Scotland’s irrepressible funk-soul powerhouse Tom McGuire & the Brassholes are back with their most honest and emotionally resonant work yet. Their third studio album, A Name For Everything I’ll Ever Be, lands on May 30, diving deep into themes of fatherhood, identity, and growth—without sacrificing a shred of the infectious groove that’s become their signature.
Born in the bars and on the streets of Glasgow, the band first blew up with their viral anthem “Ric Flair.” Since then, they’ve become one of the UK’s most captivating live acts, sharing stages with the likes of George Clinton and Craig Charles, and selling out venues from Barrowland Ballroom to St. Luke’s. Their latest singles have landed on top-tier Spotify playlists like All Funked Up and I Love My 10’s Funk, a testament to their continued momentum and magnetic appeal.
But beneath the funk-fueled exterior lies a deeply personal core. For frontman Tom McGuire, the birth of his daughter was a life-altering shift—one that sparked an introspective fire powering much of the new album. Songs wrestle with becoming a protector, seeing his own parents in a new light, and making peace with vulnerability. It’s that rare blend of sweat-soaked celebration and quiet reckoning—music that moves your feet and hits your heart.
“Life is confusing and hard, but music is fun and great, so let’s talk about it whilst at the same time, getting down,” says McGuire. That spirit—equal parts reflection and revelry—defines A Name For Everything I’ll Ever Be, and cements the band as not just one of the UK’s most exciting live acts, but one of its most meaningful.
2025 UK Tour Dates:
September 5 – Lemon Tree, Aberdeen
September 6 – Beat Generator, Dundee
September 13 – Black Isle Calling, Munlochy
November 20 – The Brudenell, Leeds
November 21 – Manchester Academy 2, Manchester
November 22 – Rescue Rooms, Nottingham
November 27 – Islington Assembly Hall, London
November 28 – SWX, Bristol
After nearly a decade away from the studio, Ireland’s powerhouse blues rock trio Crow Black Chicken are back with Ghost Dance, their long-awaited fourth studio album and their first full-length release since 2016. The new record reaffirms their place at the gritty heart of modern blues rock—a genre they’ve been redefining since their formation in 2009.
Legendary roots artists have taken notice. Ray Wylie Hubbard praises their raw, dirty blues, while Alvin Youngblood Hart boldly declares, “CBC could save rock and roll.” Even Classic Rock Blues Magazine recognized their breakout potential from the beginning, noting the band’s refusal to be boxed in after their 2012 debut Electric Soup.
Ghost Dance was recorded at GAF Studios in County Tipperary with veteran producer Philip Magee, who also helmed their debut. The album’s lead single “Bottom Feeders” arrives with swagger and stomp, while “Make It Right” stretches into Americana territory with its textured guitars and rhythmic backbone. But it’s the blistering focus track, “Hot Molasses,” that fully captures the CBC essence: Christy O’Hanlon’s soulful vocals, Stephen McGrath’s steady basslines, and Gev Barrett’s percussive force, all working in lockstep.
Reflecting on the journey, the band said, “Ghost Dance is a really special album to us. It marks almost ten years from our last release—a decade spent rethinking, evolving, and focusing on the live end of things… It’s been a long road, but getting back into the studio and having the chance to work with Philip Magee again has all made it feel like the right time, almost full circle. We’re proud.”
From its whiskey-aged grit to its electrified soul, Ghost Dance is not a comeback—it’s a reaffirmation. For longtime fans and newcomers alike, it’s a chance to witness a band still burning with purpose and power.
What happens when you mix 50 Cent, TIËSTO, and astronauts? You get the most insane party on Earth—by way of the Moon. Germany’s premier club music festival, BigCityBeats WORLD CLUB DOME, already known for turning stadiums into interstellar raves, is literally shooting for the stars with its Moon Edition, taking over Frankfurt’s Deutsche Bank Park from June 6–8, 2025.
Ranked #9 in the world by DJ Mag UK and powered by a production budget that could probably launch a real rocket, this festival isn’t just a weekend of music—it’s a three-day galactic odyssey. Picture 700,000 square meters of clubbing real estate, over 180 acts, a main stage inside a football stadium and outside it, pool sessions, forest stages, zombie zones, and yes—an actual Space Tech Hub.
Let’s talk about that lineup. Hip-hop royalty 50 Cent brings the swagger, Macklemore delivers the feels, and Rita Ora and John Newman soar with massive pop-soul vocals. Tiësto, the OG trance commander, returns to claim his throne, while Dimitri Vegas & Like Mike bring peak-hour firepower. Don Diablo warps time with future bass. Ben Böhmer and Folamour bring the vibe. Fisher brings the bounce. Angerfist brings the rage.
Techno-heads, rejoice. Boris Brejcha goes live in his signature masked glory. I Hate Models offers pure, cathartic chaos. Brennan Heart and the harder styles will shake your very atoms.
And just in case the beats weren’t enough, there’s the history. BigCityBeats once turned a plane into a party. They threw a zero-gravity rave with Steve Aoki. They streamed DJ sets from space. Now, with the Moon Edition, they’re not just celebrating club culture—they’re redefining it as an interplanetary experience.
This isn’t a festival. It’s a full-throttle sci-fi soundtrack with lasers, lights, and legends.
Final phase tickets are flying fast—€249 for the 3-day club ticket (plus fees). For liftoff details, visit moon.worldclubdome.com.
When Billie Holiday walked into Columbia’s 30th Street Studio in February 1958 to record Lady in Satin, she was not the same woman who had swung with Teddy Wilson in the ’30s. Her voice was frayed. Her body worn. But what came out of those sessions wasn’t just another jazz record — it was a requiem wrapped in velvet, a final portrait painted with every hue of heartbreak.
To some, Lady in Satin was a strange left turn — lush orchestration, no small-group swing, and Billie’s voice worn like a threadbare coat. But that was the point. It was a record that told the truth, even if it didn’t shine. And the deeper you go, the more you discover.
Here are five lesser-known facts about this iconic album — for lovers of jazz, nuance, and the quiet power of someone singing through the storm.
1. Billie Wanted Nelson Riddle. She Got Ray Ellis — and Thank God She Did. Holiday originally had her sights set on Nelson Riddle, the arranger behind Frank Sinatra’s In the Wee Small Hours. But when she heard Ray Ellis’s interpretation of “For All We Know,” something clicked. She wasn’t looking for bombast — she was looking for beauty. Ellis’s string-soaked arrangements gave her the cushion she needed, and he gave her room to breathe, falter, and triumph.
2. She Was Paid Just $150 a Song. The Orchestra Got 60 Bucks for All Three Sessions. Columbia gave the album a blank check creatively, but the pay was modest. Holiday received $150 per track in advance. The musicians? Just $60 for the whole thing. Yet despite the low wages, these players — including trombone legend J.J. Johnson and trumpet ace Mel Davis — delivered a masterclass in restraint and emotional weight.
3. These Weren’t Her Standards — They Were Her Confessions. Unlike her Verve years, where she often revisited earlier hits, Columbia asked Billie to record songs she had never tackled before. The result? A tracklist that feels like she’s whispering secrets she’s never told anyone else. From “You’ve Changed” to “I’m a Fool to Want You,” each lyric fits like an open wound stitched with gold thread.
4. Ray Ellis Called Her Voice “Evil” — And Meant It as the Highest Compliment. Ray Ellis once described Billie’s voice as “evil” — not in the cartoon villain sense, but in the earthy, biblical way. He heard something in her rasp that was ancient, carnal, and painfully human. He built every orchestral phrase around that texture, treating her voice not as something to fix, but as something sacred to frame.
5. The Studio Itself Had a Reputation for Miracles. Lady in Satin was recorded at Columbia’s 30th Street Studio — a converted church in Manhattan that became one of the most legendary recording spaces in jazz history. Miles Davis’s Kind of Blue and Glenn Gould’s Goldberg Variations were also made there. Maybe that’s why Billie’s voice, even at its most fragile, sounds like it’s echoing through the rafters of something holy.
Lady in Satin isn’t for everyone — and it was never meant to be. It’s not the Billie of “Fine and Mellow” or “Them There Eyes.” It’s the Billie of late nights, last chances, and songs that sound like farewells.
But if you let it wash over you — if you listen not for the perfect note, but for the feeling behind the cracks — you’ll hear one of the most honest albums ever made.
Step right up, folks! In a world where bands scramble for airplay and shelf space, The Who Sell Out didn’t just make an album — they made a statement. Wrapped in faux radio ads and jingles, this 1967 record didn’t whisper “concept album,” it shouted it with the gusto of a DJ hopped up on instant coffee and pop-art irony. But beneath the bathtub of beans, acne cream, and Odorono lies a heap of history and a truckload of clever.
Let’s peel back the label on this psychedelic tin and crack open five lesser-known facts about The Who Sell Out that’ll make you the smartest mod at your next dinner party.
1. The Song That Was Too Good to Use Right Away Pete Townshend wrote “I Can See for Miles” in the spring of 1966 and, in true poker-faced genius fashion, kept it in his back pocket like a secret weapon. Why? He thought it was too good to waste. Literally. He considered it his ace — a guaranteed hit that would “flatten the opposition.” When it finally dropped as the album’s lead single in ’67, it became The Who’s only U.S. Top 10 hit. Irony? Townshend was disappointed it didn’t chart higher. Imagine being so ahead of your time that your “disappointment” is your biggest international single.
2. They Were Actually Making Real Ads… Seriously The joke was real life. The Who were making legitimate commercials in 1967 for companies like Coca-Cola and Great Shakes (yes, Great Shakes). So when they poked fun at product placement on Sell Out, it wasn’t satire from the sidelines — it was a wink from the front lines. Some of those jingles ended up on reissues. Imagine being one of the greatest rock bands of your era and still cutting promos between songs. Today’s influencers could never.
3. That Heinz Bathtub? Ice Cold. Like, Hospital Cold. Roger Daltrey may have looked like the picture of British bravado in that now-iconic Heinz Baked Beans bathtub shot, but behind the scenes, things weren’t so cozy. The beans had been pulled straight from the fridge. Daltrey reportedly caught either pneumonia, the flu, or “the worst cold of his life” depending on which interview you believe. It’s the kind of commitment you don’t see in album covers anymore — unless someone’s jumping into a dumpster full of oat milk for a TikTok.
4. The First Few Seconds of “Rael” Are Mono Because… A Janitor Somewhere in a New York City studio, a janitor unknowingly altered rock history. After the band recorded a full take of “Rael,” the original tape — intro and all — was accidentally trashed. Pete Townshend, upon hearing this, allegedly hurled a chair through the control room window. The only salvageable version? A mono mix of the intro patched onto the stereo take. So when you hear that shift at the beginning, you’re not just hearing a song — you’re hearing disaster narrowly avoided by studio wizardry.
5. The Lawsuits Were Realer Than the Ads Here’s the rub: while the album was pretending to advertise products, it also got in trouble as if it actually had. Odorono wasn’t thrilled to see their name on a giant stick of deodorant applied to Pete Townshend’s armpit. Heinz wasn’t jazzed about Daltrey’s chilly bean bath. Radio London’s jingle producers PAMS Productions even threatened legal action over the band’s unauthorized use of their signature sounds. Turns out, parody may be the sincerest form of flattery — but it still needs a contract.
The Who Sell Out is Technicolor critique of the very culture that birthed it. It’s pop art meets pop hooks. It’s irony with a power chord. And like any good campaign, it knew how to sell the message by being the message.
And now, back to our regularly scheduled programming. Stay tuned — same Who time, same Who channel.
All photos by Mini’s Memories. You can contact her through Instagram or X.
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For Mercury Nashville singer/songwriter Bryce Leatherwood, his love of country music began with listening to the likes of George Jones, Merle Haggard and Conway Twitty in his grandfather’s truck. That love and a passion for performing took him from local stages playing for beer in college to being crowned season 22 champion of “The Voice” just over two years ago.
But in many ways that crown was just the beginning of his journey. What followed has been years of firsts. His first time in a writers room, first time on the Grand Ole Opry stage, his first headlining tour and now another first…the release of his self-titled, debut album available today with Saving Country Music observing “his voice is definitely a stellar vehicle for delivering country music.”
“I’ve been chasing this dream ever since the eighth grade when my daddy handed over his much loved Conway Twitty Greatest Hits CD,” shared Leatherwood. “To finally have my very own album out in the world, I am just over the moon and so excited for fans to hear it. I hope people listen to it and walk away feeling like country music is alive and well!”
The Woodstock, Georgia native is carrying the influences and country-music foundations built while bumping along in that old pickup on his granddad’s farm with him for the debut LP American Songwriter praises as, “a true 21st-century country music album with flares that pay homage to the past.” A mix of originals and expertly crafted outside cuts, Leatherwood lets his resonate vocal loose over 12 diverse tunes – centered on his rock solid country roots, but ranging from the pure-emotion of classic balladry to an expanding genre’s bleeding edge. Taking a hands-on approach with producer Will Bundy (Riley Green, Ella Langley), Leatherwood threads the needle between the timeless and trendy with surefooted ease.
The album, which Country Now notes “introduces Leatherwood in his most authentic form,” features previously released tracks like the rollicking sweep-you-off-your-feet Saturday-night anthem “Neon Does,” “The One My Daddy Found” inspired by the decades-long love shared by his parents, “Where the Bar Is” which pops a country-rock top on a quick-hitting tale of late nights and open tabs, “The Finger” a tongue-in-cheek fan favorite sing-along to getting shafted by love and “Shenandoah” penned by Leatherwood with Jeffrey East and Josh Kelley about love and total romantic devotion.
Unreleased tracks on the debut LP include “In Lieu of Flowers” proclaiming his eternal honky tonk allegiance – requesting Joe Diffie and a longneck toast when his time finally comes, the transformative jam “Something Bout A Girl” tracks the making of a man – with the help of a woman’s touch, while the feel-good “God Made” mixes twangy Telecaster with tasteful beats for a tale of physical perfection, the bluesy vocal stunner “What If She Does” imagines losing it all and “Cheap Cologne” traces the other side of the story – an aching done-me-wrong anthem nodding to Leatherwood’s classic favorites.
Leatherwood has marked release week with a flurry of activity including a stop at NBC’s “Today with Jenna & Friends” on Wednesday, May 14, to give fans a preview of the album with a performance of “In Lieu of Flowers.” He also received a surprise message on the show from Blake Shelton with his former Voice Coach sharing, “Man, it still seems like literally yesterday that I watched you win ‘The Voice,’ and I’m still just as proud of you today,” Shelton said. “Go get em’ brother.”
Leatherwood will return to “The Voice” stage for the NBC hit’s finale on May 20, joining a star-studded line-up that will include performances from Alicia Keys, Blake Shelton, Chance the Rapper, Sheryl Crow, Joe Jonas, Kelly Clarkson and more.
And the country crooner is showing no signs of slowing down. Leatherwood will celebrate the new album with a return to the Grand Ole Opry on May 24 and the Good Molecules Reverb Stage at CMA Fest next month. Fans can also find him at festivals across the US this summer with more touring news to be announced soon.
American EBM virtuosos Youth Code have returned with their first musical output in four years: Yours, With Malice, has been officially released on Sumerian Records.
Nothing hits harder than life, as they say, and the series of bloody-knuckle bouts to get to the release of Yours, With Malice led to some deep introspection by Youth Code regarding who they are, what they’ve accomplished and their next steps. These last few years of self-reflection found Youth Code stewing in a simmering cauldron of bile and vitriol as Yours, With Malice is clearly their most intricate, well-crafted and blood-thirsty release to date.
Yours, With Malice roars and tramples like an armor-plated, weaponized bulldozer, pulverizing skulls into fine powder, while bubbling sub-bass, bone-snapping snare hits, sizzling hi-hats and rib-rattling kicks bounce off of the floors like spent shells. Sanford Parker’s powerful mix gives the effort a strong shove in the right direction- the subtle but careful ear for melody that connects all the songs, grounds them, and keeps the listener chained to the “repeat” button. Today, the EP closer “I’m Sorry” arrives to celebrate release date.
While some of the sounds and references on Yours… come from classic 90s influences such as Nine Inch Nails’ classic Broken/Fixed duality, the untouchable middle period Ministry era that spawned The Mind is a Terrible Thing to Taste, in addition to a plethora of others like Front 242, Cabaret Voltaire, and Portion Control, the core attack has not changed much for the Los Angeles-based duo.
What has changed is Youth Code’s attention to detail and their hyper focus on execution in songwriting, two things that can only come from the wellspring of knowledge found in a band that has been at it for more than a decade. The group began in 2012 as a project between partners Ryan George and Sara Taylor, inspired by the classic sounds of New Order, Depeche Mode and the hardcore punk that soundtracked so much of their youth. What emerged was a demo cassette that led to a 7″ release on Angry Love, the first band unrelated to the legendary Psychic TV to be released on that label. A self-titled album followed, then 2014’s A Place to Stand EP, and 2016’s Commitment to Complications LP, all while touring with a diverse groups like Chelsea Wolfe, HEALTH, Skinny Puppy, and more, in addition to arena shows with My Chemical Romance and main stage appearances with Nine Inch Nails. Heaps of press accolades followed before the pandemic hit, and now, in 2025, Youth Code return with their magnum opus.
“The boat is off the shore and you can’t see land anymore—we’re in it now,” says The Last Revel banjoist, Ryan Acker, of the band’s current trajectory. “This is a step in our careers that feels like there’s no going back. There’s a level of commitment now that, just a couple of years ago, we didn’t fathom we could take on.” And their upcoming album reflects that sentiment in a surefooted and career defining way. Produced by Trampled by Turtles’ Dave Simonett, the ten-track LP dubbed Gone for Good shines with The Last Revel’s commitment to never give up, signed in blood by Acker and his musical brothers, guitarist Lee Henke and fiddler Vinnie Donatelle. A multilayered ode to the life of an artist, life on the road, and what it means to be a human being in uncertain times, Gone for Good finds the Americana/indie-folk outfit exploring the trials, tribulations, and triumphs of what it means to pursue your dreams in real time, and doing so with their hard-won and road-honed delivery.
Released today, “Solid Gone” is the first single from Gone for Good—due out July 18th via Thirty Tigers. A quick-paced clawhammer banjo and fiddle melody lead into a heady study on loss, or potential loss as the song’s inspiration hints. “In early 2023, my wife and former band got in a car accident while on tour driving through some nasty winter weather in eastern Montana,” recalls Acker. Miraculously, everyone was ok with no major injuries, but Acker and his wife were rattled by the experience. “We’ve both always known that the life of a touring musician comes with a certain amount of risk, but an extremely close call like this conjured up some heavy emotions to face.” Spending a good part of their relationship like “ships in the night,” each partner on their respective tours, Acker couldn’t help but think about if she’d never made it home from Montana that day.
“‘Solid Gone’ came from grappling with the harsh reality that just because you found your soulmate does not mean that you are guaranteed another chance to see them,” says Acker. “To hell and back we’d ride as if it was another sacred gift,” sings Henke leading the band into a final refrain. With the arrangement, the main banjo and fiddle melody don’t intuitively line up with the chords and rhythm section until you get to the release of the chorus; intentionally so. “I wanted the music and instrumentation to reflect this ‘ships in the night’ feeling,” Acker says, tying together both music and lyrics into a package well representing Gone for Good’s new era of The Last Revel; the prize for perseverance.
Yesterday, MAGNET Magazine premiered the track, writing, “‘Solid Gone’ is a standout track from Gone For Good…the album veers from intimate to epic as it charts the unpredictability and beauty of life as a traveling artist and an inhabitant of a world where the hits keep coming.”
Fans can stream or purchase “Solid Gone” today at this link and pre-order or pre-save Gone for Good ahead of its July 18th release on Thirty Tigers right here. The Last Revel return to the road on May 21st at Richmond Music Hall in Richmond, Virginia. A full list of tour dates can be found below or at thelastrevel.com/tour.
Gone for Good Tracklist:
Solid Gone
Static
Go On
Jealousy
Wait Up
Simple Wheel
Holy Moly
Tall Grass
Until Death
Porcelain
Catch The Last Revel On Tour:
May 21 – Richmond Music Hall at Capital Ale House – Richmond, VA
May 22 – Rex Theater – Galax, VA
May 23 – Lime Kiln Theater – Lexington, VA ^
May 24-25 – DelFest – Cumberland, MD
May 28 – Bourgie Nights – Wilmington, NC
May 29 – Cat’s Cradle – Carrboro, NC
May 30 – Nightfall Concert Series – Chattanooga, TN
May 31 – Cold Mountain Music Festival – Canton, NC
June 1 – Charleston Pour House – Charleston SC *
June 21 – Abayance Bay Marina – Rexford, MT
June 26 – The Racoon Motel – Davenport, IA #
June 27 – Blue Ox Music Festival – Eau Claire, WI
June 29 – Thesis Beer Project – Rochester, MN &
July 17 – Lander Presents: Summer Concert Series – Lander, WY
July 19 – Pine Creek Lodge – Livingston, MT
July 25 – FloydFest – Floyd, VA
Aug. 2 – Red Lodge Summer Fest – Red Lodge, MT
Aug. 3 – Bluegrass and Beer Festival – Keystone, CO
Aug. 7 – Cedar Lounge – Superior, WI
Aug. 8 – Ledgestone Vineyards – Greenleaf, WI
Aug. 9 – Whey Pit at Seven Acre Dairy – Belleville, WI
Aug. 29-31 – Rhythm & Roots Festival – Charlestown, RI
Sept. 10-13 – Bender Jamboree – Las Vegas, NV
Sept. 18 – Red Room at Cafe 939 – Boston, MA
Sept. 19 – 118 North – Wayne, PA
Sept. 20-21 – Annapolis Baygrass Festival – Annapolis, MD
Sept. 20 – Mercury Lounge – New York, NY
Sept. 24 – Shitty Barn – Spring Green, WI
Sept. 25 – Garcia’s – Chicago, IL
Oct. 8 – Gothic Theater – Englewood, CO +
Oct. 9 – Aggie Theatre – Fort Collins, CO +
Oct. 10 – Urban Lounge – Salt Lake City, UT +
Oct. 11 – Shrine Social Club – Boise, ID +
Oct. 15 – The Crocodile – Seattle, WA +
Oct. 16 – Aladdin Theater – Portland, OR +
Oct. 18 – The Independent – San Francisco, CA +
Oct. 19 – Troubadour – Los Angeles, CA +
Oct. 20 – Music Box – San Diego, CA +
Oct. 22 – Meow Wolf – Sante Fe, NM +
Oct. 24 – Parish – Austin, TX +
Oct. 25 – The Kessler Theater – Dallas, TX +
Nov. 6 – The Burl – Lexington, KY +
Nov. 7 – HI-FI – Indianapolis, IN +
Nov. 8 – The Basement East – Nashville, TN +
^ = With The Infamous Stringdusters
* = With The Mud Minnows
# = With Lena Marie Schiffer
& = With Clay Fulton & The Lost 40
+ = With Oliver Hazard
Canadian native and New Zealand musical royalty Tami Neilson has released the second single from her upcoming album release Neon Cowgirl. “Borrow My Boots” is an exuberant, high-octane track celebrating female empowerment and giving a sister a leg up. It’s written by Tami and Nashville powerhouses Ashley McBryde and Shelly Fairchild who are both featured on the track alongside guitar prodigy Grace Bowers. To accompany the release, Tami has shared a fun, behind-the-scenes video of her Grand Ole Opry debut, including video clips from her performance in the official video for “Borrow My Boots.” The Grand Ole Opry has released a video performance of the four of them tearing it up live performing the song at Tami’s Opry debut.
“After getting to perform on an absolute dream show with an all-star lineup singing the music of Patsy Cline at the Ryman, I woke up the next morning to a DM from one of my favourite country stars, Ashley McBryde. She’d been on the line up and after seeing me perform, she had immediately dug into my catalogue of music and wrote to me to lift me up and encourage me, saying she was a fan. A few weeks later, she tagged me in a post of her getting ready for the red carpet of the CMAs, playing “Careless Woman” as her hype song! A couple months after that, she asked for permission to create a t-shirt with my photo on it and a line from that song, “I Wanna Be Her When I Grow Up” so she could wear it around town as she hosted CMA Fest and champion my music.
So, when I had a song idea about women supporting and empowering each other, she was the first person who came to mind. I asked if she would do a long-distance writing session and she invited powerhouse songwriter and artist Shelly Fairchild to join us and “Borrow My Boots” was born, and recorded on the album the next week. I met Grace Bowers back when she was 15 and had just moved to Nashville and I asked her to play her first paid gigs with me at Americanafest – we had to hide her backstage because she wasn’t old enough to be in the venues. She’s rocketing to stardom now and after playing with everyone from Dolly and Slash, to rocking the Grammys, I didn’t know if she’d have time for a little guitar solo on my album. Not only did she contribute a blistering solo, she changed her flights in the middle of a tour to join me, Ashley and Shelly to perform this song at my debut on the stage of the Grand Ole Opry.
NEON COWGIRL will be released on July 11 on Outside Music, with Tami and her band joining Willie Nelson, and then Willie and Bob Dylan, on this year’s Outlaw Festival tour. She will also be playing Willie’s Fourth of July Picnic, and will return to the Grand Ole Opry stage in June. Also in June, Tami will hit Europe for shows in France, Belgium, and the Netherlands. Her huge, glorious voice and powerful live performances have won the admiration and support of some of country music’s biggest names and fans worldwide. Check this space for tour dates: https://www.tamineilson.com/tour
TOUR DATES
*Outlaw Music Festival Tour 2025
THU 19 JUN – Paris, France @ New Morning
FRI 20 JUN – Sint-Niklaas, Belgium @ De Casino
FRI 20 JUN – SAT 21 JUN – Grollo, Netherlands @ Holland International Blues Festival 2025 WED 25 JUN – Franklin, TN @ FirstBank Amphitheater*
