Cory Marks was so musically inspired by his recent European tour, that he decided to release a brand-new song and lyric video, a musical rallying cry to his fans, “Are You With Me?” via Better Noise Music.
Marks also wanted to share the new lyric video for “Lit Up” from his SORRY FOR NOTHING album, out now. The songs have just been released as a double-single on digital outlets (“Are You With Me?”) and (“Lit Up”).
“‘Are You With Me?’ is a song for my fans, for the people loving my music and loving this country rock sound,” exclaims Cory Marks. “They’re the reason we do this and want to get out on the road and play live no matter how hard, long, tough and unfair smoke and mirrors this music industry can be. There’s nothing like playing live and watching the crowd sing a long and rock out with you. Are you with me?”
With over 350 million global streams to date, CORY has been captivating fans across the country and rock spectrum. Unafraid to stand out and stay true to himself, his third album SORRY FOR NOTHING is an unapologetic double-barreled blast of 13 songs produced by longtime collaborator Kevin Churko (Ozzy Osbourne, Five Finger Death Punch, Shania Twain, Papa Roach), plus Kile Odell (Nita Strauss, David Draiman), and Andrew Baylis (Jelly Roll, Brantley Gilbert). The album comes as a follow-up to CORY’s successful debut, WHO I AM, which included the hit single “Outlaws & Outsiders.” The song made history as the first-ever Top 10 rock radio-charting single from a Canadian country act and over 230 million global streams to date. The single received Platinum certification in Canada and Gold in the U.S.
SORRY FOR NOTHING’s tracks range from Haggard-like country and virtual bluegrass to straight-up arena anthems and almost Pantera-like hard metal as well as mashing both styles in a single song. Guest appearances include Sully Erna of Godsmack, Travis Tritt and Mick Mars on the Top 20 Active Rock radio-charting single “(Make My) Country Rock” and DL of Bad Wolves on “Guilty.”
When Taylor Swift released 1989 in 2014, she embraced a dazzling new pop sound, rewrote her musical story, and welcomed fans into a neon-lit world of heartbreak, confidence, and glitter. From London rainstorms to retro drum machines, this album holds more surprises than meet the ear. Here are five delightful facts about 1989 that make the experience even more magical.
1. The Polaroids were personal pop artifacts. Every CD of 1989 included a set of 13 instant-style photos chosen from a collection of 65. These weren’t stock images—they were moody, handwritten snapshots of Taylor’s life, complete with lyrics scribbled at the bottom. The photos showed her walking the streets of New York, lounging in the studio, or just looking pensive in perfect lighting. Fans traded them, collected them, and treated them like golden tickets to the 1989 universe.
2. Ryan Tedder got a voice memo invitation. Taylor sent Ryan Tedder a voice memo with melodies and lyrics for “I Know Places,” describing the exact mood and structure she wanted. When they met, it took just one day to finish the track. It was a fast-paced burst of creative magic, proving how clearly Taylor envisioned the album’s sound. Their collaboration turned a rough idea into a sleek, shadowy anthem.
3. “Clean” came from a London breakthrough. After spending two weeks in London, Taylor realized she had moved on from a past relationship. That feeling became “Clean,” a song she brought to life with Imogen Heap in one day at Heap’s studio. With its gentle instrumentation and lyrics about emotional clarity, the track closes the album with a quiet sense of strength. It’s healing in musical form, a perfect final chapter.
4. “I Wish You Would” started with a snare sample. Jack Antonoff sampled the snare drums from Fine Young Cannibals’ “She Drives Me Crazy” and played it for Taylor on his phone. She immediately loved it. That beat became the heartbeat of “I Wish You Would,” layered with electric guitars and swirling synths. The song merges ‘80s edge with heartfelt longing, crafted with one borrowed beat and a whole lot of pop flair.
5. “Shake It Off” includes trademarked Taylor-isms. In the middle of “Shake It Off,” Taylor tosses out the phrase “this sick beat”—and later had it trademarked, along with “Party like it’s 1989.” These lines became more than lyrics; they turned into cultural taglines. The song’s blend of sass, confidence, and legal savvy reflects Taylor’s playful command of her image and brand. Only she could turn a bridge lyric into intellectual property.
1989 is a pop time capsule, polished with care and packed with sonic sparkle. Behind every synth, beat, and hook is a story that adds color and depth to Taylor Swift’s joyful leap into pop legend status.
When diana arrived on May 22, 1980, it launched a new chapter in Diana Ross’s legendary career—fueled by confidence, creativity, and pure dancefloor magic. With production by Nile Rodgers and Bernard Edwards of Chic, the album radiates flair, empowerment, and groove from start to finish. From drag club inspiration to royal approval, here are five fabulous facts you might not know about this Motown masterpiece.
1. “I’m Coming Out” was inspired by drag queens and a late-night epiphany. At a New York club called The Gilded Grape, Nile Rodgers saw several drag queens dressed as Diana Ross. He immediately called Bernard Edwards and said, “Let’s write a song called ‘I’m Coming Out.’” The track became a joyful anthem for self-expression and identity. For Ross, it also reflected a powerful moment in her life as she stepped confidently into independence.
2. Diana wore supermodel Gia Carangi’s jeans on the album cover. The iconic cover photo, shot by Francesco Scavullo, captures Ross in a laid-back yet stylish pose. She borrowed a pair of jeans from fashion legend Gia Carangi, adding a cool, casual edge to the album’s visual. The handwritten lowercase “diana” completed the fresh new vibe that perfectly matched the music within.
3. Ross took creative control and remixed the entire album. After previewing the original version, Diana worked with Motown’s Russ Terrana to remix every track. She adjusted tempos, re-recorded vocals, and reshaped the sound into something bolder and more focused. The new version became the best-selling studio album of her career and gave her full ownership of her artistic direction.
4. “Upside Down” came straight from a heart-to-heart. Rodgers and Edwards spent days interviewing Ross before writing any songs. When she said she wanted to turn her life “upside down” and “have fun again,” they ran with it. That conversation turned into a chart-topping hit that moved people worldwide—and gave Ross one of the defining songs of her career.
5. A future king calls it one of his favorite songs. In 2025, King Charles III named “Upside Down” as one of his all-time favorite tracks during an Apple Music program. He shared that it was “absolutely impossible not to get up and dance when it was played.” Even royalty finds joy in the rhythm and voice of diana.
With Chic’s brilliance, Ross’s vision, and a legacy of joy, diana shines as a radiant statement of reinvention. Every track, every detail, and every beat carries the energy of an artist fully stepping into her power.
To reduce harm to the festival community the festival’s site safety and first aid teams want patrons to know there is a substance circulating on site that is causing an adverse reaction. Gel cap mushrooms should be avoided as they may also have an additive in them which can lead to fainting. Folks who have experienced this have been cared for by safety and first aid teams.
The festival cares about the health and safety of their patrons and have many systems and supports in place, and therefore invest heavily in safety initiatives. The website includes information and resources to encourage all participants who choose to use substances to practice harm reduction strategies to reduce the risks.
Matthew Kiichi Heafy, mastermind and frontman of the metal band Trivium (who are currently on their North American Tour with Bullet for My Valentine), unleashed an original 30-minute soundtrack for the crowd-funded slasher comic series True Believers, co-written by New York Times bestselling Bram Stoker Award-winner Stephen Graham Jones (The Only Good Indians, My Heart is a Chainsaw) and Denver Post bestselling writer Joshua Viola (Legacy of Kain: Soul Reaver, It Came from the Multiplex), with interior artwork by Ben Matsuya. The blood-soaked series features official cameos from horror and pop culture icons like Jamie Lee Curtis, R. L. Stine, Devon Sawa, GWAR, Matthew Kiichi Heafy, and more.
True Believers goes beyond the page, offering fans unique merch like latex masks, prop weapons, and soundtrack editions on vinyl, CD, and cassette, creating an immersive horror experience like no other. The score is available for pre-order from FiXT in partnership with Bit Bot Media, the new multi-media company from Klayton and Josh Viola. The full soundtrack released on April 24, 2025.
This beast of a score slams together Heafy’s skull-crushing guitar riffs and pummeling intensity with spine-chilling, synth-drenched vibes that scream John Carpenter’s horror legacy, where Halloween meets a mosh pit. This isn’t just a soundtrack, it’s a sonic bloodbath that proves Heafy’s a genre-smashing titan, fusing metal’s raw fury with the twisted pulse of graphic storytelling.
The soundtrack’s centerpiece, “Too Far Gone,” highlights Heafy’s intense vocals and guitar prowess, paying homage to classic horror cinema.
Matthew Kiichi Heafy is a Japanese-born American musician best known as the guitarist and lead vocalist for heavy metal band Trivium.
When Led Zeppelin III was released on October 5, 1970, it flipped the script on what a hard rock band could sound like. Sure, “Immigrant Song” still roared like thunder, but nestled between the riffs were acoustic guitars, mandolins, and songs that felt more campfire than coliseum. Behind its spinning volvelle cover and chart-topping success lies a story packed with creativity, wild recording methods, and a lot of heart. Here are five lesser-known facts about this landmark album.
1. The album was born in a cottage with no electricity or water. Robert Plant and Jimmy Page holed up in Bron-Yr-Aur, an 18th-century stone cottage in rural Wales, to decompress after relentless touring. With no power, no running water, and nothing but the landscape around them, they unplugged—literally and musically. This back-to-basics retreat inspired the acoustic direction of songs like “That’s the Way” and “Bron-Y-Aur Stomp,” bringing a whole new vibe to the band’s sound.
2. “Bron-Y-Aur Stomp” is actually about Robert Plant’s dog. That joyful foot-stomper of a track? It’s a tribute to Plant’s blue-eyed Merle named Strider—yes, named after Aragorn from The Lord of the Rings. The song captures the simple pleasure of roaming the countryside with your best four-legged friend, with Bonham on spoons and Jones on double bass adding to the down-home feel. At live shows, Plant would often end the song with a proud shout: “Strider!”
3. One of the intros was built from a happy accident. “Celebration Day” was supposed to open with a thunderous Bonham drum intro—until a studio engineer accidentally erased it. Rather than re-record it, the band seamlessly blended in a droning Moog synthesizer fade from the previous track, “Friends.” The result turned a technical mistake into a psychedelic bridge, showing Zeppelin could improvise magic just as well as they could plan it.
4. The spinning album cover is pure rock art wizardry. Designed by multimedia artist Zacron, the Led Zeppelin III cover featured a rotating cardboard disc (called a volvelle) with dozens of trippy images visible through holes in the outer sleeve. Page personally chose Zacron to create it, and the design delayed the album’s release because of its complexity. It’s one of the most iconic—and interactive—album packages of all time, showing Zeppelin’s commitment to music as full-on experience.
5. The bluesy “Since I’ve Been Loving You” was recorded almost live. This epic track was one of the first written for the album and captured in a near-live studio take. John Paul Jones played bass pedals and Hammond organ simultaneously, while Jimmy Page delivered a soaring solo in one powerful, emotional sweep. It became their definitive live blues number for years to come and remains a fan favorite for its raw, soul-deep intensity.
Led Zeppelin III might have surprised fans in 1970, but its blend of ferocity and folk has aged like the finest whiskey. From Welsh hillsides to pedal steel heartbreaks, it proved that Zeppelin could play anything they set their minds (and mandolins) to—and sound like legends doing it.
Steely Dan’s Gaucho, released in November 1980, shimmered with immaculate production, sly lyrics, and rhythms as smooth as a jazz cocktail at sunset. The album arrived after Aja with high expectations and delivered seven polished tracks that leaned deep into atmosphere and sonic precision. But behind all that polish? Chaos, lawsuits, lost tapes, and one very special drum machine. Here are five little-known facts that bring the making of Gaucho into focus—just the way Becker and Fagen liked it.
1. A drum machine named Wendel earned a platinum record. When Becker and Fagen couldn’t get their ideal drum sound, their engineer Roger Nichols built one. The result was Wendel, a custom digital drum machine that made perfect beats. They used Wendel on tracks like “Hey Nineteen,” “Glamour Profession,” and “My Rival.” It was so crucial to the sound of Gaucho that when the album went platinum, Wendel got its own plaque. Steely Dan’s most dependable drummer turned out to be a box of circuits.
2. Mark Knopfler plays on “Time Out of Mind”… but blink and you might miss it. The Dire Straits frontman was brought in to solo on the track and worked on it until 4 a.m. The experience was so intense he compared it to swimming with lead weights. He thought the sessions went poorly, but Becker and Fagen loved his tone. His part made it onto the final version—though only a brief snippet can be clearly heard. Still, it’s a Steely Dan rite of passage: great musicians giving their all for a few perfect bars.
3. The fadeout of “Babylon Sisters” took over 55 mixes. Becker, Fagen, producer Gary Katz, and engineer Roger Nichols mixed the 50-second fade dozens of times. The team pushed the limits of analog tape just to perfect how the song drifted away. Even by Steely Dan standards, this became a studio obsession. The result feels effortless, but it came from relentless tweaking. This is where studio perfectionism becomes performance art.
4. A near-finished track was erased—and replaced with a leftover from Aja. “The Second Arrangement” was a standout track until an assistant accidentally wiped most of the tape. The band tried to re-record it, but the moment had passed. So they reached back and dusted off “Third World Man,” recorded during The Royal Scam sessions. That’s how guitarist Larry Carlton ended up on Gaucho without even realizing it. Only in the world of Steely Dan does an erased song lead to a cult classic.
5. The album cover came from a tango sculpture in Buenos Aires. The striking cover of Gaucho features two dancers locked in motion, taken from a low-relief sculpture by Argentine artist Israel Hoffmann. The piece, titled Guardia Vieja – Tango, lives in a street museum in the vibrant La Boca neighborhood of Buenos Aires. Steely Dan chose the image for its elegant, mysterious feel—perfectly matching the album’s polished, jazz-tinged atmosphere. The figures seem frozen mid-dance, much like the songs themselves: intricate, stylish, and full of stories beneath the surface. It’s a visual cue that this album moves to its own rhythm.
Gaucho may glide like a luxury yacht on calm waters, but under the surface, it’s full of stories. Drum machines earned plaques, solos hid in plain sight, and a single fadeout took dozens of tries. Steely Dan created more than an album—they built a legend, one perfect take at a time.
British blues-rock artist Joanne Shaw Taylor returns with a new take on a fan favorite today, releasing “Hold Of My Heart (Acoustic)” – a raw, rootsy reinterpretation of the song that originally opened her acclaimed Black & Gold album and a rare glimpse of her on acoustic guitar, out now via Journeyman Records.
Driven by a minor-key progression and slow-burning groove, the original version of “Hold Of My Heart” set the tone for the album’s emotional honesty and musical range. Now, with the acoustic version, Joanne lets the song breathe in its purest form – showcasing the lyrics and melody as they were first written.
“I thought it would be interesting for fans to hear the songs the way they started – stripped back and personal,” Joanne shares. “This version of ‘Hold Of My Heart’ captures the spirit it had when it was just me and a guitar figuring out what I wanted to say.”
The track’s confessional lyrics and vulnerable tone – “Every fire gets its start from a little old spark / And right now you got a good old hold of my heart” – resonate even more deeply in this acoustic arrangement, highlighting Joanne’s growth as both a songwriter and storyteller.
The release of “Hold Of My Heart (Acoustic)” builds on the momentum of Black & Gold, which marked Joanne’s most expansive and personal album to date. Produced by Kevin Shirley (Black Crowes, Journey, Aerosmith), the record blends blues, soul, and cinematic pop with standout singles like the breezy “Summer Love,” the emotionally charged “Look What I’ve Become,” the high-octane “Hell Of A Good Time,” and the introspective “Grayer Shade Of Blue” and “I Gotta Stop Letting You Let Me Down.”
Following a sold-out U.S. spring tour, Joanne is gearing up for a packed summer of headline shows and festival appearances across North America and Europe, including performances. She’ll return to the U.S. this fall for a coast-to-coast headline tour before heading back to Europe in early 2026 for a newly announced run of shows.
2025 Summer Tour Dates & Festivals July 12 – Salamanca, Spain – Festival Blues Béjar July 18 – Kent, UK – Maid Of Stone Festival August 5 – Ridgefield, CT – Ridgefield Playhouse (rescheduled) August 6 – Riverhead, NY – The Suffolk August 8 – Salisbury, MA – Blue Ocean Music Hall August 9 – Holyoke, MA – De La Luz Soundstage August 10 – North Truro, MA – Payomet Performing Arts Center August 12 – Arden, DE – Arden Concert Gild August 14 – Newton, NJ – The Newton Theatre August 15 – Bethlehem, PA – Summer Series Festival August 16 – Norwich, NY – Chenango Blues Festival
2025 Fall U.S. Tour October 17 – Bonita Springs, FL – Arts Bonita Performing Arts Center October 18 – Clearwater, FL – Bilheimer Capitol Theatre October 21 – Asheville, NC – Diana Wortham Theatre October 22 – Raleigh, NC – Fletcher Opera Theater October 24 – Wilmington, NC – Kenan Auditorium October 25 – Savannah, GA – District Live October 27 – Atlanta, GA – Variety Playhouse October 28 – Hopewell, VA – The Beacon Theatre October 31 – Old Saybrook, CT – The Kate November 1 – Nashua, NH – Nashua Center for the Arts November 3 – York, PA – Appell Center for the Performing Arts November 4 – Cleveland, OH – TempleLive @ Cleveland Masonic November 7 – West Bend, WI – The Bend Theater November 8 – Viroqua, WI – Historic Temple Theatre November 9 – Minneapolis, MN – The Parkway Theater November 11 – Madison, WI – Atwood Music Hall November 13 – Bloomington, IL – The Castle Theatre November 14 – St. Louis – Delmar Hall November 16 – Wichita, KS – The Cotillion
Black & Gold by Joanne Shaw Taylor 1. Hold Of My Heart 2. All The Things I Said 3. Black & Gold 4. Who’s Gonna Love Me Now? 5. I Gotta Stop Letting You Let Me Down 6. Summer Love 7. Grayer Shade Of Blue 8. Hell Of A Good Time 9. Look What I’ve Become 10. What Are You Gonna Do Now?
Larry Keel and Jon Stickley have been called two of the finest flatpicking guitarists of this generation, and with this act, the two celebrate the pure joy of playing acoustic guitar music as a duo, effortlessly complementing each other’s rhythm and lead playing while never losing their own individual personalities. At the core of the Keel Stickley duo is an intimate conversation between two guitars and two voices in dynamic harmony, done with superior skill and taste, with more than a hint of explosive late-night jam vibe. They independently release their eponymous debut EP on September 5.
Keel says, “I’ve wanted this project to happen for so long! Jon and I have been on many of the same bills all over the place for so many years, teaming up in jams, sit-ins, and campfire pickings, and yet we’ve never gotten our fill of playing together as guitar players—which we both seem to crave. So, now we’ve put this guitar duo act in motion, playing shows and making a record, and it feels great getting to scratch that itch.”
“The music flows out so naturally when we jam together,” says Stickley. “From the moment I sat down and started trying to flatpick the guitar, Larry has been one of my biggest inspirations. We’ve become friends over the past 20 years, and I’m thrilled and honored to have this opportunity to collaborate on a deeper level. As soon as Larry and I started playing shows as a duo, we knew it was something special, and we started talking about recording. We have both worked so hard to follow our own unique paths and create our own original styles, but this project has given us a chance to get back to our roots in the style of Norman Blake and Tony Rice, Doc and Merle Watson, and the Monroe Brothers.”
With bold acoustic guitar music, the 5-track EP includes three lyrical tracks—two written by Keel and a cover of “Sailor Suit” written in the 1990s by Acoustic Syndicate’s Steve McMurry—along with two cosmic instrumentals written by Stickley. The duo wanted to really challenge themselves and see how these original tunes would come out with just the two-guitar treatment, resulting in a very progressive collection.
Larry Keel and Jon Stickley opens with “Future Ghost,” an instrumental track with a shredding melody that juxtaposes their individual styles, allowing them to play off of each other in a manner that Stickley calls “very freeing and exhilarating.” He continues, “I wrote this song shortly after becoming a dad. I was trying to process the enormous weight of responsibility and reflections of my own mortality while in the depths of the joy and chaos of living with a newborn. It’s a somewhat tense composition, but the overall mood is hopeful.”
Stickley takes lead vocals on “Sailor Suit.” Keel says, “Jon’s voice is full of purity and abandon, capturing the spirit of adventure and imagination that Steve wove into the story of his boyhood daydreams as a sailor on the high seas. And I love the big, open, syncopated rhythm of the song.” Stickley says, “Acoustic Syndicate has been one of my favorite bands since I heard them in high school, and over the years we’ve become good friends. Larry and the McMurrys have always been close… I thought it would be very full circle to record this song that I’ve always loved so much.”
Reflecting on and inspired by the route taken long ago by settlers looking to find their place in the new American West, the Keel classic, “Pioneers,” was written while on a long tour (mostly camping and the occasional mom-and-pop motels) in the late 90s along the 2000-mile stretch of the Oregon Trail.
Stickley wrote the elaborately laid-back and lively “Take the Air” as he pondered the melodic inspiration from David Grisman and Tony Rice while exploring an odd time signature (7/4). Written around a riff that he kept coming back to during the pandemic, Stickley says, “It always helped me relax and get my head into a more positive space.”
With upbeat confidence mixed with deep melancholy and a spacey outro, “Starborn” is a tribute to and release of an extraordinary soul into the universe. It sounds like classic Keel. Keel says, “It’s about the performing life of a very dear friend and groundbreaking musical artist—Jeff Austin—who inspired me and countless other people but who ended by taking his own life. The shock of losing him in such a devastating way brought the importance of mental health into sharp focus for me. I wrote this song in tribute to his amazingly bright and engaging outward persona and also to his broken inner spirit whose cries for help we never heard. I hope my sentiments can help him in his journey ever after. Rest in peace, friend.”
Keel and Stickley have been mainstays within the bluegrass, Americana, and jamband festival circuits for years, sharing stages and late-night jams at festivals like Strings and Sol, Jam Cruise, DelFest, Hulaween, Suwannee Spring Reunion and Roots Revival, Hoxeyville, The Bender Jamboree, WinterWonderGrass, and Billy String Renewal, among others.
Larry Keel and Jon Stickley Track Listing 1.) Future Ghost (2:34) 2.) Sailor Suit (4:07) 3.) Pioneers (3:24) 4.) Take the Air (2:56) 5.) Starborn (4:03)
Tedeschi Trucks Band (TTB), the GRAMMY Award-winning band led by the dynamic duo of Susan Tedeschi and Derek Trucks, has announced the official release of Mad Dogs & Englishmen Revisited (LIVE AT LOCKN’) with Leon Russell. Marking 10 years since the iconic tribute performance at the Virginia-based festival, Tedeschi Trucks Band and Leon Russell Present: Mad Dogs & Englishmen Revisited (LIVE AT LOCKN’) will be made available on global streaming platforms, CD, and vinyl on Friday, September 12th via Fantasy Records for the first time ever. TTB has also released the first single off the forthcoming collection with the Joe Cocker classic “The Letter” featuring Tedeschi on lead vocals.
“These were very special days that we were able to spend with Leon and the Mad Dogs,” shares Trucks. “There was a real sense of joy, magic and gratitude in the air from the moment everyone showed up at the first rehearsal and it just kept getting stronger, culminating in this incredible set. You could feel that this was one of those shows that you will be thinking about for the rest of your life. I feel very lucky to have been a part of this. What an honor to share the stage and music with Leon and all of those incredible musicians and people.”
“Having the opportunity to work with Leon Russell and the cast of Mad Dogs & Englishmen was a dream. I am still pinching myself over the entire experience,” adds Tedeschi. “The LOCKN’ Music Festival has done a tremendous job creating so many wonderful music collaborations for us. This was one for the ages. The audience was amazing and the performers and the music were all at the highest level. This is a memory I will always cherish.”
Mad Dogs & Englishmen Revisited (LIVE AT LOCKN’) is a vibrant tribute to one of the most iconic live rock collaborations in music history. Originally led by Joe Cocker and the legendary keyboardist and bandleader Leon Russell in 1970, Mad Dogs & Englishmen was a raucous, soulful tour that brought together a massive ensemble of musicians. In September 2015, Tedeschi Trucks Band – helmed by guitar virtuoso Derek Trucks and powerhouse vocalist Susan Tedeschi – revived this landmark event, infusing it with their own blend of Southern soul, blues, and rock.
The historic, star-studded tribute concert took place at the LOCKN’ Festival 45 years after the original tour. That night, TTB’s 12-piece ensemble and Russell welcomed original Mad Dogs members, such as Rita Coolidge, Claudia Lennear, and Chris Stainton, along with a diverse group of special guests including Chris Robinson of The Black Crowes, Warren Haynes, Anders Osborne, and Dave Mason. The stage often swelled to over 20 musicians, echoing the original tour’s grand, communal spirit. The setlist included memorable performances of such hits as “Feelin’ Alright,” “The Weight,” “She Came In Through The Bathroom Window,” “Delta Lady,” “Cry Me a River” and “With A Little Help From My Friends.” Tedeschi Trucks Band, known for their dynamic interplay and emotional depth, breathe fresh life into these classic songs. Tedeschi’s vocals blend beautifully with the robust horn section and gospel-inspired backing vocals, while Trucks channels the soulful fire of the original arrangements through his slide guitar, adding his signature fluidity and emotion. More than just nostalgia, TTB and Leon Russell’s Mad Dogs & Englishmen set at LOCKN’ shows how timeless this communal approach to music-making still is – vibrant, necessary, and alive. Full track listing for Tedeschi Trucks Band and Leon Russell Present: Mad Dogs & Englishmen Revisited (LIVE AT LOCKN’) below.
Mad Dogs & Englishmen Revisited (LIVE AT LOCKN’) serves as the audio companion to TTB’s documentary Learning to Live Together: The Return of Mad Dogs & Englishmen (2021). The film, a unique retelling of the “Mad Dogs and Englishmen” tour as seen through the lens of Tedeschi Trucks Band, blends archival footage with new interviews and performance and rehearsal footage from the LOCKN’ tribute set. On July 28th, TTB will host a special screening of Learning to Live Together at The Church Studio in Tulsa. The sold-out, intimate event at the historic studio, founded by the late Leon Russell, will also feature members of TTB and the team behind the making of the film, including director and producer Jesse Lauter, participating in a special Q&A.
Tedeschi Trucks Band will resume their Live in ’25 Tour on July 29th in Tulsa and then head to the famed Red Rocks Amphitheatre for two nights on August 1st and 2nd. The band’s expansive North American outing, produced by Live Nation, will continue through the summer and fall stopping in Bend, Berkeley, Los Angeles (August 13th at The Greek Theatre), Phoenix, Indianapolis, St. Louis, Cincinnati, Toronto, Boston, Chicago, Detroit, Bridgeport, Nashville, Raleigh, Charlotte, Richmond, and many more, before wrapping October 25th in St. Augustine, Florida. Select dates include co-headlining shows with Whiskey Myers in August and Gov’t Mule in September and October as well as special guests such as Steve Winwood and Little Feat in various cities. See below for all upcoming TTB tour dates. Visit https://www.tedeschitrucksband.com/tour for more details and to purchase tickets.
Tedeschi Trucks Band and Leon Russell Present: Mad Dogs & Englishmen Revisited (LIVE AT LOCKN’) Track Listing:
1. The Letter – ft. Susan Tedeschi
2. Darling Be Home Soon – ft. Susan Tedeschi & Doyle Bramhall II
3. Dixie Lullaby – ft. Doyle Bramhall II
4. Sticks and Stones – ft. Chris Robinson
5. Girl From the North Country – ft. Claudia Lennear
6. Let’s Go Get Stoned – ft. Susan Tedeschi
7. Feelin’ Alright – ft. Dave Mason & Anders Osborne
8. She Came in Through the Bathroom Window – ft. Warren Haynes & Anders Osborne
9. Bird On The Wire – ft. Rita Coolidge & Doyle Bramhall II
10. The Weight – ft. Rita Coolidge, Pamela Polland, Susan Tedeschi, Claudia Lennear & Doyle Bramhall II
11. Delta Lady – ft. John Bell
12. Space Captain – ft. Susan Tedeschi & Chris Robinson
13. With A Little Help From My Friends – ft. Chris Robinson, Susan Tedeschi, Dave Mason & Doyle Bramhall II
