Kaitlin Butts has released her ‘Yeehaw Sessions’ EP, out now, marking her debut under her newly signed deal with Republic Records. The Nashville-based singer-songwriter recently shared her cover of Jimmy Eat World’s “The Middle” alongside a music video, giving listeners an early look at the project. Reflecting on her recent journey, Butts says, “From releasing my album over a year ago as an independent artist, to having a viral song, to now signing a record deal with such a prestigious label like Republic Records, the journey has felt nothing short of surreal.”
In the spirit of her 2022 covers release ‘Sad Yeehaw Sessions’, the EP features reimagined versions of songs she has been performing live, including “Red Wine Supernova” by Chappell Roan, “Sin Wagon” by The Chicks, “Tulsa Time” by Don Williams, and “The Middle”, alongside a new recording of “You Ain’t Gotta Die (To Be Dead to Me)”. On her connection to “The Middle”, Butts shares, “I needed to hear those words in that exact moment.” She adds, “I hope my version meets someone the way that song met me in that moment.”
Trivium have released their three-song EP ‘STRUCK DEAD’, out now via Roadrunner Records, alongside a video for the title track. The EP was created after the band built their own studio at The Hangar, giving them space to work freely and independently. Bassist Paolo Gregoletto says, “In August 2023, we set out to design and build our own studio at The Hangar – a place to create freely, on our own terms.” The release captures a focused burst of energy shaped by intention and control.
The creative spark came from revisiting the band’s past while looking ahead. “Born from months of revisiting and performing Ascendancy in full, this EP channels that familiar power and spirit while pushing into new territory,” Gregoletto explains. “We feel that Struck Dead stands as the first step into a bold new era for us.” Produced by Trivium, recorded with Mark Lewis at Hangar Studios, and mixed and mastered by Josh Wilbur, the EP delivers a concise yet forceful statement driven by riff-heavy precision and dual-style vocals.
The Funeral Portrait release their first-ever live album ‘Live From Suffocate City’, out now via Better Noise Music as a CD and Blu-ray combo and on vinyl in green and purple. The album documents the band’s sold-out Suffocate City Town Hall Meeting at The Masquerade in Atlanta, capturing the emo-rooted group in front of a packed hometown crowd. The release invites listeners inside a night defined by raw emotion, high-energy theatrics, and fan-favorite anthems.
The album includes live performances of “Holy Water” featuring Ivan Moody of Five Finger Death Punch and “Suffocate City” featuring Spencer Charnas of Ice Nine Kills, both #1 singles on Billboard’s Mainstream Rock Airplay and Mediabase’s Active Rock charts. A live version and video of “Voodoo Doll” are also out now. Frontman Lee Jennings says, “‘Voodoo Doll’ is about the pain of watching someone you love disappear into addiction.” He adds, “This live video captures that raw emotion exactly how it felt that night.”
Duff McKagan has released his new live album and full-length concert film ‘LIGHTHOUSE: LIVE FROM LONDON’, out now across multiple formats including digital, CD, CD plus Blu-ray, and vinyl editions. The 19-track collection was recorded and filmed on October 5, 2024, at a sold-out show at London’s Islington Assembly Hall during Lighthouse Tour ’24. The performance features McKagan and his band playing songs spanning his career, including material from his 2023 solo album ‘LIGHTHOUSE’.
Recorded and mixed by longtime collaborator Martin Feveyear, the album captures live versions of McKagan originals like “I Saw God On 10th St.”, “Lighthouse”, and “Chip Away”, alongside covers including “I Wanna Be Your Dog”, “I Fought The Law”, and Guns N’ Roses’ “You’re Crazy”. The release also features a guest appearance from Sex Pistols guitarist Steve Jones, with the pair performing “Can’t Put Your Arms Around A Memory” and “Heroes” together during the concert.
Rock trio Reckless Eden channel intensity into their latest single “Toxic”, a hard-hitting anthem about breaking free from manipulation, gaslighting, and the moment clarity sets in. Fueled by soaring vocals, driving riffs, and emotionally direct lyrics, the track captures the breaking point where power shifts back to the person walking away. The song leans into raw emotion and rock energy while keeping its focus tight and personal.
Alex Belew, the band’s vocalist and a professional chef who won Hell’s Kitchen Season 21, explains, “The song dives into the reality of toxic relationships – whether personal or professional. It’s about putting someone on a pedestal only to realize they’re not who you thought they were. Eventually, you hit that breaking point where you stop pretending, stop caring about their approval, and finally walk away from all the fake smiles and empty words.” Following their debut single “Falling”, the 2025 EP ‘All You’ve Done’, and singles “Innocent Man” and “Back Then”, “Toxic” continues Reckless Eden’s focus on emotionally charged rock songwriting.
“For Forever” is out now from Alas de Liona, a gloomy and cinematic single that explores immortality through the eyes of a brooding vampire. Released alongside a self-written and directed 80s-inspired “Lost Boys” video, the track highlights her elegant vocals and imaginative songwriting. Tailor-made for her favorite season, the song leans into dark romance and atmosphere while offering a clear glimpse into her wider vampire-themed creative world. The track lands with dramatic weight and emotional clarity, giving it the space to fully breathe.
Following her widely praised album ‘Gravity of Gold’, Alas de Liona continues to expand her artistic scope across music, visuals, and collaboration. She recently performed at Fringe by the Sea and Leith Depot, while also preparing a unique Studio Faire Play collaboration with Viktoria Grynenko and Sacha Lattuca, recorded in the south of France and set for release out now. Rooted in her Mojave Desert origins and her life in Scotland, her work carries a dreamlike depth that continues to earn strong critical attention and live acclaim.
“Alone” is out now from Romeopathy, a grunge-laced alt-rock confessional that dives headfirst into emotional isolation. Built on haunting melodies and gritty, layered guitars, the track unfolds like a late-night truth session where humor and bravado fall away. Its raw honesty feels immediate and unfiltered, capturing the quiet moments when noise fades and self-reflection takes over. The song carries a brooding intensity that lingers long after the final note.
Lyrically intimate and self-aware, “Alone” acknowledges destructive cycles while holding onto the desire for change, even without a clear direction forward. Romeopathy strip their songwriting to its emotional core here, letting vulnerability lead without sacrificing power or edge. The result is moody, compelling, and deeply human, a track that stands confidently in its own lane while echoing the cathartic spirit of grunge and UK alt-rock.
The 1970s produced a deep bench of guitarists whose work shaped records, bands, and entire scenes. Many of them focused on tone, rhythm, and musical conversation rather than spectacle. They built signature sounds that listeners recognize instantly, even if the names arent always cited first. Their influence runs through rock, pop, prog, and blues recordings that still circulate today. These players earned their reputations through consistency, taste, and the trust of their bands.
Rory Gallagher Raw tone, ferocious touch, zero gimmicks. His live records prove a single Strat could sound orchestral. Ask anyone who saw him live – he converted rooms.
Terry Kath Jazz chops with hard rock muscle. His playing on early Chicago tracks blends Hendrix fire with harmonic daring that still stuns musicians.
Roy Buchanan Volume swells, pinch harmonics, emotional control. Jeff Beck called him the best unknown guitarist in the world – listen and it makes sense.
Elliot Easton Pop songs, killer solos. His concise, melodic leads on Candy-O show how to elevate hits without hijacking them.
Buck Dharma Heavy riffs plus melodic intelligence. His solos balance science fiction drama with classic rock clarity.
Alvin Lee Known as a speed king at Woodstock, forgotten later. His precision and stamina were unmatched in the era.
Denny Dias Jazz harmony inside rock songs. His solos on Steely Dan tracks are masterclasses in taste and restraint.
Lindsey Buckingham Fingerpicking, alternate tunings, percussive attack. Fleetwood Mac needed two guitarists to replace him live.
Mick Ronson Glam with grit. His arrangements and tone shaped Ziggy Stardust as much as the songs themselves.
Tommy Bolin From fusion to hard rock. His range across Billy Cobham and Deep Purple shows fearless musical curiosity.
Mike Campbell Economy and hooks. He wrote riffs that defined Tom Pettys catalog and penned Boys of Summer.
Alex Lifeson Often overshadowed by prog flash. His chord voicings and textures built Rushs evolving sound.
Jeff ‘Skunk’ Baxter Rock meets theory. His angular lines added bite and intelligence to Steely Dan and beyond.
Brad Whitford The other half of Aerosmiths punch. His rhythm work and leads are the glue under the swagger.
Frank Marino Hendrix influence without imitation. Sustained tone, long-form solos, and serious feel.
Birthed in the wet ground and grey skies of the Pacific Northwest, OLD MOON emerge with a singular vision rooted in grief, loss, and emotional reckoning. Today, the band unveil “A Rest To My Name”, the second single and lyric video from their forthcoming debut album ‘Home To Nowhere’, out May 8.
Darker, doomier, and more ominous in tone, “A Rest To My Name” expands OLD MOON’s sonic language. Orchestral passages swell beneath breath-held guitar melodies, weaving melodic death metal and post black metal into a tense, resonant atmosphere. The track draws strong responses for its compositional depth and the maturity of its emotional pacing, offering a striking contrast to the more direct intensity of earlier single “Obsidian”.
“‘A Rest To My Name’ is a song with two meanings,” explains founder Michael Priest. “More so with the ‘final death,’ the last time someone’s name is spoken. It’s written from the perspective of someone already gone, moving from never wanting to be forgotten to acceptance, ending with ‘forget my name and let me rest.’” The song, alongside “Obsidian”, appears on ‘Home To Nowhere’, available on CD, limited smoke-colored vinyl, and digital via M-Theory Audio.
Bruno Mars opens 2026 with the release of “I Just Might”, accompanied by an official video directed by Mars and Daniel Ramos. The single introduces his long-awaited fourth solo album ‘The Romantic’, arriving February 27. The song sets a confident tone, offering a clear snapshot of the album’s emotional sweep and melodic focus.
The announcement also brings news of “The Romantic Tour”, Mars’ first global headline tour in nearly a decade and his first full-scale stadium run. Launching April 10 in Las Vegas, the tour spans North America, Europe, and the UK, including major stops in Toronto, London, Paris, Amsterdam, and Los Angeles. Anderson .Paak joins all dates as DJ Pee .Wee, with Leon Thomas, RAYE, and Victoria Monét appearing on select shows.
Produced by Mars alongside Erik Ron, ‘The Romantic’ follows a period of historic success that includes chart-topping singles, record-breaking tours, and landmark global performances. The album and tour arrive with strong momentum, drawing widespread enthusiasm for their scale, ambition, and continued creative vitality. With new music, a massive live run, and trusted collaborators at his side, Mars steps into 2026 with clarity and purpose.
The Romantic Tour 2026 Dates April 10 – Las Vegas, NV – Allegiant Stadium April 14 – Glendale, AZ – State Farm Stadium April 18 – Arlington, TX – Globe Life Field April 22 – Houston, TX – NRG Stadium April 25 – Atlanta, GA – Bobby Dodd Stadium At Hyundai Field April 29 – Charlotte, NC – Bank Of America Stadium May 2 – Landover, MD – Northwest Stadium May 6 – Nashville, TN – Nissan Stadium May 9 – Detroit, MI – Ford Field May 13 – Minneapolis, MN – U.S. Bank Stadium May 16 – Chicago, IL – Soldier Field May 20 – Columbus, OH – Ohio Stadium May 23 – Toronto, ON – Rogers Stadium May 24 – Toronto, ON – Rogers Stadium June 20 – Paris, FR – Stade De France June 21 – Paris, FR – Stade De France June 26 – Berlin, DE – Olympiastadion July 4 – Amsterdam, NL – Johan Cruijff ArenA July 5 – Amsterdam, NL – Johan Cruijff ArenA July 10 – Madrid, ES – Riyadh Air Metropolitano July 14 – Milan, IT – Stadio San Siro July 18 – London, UK – Wembley Stadium Connected By EE July 19 – London, UK – Wembley Stadium Connected By EE August 21 – East Rutherford, NJ – MetLife Stadium August 22 – East Rutherford, NJ – MetLife Stadium August 29 – Pittsburgh, PA – Acrisure Stadium September 1 – Philadelphia, PA – Lincoln Financial Field September 5 – Foxborough, MA – Gillette Stadium September 9 – Indianapolis, IN – Lucas Oil Stadium September 12 – Tampa, FL – Raymond James Stadium September 16 – New Orleans, LA – Caesars Superdome September 19 – Miami, FL – Hard Rock Stadium September 23 – San Antonio, TX – Alamodome September 26 – Air Force Academy, CO – Falcon Stadium At The United States Air Force Academy October 2 – Inglewood, CA – SoFi Stadium October 3 – Inglewood, CA – SoFi Stadium October 10 – Santa Clara, CA – Levi’s Stadium October 14 – Vancouver, BC – BC Place
