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As December Falls Announce Intimate UK Headline Tour Supporting Independent Venues

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Nottingham pop-punks As December Falls have announced another UK headline tour for February and March 2026. The tour comes hot off the heels of their recent Everything’s On Fire, But We’re On Tour album release tour last month. Speaking of the tour, the band shares, “we just came off the wildest tour of our careers, selling out some of our biggest venues to date, like London’s Electric Ballroom and Nottingham’s Rock City. We grew up as a DIY punk band and nothing beats being one foot away from the crowd, in a smaller room. Independent venues are closing around the country and we never want to forget our roots, so this tour is as much about supporting small venues, as it is remembering where we came from! We can’t wait to party with you!”

The band stormed the UK’s Official Albums Chart at number 8 with new album ‘Everything’s On Fire But I’m Fine’, a bold, brutally honest record that captured the beautiful chaos of chasing a dream while everything else is falling apart. Still balancing day jobs and a relentless tour schedule, the band channelled their exhaustion, anxiety, gratitude and grit into 14 tracks that hit harder than ever, both sonically and emotionally. From the smoldering intensity of the title track, which sums up the pressure and privilege of their in-between place in the industry, to the visceral vulnerability of songs like “Grim Reaper” and “Angry Cry”, this album doesn’t shy away from the mess.

Whether drawing inspiration from late-night Twitch gaming sessions on “Ready Set Go”, heartbreak and red flags on “Bathroom Floor”, or even chaotic best-friend revenge arcs on “For The Plot”, As December Falls continue to write with a raw, unfiltered honesty that resonates with anyone who’s ever felt overwhelmed, underestimated, or just not quite okay. As December Falls aren’t here to play it safe. They’re here to burn it all down and build something real in the ashes.

FEBRUARY

26: SHEFFIELD Corporation

27: NEWCASTLE The Grove

28: BLACKPOOL Bootleg Social

MARCH

05: DOVER The Booking Hall

06: MILTON KEYNES The Craufurd Arms

07: SOUTHEND Chinnerys

08: NORWICH Waterfront

12: SOUTHAMPTON Joiners

13: PLYMOUTH Junction

14: BRIDGEWATER Cobblestones

19: CHESTER Live Rooms

20: DUBLIN Whelans

21: BELFAST Empire

Will Sass Teams Up With Grammy Nominated Alexis Roberts On Moody Dance Single “Runaway”

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After scoring a Billboard Dance Radio number one and building serious momentum across the US dance scene, Will Sass returns with new single “Runaway”, a collaboration with Grammy-nominated singer-songwriter Alexis Roberts. A fusion of moody pop vocals and energising bassline euphoria, the track captures the electric tension between freedom and emotion that defines Will’s evolving sound. Built on shimmering synths, warm textures and an unmistakable hook, “Runaway” is both cinematic and dancefloor ready, a track that encapsulates Will’s unique ability to merge the emotional with the electronic.

The New York-born producer and DJ has quickly established himself as one of dance music’s promising new names. His debut EP surpassed 2 million streams, his collaboration “Into The Blue” with Kamille reached number one on Billboard Dance Radio and his follow-up “What If It Takes You Away” with Malou became a fan favourite across sets at Brooklyn Mirage, Elsewhere and LIV Miami. With upcoming collaborations alongside Aluna George, Timbaland and Piri & Tommy, “Runaway” marks another powerful milestone in his journey toward global recognition.

Alexis Roberts, known for her Grammy-nominated work with Chris Lake and her signature blend of soulful pop and club-ready energy, delivers a performance that feels effortless. “We wanted this song to capture all the vibes, all the feels like you’re hanging out of your car roof with your hands in the air,” Roberts says. A meticulous producer with a sound that nods to Kaytranada, Kevin Parker and Mark Ronson, Will Sass continues to craft records that move beyond genre with songs that feel as good in a club as they do in headphones.

PABST And Snake Eyes Unite For Biting Male Hubris Commentary “Big Big Heart”

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German trio PABST has returned with new track “Big Big Heart”, a collaboration with Brighton grit-pop duo snake eyes and the final single from their album ‘This is normal now’, released November 28, 2025 via Alcopop! Records and Ketchup Tracks. Following their collaboration on snake eyes track “Hug Me” earlier in 2025, the two bands reignite their friendship with this biting commentary on male hubris and manipulative behavior. The song fits seamlessly into PABST’s genre-bending carousel, revealing yet another facet to the band.

Reminiscent of the substance-fueled, arrogant stomp of Viagra Boys, British-tinged rave-rock flashes through the track’s robotic soundscape, as does its younger cousin, dance-punk, capturing the kinetic essence of both bands’ vibrant local music scenes. “Is rock’n’roll dead? Not as long as Pabst and Snake Eyes carry on!” the band declares. Snake eyes vocalist Jim Heffy adds his own enthusiasm: “we love pabst and we love this tune. earlier this year we entertained the idea of doing a ‘response’ to ‘hug me’ where we jump on a pabst track. to finish our vocals in time for the deadline i had to set up a mini studio in a hotel room somewhere in america—baltimore i think? it probably annoyed the shit out of the other guests but totally worth it. the rock can’t be stopped.”

One of Germany’s most exciting rock exports, PABST has over 200 shows under their belt to date. The Berlin trio boasts a Top 20-charting album in Germany, support from Daniel P Carter at BBC Radio 1, and tours across Europe with Billy Talent, The Beatsteaks, Bob Mould, snake eyes, and Beach Riot. Recorded, mixed, and mastered by Magnus Wichmann at lala Studios in Leipzig, ‘This is normal now’ is unmistakably PABST at their most sharpened.

Black Rose Burning Unveils Two Dark Teasers From Sci-Fi Concept Album ‘The Fear Machine’

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NYC-based post-punk duo Black Rose Burning has shared two new teasers for the tracks “When The Master Calls” and “Roses In The Dark” from their forthcoming album ‘The Fear Machine’. The fourth album from George Grant and Luis Infantas sees the band return to their roots with a darker, more synth-driven sound reminiscent of their debut ‘The Year of the Scorpion’. Produced, engineered, mixed and mastered by Grant at PVRCo in Putnam Valley, New York, the record arrives as a concept album inspired by a sci-fi idea Grant has harbored since childhood.

The album centers on a world kept in a constant state of fear to power a machine that feeds on human anxiety, grief and agitation. This darker thematic content offers direct commentary on the current state of the world. “The songs on this record are a bit darker and thematically a bit more centered on what the world is going through at the moment, especially the United States,” says Grant. “Even though our ongoing motto is Love Won, Love Lost and Outer Space, we felt it was important to take a stand musically for our community and people who are being affected in it.” The duo balances pointed social observation with their signature melodic sensibility and hooks.

Musically, ‘The Fear Machine’ marks a shift from the more guitar-forward sound of their latest record ‘Ad Astra’. The album’s powerful, melodic soundscape relies on subtle interplay between intricate guitar work and synth programming. “We tried to get back to the basics of the sound we make as Black Rose Burning,” Grant explains. “The Fear Machine comes back to balancing the interplay between keys and guitars, both working in tandem with quite a bit more subtlety concerning the guitars.” The unique album artwork draws inspiration from ancient Mayan and Aztec cultures, a shared interest between Grant and Peruvian-born drummer Infantas that connects to their ongoing fascination with space travel and cosmic themes.

10 Brilliant Drummers Who Rarely Top the Usual Greatest Lists

If you want to start a friendly argument at a party full of music nerds, ask them to name the greatest drummer of all time. You will get the usual answers within seconds. Bonham. Peart. Moon. End of discussion. Except it is never the end of the discussion.

Buried beneath those consensus picks is a much bigger and far more interesting conversation about drummers who do not always make the headline lists but quietly (or loudly) shape the sound, feel, and personality of the music we love. Think groove merchants, pocket scientists, human metronomes with attitude, and the occasional chaos agent.

Inspired by a spirited Reddit debate, here are ten drummers who deserve a little more love.

Animal (Dr. Teeth and the Electric Mayhem)

Yes, he is fictional. Yes, he belongs on this list. Animal is pure id unleashed behind a drum kit, a walking reminder that rhythm is as much about emotion as technique. He plays like the drums personally offended him, and somehow it always works.

Will Calhoun (Living Colour)

Will Calhoun blends funk, jazz, metal, and social urgency into a style that refuses to sit still. His playing powers Living Colour without ever overpowering them, which is a harder trick than it sounds when the riffs are that heavy.

Max Weinberg (E Street Band)

Max Weinberg is proof that discipline can be thrilling. His drumming with Bruce Springsteen is all about propulsion and precision, the kind that makes three-hour shows feel like a sprint. No flash, no filler, just relentless forward motion.

Bill Ward (Black Sabbath)

Often overshadowed by the riffs and the doom, Bill Ward brought swing, jazz instincts, and surprising delicacy to heavy metal. Without him, early Black Sabbath would sound very different, and much less human.

Glenn Kotche (Wilco)

Glenn Kotche approaches the drum kit like a sound laboratory. Brushes, textures, odd accents, and unexpected silence all play a role. He does not just keep time, he shapes atmosphere.

Claude Coleman Jr. (Ween)

Claude Coleman Jr. can play anything Ween throws at him, which is saying something when genre whiplash is part of the job description. Funk, rock, psychedelia, absurdity. He locks it all down with a grin.

Clem Burke (Blondie)

Clem Burke plays pop music like it is an Olympic sport. His work on tracks like “Dreaming” is fast, fearless, and ridiculously tight. Blondie would not sound like Blondie without his kinetic energy.

Stephen Morris (Joy Division / New Order)

Stephen Morris is the master of mechanical emotion. His precise, almost clinical approach helped define post-punk and electronic rock. The beats may sound simple, but try playing them correctly and you will quickly learn otherwise.

Mitch Mitchell (The Jimi Hendrix Experience)

Mitch Mitchell had the unenviable task of playing next to Jimi Hendrix and still sounding essential. His jazz-inflected, explosive style gave Hendrix the freedom to fly, and that is no small achievement.

Karen Carpenter (The Carpenters)

Long before viral clips reminded everyone she could play, Karen Carpenter was laying down tasteful, musical, and deeply supportive drum parts. Her touch was subtle, her time impeccable, and her musical instincts rock solid.

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Pat Metheny Returns With “Don’t Look Down,” Launching a New Chapter of Side-Eye

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Pat Metheny has never treated longevity as a victory lap. Instead, he keeps re-entering the conversation from a different angle, and his newly released single”‘Don’t Look Down’”does exactly that. The track is the first preview of Side-Eye III+, his first major studio album in six years, arriving February 27 via his new imprint Uniquity Music in partnership with Primary Wave. It’s a lean, forward-moving piece of music—restless, alert, and quietly confident—built less around nostalgia than momentum.

The Side-Eye project has always been about motion and renewal, and Side-Eye III+ continues that idea by centering Metheny alongside a new generation of collaborators. This iteration features Chris Fishman on keyboards and Joe Dyson on drums, a trio that’s already proven its chemistry on the road. Rather than framing himself as a legacy act, Metheny positions Side-Eye as a living workshop—one that evolves in real time through touring, writing, and collaboration.

That evolution will be on full display in 2026, when Metheny takes Side-Eye III+ on an extensive worldwide tour. For Colorado listeners, the April 7 stop at Boulder Theater lands squarely in the middle of an ambitious North American run before the project heads overseas for a long European stretch. As ever, the new material will sit beside a catalog that’s helped define modern jazz—reshaped, reframed, and kept in motion by an artist who’s never been interested in standing still.

PAT METHENY: SIDE-EYE III+ WORLDWIDE TOUR DATES:

3/2–3 – Jackson, MS – Duling Hall
3/5 – San Antonio, TX – The Charline McCombs Empire Theatre
3/6 – Austin, TX – The Paramount Theatre
3/7 – Houston, TX – Lillie and Roy Cullen Theater at Wortham Theater Center
3/8 – New Orleans, LA – Orpheum Theatre
3/10 – Orlando, FL – The Plaza Live
3/12-13 – Fort Lauderdale, FL – The Parker Playhouse
3/14 – Stuart, FL – The Lyric Theatre
3/15 – Naples, FL – Artis—Naples
3/16 – Clearwater, FL – The Capitol Theatre
3/17 – Jacksonville, FL – Florida Theatre
3/19 – Charlottesville, VA – The Paramount Theater
3/20 – Richmond, VA – The National
3/22 – Nashville, TN – Ryman Auditorium
3/23 – Atlanta, GA – Atlanta Symphony Hall
3/24 – Charlotte, NC – Blumenthal Performing Arts Knight Theater
3/25 – Lexington, KY – Lexington Opera House
3/26 – Knoxville, TN – Big Ears Festival @ Tennessee Theatre
3/27 – Savannah, GA – Savannah Music Festival @ Lucas Theatre
3/29 – Memphis, TN – Minglewood Hall
3/30 – Little Rock, AR – Robinson Center
3/31 – Tulsa, OK – Tulsa Performing Arts Center
4/1 – Dallas, TX – The Majestic Theatre
4/3 – St. Louis, MO – The Sheldon Concert Hall
4/4 – Kansas City, MO – Kauffman Center for the Performing Arts
4/7 – Boulder, CO – Boulder Theater
4/8 – Omaha, NE – Kiewit Concert Hall
4/9 – Madison, WI – Wisconsin Union Theater
4/10 – Indianapolis, IN – Clowes Memorial Hall of Butler University
4/11 – Cincinnati, OH – Taft Theatre
4/12 – Milwaukee, WI – Pabst Theater
4/14 – Royal Oak, MI – Royal Oak Music Theatre
4/15 – Newark, OH – Midland Theatre
4/16 – Columbia, MO – Missouri Theatre
4/17 – Chicago, IL – Symphony Center
4/18–19 – Minneapolis, MN – Dakota
4/21 – Ketchum, ID – Argyros Performing Arts Center
4/23–26 – Seattle, WA – Dimitriou’s Jazz Alley
4/27 – Vancouver, BC, Canada – The Centre in Vancouver For Performing Arts
4/28 – Portland, OR – Newmark Theater
4/29 – Eugene, OR – The John G. Shedd Institute For The Arts
5/1 – San Francisco, CA – The Masonic
5/2 – Sacramento, CA – Crest Theatre
5/3 – Santa Cruz, CA – Rio Theatre
5/4 – Los Angeles, CA – Walt Disney Concert Hall
5/5 – Santa Barbara, CA – Lobero Theatre
5/7 – Irvine, CA – Irvine Barclay Theatre
5/8 – San Diego, CA – Humphrey’s Concerts By The Bay
5/9 – Chandler, AZ – Chandler Center for the Arts
6/6 – Flensburg, Germany – Deutsches Haus
6/7 – Lübeck, Germany – Musik-und Kongresshalle Lübeck
6/8 – Hamburg, Germany – Laeiszhalle
6/9 – Wroclaw, Poland – National Music Forum
6/12 – Katowice, Poland – National Polish Radio Symphony Orchestra
6/13 – Warsaw, Poland – Palladium
6/15 – Berlin, Germany – Admiralspalast
6/17 – Munich, Germany – Isarphilharmonie
6/18 – Dortmund, Germany – Konzerhaus Dortmund
6/19 – Freiburg, Germany – Konzerthaus Freidburg
6/20 – Nuremberg, Germany – Serenadenhof
6/21 – Frankfurt, Germany – Jahrhunderthalle Kuppelsaal
6/24 – Zürich, Switzerland – Volkshaus
6/29 – Wien, Austria – Wiener Konzerthaus
7/2 – Udine, Italy – Castello di Udine
7/5 – Rome, Italy – Cavea Auditorium Ennio Morricone
7/6 – Pompei, Italy – Anfiteatro degli scavi
7/7 – Giulianova, Italy – Arena del Porto Turstico
7/9 – Milano, Italy – Teatro degli Arcimboldi
7/18–19 – London, UK – Barbican
7/25 – Donostia, Spain – Kursaal

The Hondo Rodeo Fest Returns to Phoenix in November 2026, Expands to New Orleans

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Arizona’s biggest rodeo announced on its YouTube channel today that The Hondo Rodeo Fest will be circling back to Chase Field in Phoenix, AZ, home of the Arizona Diamondbacks, this November 13-15th, 2026. Now in its third year, The Hondo Rodeo Fest combines an electrifying million-dollar rodeo competition, full nightly concert series, and Street Fest. 

Last November, a record-breaking 100,000 attendees experienced “The World Series” of rodeo featuring the best rodeo athletes in the world competing for a million-dollar purse. In addition to the best athletes and livestock, the Hondo Rodeo Fest attracts the biggest music artists. While fans will have to wait for the official 2026 Phoenix line-up, last year’s event included headliners Nickleback, Kid Rock, and Jason Aldean, in addition to Treaty Oak Revival, Jon Pardi and Riley Green.

2026 will be the biggest year yet for The Hondo Rodeo Fest. CEO James Trawick announced last November the event’s expansion into New Orleans on April 10-12th, 2026 at the iconic Caesars Superdome. The incredible list of headliners includes Jason Aldean, Cody Johnson, and Creed, in addition to performances by Lynyrd Skynyrd, Old Dominion and Bailey Zimmerman. 

All Hondo Rodeo Fest tickets provide attendees an incredible value for the price and include access to both the rodeo competition and concert, in addition to the free Street Fest. Limited floor passes are also available to add to one’s ticket purchase for front-of-stage floor access to the concert, following the conclusion of the rodeo. 

For more information on tickets in New Orleans and to sign up to receive more information when the Phoenix artist line-up will be announced, visit https://thehondorodeofest.com/

What the 2026 JUNO Nominees Tell Us About the Music Industry and Fan Bases

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This year’s JUNO nominations that are going to turn into awards on March 29 in Hamilton, ON offer a clear snapshot of how Canadian music actually lives in the world right now. At the top of the list are artists who dominate very different corners of the industry but share one defining trait: deeply committed fan bases. Justin Bieber and Tate McRae leading all nominees with six nominations each matters because it cuts across multiple areas of recognition. These are not just nods for popularity. Their names appear in categories tied to albums, songs, and overall artistic impact. That tells us their music is being consumed deeply, not casually. Fans are listening to full projects, returning to songs over time, and staying engaged across releases. That kind of support shows up clearly when nominations stack across different categories.

Close behind, artists like The Weeknd and Cameron Whitcombe each earned five nominations, showing two very different career paths being recognized in similar ways. The Weeknd’s nominations reflect long-term international success and consistency across albums and singles. Whitcombe’s nominations point to strong momentum driven by fan connection, live performance, and growing visibility. The JUNOs are acknowledging both sustained global presence and fast-rising domestic support within the same awards cycle.

Daniel Caesar’s four nominations highlight another layer of recognition. His work is being acknowledged not only through nominations but also through his selection as a live performer and recipient of the International Achievement Award. That combination signals respect for both artistic output and global influence. It shows how Canadian artists can build careers that resonate internationally while remaining rooted in homegrown support.

Multiple nominations for The Beaches and Jessie Reyez speak to consistency and cultural presence. These artists are being recognized across categories tied to songwriting, albums, and performance. Their nominations reflect audiences who stay invested across releases and see their music as part of their everyday lives, not just something that passes through a playlist once.

The addition of Latin Music Recording of the Year is also significant. This category exists because the audience already does. Nominees like Alex Cuba, Lido Pimienta, Andy Rubal, Isabella Lovestory, and Mario Puglia represent music that has long been part of Canada’s cultural fabric. The category formalizes recognition that fans have already given through listening, sharing, and showing up.

Beyond competitive categories, the JUNOs also mark career recognition. Nelly Furtado’s induction into the Canadian Music Hall of Fame and Joni Mitchell’s Lifetime Achievement Award remind us that fan bases endure. These honors sit alongside newer nominations to show how Canadian music history and present momentum are connected, not separated.

Justin Bieber’s presence at the top of the nominations also places him in rare company. He is now a three-time artist nominated for Album of the Year at both the Grammy Awards and the JUNO Awards with related projects. Only a small group of artists have ever crossed that line, including k.d. lang, Alanis Morissette, Celine Dion, Shania Twain, Arcade Fire, The Weeknd, and Drake. Bieber is the only artist to achieve this distinction more than once with closely connected albums, underlining how his work travels seamlessly between Canadian and global audiences.

Hosting duties by Mae Martin add another layer, signaling how the JUNOs continue to reflect broader cultural voices beyond music alone. It reinforces the idea that the awards are not just about sound, but about storytelling, identity, and connection.

This context matters because it shows how fan bases operate at scale. Albums that resonate deeply at home can also connect internationally when the emotional core is strong enough. The overlap between Grammy and JUNO recognition reflects sustained listening, not short-term attention.

Beyond the top names, this year’s nominations also point to a broader industry shift. Touring, streaming, sync placements, social presence, and cultural impact are all part of the equation now. Artists are not being rewarded for a single breakout moment but for consistency and growth. Careers are built piece by piece, audience by audience.

Finally, the balance between legacy and momentum feels especially strong this year. Honouring artists like Nelly Furtado and Joni Mitchell alongside newer voices creates a full picture of Canadian music as a living continuum. Fan bases do not disappear. They evolve, cross generations, and stay loyal to artists who continue to give them something meaningful. The 2026 JUNO nominations show an industry shaped by connection first, exactly where music has always been strongest.

Do LaB Returns To Coachella With Tinashe, Andy C, Seth Troxler And More

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Do LaB returns to Coachella this year with a lineup featuring a DJ set from Tinashe, Andy C, Anfisa Letyago, OMNOM, and Whethan on weekend one, and Seth Troxler, The Brothers Macklovitch made up of A-Trak and Dave1, SBTRKT, and After Midnight made up of Matilda and San Pacho on weekend two. The stage promises a host of surprise guests throughout both weekends, following last year’s sets from Mau P, Zeds Dead, Sara Landry’s Blood Oath, Crankdat, Bob Moses and more. Previous years included surprises from Billie Eilish, DJ Snake, DJ Pee.Wee, and Kaskade.

Do LaB gives fans a taste of what they can expect from the brand’s flagship festival, Lightning in a Bottle, which takes place over Memorial Day Weekend on May 20th to 24th at Buena Vista Lake in Southern California. Coachella takes place April 10th to 12th and April 17th to 19th, with this year’s headliners including Sabrina Carpenter, Justin Bieber, and Karol G, as well as a special set from Anyma.