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BAND-MAID’s 2026 World Tour Culminates at Nippon Budokan Before a Strategic Hiatus and 2028 Return

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BAND-MAID are making their biggest move yet. The globally acclaimed Japanese rock quintet have mapped out the BAND-MAID WORLD TOUR 2026, a massive run spanning Japan, Asia, Europe, and North America, with a two-night finale at the legendary Nippon Budokan in November. That Budokan show has been a long-held goal, with the original 2021 performance cancelled due to the pandemic. Getting there now, on the back of years of relentless global touring, carries real weight for the band and their fanbase.

The tour’s scope reflects how far BAND-MAID have come. Their 2023 global run included a historic Lollapalooza appearance, making them the first Japanese band to play the festival since X JAPAN thirteen years prior. Their 2022 U.S. tour drew over 20,000 fans. ‘Epic Narratives’, their 2024 full-length, featured collaborations with Michael Aaron Einziger of Incubus and Mexican powerhouse trio The Warning, charting high across worldwide rankings. Their 2025 EP ‘SCOOOOOP’ earned them a spot on Grammy.com’s list of Japanese artists to know. The momentum has been building deliberately and consistently.

The European leg marks the band’s first solo tour on the continent since before the COVID-19 pandemic, with stops at the Bataclan in Paris, O2 Academy Islington in London, and venues across Berlin, Frankfurt, and Munich. North American dates in the United States and Mexico are confirmed for October. Following the Nippon Budokan finale, BAND-MAID will enter a live performance hiatus, describing it as a “recharge period for world domination,” with a full return planned for 2028, their 15th-anniversary year. The band stated plainly: “We are channeling all of our deep gratitude for your incredibly warm support into every single performance.”

BAND-MAID World Tour 2026 Dates:

April 11 – Kanagawa – KT Zepp Yokohama

May 2 – Miyagi – Sendai GIGS

May 10 – Tokyo – Zepp Haneda

June 3 – Berlin – Columbia Theater

June 5 – Frankfurt – Batschkapp

June 6 – Munich – Technikum

June 9 – Paris – Bataclan

June 11 – London – O2 Academy Islington

July 12 – Hokkaido – Sapporo Factory Hall

July 17 – Kumamoto – B.9 V1

July 18 – Fukuoka – Zepp Fukuoka

November 3 – Osaka – Namba Hatch

November 13 – Tokyo – Nippon Budokan

November 14 – Tokyo – Nippon Budokan

North American dates (US and Mexico) confirmed for October. Details to follow.

Philadelphia Metalcore Force Varials Release ‘Where The Light Leaves’ and Drop “The Hurt Chamber” Video

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Varials have released ‘Where The Light Leaves’, their fourth album via Fearless Records, and it arrives as one of the most ambitious records of their career. Produced by longtime collaborator Josh Schroeder (Lorna Shore, Dayseeker, The Plot In You), the 13-track collection pairs guttural heaviness with new melodic textures, raw performances kept deliberately imperfect to keep the human connection intact. New single “The Hurt Chamber” is a strong example of where the band has pushed their sound, measured and deliberate rather than relentless, with a keys-driven fade out that lands somewhere between haunting and cinematic. Vocalist Skyler Conder cut his vocals in a single take, first try, and the band left it untouched.

Conder explains the track directly: “‘The Hurt Chamber’ is a song strictly about being addicted to a high that is inevitably difficult to break. Whether that be love, drugs, or a certain type of situation, you become blind to what’s happening, all of the bad disappears because it always feels amazing. But it’s doing nothing but harming you throughout every time you become close to it. The ache becomes a salvation of sorts.” That emotional directness has defined Varials since ‘Pain Again’ in 2017, through ‘In Darkness’ and ‘Scars for You to Remember’, and it runs through ‘Where The Light Leaves’ with renewed focus. The tour is underway now with Unity TX, Heavy Hitter, and Boltcutter, running through April.

‘Where The Light Leaves’ Tracklisting:

  1. Where The Light Leaves
  2. No Lie Untouched
  3. Illusions of Loss
  4. Conscious Collapse
  5. Your Soul Feeds
  6. The Hurt Chamber
  7. [wouldyoufollowme]
  8. Silent Demise
  9. Blissful End
  10. Romance II
  11. Metanoia
  12. I’ll Find the Dark
  13. [intothequiet]

Tour Dates (w/ Unity TX, Heavy Hitter, Boltcutter):

March 28 – Oklahoma City, OK – Beer City Music Hall

March 29 – Austin, TX – Come and Take It Live

March 31 – Pensacola, FL – Handlebar

April 1 – Atlanta, GA – The Masquerade

April 2 – Orlando, FL – The Social

April 3 – Greensboro, NC – Hangar 1819

April 4 – Richmond, VA – Canal Club

April 6 – Baltimore, MD – Ottobar

April 7 – Pittsburgh, PA – Thunderbird Café & Music Hall

April 9 – Allston, MA – Brighton Music Hall

April 10 – Brooklyn, NY – The Meadows

April 11 – Philadelphia, PA – First Unitarian Church

Sci-Fi Rock Collective STARSET Drop “We Are Empire” as the Official Theme for Arknights: Endfield

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STARSET have released “We Are Empire,” the official theme song for Arknights: Endfield, the latest entry in the acclaimed Arknights franchise. The Columbus, Ohio sci-fi rock collective are a natural fit for the partnership. IGN praised the game for its “visually enticing battles and a captivating atmosphere,” and STARSET have spent their entire career building exactly that kind of world, cinematic, conceptually driven, and visually ambitious at every turn. Forbes has noted the band has “one of the most firmly established brands of any modern rock band,” and “We Are Empire” puts that brand to work in a gaming context that earns it.

The single arrives on the heels of ‘SILOS’, STARSET’s most recent full-length released last fall via Fearless Records. With billions of streams accumulated, multi-platinum certifications on breakout track “My Demons,” and sold-out shows across North America and Europe, STARSET bring serious reach to the Arknights universe. “We Are Empire” is out now on all platforms.

Tampa Modern Metal Trio REVERYA Confront Comparison and Self-Image on New Single “Envy”

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REVERYA have a new single out and it hits with the kind of emotional directness that defines their best work. “Envy” tackles the psychological weight of comparison, self-image, and the pressure of perceived perfection, moving between vulnerable atmospheric passages and explosive heavy sections without losing momentum. The Tampa trio, formed in 2022, have built their sound around that dynamic range, and “Envy” is their most personal release yet, lyricism unfiltered, music to match.

Nadine’s vocals anchor the track with genuine presence, while Travis and Kaleb drive the heavy sections with the precision the band has sharpened since their debut EP ‘Melinoe’ and their 2024 full-length ‘Affliction In Bloom’. Drawing from the sonic territory of Spiritbox, Jinjer, and Evanescence while carving their own path, REVERYA continue to build something distinct in the modern progressive metal space. “Envy” is out now.

Corey Harris, Alvin Youngblood Hart, and Guy Davis Reunite for ‘Fight On! True Blues Vol. 2’

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Nearly thirty years after first crossing paths at the Chicago Blues Festival, Corey Harris, Alvin Youngblood Hart, and Guy Davis are back together. ‘Fight On! True Blues Vol. 2’ arrives April 17 on Yellow Dog Records, a nine-track collection that moves between traditional material and original compositions without ever treating the past as a museum exhibit. Recorded separately in Virginia, Mississippi, and New York, the performances are raw, direct, and grounded in deep personal investment. Harris reimagines a Jimmy Strother banjo song in Piedmont-style guitar. Hart pulls out the first Charley Patton piece he ever learned, played on a 1950s Sears Silvertone-branded Kay flat-top. Davis reworks Elizabeth Cotten’s “Shake Sugaree” through the lens of Blind Willie McTell. The results are striking.

The stakes behind the music are clear. Harris frames it plainly: “The thematic tie of the record lies in the fact that we are three African-American bluesmen who are fighting to maintain our cultural legacy and heritage. Each of these nine tracks represents a contemporary image of traditional Black lifeways.” Davis adds: “The fight we are waging is to keep this precious music form alive.” Hart connects it all back to that original 1996 photograph: “It was destiny that we’d end up doing something like True Blues.” ‘Fight On! True Blues Vol. 2’ is available for pre-order now.

‘Fight On! True Blues Vol. 2’ Tracklisting:

  1. We Are Almost Down to the Shore (Fight On)
  2. Screamin’ and Hollerin’ the Blues
  3. See Me When You Can
  4. What’s That I Smell
  5. If The Blues Was Money
  6. Deep Sea Diver
  7. I Belong To the Band
  8. Highway 61
  9. Everything I Got is Done In Pawn

Wille and the Bandits Bring Latin-Rock Soul and Slide Guitar to New Single “Reina Del Mar”

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Wille and the Bandits have released “Reina Del Mar,” the latest single from their album ‘Salt Roots’, out now. Following “Trouble Round the Bend” and “Wheal Jane,” which won Classic Rock’s Track of the Week, the new single takes the band somewhere distinctly different. Latin-rock influenced and steeped in coastal atmosphere, the track was shaped by time on Spain’s Atlantic coast and a riff Wille first sketched a decade ago while travelling Cuba and absorbing the sounds of Buena Vista Social Club musicians still playing in Havana. Harry Mackaill’s double bass anchors the track with real depth, Stevie’s piano brings rich Latin texture, and Wille’s slide guitar does what it always does, which is hold the whole thing together with unmistakable authority.

Wille traces the song’s origin directly: “It wasn’t until I was on tour with a few days off in Galicia, Spain, knocking around and waiting for some surf to appear, that the idea of Maria came about. With its strong association with the sea, and Reina del Mar meaning ‘queen of the sea’ in Spanish, the song started to develop.” That connection to the ocean runs through ‘Salt Roots’ as a whole, and has led the band to partner with Surfers Against Sewage, putting their music behind a cause that matters to them personally. Produced by Wille alongside long-time collaborator Josiah Manning, the ten-track album moves confidently across styles without losing the thread of strong songs and sharp musicianship. The UK tour is underway now.

‘Salt Roots’ UK Tour Dates:

March 28 – Carnglaze Caverns, Liskeard (w/ Martin Harley, True Strays, Echo Town, James Dixon)

April 29 – Half Moon Putney, London

Ty Freeman’s Debut EP ‘One Way Love’ Arrives with Blues-Rock Muscle and a Story Worth Hearing

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Ty Freeman’s debut EP ‘One Way Love’ is out now, and it arrives with the kind of raw, lived-in energy that no amount of studio polish can manufacture. Recorded at Kempston Street Studios in Liverpool with producer Chris Taylor (The Coral, Bill Ryder-Jones, She Drew The Gun) and featuring Ian Skelly and Paul Duffy of The Coral on rhythm duties, the four-track collection draws deep from the blues-rock well. Deep Purple, Zeppelin, Sabbath, The Black Keys, early Kings of Leon, all present, all filtered through Freeman’s own ragged-edged voice and a production approach that kept click tracks out of the room entirely. The title track hits hard and direct, a throttle-down blues-driven track about unrequited love with genuine emotional weight behind every note.

Freeman’s path to this record is anything but straightforward. Raised in foster care in Merseyside, he found his footing through music, grinding through guerilla gigs on Liverpool streets before taking his craft to bars and clubs from Hamburg to Zurich, where he now lives. In 2025, childhood heroes Ian Skelly and Paul Duffy became studio bandmates. Of the sessions Freeman says: “I’d show them a song and within a few takes, no rehearsal, they’d nail it live in the room. Paul kept things anchored with melodic bass lines while Ian and I spoke our own language.” That chemistry is all over ‘One Way Love’. The EP is available digitally and on limited edition vinyl.

Goth-Grunge Coven Venus Grrrls Unleash “3×3” and Sign to Killabop for a Ferocious New Chapter

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Venus Grrrls have a new single out, a new label home, and a statement to make. “3×3” is out now on Killabop, marking both the band’s first release for the alt-rock label and the label’s very first release overall. Produced with Max Helyer of You Me At Six and Numen Studios, the track is their most lyrically direct work yet, inspired by the disorienting aftermath of a relationship breakdown. Stomp-ready percussion, dark bass rhythms, jagged riffs, and abrasive synth lines collide without sacrificing the band’s signature cinematic vocals. Kerrang! called it an “exhilarating new single.” Rock Sound went with “modern grunge at its finest.” Both are accurate.

The accompanying video, directed by Misha Warren and the band and shot in guitarist Eliza’s house, leans into a whimsical witchy-coven aesthetic drawing from The Hex Girls, The Love Witch, and Hammer horror. The band put it plainly: “We didn’t want to take this video too seriously; it’s all about putting a whimsical and theatrical spin on a high voltage performance.” The five-piece, based across Leeds, Newcastle, and Liverpool, have already toured with Sprints, headlined sold-out dates across the UK, and made festival debuts at SXSW, Download, and Reading and Leeds. The Nova Twins support dates are done, but festival appearances at Bearded Theory, Rock For People in Czechia, and 2000Trees in Cheltenham are still ahead.

Upcoming Dates:

May 20-24 – Derby, UK – Bearded Theory Festival

June 13 – Hradec Králové, Czechia – Rock For People

July 10 – Cheltenham, UK – 2000Trees Festival

Bearded Theory 2026 Adds Everything Everything, The Horrors, and The Twilight Sad to a Already Stacked Lineup

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Bearded Theory just got bigger. The beloved Derbyshire festival, running May 20-24 at Catton Park, has revealed its latest wave of additions to an already formidable 2026 lineup. Mercury-nominated Everything Everything, boundary-pushing icons The Horrors, and revered Scottish outfit The Twilight Sad join previously announced headliners Garbage, Pixies, and Skunk Anansie. Acid-house pioneer A Guy Called Gerald, psychedelic prog veterans Ozric Tentacles, American indie artist Sir Chloe, post-punk firecrackers Opus Kink, and afro-psychedelic future poppers BCUC round out a new wave that spans decades and genres without breaking a sweat.

Beans on Toast’s annual Foolhardy Takeover of the Woodland stage also has its lineup locked in, with Katacombs, K.O.G Soundsystem, Mr Bruce, and Nuala joining previously confirmed comedian Stewart Lee. The Woodland stage remains one of the festival’s genuine highlights, an intimate tree-canopied space for unplugged sessions, late-night singalongs, and a silent disco that regularly outlasts everything else on site.

Bearded Theory has earned its reputation the hard way, building a fiercely loyal community around a compact, carefully curated site with eight distinct stages. The Guardian called it the festival with “the laid-back, escape-from-reality vibe of Glastonbury without the step count,” and with a lineup this deep and diverse, 2026 makes a strong case for that comparison. The Festival School, the UK’s first of its kind, returns with expanded pre-school provision, and new boutique accommodation The Junkyard brings retro Americana silver trailers to the site.

7 Artists Who Redefined What It Means To Be Cool

Cool is not a look. It is not a pose. It is not something you can manufacture in a boardroom or copy from someone else. The artists who truly redefined it did so by refusing to be anything other than exactly themselves, often at great personal and professional risk. These are seven of them.

Billie Eilish

Billie Eilish showed up in oversized clothes, sang about anxiety and dark rooms, and became one of the biggest pop stars on the planet without changing a single thing about herself to get there. She made vulnerability the new armor, proved that whisper could hit harder than a shout, and built a global fanbase by refusing to perform a version of herself she did not recognize.

David Bowie

Before Bowie, rock stars were supposed to be relatable. Bowie decided he would rather be unknowable. Ziggy Stardust, Aladdin Sane, the Thin White Duke, each character a deliberate dismantling of whatever came before. He made reinvention not just acceptable but mandatory, and every artist who has changed direction since owes him a debt.

Prince

Prince existed outside every category the music industry tried to put him in. He was a virtuoso who played every instrument, wrote every note, controlled every detail, and did it all while dressed in ways that made everyone else look boring. He proved that total artistic control and massive commercial success were not mutually exclusive, and he looked extraordinary doing it.

Miles Davis

Every decade Miles Davis entered, he left it sounding different. From bebop to cool jazz to fusion, he never chased a trend because he was always ahead of one. He wore Ferraris and Issey Miyake suits and moved through the world like someone who had already heard tomorrow’s music and was mildly disappointed by today’s.

Patti Smith

Patti Smith walked onto the stage at CBGB in 1975 looking like nobody had ever looked before, and opened her mouth and changed punk forever. She brought poetry, art, and raw intellectual hunger into rock and roll and refused to separate any of them. She made being a serious artist and a dangerous performer feel like the same thing.

Björk

Björk has never once made the obvious choice. Her music sounds like it was assembled from instruments that do not exist yet, and her visual world matches it note for note. She is the rare artist who makes experimental feel genuinely joyful rather than academic, and she has been doing it for four decades without a single moment of compromise.

Kurt Cobain

Kurt Cobain hated being cool, which is precisely what made him the coolest person in the room. He wore thrift store cardigans, played borrowed guitars, and sang like someone trying to escape his own skull. He took the underground and dragged it into the mainstream without cleaning it up, and the world has never fully recovered from the impact.