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Punk Provocateur Jamie Lenman Comes Roaring Back With the Fiercely Charged “Not Likely”

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Jamie Lenman has been quiet by design, not by default. Having stepped back from the grind of constant touring and releasing to focus on his Patreon community, he’s back now with “Not Likely,” his first new music since 2023’s EP ‘Iknowyouknowiknow’. It’s punk-fuelled, deliberately messy, and exactly what it needs to be.

The track channels early US punk in the vein of Fang, raw and room-sized, with Lenman playing every instrument himself to achieve what he describes as “that slightly messy vibe.” He recorded it with Luke Pickering, who he connected with through False Advertising, and whose work on those records clearly left an impression. The result is a groove that feels like a band that’s figured out controlled chaos.

Lyrically, Lenman isn’t pulling punches. “It’s a very pessimistic piece,” he says, drawing a line to his earlier track “The Future Is Dead.” He’s clear that it’s not his default mode, but he’s also honest enough to put the feeling on record when it’s real. That kind of directness has always been central to what makes his work land. “Not Likely” is streaming exclusively on Bandcamp on a pay-what-you-want basis, keeping it entirely on his own terms.

More music is coming. Lenman has confirmed as much, and “Not Likely” reads like an opening statement rather than a one-off. He’ll also be taking the stage at Arctangent Festival on August 22, giving the new material its live debut in front of an audience built for exactly this kind of thing.

Tampa’s Ybor City Is Getting a 4,300-Capacity Live Nation Venue and It Can’t Open Soon Enough

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Tampa’s live music scene has a gap, and KETTLER just announced plans to fill it. A new 4,300-capacity music venue is coming to the Gasworx district in Ybor City, operated by Live Nation and slated to open in late 2028. It’s the mid-size room the market has been missing, and the location couldn’t be better positioned.

The venue sits on N. 15th Street, steps from the 7th Avenue entertainment corridor and a future TECO Streetcar stop along Channelside Drive. The design is a genuine commitment to the neighborhood: a vintage-style marquee with exposed lightbulbs, brick facade, second-level balcony, and an interior drawing from historic theater architecture with a stage proscenium and deep green tones. Blueprint Studio and TVS Architecture handled the design, and the attention to Ybor City’s distinctive character shows.

“Ybor City has a distinct character and a long tradition of nightlife and live music,” said James Nozar, President of Development at KETTLER. “Our goal is to create a venue that carries that legacy forward.” Live Nation’s Florida Market President Brittany Flores called it a meaningful investment in Tampa’s future, one built to reflect the energy and history of the district while growing the city as a live music destination.

The economic footprint is substantial. The venue projects $80 million in annual economic impact, roughly 440 jobs, and approximately $6 million annually in state and local tax revenue. Touring artists get a properly scaled room. Fans get major shows close to home. Nearby restaurants, hotels, and local businesses get the foot traffic that a well-run mid-size venue consistently delivers.

Gasworx itself is a joint venture between KETTLER, local developer Darryl Shaw, and international property company PPF Real Estate. The broader development includes 5,000 residences, 500,000 square feet of office space, a 28,000-square-foot marketplace opening in 2027, and a one-acre park. The venue is the anchor the whole district has been building toward.

The Man Who Built the Beatles Finally Gets the Biography He Deserves From Philip Norman

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Philip Norman has spent decades mapping the Beatles universe from every angle. He wrote the book on John Lennon. He wrote the book on Paul McCartney. He wrote ‘Shout!’, still the landmark group biography. Now he’s turned his attention to the man without whom none of it happens: Brian Epstein. ‘Mr. Moonlight: Brian Epstein and the Making of the Beatles’ arrives June 16, 2026 via Da Capo.

Epstein was a young record retailer from Liverpool with no management experience and no rulebook to follow. What he had was conviction, and he used it to take four musicians from the Cavern Club to the biggest stages on earth. Norman frames the story plainly: there will never be another pop manager like Brian Epstein. The book makes the case, and the case is overwhelming.

‘Mr. Moonlight’ draws on exclusive interviews with those closest to Epstein, including his mother Queenie and brother Clive, to build a portrait of a man who was complex, contradictory, and ultimately tragic. The book covers territory that hasn’t been fully examined before: how Epstein nearly lost the Beatles to organized crime, the antisemitism and homophobia he faced even at the height of his success, his layered relationship with John Lennon, and the circumstances of his death in the summer of 1967.

Norman is the right person to write this book, and he knows it. His research is meticulous, his access is extraordinary, and his command of this era of music history is unmatched. Epstein changed the course of pop music and Britain’s international image, and received no public honor for it. ‘Mr. Moonlight’ is long overdue.

‘Mr. Moonlight: Brian Epstein and the Making of the Beatles’ by Philip Norman. Out June 16, 2026 via Da Capo.

Athens Post-Punk Outfit commuter Dig Into Inherited Damage on New Single “Mono”

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commuter aren’t interested in easy listening. The Athens-based post-punk/noise quartet have released “Mono,” their second single from an upcoming sophomore album, and it hits exactly as intended: sharp, unsettling, and precise. A European tour follows in May 2026.

“Mono” builds its tension from an unlikely source. Forced check-ins from a self-appointed “father figure,” deadpan street signs, and train announcements collide into something that exposes the absurdity of inherited damage. It’s bureaucratic noise and family baggage rendered as sound, and commuter make it feel completely natural.

The track was recorded and produced by Alex Bolpasis at Suono Studio in Athens and mastered by Greg Obis at Chicago Mastering Service in Chicago. The production gives “Mono” the kind of controlled grit that post-punk demands: nothing wasted, everything deliberate.

This is commuter’s second European tour, and the new material suggests a band operating with considerably more confidence than the first time around. The sophomore album doesn’t have a release date yet, but if “Mono” is the benchmark, the wait will be worth it.

House Music Powerhouse John Summit Brings His “Experts Only Festival” Back to NYC This September

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Randall’s Island is getting taken over again. Experts Only Festival returns to New York City on September 19 and 20, 2026, with John Summit headlining both nights of what’s already shaping up to be the biggest dance music weekend the city has seen in years. Tickets are on sale now at expertsonlyfest.com.

The 2025 debut drew more than 50,000 fans and sold out fast, earning praise for its production quality and fan-first approach. That inaugural edition featured Summit alongside Kaskade b2b Cassian, Green Velvet b2b Layton Giordani, Pete Tong, LP Giobbi, Kasablanca, DJ Seinfeld, and Totally Enormous Extinct Dinosaurs, setting a standard that the 2026 edition is clearly built to surpass. Multiple stages, elevated production, and expanded fan experiences are all confirmed.

The 2026 lineup already runs deep. GRiZ, Prospa, SUBJOHNICS, LYNY, Korolova, Taiki Nulight, Devault, Dreya V, OMRI., Partiboi69, Jackie Hollander, Dansyn, Airrica, Gabss, MADI, Soraya, Mishell, and Rohaan are all confirmed, with more names still to come. Summit arrives at the festival fresh off his new album CTRL ESCAPE, out April 15 via Experts Only and Darkroom Records, and the timing couldn’t be sharper.

Produced in partnership with Medium Rare, Relentless Beats, and EMW, Experts Only has quickly established itself as the premier large-scale dance event in New York. For a city that went without a major dance weekender on Randall’s Island for years, the return has been nothing short of a reclamation. Two nights, one island, no weak links on the bill.

Glasgow Radicals The Tenementals Unearth Hidden Civil War History in New Video for “A Passion Flower’s Lament”

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The Tenementals don’t make music that sits quietly in the background. “A Passion Flower’s Lament,” a track from their critically acclaimed debut ‘Glasgow: A History (Volume I of VI)’, now has a video that deepens everything the song was already doing. Released on April 1, the anniversary of Franco’s declaration of victory in the Spanish Civil War, the timing is deliberate, and the content is extraordinary.

The song is written from the perspective of La Pasionaria, the Glasgow statue commemorating the men who died fighting with the International Brigades (1936-39). The video weaves archive war footage with newly shot material inside Castle de Castelldefels, near Barcelona, a makeshift prison used to hold dissident International Brigade members. One of them was Alec Marcowitch, a Jewish Communist from The Gorbals who challenged his own commanders over unequal treatment and paid for it with imprisonment.

The discovery came after the album’s 2024 release. Tenementals member David Archibald visited Castelldefels and left copies of the record at the castle museum. Weeks later, historian Alfonso López Borgoñoz reached out with a revelation: Marcowitch had signed his name on the prison walls. “I was stunned by this,” Archibald said, describing the experience of shooting inside a space where volunteers had sat nine decades earlier, their role in the war having taken a direction none of them could have anticipated.

The track lands with the weight of a band that knows exactly what it’s doing. Post-punk energy, radical purpose, and meticulous historical research, it’s a combination few artists attempt and fewer pull off. The Tenementals pull it off.

‘Glasgow: A History (Volume I of VI)’ is out now on Strength in Numbers Records.

Brett Young Brings His Heartfelt California Country Sound to Niagara Falls This August

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Brett Young is coming to the OLG Stage at Fallsview Casino on Thursday, August 27, 2026, and tickets go on sale Friday, April 10 at 10:00am through ticketmaster.ca. If you’ve seen him before, you already know what’s coming. If you haven’t, now’s the time.

Young built his name on a foundation of smooth vocals and emotionally direct songwriting that crosses genre lines without losing its country soul. His self-titled debut launched a string of multi-platinum hits, including “In Case You Didn’t Know” and “Sleep Without You,” tracks that turned him from a California newcomer into one of the format’s most recognized voices. The music hits because it’s genuine. That’s not a small thing.

“Brett Young is known for his smooth vocals and emotional sincerity, who effortlessly connects with audiences everywhere he performs,” says Cathy Price, Vice President of Marketing & Resort Operations at Niagara Casinos. “We’re thrilled to welcome him back for an incredible night of country music.” The return engagement speaks for itself. Fallsview doesn’t bring people back unless they deliver.

Beyond music, Young has expanded into a children’s book rooted in fatherhood and a lifestyle clothing line built around his laid-back California aesthetic. He’s someone who brings the same authenticity to everything he touches, and that carries straight through to the live show.

The OLG Stage at Fallsview Casino holds 5,000 seats and is ranked the number one venue of its size in Canada. Showtime is 8:30pm. Tickets on sale Friday, April 10 at 10:00am at ticketmaster.ca.

SiriusXM and the CCMA Want You to Pick Canada’s Next Country Star

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Today, SiriusXM Canada, in partnership with the Canadian Country Music Association, opens voting for the next phase of the 2026 SiriusXM Top of the Country competition, inviting Canadians to help select the country’s next breakout artist. The eight semi-finalists have recorded original songs and videos in studio, which are now available at topcountry.siriusxm.ca to help voters decide on their favourites.

Canadians can vote daily until April 14, with public votes helping to decide the final three. From there, the top contenders will go on to perform on major stages throughout the summer as they compete for a $25,000 grand prize and the chance to be crowned the 2026 Top of the Country champion.

The 2026 semi-finalists, representing seven provinces, are:

  • Ben Chase – St. Louis, PEI
  • Blue Ridge Band – Lévis, QC
  • Catie St.Germain – Winnipeg, MB
  • Josh Stumpf – Prince Albert, SK
  • Morgan Griffiths – Abbotsford, BC
  • Morgan Klaiber – Medicine Hat, AB
  • Nicolette & The Nobodies – Hamilton, ON
  • Shawnee Kish – Edmonton, AB

“This stage of the SiriusXM Top of the Country competition marks an exciting moment for both artists and fans as our top eight showcase their talent,” said Michelle Mearns, SVP of Programming & Operations, SiriusXM Canada. “Canadians now have the opportunity to support their favourite performers and help shape the next phase of the competition.”

Once voting closes, the finalists will take the stage at events across North America, including Departure Festival in Toronto, LASSO Montréal and CMA Fest in Nashville. The competition will wrap up this September in Saskatoon, Saskatchewan, with a finale concert taking place as part of the CCMA’s Country Music Week 2026. Finalists will take the stage to perform, with one artist crowned the 2026 Top of the Country winner. The event will be broadcast live on SiriusXM’s Top of the Country Radio (ch. 171), allowing fans across the country to tune in.  

“The CCMA is a proud partner of the SiriusXM Top of the Country competition, working together for our mutual goal of elevating homegrown talent and supporting Canadian artists at every stage of their journey,” said Amy Jeninga, President, CCMA. “Canadian country fans are at the heart of everything we do, and we’re honoured to have their help in selecting the next generation of country’s rising stars.”

SiriusXM Top of the Country, in partnership with the CCMA, is part of SiriusXM’s ongoing tradition of promoting and elevating the best emerging Canadian music talent. SiriusXM continues to offer a leading platform for Canadian artists through its significant financial contributions and North American-wide reach. 

How to Pitch Your Music to Spotify Playlists: A Step-by-Step Guide for Artists

Getting your song in front of the right listeners on Spotify doesn’t happen by chance — it starts with a well-timed, well-crafted pitch. Spotify for Artists gives every independent musician direct access to the platform’s editorial team, but with hundreds of thousands of submissions coming in each week, knowing how to pitch strategically can make the difference between a placement and a pass. Here’s everything you need to know to give your next release its best shot.

Step-by-step: The Official Pitch Process

First, verify your artist profile at artists.spotify.com. Your distributor can assist with verification. Then upload your track through your distributor at least seven days before the release date — Spotify requires the track to be delivered and live in their system before you can pitch.

There are two ways to start the pitch once you’re logged in: go to the Home tab and choose “Pitch a song to our editors,” or navigate to the Music tab → Upcoming → then “Pitch a song.”

You’ll complete a detailed pitch form covering: the primary genre and sub-genre, the mood and theme of the track, the instrumentation used, any cultural context, and a message to the editorial team (up to 500 characters).

Timing matters a lot

Tracks pitched 14 or more days early see roughly 2x the editorial consideration rate compared to those submitted at the 7-day minimum. A good timeline is: 4 weeks before release — upload to your distributor with the release date set; 3–4 weeks out — the pitch appears in Spotify for Artists and you submit it; 2–3 weeks out — the curator review window.

Writing your 500-character description

Use the message field strategically — don’t write generic praise. Mention specific context: the story behind the track, live momentum, a notable sync placement, or the reaction from a preview audience.

A strong description sounds like: “Atmospheric alt-pop track with dreamy synths, haunting vocals, and cinematic beats. Perfect for night drives or reflective moments.” Then add context like the story behind the song, or any social proof like “Track preview got 50K views on TikTok.”

Key rules to know

You can only pitch one song at a time. Once your pitched song goes live, you can pitch another. You can’t pitch compilations or songs where you’re a featured artist. You can edit your pitch up to release day, but there’s no guarantee editors will see the changes.

If you pitch at least 7 days before release, your song will automatically be added to your followers’ Release Radar playlists t — so even without editorial placement, you get guaranteed exposure there.

After you pitch

No response means no placement — Spotify does not notify you if your pitch is declined. Placement can also arrive late; some editorial placements happen after release day. Check your status under Music → your song → Playlists.

Whatever Happened To…? The Websites That Ruled The Internet And Then Vanished

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There was a time when “going on the computer” was an event. You waited for the dial-up to connect. You listened to that sound. And then the whole world opened up — a world made up of these ten websites that absolutely everyone was on. Every single one of them mattered. Every single one of them changed how people used the internet. And most of them are gone now, or close enough to gone that it doesn’t really matter.

Here’s a love letter to the sites that built the early web.

AskJeeves was the search engine that made the internet feel friendly. You didn’t type keywords — you asked a question, like a human being, to a cartoon butler who seemed genuinely delighted to help. Before Google became a verb, Jeeves was the guy. He eventually retired (reportedly to the south of France, according to one very good joke on Reddit), and Ask.com was never quite the same without him.

MySpace was the first time the internet felt truly personal. Everyone had a page. Everyone had a top eight. Everyone had an autoplay song that immediately annoyed every single visitor — and nobody cared because it was their song. It was raw, chaotic, ugly in the best possible way, and it launched more music careers than most record labels. It also proved that people desperately want to express themselves online. Every social media platform that came after owes MySpace a debt it will never fully repay.

Napster didn’t just change music. It broke the entire industry and forced it to rebuild from the ground up. Before streaming, before iTunes, before playlists — there was Napster, where every song ever recorded felt like it was suddenly free and available at 3am on a Tuesday. The record labels hated it. The fans loved it. And the argument it started about how musicians should be paid is still happening today.

StumbleUpon was the internet at its most magical. Click a button. Land somewhere completely unexpected. Click again. Fall down a rabbit hole of weird, wonderful, brilliant corners of the web that no algorithm would ever think to show. It was discovery for the sake of discovery — surfing in the truest sense of the word. Nothing has ever replicated it, and the internet is genuinely poorer for its absence.

Newgrounds was YouTube before YouTube, a creative explosion of Flash animation, games, and irreverent humour that gave early platforms to artists, animators, and developers who went on to shape pop culture. The earliest work of some genuinely talented creators lives in Newgrounds’ archives. It still exists, quietly, and it deserves far more credit than it gets.

GeoCities was where everyone built their first website. Tiled backgrounds. Comic Sans. Animated GIFs of flames and construction workers. Visitor counters. A MIDI file playing whether you wanted it to or not. It sounds like a disaster and it absolutely was — but it was also the first time ordinary people realized they could have a presence on the internet. That idea changed everything.

Yahoo Answers was chaotic, unreliable, frequently bizarre, and genuinely irreplaceable. Where else could someone ask “how is babby formed” and receive thirty competing answers, all stated with complete confidence? It was crowdsourced human knowledge at its most gloriously unfiltered. When it shut down in 2021, it took an enormous archive of accidental comedy and surprisingly useful information with it. Quora tried to fill the gap. It did not.

eBaum’s World was many people’s first encounter with internet humour — video clips, Flash games, and content that existed in a completely lawless corner of the web. It shaped the sense of humour of an entire generation of middle schoolers, for better or worse, mostly worse, but in the most entertaining possible way.

Digg was Reddit before Reddit — a social news site where users voted stories up or down and the best content rose to the top. For a few years it was indispensable. Then came Version 4, a redesign so catastrophically misjudged that it drove its entire user base to Reddit almost overnight. It is now studied in business schools as one of the fastest self-destructions of a successful brand in internet history. A cautionary tale wrapped in a news feed.

Neopets was an entire universe — pets to raise, games to play, an economy to navigate, a community to belong to. For millions of kids in the early 2000s it was a genuine second life, long before Second Life. It taught an entire generation basic economics, graphic design, and the specific heartbreak of a pet going hungry because someone forgot to log in for a week.

The internet of today is faster, smarter, and more powerful than any of these sites could have imagined. But it has also gotten smaller in a strange way — most people spend most of their time in just a handful of giant platforms. The scrappy, anarchic, endlessly surprising web of the early 2000s feels like a different place entirely. These ten sites are proof that it was.