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Tim McGraw Takes the “Pawn Shop Guitar Tour” to Stadiums With The Chicks and Lady A

Eric Alper
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Tim McGraw Takes the “Pawn Shop Guitar Tour” to Stadiums With The Chicks and Lady A

Tim McGraw has a new single on the way and a summer tour to match. The three-time Grammy winner has announced the “Pawn Shop Guitar Tour,” a 33-date North American run that kicks off July 9th in Bethel, NY and runs through late September. It’s his biggest routing in years, and he’s not doing it small.

Three stadium shows anchor the tour, at Hersheypark Stadium in Hershey, Fenway Park in Boston, and Target Field in Minneapolis. The Chicks and Lady A join as very special guests for those dates, with 49 Winchester and Timothy Wayne rounding out support on select dates. McGraw put it plainly: “I dare you to find more hits in one show.”

The tour takes its name from McGraw’s new single “Pawn Shop Guitar,” out now. It’s a strong entry point into what promises to be a high-energy summer run from an artist who’s spent more than three decades building one of country music’s most durable catalogs. His 2024 Standing Room Only Tour and a sold-out residency at The Colosseum at Caesars Palace last December kept the momentum firmly in place.

Tickets are on sale now. The “Pawn Shop Guitar Tour” covers virtually every major market across the country, from the Northeast through the South, Midwest, and down to Florida, wrapping September 26th in West Palm Beach. Canadian fans get their date too, with McGraw landing at Toronto’s RBC Amphitheatre on July 16th.

Tim McGraw 2026 Pawn Shop Guitar Tour Dates:

July 9 – Bethel, NY @ Bethel Woods Center for the Arts

July 10 – Holmdel, NJ @ PNC Bank Arts Center

July 11 – Hershey, PA @ Hersheypark Stadium

July 16 – Toronto, ON @ RBC Amphitheatre

July 17 – Cuyahoga Falls, OH @ Blossom Music Center

July 18 – Burgettstown, PA @ The Pavilion at Star Lake

July 23 – Camden, NJ @ Freedom Mortgage Pavilion

July 24 – Wantagh, NY @ Northwell at Jones Beach Theater

July 25 – Saratoga Springs, NY @ Saratoga Performing Arts Center

July 30 – Boston, MA @ Fenway Park

July 31 – Syracuse, NY @ Empower Federal Credit Union Amphitheater at Lakeview

Aug 1 – Darien Center, NY @ Darien Lake Amphitheater

Aug 6 – Virginia Beach, VA @ Veterans United Home Loans Amphitheater at Virginia Beach

Aug 7 – Raleigh, NC @ Coastal Credit Union Music Park at Walnut Creek

Aug 8 – Daniel Island – Charleston, SC @ Credit One Stadium

Aug 13 – Birmingham, AL @ Coca-Cola Amphitheater

Aug 14 – Charlotte, NC @ Truliant Amphitheater

Aug 15 – Bristow, VA @ Jiffy Lube Live

Aug 21 – Kansas City, MO @ Morton Amphitheater

Aug 22 – East Troy, WI @ Alpine Valley Music Theatre

Aug 23 – Minneapolis, MN @ Target Field

Aug 27 – Cincinnati, OH @ Riverbend Music Center

Aug 28 – Clarkston, MI @ Pine Knob Music Theatre

Aug 29 – Grand Rapids, MI @ Acrisure Amphitheater

Sept 10 – Austin, TX @ Moody Center

Sept 11 – Dallas, TX @ Dos Equis Pavilion

Sept 12 – Rogers, AR @ Walmart AMP

Sept 17 – St. Louis, MO @ Hollywood Casino Amphitheater

Sept 18 – Noblesville, IN @ Ruoff Music Center

Sept 19 – Tinley Park, IL @ Credit Union 1 Amphitheatre

Sept 24 – Alpharetta, GA @ Ameris Bank Amphitheatre

Sept 25 – Tampa, FL @ MIDFLORIDA Credit Union Amphitheatre

Sept 26 – West Palm Beach, FL @ iTHINK Financial Amphitheatre

R&B Powerhouse Ari Lennox Hits the Road With Her Critically Acclaimed Album ‘Vacancy’

Eric Alper
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R&B Powerhouse Ari Lennox Hits the Road With Her Critically Acclaimed Album ‘Vacancy’

Ari Lennox has a third album that’s been turning heads since it dropped, and now she’s bringing it to 31 cities across North America. The “Vacancy Tour,” produced by Live Nation, kicks off April 12th in Seattle and runs through June 6th in Charlotte. This is a proper full-scale tour, and it’s been a long time coming.

‘Vacancy’ is the album behind it all, a record three years in the making that finds Lennox operating with full creative autonomy. Standout singles include “Twin Flame,” produced by Tommy “TBHits” Brown and Leather Jacket, “Under the Moon,” and the title track “Vacancy,” which reunites her with Grammy-winning hitmakers Jermaine Dupri and Bryan-Michael Cox, the same duo behind her RIAA platinum-certified smash “Pressure.” The album delivers on every level.

Lennox’s 2023 sophomore album ‘Age/Sex/Location’ sent her on a sold-out tour across Los Angeles, Atlanta, Boston, and beyond. ‘Vacancy’ raises the stakes considerably, with a larger routing and rooms that match where she is as an artist right now. Massey Hall in Toronto. The Ryman Auditorium in Nashville. Brooklyn Paramount. These are landmark venues, and she’s filling them.

The tour covers virtually every major market on the continent, wrapping a six-week run that makes stops in Los Angeles, New Orleans, Atlanta, Miami, Chicago, Detroit, Philadelphia, and more. Canadian fans get their moment too, with Lennox landing at Toronto’s Massey Hall on May 20th.

Ari Lennox 2026 North American Vacancy Tour Dates:

Apr 12 – Seattle, WA @ WAMU Theater

Apr 15 – Oakland, CA @ Paramount Theatre Oakland

Apr 16 – San Francisco, CA @ The Masonic

Apr 18 – Wheatland, CA @ Hard Rock Live Sacramento

Apr 19 – Las Vegas, NV @ The Chelsea at The Cosmopolitan

Apr 21 – Tempe, AZ @ Marquee Theatre

Apr 23 – Inglewood, CA @ YouTube Theater

Apr 24 – San Diego, CA @ SOMA

Apr 26 – Denver, CO @ Fillmore Auditorium

Apr 28 – Irving, TX @ The Pavilion at Toyota Music Factory

Apr 30 – Austin, TX @ Stubb’s Waller Creek Amphitheater

May 02 – Houston, TX @ Bayou Music Center

May 03 – New Orleans, LA @ Fillmore New Orleans

May 05 – Atlanta, GA @ Fox Theatre

May 07 – Miami Beach, FL @ Fillmore Miami Beach at Jackie Gleason Theater

May 08 – Orlando, FL @ Dr. Phillips Center for Performing Arts

May 10 – Nashville, TN @ Ryman Auditorium

May 13 – Chesterfield, MO @ The Factory

May 15 – Milwaukee, WI @ Landmark Credit Union Live

May 16 – Chicago, IL @ The Chicago Theatre

May 17 – Detroit, MI @ Fox Theatre Detroit

May 20 – Toronto, ON @ Massey Hall

May 22 – Wallingford, CT @ Toyota Oakdale Theatre

May 23 – Boston, MA @ MGM Music Hall at Fenway

May 24 – Philadelphia, PA @ The Met Philadelphia

May 27 – Brooklyn, NY @ Brooklyn Paramount

May 30 – National Harbor, MD @ The Theater at MGM National Harbor

June 02 – Virginia Beach, VA @ The Dome

June 03 – Raleigh, NC @ The Ritz

June 05 – Cincinnati, OH @ The Andrew J Brady Music Center

June 06 – Charlotte, NC @ Skyla Credit Union Amphitheatre

Trombone Shorty Turns 40 With Eric Church, Joan Jett, Leon Bridges, and a New Orleans Full House

Eric Alper
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Trombone Shorty Turns 40 With Eric Church, Joan Jett, Leon Bridges, and a New Orleans Full House

Troy Andrews turns 40 this year, and New Orleans is throwing him a party worth the milestone. On April 25th, Trombone Shorty’s Treme Threauxdown returns to the Saenger Theatre during Jazz Fest for its tenth anniversary, and this edition doubles as a full-scale birthday celebration for one of the city’s most essential musical figures.

The lineup for “Shorty Turns 40” is stacked in every direction. Trombone Shorty and Orleans Avenue headline, joined by Leon Bridges, Eric Church, Joan Jett, Branford Marsalis, Ivan Neville, George Porter Jr., Grace Potter, Jill Scott, Mavis Staples, and Irma Thomas. That’s not a supporting cast. That’s a room full of legends showing up for one of their own.

The Treme Threauxdown has built its reputation on spontaneity and all-star sit-ins, with past editions bringing out Jon Batiste, Allen Toussaint, Usher, Gary Clark Jr., and Dr. John. This year’s tenth anniversary raises the stakes considerably, blending funk, jazz, soul, rock, and New Orleans brass tradition inside one of the city’s most storied theaters.

Blackbird Presents has made the Saenger Theatre a cornerstone of the Jazz Fest after-hours experience, with previous events including tributes to The Band, Dr. John, and The Neville Brothers. “Shorty Turns 40” fits squarely into that tradition, and then some.

Rock ‘n’ Roll Fantasy Camp Turns 30 With Roger Daltrey, Stewart Copeland, and Tommy Lee

Eric Alper
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Rock ‘n’ Roll Fantasy Camp Turns 30 With Roger Daltrey, Stewart Copeland, and Tommy Lee

Thirty years in, Rock ‘n’ Roll Fantasy Camp is still doing something the music industry never quite figured out how to replicate. Founded by David Fishof, Rock Camp has spent three decades putting everyday musicians in the same rooms as rock legends, and the 2026 anniversary lineup makes the strongest case yet for why this thing works.

This year’s headliners are Roger Daltrey of The Who, Stewart Copeland of The Police, and Tommy Lee of Mötley Crüe. Three artists. Three of the most influential bands in rock history. It’s the kind of roster that needs no further explanation. Full dates and details are at rockcamp.com.

The camp has never been a narrow operation. Past participants include Coach John Benton of the Seattle Seahawks, a former Lieutenant Governor of Kentucky, and Ed Oates, co-founder of Oracle. Over 40% of today’s Rock Camp participants are women, many of them accomplished musicians who’ve made the camp a genuine creative home. Women’s Only and Songwriting camps are also part of the program.

The artists keep coming back because it means something to them too. The late Jeff Beck called it “the best way to give back.” Roger Daltrey has said it reconnects him to what music felt like at the very beginning. Gene Simmons has said he wishes Rock Camp existed when he was young. “For 30 years, Rock Camp has been about one thing, changing lives through music,” says founder David Fishof. “We’ve watched people rediscover their passion, gain confidence, and fulfill dreams they never thought possible.”

Rock Camp’s cultural footprint runs deep, with appearances on The Simpsons, Billions, Saturday Night Live, The Today Show, and Pawn Stars. The documentary ROCK CAMP is streaming free on Amazon and YouTube now. The Rock Camp podcast is ongoing. Thirty years of this, and the mission hasn’t shifted an inch.

London Singer-Songwriter FREE/MAN Puts His Soul Into Bob Marley’s “Redemption Song”

Eric Alper
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London Singer-Songwriter FREE/MAN Puts His Soul Into Bob Marley’s “Redemption Song”

Charlie Freeman has been doing something quietly remarkable under the FREE/MAN name. His reinterpretation of Bob Marley’s “Redemption Song” is out now, and it doesn’t arrive as a novelty or a stunt. It arrives as a genuine artistic statement, one that treats the source material with reverence while making it entirely his own.

Freeman’s version pulls from ’70s rock, Britpop soul, and Americana intimacy, stripping the track back to its emotional core. It’s warm, unhurried, and deeply felt. The alt-soul lens he brings to it doesn’t diminish the original’s weight. It adds another layer of human texture to a song that’s already carried generations.

“Redemption Song” appears on Freeman’s EP ‘Reconnection,’ a four-track, 14-minute project that also includes “Not Tomorrow,” “Bluebird,” and “Two Witches.” The EP is out now, and it makes a strong case for Freeman as one of London’s most emotionally honest songwriters working today. Indie Buddie calls him “instantly swayable and charming with an infectious buoyancy,” and that reads true across every track.

Freeman’s full-length album ‘Gift In The Shadows,’ described as his most personal work to date, is also out now, continuing his exploration of inner freedom, resilience, and finding light through adversity. The world tour supporting that chapter, spanning Europe, the USA, Mexico, and Argentina, is underway.

‘Reconnection’ Tracklisting:

  1. Redemption Song
  2. Not Tomorrow
  3. Bluebird
  4. Two Witches

Cowboy Hunters Unleash Their Ferocious New EP ‘EPeepee’ With a Round on Them

Eric Alper
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Cowboy Hunters Unleash Their Ferocious New EP ‘EPeepee’ With a Round on Them

Glasgow’s Cowboy Hunters don’t ease you in. The duo’s new EP ‘EPeepee’ is out now, and it arrives with all the force and chaos that’s made them one of the UK’s most talked-about live acts. Drums, bass, and vocals. That’s the whole setup. That’s all they need. Listen here.

Lead single “Have A Pint” captures exactly what Cowboy Hunters do best. It sounds like a demonic fairground ride set loose in a pub, equal parts confrontational and communal, blunt and immediate. Three minutes of catharsis that doesn’t waste a second. It’s the kind of track that makes you want to shout, shove, and grin all at once.

The duo’s reputation has been building fast. They’ve shared stages with Franz Ferdinand, English Teacher, and Bob Vylan, with Franz Ferdinand’s Alex Kapranos calling them “the coolest band in Glasgow right now.” That’s not a throwaway compliment. Kapranos knows a thing or two about what Glasgow sounds like when it’s firing.

‘EPeepee’ also includes “Money For Drugs,” a cover of Princess Superstar and Mason’s cult club hit “Perfect (Exceeder),” and three more tracks that push the duo’s unfiltered, high-impact sound further than before. No cowboys are safe.

‘EPeepee’ Tracklisting:

  1. Shag Slags Not Flags
  2. Have A Pint
  3. Dustcaps
  4. Money For Drugs
  5. Cuntry Girl

20 Songs to Celebrate New Beginnings

Eric Alper
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20 Songs to Celebrate New Beginnings

There’s a moment in every new beginning – right before the nervousness fades and the excitement kicks in – where you need the right song. Not just background noise. The song. The one that makes you feel like the opening credits of your own life are rolling.

Here are 20 of them. Crank it up.

“Dog Days Are Over” – Florence + The Machine

If this song doesn’t make you want to run barefoot through a field and completely reinvent yourself, check your pulse. Florence Welch built a cathedral out of pure release here, and it still hits just as hard sixteen years later. The dog days are over. Act accordingly.

“Unwritten” – Natasha Bedingfield

Yes, everyone knows it. Yes, it was on The Hills. And yes, it is still completely, unapologetically perfect for this list. “The rest is still unwritten” is one of pop music’s great lines and no amount of overplay has dulled it.

“This Is the Day” – The The

The most underrated entry on this entire list. Matt Johnson wrote something quietly extraordinary here – a song about waking up and deciding, simply, that today is the day everything changes. No fanfare. Just certainty. Stunning.

“Press Restart” – WALK THE MOON

Exactly what it says on the tin. Hit the button. Begin again. WALK THE MOON have always been underappreciated and this track is a perfect example of why that needs to change.

“Put Your Records On” – Corinne Bailey Rae

Warm, unhurried, and completely reassuring. Bailey Rae’s debut single is essentially a musical hug telling you that everything is going to be fine. She was right then. She’s still right now.

“I Can See Clearly Now” – Johnny Nash

One of the most purely joyful recordings in the history of popular music. The moment that opening guitar figure kicks in, your shoulders drop and your mood lifts. Fifty-plus years old and still utterly undefeated.

“I’m Coming Out” – Diana Ross

Nile Rodgers and Bernard Edwards wrote this for Diana Ross and in doing so accidentally created one of the greatest empowerment anthems ever recorded. Whatever you’re stepping out of, step out of it to this.

“New Beginning” – Tracy Chapman

Less celebrated than Fast Car but no less powerful. Chapman asks some hard questions here about the world we want to build and the people we want to be. A new beginning isn’t just personal – sometimes it’s a whole philosophy.

“Starting Over” – Chris Stapleton

Country music at its most honest. Stapleton strips everything back to the essential truth of two people deciding to leave everything behind and build something new together. Simple, devastating, beautiful.

“Anything Could Happen” – Ellie Goulding

That electric, terrifying, wonderful feeling that a blank page gives you – Goulding bottled it here. Propulsive, wide open, and completely alive with possibility. Put this one on when you’re about to do something that scares you.

“My Way” – Frank Sinatra

Say what you want about the song being overplayed at every retirement dinner since 1969 – when Sinatra delivers that final note, it still means something. A life lived on your own terms is worth celebrating. Loudly.

“New Attitude” – Patti LaBelle

From the Beverly Hills Cop soundtrack and still one of the most infectious declarations of reinvention ever committed to tape. LaBelle doesn’t suggest a new attitude. She demands one. Comply immediately.

“Start of Something Good” – Daughtry

Undersung and underrated. Daughtry has always been better than his mainstream reputation suggests, and this track – patient, hopeful, quietly confident – is a perfect example of why.

“Ain’t No Man” – The Avett Brothers

Folk-rock energy meeting pure defiant optimism. The Avett Brothers have spent their entire career writing songs about getting back up, and this one is among their very best.

“Everything Has Changed” – Taylor Swift and Ed Sheeran

Two of the biggest artists of their generation, both at their most unguarded. Strip away the fame and this is just a song about the specific wonder of meeting someone who changes everything. It works every single time.

“The Only Way Is Up” – Otis Clay

Before it became a pop hit, this was a soul record with real grit underneath it. Clay understood that optimism isn’t naive – sometimes it’s the only rational response to difficulty. The only way is up. He meant it.

“Happy” – Pharrell Williams

Resistance is futile. You know the song. You know what it does to a room. Just let it happen.

“Walking on Sunshine” – Katrina and the Waves

Few recordings in history are as committed to pure, uncut joy as this one. Katrina and the Waves were not interested in subtlety and we are all better for it. An absolute masterpiece of feeling good.

“Brand New” – Ben Rector

The most quietly beautiful entry on this list. Rector writes about new beginnings not as a grand gesture but as a private, personal exhale – the moment you realize something in your life has genuinely shifted for the better. Gorgeous.

“It’s a New Day” – will.i.am

The most unapologetically celebratory finish we could think of. Big, bold, and completely in love with the idea that tomorrow can be better than today. On that, we agree completely.

Dee Freeman, Character Actor Who Brought Quiet Power to Every Role, Dead at 66

Eric Alper
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Dee Freeman, Character Actor Who Brought Quiet Power to Every Role, Dead at 66

Dolores “Dee” Freeman, a Louisiana-born actress whose career spanned three decades and whose presence on screen always carried more weight than her screen time suggested, died April 2, 2026, following a battle with stage 4 lung cancer. She was 66.

Freeman came to acting by an unlikely route. Before she ever stepped in front of a camera, she served six years in the United States Marine Corps – a chapter of her life that seemed to inform everything that came after. There was a discipline to her work, a groundedness, that you don’t pick up in acting class.

Her screen debut came in 1995 with a guest appearance on the ABC sitcom Coach, and from there she built the kind of career that sustains a working actor for a lifetime – rarely the lead, always memorable. She turned up in the rooms of some of television’s most defining shows: Seinfeld, The X-Files, ER, Six Feet Under, Dexter, Shameless, NCIS: Los Angeles. Small parts, mostly. But she made them land.

On The Young and the Restless, she appeared first in 1997 as a nurse, then returned in 2009 to play a judge – the kind of versatility that casting directors remember. She spent five years as the lead of the satirical web series Pretty, and most recently found a new generation of fans playing Valerie Barnes in Tyler Perry’s Sistas, a role she had been invited to reprise for the show’s 11th season before illness intervened.

Away from the screen, Freeman performed in more than 80 stage productions and was, at the time of her death, adapting her one-woman show Poison Gun – drawn from her own family history – into a novel.

Her publicist, Desirae L. Benson, described her as carrying “a quiet power that commanded respect without ever needing to demand it.” That sounds exactly right for someone who spent a career doing so much with so little fuss.

Why Most Artists Misunderstand Playlists

Eric Alper
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Why Most Artists Misunderstand Playlists

Let’s talk about something that comes up constantly in conversations with artists, and it’s a conversation worth having honestly.

You got a playlist placement on Spotify. Good. That’s not nothing – that’s actually something significant. A curator, a real human being who listens to more music in a week than most people hear in a year, went through their queue and decided your track belonged. Do you have any idea how many tracks they passed on to get to yours? Getting past that filter is the first victory, and a lot of artists don’t give it the credit it deserves.

But then the stream numbers come in and suddenly the placement feels like a disappointment. And this is where I think artists are fundamentally misreading what a playlist placement actually is.

A playlist placement is not a vending machine. You don’t insert your song and collect streams. What it is, is an introduction. It’s someone at a party tapping their friend on the shoulder and saying, hey, you need to hear this. What happens after that introduction depends on a hundred factors that nobody controls – the mood of the listener, what else is competing for their attention, whether the song hits them on the right day at the right moment.

Streams are one data point. Just one. The artists who build real, lasting careers are not the ones who chase stream counts – they’re the ones who focus on consistency, on genuine listener engagement, on slowly and steadily building an audience that actually cares. The streams are a byproduct of that work, not the measure of it. Get that backwards and you’ll be frustrated forever.

Here’s where I want to be direct with you, because I think artists deserve straight talk on this.

There is a whole ecosystem of third-party submission and playlisting services that have built a business out of charging artists for the chance to be heard. The pitch sounds reasonable on the surface – pay a fee, get your music in front of curators, maybe land a placement. Convenient, accessible, democratic even. Except it isn’t any of those things, not really.

Spotify’s own guidelines are unambiguous: playlist placement is supposed to be organic. It’s supposed to reflect genuine curatorial interest in the music, not a financial transaction. When money changes hands in exchange for consideration or placement, that’s not curation anymore – that’s payola with a modern interface. And payola, whatever it looks like, corrupts the entire system. It means the artists who get heard aren’t necessarily the best artists – they’re the ones who can afford to pay the most. That’s bad for music, bad for listeners, and ultimately bad for the artists who play along, because the audiences built on artificial placements are not real audiences. They don’t stick around. They don’t come to shows. They don’t tell their friends.

I won’t work that way. I’ve never worked that way. It’s not a business decision – it’s a values decision.

Instead of routing artists through paid submission pipelines, I’ve spent 10 years building my own curated lists from scratch – real relationships with real listeners, developed slowly and maintained carefully. No shortcuts. The results have been real and measurable across a wide range of artists and releases, and more importantly, they’ve been honest.

Does every placement perform the same way? No. Of course not. Timing matters enormously. Industry cycles shift. Algorithms change without warning. There are variables in this business that nobody – not me, not a major label, not anyone – can fully predict or control. What I can control is the integrity of how I work and the commitment to keep learning from every release and adjusting accordingly.

If your placement didn’t deliver the numbers you were imagining, here’s what I’d ask you to consider. Your music got in front of people who didn’t know you existed before. Some of those people are now aware of you. A few of them are going to come back. Some of them are going to follow you, share your music, become the kind of fan who actually matters to a career – the kind who’s still there in three years.

That doesn’t always show up in a week’s worth of stream data. But it’s real, and it compounds over time in ways that bought placements and artificial streams never will.

Keep making great music. Be consistent. Stay patient. The audience will find you – and when they do, they’ll stick.

Bush Strip It All Back for a Stunning and Revelatory Tiny Desk Concert

Eric Alper
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Bush Strip It All Back for a Stunning and Revelatory Tiny Desk Concert

Bush just delivered one of the more quietly powerful Tiny Desk sets in recent memory. Gavin Rossdale and the band ran through four tracks spanning their catalog, from “Machinehead” and “Glycerine” through the deep cut “Out of This World” and their 2025 album closer “I Beat Loneliness,” stripping each one down to its essential weight. The slowed, piano-and-guitar-fuzz arrangement of “Glycerine” left the room stunned, and the a capella vocal moment at its center is worth the watch alone. Thirty-plus years into a catalog that helped define ’90s rock, Bush sound like a band that’s earned every note.

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That Eric Alper

Eric Alper is a 6-time nominee for Publicist of the Year during Canadian Music Week and has overseen the publicity campaigns for over 183 JUNO Award-nominated albums (and 16 in 2025), 45 Grammy-nominated albums, including 47 JUNO Award, 58 Canadian Folk Music Award, 126 Maple Blues Award-winning albums and is also truly honoured to work with some of the biggest and most important artists of our time.

Contact me: eric@thatericalper.com

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