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Conductor Michael Tilson Thomas, Who Led San Francisco Symphony for 25 Years, Dies at 81

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Michael Tilson Thomas, one of the most galvanizing figures in American classical music, died Wednesday at his home in San Francisco. He was 81. The San Francisco Symphony confirmed that Thomas, known universally as MTT, passed away surrounded by family and friends, succumbing to glioblastoma, an aggressive form of brain cancer he’d been fighting since 2021. His final public appearance was a concert celebrating his 80th birthday in April 2025.

The scope of his career was staggering. A protege of Leonard Bernstein, Thomas served as music director of the San Francisco Symphony for 25 years beginning in 1995, transforming the orchestra into one of the most innovative ensembles in the world. Before San Francisco, he held principal positions with the London Symphony Orchestra, the Los Angeles Philharmonic, and the Buffalo Philharmonic, and conducted virtually every major orchestra on the planet. His 12 Grammy Awards documented a discography of more than 120 recordings, with his Mahler cycle for SFS Media standing as a particular landmark.

Thomas was also a builder. In 1987, he co-founded the New World Symphony in Miami Beach, a postgraduate orchestral academy that trained more than 1,200 fellows over 35 years and transformed South Florida’s cultural landscape. The academy’s Frank Gehry-designed New World Center, which opened in 2011, was Thomas’s vision made permanent. As an educator he had no peer in classical music since Bernstein himself, with his “Keeping Score” television series reaching audiences far beyond the concert hall.

“A ‘coda’ is a musical element at the end of a composition that brings the whole piece to a conclusion,” Thomas said last year when he announced his public appearances would wind down. “My life’s coda is generous and rich.” He is survived by no immediate family. His husband and manager Joshua Robison died in February 2026.

The Afghan Whigs Drop New Single “Duvateen” as 40th Anniversary North American Tour Kicks Off

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Forty years in and The Afghan Whigs are still writing songs that hit like a gut punch. The Cincinnati rock veterans have released “Duvateen” via Royal Cream/BMG, a piano-driven track that finds Greg Dulli staring down mortality with the kind of unflinching clarity that’s defined the band since 1986. The title references the light-manipulating fabric used on film sets, deployed here as a metaphor for the darkness that frames every life.

Dulli doesn’t pull punches about what the song means to him. “When I finished ‘Duvateen,’ it felt like my life passing before my eyes,” he says. “I’m at a precipice in life where I can look behind and clearly see the forest of my youth, but I can also see the path to the other side. And it’s going to inform what I do for the rest of my days.” It’s the kind of songwriting that reminds you why the Whigs have never sounded like anyone else.

“Duvateen” follows “House of I,” their first new music since 2022, which drew praise from Rolling Stone, SPIN, and Pitchfork. Both singles point toward a new album arriving later this year. Details are coming soon.

The 40th Anniversary North American Tour launches this weekend with Mercury Rev along for the ride as special guests. Twenty-one dates stretch from Woodstock, NY to Pioneertown, CA, covering the coasts and everything in between. UK dates follow in September.

“40 years later, I still get to do the thing I love the most,” Dulli says. “Writing songs and performing them with my friends all over the world. I truly have to pinch myself.”

Tickets and info at linktr.ee/theafghanwhigs.

The Afghan Whigs & Mercury Rev Tour Dates:

April 25, Bearsville Theater, Woodstock, NY

April 27, Royale, Boston, MA

April 28, 9:30 Club, Washington D.C.

April 30, Webster Hall, New York, NY

May 1, Union Transfer, Philadelphia, PA

May 2, Mr. Smalls Theater, Pittsburgh, PA

May 4, Town Ballroom, Buffalo, NY

May 5, House of Blues, Cleveland, OH

May 6, Bogart’s, Cincinnati, OH

May 8, Turner Hall Ballroom, Milwaukee, WI

May 9, Metro, Chicago, IL

May 10, Varsity Theater, Minneapolis, MN

May 12, Summit Music Hall, Denver, CO

May 15, Aladdin Theatre, Portland, OR

May 16, Commodore Ballroom, Vancouver, BC

May 17, The Showbox, Seattle, WA

May 19, The Fillmore, San Francisco, CA

May 20, The Bellwether, Los Angeles, CA

May 22, The Observatory, Santa Ana, CA

May 23, The Observatory North Park, San Diego, CA

May 24, Pappy & Harriet’s, Pioneertown, CA

UK Dates:

September 19, Stylus, Leeds, UK

September 20, The Palais, Nottingham, UK

September 22, SWG3 Galvanizers, Glasgow, UK

September 23, O2 Ritz, Manchester, UK

September 24, O2 Shepherd’s Bush Empire, London, UK

September 26, Chalk, Brighton, UK

Countertenor John Holiday Announces Debut Album ‘Over My Head’ Arriving This July

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John Holiday has one of the most distinctive voices in classical music, and now it’s getting its proper debut. The acclaimed countertenor releases his first album, ‘Over My Head,’ on July 17, 2026 through PENTATONE. Recorded at WGBH studios in Boston alongside pianist and close collaborator Kevin Miller, the album weaves together spirituals, art song, and contemporary works into a deeply personal program Holiday describes as “Love in the Key of Resilience.”

The repertoire covers serious ground. Works by Hall Johnson, Robert L. Morris, and H. Leslie Adams sit alongside world premiere recordings by Theo Morrison and Carlos Simon, plus Holiday’s own arrangements of standards including “Fly Me to the Moon,” “Summertime,” and “Strange Fruit.” It’s a program that reflects the full range of an artist equally at home in Baroque opera and American song.

The Wall Street Journal calls his voice “arrestingly powerful, secure and dramatically high.” The Los Angeles Times names him “one of the finest countertenors of his generation.” The New Yorker simply called it “a thing of astonishing beauty.” The critical consensus is unanimous, and ‘Over My Head’ is the record that formally introduces Holiday to a wider audience.

PENTATONE rolls out the album digitally ahead of the July release, with Holiday’s arrangement of “Strange Fruit” arriving May 22, followed by Theo Morrison’s “I Hear an Army Charging Upon the Land” on June 26.

‘Over My Head’ arrives July 17, 2026 on PENTATONE.

‘Over My Head’ Tracklist:

  1. I’m Gonter Tell God All O’ My Troubles, Hall Johnson
  2. VOCALISE I, Carlos Simon
  3. Strings in the Earth and Air, Theo Morrison
  4. O Cool is the Valley Now, Theo Morrison
  5. Lightly Come or Lightly Go, Theo Morrison
  6. Now, O Now, in this Brown Land, Theo Morrison
  7. I Hear an Army Charging Upon the Land, Theo Morrison
  8. VOCALISE II, Carlos Simon
  9. Humoresque, Robert L. Morris
  10. Gospel Blues, Robert L. Morris
  11. Juba: Ev’rytime I Feel the Spirit, Robert L. Morris
  12. Fly Me to the Moon, arr. John Holiday
  13. Summertime, arr. John Holiday
  14. VOCALISE III, Carlos Simon
  15. Strange Fruit, arr. John Holiday
  16. Prayer, H. Leslie Adams
  17. The Heart of a Woman, H. Leslie Adams
  18. Night Song, H. Leslie Adams
  19. Sence You Went Away, H. Leslie Adams
  20. Over My Head and Amazing Grace, arr. John Holiday

Deaf Singer ALI Stuns the Judges on ‘The Voice’ With a Soulful Take on “Killing Me Softly”

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ALI walked onto The Voice stage for Season 23’s blind auditions and delivered a performance of “Killing Me Softly with His Song” that stopped the room cold. Then she revealed she was born deaf and wears two hearing aids, and the room got even quieter. Kelly Clarkson and Chance the Rapper both turned their chairs. ALI chose Clarkson as her coach, a full-circle moment for a singer who grew up in Walnut, California listening to Clarkson songs her uncle burned onto CDs for her.

Darryl “DMC” McDaniels and Public Enemy Veterans Unite as New Hip-Hop Power Group FREEDOM

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Three architects of hip-hop history have joined forces. Darryl “DMC” McDaniels, DJ Johnny Juice, and Brian Hardgroove, both veterans of Public Enemy, have formed FREEDOM, a new group built to bridge rock, hip-hop, and social consciousness. Their debut single, “I’m On Your Side,” arrives May 15, 2026 through Worldwide Entertainment Group, The Orchard, and JRB Innovations.

“I’m On Your Side” isn’t background music. It’s a direct response to a polarized world, a track about reclaiming your voice when truth and democracy feel like contested territory. The song pairs hard-hitting beats with lyrics that demand engagement, not just passive listening. It’s an anthem with real stakes behind it.

The music video was filmed in New York in a single day, directed by Simon Kinney of Synergy Group Productions, whose credits include Pink, Metallica, and Ed Sheeran. An additional shoot took place in Santa Fe, co-directed by Zay Santos of Santa Fe Stockyards. The result is a visual that matches the song’s urgency.

FREEDOM is also launching a fan community platform alongside the single, giving listeners a way to connect directly with the group’s message. Exclusive merchandise drops as part of the official launch.

McDaniels, Juice, and Hardgroove carry serious individual weight. Together, FREEDOM has the kind of combined credibility that doesn’t need a build-up. “I’m On Your Side” hits all major streaming platforms May 15th.

Riz Ahmed Turns a Children’s Board Game Into Surreal Tragedy on Saturday Night Live UK

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In a delightfully unhinged sketch from the third episode of Saturday Night Live UK, guest host Riz Ahmed plays a man whose growing fixation with the children’s game Operation spirals into genuine real-life tragedy. The surreal bit is exactly the kind of absurdist comedy that makes live sketch television worth watching. SNL UK, branded “Live From London,” premiered in March 2026 and airs live at 22:00 every Saturday on Sky, with six episodes in its first run. It’s the first British incarnation of the franchise Lorne Michaels launched in New York back in 1975.

Australian Guitar Prodigy Taj Farrant Brings His “Chapter One” Tour to the UK

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Taj Farrant has arrived in the UK, and he’s bringing everything with him. The Australian guitarist and singer-songwriter launches his thirteen-date “Chapter One” UK Tour on April 29th, opening with a sold-out show at Cheltenham Jazz Festival 2026. It’s a statement opener for a young musician who’s been making serious noise well beyond his years.

Farrant’s guitar work doesn’t fit neatly into one box, and that’s exactly the point. His playing draws from rock, blues, and pop, combining what he describes as vintage warmth with modern aggression. It hits hard and feels earned. This is the kind of tone that turns heads at festivals and holds rooms at full attention.

The resume speaks for itself. Farrant has shared stages with Carlos Santana, Buddy Guy, and the Hendrix Experience team. He’s performed alongside Rob Thomas, ZZ Top, and Christone “Kingfish” Ingram. He’s played Big Blues Bender in Las Vegas, Telluride’s Blues & Brew, and Australia’s largest blues event, Bluesfest. These aren’t footnotes. They’re the foundation.

‘Chapter One’ is his debut album, and this tour is its proper introduction to UK audiences. Farrant’s songwriting matches his playing, direct, expressive, and built on real feeling rather than flash. The performances on this run promise exactly that kind of impact, intimate venues, no distance between artist and crowd.

Tickets are available now at alttickets.com and venue box offices. The Cheltenham date is already gone, so don’t wait on the rest.

“Chapter One” UK Tour Dates:

April 29, 2026, Cheltenham Jazz Festival 2026, Cheltenham (Sold Out)

May 2, 2026, Bodega, Nottingham

May 3, 2026, The Garage, London

May 5, 2026, The Caves, Edinburgh

May 6, 2026, The Crescent Community Venue, York

May 7, 2026, Night & Day Café, Manchester

May 8, 2026, The Black Prince, Northampton

May 9, 2026, The Oast Rainham, Gillingham

May 10, 2026, Thekla, Bristol

May 12, 2026, Exeter Phoenix, Exeter

May 13, 2026, The Globe, Cardiff

May 14, 2026, The 1865, Southampton

May 15, 2026, The Waterfront, Norwich

Create Background Music That Fits Your Content with Musick AI

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By Mitch Rice

Finding background music should not take longer than making the content itself. Yet for many creators, this happens all the time. A track sounds nice but does not match the mood. Another one fits the rhythm but feels too generic. Sometimes, the perfect song simply does not exist in the music library.

Musick AI gives creators a simpler option: create music based on the feeling, style, and purpose of the project. With this AI Music Generator, users can describe the kind of song they want, choose whether the track should be instrumental, and explore different music styles directly on the site.

For videos, podcasts, ads, school projects, or personal creative work, this means the music can be built around the content instead of forcing the content to fit an existing track.

I. Why Background Music Is Hard to Choose

1. Good music is not always the right music

A song can sound professional and still feel wrong for a video. A soft travel clip may not need dramatic music. A product demo may need something clean and steady. A podcast intro may need a short piece that feels warm but does not distract from the voice.

The problem is not always the quality of the music. The problem is fit.

That is why custom music can be helpful. Instead of searching through endless tracks, users can tell Musick AI what they need: the mood, genre, theme, and purpose.

2. Music changes how content feels

Background music affects pacing, emotion, and attention. A calm piano track can make a tutorial feel clear and focused. A bright pop instrumental can make a vlog feel more friendly. A stronger beat can help a short product video feel more energetic.

Before creating a track, it helps to ask:

What is this content for?

What should the viewer feel?

Should the music include vocals or stay instrumental?

These simple questions make the prompt much easier to write.

II. What Musick AI Can Help You Create

1. Music from a text description

Musick AI lets users create songs by entering a description. The description can include genre, mood, topic, instruments, or use case.

For example:

“Create a cheerful pop instrumental for a travel vlog, with bright guitar, soft drums, and a warm mood.”

This is more useful than typing only “happy music” because it gives the tool a clearer direction.

2. Instrumental music for videos and voiceovers

For many creators, instrumental music is the safest choice. Lyrics can compete with narration, captions, product explanations, or dialogue.

On Musick AI, users can choose the instrumental option when they want music without vocals. This works well for:

YouTube videos

Product demos

Podcast background music

Study or tutorial content

Social media clips

A good prompt could be:

“Create a calm instrumental track for a study video, with soft piano and a focused mood.”

III. How to Write a Better Music Prompt

1. Be specific about the use case

A vague prompt usually gives a vague result. Instead of writing:

“Make relaxing music.”

Try:

“Create a relaxing instrumental track for a sunset travel video, with soft guitar, light percussion, and a peaceful mood.”

This tells Musick AI what the music is for and how it should feel.

2. Combine genre with mood

Genre alone is not enough. Pop can be happy, sad, romantic, or energetic. Jazz can feel smooth, playful, elegant, or emotional.

Better prompt examples include:

“Upbeat pop for a lifestyle short.”

“Smooth jazz for a café vlog.”

“Energetic EDM for a gaming highlight.”

“Soft classical music for a study video.”

This makes AI Music creation more practical because the track starts with a clearer emotional direction.

3. Choose vocals only when they support the project

Musick AI includes vocal gender preferences such as random, male, and female. For full songs, this can help guide the style. For background music, however, instrumental is often better because it leaves more space for speech and visuals.

For a vocal song, a prompt might be:

“Create a heartfelt pop song about missing home, with a warm female vocal preference and gentle acoustic sound.”

For background use, keep it simpler:

“Create a soft acoustic instrumental for a family memory video.”

IV. Useful Ways to Use Musick AI

1. YouTube videos and vlogs

Creators can use Musick AI to make music for intros, transitions, travel scenes, tutorials, and outros.

Example prompt:

“Create an upbeat pop instrumental for a morning routine vlog, with light drums and a friendly mood.”

2. Podcasts

Podcast music should be simple and memorable. It should support the voice, not overpower it.

Example prompt:

“Create a warm podcast intro with soft piano, light percussion, and a confident mood.”

3. Product videos and short ads

Product content often needs music that feels clean and polished.

Example prompt:

“Create a clean electronic instrumental for a product demo, with a steady beat and optimistic mood.”

4. Personal projects

Musick AI can also help with birthday videos, school projects, greetings, and creative experiments.

Example prompt:

“Create a cheerful birthday song with a bright pop style and playful rhythm.”

This is where an AI Song Maker can be useful for people who have an idea but do not know how to compose music from scratch.

V. Music Styles You Can Explore

Musick AI includes many music styles on its site, such as pop, EDM, jazz, rock, hip-hop, rap, blues, reggae, classical, country, disco, metal, R&B, K-pop, and more.

These styles help users start faster. Instead of building a song idea from nothing, users can begin with a genre and then add mood, purpose, and sound details.

For example:

“Jazz” becomes “smooth jazz for a calm cooking video.”

“EDM” becomes “energetic EDM for a gaming highlight.”

“Pop” becomes “bright pop for a lifestyle vlog.”

The more clearly the style matches the content, the easier it is to create music that feels usable.

VI. A Simple Workflow for Better Results

1. Start with the content

Think about the video, podcast, or project first. The music should support the content, not distract from it.

2. Write one clear prompt

Include the genre, mood, use case, and whether the track should be instrumental.

Example:

“Create an upbeat instrumental pop track for a short travel vlog, with bright guitar, light drums, and a happy mood.”

3. Adjust the direction if needed

If the first result feels too slow, try a more energetic mood. If it feels too busy, choose instrumental and ask for a softer arrangement. If it does not match the content, change the genre or describe the scene more clearly.

This is what makes an AI Music Maker useful: creators can test different ideas without starting from zero every time.

VII. Make Music That Belongs to the Content

Background music should feel like part of the project, not something added at the last minute. When the track matches the mood, the content becomes easier to watch, listen to, and remember.

Musick AI helps creators turn a simple description into custom music. Users can choose a style, describe the mood, use instrumental mode when needed, and create songs for videos, podcasts, ads, lessons, or personal projects.

Instead of spending hours searching for background music that almost fits, creators can make music that starts with the content itself.

Data and information are provided for informational purposes only, and are not intended for investment or other purposes.

James Valentine, Voice of Sydney and ARIA Hall of Fame Saxophonist, Dead at 64

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James Valentine, the Australian musician, broadcaster, and author whose warm, curious voice became part of the daily rhythm of Sydney life for more than two decades, died on April 22 at home surrounded by his family. He was 64. Valentine had been diagnosed with oesophageal cancer in March 2024, and his family confirmed that he chose to end his life through voluntary assisted dying. “He was calm, dignified as always and somehow still making us laugh,” his family said in a statement. He is survived by his wife Joanne and their two children, Ruby and Roy.

Born in Ballarat, Victoria on September 12, 1961, Valentine grew up with music in his blood, studying saxophone and gravitating toward jazz before Melbourne’s vibrant music scene pulled him fully into its orbit. He joined Joe Camilleri’s group Jo Jo Zep in 1982 and fell into the Models almost by accident, after playing in a covers band whose rhythm section happened to be two of that band’s members. “All of a sudden I was in this pop band wearing black leather jackets,” he recalled. He stayed with the Models from late 1984 through 1987, appearing on their two most commercially successful albums, ‘Out of Mind, Out of Sight’ (1985) and ‘Models’ Media’ (1986). The title track of the former reached number 37 on the Billboard Hot 100 in 1986 and logged 13 weeks on the chart. When the Models were inducted into the ARIA Hall of Fame in 2010, Valentine was there to take his place on stage with his bandmates.

His musical collaborations extended well beyond the Models. He worked with Absent Friends, the Wendy Matthews Band, Kate Ceberano, Stephen Cummings, and Jo Camilleri, among others, building a reputation as a generous and technically gifted saxophonist. INXS bass player Garry Gary Beers, who recorded with Valentine in Absent Friends, put it plainly: “James was a truly great sax player and a very decent guy. I will always remember him as the guy who was always smiling, always happy to be in the moment and a guy you could depend on.”

The pivot to broadcasting turned out to be where Valentine’s gifts found their widest audience. He joined the ABC in the mid-1980s and never really left, spending more than 30 years across television and radio, including over 20 years presenting the Afternoons show on 702 ABC Radio Sydney. His show was conversational, curious, and deeply human, built around talkback segments that turned everyday life into something worth listening to. In 2020, he collected a Bronze Award at the New York Festival’s Radio Awards for Best Two-Way Telephone Talk/Interview Show. ABC Managing Director Hugh Marks described him as “a trusted companion for generations of our Sydney audience” who brought “warmth, wit, and humanity to radio.” Fellow presenter Richard Glover said Valentine had “lifted the spirit of the city every day for 25 years.”

Valentine announced his retirement in February 2026, after further tumours were discovered following his initial treatment. In the weeks before his death, Governor-General Sam Mostyn expedited his appointment as a Member of the Order of Australia (AM), with the medal presented to his children at Admiralty House. “He was sharing his death with us to help us understand our mortality and how we live life better,” Mostyn said. His daughter Ruby noted that Valentine wanted his choice to be known publicly, hoping his voice could lend weight to the conversation around voluntary assisted dying. “If ever he could lend his voice to the argument of why this is such a necessary thing for so many people,” she said.

Prime Minister Anthony Albanese captured the feeling of a nation. “With the passing of James Valentine, we have lost one of our national treasures. When he was on, you always felt like you were in the very best of company.”

10 Songs That Feel Like a Hug from the Universe

Some songs don’t just play, they hold you. They arrive at exactly the right moment and remind you that everything is connected, that beauty is real, and that you are not alone. These ten tracks have been described time and again as comfort in sonic form, the kind of music that wraps around you like a warm blanket on a difficult day.

“Across the Universe” by The Beatles

A transcendent, hypnotic track that feels like floating through space. Few songs in the rock canon feel quite so weightless, its luminous imagery inviting you to simply let go and drift.

“Space Song” by Beach House

Dreamy, shoegaze warmth that turns melancholy into something strangely comforting, like staring up at a night sky and feeling small in the best possible way.

“What a Wonderful World” by Louis Armstrong

One of the most generous songs ever recorded. A quiet, warm reminder that life’s beauty is right there if you slow down long enough to look for it.

“Holocene” by Bon Iver

An indie-folk masterpiece that places human smallness against an enormous, breathtaking world and somehow makes it feel like a gift rather than a burden.

“This Must Be the Place (Naive Melody)” by Talking Heads

A song about arriving somewhere you didn’t know you were looking for. Home, contentment, and safety wrapped in a groove that never gets old.

“Fade Into You” by Mazzy Star

Slow, hazy, and deeply romantic. A cocoon of sound you can disappear into completely, the musical equivalent of a long, quiet exhale.

“Sunrise” by Norah Jones

Her voice is so naturally warm it feels like the day itself is greeting you gently. A song that wraps around you like a quiet, unhurried morning with nowhere to be.

“Ripple” by Grateful Dead

The folk equivalent of a hand on your shoulder. A gentle, reassuring nudge to trust the road you’re on and keep moving forward with an open heart.

“Sing to the Moon” by Laura Mvula

Orchestral, deeply human, and quietly uplifting. The kind of song that makes you feel capable of rising above whatever is weighing you down.

“Let It Be” by The Beatles

Perhaps the most universally comforting song ever written. A reminder that words of wisdom are always available if you go quiet enough to hear them.

Put these ten on a playlist. Press play. Let the universe do the rest.