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Craig Finn Announces Fall Tour With The Band of Forgiveness Following Busy Solo Summer

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Craig Finn has announced plans for a headline tour. The North American dates – which see Finn accompanied by his new backing combo, The Band of Forgiveness – get underway October 9 at Millersville, PA’s Phantom Power and then travel through a tour finale at New York City’s Le Poisson Rogue on October 25.

Finn’s busy live schedule marks the recent release of his acclaimed new album, Always Been, available now digitally as well as on CD, standard vinyl, and limited-edition colored vinyl via Tamarac Records/Thirty Tigers. Upcoming dates include a sold-out one-night-only performance at the Bowery Ballroom on May 30 from Craig Finn & The People of Substance Band – an all-star combo featuring Adam Granduciel, Robbie Bennett and Dave Hartley of The War on Drugs, Joe Russo, Josh Kaufman, Kathleen Edwards, Nelson Devereaux, Anthony LaMarca, and more.

Finn will also be making some solo appearances without a band, including a performance at Chicago, IL’s Old Town School of Folk Music as part of The Working Songwriter Forum, a 3-day musical weekend set for May 23-25 -presented by the host and creator of The Working Songwriter podcast, Joe Pug – as well as a pair of book reading and record signing sessions and in-stores on Tuesday, May 20 at Kingston, NY’s Rough Draft Bar & Books, and June 3 at New York City’s Rough Trade.

Finn will then embark on a summer series of solo performances, including headline shows, festival appearances, dates supporting The Mountain Goats, and more. Highlights include a triple-bill alongside The Decemberists and Kevin Morby at Skokie, IL’s Out of SPACE Skokie on Sunday, July 27, and a top-billed appearance at Camden, NJ’s XPoNential Music Festival on Sunday, September 21.

CRAIG FINN – ON TOUR 2025:

MAY
23-25 – Chicago, IL – Old Town School of Folk Music *
30 – New York, NY – Bowery Ballroom † – SOLD OUT

JUNE
3 – New York, NY – Rough Trade Below
5 – Baltimore, MD – WTMD’s First Thursday Festival @ Canton Waterfront Park
7 – Metuchen, NJ – Old Franklin Schoolhouse

JULY
27 – Skokie, IL – Out of SPACE Skokie ^

AUGUST
5 – Baltimore, MD – Baltimore Soundstage w/Mountain Goats
6 – Richmond, VA – The Broadberry w/Mountain Goats
8 – Hartford, CT – Infinity Music Hall w/Mountain Goats
9 – Portland, ME – Guster’s on the Ocean Festival (That’s How I Remember It Live Podcast)
10 – Providence, RI – Fete Music Hall w/Mountain Goats

SEPTEMBER
21 – Camden, NJ – XPoNential Music Festival #
* The Working Songwriter Forum w/ Joe Pug & Courtney Hartman
† w/ The People of Substance Band
^ w/ The Decemberists and Kevin Morby
# Festival Appearance

CRAIG FINN & THE BAND OF FORGIVENESS
NORTH AMERICAN TOUR 2025

OCTOBER
9 – Millersville, PA – Phantom Power
10 – Washington, DC – Black Cat
11 – Pittsburgh, PA – Mr. Smalls Theatre
12 – Charleston, WV – Mountain Stage at Culture Center Theater
13 – Indianapolis, IN – Turntable
15 – Minneapolis, MN – Fine Line
16 – Milwaukee, WI – Vivarium
17 – Kalamazoo, MI – Bell’s Eccentric Cafe
18 – Chicago, IL – Lincoln Hall
19 – Columbus, OH – Rumba Cafe
21 – Buffalo, NY – Asbury Hall
22 – Toronto, ON – Longboat Hall
23 – Homer, NY – Homer Center For The Arts
24 – Woodstock, NY – Bearsville Theater
25 – New York, NY – Le Poisson Rouge

Phish Returns to Paradise for ‘Phish: Riviera Maya’ 2026 with Four Nights of Beachfront Sets

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When most bands announce a tour, fans think about weather, traffic, parking. When Phish announces a tour? You start packing sunscreen.

Phish: Riviera Maya returns January 28–31, 2026, marking the ninth time the band will transform Mexico’s Caribbean coast into a paradise of improvisation, ocean breezes, and unforgettable jams. Set at the luxurious, AAA Four Diamond-awarded Moon Palace Cancún, the four-night musical getaway will include eight sets of Phish, beachfront vibes, and yes — more daytime pool parties and late-night DJ sets than your flip-flops can handle.

All-inclusive packages go on sale May 21, 2025 at 1 p.m. EST via www.phishrivieramaya.com. Returning fans get early access with the Alumni Pre-Sale starting May 20 at 1 p.m. EST.

But this isn’t just about the music. It’s about a full-on, immersive experience — a sonic staycation with perks like luxury rooms, gourmet food, catamaran sailing, cenote diving, and a quick spiritual recharge at Chichén Itzá.

And while the event keeps growing, so does its conscience. Phish and the Palace Resorts team continue to lead the way on sustainability with a comprehensive greening program — including a single-use plastic-free concert area and on-site waste diversion. They’re making sure that what we take home are memories, not trash.

Want to book your trip, learn about payment plans, or just imagine yourself dancing in the sand to a 23-minute version of “You Enjoy Myself”? All the details are at www.phishrivieramaya.com.

Four nights. Eight sets. One ocean. And zero regrets.

Mary Chapin Carpenter Shares “Home Is A Song” Featuring Anaïs Mitchell, Previews New Album ‘Personal History’

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5x Grammy Award-winning singer, songwriter and performer Mary Chapin Carpenter’s new track, “Home Is A Song” featuring Anaïs Mitchell, is out today. Listen/share HERE.

The song is the latest unveiled from Carpenter’s highly anticipated new album, Personal History, which will be released June 6 (pre-order). Ahead of the release, Carpenter recently shared “Bitter Ender,” of which Music Row praises, “Acoustic strumming, harmonica and spare percussion set the mood for her smoky alto delivery…Marvelously listenable.”

Carpenter’s 17th album, Personal History was produced by Bonny Light Horseman’s Josh Kaufman (Bob Weir, The National) and recorded live at Peter Gabriel’s Real World Studios in Bath, England. Across the eleven tracks, Carpenter presents a set of songs more autobiographical than any collection that has come before.

Carpenter shares, “A novel that I’ve loved for years is My Name is Lucy Barton, written by Elizabeth Strout. There’s this moment where the main character is taking a creative writing course, and her teacher says to her, ‘You will only have one story. You will write your one story in many ways.’ I remember reading that line and taking an audible breath. In that moment, I said out loud to no one, ‘Oh, that’s what the songs are.’”

On the heels of the album’s release, Carpenter will join forces with fellow Grammy Award-winning artist and songwriter, Brandy Clark, for a special tour this summer and fall. The extensive run kicks off June 9 in Portland, OR and includes stops at New York’s Town Hall, Nashville’s historic Ryman Auditorium, Los Angeles’ Wilshire Ebell Theatre, Seattle’s Benaroya Hall, Denver’s Botanic Gardens, Minneapolis’ Orpheum Theatre, Ridgefield, CT’s Ridgefield Playhouse (two nights), Vienna’s Wolf Trap and Evanston’s Cahn Auditorium among many others. Additional summer performances include a return to the legendary Newport Folk Festival on July 27 and a stop at Louisville’s Bourbon & Beyond Festival on September 12. See below for complete tour itinerary.

One of music’s “most reliable and empathetic songwriters” (Pitchfork), Carpenter has sold over 17 million records over the course of her renowned career. With hits like “Down At The Twist And Shout” and “He Thinks He’ll Keep Her,” she has won five Grammy Awards (with 18 nominations), two CMA Awards, two ACM Awards, is one of only twenty-two female members of the Nashville Songwriters Hall of Fame and is a recipient of the 2023 ACM Honors Poet’s Award.

Carpenter’s last solo recording, 2021’s One Night Lonely (Live), was nominated for Best Folk Album at the 65th Annual Grammy Awards—exactly 30 years after her very first nomination. A rare solo performance, the album was recorded at Virginia’s legendary Wolf Trap and features songs from across her acclaimed career, including from her last solo studio album, The Dirt And The Stars.

Most recently, Carpenter released Looking For The Thread, a collaborative album with legendary Scottish folk stars and songwriters Karine Polwart and Julie Fowlis. Released to widespread praise, Folk Alley describes it as, “a set of warm, introspective, and stunningly gorgeous songs…It’s beauty and warmth touch our souls deeply, and each song is a many faceted gem of love and hope,” while Music Row calls the project “enchanting” and The Arts Desk declares, “It’s only January but this is an album of the year…a class act, heartfelt and beautifully crafted.”

In addition to her work as a musician, last fall Carpenter unveiled her new podcast, “Hope is a Muscle,” which finds her in conversation with people from all walks of life including Joan Baez, Adriene Mishler, John Darnielle and U.S. Congressman Jamie Raskin. During its run, the podcast was in the top five music podcasts on both Apple and Spotify Platforms. Previously, in 2020, Carpenter released the three-part audio liner notes podcast, “One Story,” with American poet, Sarah Kay.

PERSONAL HISTORY TRACK LISTING:

1. What Did You Miss
2. Paint + Turpentine
3. New Religion
4. Girl And Her Dog
5. The Saving Things
6. Hello My Name Is
7. Bitter Ender
8. The Night We Never Met
9. Home Is A Song (feat. Anäis Mitchell)
10. Say It Anyway
11. Coda

MARY CHAPIN CARPENTER 2025 TOUR DATES

June 9—Portland, OR—Revolution Hall* (SOLD OUT)
June 10—Seattle, WA—Benaroya Hall*
June 11—Eugene, OR—Hult Center*
June 13—Napa, CA—Uptown Theatre*
June 14—Saratoga, CA—Mountain Winery*
June 16—Santa Barbara, CA—Lobero Theatre* (SOLD OUT)
June 19—San Diego, CA—Humphreys*
June 20—Los Angeles, CA—Wilshire Ebell Theatre*
June 21—Tucson, AZ—Fox Theatre*
June 22—Scottsdale, AZ—Scottsdale Performing Arts Center*
June 24—Aspen, CO—Wheeler Opera House*
June 25—Denver, CO—Botanic Gardens* (SOLD OUT)
June 26—Colorado Springs, CO—Pikes Peak Performing Arts Center*
June 27—Steamboat Springs, CO—Strings Music Pavilion*
June 28—Fort Collins, CO—The Gardens on Spring Creek*
July 27—Newport, RI—Newport Folk Festival
July 29—Brownfield, ME—Stone Mountain Arts Center (SOLD OUT)
July 30—Brownfield, ME—Stone Mountain Arts Center
August 1—Portland, ME—State Theatre*
August 2—Laconia, NH—Colonial Theatre*
August 3—Nashua, NH—Nashua Center for the Arts*
August 6—Toronto, ON—Massey Hall*
August 7—Grand Rapids, MI—Frederik Meijer Gardens*
August 8—Chautauqua, NY— Chautauqua Amphitheater*
August 9—Poughkeepsie, NY—Bardavon*
August 10—Northampton, MA—Academy of Music*
August 12—Ridgefield, CT—Ridgefield Playhouse*
August 13—Ridgefield, CT—Ridgefield Playhouse*
August 14—Kennett Square, PA—Longwood Gardens Open Air Theatre* (SOLD OUT)
August 15—Richmond, VA—The National*
August 16—Vienna, VA—Wolf Trap*
September 12—Louisville, KY—Bourbon & Beyond Festival
September 25—Medford, MA—Chevalier Theatre*
September 26—Rutland, VT—Paramount Theatre*
September 27—New York, NY—Town Hall*
September 28—Princeton, NJ—McCarter Theatre*
September 30—Charleston, SC—Charleston Music Hall*
October 1—Durham, NC—Durham Performing Arts Center*
October 2—Nashville, TN—Ryman Auditorium*
October 3—Chattanooga, TN—Walker Theatre*
October 4—Charlotte, NC—Knight Theater*
October 5—Knoxville, TN—Bijou Theatre*
October 7—Akron, OH—Goodyear Theater*
October 8—Ann Arbor, MI—Michigan Theater*
October 9—Evanston, IL—Cahn Auditorium*
October 10—Madison, WI—The Orpheum*
October 11—Minneapolis, MN—Orpheum Theatre*
*with Brandy Clark

Bruce Springsteen Unveils “Somewhere North of Nashville” Ahead of ‘Tracks II’ and Summer Tour

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Bruce Springsteen will release “Somewhere North of Nashville” in full on “Tracks II: The Lost Albums” (out June 27 via Sony Music), a previously-unheard collection inspired by the sounds of honky tonk, rockabilly and uptempo country. Recorded simultaneously with “The Ghost of Tom Joad” in the summer of 1995, “Somewhere North of Nashville” features much of the core band at the heart of those sessions — including Danny Federici, Garry Tallent and Gary Mallaber. Adding elements like pedal steel from Marty Rifkin (later a member of The Sessions Band) and fiddle from Soozie Tyrell, “Somewhere North of Nashville” saw Springsteen spontaneously cutting material live in the studio with a full band, not unlike what he had done for the recording of “Born In The U.S.A.” a decade earlier. Fittingly, the tracklist for “Somewhere North of Nashville” includes two songs originally planned for that album, “Stand On It” and “Janey Don’t You Lose Heart.”

“What happened was I wrote all these country songs at the same time I wrote ‘The Ghost of Tom Joad.’ Those sessions completely overlap each other. I’m singing ‘Repo Man’ in the afternoon and ‘The Line’ at night. So the country record got made right along with ‘The Ghost of Tom Joad,’” Springsteen recalled. “‘Streets of Philadelphia’ got me connected to my socially conscious or topical songwriting. So that’s where ‘The Ghost of Tom Joad’ came from. But at the same time I had this country streak that was also running through those sessions and I ended up making a country record on the side.”

In addition to today’s release of “Repo Man,” Bruce Springsteen and The E Street Band will kick off The Land of Hope & Dreams Tour tonight in Manchester, England. The first of 16 scheduled dates this summer to over 700,000 fans, the 2025 European run will conclude “one of the most successful tours of all time” (Pollstar) — which has been called “the greatest show on earth” (Billboard) and “a masterclass in the uplifting power of rock-and-roll” (Washington Post).

Electrio Debuts “Fac Me Cruce,” a Haunting Glimpse Into Genre-Bending Debut Album

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As a musical ensemble, Electrio has a propensity for the dramatic. Today, they debut their brand new single “Fac Me Cruce.” The hard-hitting new song is from their debut album Stabat Mater, which will be released in September via the record label Fresh Ribes. The song lays the foundation for this compelling new collection of songs, inspired by the work of Marco Rosano.

Rosano is a widely regarded modern Italian composer based in Belgium. He is something of a musical savant, a masterful composer, player, arranger, and producer. Electrio look in many different directions for their inspiration. They explore cross-disciplinary music, combining baroque, electronic, and contemporary sounds. The ensemble features guitarist Francesco Rista, electroacoustic composer Simone Giordano, and soprano Sandra Lind Þorsteinsdóttir.

Commenting on the song, Electrio states, “In the Stabat Mater, the words ‘Fac me cruce’ express a deep desire to be united with the suffering of the Virgin Mary at the foot of the cross during the crucifixion of Jesus. It’s a prayer to share in her sorrow, to feel her pain, and to be spiritually present in that moment of intense suffering. This track begins with the haunting sound of nails being driven into the cross. It sets the scene in a powerful way, helping the listener imagine and feel the weight of that solemn moment.”

The album is a recreation of a Stabat Mater, a religious sequence from the Middle Ages. Traditionally, its author is identified as Franciscan friar Jacopone da Todi. It also reinterprets pieces by composers Dowland and Monteverdi, who both lived in the 16th century. It’s an interesting piece of work in that it is (obviously) not confined to any time period or style of music. When musicians say they experiment with different styles, they aren’t speaking to this extent. There is no sound or time period that Electrio aren’t willing to consider for inspiration. This makes their songwriting extremely freewheeling and adaptable. They are unafraid of taking risks, which makes their music malleable and an ocean of possibility.

Spotify Streams Reveal Eurovision 2025 Frontrunners as KAJ Leads the Pack

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As excitement builds for the annual Eurovision Song Contest, Spotify data offers a fascinating glimpse into the songs and artists capturing the world’s attention. Sweden—the most successful country in Eurovision history with seven victories—is once again in the spotlight, with the dynamic trio KAJ and their song “Bara Bada Bastu” emerging as the current 2025 frontrunners.

With the semifinals beginning May 13 in Basel, Switzerland, the streaming data provides an early indication of which entries are resonating with fans. “Bara Bada Bastu” has clearly struck a chord, generating twice as many streams as its closest competitor.

The top 5 most-streamed Eurovision 2025 entries on Spotify

Beyond the top contenders, the data also reveals the diverse range of musical styles and languages captivating Eurovision fans. Entries from Italy, the Netherlands, San Marino, and Estonia round out the top 5, showcasing the pan-European appeal of the competition.

    1. Bara Bada Bastu” by KAJ (Sweden)
    2. Volevo essere un duro” by Lucio Corsi (Italy)
    3. C’est La Vie” by Claude (Netherlands)
    4. Tutta L’Italia” by Gabry Ponte (San Marino)
    5. Espresso Macchiato” by Tommy Cash (Estonia)

Eurovision is more than a song contest—it’s a powerful platform for European artists to reach a global audience. On average, past winners of the Eurovision Song Contest have seen their Spotify streams grow by more than 1,500% in the year following their winning performance.

Following Nemo’s 2024 triumph with “The Code,” their streams have skyrocketed by more than 1,700% in the past year. Austrian entrant Conchita Wurst, who won Eurovision in 2014 with “Rise Like a Phoenix,” experienced a staggering stream growth of more than 6,000% in the year following their victory.

Will KAJ maintain their Eurovision 2025 lead, or will another entry emerge as the fan favorite? Only time will tell, but one thing is certain: Europe’s biggest music event continues to shape the global music landscape.

Stream Spotify’s Eurovision 2025 playlist to hear all of this year’s entries.

 

International Indigenous Music Summit 2025 Announces Rhoda Roberts as Keynote Speaker and Unveils Full Daytime Program

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International Indigenous Music Summit 2025 details the daytime programming for this year’s gathering in Tkaronto, June 2-6, and welcomes Rhoda Roberts as the 2025 Keynote Speaker. A member of the Bundjalung nation, Widjabul clan, Roberts is an Officer of the Order of Australia, the Creative Director for Parrtjima Festival (NT), Boomerang Dreaming (NSW), and Shine on Gimuy (Cairns), as well as the First Nations Advisor for Vivid Sydney. Previous roles include the former Head of First Nations Programming at the Sydney Opera House and founder of the Dreaming Festivals (1995-2009).

Beyond her many roles and achievements, Roberts has a special connection to the Summit’s origin. In 2018, Digging Roots played Woodford Festival and met Roberts, along with a number of other Indigenous performers and producers. “The conversation we had that day was full of life and inspiration, shared experience and wisdom,” says Summit co-founder ShoShona Kish. “It was during that conversation that I first imagined the Summit. I wanted my colleagues at home and around the world to have that same experience of camaraderie and inspiration. A year later, we hosted our first gathering in Montreal.”

Daytime programming runs throughout the week, June 2-6, 2025, centered at TD Music Hall. This year’s conference program features artists and speakers from Indigenous nations around the world – groundbreakers, innovators, and change-makers alike – alongside key music industry professionals. With future-focused topics including “Medicine for Identity, Sovereignty and Belonging,” “Indigenous-Led Change,” “Auntie’s Language Council” and “AI and Creative Sovereignty,” the IIMS 2025 brings leaders and builders of the Indigenous music ecosystem together for timely and meaningful conversations.

IIMS 2025 speakers include curator/creative producer Denise Bolduc, Raven Kanatakta Polson-Lahache (Digging Roots), Keziah Myers (Advance Music Canada), artist Marek Tyler, artist The Kaptain, music supervisor Rick Clark (Dark Winds) and many more. Select daytime programming is intended for Indigenous delegates only.

The Opening Night Gala includes performances by Tanya Tagaq, Northern Cree, Alex Kusturok and Sara Curruchich, with a special appearance by Elder Gerard Sagassige and Nimkii Osawamick. The Opening Night Gala, hosted by Chelazon Leroux, takes place June 2, 2025 at TD Music Hall. Tickets are included in full IIMS 2025 registration packages or as a standalone purchase here.

The Summit’s 2025 theme is Bemaazhid E-Niigaanzijig, an Anishinaabe phrase which means “Soaring Together as Leaders.” The theme orients this year’s program with a mindset of ‘we are all stronger together’ and the collective work of raising and uniting the global Indigenous community. Driven by the Summit’s commitment to collaboration and mutual benefit as the foundation to a thriving Indigenous music ecology, Bemaazhid E-Niigaanzijig sets a table with space for everyone.

30 Songs That Keep the Music Alive: Tribute Tracks Honoring Fallen Musicians

When musicians leave us, they don’t really leave. They echo in our headphones, they live in our playlists, they speak through the songs written in their memory. Some tributes are tearful ballads, others are anthems of celebration—but all of them remind us just how deep the bond runs between artists, fans, and the friends they made on the road and in the studio. Here are 30 of the most powerful tribute songs for lost musicians. Play them loud. They were made to be remembered.

“Here Today” – Paul McCartney
A tender, heart-wrenching letter to John Lennon, written after his murder. It’s as close as McCartney ever came to saying goodbye in public, filled with love, regret, and all the unspoken things between old friends.

“River” – Natalie Merchant
Natalie Merchant’s “River” is a devastatingly tender tribute to River Phoenix. Written after his tragic death at 23, the song captures the ache of watching someone burn too brightly, too briefly.

“Porcelain Monkey” – Warren Zevon
Less a sentimental ballad and more a sharp-eyed eulogy for Elvis, Zevon’s lyrics cut through myth to explore the toll of fame and isolation.

“Desperado” – Alice Cooper
Written for his friend Jim Morrison, Cooper paints Morrison as a wild outlaw—part myth, part man, and totally unforgettable.

“All Those Years Ago” – George Harrison
Another tribute to Lennon, this one more upbeat—featuring Paul and Ringo, too. It’s a reunion of sorts, stitched together through grief, gratitude, and reflection.

“Empty Garden (Hey Hey Johnny)” – Elton John
Elton’s tribute to John Lennon is full of longing. “It’s funny how one insect can damage so much grain,” he sings, aching and eloquent.

“Real Good Looking Boy” – The Who
A moving nod to Elvis Presley, sung with warmth and nostalgia by Roger Daltrey, borrowing lines from “Can’t Help Falling in Love.”

“The Needle and the Damage Done” – Neil Young
A quiet, devastating reflection on addiction, written for Crazy Horse guitarist Danny Whitten. Young performs it like a prayer, barely louder than a whisper.

“Bleeding Me” – Metallica
Often interpreted as James Hetfield’s reflection on the death of Cliff Burton, the song is more metaphor than direct eulogy, but it drips with pain and catharsis all the same.

“Sleeps With Angels” – Neil Young
Written in the shadow of Kurt Cobain’s death—and the chilling echo of Young’s lyric “It’s better to burn out than to fade away” in Cobain’s suicide note—this haunting track is a whispered eulogy

“Miss You ‘C’” – Nils Lofgren
Originally written as a tribute to Ray Charles, this heartfelt song took on deeper meaning after the passing of Clarence Clemons in 2011. Lofgren rewrote the lyrics to honour his beloved E Street Bandmate, and the result is a gentle, emotionally layered track that also nods to other fallen friends like Danny Federici and Danny Whitten.

“Let Me Down Easy” – Paolo Nutini
Written in memory of soul legend Solomon Burke, this aching track blends gospel roots with modern soul—a quiet moment of reverence from one singer to another.

“Under a Raging Moon” – Roger Daltrey
A thunderous farewell to The Who’s Keith Moon, complete with a rotating cast of legendary drummers paying rhythmic tribute to rock’s wildest spirit.

“E-Bow the Letter” – R.E.M. ft. Patti Smith
A slow-burning, poetic tribute to River Phoenix, the track pairs Michael Stipe’s stream-of-consciousness delivery with Patti Smith’s ghostly presence.

“The Last Carnival” – Bruce Springsteen
A soft, accordion-laced tribute to Danny Federici, the E Street Band’s organist and one of Springsteen’s earliest collaborators.

“Above and Beyond” – Deep Purple
Written for keyboardist Jon Lord, the song reflects on mortality with prog-rock grandeur and a soulful message: “souls, forever entwined.”

“The Miracle (of Joey Ramone)” – U2
An anthemic tribute to punk’s soft-hearted king, this song channels Ramone’s influence and the feeling of hearing rock music that changes your life.

“Edge of Seventeen” – Stevie Nicks
Written in the wake of John Lennon’s death and the passing of her uncle, this thunderous anthem captures the shock, sorrow, and surreal beauty of grief. That galloping guitar riff became a symbol of strength in mourning.

“American Pie” – Don McLean
“The day the music died.” McLean’s epic ode to Buddy Holly, Ritchie Valens, and the Big Bopper is more than a song—it’s a cultural eulogy, chronicling how a plane crash changed rock ’n’ roll forever.

“Back on the Chain Gang” – The Pretenders
Chrissie Hynde mourns the death of guitarist James Honeyman-Scott in this pop-rock classic that hides deep sorrow in shimmering chords.

“Wish You Were Here” – Pink Floyd
Written with Syd Barrett in mind, it’s a song that aches with absence. You don’t need to know the backstory to feel the loss—it’s in every note.

“The Late Great Johnny Ace” – Paul Simon
Simon bridges the death of 1950s singer Johnny Ace with the death of John Lennon, creating a quiet, stunning meditation on the passage of time.

“Nightshift” – The Commodores
A soulful, heartfelt tribute to Marvin Gaye and Jackie Wilson that became a hit on its own. Smooth, soothing, and sincere.

“Go Rest High on That Mountain” – Vince Gill
Gill’s vocal soars in this tribute to Keith Whitley and, later, his own brother. It’s a spiritual farewell sung with reverence and grace.

“Of Missing Persons” – Jackson Browne
Written for the daughter of Little Feat’s Lowell George, Browne delivers empathy wrapped in warmth.

“Black Gives Way to Blue” – Alice in Chains
Jerry Cantrell and the band process the loss of Layne Staley with quiet piano and aching harmonies. Elton John joins on piano for the final goodbye.

“Nobody’s City” – Iggy Pop, Nick Cave & Thurston Moore
A gritty, gothic salute to Jeffrey Lee Pierce, bursting with the raw edge and reverence only friends could deliver.

“He Loved Him Madly” – Miles Davis
A spacious, mournful piece in honor of Duke Ellington. It’s Miles at his most meditative and abstract.

“Stuck in a Moment You Can’t Get Out Of” – U2
Bono’s emotional plea to Michael Hutchence. It’s full of empathy, regret, and everything we wish we could’ve said to someone in pain.

“Rememberin’ Stevie” – Buddy Guy
A blistering instrumental in honor of Stevie Ray Vaughan—pure blues love from one guitar legend to another.

5 Surprising Facts About Brian Eno’s ‘Here Come the Warm Jets’

Brian Eno’s 1974 debut Here Come the Warm Jets was a kaleidoscope of glam rock, avant-garde experimentation, and dadaist mischief, all filtered through the mind of a man who treated music like a science experiment dipped in glitter. It helped set the tone for decades of art-pop, post-punk, and ambient music, but despite its legendary status, there’s still plenty even hardcore fans don’t know about its creation. Here are 5 jaw-dropping facts that reveal just how far Eno was willing to go in the pursuit of sonic alchemy.

1. Eno Wanted Musical Chaos—and Got It on Purpose
Rather than find players who matched, Eno deliberately picked musicians who didn’t. He assembled an army of misfits from Roxy Music, Hawkwind, Matching Mole, King Crimson, and more—not because he thought they’d blend, but because he knew they wouldn’t. “Let them compete,” he said, like a rock ‘n’ roll ringmaster setting up a sonic demolition derby. The result? Glorious collisions of sound that turned “accidents” into high art.

2. Robert Fripp’s “Baby’s on Fire” Solo Was a Fever Dream
That legendary three-minute guitar solo on “Baby’s on Fire”? Robert Fripp delivered it while jet-lagged, sick with the flu, and probably questioning his life choices. He walked into the studio, picked up a guitar, and unleashed a solo that still melts brains 50 years later. Fripp didn’t rehearse. He didn’t even know the key. But what he played became one of the greatest unhinged solos in rock history.

3. Eno’s Instruments Sound Like Sci-Fi Props—Because They Kind of Are
The liner notes credit Eno with playing things like “snake guitar,” “electric larynx,” and “simplistic piano.” None of these are real instruments per se—but they describe exactly what you hear. The “snake guitar” slithers and coils. The “electric larynx” distorts vocals into alien speech. Eno wasn’t trying to show off—he was trying to describe what he felt the sounds did. The result is a rock album that reads like a sci-fi soundtrack.

4. The Lyrics Were Total Nonsense—Until They Weren’t
Eno didn’t write lyrics like most people. He’d record gibberish vocals over the music, then listen back and decipher phrases from the nonsense. That’s how you get songs about combusting babies, photography shoots gone wrong, and historical figures with breath-based fire powers. He famously said “Needles in the Camel’s Eye” was “written in less time than it takes to sing.” And yet the imagery sticks with you—like a fever dream you’re oddly fond of.

5. The Album Title Still Confuses Everyone—Including Eno
For decades, people assumed Here Come the Warm Jets was a euphemism for something… well… not safe for work. Eno even added a cheeky playing card to the back cover showing a woman urinating outdoors. But in a twist, Eno later claimed it referred to the treated guitar sound on the title track, which “sounded like a tuned jet.” Either way, the title walks the same fine line as the music itself—mysterious, slightly filthy, and undeniably cool.

When Brian Eno left Roxy Music, he also left the gravitational pull of pop convention entirely. Here Come the Warm Jets wasn’t built to fit in. It was made to stand apart, confuse, thrill, and inspire. The album was a blueprint for decades of sonic rebellion, a joyful mess disguised as a glam-pop record, and the moment we all realized that Eno’s real instrument was possibility.

5 Surprising Facts About Kiss’ ‘Alive!’

Before Alive! hit shelves on September 10, 1975, Kiss was on the brink. Three studio albums deep and barely scraping by, the band’s onstage pyrotechnics and face-painted theatrics weren’t translating into sales. But with Alive!, they captured lightning in a bottle. It became a double-platinum lifeline, resurrecting their career and rewriting what a live rock album could be. Behind the smoke and fire, though, lies a backstory even wilder than the music itself. Here are 5 facts about Alive! that even hardcore Kiss fans might not know.

1. Slade Was Their Guide
Before Alive! became the ultimate live album for fire-breathing rock and roll excess, it took a cue from across the pond. The album title was a nod to Slade Alive!, the 1972 live album by glam rock heroes Slade. Kiss not only looked up to Slade—they studied them. From the sonic thunder to the glitter-meets-leather stage energy, Slade laid the glam-laced groundwork. Alive! was Kiss’ statement of arrival, channeled through the amps of their idols.

2. The Tour Was So Broke, the Manager Paid for It Himself
Casablanca Records was practically in ashes by 1975. After a failed Tonight Show compilation, the label was barely breathing. So who saved Alive!? Kiss’s manager, Bill Aucoin. He fronted $300,000 of his own money to finance the tour that birthed the album. Without him, Alive! may have just been another idea tossed on the pyre of rock history. Instead, he staked it all—and lit the fuse on Kiss’s superstardom.

3. The Only “Live” Thing Left Was the Drums
If you thought Alive! was raw concert footage slapped onto vinyl… surprise! The final product was so heavily overdubbed, the only untouched tracks were Peter Criss’s drums. Guitar parts, vocals, crowd noise—spliced, sliced, and diced in Electric Lady Studios. Producer Eddie Kramer even layered in cheers from other gigs to pump up the energy. It wasn’t deception—it was theater. And Kiss, after all, never promised subtlety. Just spectacle.

4. They Were Too Hot to Handle—Literally
At some shows on the Dressed to Kill tour, Kiss set literal rings of fire around the stage. Flamethrowers, rising drum kits, face paint, and fire-breathing antics? No wonder headliners like Black Sabbath and Argent kicked them off tours. Gene Simmons once said other bands didn’t want to follow them—and you can’t blame them. With stagecraft like that, Kiss turned every concert into a war zone of glitter and gasoline.

5. This Was Their Last Shot—And They Knew It
Alive! was a Hail Mary. Kiss hadn’t made a dime in royalties from their first three albums, and Casablanca was circling the drain. The band was broke, the label was broken, and this live album was a last-ditch gamble. The result? A double-platinum juggernaut that not only saved Kiss—it saved the label, too.