This past weekend, global pop icons Backstreet Boys debuted at Sphere in Las Vegas, kicking off their Into the Millennium summer residency with sold-out back-to-back shows on Friday, Saturday, and Sunday. Produced by Live Nation, the 21-date run marks a major milestone as the Backstreet Boys become the first pop act ever to perform at the groundbreaking venue.
Bringing their legendary 1999 Millennium album to life like never before, the show features a career-spanning setlist that includes iconic hits such as “Larger Than Life” and “I Want It That Way,” along with fan favorites from their 30-year catalog. Enhanced by Sphere’s state-of-the-art visuals and immersive audio technology, the performance redefines what a pop concert looks and feels like.
Opening night coincided with the release of Millennium 2.0, a deluxe reissue of their chart-topping, five-time Grammy-nominated album. Out now via Sony Legacy, the 25-track edition includes all 12 original remastered songs, rare B-sides, demos, live recordings, and their new single “Hey,” available now.
The residency continues next weekend with shows on July 18, 19, and 20, and will run every weekend through Sunday, August 24, 2025.
Sphere’s next-generation technologies include the world’s highest resolution LED display that wraps up, over, and around the audience, creating a fully immersive visual environment. The venue also features the world’s most advanced concert-grade audio system, Sphere Immersive Sound, which delivers audio with unmatched clarity and precision to every guest.
summer, Swedish rock metal group GHOST is bringing something out of this world on tour with SUPER as VIP partner. Touring the group’s first Billboard No. 1 album, “Skeleta,” the Skeletour will be an indulgent celebration of the new tracks and the greatest hits that earned them a cult following.
Fans and followers can experience GHOST like never before, getting up close and personal with a dedicated fan space and GHOST Museum, curated especially for the Skeletour. SUPER delved deep into the lore to resuscitate never-before-seen and one-of-a-kind relics from the GHOST archives. SUPER also launched the “Member of the Clergy” Pass – a concert passport allowing GHOST’s biggest superfans to run away to as many GHOST rituals as they want.
Ticket packages include over-the-top VIP offerings like a trip through the “Ghost Museum,” a behind-the-scenes production tour, front-row or premium seating, and numbered early entry to the floor.
Fans can explore five custom coffins dedicated to significant figures in GHOST lore, including four Papas and an exclusive new coffin honoring Sister Imperator, marking its first-ever appearance.
Highlights include original costumes worn by the Ghouls during the popular Prequelle era, alongside iconic items belonging to Cardinal Copia, such as his stage costume, a plushie, and related artwork. Papa III’s memorabilia is also prominently featured.
Fans have the exclusive chance to step inside the actual confessional booth from GHOST’s “Satanized” music video, now open for unique photo opportunities. Another fan favorite is the detailed backstage vanity setup used by Papa V in the “Rite Here Rite Now” movie, complete with authentic props from the production.
Released on March 27, 1984, Run-D.M.C. marked the beginning of a legendary career and redefined what hip hop sounded like, looked like, and stood for. Gone were the disco breaks and glittery suits. In came stark beats, shouted rhymes, black Lee jeans, and Adidas with no laces. Run, D.M.C., and Jam Master Jay kicked down the door. to the genre and forever changed it. You already know the impact. Here are five facts you might not.
1. “Rock Box” made MTV history—and got a guitar solo by accident When Run-D.M.C. showed up at the studio to record, they had to wait for a heavy metal band to finish their session. That band? Riot. Inspired by the massive guitar sounds, producer Larry Smith brought in guitarist Eddie Martinez to lay riffs over “Rock Box.” At first, the group didn’t love the rock version. But the label put it out, and it became the first rap video to air on MTV. One song, one crossover, one blueprint for the future.
2. “It’s Like That” started as a $100 rhyme sheet Run had written a batch of lyrics, sold them to producer Larry Smith for $100, and figured they’d be recorded by someone else. Instead, Run and D.M.C. asked Smith and Russell Simmons to let them try it themselves. They recorded “It’s Like That” over a stark, minimalist beat, trading lines with conviction and clarity. That song became their debut single—and a declaration of a new era in hip hop.
3. “Hard Times” came from Kurtis Blow, with a Run-D.M.C. twist Before they were rap pioneers, Run was Kurtis Blow’s DJ. So when it came time to record their debut, they revisited one of Blow’s tracks: “Hard Times.” Their version stripped it down—less funk, more stomp. The connection ran deep: Larry Smith had worked on both versions, and Russell Simmons (Run’s older brother) managed Blow. The result was a grittier, no-frills anthem that laid the foundation for Run-D.M.C.’s voice.
4. The album cost $25,000—split four ways Profile Records gave the group a $25,000 advance to make the album. $15,000 went into studio time. The remaining $10,000 was split between Joseph “Run” Simmons, Darryl “DMC” McDaniels, Larry Smith, and Russell Simmons. Whether Jam Master Jay was paid remains a mystery. But what’s clear is this: they turned a modest budget into the most influential rap debut of the decade.
5. Their style wasn’t a gimmick—it was the revolution The leather jackets, Adidas without laces, and Kangol hats weren’t stage costumes. That was Hollis, Queens. That was real life. Run-D.M.C. showed up on magazine covers and TV screens looking like they stepped off the subway, not a runway. With “Rock Box,” they weren’t just changing music—they were changing how artists looked, dressed, and owned their space.
Run-D.M.C. made hip hop louder, leaner, and tougher. This album set the trends, invented them. Every beat, every line, every stomp of the sneaker said: this is the new school, and we’re already running it.
Released on February 12, 1981, Moving Pictures was the lightning strike that sent Rush into rock immortality. With a sharper, leaner sound, tighter arrangements, and just the right dose of synth, this album marked a new era for the Canadian power trio. Fans heard “Tom Sawyer” and knew instantly—they were in the presence of something big. But behind the five million copies sold, the Grammy nods, and the airwave dominance, there’s a treasure trove of stories. Here are five little-known facts about Moving Pictures that remind us why it moves people to this day.
1. “YYZ” literally spells Toronto Rush named the track “YYZ” after the airport code for Toronto Pearson International, their home base. The opening rhythm of the song actually spells out “YYZ” in Morse code, hammered out by Neil Peart and echoed by Geddy Lee on bass. It started as a warm-up jam between the two and evolved into one of the band’s most beloved instrumentals. What began as a nod to a homecoming turned into a masterclass in rhythm, musicianship, and musical storytelling.
2. “Tom Sawyer” almost didn’t make it out of the studio Rush had more technical hiccups mixing “Tom Sawyer” than any other track on the record. Their computer-controlled mixing system went down, so each band member took over a section of the console and mixed it manually—like flying a spaceship with three pilots. The synth riff came from Geddy’s soundcheck noodling, nearly forgotten until the band pieced it back together. Today, it stands as one of their most iconic songs, and a staple of live shows around the world.
3. The cover art is actually three covers in one Artist Hugh Syme delivered a triple visual pun on the Moving Pictures sleeve. Movers are carrying paintings. People are emotionally “moved” by the art. And on the back cover, a film crew is making a literal moving picture. It was shot outside the Ontario Legislature in Toronto, featuring friends, artists, and even Syme’s neighbors as the cast. For fans lucky enough to see the behind-the-scenes film at a Rush concert years later, the whole concept clicked into motion.
4. “Red Barchetta” was inspired by a car magazine short story Neil Peart built “Red Barchetta” from a 1973 Road & Track short story titled “A Nice Morning Drive.” In it, speed is outlawed and drivers sneak onto the roads in old-school machines. Peart swapped the car from an MGB to a sleek Ferrari 166 MM Barchetta and set the lyrics to music that captures the thrill of escape. The track channels freedom, rebellion, and the joy of breaking away—all wrapped in cinematic guitar work and lyrical precision.
5. The crowd chatter on “Witch Hunt” came from a freezing driveway The eerie mob heard at the start of “Witch Hunt” wasn’t a sound effect—it was Rush and the studio crew standing in the snow outside Le Studio, shouting while drinking Scotch. Alex Lifeson admitted one of the voice clips includes a perfectly timed shout of “Fucking football,” if you listen closely enough. The scene was layered again and again until it transformed into a rising tide of paranoia—perfectly setting the mood for one of the band’s darkest tracks.
Moving Pictures carved out a new chapter in progressive rock. From Morse code riffs to multi-layered visuals, it’s an album that rewards close listening, and then some. Every spin reveals something new. Rush didn’t follow the rules—they rewrote the map, made it rhyme, and added a drum solo in 7/8 time for good measure.
Released on August 13, 1973, Lynyrd Skynyrd’s debut album introduced a band that sounded like a freight train full of soul, swagger, and stories. (Pronounced ‘Lĕh-‘nérd ‘Skin-‘nérd) arrived with purpose. It gave the world “Simple Man,” “Tuesday’s Gone,” “Gimme Three Steps,” and a little tune called “Free Bird.” The guitars rang out like church bells in a swamp, and Ronnie Van Zant sang like he meant every word. Here are five lesser-known stories behind the album that helped build the house of Southern rock.
1. “Free Bird” started with a question from a girlfriend Allen Collins’s girlfriend, Kathy, once asked him, “If I leave here tomorrow, would you still remember me?” That line stayed with him. Ronnie Van Zant took it and, within minutes, built a melody and lyrics around Collins’s swirling guitar pattern. The legendary solos were originally added to give Van Zant a break during marathon club sets. Piano roadie Billy Powell casually played an intro one day, and the band added it on the spot—then made him a full member.
2. They perfected their songs in a place called Hell House Before they hit the studio, the band rehearsed in a small building deep in the Florida woods, known as “Hell House.” There was no air conditioning—just long hours, sweltering heat, and pure focus. It was here that songs like “Simple Man” and “Gimme Three Steps” were hammered into shape, note by note. Producer Al Kooper called the band the most prepared group he’d ever worked with.
3. “Simple Man” was recorded without the producer present Al Kooper didn’t believe “Simple Man” should be on the album. The band had other plans. Ronnie Van Zant politely walked Kooper to his car and asked him to stay there while the rest of the band recorded it. The take they laid down became one of the most beloved songs in the Skynyrd catalog. The honesty, simplicity, and soul in that track speaks louder than any debate ever could.
4. “Free Bird” became the most shouted song request in history During One More from the Road, Ronnie Van Zant famously asked the Atlanta crowd, “What song is it you want to hear?” The answer, shouted from all corners of the Fox Theatre, was “Free Bird”—and what followed was a 14-minute version that sealed the song’s legend. That moment sparked a tradition: fans at concerts everywhere began yelling “Free Bird!” as a tongue-in-cheek request, even at shows with no connection to Skynyrd. From Nirvana’s MTV Unplugged taping to a Bob Dylan encore in Berkeley, “Free Bird!” became a universal in-joke and a cultural callout—proof that one song can echo far beyond the band that created it.
5. The album cover shoot ended with a sidewalk surprise The now-iconic photo of the band standing on Main Street in Jonesboro, Georgia, came at the end of a long day of shooting. Seconds after the camera clicked, Gary Rossington stepped off the curb and threw up—proving that rock and roll commitment doesn’t always come pretty. Still, the photo captured the raw, road-hardened spirit of a group ready to carve their name into American music forever.
(Pronounced ‘Lĕh-‘nérd ‘Skin-‘nérd)lit a fuse that still burns. From “Free B ird” sing-alongs to guitar harmonies that sound like Southern thunder, this album holds a place in the pantheon because of the sweat, soul, and songs behind it. Forty-plus years later, it’s still flying high.
Released on July 17, 2015, Currents became a hypnotic turning point for Tame Impala. Kevin Parker took his love of psychedelia, his fascination with human emotion, and his growing affection for synthesizers and shaped a record that invited fans onto a moving walkway of sound. The songs bend genre, swirl through transformation, and feel like personal letters wrapped in chorus effects. You’ve heard “Let It Happen,” “Eventually,” and “The Less I Know the Better”—but here are five facts you might not know about this shimmering masterpiece.
1. One song had over 1,000 vocal takes Kevin Parker recorded more than 1,000 partial vocal takes for just one song on Currents. That level of layering creates an immersive and emotional vocal texture throughout the album. Every nuance is considered—each falsetto, echo, and breath locked into the final mix like pieces of a sonic puzzle. It’s part of what gives the record its unmistakable intimacy.
2. “The Less I Know the Better” used a guitar to play synths For the first two minutes of “The Less I Know the Better,” every sound was made using a guitar with a MIDI pickup running through a Roland GR-55 guitar synthesizer. Kevin used the guitar as a controller, unlocking orchestral stabs, wavy textures, and disco-funk bass without ever touching a keyboard. The result is lush, melodic, and endlessly replayable.
3. The album’s visuals came from fluid dynamics The artwork for Currents was inspired by a real diagram of vortex shedding—a concept in physics that describes how fluid flows around obstacles. Kevin remembered it from science class and saw a perfect metaphor for the album’s themes of transformation. Artist Robert Beatty turned that vision into one of the most striking and recognizable covers of the decade.
4. Inspiration flowed from an abandoned power station Kevin spent hours walking laps around the South Fremantle Power Station in Western Australia while writing Currents. The vast, eerie space and its crumbling beauty helped shape lyrics and moods across the album. He described the location as both terrifying and inspiring, a place that filled his mind with rhythm, reflection, and sound.
5. “Yes I’m Changing” arrived like a dream Kevin once said he doesn’t even remember writing “Yes I’m Changing.” The song came to him so fluidly, it felt like it had written itself. That ethereal quality matches its emotional core—a gentle letting-go wrapped in synth waves and slow-motion drums. The song became one of the album’s quiet centerpieces, offering reflection without needing answers.
Currents thrives on movement, both physical and emotional. It’s an album of turning tides and inner rewiring, crafted with care and clarity by one of music’s most meticulous creators. Ten years from now, people will still be finding new sounds hidden inside it—and dancing along.
Ascend Music announces the signing of Americana rock duo, Marfa. Comprised of Bryce Menchaca and Kellen Wall, Marfa has garnered attention for their head-turning harmonies and raw, rootsy sound. The duo serves as the first signing to the newly announced Big Machine Label Group imprint, established in partnership with music industry executive Joel Klaiman.
“Marfa is the first of many groundbreaking artists set to come from Ascend Music,” says Founder, Chairman & CEO of Big Machine Label Group Scott Borchetta. “This was a ‘one-listen, one-meeting, and we have to do this’ moment. These guys are going to blow people away with their musicality and vibe.”
“From the moment I first heard Marfa — the songs, the writing, the depth of their musicianship, and the harmony of Bryce and Kellen’s voices — I knew they were something special,” adds Founder & CEO of Ascend4M Joel Klaiman. “Their sound is both timeless and unmistakably of the moment. I’m thrilled to have them as the first signing to our new venture. They set the tone for the kind of talent, artistry, and authenticity we are building the label around.”
“We’re absolutely thrilled to be a part of something so special and to embark on a dream come true,” share Marfa’s Bryce Menchaca and Kellen Wall. “Signing our first record deal with an all-star team of Ascend Music and Big Machine Label Group is something we’re really proud of.”
In conjunction with the signing, Marfa has released a brand-new track, “Little Miss Two Time,” today. Penned by Menchaca and Wall alongside Morgan Nagler, the song offers a wry, candid take on the aftermath of being left high and dry by a sneaky, two-timing lover.
“This track was inspired by Kellen receiving some unfortunate news following one of our shows, when an ex-girlfriend promptly ended things with him,” shares Menchaca, with Wall adding, “I later found out there was someone else the whole time, so we (along with our co-writer Morgan) made the best out of a bad situation, and ‘Little Miss Two Time’ was born.”
With breezy vocals, a steady drum beat and a vibey bass line, “Little Miss Two Time” makes heartbreak sound like a carefree road trip – the kind where you roll the windows down, let go, and leave the drama in the rearview. The track follows buzzed-about recent releases “Daisy,” “Sugar,” “Run For My Money,” and “66,” the latter which was recorded at Los Angeles’ EastWest Studios inside the same four walls that gave life to The Beach Boys’ Pet Sounds and The Mamas & the Papas’ California Dreamin’.
Raised on a Texas country soundtrack, forged in Colorado from a shared love of rock icons past and present, and ignited by the spirit of California’s Laurel Canyon music scene, Marfa has arrived with an undeniably authentic sound as familiar as your favorite pair of Wranglers and as fresh as the morning Rocky Mountain air.
Co-written by the pair and Morgan Nagler, the track is a toe-tapping tale of betrayal that serves as the first look at new music on the horizon produced by three-time Grammy Award-nominee Jonathan Wilson (Dawes, Father John Misty, Billy Strings).
Blending influences like CSNY, the Eagles, and Glen Campbell, Marfa is bringing their own rootsy, Americana rock-inspired sound to stages across the East Coast as they join The Head And The Heart on select dates of their Aperture Tour.
ACM Award-winning duo Tigirlily Gold is “Thinkin’ Bout That” on their new release, available everywhere now via Sony Music Nashville.
“‘Thinkin’ Bout That’ is a song that stemmed from a conversation I had with my fiancé early on in our relationship,” shared the duo’s Krista Slaubaugh, who recently celebrated her engagement to Walker Montgomery. “He pointed out a house and asked me what I thought about it. I said, ‘I don’t know, I’ve never had to think about that.’ He turned to me and said, ‘Well, you should start thinkin’ bout that.’ With that simple phrase, he gave a sense of reality to every single future dream of mine.”
Tigirlily Gold’s Krista and Kendra Slaubaugh co-wrote the dreamy track with Jess Grommet and Willie Morrison. Pete Good served as producer.
“The song encapsulates that new, exciting part of a relationship where everything you’ve wanted in life is no longer at arm’s length, it happens to be sitting right next to you in the driver’s seat,” the ladies add.
The pair recently performed at Nissan Stadium during CMA Fest, taking the VIP stage with their recent release “Forever From Here” and Top 40 single “Shoot Tequila.”
River House Artists/Warner Music Nashville’s skyrocketing Texas star, Hudson Westbrook, releases his latest single, “Damn Good Taste In Whiskey.” The song is the latest sneak peek of what’s to come on Westbrook’s anticipated debut album, Texas Forever, out July 25th.
Written by Westbrook and Randy Montana, “Damn Good Taste In Whiskey” sits tenth in the album lineup, blending heartbreak and humor. The mid-tempo, barstool anthem playfully laments: “I guess I like things that burn my chest / Leave a heart full of hurt with a shot of regret / If love’s a game I sure ain’t winning, gotta bad taste in women / But a damn good taste in whiskey.”
“Damn Good Taste In Whiskey” adds to a stacked set of predecessors from the album, including “Funny Seeing You Here,” “Texas Forever,” “Mine Tomorrow,” “Weatherman,” “Sober,” “Dressed Down,” and current Top 25 single at country radio, “House Again.”
Breakout country artist Sacha unveils her highly anticipated new single “Shooting Star,” a stellar collaboration with emerging trio Restless Road. Released via Sony Music, the song is available now on all digital platforms and arrives as the lead focus track for the deluxe edition of Sacha’s debut album Woman In The Mirror.
Written by Sacha, Restless Road, Cole Miracle (Eddie and The Getaway, Wyatt Flores), and Sam Martinez (Carrie Underwood, Tyler Braden), and produced by Jimmy Robbins (Blake Shelton, Maren Morris, Keith Urban) and Eric Arjes (Tim McGraw, Kane Brown, blackbear), “Shooting Star” is a soul-stirring reflection on a love that slipped away—anchored in the hope that a single wish might bring it back. With soaring harmonies and gut-punch lyrics, the song showcases both artists at their most vulnerable and vocally dynamic.
“It’s about the ache of almost-love—the kind that fades before you’re ready to let go,” Sacha says of the track. “Restless Road brought so much emotion and richness to the duet, and I couldn’t be more proud of how it turned out.”
“We’ve been fans of Sacha’s for a long time,” adds Restless Road. “The opportunity to create something together has been super exciting!”
As announced earlier this week, Sacha and Restless Road will perform “Shooting Star” live for the first time at the 2025 Canadian Country Music Association Awards in Kelowna, BC, on Saturday, September 13th.
“Shooting Star” leads the 14-track deluxe edition of Woman In The Mirror. The expanded project builds on the success of Sacha’s original 11-track album, released in May, that delivered a pair of international hits, with the empowering “Hey Mom I Made It” reaching the Top 10 at country radio in her native Canada, and Top 20 in the U.K., and the shattering “Til I Don’t” reached Top 20 in Canada, while cracking the U.K.’s Top 15.
The deluxe edition features additional piano and stripped-back versions of “Hey Mom I Made It,” and reinforces Sacha’s signature blend of bold honesty, gospel-tinged melodies, and pop-country edge.
