Like a sweet spring breeze after a long, cruel winter, Cory Hanson’s blowing through town again. And like the wind, I Love People — our lone wanderer’s fourth album, out July 25 — comes from parts unknown. Need a ride? Long as you’re ready to find yourself wherever it dies down, jump on! The first single, “Bird on a Swing,” arrives today with a music video.
Followers of Cory’s twin arcs as solo singer and Wand member will be intrigued to learn that the lineup here is the same band that recorded last year’s Vertigo: Robbie Cody co-producing behind the desk, Evan Backer playing bass and arranging strings and horns, Evan Burrows on drums and percussion, and Cory on piano, guitars and voices and songs. Here though, the simmering shades of his past solo works — Pale Horse Rider’s quiet horror and the burst of Western Cum’s cartoonish, gun-slinger bravado — give way to an ever-more impartial view of life on the ground, tinted in gossamer sepia and other nostalgic tones. Written over the past several annums, Cory’s songs ensnare the 70s singer-songwriter in a feedback loop, drawing additional inspiration from the indelible everyman melodies of the American Songbook. I Love People’s songs are rendered with immediacy and a deep-pile Hollywood production sound that radiates affluence and comfort, even in the darkest and coldest nights way out beyond the range of any signal.
Paired with a black-and-white bottle glass music video, “Bird on a Swing” paints our earthly paradise at its most beautiful: an FM radio oasis with a hazy mid-tempo smooth groove, strummy acoustics and other fibrous strings glittering in the breeze. An angelic choir harmonizes in the distance before Cory’s lyrics unfold: “I’ve rode on the darkest range / I’ve worked a thousand graveyard hours / I have no blood left in my veins, I gave it all up to the empire.” If it’s true that we were exiled from the garden, then where are we right now? As is so often the case, soft-sounding music can be used to swaddle the hardest human truths.
Even though their subject won’t stop squirming, Cory and his merry men have constructed a timeless still life with I Love People, simply by living for the fun and love of it all. Just like the rest of us! The people-lovin’ bandwagon rolls up on July 25, 2025.
Cory Hanson 2025 Tour Dates:
July 29 – San Francisco, CA @ Kilowatt
July 30 – Arcata, CA @ The Miniplex
July 31 – Aug. 3 – Happy Valley, OR @ Pickathon
Aug. 3 – Seattle, WA @ Black Lodge
Aug. 5 – Boise, ID @ Neurolux
Aug. 6 – Reno, NV @ Holland Project
Aug. 7- Pacific Grove, CA @ Pop & Hiss
Aug. 8 – Los Angeles, CA @ Zebulon
Bruce Springsteen and The E Street Band will return to the road on May 14 for their only shows of 2025, bringing “The Land of Hope and Dreams Tour” to more than 700,000 fans in six countries this summer. Beginning with a three-show run in Manchester, England next week, these 16 scheduled dates will serve as the finale to a tour that’s been deemed “the greatest show on earth” (Billboard) and “a masterclass in the uplifting power of rock-and-roll” (Washington Post). Beginning in February 2023, with Springsteen and The E Street Band’s first shows in six years, the current run of 130 dates has sold over 4 million tickets across continents, been named Pollstar’s Rock Tour of the Year (2024) and resulted in the critically-acclaimed documentary “Road Diary: Bruce Springsteen and The E Street Band” (available on Hulu and Disney+).
Recent live highlights for Springsteen and The E Street Band include their first Asbury Park homecoming show in decades — “an already legendary live set” (Variety) called “one of the greatest post-reunion shows in Springsteen history” (Rolling Stone). In Europe, a multi-night run at London’s Wembley Stadium last summer “reminded us…no one does it better” (The Times) — while shows at Barcelona’s Estadi Olímpic saw the band “unleash euphoria” (El Correo) to over 130,000 fans. Each of this year’s tour dates will take place in a city that Springsteen and The E Street Band are yet to play since their 2023 return, concluding with two nights at the legendary San Siro Stadium in Milan, Italy on June 30 and July 3.
Also coming this summer is “Tracks II: The Lost Albums,” a collection of seven never-heard, full-length Springsteen records arriving June 27 via Sony Music. Spanning across 83 songs (74 of which have never been released in any form), the 9LP / 7CD box set has already been called “a treasure” (David Muir, ABC World News Tonight), “astounding” (Rolling Stone) and “too good to be true” (New York Magazine). “Almost ever since he released ‘Tracks’ in 1998, fans have clamored for this,” noted Variety — while the New York Times added that even Springsteen’s biggest fans would be “surprised at the scale of ‘Tracks II.’”
Springsteen has shared three early previews of “Tracks II” to date: “Rain In The River,” “Blind Spot” and “Faithless.”
Bruce Springsteen and The E Street Band Tour Dates:
May 14 – Manchester, England – Co-op Live
May 17 – Manchester, England – Co-op Live
May 20 – Manchester, England – Co-op Live
May 24 – Lille, France – Stade Pierre Mauroy
May 27 – Lille, France – Stade Pierre Mauroy
May 31- Marseille, France – Orange Vélodrome
June 4 – Liverpool, England – Anfield Stadium
June 7 – Liverpool, England – Anfield Stadium
June 11 – Berlin, Germany – Olympiastadion
June 15 – Prague, Czech Republic – Airport Letnany
June 18 – Frankfurt, Germany – Deutsche Bank Park
June 21 – San Sebastian, Spain – Estadio Reale Arena
June 24 – San Sebastian, Spain – Estadio Reale Arena
June 27 – Gelsenkirchen, Germany – Veltins Arena
June 30 – Milan, Italy – San Siro Stadium
July 3 – Milan, Italy – San Siro Stadium
Stevie Van Zandt’s Renegade Circus and Sixthman, the leader in festivals and music cruises for more than two decades, have announced the initial lineup for Outlaw Country Cruise 10, sailing March 20-25, 2026 from Miami, FL to Harvest Caye, Belize and Roatán, Honduras aboard the luxurious Norwegian Pearl. First Round Pre-sale Signups are available now through May 11 at 11:59 pm (ET). Final Round Pre-sale Signups will conclude May 14 at 11:59 pm (ET). Public On-Sales begin May 16 at 2:00 pm (ET), exclusively at www.outlawcountrycruise.com. Bookings are available for just $100 down per person when they make reservations before July 20 or while cabins last.
For its 10th anniversary sailing The Outlaw Country Cruise will feature five nights of unforgettable performances and amazing moments highlighted by a truly stacked lineup that includes Margo Price, Nitty Gritty Dirt Band, Lucinda Williams, Steve Earle, Reckless Kelly, Daniel Donato’s Cosmic Country, Asleep at the Wheel, Carlene Carter, Shinyribs, Jesse Dayton, Elizabeth Cook, Jim Lauderdale, The Warner E. Hodges Band, Rosie Flores & the Talismen, Roger Alan Wade, Roland Dixon, UNBEPAMEN, and Mojo Nixon Presents: The Toadliquors, Your Mama and Some Other Whore!!! This hootenanny on the high seas will be cruising the Caribbean with immersive, once-in-a-lifetime activities and experiences, including special performances, unique collaborations, expertly curated tribute shows, all-star guitar pulls, and SiriusXM Sessions at Sea radio tapings recorded for later broadcast on the SiriusXM Outlaw Country channel.
Beyond the onboard experience, Outlaw Country Cruisers will have the chance to enjoy spectacular shore excursions in Harvest Caye, Belize and Roatán, Honduras. Harvest Caye offers luxurious amenities, eco-adventures, and easy access to Belize’s famous barrier reef. Meanwhile, Roatán, the largest of Honduras’ Bay Islands, is a diver’s paradise with world-class snorkeling, lush jungles, and a rich blend of Caribbean and Central American culture. Both destinations provide extraordinary experiences for nature lovers, adventure seekers, and beachgoers alike. Please note: Shore excursions will not be available until 4-6 weeks prior to sailing. Cruisers will be able to book an excursion upon receipt of their official booking number.
The Norwegian Pearl will provide everything needed to make this 10th anniversary edition of the Outlaw Country Cruise the most captivating cruise vacation ever, with fully stocked bars at (almost) every corner, tasty dining options, the Pool Deck (with multiple hot tubs), the Pearl Club Casino, Mandara Spa, Body Waves Fitness Center, Sports Court, and much more.
OUTLAW COUNTRY CRUISE 10 – Sailing March 20-25, 2026 From Miami, FL to Harvest Caye, Belize and Roatán, Honduras aboard Norwegian Pearl Lineup:
Margo Price
Nitty Gritty Dirt Band
Lucinda Williams
Steve Earle
Reckless Kelly
Daniel Donato’s Cosmic Country
Asleep at the Wheel
Carlene Carter
Shinyribs
Jesse Dayton
Elizabeth Cook
Jim Lauderdale
The Warner E. Hodges Band
Rosie Flores & the Talismen
Roger Alan Wade
Roland Dixon
UNBEPAMEN
Mojo Nixon Presents: The Toadliquors, Your Mama and Some Other Whore!!!
+ MORE TO BE ANNOUNCED
If you’ve ever wondered what love, legacy, laughter, and language sound like when translated into music, AMPLIFY Season 3 has your answer—times nine. The APTN original series returns with its most emotionally resonant season yet, spotlighting nine Indigenous singer-songwriters from across Canada as they transform personal and cultural truths into brand-new songs. This isn’t just a music docuseries. It’s a mic-drop for memory, identity, and sound.
Each episode in AMPLIFY is its own self-contained world—a sonic diary entry backed by cinematography, ceremony, and soul. Métis musician Shane Ghostkeeper kicks things off in Calgary with “KIIKSOKOKOMIN,” an ode to enduring love inspired by his relationship with fellow artist Sarah Houle. His country-tinged track is wrapped in tenderness and the warmth of family—and yes, it’ll wreck you (in the best way).
Then there’s Tia Wood, the rising Plains Cree and Coast Salish star whose voice might be the most powerful long-distance call you’ve ever heard. In “ONIHCIKISKWAPIWINIHK,” she channels homesickness, kinship, and the Cree language to deliver a ballad that feels like curling up in your grandma’s kitchen. Her episode, filmed in both Saddle Lake and Six Nations, reminds us how family ties are often our first melodies.
In Nashville, country icon Crystal Shawanda lets her guard down in “THIS PEACE.” With her daughter in one hand and a guitar in the other, Shawanda reflects on stardom, struggle, and survival as an Anishinaabe woman in a genre that hasn’t always made space for her. Her latest track is less “look at me now” and more “I’m still here,” and it hits like truth.
Darcy Turning Robe’s story is one of redemption and rhythm. In “O’TSI’MIWA IHKITOPI,” the Siksika drummer and knowledge keeper tells how reconnecting with his roots—and his grandfather’s teachings—saved his life. With the drum as heartbeat, this episode pulses with healing and the quiet power of cultural continuity.
By the time you meet Lido Pimienta in “ASIRA,” things get deliciously chaotic. The Colombian-Canadian art-pop powerhouse blends humour, activism, and tradition while unpacking what it means to be Indigenous in the diaspora. There’s music, yes, but also food, satire, Cree translations of Walking Eagle News, and the kind of sly genius that only Lido could conjure.
Other highlights include Inuk throat singer Qattuu’s reflection on self-care while pregnant, Anishinaabe artist Evan Redsky’s black-and-white meditation on cosmic identity in “COSMIC CAROUSEL,” and Sebastian Gaskin’s heartstring-plucking episode “WOVEN,” where beading becomes a metaphor for family and music as healing. And let’s not forget Bebe Buckskin, who closes out the season by rocketing us into interstellar grief and love in “8th WANDERER.”
Behind the scenes, AMPLIFY boasts a 100% Indigenous production crew, seven Indigenous directors, and a commitment to language revitalization—this season is dubbed in Oneida and features Cree, Inuktitut, Siksika, and more. It’s an artistic act of sovereignty that’s as much about reclaiming space as it is about sharing sound.
So whether you’re here for a good cry, a new playlist, or a masterclass in storytelling, AMPLIFY Season 3 delivers. And just like any great song, its impact will linger long after the final note.
Catch new episodes every Tuesday starting May 13 on APTN and the Lumi app. And turn it up—these voices deserve to be heard.
Today, one of the greatest bands in rock history, The Who, have announced their bittersweet final tour of the US and Canada as a truly grand finale of their illustrious six-decade career. Full tour routing and ticketing information is available below.
The legendary duo are revealing the news live during a press conference at the Iconic Images gallery in Piccadilly, London. Fans can tune in below to listen to Roger Daltrey & Pete Townshend discuss the 2025 series of dates, aptly titled The Song Is Over North America Farewell Tour (named after the Who’s 1971 classic song).
The secret press conference in London is showcasing a rare piece of Who memorabilia and US connection, an American football helmet featured on the sleeve of their classic 1974 album, ‘Odds & Sods’ recently returned from the Rock n Roll Hall Of Fame.
Roger Daltrey says: “Every musician’s dream in the early 60’s was to make it big in the US charts. For the Who, that dream came true in 1967 and our lives were changed forever. The warmth of the American audiences over the years have been inspirational to me, and reflect the feeling I remember getting after hearing the first rock records coming across the radio. Musical freedom! Rock gave us a feeling of generational rebellion. To me, America has always been great. The cultural differences had a huge impact on me, this was the land of the possible. It’s not easy to end the big part of my life that touring with The Who has been. Thanks for being there for us and look forward to seeing you one last time.”
Pete Townshendsays: “Well, all good things must come to an end. It is a poignant time. For me, playing to American audiences and those in Canada has always been incredible. The warmth and engagement of those audiences began back in 1967 with hippies smoking dope, sitting on their blankets and listening deeply and intensely. Music was everywhere. We all felt equal. Today, Roger and I still carry the banner for the late Keith Moon and John Entwistle and of course, all of our longtime Who fans. I must say that although the road has not always been enjoyable for me, it is usually easy: the best job I could ever have had. I keep coming back. Every time I do, I meet new fans and feel new energy. Roger and I are in a good place, despite our age, eager to throw our weight behind this fond farewell to all our faithful fans, and hopefully to new ones who might jump in to see what they have been missing for the last 57 years. This tour will be about fond memories, love and laughter. Make sure you join in.”
Tickets will be available starting with a Citi presale and through the Who Fan Club (details below) beginning on Tuesday, May 13. Additional presales will run throughout the week ahead of the general onsale beginning on Friday, May 16 at 10:00 AM local time at thewho.com/tour/.
Citi is the official card of The Who – The Song Is Over – North American Farewell Tour. Citi cardmembers will have access to presale tickets in the U.S. beginning Tuesday, May 13 at 10:00 AM local time until Thursday, May 15 at 10:00 PM local timethrough the Citi Entertainment program. For complete presale details, visit www.citientertainment.com.
Join the Whooligan Fan Club exclusively HERE at to receive early ticket access, exclusive Whooligan merchandise, and a copy of the previously unreleased album, Live At The Oval 1971, one of The Who’s most legendary shows, which has been newly mixed and mastered from the original tapes.
The tour will also offer a variety of VIP packages and experiences for fans to take their concert experience to the next level. Packages vary but include premium tickets, access to pre-show soundcheck, invitation to the pre-show VIP Lounge, a limited edition autographed tour poster & more. VIP package contents vary based on the offer selected. For more information, visit vipnation.com.
One of popular music’s most influential and resilient pairings, Pete and Roger have rewritten the rulebook on what it means to be a world-changing live act throughout a sea of seismic shifts that would have put any other rock dyad on the mat. Townshend has commented on their high-performance standard, which has “risen out of the ashes of the halcyon years of rock ‘n’ roll.” That’s why it’s no surprise they’ve stacked some of the best reviews of any performing artists in the past decade. Variety raved “rock ’n’ roll’s greatest achievement…” about their previous American tour; evidence of their incredible staying power and a testament to an unparalleled repertoire of songs written by Townshend and sung by Daltrey with an attention to detail unmatched in the rock era.
Fans and critics continue to hail Pete and Roger’s ability to play the long game in music with passion and integrity like few before them. The historic 2025 The Song Is Over tour will mark the final face-to-face celebration of this timeless connection with North American Who fans, forever appreciative of the band’s ability to dispense with nostalgia and deliver authentic rock moments time and time again.
Further proof that the duo is still at the top of their game could be gleaned in a 2024 review of their performance at the Teenage Cancer Trust’s historic annual concert at London’s Royal Albert Hall, honoring the work of its founder, Roger Daltrey, who stepped down from his curatorial role after 24 years. One reviewer of the Who’s performance called it: “One of the most joyous bombastic concerts London’s magnificent Royal Albert Hall has ever seen…”
America’s love affair with The Who live began 58 years ago when the band were part of ‘Murray The K’s Music in the Fifth Dimension’, a series of showcase events at RKO’s 58th Street Theatre in New York over nine days in March and April 1967. The band played just three songs (‘Can’t Explain’, ‘Substitute’, ‘My Generation’), and other acts on the bill included Cream, Smokey Robinson & The Miracles, Simon & Garfunkel, and Wilson Pickett. Later that Summer, it was at the seminal Monterey International Pop Festival in California that they rose to prominence in a defining moment of the Summer Of Love. Two years later, The Who were once again front and center at the most famous festival of the ’60s, Woodstock, performing an incendiary set in the early hours of August 17th, 1969.
The Who continued to thrill US fans throughout the 1970s before undertaking their first ‘farewell’ tour in 1982, which featured two shows at the legendary Shea Stadium in New York. When the band returned to the road in the late 1990s and early 2000s perhaps one of their greatest performances was at The Concert For New York City at Madison Square Garden shortly after the terror attack of 9/11, their three-song set in front of emergency workers and first responders was met with a primal roar from an audience. When Pete Townshend and Roger Daltrey were given the Kennedy Center Honors in December 2008 for their contributions to American culture, a tribute performance of “Baba O’Riley” was delivered with a full choir of New York firefighters in gratitude for The Who’s performance at the show.
The Who are one of the top three greatest rock legacies in music history with 9 US & 10 UK top ten albums and 14 UK top ten singles.
They have played well over 2,000 gigs in a career spanning over 50 years including venues such as Woodstock, Monterey Pop, Glastonbury (twice), Hyde Park (four times), The Isle Of Wight (three times), the closing ceremony of the 2012 Olympics, Desert Trip, Shea Stadium, The Superbowl half time show and Live Aid to name but a very few.
Emerging in the mid-1960s as a new and incendiary force in rock n’ roll, their brash style and poignant storytelling garnered them one of music’s most passionate followings, with the legendary foursome blazing a searing new template for rock, punk, and everything after.
Inducted into the Rock n’ Roll Hall Of Fame in 1990, the band has placed 27 top-forty singles in the United States and United Kingdom and earning 17 Top Ten albums, including the 1969 groundbreaking rock opera Tommy, 1971’s pummeling Live At Leeds, 1973’s Quadrophenia and 1978’s Who Are You. The Who debuted in 1964 with a trio of anthems “I Can’t Explain,” “The Kids Are Alright” and “My Generation”. Since then, they have delivered hits such as Baba O’Riley”, “Won’t Get Fooled Again”, “Pinball Wizard”, “Who Are You” and “You Better You Bet”.
In 2008, they became the first rock band ever to be awarded the prestigious Kennedy Center Honors. The Who has performed all over the world, including global music events for the Super Bowl XLIV Halftime Show in 2010 and closing the Summer Olympics in 2012. The Who continued their charity work by playing a concert in January 2011 to raise money for trials of a new cancer treatment called PDT. In December 2012 they performed at the Hurricane Sandy Benefit in New York.
Alongside his groundbreaking work with the Teenage Cancer Trust in the UK, in November 2012 Daltrey, with Townshend at his side, launched Teen Cancer America www.teencanceramerica.org
Both Roger and Pete delivered their memoirs (Pete’s Who I Am was released to much acclaim in 2012, and Roger’s Thanks A Lot Mr. Kibblewhite; My Story was embraced by critics in 2018) it’s fitting that the two remaining WHO members have shared their incredible legacy in literary fashion, for few bands have had a more lasting impact on the rock era and the reverberating pop culture than The Who.
The band released their first new album in thirteen years, the critically acclaimed WHO in 2019 and toured the world with their ‘Moving On’ and ‘The Who Hits Back!’ symphonic shows with a full orchestra which were commemorated in 2023 with the album ‘The Who With Orchestra Live At Wembley’, recorded at London’s legendary Wembley Stadium. 2025 sees The Who saying goodbye to their legions of loyal fans in the USA, but their music will live on forever.
THE WHO – THE SONG IS OVER – 2025 NORTH AMERICA TOUR
Aug 16 – Sunrise, FL – Amerant Bank Arena
Aug 19 – Newark, NJ – Prudential Center
Aug 21 – Philadelphia, PA – Wells Fargo Center
Aug 23 – Atlantic City, NJ – Jim Whelan Boardwalk Hall
Aug 26 – Boston, MA – Fenway Park
Aug 28 – Wantagh, NY – Northwell at Jones Beach Theater
Aug 30 – New York, NY – Madison Square Garden
Sep 2 – Toronto, ON – Budweiser Stage
Sep 4 – Toronto, ON – Budweiser Stage
Sep 7 – Chicago, IL – United Center
Sep 17 – Los Angeles, CA – Hollywood Bowl
Sep 19 – Los Angeles, CA – Hollywood Bowl
Sep 21 – Mountain View, CA – Shoreline Amphitheatre
Sep 23 – Vancouver, BC – Rogers Arena
Sep 25 – Seattle, WA – Climate Pledge Arena
Sep 28 – Las Vegas, NV – MGM Grand Garden Arena
We’ve all been there. You messed up, feelings were hurt, and suddenly you’re on the business end of a cold shoulder, a slammed door, or worse—a silent Instagram unfollow. But music, like love, is a powerful healer. Over the decades, countless artists have said “I’m sorry” for us in every style imaginable: pleading, poetic, sarcastic, sincere. Here are 30 songs that put the apology on record—literally.
1. “Sorry Seems to Be the Hardest Word” – Elton John Elton nailed it: sometimes one word feels like the hardest sentence in the world. Released in 1976, this ballad made it OK to be heartbroken and humble at the same time.
2. “Apologize” – OneRepublic feat. Timbaland This 2007 smash had everyone saying sorry… too late. With strings, drama, and a beat you could cry to, it brought emotional pop to the top of the charts.
3. “Baby Come Back” – Player Soft rock meets full-on regret. This 1977 gem is the sound of a guy who definitely knows he messed up—and brought a bassline to beg for forgiveness.
4. “Back to December” – Taylor Swift Taylor flipped the script and said she was sorry this time. A rare apology track in her early catalog, and proof that even heartbreak royalty has regrets.
5. “Sorry” – Justin Bieber Is it too late now to say sorry? Not if you’re dancing. Bieber’s tropical house-infused hit made apologies sound like summer romance.
6. “Hard to Say I’m Sorry” – Chicago In the ’80s, Chicago turned power ballads into tearjerkers. This one practically invented the slow-dance apology.
7. “I’m Sorry” – Brenda Lee In 1960, 15-year-old Brenda Lee whispered the most devastating “I’m sorry” in pop history. Pure, aching sincerity in under three minutes.
8. “Please Forgive Me” – Bryan Adams With vocals as gravelly as the emotion is smooth, Bryan Adams made this one a staple of mixtapes and movie montages alike.
9. “Sorry” – Beyoncé Queen Bey doesn’t just say sorry—she doesn’t say it at all. A defiant, powerful track that turned apology culture upside down.
10. “Sorry” – Madonna With club-ready beats and multi-language “sorrys,” Madonna’s 2005 hit took global guilt to the dance floor.
11. “Forgive Me” – Evanescence A deep cut from the early days, Amy Lee’s haunting vocals bring sorrow and strength to this emotional apology.
12. “All Apologies” – Nirvana Kurt Cobain’s voice wrapped self-loathing in a soft blanket of acoustic melancholy. A grunge-era shrug of regret.
13. “So Sorry” – Feist Whispered guilt never sounded so beautiful. Feist gives vulnerability the indie-folk treatment it deserves.
14. “I Apologize” – Anita Baker The queen of quiet storms delivers a smooth, mature, heartfelt apology—equal parts jazz, soul, and sincerity.
15. “Sorry, Blame It on Me” – Akon He took full responsibility in this 2007 hit—and put it to a beat so catchy, you almost forget why he’s apologizing.
16. “Sorry Not Sorry” – Demi Lovato This one’s an apology in name only. A fierce anthem for when you’re thriving—and totally unrepentant about it.
17. “Jealous Guy” – John Lennon Inspired by remorse and vulnerability, Lennon stripped it down to piano and pain. Still one of his most haunting solo tracks.
18. “Sorry” – Halsey A modern apology with poetic flair, Halsey digs deep into emotional detachment and the damage it leaves behind.
19. “Never Really Over” – Katy Perry Sometimes the apology isn’t just to someone else—it’s to yourself. Perry’s synth-pop confession is a loop of longing and letting go.
20. “Sorry” – Buckcherry Yes, even sleazy rock bands have feelings. This one’s a gritty, surprisingly tender plea from the bad boys of 2000s rock.
21. “Sorry” – The Jonas Brothers Before they broke hearts (and then got back together), the JoBros made their apology loud, clear, and teen-dream approved.
22. “I Am… I Said” – Neil Diamond It’s not an apology in name, but every note is drenched in introspection and emotional accountability. A soft-spoken “my bad” to the world.
23. “I’m Sorry” – Joyner Lucas A hard-hitting track about mental health, suicide, and grief—raw, unfiltered, and a brutal kind of apology that needs to be heard.
24. “Forgiven” – Alanis Morissette From Jagged Little Pill, a track that explores guilt, forgiveness, and faith with Alanis’s trademark emotional fire.
25. “Baby Can I Hold You” – Tracy Chapman Subtle and soul-stirring, Chapman’s quiet delivery makes the apology hit even harder. Few artists can say so much with so little.
26. “If I Could Turn Back Time” – Cher She’d take back those words that hurt you. Enough said.
27. “It’s Sad to Belong” – England Dan & John Ford Coley Apology disguised as soft rock heartbreak. It’s not just sad—it’s very sorry.
28. “Try” – Blue Rodeo Canadian regret never sounded so sweet. A country-rock apology that still gets requests at barroom pianos.
29. “Sorry Suzanne” – The Hollies Classic British Invasion remorse with harmonies as smooth as the guilt is strong.
30. “Guilt” – Marianne Faithfull Faithfull lays it all bare in this sparse, poignant track. No theatrics, just raw regret from one of music’s greatest survivors.
So the next time words fail you, let the playlist do the talking. Whether you’re crawling back, letting go, or standing tall, there’s a sorry song for every kind of heartbreak. And hey—if all else fails, try a mixtape. It worked in the ’80s. It still works now.
Hired Guns: Portraits of Women in Alternative Music by Amanda Kramer and Wayne Byrne explores the lives and careers of the female musicians who have played vital roles in shaping the sound of modern music—often without the spotlight. Through candid interviews and cultural commentary, the book shares firsthand stories of life on tour, in the studio, and within the shifting landscapes of scenes like California hardcore punk and the Minneapolis alt-rock explosion.
Among the musicians featured are Gail Ann Dorsey, who performed with David Bowie, Tears for Fears, and Indigo Girls, and Sue Hadjopoulos, known for her work with Joe Jackson, Simple Minds, and Cyndi Lauper. Clare Kenny has played with Sinéad O’Connor, Orange Juice, and Shakespears Sister, while Susan Miller was a founding member of Frightwig and Bad Posture. Tracy Wormworth’s basslines can be heard in The Waitresses, with Sting, and in The B-52’s.
Joy Askew toured with Joe Jackson, Laurie Anderson, and Peter Gabriel, and Sara Lee brought her signature style to Gang of Four, Robyn Hitchcock, and the Thompson Twins. Lori Barbero helped define the sound of Babes in Toyland, and Caroline Dale brought strings to the work of David Gilmour, U2, David Gray, and Page and Plant. Angie Pollock rounds out the list with her performances alongside The Lightning Seeds, Goldfrapp, and Peter Gabriel.
With a foreword by L7’s Jennifer Finch, Hired Guns is a powerful tribute to the women behind the music who’ve thrilled millions while remaining just out of frame—until now.
Fifty Years of the Concept Album in Popular Music: From The Beatles to Beyoncé by Eric Wolfson explores how artists have used albums to create unified, themed listening experiences.
The concept album is one of popular music’s most celebrated-and misunderstood-achievements. This book examines the untold history of the rock concept album, from The Beatles to Beyoncé.The roots of the concept album are nearly as old as the long-playing record itself, as recording artists began using the format to transcend a mere collection of songs into a listening experience that takes the listener on a journey through its unifying mood, theme, narrative, or underlying idea. Along the way, artists as varied as the Moody Blues, Jimi Hendrix, Joni Mitchell, Pink Floyd, Parliament, Donna Summer, Iron Maiden, Radiohead, The Notorious B.I.G., Green Day, Janelle Monáe, and Kendrick Lamar created albums that form an extended conversation of art and music. Limits were pushed as the format grew over the subsequent eras. Seminal albums like the Beatles’Sgt. Pepper’s Lonely Hearts Club Band, the Who’sTommy, Marvin Gaye’sWhat’s Going On, stand alongside modern classics like Liz Phair’sExile in Guyville, Kendrick Lamar’sgood kid, “m.A.A.d city,” and Beyoncé’sLemonade. Mixing iconic albums with some newer and lesser-known works makes for a book that ventures into the many sides of a history that has yet to be told-until now.
If you’ve ever thrashed your head to “London Calling,” shouted “White Riot” from your bedroom speakers, or found yourself explaining to someone that The Clash weren’t just a band, they were a movement—then you owe a massive debt to Bernard Rhodes. And now, finally, he’s telling his side of the story.
Published in late 2023, Wake Up! To the World of Bernard Rhodes is not your typical rock memoir. It’s a manifesto wrapped in a scrapbook, a philosophy lecture disguised as a punk zine, and a backstage pass into one of the most explosive eras in British music. This book isn’t just about what Rhodes did—it’s about how he thought, how he pushed, and how he made sure punk wasn’t just a sound, but a way of being.
Rhodes wasn’t just there when punk happened—he helped invent it. Inspired by the Situationists, Rhodes was designing provocative T-shirts before fashion became political protest. He introduced Johnny Rotten to the Sex Pistols. Then he built The Clash from the ground up, shaping not only their lineup and look, but their firebrand attitude and fearless politics.
Wake Up! captures it all—through essays, photos, artwork, fashion, flyers, and attitude. It’s a sensory experience, filled with rare ephemera and raw insight, not just into The Clash but into punk as a form of social disruption. And Rhodes doesn’t stop there—he was instrumental in guiding The Specials and Dexy’s Midnight Runners to commercial and cultural success. If you were wondering who helped turn punk from a dirty club gig into a global movement, look no further.
This isn’t nostalgia—it’s a call to arms. Rhodes reminds us why punk still matters. Why art, style, and noise can shake governments and galvanize generations. Why being awake—to injustice, to possibility, to yourself—is still the most punk thing you can do.
So if you’re a collector of culture, a student of music history, or just someone who believes in the power of a good scream over a great riff, pick up Wake Up! To the World of Bernard Rhodes.
Because behind every revolution, there’s someone pulling the fire alarm.
When the stage lights rise and the curtains part, some of the world’s biggest music stars have proven they’re just as electric under the proscenium arch as they are on the mic. From pop icons to rock legends and R&B royalty, these artists lended their voices to radio hits, and took heir talents to Broadway, bringing depth, drama, and jaw-dropping vocal runs to some of theatre’s most iconic roles. Here are 20 musicians who went from stadiums to stages and made Broadway their own.
1. David Bowie – The Elephant Man In 1980, the Thin White Duke stunned audiences in The Elephant Man, playing the title role without prosthetics. His haunting physicality and magnetic presence proved his talent extended far beyond the recording studio. Bowie received rave reviews and solidified his theatrical prowess.
2. Brandy – Chicago Brandy brought serious heat to the role of Roxie Hart in Chicago. Her run was so well received that she returned multiple times. A blend of charisma, killer vocals, and pure showbiz sparkle made her a Broadway favorite.
3. Cyndi Lauper – Kinky Boots (Composer) While Lauper didn’t star on stage, she composed the Tony-winning score for Kinky Boots. She became the first solo woman to win Best Score at the Tonys. Her pop instincts translated flawlessly to feel-good musical theatre.
4. Josh Groban – The Great Comet and Sweeney Todd Groban wowed critics in Natasha, Pierre & The Great Comet of 1812 with his emotional depth and signature baritone. He returned in 2023 as a chilling and tragic Sweeney Todd, earning a Tony nomination for the role.
5. Jordin Sparks – Waitress The American Idol winner brought charm and powerhouse vocals to Waitress as Jenna. Her performance captured vulnerability and strength in equal measure. Sparks’ turn proved she’s a triple threat.
6. Sara Bareilles – Waitress Not only did she compose the entire Waitress score, but she also stepped into the role of Jenna on Broadway. Her performance was heartfelt and disarming, bringing her songs full circle from the piano to the stage.
7. Nick Jonas – How to Succeed in Business Without Really Trying After starting in the Jonas Brothers, Nick Jonas stepped into a leading man role on Broadway. As J. Pierrepont Finch, he brought youthful swagger and vocal chops to the corporate-climbing musical.
8. Fantasia Barrino – The Color Purple and After Midnight Fantasia’s raw power was tailor-made for Broadway. Her turn as Celie in The Color Purple was lauded for its emotional weight, while After Midnight showcased her jazz chops in a Cotton Club-era revue.
9. Usher – Chicago Usher took on the role of Billy Flynn in Chicago, bringing smooth vocals and commanding stage presence. It was a seamless crossover that felt both theatrical and effortlessly cool.
10. Meat Loaf – Hair Before Bat Out of Hell fame, Meat Loaf was part of the original Broadway cast of Hair. His powerful vocals and theatrical delivery made him a natural fit for the rock musical movement of the ’60s and ’70s.
11. Jennifer Holliday – Dreamgirls Holliday originated the role of Effie White in Dreamgirls, delivering one of Broadway’s most legendary performances. Her rendition of “And I Am Telling You I’m Not Going” is etched in musical history forever.
12. Ricky Martin – Evita Martin played Che in a revival of Evita, winning over critics with his passionate, engaging performance. His turn on Broadway was a career milestone and introduced him to a new generation of theatre lovers.
13. Deborah Cox – Aida and The Bodyguard Cox has appeared in multiple stage productions, including a lauded run in Aida. Her voice is perfectly suited for the soaring ballads of musical theatre, and she also led the U.S. tour of The Bodyguard.
14. Tony Bennett – Tony Bennett at the Latin Quarter While not a traditional musical, Bennett’s early career included extended live performances at Broadway-adjacent cabaret venues. His stagecraft and storytelling laid the foundation for many theatrical crossovers to come.
15. Billie Joe Armstrong – American Idiot The Green Day frontman surprised fans when he joined the Broadway cast of American Idiot, the musical adaptation of his band’s album. His gritty, lived-in performance as St. Jimmy added punk authenticity to the production.
16. Reba McEntire – Annie Get Your Gun Reba brought Southern charm and star power to the role of Annie Oakley. Her turn in Annie Get Your Gun was widely praised, even earning praise from hardened Broadway critics.
17. Sting – The Last Ship Sting not only wrote the score for The Last Ship, a musical inspired by his hometown, but also stepped into the lead role. His lyrical storytelling translated beautifully to stage, blending folk, rock, and tradition.
18. Michelle Williams – Chicago and Once on This Island The Destiny’s Child alum has graced the stage multiple times, earning rave reviews as Roxie Hart. Her theatre resume proves she’s more than just a pop star—she’s a stage standout.
19. Elton John – The Lion King and Billy Elliot (Composer) Sir Elton didn’t act on stage, but his compositions for The Lion King and Billy Elliot revolutionized modern musical theatre. His ability to fuse pop with dramatic arcs changed the game for jukebox and original scores alike.
20. Boy George – Taboo (Composer and Star) The Culture Club icon created and starred in Taboo, a musical based on London’s ’80s club scene. While it had a short Broadway run, it has since achieved cult status and showcased Boy George’s theatrical flair.
From iconic vocalists to chart-topping pop stars, these musicians didn’t just try Broadway—they embraced it. Their transitions proved that music and storytelling know no genre boundaries, and the magic of live theatre has a way of drawing out new creative dimensions. Whether they were belting ballads, playing leads, or writing the very notes that danced through the theatre, these artists left their mark on the Great White Way—proving that every stage, in the end, is just another kind of concert.
