church’s reputation for pushing the boundaries of the live concert experience. The 2026 dates carry that same spirit forward, pairing large-scale ambition with moments of raw immediacy.
Church hosted a special screening event for members of his passionate Church Choir in Nashville earlier this week, previewing the limited theatrical release that showcases Church performing his GRAMMY-nominated eighth studio album front-to-back before transitioning into select catalog hits, all reimagined with a six-piece band, four-piece horns, four-piece strings, eight-piece choir and vocalist Joanna Cotten. Filmed across two nights at The Pinnacle in Nashville, Tenn., the performance comes to life through a unique perspective that can only be achieved in IMAX. A full list of locations for the February showings is available via IMAX.com/EricChurch, with tickets on sale now.
With a new live release out today, the Free the Machine Tour back on the road and both an IMAX film and live album on deck, Church’s 2026 is already defined by momentum that continues to challenge expectations and reaffirm his place at the forefront of modern country music.
Evangeline vs. The Machine Comes Alive Track List *denotes songs out now 1. Hands Of Time (Live At The Pinnacle, Nashville, TN / May 24, 2025) 2. Bleed On Paper (Live At The Pinnacle, Nashville, TN / May 24, 2025)* 3. Johnny (Live At The Pinnacle, Nashville, TN / May 24, 2025) 4. Storm In Their Blood (Live At The Pinnacle, Nashville, TN / May 24, 2025) 5. Darkest Hour (Live At The Pinnacle, Nashville, TN / May 24, 2025) 6. Evangeline (Live At The Pinnacle, Nashville, TN / May 24, 2025) 7. Rocket’s White Lincoln (Live At The Pinnacle, Nashville, TN / May 24, 2025) 8. Clap Hands (Live At The Pinnacle, Nashville, TN / May 24, 2025) 9. Desperate Man (Live At The Pinnacle, Nashville, TN / May 24, 2025)* 10. Give Me Back My Hometown (Live At The Pinnacle, Nashville, TN / May 24, 2025)* 11. Homeboy (Live At The Pinnacle, Nashville, TN / May 24, 2025) 12. Sinners Like Me (Live At The Pinnacle, Nashville, TN / May 24, 2025) 13. Creepin’ (Live At The Pinnacle, Nashville, TN / May 24, 2025) 14. Knives Of New Orleans (Live At The Pinnacle, Nashville, TN / May 24, 2025)* 15. Smoke A Little Smoke (Live At The Pinnacle, Nashville, TN / May 24, 2025) 16. The Outsiders (Live At The Pinnacle, Nashville, TN / May 24, 2025) 17. Hell Of A View (Live At The Pinnacle, Nashville, TN / May 24, 2025)* 18. Mistress Named Music (Live At The Pinnacle, Nashville, TN / May 24, 2025) 19. Springsteen (Live At The Pinnacle, Nashville, TN / May 24, 2025)
2026 Free the Machine Tour Remaining Markets, Venues and Special Guests: Jan. 23 || Washington, D.C. || The Anthem || Caylee Hammack Feb. 5 || Omaha, Neb. || CHI Health Center || Ella Langley Feb. 6 || Sioux Falls, S.D. || Denny Sanford PREMIER Center || Ella Langley Feb. 7 || St. Paul, Minn. || Grand Casino Arena || Ella Langley Feb. 12 || Toronto, Ont. || Scotiabank Arena || Ella Langley Feb. 13 || Buffalo, N.Y. || KeyBank Center || Ella Langley Feb. 14 || Albany, N.Y. || MVP Arena || Ella Langley Feb. 19 || North Little Rock, Ark. || Simmons Bank Arena || 49 Winchester Feb. 20 || Kansas City, Mo. || T-Mobile Center || 49 Winchester Feb. 21 || St. Louis, Mo. || Enterprise Center || 49 Winchester Feb. 26 || Tulsa, Okla. || BOK Center || Stephen Wilson Jr. Feb. 27 || Fort Worth, Texas || Dickies Arena || Stephen Wilson Jr. Feb. 28 || Austin, Texas || Moody Center || Stephen Wilson Jr. Mar. 5 || Knoxville, Tenn. || Thompson-Boling Arena at Food City Center || 49 Winchester Mar. 6 || Greensboro, N.C. || First Horizon Coliseum || 49 Winchester Mar. 7 || North Charleston, S.C. || North Charleston Coliseum || 49 Winchester Mar. 19 || Birmingham, Ala. || Legacy Arena at the BJCC || 49 Winchester Mar. 20 || Atlanta, Ga. || State Farm Arena || 49 Winchester Mar. 27 || Hollywood, Fla. || Hard Rock Live || Kashus Culpepper Apr. 3 || Greenville, S.C. || Bon Secours Wellness Arena || Ashley McBryde Apr. 4 || Charlotte, N.C. || Spectrum Center || Ashley McBryde Apr. 10 || Jacksonville, Fla. || VyStar Veterans Memorial Arena || Ashley McBryde Apr. 11 || Tampa, Fla. || Benchmark International Arena || Ashley McBryde
Stockings are one of those pieces that can either elevate an outfit or quietly ruin it if paired with the wrong shoes. Many people notice this only when they’re already heading out the door: the dress looks fine, the color is right, yet something still feels off. That’s why it helps to know how to combine stockings with different types of footwear to keep the whole look balanced, modern, and naturally cohesive.
Understanding the silhouette
It’s best to start not with the stockings, but with how the shoes shift your proportions. Classic pumps visually lengthen the leg, while chunky boots shorten it slightly. Thin women’s stockings always emphasize the leg line, so avoiding harsh contrasts is key. In Mariemur collections, this idea is easy to spot: the focus is always on a clean silhouette and a smooth transition between fabric and footwear. It’s a useful reference point when figuring out how balance works.
Things to keep in mind:
dark stockings visually “reduce” the leg, which helps when shoes are heavier or bulkier;
sheer or light stockings require cleaner lines – pumps, ballet flats, and delicate sandals create the best transition.
Once this logic sinks in, choosing the right shoes stops feeling like guesswork.
Pumps, ballet flats and understated classics
The simplest pairing is stockings with pumps, but even here, subtlety matters. For example, matte stockings in the 40–80 den range paired with a pointed toe add structure to the outfit, especially if your clothing is more formal: a tailored dress, a straight blazer, a pencil skirt. For very thin stockings, it’s better to avoid overly glossy shoes – patent leather pumps can make the look louder than intended.
In everyday outfits, ballet flats work just as well. Here it helps to:
choose stockings without noticeable shine;
make sure the toe shape is elongated rather than rounded; otherwise, the silhouette shortens.
Such combinations look calm and versatile.
Boots, loafers and more urban styles
This is where stockings stop being an accessory and become part of the outfit. Chunky boots pair best with slightly denser stockings – they make the whole look more grounded. Playing with contrast can work too: a light dress + dense stockings + rugged boots create a lively, urban vibe.
Loafers are a different story. They pair best with:
thin, understated stockings;
minimalistic shoe designs with little or no decoration.
This combination almost always looks more refined. It’s a small detail, but a consistently effective one.
Sandals and open-toe shoes
This pairing is no longer considered a fashion faux pas. The key is choosing stockings with an ultra-thin or invisible toe area. With delicate strappy sandals, neutral sheer stockings that don’t add shine work best. For a more modern look, matte black or graphite options are a strong alternative. Mariemur highlights the main principle here: the cleaner the lines, the better the effect.
With these principles in mind, stockings turn into a thoughtful detail that supports the entire silhouette and settles into the outfit naturally.
The passive income landscape has shifted dramatically in recent years, leading many to investigate the latest DFY Vending reviews to see if automated retail lives up to the hype. For the aspiring entrepreneur or the full-time professional seeking a side hustle that does not demand forty hours a week, the “Done-For-You” (DFY) model presents an intriguing proposition. Instead of scouting locations, hauling heavy machinery, and negotiating with property managers, investors are opting for a turnkey solution where the heavy lifting is handled by a specialized team. But does the reality on the ground match the marketing materials? To find out, we have conducted an objective analysis of the performance, legal protections, and financial outcomes reported by partners over the last six to twelve months.
The Evolution of the DFY Model
Vending has long been a staple of the American economy, but the traditional “route driver” model is notorious for its physical demands. You had to own a truck, have a warehouse for inventory, and be prepared to fix a jammed coin slot at three in the morning. The DFY Vending approach flips this script. By leveraging institutional relationships and bulk purchasing power, the company aims to place high-end, credit-card-ready machines in premium locations before the partner even takes over.
For the target audience of this article, time is the most valuable currency. The appeal of this model is not just the money; it is the decoupling of income from labor. In the last year, the influx of new partners has provided a wealth of data regarding how quickly these machines go from “contract signed” to “revenue generating.”
Breaking Down the Contract Details
One of the biggest hurdles for someone researching “scam” versus “legit” is the fine print. Objective reviewers know that a business is only as solid as its legal framework. In our review of the standard DFY Vending agreements from the past year, several key pillars stand out:
Location Guarantees: The contract typically specifies that the company is responsible for finding a “high-traffic” location. This is crucial because, in vending, location is everything. Partners are not left to wander the streets asking local businesses for space; the contract mandates that the DFY team secures these placements.
Equipment Ownership: Unlike some “business opportunities” that are essentially leases, the partners in this model actually own the physical assets. This provides a layer of security; even in a worst-case scenario, you own a piece of hardware with a defined resale value.
Maintenance and Support: The last twelve months have seen an emphasis on remote monitoring. The contracts now frequently highlight the use of telemetry software, allowing partners to see their inventory levels and sales figures from a smartphone app. This reduces the need for “check-up” visits, keeping the time commitment to the promised minimum.
When looking at feedback from the last six to twelve months, a clear pattern emerges. The most successful partners are those who view this as a long-term asset rather than a “get rich quick” scheme.
One partner, a project manager from Ohio, noted that her primary concern was the “hidden work.” She reported that after the initial setup phase, her actual time commitment dropped to about three hours a week, mostly spent on reviewing sales data and coordinating with the local restocking service. This aligns with the “side hustle” appeal for those who cannot quit their day jobs but want to build a secondary income stream.
Another testimonial from a retired couple in Florida emphasized the “hands-off” nature of the placement. They highlighted that the DFY team handled a mid-year relocation when the initial office building saw a decrease in foot traffic due to a company move. This flexibility is a recurring theme in positive reviews; the ability of the company to pivot when a location underperforms is a hallmark of a legitimate operation.
Analyzing the ROI: The Last 6 to 12 Months
ROI is the metric that matters most to any investor. Based on data reported by partners who started their journeys in late 2023 and early 2024, the Return on Investment typically falls into three phases.
The Setup Phase (Months 1 to 3): This is the period of capital outflow and machine placement. ROI is technically negative here, as the machines are being shipped and calibrated. Partners who understand this timeline tend to be much more satisfied than those expecting immediate cash flow on day one.
The Stabilization Phase (Months 4 to 8): This is where the “real” numbers start to show. On average, partners have reported that their machines begin to hit a “rhythm.” In high-traffic areas like gym lobbies, logistics hubs, or medical centers, the machines often see a steady climb in daily transactions as the local population becomes accustomed to the convenience.
The Growth and Recoup Phase (Months 9 and Beyond): In the latter half of the first year, many partners report that they have dialed in their product mix. By analyzing the telemetry data, they can swap out slow-moving snacks for high-margin items. Reported profit margins in this period often hover between 15 percent and 30 percent after accounting for product costs and location fees.
It is important to note that “ROI” in vending also includes the tax benefits of equipment depreciation. Many partners have used Section 179 of the tax code to deduct the full purchase price of the equipment in the first year, significantly boosting their effective return by lowering their overall tax liability.
Legit vs. Scam: How to Spot the Difference
In any industry involving “Done-For-You” services, skepticism is healthy. The “scam” label is often thrown around by people who encountered companies that promised “guaranteed” millions with zero risk.
Objective indicators of legitimacy found in the DFY Vending model include:
Transparent Pricing: There are no “hidden” fees revealed halfway through the process.
Physical Assets: You are buying real machinery, not a “digital certificate” or a vague “spot in a queue.”
Realistic Projections: The company does not promise you will be a millionaire in a month. Instead, they focus on the steady, incremental growth of a vending route.
Current partners emphasize that the “legit” factor comes from the support system. If a card reader breaks or a machine is vandalized, the presence of a dedicated support team to facilitate repairs is what separates a professional operation from a fly-by-night scheme.
The Side Hustle Reality
For the aspiring entrepreneur, the question is: “Can I do this while working 9 to 5?” The data from the last twelve months says yes. Because the DFY model handles the logistics, the partner’s role shifts from “laborer” to “manager.”
You are managing an automated retail portfolio. You are checking apps to see which snacks are selling. You are looking at the ROI of a specific location and deciding if it is time to add a second machine. This intellectual work is far more sustainable for a busy professional than the physical work of traditional vending.
Conclusion
The last six to twelve months have proven that the vending industry is undergoing a professionalization phase. The DFY Vending model has opened doors for people who previously lacked the time or technical knowledge to start a route from scratch.
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Data and information are provided for informational purposes only, and are not intended for investment or other purposes.
Award-winning Country music star, Parker McCollum, has released the much-anticipated fan-favorite track, “Big Ole Fancy House,” out now. The song, which has been in McCollum’s live set list for years, is now finally coming straight to the fans. Written by McCollum, Lori McKenna, Liz Rose and Hillary Lindsey, and centered around the theme that material things in life mean nothing without someone to share it all with, the song is a powerful reminder that the most valuable thing a person can have is someone to love them.
“Y’all been asking for this one for a while so I’m glad it’s finally getting to you. Took a couple of times of cutting it before it felt good enough to release, and I think I got it the way it should be heard. Appreciate all the love everyone has shown this song. Means a lot,” says Parker McCollum.
“Big Ole Fancy House” will be one of four new tracks featured on the Deluxe Edition of McCollum’s critically acclaimed album, PARKER MCCOLLUM, which was released last year (via MCA). The album is a reflection of his authentic artistry and shows an evolution of poignant storytelling against a musical backdrop that anchors to a traditional, yet still contemporary, sound. PARKER MCCOLLUM Deluxe Edition will be available on March 20th.
Singer/songwriter and multi-instrumentalist Parker McCollum has reached the ranks of a bona fide Country music superstar by connecting with fans and critics alike through his relatable and authentic sound. His most recent album, Never Enough (released on May 12, 2023 via MCA Nashville), is a statement collection of music that cemented his status as one of Country’s strongest new voices. His massive Burn It Down Tour throughout 2024 saw McCollum performing at some of the most iconic venues around the nation and appearing at Country music’s top music festivals. McCollum has been named an ‘Artist to Watch’ by Rolling Stone, Billboard, SiriusXM, CMT, RIAA, and more with American Songwriter noting, “The Texas native teeters on the edge of next-level superstardom.” Music Row listed McCollum as their 2021 Breakout Artist of the Year and Apple also included him as one of their all-genre “Up Next Artists” Class of 2021. A dedicated road warrior, McCollum made his debut at the famed Grand Ole Opry in 2021 and has sold out major concert venues around the U.S. In March 2022, McCollum made his debut at RODEOHOUSTON to a sold-out crowd with over 73,000 tickets sold. In 2025, McCollum played his third consecutive sold out show at Houston’s signature event. In 2022, McCollum earned his first ACM Award for New Male Artist of the Year, took home “Breakthrough Video of the Year” (a fully fan-voted honor) at the 2022 CMT Music Awards and scored two back-to-back CMA Awards nominations (2022 & 2023) for New Artist of the Year. He was nominated for a CMA Award for “Song of the Year” (2024) for his explosive Platinum hit “Burn It Down” – marking his third straight nomination. McCollum scored his second ACM Award for “Visual Media of the Year” for his music video for “Burn It Down.” The hit single marks his fourth consecutive #1 – following his other chart toppers “Pretty Heart,” “To Be Loved By You,” and “Handle On You.” McCollum released his self-titled fifth studio album, PARKER MCCOLLUM, in 2025 is an artistic achievement for this legacy making Country superstar that shows him at his best. PARKER MCCOLLUM is available now.
