Following a transcendent performance at California’s Stagecoach Music Festival, Goo Goo Dolls share a live release of “Iris,” capturing the emotional sweep of one of the most enduring songs in modern rock. The performance arrives as the track continues its remarkable run, recently peaking at No. 9 on Spotify’s Global Daily Chart and reaching new listeners around the world through social media momentum and streaming discovery.
“Iris” now stands certified Diamond with more than five billion streams worldwide, including over a billion in 2025 alone, while its influence echoes through covers by artists across generations. That momentum flows directly into the band’s broader catalogue, including the ‘Summer Anthem’ EP, out now via Warner Records. With sold out tours, benefit performances, and a songbook that keeps finding fresh meaning, Goo Goo Dolls continue to connect through melody, memory, and songs that keep moving forward.
Using hand cut cardboard strips, The Mechanical Music Man programs Blaujte, his restored Dutch street organ, to play “Wonderwall” with sweet old time charm. The melody clicks, rolls, and breathes like a fairground memory. It feels playful, curious, and lovingly made, proof that great songs shine in any century.
Somewhere near Manchester’s constantly shifting city centre, Shaking Hand emerge with their self-titled debut album ‘Shaking Hand’, out now on Melodic. The record introduces a band rooted in contrast, part shadow and part light, shaping expansive post rock forms inside a weathered redbrick mill surrounded by glass and steel. That tension feeds directly into their sound, where space, patience, and sudden movement feel inseparable.
Alongside the album, the band share the video for “Mantras,” a seven minute post rock centerpiece recorded with producer David Pye at Nave Studios in Leeds. The track moves through hypnotic time shifts and overlapping guitar lines, opening room for reflection and release. George Hunter’s vocal delivery sits naturally inside the swirl, grounding the song as melodies stretch and fold back in on themselves.
Across ‘Shaking Hand’, the band pull from experimental lineage and melodic instinct in equal measure. Songs push against neat structures, drifting between fragile calm and ecstatic noise with an unforced sense of flow. “Mantras” stands as a defining moment, capturing a band fully committed to following instinct, letting repetition, rhythm, and emotion guide each turn.
The Belair Lip Bombs release “Back of My Hand,” the third single and video from their album ‘Again’, out now via Third Man Records. Following “Don’t Let Them Tell You (It’s Fair),” the new track leans into the band’s melodic confidence, led by Maisie Everett’s soaring vocal performance. The song glides on an easygoing rhythm before bursting into bright, Weezer style guitar crunch on a wide open chorus that feels immediate and heartfelt.
“Back of My Hand” highlights the group’s sincerity and emotional clarity, capturing romantic trust with warmth and directness. Everett’s vocal delivery carries the song’s center of gravity, rising naturally as the arrangement swells around her. The track lands with a rush of feeling that sticks, showing a band fully comfortable letting vulnerability and power share the same space.
‘Again’ marks a defining chapter for the Australian quartet, blending their shared influences into ten tightly written indie rock songs. Produced by the band alongside Nao Anzai and Joe White, the album sharpens their DIY instincts with polish while keeping its human core intact. Built on what the band calls yearn core, these songs move fast, hit deep, and invite repeat listens with melodies that linger long after the last chord.
Tour Dates: Tue 24th Mar – San Francisco, CA @ Brick & Mortar $ Thu 26th Mar – Portland, OR @ Polaris Hall $ Fri 27th Mar – Seattle, WA @ Baba Yaga $ Sun 29th Mar – Boise, ID @ Treefort Music Festival $ Mon 30th Mar – Salt Lake City, UT @ Kilby Court $ Tue 31st Mar – Denver, CO @ Hi-Dive $ Thu 2nd Apr – Lawrence, KS / Kansas City, MO @ White School House $ Fri 3rd Apr – Minneapolis, MN @ Turf Club $ Sat 4th Apr – Chicago, IL @ Empty Bottle $ Mon 6th Apr – Toronto, ON @ The Garrison $ Thu 9th Apr – New York, NY @ Night Club 101 $ Fri 10th Apr – New York, NY @ Baby’s All Right $ Sat 11th Apr – Philadelphia, PA @ PhilaMOCA $ Sun 12th Apr – Washington, DC @ Songbyrd $ Mon 13th Apr – Raleigh, NC @ Kings $ Wed 15th Apr – Nashville, TN @ Blue Room at Third Man Records $ Thu 16th Apr – Atlanta, GA @ The Earl $ Sat 18th Apr – Dallas, TX @ Sons of Hermann Hall $ Sun 19th Apr – Austin, TX @ 29th Street Ballroom $ Wed 22nd Apr – Phoenix, AZ @ Rebel Lounge $ Thu 23rd Apr – San Diego, CA @ The Casbah $ Fri 24th Apr – Los Angeles, CA @ Zebulon $
Danger Mouse and Black Thought reunite with “Up,” their first new release together since ‘Cheat Codes’, joined by Rag’n’Bone Man on vocals and drums. Out now, the track moves with restraint and gravity, pairing Black Thought’s commanding verses with Rag’n’Bone Man’s weathered, soul-deep delivery. Danger Mouse anchors it all with a hypnotic, slow-burning production that gives the song room to breathe, pulse, and settle into something quietly powerful.
“Up” feels purposeful and patient, unfolding with confidence rather than urgency. Rag’n’Bone Man’s presence blends seamlessly into the duo’s chemistry, adding a human weight that deepens the song’s emotional pull. The performance lands with clarity and force, offering a striking reminder of how naturally these artists elevate one another when they share space.
Thunder Bay based heavy outfit The Fixer unleashed “Ugly Knots,” a punishing single that arrived alongside their “The Ugly Knots Tour,” which wrapped earlier this fall with hometown allies Teknosis. Blending industrial metal abrasion with hardcore urgency and atmospheric tension, the track surges from harsh electronics and serrated riffs into a sweeping melodic release. The structure mirrors the song’s emotional arc, pulling listeners through confrontation, release, and resolve in one unbroken motion.
“Ugly Knots” stands as one of the band’s most focused and expressive statements, pairing crushing weight with intent and clarity. A spoken word passage delivered by John Forget adds lived in gravity, grounding the song’s message of strength and resilience. The track hits with force and purpose, capturing a defining moment for The Fixer and preserving the intensity of a chapter already lived loud on stage.
With the overwhelming response to their first single in over two years “Silent Divide,” acclaimed rockers Alter Bridge are back with another song from their upcoming 8th studio album, Alter Bridge. “What Lies Within” is now available via all digital service providers from the quartet comprised of Myles Kennedy on vocals/guitars, Mark Tremonti on guitars/vocals, Brian Marshall on bass and Scott Phillips on drums. The song opens with a driving guitar riff from Kennedy and Tremonti as before the rhythmic groove of Marshall and Phillips pushes the song. The lyrics are a cautionary tale of the darkness inside mankind as Kennedy sings “What lies within, beneath the skin, something so dark and foreboding.”
With more than two decades performing together, acclaimed rockers Alter Bridge show no signs of slowing down. Known for their memorable riffs, infectious vocal melodies and dueling guitar attack, the quartet have garnered themselves massive critical and fan acclaim around the globe. The band looks to continue that trend when they release their self-titled, eighth studio album next year via Napalm Records. Alter Bridge will be released on January 9, 2026, first physical formats for pre-order are now available at: https://www.lnk.to/AB-AlterBridge.
Alter Bridge is comprised of 12 all new tracks from the band and features some of their most iconic moments on record. Songs like “Rue The Day,” “Disregarded” and “Scales Are Falling” will fit alongside any of the classic songs from Alter Bridge’s catalog. “Trust In Me” shows Myles and Mark sharing vocal duties as Myles handles the verse duties while Mark takes the chorus. That strategy is flipped on “Tested And Able” as Mark handles the verses and Myles takes on the choruses behind one of the band’s heaviest intros to date, giving way to an unforgettable melody. “Hang By A Thread” is sure to become a show favorite as it hints at some of the most popular songs in the band’s catalog. The album closer “Slave To Master” is an epic track that Alter Bridge has come to be known for and is the longest song the quartet has recorded to date. The first single, “Silent Divide,” has been moving up the Active Rock charts since it was released last month and has been viewed over 2 million times since it was released. The band worked with longtime collaborator and producer Michael “Elvis” Baskette on their eighth album. Alter Bridge was recorded over 2 months this Spring in the legendary 5150 studio in California and Elvis’ recording studio in Florida.
Legendary singer, composer and transgender activist Beverly Glenn-Copeland today announces his new studio album, Laughter In Summer. A collaborative effort born from the love story between himself and eco-poet, theatre actor and producer Elizabeth Copeland, the record is due out 6th February 2026 via Transgressive Records and available to preorder here. Alongside the announcement, the Copelands share the moving double single “Children’s Anthem” / “Let Us Dance (Movement One)”. “Let Us Dance (Movement One)” opens the record’s nine tracks, all captured in a single take, while “Children’s Anthem” dates from the couple’s early years together, originally penned for a teachers’ workshop on bullying.
Commenting on the two tracks Glenn and Elizabeth say: “Let Us Dance holds deep personal meaning for us as a couple, and it’s one of our most favourite songs to perform together. It’s a gentle reminder that life invites us to embody joy through movement, no matter the circumstances, no matter how difficult the path. Originally published on Keyboard Fantasies, this choral rework features a newly minted Montreal choir that we met mere moments before recording Movement One. It’s raw and honest – much the way we live our lives now.”
“Children’s Anthem was one of our very first creative collaborations as a couple, originally written in 2007 for an anti-bullying conference. We’re bringing it back on this new album with a fresh arrangement dedicated to our precious granddaughter Freya. We hope it will serve as a rally cry to support and protect all the children of the world. At a time when violence has become endemic, this song and its message is more critical than ever.”
From the moment we are born, we begin the long walk home. Elizabeth and Beverly Glenn-Copeland started down the path together nearly half a century ago, and have been trailing it since, hand in hand and song by song. Together, they’ve made a life sharing their unselfish hearts—ones too large for earthly configuration—through art and community, encouraging us all to take our own dance down the road with elemental love and grace.
Now, as Glenn lives with a version of Dementia known as LATE, their walk has taken on a different weight. Out of this season comes Laughter In Summer, an album the couple made together—realizing, before long, that it was a love letter to one another: a tender ledger of memories, shared devotion, grief and joy.
Elizabeth has now rightly taken her place as producer of Glenn’s work, shaping Laughter In Summer alongside their music director, Alex Samaras. The album’s title comes from a song born almost accidentally. Glenn, as his cognitive impairment advanced, began composing a series of instrumentals he called Songs With No Words, meant for listeners to write their own lyrics. One day he played one such piece for Elizabeth. Sitting by a lake, listening to loons and gazing at the sky, words rose up in her: laughter in summer, how I remember. “It was a very painful time,” she recalls, “because I was so aware of just how much of my sweetheart I was losing.” My life, my joy, on Earth, here, with you, she sang. The words came as a gift, as if from the loons themselves.
In 2024, before a Montreal performance, they were invited to spend a few days recording alongside producer and engineer Howard Bilerman (Godspeed You! Black Emperor, Vic Chesnutt, and Wolf Parade) at the iconic Hotel2Tango. There was no plan to make a record. They simply wanted to capture the songs they had been singing on tour, joined by a choir of Montreal voices gathered by Alex. None of the singers had rehearsed with Glenn and Elizabeth. As the engineers were getting the mic levels set, Glenn, Elizabeth and the choir loosely rehearsed their first song. This rehearsal is what you hear on Let Us Dance, Movement 2. Every other song on the record was done in Glenn’s preferred style–one take only.
As Glenn’s executive functioning diminishes, his musical being—“and I would say his heart self,” Elizabeth adds—only grows stronger. At least once a week, they sit together and name what is being lost. “Because when you deny an emotion,” Elizabeth says, “it becomes frozen within you.” The making of Laughter In Summer became another way of being present with each other—songs not just as compositions but as testaments.
“From the moment we are born, we are walking towards our deaths,” Elizabeth says. “And that’s okay. In order for there to be birth, there must be death.” Glenn tells her that when he goes, he will be able to be with her even more than now. For Elizabeth, the thought is both comfort and pain. But what sustains them both is Glenn’s refusal to stop giving. “Sometimes he’ll hold my hands and say, ‘I have so much more to give. I’ve got so much to give these young people.’”
British singer songwriter SAPPHIRE continues her deep dive into love and conviction with “The Last Thing,” a vibrant pop single driven by upbeat acoustic guitar and warm, intoxicating beats. Built around a bold hook and familiar phrasing reshaped into something personal and powerful, the song captures the rush of realizing just how much one person matters. Her vocal delivery carries both tenderness and resolve, turning the line “if it’s the last thing that I do” into a statement of devotion and creative intent.
“The Last Thing” reflects SAPPHIRE’s steady rise across stages and airwaves, fueled by sharp songwriting and an unmistakable voice. The track feels alive with momentum, balancing emotional intensity with a sense of forward motion that suits her growing live presence. It shines as a confident, heartfelt release that underscores her instinct for turning big feelings into pop moments that linger well beyond the final chorus.
Upstate New York based artist Dotsun Moon shares the ‘Moments In The Sun’ EP, a four song shoegaze and dreampop release shaped by reflection, memory, and emotional stillness. Created in Buffalo by multi instrumentalist Richard Flierl, the EP leans into soft focus guitars, patient tempos, and melodies that feel designed for late night listening. “Army of Me” pairs a gentle piano opening with expressive guitar bends before opening into a wider emotional frame, while the title track wraps synth and guitar together in a slow moving glow.
Engineered and mastered by Doug White at Watchmen Studios, the EP carries a warm, intentional sound that rewards close attention. “Winter Streets” mirrors the quiet pressure of a Buffalo winter, building from restraint into motion, while “Piano Trailer 5” nods to the ambient legacy of Harold Budd and Brian Eno. ‘Moments In The Sun’ feels centered and sincere, offering shoegaze for right now with textures that linger and emotional clarity that settles in slowly.
