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In-House vs Outsourced Development: A Cost Comparison That Actually Adds Up

Eric Alper
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By Mitch Rice

Today, software development is still the basis for project kick-offs across many industries. Yet, it requires a respective strategy on how to build your product – the decision which can be as vital as what you’re building. For both startups and established companies, the choice between in-house vs outsourced development remains a sharp one. With the need to implement cutting-edge products in an accelerated and cost-effective manner, entrepreneurs are reconsidering the way to invest their development budgets. Is hiring an in-house team worth the long-term commitment? Or does outsourcing deliver the flexibility and capacity needed to scale smartly? It all comes down to cost, and in this post, we’ll define what’s genuinely behind the numbers.

Why the in-house vs outsourced debate is still relevant in 2025

The development niche changes dynamically, but the core challenge is up for discussion: finding a harmony between control, flexibility, depth, speed, cost, and capability. Needless to say, new platforms and remote work have blurred some lines, but the option of in-house and outsourced software development still depends on the business concept and financial opportunities. As of today, more organizations seeking to streamline operational spending have made the cost factor take center stage again. The two models don’t relate only to rates or salaries – we should look deeper, at onboarding time, turnover, overhead, and scalability.

Cost Breakdown: In-House

Employing an in-house development team may seem like a safer and more efficient option at first glance, but upon closer examination, this strategy incurs a broad range of additional expenditures that increase the final budget.

Salaries

Proficient in-house developers demand competitive compensation. In the US, a mid-level software engineer can expect to earn $120,000 – $150,000 annually, excluding bonuses and equity. Hiring multiple specialists, such as backend, frontend, QA, and DevOps, can raise the needed budget pretty fast. Due to the tech talent shortages in 2025, salaries are high, especially in competitive markets.

Benefits

Aside from base pay, employers are responsible for a variety of perks. Health insurance, paid leave, 401(k) contributions, and other perks add up. On average, benefits account for 20–30% of total compensation, increasing a $120K salary to an outgoing of $156K – $ 170 K.

Equipment

For efficient work, your internal team requires not only good hardware but also software. There are subscriptions, cybersecurity tools, software licenses, and infrastructure maintenance. Thus, setting up a productive development environment can cost thousands per developer annually.

Onboarding

Successful hiring isn’t instant and requires a lot of time spent on interviews. Recruitment agency fees, background checks, training programs, and the onboarding process can delay development timelines by weeks or months. Moreover, every new hire adds to your HR and administrative overhead.

Cost Breakdown: Outsourcing

Outsourcing development has become a cost-effective approach for companies seeking rapid progress without long-term commitments. To get a clearer picture of potential expenses, you can use an outsourcing cost calculator – it provides an initial estimate tailored to your requirements and project specifics.

Hourly rates

Outsourcing rates vary by region and expertise. While US-based agencies may charge $100 – $200 per hour, top-tier developers in Eastern Europe, South America, or Southeast Asia often provide the same quality at $40 – $80 per hour. The geographic pricing difference allows businesses to achieve more value and top-quality service within the same budget.

Engagement models

The cost of outsourcing vs in-house is more flexible. This is due to the fact that outsourcing partners offer a range of engagement models (fixed-price, time-and-materials, or dedicated teams), allowing you to choose the setup that fits your budget and project aims. In contrast to in-house hiring, you are charged for what’s exactly done, with no need to pay for downtime or lengthy employment cycles.

Flexibility

Outsourcing lets you scale your team up or down without legal or contractual headaches. For instance, you can hire a UI/UX expert for just three weeks or an entire backend team for a six-month sprint. With outsourcing, you pay only for what you use, which keeps your development cost-efficient and project-focused.

Hidden Costs to Consider

Even the most transparent pricing models can conceal the cost of outsourcing vs in-house if you’re not scrutinizing them closely. The hidden costs on both sides can help you make an informed decision efficiently.

Communication overhead

Managing an external team can involve additional steps to ensure effective coordination and a cohesive partnership. No synchronization in expectations or vague documentation can require rework in the future. However, in case you opt for mature outsourcing partners, they will handle this risk with structured communication workflows and dedicated project managers.

Time zone challenges

Working across time zones may be considered a barrier, but in practice, it can be turned into an advantage if implemented correctly and managed effectively. Here, the initial setup may require planning for handoffs and overlaps, but in the long run, asynchronous development can accelerate delivery cycles with the right processes in place.

Turnover

Employee churn affects both in-house and outsourced teams. However, in-house turnover tends to be more disruptive. When a key developer leaves, the hiring cycle starts over. Outsourcing partners can equip you with bench strength and replace or provide more resources with minimal delay.

Quality & Scalability Factors

Cost is only one of the core aspects you should consider. Another point to think over is the ability to deliver high-quality code and scale your team efficiently, which directly impacts your project’s success.

In-house teams often possess a deep understanding of the product and institutional knowledge, which can enhance quality within a long-term partnership. Nevertheless, scaling with too much speed can be a complicated task, specifically if you’re limited by local hiring pools or internal bandwidth. Outsourcing providers can rapidly deploy experienced developers across various tech stacks, an advantage during high-growth phases or when working with tight deadlines. Moreover, lots of trusted outsourcing firms ensure that tried-and-true development flow, QA practices, and DevOps capabilities are in place.

When one model may be better long term

The proper choice is all about catering to your business goals. In-house development may be better suited for companies with resilient, long-term product roadmaps and a need for tight integration between tech and business teams. Conversely, outsourcing is a solid fit in dynamic environments, concentrating on agility, accelerated time-to-market, and specialized skills without long-term engagement.

Case Scenarios

The right choice can be made when deeply analyzing the size, needs, and stage of your business.

  • Startups benefit from outsourcing during early product development, necessitating faster deployment and budget control. They can validate ideas, implement Minimum Viable Products (MVPs), and scale without the burden of permanent hires.
  • Scale-ups often adopt hybrid models, keeping a lean in-house core team while outsourcing specialized functions or overflow work. This approach gives the best of both worlds, providing continuity with flexibility.
  • Enterprises may keep strategic development in-house but outsource legacy maintenance, integrations, or experimental initiatives. For them, outsourcing is a tool for optimizing internal capacity and innovation cycles.

Conclusion

Choosing between in-house and outsourced development is a strategic decision that impacts the entire product flow.

When evaluating the cost options of in-house versus outsourcing, businesses must look for more than surface-level comparisons and account for rates, perks, onboarding, and hidden friction points. 

  • For startups seeking fast delivery and predictable costs, outsourcing is often the smarter play. 
  • For organizations that prioritize deep product knowledge and control, in-house development may be worth the investment. 

In many cases, a hybrid model can arm your organizations with the maximum value from both of these models. Considering all of these factors, the right approach is the one that keeps your roadmap progress seamless while optimizing your financial resource allocation.

Data and information are provided for informational purposes only, and are not intended for investment or other purposes.

5 Surprising Facts About Madonna’s ‘Like A Prayer’

Eric Alper
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5 Surprising Facts About Madonna’s ‘Like A Prayer’

When Like a Prayer dropped on March 21, 1989, Madonna took a rosary, a Stratocaster, and a bottle of patchouli and made one of the boldest albums in pop history. Gospel choirs met sexual innuendo, and a Pepsi deal met the Vatican’s outrage. This album brought glitter to grief, prayer to the dancefloor, and turned spiritual struggle into stadium-shaking pop. These five facts tell the full story—holy, horny, and wholly unforgettable.

1. Prince Played on the Album in All His Purple Glory—No Credit Needed
Prince joined Madonna for “Love Song,” sent guitar magic for “Like a Prayer” and “Act of Contrition,” and dropped funk into “Keep It Together.” He and Madonna exchanged tapes from Paisley Park to L.A. in a long-distance musical seduction. No drama, no headlines—just two icons creating at their own frequency. No liner note needed when the fingerprints are that purple.

2. The Album Came With Patchouli Oil and a Message About Condoms
Every vinyl copy of Like a Prayer came scented with patchouli—because nothing says ’60s Catholic rebellion like incense from your local headshop. Alongside the spiritual perfume came an AIDS awareness insert about compassion, protection, and staying informed. This marked one of the first times a mainstream artist put safe sex literature in the hands of fans. Church, meet club. Club, meet conscience.

3. One Lyric Caused a Panic—and Madonna Kept It With a Smile
The lyric “I’m down on my knees, I wanna take you there” had producer Patrick Leonard sweating harder than a Sunday school teacher. He flagged it as too provocative. Madonna held firm. The lyric stayed, the controversy grew, and the song turned into a cultural explosion. No edits. No apologies. Just art meeting nerve.

4. The Video Sparked Global Outrage and Artistic Triumph
The “Like a Prayer” video featured Madonna with stigmata, a Black saint, and burning crosses—all set in a dreamlike church. Pepsi aired their commercial using the song, and within days, pulled the plug after protests. Madonna kept her $5 million, turned the controversy into iconography, and ignited a pop firestorm. MTV looped it, critics debated it, and fans felt something holy rise from the static.

5. The Choir Brought the Heavens To The Dancefloor 
Andraé Crouch and his gospel choir entered the studio after reading the lyrics line by line. Their harmonies brought uplift, spirit, and full-body chills to “Like a Prayer.” Meanwhile, Madonna recorded vocals through raw emotion and spiritual weight. Her voice cracked. The session became a sacred space where pop met prayer and every take held both joy and release.

Like a Prayer showed how pop speaks the language of faith, sex, grief, and growth—sometimes in the same verse. Madonna made an album where every track lives between confession and celebration. She used music to face her ghosts, question her church, and lift the roof with power chords and choirs. This wasn’t an ‘era’ like it would be called today—it’s a history-making gospel that still sings.

Vincent Mason Delivers Grit and Heart With New Single “Painkiller”

Eric Alper
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Vincent Mason Delivers Grit and Heart With New Single “Painkiller”

 

Rising Interscope/MCA Nashville/Music Soup songwriter and artist Vincent Mason strikes again with new song “Painkiller,” an electrifying, guitar-heavy track that blends high-energy country with lyrics about love and loneliness. Now available everywhere you stream and download music, “Painkiller” takes you on a journey of the perfect girl walking into your life and leaving a lasting impression when you need it most. Vincent co-wrote this track with hit makers Jessie Jo Dillon, Luke Laird, and Chase McDaniel. With a foot-stomping beat, soaring guitar riffs, and Mason’s unmistakable Southern drawl, the track captures the rush of new love and the unexpected way it can fix what’s broken.

“‘Painkiller’ is one of my favorite songs I’ve put out so far. I wrote this with one of my songwriting heroes, Luke Laird, and two of my favorite writers in town, Jessie Jo Dillon and Chase McDaniel,” shares Mason. “The record has a lot of different sides to it, and I’m excited to share this one first.”

This is the perfect follow-up to his recent releases this year, “Wish You Well” and “Waitin’ On You To Wear Off,” as it is the latest showcase of Mason’s unique ability to balance vulnerability and grit, delivering lyrics that hit home with a punch and a melody that sticks. “Painkiller” is proof that “the rising star keeps delivering hit after hit” (Country Now). His breakout single “Hell is a Dance Floor” racked up over 160 million streams and was just RIAA-certified Gold.

Mason has spent the majority of 2025 so far on his first headline tour, the Hell Is A Dance Floor Tour, which sold out during presales and added a second leg due to high demand. He continues on the road, joining Riley Green, Luke Bryan, Jordan Davis, and Parker McCollum as an opening act for select dates in 2025, along with performances at festivals nationwide.

5 Surprising Facts About Elvis Presley’s ‘From Elvis In Memphis’

Eric Alper
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5 Surprising Facts About Elvis Presley’s ‘From Elvis In Memphis’

When Elvis Presley strolled into American Sound Studio in 1969—velvet voice, rhinestone swagger, and a cold in tow—he didn’t want to cut same old another album. From Elvis in Memphis became the King’s rebirth, a gritty, gospel-tinged, soul-splashed comeback that shoved him out of the Hollywood soundtrack haze and back into the artistic ring. Critics now call it one of the greatest albums of all time—but let’s dive into five lesser-known gems buried in its glittering legacy.

1. Elvis Nearly Didn’t Record “In the Ghetto” Because It Was Too “Controversial”
Mac Davis’ “In the Ghetto” had been floating around the studio, full of social bite and poetic grit. Elvis initially hesitated—worried the subject matter might upset his audience. But when producer Chips Moman threatened to hand it over to Rosey Grier instead, and Elvis’s inner circle gave him a nudge, he laid it down in 23 takes. That haunting piano and Presley’s trembling sincerity? A turning point, they call it.

2. The Memphis Boys Brought Their A-Game, But Elvis Came With a Cold
The house band at American Sound—Reggie Young, Gene Chrisman, Bobby Emmons, and more—were red-hot hitmakers. But when Elvis showed up for the first session, he was congested and croaky. You can actually hear the roughness in his voice on “Long Black Limousine.” Instead of stopping the show, they leaned into it. That rasp became part of the album’s raw, soul-drenched magic. Who needs perfection when you’ve got authenticity?

3. RCA Wanted Control—Elvis and Moman Fought for Freedom
Presley was signed to RCA, a label that preferred its stars to record under its roof. But Elvis refused to go back to Studio B in Nashville. Instead, he teamed up with Moman, and when Hill & Range tried to muscle in on publishing rights, Moman told them to pack up and leave. Elvis backed him fully. For one of the only times in his career, Elvis recorded exactly what he wanted—with the people he trusted.

4. Elvis Played Piano and Guitar on the Album—And Even His Team Was Shocked
On tracks like “I’ll Hold You in My Heart” and “After Loving You,” Elvis was singing, sure, and he was on keys and guitar, shaping the emotional tone of each track. It’s easy to forget that he was more than a velvet crooner. This wasn’t a Hollywood set, this is where he belonged. It was Elvis, hands on the strings, heart on his sleeve, proving to the world (and maybe to himself) that he still had it.

5. The Album Nearly Didn’t Happen—Until a TV Special Changed Everything
Before Memphis, there was The ’68 Comeback Special, where Elvis ditched the formula and plugged back into his roots. Originally slated to sing Christmas carols, Elvis tore through “Trouble” and “Guitar Man” in leather and fire. That special’s success was the shove he needed. And with From Elvis in Memphis, he kept that promise—one soulful, sweaty track at a time.

From Elvis in Memphis sounded like he was a man breaking free from a system, reclaiming his voice, and putting Memphis soul on a pedestal next to rock and country. It birthed “Suspicious Minds,” “Kentucky Rain,” and the chilling echo of “In the Ghetto”—songs that sounded like truth, not showbiz. This album reminded us he’d never left.

Kenny Chesney’s Sphere Vegas Residency Launches With Immersive Spectacle, Surprise Duets, and Stadium-Sized Energy

Eric Alper
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Kenny Chesney’s Sphere Vegas Residency Launches With Immersive Spectacle, Surprise Duets, and Stadium-Sized Energy

They came in rhinestones, flip-flops, grass skirts, stilettos, Bermuda shorts, cowboy boots, Hawaiian shirts and a couple Low Key Bob Fan Club tees. Whatever the look, they all had the same mission: to see where Kenny Chesney was taking No Shoes Nation with his 2025 Vegas Sphere residency, his only live appearances this year.

Triumphantly taking the stage after a far-reaching DJ set by Brandi Cyrus, the East Tennessean kicked off with the longstanding classic “Beer In Mexico” as sugar skulls rained down and animated skulls danced and drank long neck cervezas from Sphere’s wraparound video wall. Between the rush of the band, the intensity of the visuals and the anticipation in the house, the energy onstage and in the room was palpable. But even more, the anticipation of the fans who’d been in line for several hours was met with an integrated experience of sonics, visuals, musicians and heart that met that built-up excitement straight on.

Whether it was the technicolor immersion of cell phones in an aquatic tank in “Welcome to the Fish Bowl,” a song Chesney wrote 15 years ago to take on the invasiveness of social media, the multi-dimensional midway carnival of “Til It’s Gone” or the almost overwhelming swirl of tiles featuring images from the “Noise” video, Chesney and the Revival met the moment – and the increased production values – with a real passion that saw an audience dancing and clapping with stadium-sized abandon.

“It’s overwhelming a little,” Chesney says, “beyond the visuals, which build and move, the fans are so close – even in the 400 section – that you’re consumed by all of it when you look up. But it makes you feel so alive to have everyone right there, rocking, singing and almost beyond being in the moment.”

When Kelsea Ballerini appeared on top of a small riser in a mirror sequined mini dress and high ponytail, it was clear this will be a residence of real surprises. Reaching out to his friend and “half of my hometown” partner, the pair blazed through an unplanned “She Thinks My Tractor’s Sexy,” as well as their No. 1 duet and Ballerini sitting in for Grace Potter on “You & Tequila.”

“We have the ability to add things in, change it up,” the artist who’s done surprise college bar tours, beach takeovers on the Alabama/Florida line, two dozen major stadiums a summer and three consecutive nights at Foxborough, Mass.’s Gillette Stadium says of the flexibility. “Even with this 4-D production, we can keep the spontaneity and in the moment magic that have made our shows a revival and right of summer for the last twenty years.”

The only country artist to be in Billboard’s Top 10 Touring Acts of the Last 25 Years for the last 15 years, Chesney joins the very select handful of cultural icons and Rock & Roll Hall of Fame inductees U2, (Grateful) Dead & Company and the Eagles, plus Phish for four very singular concerts to play the 17,600-seat spherical venue deploys next-generation technologies. The world’s highest resolution LED display wraps up, over and around the audience, creating a fully immersive visual environment.

Over a year in the making, Chesney and his team, along with experts from Sphere Studios’ advanced tech and creative teams, captured content, as well deployed cutting-edge animation techniques, to create a whole new experience in how the East Tennessee songwriter/superstar’s music is experienced. It all came together last night in Las Vegas where the crowd roared with delight, took over “American Kids” and “Anything But Mine” with a fervor that matched the largest stadium shows.

Drawing on songs never performed live, including the sweeping “One Lonely Island” and a mesmerizing “Seven Days,” the songs also took on an intimacy to match the moment. For everyone who’d traveled to the Nevada desert for the first time ever, not only were their expectations more than met, the window to what’s possible over the next several weeks has been opened. Get ready.

“We knew as we rehearsed in Sphere the last couple days this was going to be intense,” Chesney explains. “But nothing can prepare you for seeing No Shoes Nation flying through the underwater landscapes, coming over the top of pirate ships and being dropped into a pin ball machine. The looks of joy, awe and total wow on their faces did all of our hearts good.

“I can’t believe we have to wait until Saturday night to do it all over again.”

Limited tickets remain for the Sphere residency at KennyChesney.com with packages available via Vibee, the official VIP Concert & Hotel Package partner for Kenny Chesney’s Live at Sphere residency, at KennyChesney.Vibee.com. All Vibee packages offer guests a choice of premium tickets including Sandbar (general admission floor) or reserved seating, a collectable laminate and lanyard, access to the No Shoes Island VIP Pool Party, exclusive Kenny Chesney curated gift bag and early access to the Guitars, Tiki Bars and a Whole Lotta Love experience on show days for crowd-free shopping on exclusive merch items, and access to a dedicated shopping lane during public hours. Vibee Hotel Packages include a two-night stay at The Venetian Resort Las Vegas (The Venetian or The Palazzo) or Virgin Hotels Las Vegas.

Kenny Chesney Live at Sphere Las Vegas LIMITED TICKETS REMAIN
Saturday, May 24
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Friday, May 30
Saturday, May 31
Wednesday, June 4
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Saturday, June 7
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Chas Collins Unleashes Southern Rock Heat With New Single “She Gave Me That Look”

Eric Alper
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Chas Collins Unleashes Southern Rock Heat With New Single “She Gave Me That Look”

Florida-based country artist Chas Collins is back with a bold, groove-driven new single, “She Gave Me That Look,” released through 2911 Label Group / TLG / Virgin Music.

“She Gave Me That Look” captures that all-too-familiar lightning-strike moment when everything stops-the room, the noise, even time itself-and all you see is her. Built around a swampy Southern rock guitar riff and a chorus that goes straight for the gut, the song mixes gritty energy with smoldering tension.

“This song’s about that one glance that changes everything. No words, no warning-just a look that cuts through the noise,” says Collins. “Every guy’s been there at least once, and when it hits, it hits. I wanted this track to feel like that exact second.”

Written and recorded in Nashville with Collins at the helm, the single blends his signature blend of country soul and ’80s rock edge-backed by raw, emotional vocals that refuse to phone it in. The production is tight, the message is universal, and the sound is pure Chas.

With over 3,000 live shows played across 43 states, Chas Collins is no stranger to the stage-or the hustle. Known for powerhouse vocals and an unmistakable presence (he’s 6’6″ and commands every inch of the stage), he’s built a career from the ground up, earning fans one show at a time. Raised in Louisiana, he moved to Nashville after Hurricane Katrina wiped out everything he owned. After losing his mother, grandmother, and aunt in the span of four years, Collins channeled grief into grit-crafting songs rooted in resilience, love, and real life.

Now based in Tampa Bay, he continues to record in Music City while playing for audiences nationwide.

“She Gave Me That Look” follows a string of recent releases and sets the tone for what’s next-a season of new music that leans even harder into Collins’ fusion of heartland country and Southern rock heat.

 

James Bay Celebrates 10 Years of ‘Chaos And The Calm’ With Demos and Voice Finale Duet With Sheryl Crow

Eric Alper
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James Bay Celebrates 10 Years of ‘Chaos And The Calm’ With Demos and Voice Finale Duet With Sheryl Crow

Three-time Grammy Award-nominated and BRIT Award-winning multi-platinum singer, songwriter, and guitarist James Bay celebrates the tenth anniversary of his breakthrough 2014 full-length debut LP, Chaos And The Calm, with the release of Chaos And The Calm 10 Years, out now via Mercury Records.

Chaos And The Calm 10 Years notably boasts seven previously unreleased Original Session demos actually recorded at the onset of the album’s making back in 2014. These include initial unheard versions of the definitive singles “Let It Go (Original Session),” “Hold Back The River (Original Session),” and more. This cohort of never-before-heard material transports listeners back to the genesis of Bay’s first seminal body of work by showcasing the songs at their most nascent stages and capturing the magic of their creation in the process.

Earlier this week, Bay lit up the stage during the Season Finale of NBC’s The Voice with a seismic and showstopping rendition of his latest single “You And Me Time” alongside nine time GRAMMY Award-winning icon Sheryl Crow. It marked their first television performance of the song and quickly entered the Top 10 on iTunes following the broadcast.

Bay just concluded his sold-out Up All Night Tour across North America this Spring. He caps off this stateside run with a major spot on Boston Calling Festival in Boston on May 24th.

Chaos And The Calm initially arrived on March 23, 2015. After clinching No. 1 on the UK Albums Chart, it reached platinum status in the United States, while “Let It Go” received a seven-time platinum certification and “Hold Back The River” is now certified double platinum. In 2016, he garnered a Grammy Award nomination for Best New Artist, Chaos And The Calm received a nomination for Best Rock Album, and “Hold Back The River” notched a nomination for Best Rock Song. The record has generated billions of streams and established Bay as a global phenomenon.

This year, the Up All Night Tour marked his first run in support of his acclaimed fourth full-length album, Changes All The Time. Beyond bowing in the Top 5 of the UK Official Albums Chart, it has already eclipsed 60 million global streams and counting and incited widespread critical acclaim.

The lead single from the album, “Up All Night” with The Lumineers and Noah Kahan, catapulted to No. 1 on the Billboard Adult Alternative Airplay Chart as Bay’s first-ever radio No. 1 in the States. Bay recently released Changes All The Time (Deluxe) featuring four new singles including “You and Me Time” with Sheryl Crow and collaborations with Jon Batiste and Maggie Antone.

  1. Craving
  2. Hold Back The River
  3. Let It Go
  4. If You Ever Want To Be In Love
  5. Best Fake Smile
  6. When We Were On Fire
  7. Move Together
  8. Scars
  9. Collide
  10. Get Out While You Can
  11. Need The Sun To Break
  12. Incomplete
  13. Craving (Original Session) [Previously Unreleased]
  14. Hold Back The River (Original Session) [Previously Unreleased]
  15. Let It Go (Original Session) [Previously Unreleased]
  16. If You Ever Want To Be in Love (Original Session) [Previously Unreleased]
  17. Best Fake Smile (Original Session) [Previously Unreleased]
  18. When We Were On Fire (Original Session) [Previously Unreleased]
  19. Need The Sun To Break (Original Session) [Previously Unreleased]
  20. Move Together – The Dark of The Morning Version
  21. Need The Sun To Break – The Dark of The Morning Version
  22. When We Were On Fire – The Dark of The Morning Version
  23. Stealing Cars
  24. Clocks Go Forward
  25. Sparks
  26. Wait In Line
  27. Running
  28. Hear Your Heart
  29. Heavy Handed

5 Surprising Facts About The Stone Roses’ Debut Album

Eric Alper
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0
5 Surprising Facts About The Stone Roses’ Debut Album

When The Stone Roses dropped in 1989, it didn’t so much break the charts as it seeped into the bloodstream of a generation. At first, it was just a bit of noise from Manchester. Then it became the blueprint for Britpop, the crown jewel of the Madchester movement, and the reason why half of us thought flared jeans and maracas were the future of rock ‘n’ roll. Thirty-plus years on, it’s a stone-cold classic that made you believe in rock again.

1. John Leckie Had to Rehearse the Band Like They Were Sixth Formers in a Talent Show
Producer John Leckie didn’t just hit “record”—he practically taught them how to be a band in the studio. The demos were a mess. Tempos racing like they were being chased by Happy Mondays, vocals drenched in more reverb than a haunted church. So Leckie hit reset. He slowed them down, chopped the chaos into clean intros and outros, and helped craft what would become one of the slickest albums of the decade. A bit of tough love, but the sort of thing that turns raw genius into greatness—and probably why it still sounds mint on vinyl.

2. The End of “I Am the Resurrection” Was Supposed to Melt Your Face Off
Originally, the band wanted “I Am the Resurrection” to end with a monstrous wall of guitar feedback like they did live—a total noise freakout to leave your ears ringing and your pint sloshed. But Leckie thought that was, quote, “boring.” Instead, he steered them toward a dreamy, melodic outro. The result? An iconic, jangly psych jam that floats into the clouds instead of smashing the ceiling. It’s one of the boldest anti-climaxes in British music—and it works beautifully.

3. The Album Cover Was a Lemon-Soaked Molotov Cocktail
You’ve seen that iconic splatter painting on the cover, right? That Jackson Pollock-inspired blast of green and yellow? It’s called Bye Bye Badman, painted by guitarist John Squire, and it’s not just artsy nonsense. It references the 1968 Paris riots, where protestors hurled lemons to counteract tear gas. The fruit in the artwork? Literal visual anarchy. Squire even blended in the Giant’s Causeway from a band trip to Northern Ireland. Stick that on your coffee table and call it cultural subversion.

4. “I Wanna Be Adored” Was Basically a Musical Hex
With its slow build and ominous mantra, “I Wanna Be Adored” and the hypnotic bassline enters at 0:40 like a heartbeat, followed by guitars looping through a pentatonic trance. Brown repeats: “I don’t need to sell my soul… He’s already in me.” Moody, arrogant, transcendent. It sounds like a sermon and a threat rolled into one, and it introduced the world to a band who truly believed they were sent from the heavens… or at least from the Haçienda.

5. The Band Nearly Tore Each Other Apart Over the Final Mix
You’d think after crafting an album that would eventually sell 4 million copies, they’d toast each other with champagne. Nope. Ian Brown and John Squire hated the final mix. They wanted the guitars louder, the bass grittier, the drums punching harder. Apparently, they’d been blasting Public Enemy in the studio and wanted the record to hit with the same ferocity. Leckie held the line, kept the balance, and we ended up with one of the most delicately explosive albums of all time.

The Stone Roses was a time bomb disguised as a groove. It took punk, pop, acid house, ego, attitude, and tambourines, and threw it all in a blender with some lemon juice. It was weird, brilliant, self-important, and completely necessary.

Now go dust off that record, blast “She Bangs the Drums,” and remind yourself what it felt like when music was more than algorithm fodder—it was rebellion in a parka.

See you at Spike Island 2.0.

Burna Boy and Travis Scott Unleash Benny Boom–Directed “TaTaTa” Ahead of New Album

Eric Alper
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Burna Boy and Travis Scott Unleash Benny Boom–Directed “TaTaTa” Ahead of New Album

GRAMMY Award-winning global icon Burna Boy joins forces with diamond-certified, 10x GRAMMY Award-nominated artist Travis Scott in the exhilarating music video for their collaborative single “TaTaTa” – directed by award-winning filmmaker Benny Boom.

Produced by hitmaking Nigerian-born artist/producer Chillz Chilleaux, “TaTaTa” continues the countdown to Burna Boy’s eagerly awaited eighth studio album, No Sign Of Weakness, which arrives on July 10 via Spaceship/Bad Habit/Atlantic Records. Once again showcasing Burna Boy’s larger-than-life charisma and unmistakable fusion of global influences with melodic pop sensibility, the highly anticipated collection has already earned critical applause for recently released tracks including the romantic, reggae-favored “Sweet Love,” the anthemic banger, “Update,” the triumphant fan-favorite, “Bundle By Bundle” and the newly released “TaTaTa” featuring Travis Scott.

Burna Boy – who rocked the 2025 Met Gala with a regal look hailed by VOGUE – is among the superstars contributing exclusive tracks to F1THE ALBUM, Atlantic Records’ supercharged and star-studded musical companion to Apple Original Films’ high-octane, action-packed film F1 THE MOVIE, both arriving everywhere on Friday, June 27.

What’s more, Burna Boy recently joined French-Haitian singer Joe Dwèt File for “4 Kampe II,” an explosive remix of the viral hit, “4 Kampe,” that fuses Afrobeats and Haitian kompa into a cross-cultural anthem that has fast proven a sensation with over 23M worldwide streams and counting.

This spring saw Burna become the first-ever cover star of Billboard France, coinciding with his sold-out show at the Stade de France – making history as the first African artist to headline the iconic venue. Next up are a pair of epic German stadium shows set for Berlin’s Waldbuhne (July 5) and Monchengladbach’s SparkassenPark (July 6), followed by a very special performance at the 20th anniversary edition of the famed Wireless Festival in London’s Finsbury Park (July 13).

Dasha Teams With David Guetta for High-Energy “Not At This Party” Remix

Eric Alper
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Dasha Teams With David Guetta for High-Energy “Not At This Party” Remix

Following up an electric performance on The Tonight Show Starring Jimmy Fallon, RIAA 40x Platinum-certified pop-country sensation Dasha turns up the heat and kickstarts summer with a brand new David Guetta Remix of her rapidly rising single “Not At This Party” out now via Warner Records. It marks her first collaboration with the two-time GRAMMY Award-winning superstar artist, producer, and DJ.

Guetta adds an entirely new dimension to “Not At This Party.” The fusion of his top-tier production and Dasha’s powerhouse vocals is a perfect storm for the dancefloor. Bursting with energy, the tempo surges forward with an irresistible beat, electrified by neon synths and a slick, pulsing bassline. With every clap, the hook lands even harder. This remix is tailor-made to light up clubs, pool parties, and festivals this summer, while still preserving the original’s signature grit and bold spirit.

This is Dasha like you’ve never heard her before! In a superstar-making turn of events, she recently lit up the Mane Stage at Stagecoach Festival, receiving unanimous acclaim and making headlines in the process. Blown away, GLAMOUR declared, “Her childlike excitement was contagious, the ecstasy of a performer finding her audience, and the crowd roared.” Echoing this enthusiasm, PAPER proclaimed, “The rising country star made a big splash at Stagecoach,” going on to affirm, “Like previous performances, Dasha and her dancers captivated the audience of old and new fans alike.” Beyond recent interviews with Variety, The Hollywood Reporter, People, and more, she spoke to Billboard about the performance on the ACM Awards red carpet.

In 2024, the singer landed coveted spots at country music meccas, Stagecoach, Austin City Limits, CMT Awards and CMA Fest. Her year didn’t stop there, though. She sold-out her first global headlining tour, Dashville USA, and performed on two of the biggest televised broadcasts of the year – Macy’s Thanksgiving Day Parade and Dick Clark’s Rockin’ New Year’s Eve. “Austin (Boots Stopped Workin’)” went on to become one of the most-streamed country songs in 2024 and won the People’s Choice Country Award for Female Song of the Year.

Next up, she embarks on tour with Thomas Rhett and Kane Brown with several international dates, including Capital Summertime Ball at Wembley Stadium. A full routing can be found below.

Dasha Tour Dates:
05.25.25 — Norfolk, VA — Patriotic Festival 2025
06.01.25 — Panama City, FL — Gulf Coast Jam
06.02.25 — Nashville, TN — GLAAD’s Love & Acceptance
06.03.25 — Nashville, TN — 103.3 Country Kickoff Concert 2025
06.05.25 — Nashville, TN — CMA Fest Riverfront Stage
06.06.25 — Nashville, TN — Country Music Hall of Fame
06.15.25 — Wembley, ENG — Capital Summertime Ball
06.21.25 — Columbus, OH — Buckeye Country Superfest 2025
06.26.25 — Odense, DK — Tinderbox 2025
06.28.25 — Stuttgart, DE — Im Wizemann
06.29.25 — St. Gallen, CH — OpenAir St. Gallen Festival at Sittertobel
07.02.25 — Paris, FR — Alhambra
07.04.25 — Arras, FR — Main Square Festival
07.06.25 — Werchter, BE — Rock Werchter 2025
07.10.25 — Holmdel, NJ — PNC Bank Arts Center+
07.11.25 — Camden, NJ — Freedom Mortgage Pavilion+
07.12.25 — Wantagh, NY — Northwell Health at Jones Beach Theater+
07.18.25 — Morgantown, WV — Hazel Ruby McQuain Amphitheater
07.19.25 — Guilderland, NY — Pinehaven Country Club
07.25.25 — Southhaven, MS — BankPlus Amphitheater At Snowden Grove^
07.26.25 — Ridgedale, MO — Thunder Ridge Nature Area^
07.31.25 — Raleigh, NC — Coastal Credit Union Music Park+
08.01.25 — Charlotte, NC — PNC Music Pavilion+
08.02.25 — Alpharetta, GA — Ameris Bank Amphitheatre+
08.07.25 — Darien Center, NY — Darien Lake Amphitheater+
08.08.25 — Clarkston, MI — Pine Knob Music Theatre+
08.09.25 — East Troy, WI — Alpine Valley Music Theatre+
08.14.25 — Hampton Beach, NH — Bernie’s Beach Bar
08.16.15 — Montreal, QC — Lasso Festival De Musique Country
08.17.25 — Uncasville, CT — Mohegan Sun
08.22.25 — Dieppe, NB — YQM Country Fest
08.23.25 — Saint Dashagapit, QC — Festival Country Lotbiniere
09.12.25 — Burnsville, MN — 2025 Buck Hill Concert Series^
10.03.25 — Dublin, IE — 3Arena^
10.05.25 — Glasgow, UK — OVO Hydro^
10.07.25 — Birmingham, UK — Utilita Arena^
10.08.25 — Manchester, UK — 02 Apollo ^
10.10.25 — London, UK — OVO Arena^
+ Thomas Rhett Support Dates
^ Kane Brown Support Dates

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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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