Newcastle collective The Agency… have released “We Fell to the Floor,” a richly layered new single featuring guest vocalists Rosa Thomas and Elise Shields of fellow North-East band The Samphires. The track is out now on digital streaming platforms, and it’s one of the most emotionally complete things the band has put their name to.
The song began as a brooding romantic piece about two people holding each other up through crisis. Over time it grew into something larger. The band describes the evolution openly: “‘We Fell to the Floor’ started off as a love song about two people standing by each other through a shared crisis. Over time it’s grown into something bigger. It became about the music scene itself, about community, and about how important it is that we look after one another. Artists are a particular kind of people, and so many of us carry mental health struggles alongside all the ordinary pressures of life. We have to look out for each other.”
The result is a track that earns its emotional weight at every turn. Steven K Driver’s imposing baritone anchors the verses while Thomas and Shields bring real depth to the choruses, and mariachi horns arrive late to deliver a moment of genuine, joyful release. It’s folk noir, gothic rock, and post-rock folded into something that feels wholly its own.
The single carries extra meaning given the circumstances around it. Rosa Thomas suffered a haemorrhagic stroke in 2025, and all profits from sales of “We Fell to the Floor” go directly toward her recovery fund. It’s a record that means something beyond the music, and the music is already exceptional.
“We Fell to the Floor” is the band’s first release since the haunting “Harbour Song” in 2024, and it’ll appear on their forthcoming new album expected later in 2026. A record worth watching for.
The Black Crowes have never needed permission to be great, and ‘A Pound of Feathers’ proves it all over again. The tenth studio album from brothers Chris and Rich Robinson is out now, recorded in Nashville with GRAMMY-winning producer Jay Joyce, and it marries the rugged swagger of their early classics with hard-hitting rhythmic textures that feel genuinely fresh. Three singles are already out: “Profane Prophecy,” “Pharmacy Chronicles,” and “It’s Like That,” and they set the tone for a record that doesn’t flinch.
“Profane Prophecy” has already drawn serious attention. Louder Sound called it a gorgeously juicy whale of a rock and roller, full of strutting Stones-y sass and sumptuous Americana. The Russ Meyer-inspired video, directed by Dagger Polyester, a filmmaker Chris Robinson discovered in LA’s underground music scene, is out now and very much worth your time.
The Crowes arrive at this moment with real momentum behind them. ‘Happiness Bastards’ earned a 2025 GRAMMY nomination for Best Rock Album, with MOJO calling it a thrilling return oozing sass and swagger. A 2025 Rock and Roll Hall of Fame nomination followed. Rather than slow down, they’ve doubled down, heading into one of the biggest summers of their career.
The Southern Hospitality North American Tour, a co-headlining run with Whiskey Myers and opener Southall, is already underway and runs deep into August. The highlight of the run comes August 17 at the Hollywood Bowl in Los Angeles, where The Black Crowes, Tedeschi Trucks Band, and Whiskey Myers will share a stage for the first time ever. That’s a night worth building a trip around.
After wrapping North America, the Crowes cross the Atlantic for a UK and European run in late June and early July, including a stop at State Fayre Festival in Chelmsford alongside Kings of Leon and Elvis Costello on June 26. Their first return to the UK since a 2024 Eventim Apollo show where Steven Tyler joined them onstage as Jimmy Page watched from the wings.
Southern Hospitality North American Tour Dates:
May 17 – Austin, TX – Moody Center
May 19 – Rogers, AR – Walmart AMP
May 21 – Nashville, TN – Bridgestone Arena
May 23 – Alpharetta, GA – Ameris Bank Amphitheater
May 24 – Birmingham, AL – Coca-Cola Amp
May 26 – Brandon, MS – Brandon Amphitheater
May 27 – Orange Beach, AL – The Wharf Amphitheater
May 30 – Hollywood, FL – Hard Rock Live
May 31 – Tampa, FL – MIDFLORIDA Credit Union Amphitheatre
June 2 – St. Augustine, FL – St. Augustine Amphitheatre
June 4 – Augusta, GA – Bell Auditorium
June 6 – Charlotte, NC – Truliant Amphitheater
June 7 – Raleigh, NC – Coastal Credit Union Music Park
June 9 – Cincinnati, OH – Riverbend Music Center
June 10 – Cuyahoga Falls, OH – Blossom Music Center
June 12 – Camden, NJ – Freedom Mortgage Pavilion
June 13 – New York, NY – Forest Hills Stadium
June 16 – Columbia, MD – Merriweather Post Pavilion
June 17 – Bridgeport, CT – Hartford HealthCare Amphitheatre
June 19 – Boston, MA – Xfinity Center
June 20 – Newark, NJ – Prudential Center
July 17 – Indianapolis, IN – Ruoff Music Center
July 18 – Detroit, MI – Pine Knob Music Theater
July 21 – Toronto, ON – RBC Amphitheatre
July 22 – Grand Rapids, MI – Acrisure Amphitheater
July 24 – Tinley Park, IL – Credit Union 1 Amphitheatre
July 25 – St. Louis, MO – Hollywood Casino Amphitheater
July 28 – Shakopee, MN – Mystic Lake Amphitheater
July 30 – Kansas City, MO – MORTON Amphitheater
August 1 – Colorado Springs, CO – Ford Amphitheater
August 2 – Denver, CO – Fiddler’s Green Amphitheatre
August 4 – Lincoln, NE – Pinewood Bowl Amphitheater
August 6 – Tulsa, OK – Hard Rock Hotel & Casino
August 8 – Houston, TX – Cynthia Woods Mitchell Pavilion
August 9 – Dallas, TX – Dos Equis Pavilion
August 12 – Nampa, ID – Ford Idaho Center Amphitheater
August 13 – Salt Lake City, UT – Utah First Credit Union Amphitheatre
August 15 – Phoenix, AZ – Mortgage Matchup Center
August 17 – Los Angeles, CA – Hollywood Bowl
August 19 – Wheatland, CA – Toyota Amphitheatre
August 20 – Mountain View, CA – Shoreline Amphitheatre
Twenty years on, ‘Everything All The Time’ still sounds like nothing else, and Band of Horses are marking the occasion properly. The Gold-certified 2006 debut has been expanded into a 19-track anniversary edition, fully remastered and packed with previously unreleased studio tracks, live recordings, rarities, and demo versions that give the album an entirely new dimension. It’s out now.
The expanded edition comes with new liner notes from original producer Phil Ek, whose credits include Fleet Foxes, Built To Spill, and Modest Mouse. The artwork has been refreshed and expanded into a gatefold jacket, and the physical release arrives as a double LP. North American preorders via Sub Pop Mega Mart receive a limited Loser Edition on metallic gold vinyl, while UK and EU preorders get the opaque yellow variant.
The anniversary edition surfaces one of the most compelling new additions: “(Biding Time Is a) Boat to Row,” a previously unreleased fan favorite now accompanied by an official video directed by James Ayling of Cape Films. Inspired by the real-life story of the 52-hertz whale, the video stars Josh Whitehouse of Daisy Jones & The Six. It’s a gorgeous piece of work, and a reminder of just how deep the ‘Everything All The Time’ sessions ran.
The album introduced “The Funeral,” now double-Platinum certified and one of the most enduring songs of the modern indie rock era. It’s been sampled by Kid Cudi, placed extensively in film and TV, and reimagined in a 2025 dance edit by producer Gryffin. Songwriter and vocalist Ben Bridwell built Band of Horses from the ashes of northwest melancholic darlings Carissa’s Wierd in 2004, and ‘Everything All The Time’ was the record that announced him fully to the world.
To celebrate the anniversary, Band of Horses head out on a UK and EU headline run this fall, kicking off in Stockholm on September 25 and wrapping in Madrid on October 22. The tour hits Germany, the Netherlands, Belgium, and the UK, with stops at London’s O2 Shepherd’s Bush Empire, Glasgow’s Barrowland Ballroom, and Manchester’s Albert Hall among the highlights.
‘Everything All The Time’ (20th Anniversary Edition) Track Listing:
The First Song
Wicked Gil
Our Swords
The Funeral
Part One
The Great Salt Lake
Weed Party
I Go to the Barn Because I Like The
Monsters
St. Augustine
(Biding Time Is a) Boat to Row
Part Two
Coal Mine
Worry Song
The End’s Not Near
The First Song (Demo Version)
Wicked Gil (Demo Version)
Our Swords (Demo Version)
The Funeral (Demo Version)
Part One (Demo Version)
Our Swords (Live at The Crocodile)
I Go to the Barn Because I Like The / Monsters (Live at The Crocodile)
Showdown (Live at The Crocodile)
Part One (Live at The Crocodile)
2026 UK/EU Tour Dates:
September 25 – Stockholm, SE – Annexet
September 29 – Copenhagen, DK – Poolen
September 30 – Hamburg, DE – Große Freiheit 36
October 1 – Cologne, DE – Live Music Hall
October 3 – Nijmegen, NL – Doornroosje
October 4 – Amsterdam, NL – Paradiso
October 5 – Antwerp, BE – De Roma
October 7 – London, UK – O2 Shepherd’s Bush Empire
Lizzie Reid has never been interested in keeping things comfortable, and “Sweet Relief” makes that abundantly clear. The Glaswegian singer-songwriter’s striking new single arrives ahead of her EP ‘Undoing,’ out now, and it opens with snarling guitar lines, thundering drums, and ghostly synths that set the stage for some of the most unguarded writing of her career.
The single features friend and collaborator Hamish Hawk on guest vocals, with guitar work from Andrew Pearson, who plays alongside Reid in Hawk’s band. Together they’ve built something loud, dark, and fully uncompromising. Reid croons with more confidence than ever, and the track earns every second of its intensity.
Reid is candid about where “Sweet Relief” came from. “Sweet Relief speaks of my experience dealing with the full throws of obsession, rumination, depression, and panic,” she says. “The way I desperately attempted to comfort myself only brought momentary relief from the storm. The cycle is brutal, exhausting and incredibly sneaky. The more I searched for solutions, the murkier the waters became, making it near impossible for light to come into the frame.”
‘Undoing’ isn’t just a document of collapse. Reid frames it as something more active, an opportunity for unlearning patterns that no longer serve, a way to find new life in the wreckage. She’s not shy about rage or grief, and she’s never timid about putting her life directly into her music. That openness is exactly what has earned her support slots with John Cale, Arlo Parks, Tori Amos, and Hamish Hawk, and a reputation as a true musician’s musician.
A run of UK headline dates is underway now, with stops in Glasgow, Leeds, Manchester, London, and Bristol through early May.
mclusky don’t do things by halves, and they don’t do them on anyone else’s timeline. The Cardiff punk three-piece have released ‘i sure am getting sick of this bowling alley,’ a six-song mini album out now digitally via Ipecac Recordings, with vinyl following May 1. Four new tracks, two previously digital-only releases, and a band that sounds like they’re having the time of their lives making noise nobody told them to make. Order here and listen here.
The release follows ‘the world is still here and so are we,’ their 2025 full-length and first new album in over 20 years, which debuted in the top 20 on the rock, alternative, and independent sales charts. NPR called it bursting with creativity. Pitchfork said it proved mclusky are still capable of melting faces. The mini album picks up exactly where that momentum left off.
Guitarist and vocalist Andrew Falkous, who goes by Falco, is characteristically direct about the whole thing: “content. It drives the modern music world. photos. opinions. more photos. more opinions. how about, and indulge me here, music? fact is we can’t stop writing, at least at the moment. it’s fun (that’s all it needs to be). it’s the common denominator of band. only death will slow us down.”
The six tracks cover a lot of ground in a tight runtime. “i know computer” and “as a dad” are brand new singles, with Falco noting the next album is already half-recorded. “spock culture” and “hi! we’re on strike” were recorded during the ‘the world is still here’ sessions and didn’t make the cut then, a decision Falco describes as historically significant in the most mclusky way possible. “fan learning difficulties” and “that was my brain on elves” round out the collection with their first proper physical release.
Physically, ‘i sure am getting sick of this bowling alley’ is available on black vinyl, translucent red vinyl (exclusive to the Ipecac and band websites), and a crystal fuchsia variant exclusive to Rough Trade. mclusky is Andrew Falkous on guitar and vocals, Damien Sayell on bass and vocals, and Jack Egglestone on drums, vocals, and percussion.
‘i sure am getting sick of this bowling alley’ Track Listing:
Dierks Bentley has a summer plan, and it involves amphitheaters, bluegrass royalty, and a deliberate step away from the noise. The multi-platinum country hitmaker has announced the “Off The Map Tour,” a six-week run of outdoor venues through June and July, and the lineup he’s assembled around him is worth paying attention to.
Joining Bentley on select dates are the legendary Ricky Skaggs and Kentucky Thunder, rising singer-songwriter Kaitlin Butts, and up-and-comers Cole Goodwin, Owen Riegling, and the Mountain Grass Unit. Every act was hand-picked by Bentley himself, and that intentionality comes through in how he talks about it.
“‘Off The Map’ is a song about going to that place where you take a break from it for a little bit, whether it’s a bar stool sipping something cold, or a back porch down a back road,” Bentley says. “I like to think that our shows are a place where our fans can go off the map for a few hours and recharge the batteries.” He adds that on-stage collaborations with Skaggs are already on his mind, and if their recently shared jam on “Free and Easy (Down the Road I Go)” is any indication, those moments are going to be something special.
The tour follows Bentley’s spring stadium run alongside Luke Combs, keeping him on the road through the heart of summer. Tickets are on sale now.
2026 “Off The Map Tour” Dates:
June 12 – Rogers, AR (with Ricky Skaggs & Kentucky Thunder & Owen Riegling)
June 13 – Kansas City, MO (with Ricky Skaggs & Kentucky Thunder & Owen Riegling)
June 25 – Bonner, MT (with Mountain Grass Unit & Kaitlin Butts)
June 26 – Airway Heights, WA (with Kaitlin Butts & Cole Goodwin)
July 2 – Colorado Springs, CO (with Ricky Skaggs & Kentucky Thunder & Cole Goodwin)
ladylike have released “Fresh Linen,” and it’s the kind of track that demands your full attention. The Brighton quartet’s latest single runs seven minutes, moving through a quiet-loud dynamic with a precision and naturalness that most bands spend careers chasing. It lingers, swells, and pulls back, and every moment of it feels earned.
The single arrives ahead of their debut EP, ‘It’s a Pleasure Of Mine, to Know You’re Fine,’ out now digitally via Heist or Hit, with a special Dinked Edition Vinyl following on April 24th. The EP was recorded with producer Ali Chant, whose credits include Aldous Harding, Perfume Genius, and PJ Harvey, and across four tracks it captures the quiet urgency that’s defined ladylike from the start.
The band describes “Fresh Linen” with striking honesty: “It felt incredibly natural to create. It showcases us as individuals, yet when we play the song live, we merge and immerse ourselves into one big machine. A very odd machine, that’s constantly evolving, but it’s churning and chugging on with life.” That sense of collective momentum is exactly what the track delivers.
Georgia Butler, Spencer Withey, James Ely, and Archie Sagers have been building steadily and intentionally. Festival slots at Green Man, Left Of The Dial, The Great Escape, and Dot To Dot, plus support runs with The Orielles, Ugly, Mary in the Junkyard, and Lime Garden have sharpened them into a formidable live act. Radio support from KEXP, BBC 6 Music, Apple 1, and Radio X has only widened the circle.
They’ve got a run of UK and European dates ahead, including a Paris appearance and a hometown slot at The Great Escape in May. “Fresh Linen” is the sound of a band fully in command of what they’re making.
The Pretty Wild aren’t slowing down for anyone. The metaphysical metalcore sister duo has released the official music video for “zero.point.genesis,” the title track from their album of the same name on Sumerian Records, and it arrives right in the middle of one of the busiest stretches of their career.
The video is a fitting centerpiece for a record that pushes genre boundaries with genuine force. The Pretty Wild fuse rebellious energy with raw, heartfelt lyricism, and “zero.point.genesis” captures that combination at full intensity. With over 37 million all-time streams already behind them, the duo has built real momentum, and this video makes clear they know exactly what they’re doing with it.
2026 has been relentless for the duo. They made their ShipRocked debut in January, kicked off their first-ever UK/EU tour with Sleep Theory, and are now deep into a massive North American run alongside Bloodywood, Ladrones, and Ankor. Festival appearances at Sonic Temple Art & Music Festival, Download 2026 in the UK, and Graspop Metal Meeting in Belgium are also on the horizon.
The North American tour runs through mid-May, with remaining dates spanning major markets across the U.S. and Canada. Toronto gets their shot on May 15 at Danforth Music Hall. These are rooms worth being in.
Upcoming Tour Dates with Bloodywood, Ladrones + Ankor:
April 28 – Dallas, TX – The Echo Lounge & Music Hall
April 29 – Austin, TX – Emo’s Austin
May 1 – Madison, WI – Majestic Theatre
May 2 – Chicago, IL – House of Blues Chicago
May 4 – Boston, MA – Paradise Rock Club
May 5 – Philadelphia, PA – Theatre of Living Arts
May 6 – New York, NY – Irving Plaza
May 8 – North Myrtle Beach, SC – House of Blues
May 11 – Atlanta, GA – Buckhead Theatre
May 12 – Chattanooga, TN – The Signal
May 13 – Louisville, KY – Mercury Ballroom
May 14 – Columbus, OH – Sonic Temple Art & Music Festival 2026
American Vanity have released the music video for “Lifeline,” and it matches the song’s emotional urgency beat for beat. The Pennsylvania-based four-piece dropped the single earlier this year, and the visual brings it fully to life, placing dual vocalists Luke Hoffman and Virginia Franks in a grungy, high-energy race against the clock as captives fighting to break free. It’s visceral, kinetic, and impossible to look away from.
The song itself is a pop-punk gut-punch wrapped in a catchy, nostalgia-tinged melody. Hook-laden guitar lines and larger-than-life drums drive the track forward while Hoffman and Franks dig into something genuinely raw. “Lifeline” examines emotional dependence with real honesty, the feeling of clinging to someone even when the connection starts to define you more than sustain you.
The band frames it plainly: “‘Lifeline’ examines emotional dependence in a culture where validation feels constant but fragile. The song captures the tension between wanting connection and recognizing when that connection starts to define you.” That tension runs through every second of the track, and it’s what makes it stick.
Formerly known as Burn The Jukebox, American Vanity has built their identity around turning modern rock into something unfiltered and direct. Led by Franks on bass and Hoffman on guitar, with Luke Vanchure on lead guitar and Carter Dennis on drums, the band writes music that takes aim at image, approval, and identity in an attention economy where everyone’s chasing views but nobody feels seen.
They’re also a serious live act, with a string of upcoming dates running through the summer. “Lifeline” is out now everywhere.
Crown Lands have never been interested in playing it safe, and ‘Apocalypse’ makes that clearer than ever. The Canadian progressive rock duo’s new studio album arrives May 15, and it’s the most ambitious, fully realized thing they’ve put together yet. Three albums deep, two JUNO Awards in, and they’re still pushing further out.
The record follows their JUNO Award-winning self-titled debut, 2023’s ‘Fearless,’ and the instrumental duo ‘Ritual I’ and ‘Ritual II,’ their first releases on InsideOutMusic and recent JUNO nominees. Each release has expanded the Crown Lands universe. ‘Apocalypse’ doesn’t just continue that expansion, it reframes everything that came before it.
At the center of the album sits the 19-minute title track, a sprawling, section-by-section construction that drummer and vocalist Cody Bowles describes as built from the ground up. “With long-form songs, it always starts with the music,” he says. “We built Apocalypse from instrumental sections, some older riffs, a lot of newly inspired ones, and mapped them out on a whiteboard, figuring out how one section could melt into the next.” The result is a prog epic that earns every minute of its runtime.
Conceptually, ‘Apocalypse’ fits into a larger narrative arc. Bowles connects the dots: “Fearless and Ritual exist in the same story. But Ritual takes place much earlier in the timeline. It shows the planet during times of peace. Apocalypse moves the story forward and sets up the events that lead directly into Fearless.” This is world-building at a scale most rock acts simply don’t attempt.
Much of the album was written and recorded in the same home studio Crown Lands has worked in since 2020, a space that became a proving ground during the ‘Ritual’ sessions. Guitarist, bassist, and keyboardist Kevin Comeau credits that process directly: “That record gave us the confidence to realize we could make a Crown Lands album in our own space, without a major-label budget or a big, fancy studio.” For the album’s most crucial moments, they brought in producers Nick Raskulinecz and David Bottrill.
‘Apocalypse’ arrives May 15 on Ltd CD Edition, Gatefold Neon Yellow LP, Limited Gatefold Neon Green LP, and digital. One remaining Canadian tour date and a summer festival appearance round out the live rollout.
‘Apocalypse’ Track Listing:
Proclamation I
Foot Soldiers of the Syndicate
Through the Looking Glass
Blackstar
The Fall
The Revenants I
Apocalypse.
2026 Tour Dates:
July 4 – Miramichi, NB – New Maritime Music Festival
