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5 Surprising Facts About Bob Dylan and The Band’s ‘The Basement Tapes’

Eric Alper
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5 Surprising Facts About Bob Dylan and The Band’s ‘The Basement Tapes’

Bob Dylan and the Band made music in the late ’60s that still echoes through Americana, indie rock, and roots music today. ‘The Basement Tapes,’ released on June 26, 1975, carries stories that stretch far beyond what the surface tells you. Here are five facts about the sessions that shaped the album — and shaped the future of folk-rock in the process.

1. The Original Tracklist? Just the Tip of the Iceberg
The Basement Tapes album that landed in record stores in 1975 only showed part of the picture. More than 100 songs were captured during those mythic Woodstock sessions in 1967, but just 16 Dylan-led tracks made the cut. Columbia filled out the rest with eight Band recordings, some made years later. Imagine a vault so deep, it took 39 more years before fans got the full 6-disc treatment in The Basement Tapes Complete.

2. Dylan and the Band Turned a Basement Into a Sound Lab
Forget fancy studios. Dylan and the Band wired up the basement of “Big Pink,” their rented house in West Saugerties, NY, with borrowed mixers and microphones. With dogs underfoot, windows wide open, and chairs that creaked louder than cymbals, they crafted some of the most timeless songs ever written. The vibe was all about comfort, laughter, and a whole lot of unfiltered creativity.

3. They Wrote Songs So Good, Other Artists Couldn’t Wait
Before Dylan ever released these tracks himself, his songwriting did the talking. “You Ain’t Goin’ Nowhere,” “This Wheel’s On Fire,” and “I Shall Be Released” made their way to the Byrds, Julie Driscoll, and The Band’s own debut album Music from Big Pink. Publishing demos sent to other artists turned into chart hits — long before the world knew where the songs came from.

4. “Tears of Rage” Was Written on the Spot — Literally
One morning, Dylan handed Richard Manuel a freshly typed lyric sheet and asked if he had any music for it. Manuel sat down, matched the haunting words with a few chords, and just like that, “Tears of Rage” was born. No meetings, no rewrites, just spontaneous brilliance between two players who trusted each other’s instincts more than a recording contract.

5. The Basement Tapes Helped Invent Americana Before It Had a Name
With a mix of folk, blues, country, gospel, and straight-up surreal storytelling, The Basement Tapes laid the foundation for an entire genre. Long before “Americana” filled playlists and festival posters, Dylan and the Band were channeling a mythic version of America filled with outlaws, heartbreak, and humor. They didn’t follow a trend. They created one.

Dylan and the Band made songs that sounded like they came from the earth itself. Tucked away in the Catskills, they created a sound that echoed with ghosts, gospel, and good times. And once you’ve heard it, it’s hard to imagine a world without it. And that would be just silly.

Stereolab Return With First Album in 15 Years, ‘Instant Holograms On Metal Film’

Eric Alper
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Stereolab Return With First Album in 15 Years, ‘Instant Holograms On Metal Film’

Stereolab have released their first album in 15 years – Instant Holograms On Metal Film is out now on all major platforms. Speaking on the album’s creation, Tim Gane says: “The idea to record a new LP came into focus around spring/summer 2023 and we started recording in January 2024. There were no rehearsals, as usual. We started again from scratch. “Always a beginner” is my attitude to things, just feeling my way through. Music is just an exciting adventure and I don’t have any trepidation about doing it or presenting it to others. What comes out comes out.”

Laetitia Sadier adds: “I see everything as a continuum with no determined sections, that bears no relation to what has come before or will come after. In the case of Stereolab, Tim is primary composer. On this LP, I did, however, have much more musical input than before. And indeed I had had some practice through developing my own music over the past years, which surely nourished the sound and general configuration.”

Instant Holograms On Metal Film is co-released by the band’s own label Duophonic UHF Disks, and Warp Records. Featuring thirteen songs written by Laetitia Sadier and Tim Gane; performed by Laetitia, Tim, Andy Ramsay, Joe Watson and Xavi Mu-oz, who comprise the current touring line-up of the band and guest contributions by Cooper Crain and Rob Frye (Bitchin Bajas), Ben LaMar Gay (International Anthem), Ric Elsworth, Holger Zapf (Cavern Of Anti-Matter), Marie Merlet and Molly Hansen Read.

On working with Cooper Crain, Tim comments: “I’m a big fan of Bitchin’ Bajas and we had toured with then in the US in 2019 so got to know them well. When we decided to make a new record, he was the only person I had in mind and luckily he could do it. Just like (previous collaborators) John McEntire and Jim O’Rourke, he is an inventive musician as well as a great engineer/producer, and that’s what we like.”

In terms of the subject matter, lyric writer Laetitia summarises: “As the world falls apart, whether we are aware of it or not, we are already planting the seeds of what will come next. I think it is important to keep in sight what powerful creators we are, and how there is power available to us at this stage to choose what outcome we would like to see for this yet undefined future. The words seek to expose that this is what we do: we create. Our imagination is here to serve that purpose, and is the power we have to choose whatever it is we want to see come about. Some privileged people do not like the idea of sharing this power with the people at large.”

A Killer’s Confession Unleash Dark New Single “Hollow” Ahead of Machines Vs Monsters Tour With Static-X and GWAR

Eric Alper
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A Killer’s Confession Unleash Dark New Single “Hollow” Ahead of Machines Vs Monsters Tour With Static-X and GWAR

A Killer’s Confession, the band led by vocalist Waylon Reavis, released a new single and video “Hollow”, the follow up to the recently released track “In Case of Emergency” which featured Waylon’s former Mushroomhead bandmate Jason “JMann” Popson.

In discussing the new single, Waylon Reavis said, “Hollow” is the next chapter in a dark, psychological journey. Picking up where “Victim 1” left off, we meet Victim 2 and the lines between right and wrong blur.

He adds “As our protagonist descends deeper into his own judgment, there’s no turning back. “Hollow” asks: can we be saved once we become empty? Pulling us into the gray area between salvation and self-destruction.”

The band is hitting the road to run May 23rd – June 18th called “Machines Vs Monsters” Tour which is being headlined by STATIC-X with GWAR, DOPE and A KILLER’S CONFESSION rounding out the bill.

Tour Dates:

May
23 – Tucson, AZ – Rialto Theatre (GWAR not appearing on this date)
24 – Albuquerque, NM – Revel Entertainment Center
26 – Wichita, KS – Cotillion
27 – Des Moines, IA – Val Air Ballroom
28 – St. Louis, MO – The Pageant
30 – Minneapolis, MN – The Fillmore Minneapolis
31 – Davenport, IA – Capitol Theatre

June
1 – Grand Rapids, MI – GLC Live @ 20 Monroe
3 – Indianapolis, IN – Egyptian Room @ Old National Centre
4 – Fort Wayne, IN – Clyde Theatre
5 – Wheeling, WV – Capitol Theatre
7 – Wallingford, CT – The Dome at Toyota Oakdale Theater
8 – Buffalo, NY – Buffalo RiverWorks
9 – Toronto, ON – History
10 – Montreal, QC – MTELUS
11 – Hampton Beach, NH – Hampton Beach Casino Ballroom
14 – Myrtle Beach, SC – House Of Blues
15 – Raleigh, NC – The Ritz
17 – Kansas City, MO – Grinder’s
18 – Oklahoma City, OK – The Criterion

Old Neon Drop Explosive New EP ‘Resolution’ Featuring “Blizzard,” “Better Son,” and “Nobody’s Burden”

Eric Alper
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Old Neon Drop Explosive New EP ‘Resolution’ Featuring “Blizzard,” “Better Son,” and “Nobody’s Burden”

The wait is over for Resolution, the new EP from pop punk group Old Neon. Featuring recent singles “Better Son” and “Nobody’s Burden” and latest single “Blizzard”, the EP was produced / engineered by Matt Brasch and mixed by Nick Steinborn (The Wonder Years), in addition to mastering by Will Yip (Scowl, Balance & Composure, Movements, L.S. Dunes, The Menzingers).

“Resolution is about fighting and making things work,” explains drummer Zach Pollack. “Whether it’s regarding our internal struggles through making this EP, or the moments in time spoken to in the lyrics of each song – Resolution is about pushing forward when it’s really tough, because it’s worth it.”

Producer Matt Brasch continues: “Not only did the band make things work on this EP, they succeeded in stepping up their craft as songwriters and performers throughout the process. Months of workshopping different ideas went into writing and rewriting the songs. The details that came out of those efforts are what makes this EP so special. They dug deep for beautiful and explosive performances and even kept their minds open to making changes that stemmed from a few “mistakes.” Those specific changes quickly became some of my favorite parts of the EP. Old Neon pushed through grueling 13-hour days and did it all with passion… and the help of a bunch of Coke Zero, Wawa mac n cheese and jokes that had everyone in stitches. We’re so proud of how everything organically came together and that only happens when everyone is willing to work hard and battle for every idea.”

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
Sunday, May 25
Wednesday, May 28
Friday, May 30
Saturday, May 31
Wednesday, June 4
Friday, June 6
Saturday, June 7
Wednesday, June 11
Friday, June 13
Saturday, June 14

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.

 

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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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