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Morgan Wallen Unveils 37-Track Album ‘I’m The Problem,’ Taps Post Malone, Tate McRae, Eric Church, And More

Eric Alper
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Morgan Wallen Unveils 37-Track Album ‘I’m The Problem,’ Taps Post Malone, Tate McRae, Eric Church, And More

After spending the past few weeks teasing song titles from his upcoming album, I’m The Problem, on NBC’s Saturday Night Live and Theo Von’s This Past Weekend podcast, Morgan Wallen is revealing the full tracklist to the robust 37-song project. Featuring collaborations with pop superstars Post Malone and Tate McRae, plus close friends Eric Church, ERNEST and HARDY, I’m The Problem arrives May 16. Pre-save here.

The album opens with the title track, “I’m The Problem,” a cutting double-edged confession that reveals the complexities of a relationship at its lowest point. It concludes with “I’m A Little Crazy,” a quiet, self-reflective song that looks inward while examining the world outside. Between all of that, Wallen displays his ability to reach listeners on a granular level.

While Wallen co-wrote 22 of the tracks on the album, he tapped into 49 songwriters, curating a tracklist that’s both deeply personal and resonant, while viewing life events through a different lens than he’s used in the past.

“A lot of the concepts and things we said were a little more difficult with this album,” Wallen says of the writing and refining process. “We were trying to dig deep on things and trying to find new angles. And I feel like we did that. I feel like there’s a lot of stuff that I haven’t said in this record, which I’m really, really proud of.”

“I Ain’t Comin’ Back (Feat. Post Malone),” available Friday, marks the duo’s second collaboration following the crossover success of “I Had Some Help” last year, which recently topped two billion global streams. Written by Wallen, Louis Bell, Michael Hardy, Austin Post, Ernest Keith Smith and Ryan Vojtesak, and produced by Joey Moi, “I Ain’t Comin’ Back” teases a cheeky play-on-words, as the guy leaves the relationship, vowing never to return: There’s a lot of reasons I ain’t Jesus / But the main one is that I ain’t coming back.

Pre-save “I Ain’t Comin’ Back (Feat. Post Malone)” ahead of Friday, here.

Wallen recently became the first artist ever to have two albums spend over 100 weeks in the top 10 of the Billboard 200 chart. With each album, Wallen has refined his music, but with this one, Wallen digs even deeper, providing a glimpse into his life that feels more intimate, more grounded and closer to his core.

The project sparked Wallen’s 2025 I’m The Problem Tour. Kicking off June 20 at NRG Stadium in Houston, Texas, Wallen’s 20-show run will include stops in Seattle, Washington; Foxborough, Massachusetts; Toronto, Ontario and more. With a second stop recently added in Madison, Wisconsin, Wallen’s appearances will mark the first time an artist has played two consecutive nights at Camp Randall Stadium.

A rotating lineup of guests including Brooks & Dunn, Miranda Lambert, Thomas Rhett and Koe Wetzel join in direct support with Gavin Adcock, Corey Kent, Ella Langley and Anne Wilson as first-of-three across select dates. Coupled with Wallen’s Sand In My Boots Festival, these 21 shows are the only place to see the superstar in 2025.

Morgan Wallen sets the pace in, and beyond, country music – with Billboard calling him “the biggest country star in the world” and The New York Times doubling down, declaring he’s “one of the biggest stars in pop, period.” With 17 No. 1 singles at Country radio, 19 Billboard Music Awards to-date, more than 170 weeks spent atop Billboard’s Top Country Albums chart (the most in country music history), the highest selling country tour under his belt and more, Wallen has propelled country music to a global level in less than five years. As Las Vegas Review Journal puts it: “Wallen’s appeal is remarkable as it is fueled by his ability to connect to a crowd.”

With Dangerous: The Double Album, Wallen solidified his place as the “dominant country superstar,” with the project recently being named Billboard‘s No. 1 Album of the 21st Century. One Thing At A Time’s groundbreaking success saw Wallen’s crossover appeal reach a global scale, as he topped the Australian ARIA charts for the first time, along with a host of other accolades. With two No. 1’s already hailing from his forthcoming album release I’m The Problem, due May 16 via Big Loud / Mercury, Wallen digs even deeper, uncovering a side that’s both more vulnerable and more resolute than ever before.

As Wallen prepares a refreshed setlist for his 20-stadium-show I’m the Problem Tour, kicking off on June 20 in Houston, Texas, he’s also highlighting some of his favorite artists by bringing the personally-curated, multi-genre Sand In My Boots Music Festival to Gulf Shores, Alabama, this May, which sold out in less than two hours.

Wallen continues to donate a portion of every ticket sold to his Morgan Wallen Foundation — which supports youth music and athletic programs and gives communities access to essentials in times of crisis.

I’m The Problem Tracklist (songwriters in italics):
1. I’m The Problem (Morgan Wallen, Grady Block, Jamie McLaughlin, Ernest Keith Smith, Ryan Vojtesak)
2. I Got Better (Morgan Wallen, Blake Pendergrass, Chase McGill, Ryan Vojtesak, Ernest Keith Smith, Michael Hardy)
3. Superman (Morgan Wallen, Ryan Vojtesak, John Byron, Blake Pendergrass, James Maddocks)
4. What I Want (feat. Tate McRae) (Morgan Wallen, Tate McRae, John Byron, Jacob Kasher Hindlin, Ryan Vojtesak, Joe Reeves)
5. Just In Case (Morgan Wallen, Ernest Keith Smith, John Byron, Jacob Kasher Hindlin, Ryan Vojtesak, Josh Thompson, Blake Pendergrass, Alex Bak)
6. Interlude (Morgan Wallen, Ryan Vojtesak, John Byron, Blake Pendergrass, Rocky Block)
7. Falling Apart (Morgan Wallen, Blake Pendergrass, Josh Thompson, Ryan Vojtesak)
8. Skoal, Chevy, and Browning (Joe Fox, Chase McGill, Josh Miller)
9. Eyes Are Closed (Morgan Wallen, John Byron, Blake Pendergrass, Ryan Vojtesak)
10. Kick Myself (Morgan Wallen, Rocky Block, Ernest Keith Smith, Ryan Vojtesak, James Maddocks)
11. 20 Cigarettes (Chris LaCorte, Chase McGill, Blake Pendergrass, Josh Miller)
12. TN (Morgan Wallen, John Byron, Ashley Gorley, Chase McGill, Taylor Phillips, Ryan Vojtesak, Geoff Warburton)
13. Missing (Morgan Wallen, Chase McGill, Josh Thompson, Blake Pendergrass, Ryan Vojtesak, Luis Witkiewitz)
14. Where’d That Girl Go (Morgan Wallen, Rocky Block, John Byron, Ryan Vojtesak, Blake Pendergrass, Joe Reeves, Geoff Warburton)
15. Genesis (Morgan Wallen, John Byron, Rocky Block, Jacob Durrett, Blake Pendergrass, Ryan Vojtesak, James Maddocks)
16. Revelation (Trannie Anderson, Rodney Clawson, Nicolle Galyon, Chris Tompkins)
17. Number 3 and Number 7 (feat. Eric Church) (Rocky Block, Blake Pendergrass)
18. Kiss Her In Front Of You (John Byron, Jaxson Free, Taylor Phillips, Ashley Gorley, Ryan Vojtesak)
19. If You Were Mine (Chris Tompkins, Jessie Jo Dillon, David Garcia, Geoff Warburton)
20. Don’t We (Morgan Wallen, Ryan Vojtesak, Ashley Gorley, Rocky Block, Blake Pendergrass, John Byron)
21. Come Back As A Redneck (feat. HARDY) (Morgan Wallen, Ernest Keith Smith, Ryan Vojtesak, Michael Hardy, James Maddocks)
22. Love Somebody (Morgan Wallen, John Byron, Shaun Frank, Nicholas Gale, Ashley Gorley, Yaakov Gruzman, Jacob Kasher Hindlin, Elof Loelv, Steve Francis Richard Mastroianni, Martina Sorbara, Ryan Vojtesak)
23. Dark Til Daylight (Rocky Block, Chris Tompkins, Jimmy Robbins)
24. The Dealer (feat. ERNEST) (Blake Pendergrass)
25. Leavin’s The Least I Could Do (Morgan Wallen, Michael Hardy, Josh Miller, Ernest Keith Smith, Ryan Vojtesak)
26. Jack and Jill (Jacob Hackworth, Jared Mullins, Ned Cameron)
27. I Ain’t Comin’ Back (feat. Post Malone) (Morgan Wallen, Louis Bell, Michael Hardy, Austin Post, Ernest Keith Smith, Ryan Vojtesak)
28. Nothin’ Left (Josh Miller, Greylan James, Matt Jenkins)
29. Drinking Til It Does (Josh Thompson, Jimmy Robbins)
30. Smile (Morgan Wallen, Rocky Block, John Byron, Ernest Keith Smith, Ryan Vojtesak, Luis Witkiewitz)
31. Working Man’s Song (Morgan Wallen, Ryan Vojtesak, Josh Miller, Blake Pendergrass, Rocky Block)
32. Whiskey In Reverse (Morgan Wallen, Ernest Keith Smith, Ryan Vojtesak, Michael Hardy)
33. Crazy Eyes (Chris Tompkins, Josh Miller, Jessie Jo Dillon, Daniel Ross)
34. LA Night (Chris Tompkins, Travis Wood, Josh Miller)
35. Miami (Morgan Wallen, Ryan Vojtesak, Ernest Keith Smith, Blake Pendergrass, Chase McGill, Michael Hardy, Dean Dillon, Hank Cochran, Royce Porter)
36. Lies Lies Lies (Jessie Jo Dillon, Josh Miller, Daniel Ross, Chris Tompkins)
37. I’m A Little Crazy (Michael Hardy, Smith Ahnquist, Hunter Phelps, Jameson Rodgers)

Morgan Wallen 2025 I’m The Problem Tour Dates:
June 20 // NRG Stadium // Houston, Texas w/ Corey Kent and Koe Wetzel
June 21 // NRG Stadium // Houston, Texas w/ Corey Kent and Koe Wetzel
June 28 // Camp Randall Stadium // Madison, Wis. w/ Ella Langley and Miranda Lambert
June 29 // Camp Randall Stadium // Madison, Wis. w/ Ella Langley and Miranda Lambert
July 11 // Hard Rock Stadium // Miami Gardens, Fla. w/ Gavin Adcock and Miranda Lambert
July 12 // Hard Rock Stadium // Miami Gardens, Fla. w/ Gavin Adcock and Brooks & Dunn
July 18 // State Farm Stadium // Glendale, Ariz. w/ Ella Langley and Miranda Lambert
July 19 // State Farm Stadium // Glendale, Ariz. w/ Ella Langley and Brooks & Dunn
July 25 // Lumen Field // Seattle, Wash. w/ Anne Wilson and Miranda Lambert
July 26 // Lumen Field // Seattle, Wash. w/ Anne Wilson and Brooks & Dunn
Aug 1 // Levi’s Stadium // Santa Clara, Calif. w/ Anne Wilson and Miranda Lambert
Aug 2 // Levi’s Stadium // Santa Clara, Calif. w/ Anne Wilson and Brooks & Dunn
Aug 15 // Huntington Bank Field // Cleveland, Ohio w/ Ella Langley and Miranda Lambert
Aug 16 // Huntington Bank Field // Cleveland, Ohio w/ Ella Langley and Thomas Rhett
Aug 22 // Gillette Stadium // Foxborough, Mass. w/ Corey Kent and Miranda Lambert
Aug 23 // Gillette Stadium // Foxborough, Mass. w/ Corey Kent and Miranda Lambert
Sep 4 // Rogers Centre // Toronto, ON w/ Gavin Adcock and Miranda Lambert
Sep 5 // Rogers Centre // Toronto, ON w/ Gavin Adcock and Brooks & Dunn
Sep 12 // Commonwealth Stadium // Edmonton, AB w/ Ella Langley and Miranda Lambert
Sep 13 // Commonwealth Stadium // Edmonton, AB w/ Ella Langley and Brooks & Dunn

How a Tattoo Printer is Changing the Way Artists Work

Eric Alper
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By Mitch Rice

Tattoos are a powerful form of self-expression, culture, and art. Over the years, the tattoo industry has evolved significantly—not just in style and technique but also in technology. One of the most noteworthy advancements in recent times is the introduction of the tattoo printer. While traditional stencil methods still hold their charm, printers designed specifically for tattoo stenciling are making life a lot easier for artists and clients alike.

These portable devices can take a design from a digital screen and turn it into a stencil-ready outline within minutes. This shift might seem minor on the surface, but the benefits for efficiency, accuracy, and overall workflow are significant.

What is a Tattoo Printer?

A tattoo printer is a device used to transfer tattoo designs onto stencil paper quickly and precisely. Rather than tracing a design by hand—a process that can be both time-consuming and inconsistent—a tattoo printer uses thermal or ink-based printing technology to produce clear, sharp outlines. These outlines can then be transferred onto the skin using stencil transfer gel, giving artists a clean base to work with.

Most modern versions, like a tattoo printer, are wireless and compact, often equipped with Bluetooth connectivity to make the printing process even more seamless.

Why Tattoo Artists Are Making the Switch

For decades, artists relied on manual stencil creation. While effective, it could be tedious and prone to errors—especially with intricate or large designs. Here’s why many are now embracing printers:

  • Consistency and Accuracy: Tattoo printers ensure the design looks exactly as intended. There’s no room for human error in tracing, and the stencil is often sharper and more detailed than a hand-drawn version.

  • Time-Saving: What might take 10 to 20 minutes to trace by hand can be printed in less than a minute. That time saved can be redirected toward the actual tattooing or prepping other elements of the session.

  • Professional Presentation: Clean and precise stencils also contribute to a better client experience. Clients feel more confident when they see a neat, digitally printed outline of their chosen design.

The Role of Portability and Wireless Functionality

With the growing number of pop-up tattoo events, conventions, and mobile tattooing services, having a portable and wireless tattoo printer has become a game-changer. These devices allow artists to work flexibly from virtually any location without being tied down by bulky equipment or wires.

The wireless functionality also enhances workflow. Designs can be edited and sent directly from tablets or smartphones, reducing the need for additional tools like scanners or PCs. This level of convenience makes it easier for artists to focus on creativity and execution rather than technical logistics.

Practical Uses Beyond Tattoo Parlors

While tattoo printers are mainly associated with professional tattoo parlors, their usefulness extends beyond studio walls:

  • Tattoo Apprenticeships: Learners can use them to quickly produce stencils for practice, helping build confidence and technique without struggling with manual tracing.

  • Temporary Tattoo Events: For promotional or entertainment purposes, temporary tattoos are popular at events. A tattoo printer enables quick setup and repeated stencil generation for a smoother operation.

  • Medical and Cosmetic Tattoos: In the field of paramedical tattooing—such as nipple-areola reconstruction or scar camouflage—precision is essential. Tattoo printers help ensure designs align accurately with the body’s natural contours.

Importance of Precision in Tattooing

Tattooing is permanent, and even the smallest mistake can have lasting effects. That’s why having a well-defined stencil is so important. A clean stencil serves as a reliable guide, allowing the artist to focus on shading, depth, and detailing without second-guessing placement or proportions.

Using a tattoo printer eliminates the guesswork. The stencil you get is a direct representation of the digital design, and the chances of distortion or misalignment are significantly reduced.

Things to Consider When Using a Tattoo Printer

Despite the many advantages, there are a few things to keep in mind when using a tattoo printer:

  • Design Simplicity: While most printers handle line work very well, overly complex shading or intricate gradients may not translate effectively to a stencil. Artists should prepare their digital files accordingly.

  • Stencil Paper Compatibility: Tattoo printers typically require specific thermal or carbon-based stencil paper. Ensuring the right materials are used is essential for optimal results.

  • Battery Life and Maintenance: Like any portable device, keeping the printer charged and clean will go a long way in maintaining performance during tattoo sessions.

Final Thoughts

The introduction of the tattoo printer marks a significant shift in how tattoo artists approach their craft. It simplifies one of the most critical steps in the tattooing process—the stencil creation—and allows for a cleaner, more efficient, and more accurate workflow.From enhancing the artist’s professionalism to improving the client’s trust in the design process, the impact of this technology is already evident.

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

10 Great Second Albums That Changed Everything

Eric Alper
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10 Great Second Albums That Changed Everything

For many artists, the second album is a make-or-break moment. It’s where they move beyond the hype, the debut, the first impression—and show who they really are. Across rock, soul, hip-hop, and pop, these sophomore records didn’t just avoid the dreaded slump. They redefined genres, topped charts, and cemented legends.

Nevermind – Nirvana (1991)
Kurt Cobain, Krist Novoselic, and new drummer Dave Grohl didn’t just follow up Bleach—they rewrote rock’s rulebook. Nevermind brought grunge into the mainstream, with “Smells Like Teen Spirit” sparking a cultural explosion. Cobain’s raw emotion met pop sensibility, and suddenly, flannel was fashion. The album unseated Michael Jackson on the Billboard charts and became the defining sound of the ’90s.

Deja Vu – Crosby, Stills, Nash & Young (1970)
Technically the second for the CSN trio, and the first to feature Neil Young, Deja Vu deepened the band’s harmonies and lyrical depth. With songs like “Helpless” and “Teach Your Children,” the album blended personal storytelling with social consciousness. It captured the mood of a restless era and became a landmark in folk-rock.

It Takes a Nation of Millions to Hold Us Back – Public Enemy (1988)
Public Enemy’s second album hit harder, louder, and smarter than almost anything else in hip-hop. Chuck D’s voice was commanding, Flavor Flav brought chaos, and the Bomb Squad’s production was revolutionary. With tracks like “Don’t Believe the Hype” and “Bring the Noise,” they made music that sounded like protest—and still does.

Tapestry – Carole King (1971)
After years of writing hits for others, Carole King stepped into the spotlight with a second album that felt intimate and universal. Tapestry was warm and honest, with classics like “You’ve Got a Friend” and “It’s Too Late.” It stayed on the charts for six years and became one of the best-selling albums by a female artist ever.

Moondance – Van Morrison (1970)
Following the spiritual, abstract Astral Weeks, Van Morrison’s second solo album was soulful and grounded. Moondance fused jazz, folk, and R&B into something effortlessly cool. From the title track to “Into the Mystic,” it was romantic, mysterious, and deeply human—setting the tone for Morrison’s enduring career.

Songs from the Big Chair – Tears for Fears (1985)
The leap from The Hurting to Songs from the Big Chair was massive. Roland Orzabal and Curt Smith broadened their sonic palette and tackled weighty themes with stadium-sized hooks. “Shout,” “Everybody Wants to Rule the World,” and “Head Over Heels” made them global stars—and the album is still a new wave benchmark.

The Band – The Band (1969)
After backing Dylan and debuting with Music from Big Pink, The Band returned with a self-titled record that felt like it was carved from American history. Songs like “The Night They Drove Old Dixie Down” and “Up on Cripple Creek” built a mythos around the group’s rustic storytelling and tight, intuitive playing.

This Year’s Model – Elvis Costello (1978)
Backed by the newly formed Attractions, Costello made his mark with sharp, nervy energy. This Year’s Model turned new wave into a weapon—cynical, stylish, and sonically relentless. Tracks like “Pump It Up” and “(I Don’t Want to Go to) Chelsea” proved he was no one-album wonder.

Legend of a Band Called X – The Pharcyde (1995)
While Bizarre Ride II the Pharcyde was fun and chaotic, their follow-up, often overlooked, matured the group’s sound. Labcabincalifornia (sometimes subtitled “Legend of a Band Called X”) leaned into jazzier, J Dilla-produced beats and more reflective rhymes. It didn’t go platinum, but its influence is undeniable in alternative hip-hop circles.

The Bends – Radiohead (1995)
After the unexpected success of “Creep,” Radiohead could’ve faded. Instead, they made The Bends—a bold, emotionally rich album that showcased their full potential. With soaring anthems like “Fake Plastic Trees” and “Street Spirit,” the band proved they weren’t just riding the alt-rock wave—they were reshaping it.

5 Surprising Facts About The Beatles’ ‘A Hard Day’s Night’

Eric Alper
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5 Surprising Facts About The Beatles’ ‘A Hard Day’s Night’

It’s 1964. The Beatles are the biggest band on Earth, Beatlemania is boiling over, and they’re about to make their movie debut. The soundtrack? An all-original album that opens with the most iconic chord in pop history. A Hard Day’s Night isn’t just a soundtrack—it’s a musical coming-of-age, a Lennon–McCartney songwriting masterclass, and a cultural time capsule all in one. But did you know these five behind-the-scenes nuggets? Prepare to “ooh!” and “yeah yeah yeah!”

1. The Opening Chord Has a Fan Club of Its Own (And a Math Professor Too)
The jarring, jangling, electrifying Fadd9 chord that opens “A Hard Day’s Night” has been analyzed by everyone from musicologists to mathematicians. George Harrison played it on a Rickenbacker 12-string, while George Martin added piano notes, Paul plucked a high bass note, and Ringo chimed in with subtle percussion. One math professor even used Fourier transforms to break it down—basically turning rock history into rocket science. No chord has ever launched a film, an album, and a frenzy quite like this.

2. Ringo Starr Accidentally Named the Movie, the Album, and the Hit Single
After a particularly grueling day of filming and gigging, Ringo muttered, “It’s been a hard day’s night”—a classic Ringo-ism. Everyone laughed, but the phrase stuck. It became the movie title, the album name, and the chorus to a chart-topping hit that Lennon wrote overnight. That’s right: one tired drummer gave birth to a cultural phenomenon, proving once again that sometimes genius sounds like gibberish at first.

3. “Can’t Buy Me Love” Was Recorded in Paris—And Nearly Had Harmonies
The Beatles were holed up in a luxurious Paris hotel when Paul McCartney wrote “Can’t Buy Me Love.” It was one of the few Beatles songs recorded outside the U.K.—tracked at Pathé Marconi Studios. The first take actually had background harmonies, but the band scrapped them after one listen. The stripped-down version made history as the first single without their signature vocal blend—ironic for a band known for harmony, huh?

4. John Lennon Wrote Lyrics on a Birthday Card in a Taxi
When Maureen Cleave picked up John in a taxi, he was scribbling lyrics on the back of a fan’s birthday card to Julian. She poked fun at one line—“I find my tiredness is through”—so he immediately rewrote it to the cheekier “the things that you do / Will make me feel all right.” Just like that, a meh lyric turned iconic, and the birthday card wound up in the British Library. It’s the most famous song ever born in the back of a London cab.

5. George Harrison’s Guitar Changed Music (and Inspired The Byrds)
The Rickenbacker 360/12 that George plays throughout the album—especially on “If I Fell” and “You Can’t Do That”—sent shockwaves across the Atlantic. Roger McGuinn of The Byrds said it was that guitar that inspired their jangly folk-rock sound. You can literally hear the ripple effect from A Hard Day’s Night to “Mr. Tambourine Man.” One guitar, twelve strings, and a lifetime of sonic influence.

A Hard Day’s Night was the soundtrack to a cultural moment, a musical evolution, and a Beatlemania fever dream. With 13 original tracks and a lifetime of influence, this album doesn’t just hold up—it stands tall. Put it on and let the opening chord hit you like the first time all over again.

5 Surprising Facts About Pink Floyd’s ‘The Piper at the Gates of Dawn’

Eric Alper
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5 Surprising Facts About Pink Floyd’s ‘The Piper at the Gates of Dawn’

In 1967, The Piper at the Gates of Dawn was a portal guided by the mind-bending genius of Syd Barrett of Pink Floyd, whose debut LP was a kaleidoscope of sound, surrealism, and sonic experiments that would send listeners on a trip without ever leaving their record player. You’ve probably heard about “Interstellar Overdrive” or Syd’s LSD use—but here are five lesser-known facts that’ll make you want to spin the album all over again, this time with your third eye wide open.

1. The Beatles Were Literally Next Door—and One Song May Have Bled Into the Other
While Pink Floyd was recording their debut in Abbey Road Studio 3, The Beatles were down the hall in Studio 2 laying down Sgt. Pepper’s Lonely Hearts Club Band. The two albums, both milestones in psychedelia, were born just meters apart. In fact, Floyd dropped by a Beatles session for “Lovely Rita,” and some believe the band subtly soaked up some of the sonic textures that Paul and John were pioneering. Coincidence? Or cosmic alignment?

2. The Album’s Title Comes from a Children’s Book… About a Pagan God
“The Piper at the Gates of Dawn” might sound like a psychedelic riddle, but it’s actually lifted from chapter seven of The Wind in the Willows, where Rat and Mole encounter the god Pan. Syd Barrett adored the book and resonated deeply with Pan’s mystical, otherworldly energy. This was music for those looking to pierce the veil of reality.

3. The Original Album Was Almost Called Projection
Before Barrett landed on The Piper at the Gates of Dawn, the album had a working title as strange and abstract as the music itself: Projection. It reflects the band’s early fascination with light shows and visual accompaniment, like those at the UFO Club where oil projections danced to their music. Ultimately, Syd’s literary instincts won out—but Projection was a window into Floyd’s multi-sensory ambitions.

4. “Lucifer Sam” Was Originally Titled “Percy the Rat Catcher”
That sleek, slinking track with the noir guitar riff? It wasn’t always about a cat. Early demos of “Lucifer Sam” bore the whimsical title “Percy the Rat Catcher.” This surreal twist reflects Barrett’s lyrical playfulness and perhaps a darker edge lurking under the surface. The shift in title gave the song its sinister, feline flavor—but the Percy version still haunts bootlegs and fan forums alike.

5. “Interstellar Overdrive” Was Born from a Hummed Tune—and May Include the Steptoe and Son Theme
Manager Peter Jenner once hummed a melody he couldn’t remember. Syd Barrett picked it up and played it, warping it into what became “Interstellar Overdrive.” Roger Waters later joked that the riff sounded a lot like the theme from Steptoe and Son—the British sitcom about a junk dealer and his son. From sitcom jingle to cosmic freakout, it’s a perfect metaphor for Floyd: taking the ordinary and sending it spiraling into the astral plane.

In a time when pop music was finding its footing in experimentation, The Piper at the Gates of Dawn ran headfirst into the void—and brought back kaleidoscopic wonders. It was the sound of the summer of love, and a blueprint for music as cosmic exploration. Put it on, turn off the lights, and let the piper lead the way.

St. Vincent, The Church, Hot Mulligan Lead Rock & Roll Hall Of Fame’s Summer 2025 Lineup

Eric Alper
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St. Vincent, The Church, Hot Mulligan Lead Rock & Roll Hall Of Fame’s Summer 2025 Lineup

Vincent, The Church, Hot Mulligan, and more! This year, in conjunction with our new featured exhibit “SNL: Ladies & Gentleman…50 years of Music”, comedy shows will be added to the summer lineup for the first time. Additionally, the Rock Hall will present a full slate of summer programming including our Rock the Block Community Days, which are made possible thanks to the generous support and partnership of the John P. Murphy Foundation.

Concerts will take place on the outdoor PNC Stage on the Union Home Mortgage Plaza from June through September. Head to rockhall.com to see the full lineup of events and purchase your tickets. Summer hours will also return this year for July and August (daily 10 a.m. to 5 p.m. and open until 8 p.m. on Thursdays, Fridays, and Saturdays), and Rock the Block Community Days take place outdoors on the Union Home Mortgage Plaza and are free to the community.

”We are thrilled to announce an incredible line-up for our summer concert series,” said President and CEO of the Rock & Roll Hall of Fame, Greg Harris, “from St. Vincent to Hot Mulligan, and points in between, this summer at the Rock Hall will be simply amazing. Like the very best of rock & roll, this summer’s mix of styles and sounds will have something for every music fan. Reserve your tickets now—and take a road trip to the Rock & Roll Hall of Fame this summer”

Enjoy free live music on select nights throughout the summer with Live & Local shows featuring homegrown talent. Each Live & Local show will open with a local comedian, with those appearing to be announced. We are excited to welcome national touring acts in June, July, and August.

Highlights of Rock Hall Live are listed below. Shows and events will continue to b added throughout the summer. Visit rockhall.com for details.

Additionally, there will be a variety of other events throughout the season that include our “Artists in Residence” program, presented by the Kulas Foundation, which is now in its sixth year. The Artists in Residence program focuses on up-and-coming musicians from across the Northeast Ohio area and allows them the opportunity to perform regularly on our plaza, spend time writing songs and develop their musical skills during their time with us. Additionally, the artists meet with industry professionals from around the country to learn about all facets of the music business, including marketing, merchandising, copywriting and publishing, PR and more. By the end of the program, the Artists in Residence have tangible tools and resources, along with improved skills, that they can take with them to move to the next level of their music careers.

LIVE MUSIC ON THE PNC STAGE
Thursdays, Fridays, and Saturdays from 8-10 p.m. (June, July, August, and September)
Thursday night shows are free to the community and feature the best talent NEO has to offer on the big PNC Stage. Tickets are limited so reserve yours early. Friday nights, touring bands are back on the PNC stage. Tickets range from $25 – $55. With an event plus ticket ($45-75), you can tour the Rock Hall before the show. Tickets are on sale now at rockhall.com.

ROCK HALL LIVE
June 12 Hot Mulligan with Snarls and Runaway Brother
July 19 Cimafunk
July 26 Dave Hill with Falling Stars
July 30 The Church
Aug. 9  Night Demon with Destructor and Sacred Few
Aug. 24 PWNK Records Showcase
Aug. 29 St. Vincent with Gustaf

LIVE & LOCAL
July 11 Jinari Kemet & The Black Jackets and Crib Collective
July 18 DaLand Brass Band and Esther Fitz
July 24 King Buu and Simon & the Apparatus
July 31 Vince Nerone and MyKayla
Aug. 7  TRUSS and PAL
Aug. 14 Whatever… and Lives of the Saints
Aug. 21 Biitchseat and The Sonder Bombs

LUNCH BY THE LAKE (July 11 – August 22)
Thursdays – Sundays from 12:00 – 2:00 p.m.
Free; Union Home Mortgage Plaza Beer Garden

Free acoustic performances by local artists and the Rock Hall’s Artists in Residence, presented by the Kulas Foundation, returns to the beer garden for afternoon shows. Take in live music as you visit the museum or grab lunch from food and beverage trucks with plenty of picnic seating.

ROCK THE BLOCK COMMUNITY DAYS

Community programming returns on the Union Home Mortgage Plaza, made possible thanks to the generous support and partnership of the John P. Murphy Foundation. Mx. Juneteenth, the Pride and Juneteenth mash-up event, Fam Jam, the Rock Hall’s summer family festival, and Hispanic Heritage Celebration will all be returning for the 2025 summer season. Additionally, we are excited to host the Salsa Across Borders Festival and Competition in partnership with The Assembly Room. All Rock the Block Community Days take place on the Union Home Mortgage Plaza and are free to attend.

OTHER EVENTS
June 5 CLE Gals June Book Club
June 7 Book Signing with Author Annie Zaleski (I Got You Babe: A Celebration of Cher)
June 21 Mx. Juneteenth
June 28 Fam Jam
Aug. 8 Artists in Residence Showcase
Aug. 23 Salsa Across Borders: Festival and Competition
Sept. 20 Hispanic Heritage Celebration

Fender Launches Player II Modified Series with Upgraded Guitars, Basses, and Bold Support from IDLES

Eric Alper
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Fender Launches Player II Modified Series with Upgraded Guitars, Basses, and Bold Support from IDLES

 Fender Musical Instruments Corporation (FMIC) today announces the launch of the Player II Modified —  a bold expansion of its Player II series. Featuring select electric guitar and bass models enhanced with performance-driven upgrades, Player II Modified offers modern players refined tone, performance, and style straight out of the box. As an extension of the best-selling guitar series in Fender’s nearly 80-year history, Player II Modified builds on this legacy with expanded tonal versatility, elevated playability, and modern enhancements that meet the needs of a new generation of players.

Built to Be Reimagined

Since inception, Fender guitars and basses have been crafted with an inherent adaptability—designed to shape and be shaped by the artists who redefine music with them. Throughout the decades, musicians from every genre have transformed Fender instruments to suit their unique sound, making them a true canvas for creativity. The ethos of Fender is, in many ways, a history of modification—where each artist’s personal touch, whether through altering pickups, adjusting necks, or reworking finishes, has shaped not just the instruments but the songs they are written with.

Performance-Driven Upgrades Straight From the Factory

“From the early days of players hot-rodding their Strat and Tele guitars to today’s musicians pushing sonic boundaries, Fender has always embraced the art of reinvention,” said Justin Norvell, EVP of Product, Fender. “Leo Fender intentionally designed our instruments with modularity in mind—allowing them to evolve alongside the player and enabling more personalization than any other brand. Player II Modified carries that spirit forward, offering modern upgrades like our new Player II Modified noiseless pickups and locking tuners for rock-solid stability. It’s about delivering the most in-demand mods straight from the factory while continuing to push the envelope of innovation and support artists in shaping the future of music.”

Player II Modified takes the best of the best from Player II Series and builds on it with new and improved performance-driven modifications, offering a refined playing experience straight out of the box.

Key features include:

  • New Player II Modified pickups: Genuine Fender tone from the Player II Modified Humbucker and Player II Noiseless™
  • Upgraded hardware and electronics: From treble bleeds to brass block saddles, the most popular modifications for each model come standard.
  • Rock-solid tuning stability: Locking tuners and tapered shaft tuners offer next-level reliability.

This spirit of reinvention is deeply embedded in Fender’s legacy, championed by trailblazing artists like Jimi Hendrix, who flipped his Stratocaster upside down to redefine rock guitar, Kurt Cobain, who customized his Jaguar for raw, grunge-driven power, and Thurston Moore, whose Jazzmaster modifications fueled Sonic Youth’s experimental edge. Today, musicians continue this tradition—Chris Shiflett of Foo Fighters with his Signature Telecaster Deluxe outfitted with noiseless P-90-style pickups, Julien Baker with her custom-modded American Vintage Thinline, and Brent Mason with his highly versatile ‘67 Telecaster. Even bassists like Flea have reshaped their sound through modifications, such as the active circuitry in his Jazz Bass.

In the Hands of IDLES

As part of the Player II Modified launch campaign, Fender has teamed up with IDLES, — a British band known for their explosive live performances and boundary-pushing take on rock—who are featured prominently in the campaign video. Their involvement in the campaign underscores how the Player II Modified series empowers modern players’ need for flexibility, tonal range and sonic exploration, whether on stage or in the studio. Watch IDLES perform “Gift Horse” and see what they have to say about these souped up guitars and basses. “Every guitar that I’ve ever had, I’ve modified almost immediately,” said Mark Bowen, IDLES guitarist. “Modifications can definitely make a guitar more approachable,” added Lee Kiernan, IDLES guitarist. “Because everything is to your taste, and what it is you want it to do.”

Fender Mod Shop: A Global Tune-Up Experience

Like the world of automotive design, where customization and performance upgrades are part of the culture, Fender instruments have long been embraced as a canvas for creative expression. From paint colors inspired by classic cars to modding hardware and swapping pickups, musicians across decades and genres have made each instrument their own. Modification isn’t just part of the Fender story—it’s at the heart of it, fueling a legacy of innovation, individuality, and sonic evolution. Starting this April, Fender will bring the Mod Shop experience to players in key markets across London and Melbourne. In each city, Fender will transform a local auto shop into an immersive guitar garage —inviting musicians to get their instruments “tuned up” by a team of Fender mechanics. By night, the space will shift gears into a live venue, where English Teacher (UK) and Hot Machine (AUS) will take the stage with the new Player II Modified series, showcasing the upgraded guitars in action.

“IDLES is the kind of band that pushes boundaries every time they plug in,” said Evan Jones, CMO Fender. “Their energy, on-stage presence, experimentation, and refusal to stay in one lane resonates with all of us here at Fender. The Player II Modified series is built for artists like them—musicians who want to evolve their sound, are looking to push boundaries, and make something uniquely their own. We’re also excited to bring that spirit of modification & innovation of the Player II Modified Series to life with our upcoming Fender Mod Shop events in London and Melbourne in the coming months. With the Player II Modified series at its core, we’re not just showcasing new gear; we’re building on our commitment to continually give players & musicians at all levels the ability to find, adjust and perfect their sound.”

For technical specs, additional information on new Fender products, and to find a retail partner near you, visit www.fender.com. Join the conversation on social media by following @Fender.

Player II Modified Stratocaster ($999.99 USD, £899 GBP, €1,099 EUR, $1,599.00 AUD, ¥​​165,000 JPY)

The Player II Modified Stratocaster is a classic guitar with the modern player in mind. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5”-radius slab rosewood or 1-piece maple fingerboard with smooth rolled edges and 22 medium jumbo frets. The alder body provides classic Fender punch and is available in a variety of exciting new finishes. The Player II Noiseless™ pickups deliver classic Strat chime and sparkle while eliminating unwanted noise and the push/pull switch on the 2nd tone control provides even more tonal flexibility by adding the neck pickup into switch positions 1 and 2. The 2-point tremolo, short post locking tuners, TUSQ nut, and modern string tree all combine to keep tuning incredibly stable, while the wider travel of the chamfered tremolo block allows players to coax even more expressive, musical vibrato from their instrument. Maple Fingerboard offered in 3 Tone Sunburst, Sunshine Yellow and Harvest Green Metallic. Rosewood Fingerboard offered in Dusk, Electric Blue, and Olympic Pearl.

Player II Modified Stratocaster HSS ($1,029.99 USD, £949 GBP, €1,149 EUR, $1,649.00 AUD,  ¥​​170,500 JPY)

The Player II Modified Stratocaster HSS is a classic guitar with the modern player in mind. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5”-radius slab rosewood or 1-piece maple fingerboard with smooth rolled edges and22 medium jumbo frets. The alder body provides classic Fender punch and is available in a variety of exciting new finishes. The Player II Modified humbucker is articulate with plenty of output while the Noiseless™ pickups deliver classic Strat chime and sparkle while eliminating unwanted noise. For additional tonal flexibility, the push/pull switch on the 2nd tone control splits the bridge humbucker for classic Strat single-coil tones. The 2-point tremolo, short post locking tuners, TUSQ nut, and modern string tree all combine to keep tuning incredibly stable as the wider travel of the chamfered tremolo block allows players to coax even more expressive, musical vibrato from their instrument. Maple Fingerboard offered in 3 Tone Sunburst and Dusk. Rosewood Fingerboard offered in Sunshine Yellow, Electric Blue, and Olympic Pearl.

Player II Modified Stratocaster HSS Floyd Rose ($1029.99 USD, £999 GBP, €1,199 EUR, $1,849.00 AUD,  ¥​​176,000 JPY)

The Player II Modified Stratocaster HSS Floyd Rose is a classic guitar with the modern player in mind. Everything about the neck is designed for fast and fluid playability, from the Modern“C”-profile with silky satin urethane finish on the back to the comfy 12”-radius slab rosewood fingerboard with smooth rolled edges and 22 medium jumbo frets. The alder body provides classic Fender punch and is available in a variety of exciting new finishes. The Player II Modified humbucker is articulate with plenty of output and the Noiseless™ pickups deliver classic Strat chime and sparkle while eliminating unwanted noise. For additional tonal flexibility, the push/pull switch on the 2nd tone control splits the bridge humbucker for classic Strat single-coil tones. The Floyd Rose Special tremolo enables subtle-to-wild tremolo action while keeping the guitar perfectly in tune and ready for more. Offered in 3 Tone Sunburst, Dusk and Olympic Pearl.

Player II Modified Telecaster ($999.99 USD, £899 GBP, €1,099 EUR, $1,599.00 AUD,  ¥​​165,000 JPY)

The Player II Modified Telecaster is a classic guitar with the modern player in mind. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5”-radius slab rosewood or 1-piece maple fingerboard with smooth rolled edges and 22 medium jumbo frets. The alder body provides classic Fender punch and is available in a variety of exciting new finishes. The Player II Noiseless™ pickups deliver classic Tele twang and bite while eliminating unwanted noise and the push/pull switch on the tone control provides even more tonal flexibility by changing the pickup wiring from parallel to series for fatter tones. The 6-saddle bridge, short post locking tuners, TUSQ nut, and modern string tree all combine to keep tuning incredibly stable for even the most demanding bends or roaring rock leads. Maple Fingerboard offered in Olympic Pearl, Electric Blue and Sunshine Yellow. Rosewood Fingerboard offered in 3 Tone Sunburst, Dusk and Harvest Green Metallic. 

Player II Modified Active Precision Bass ($1,099.99 USD, £999 GBP, €1,199 EUR, $1,749.00 AUD, ¥​​176,000 JPY)

The Player II Modified Active Precision Bass is a classic bass with the modern player in mind. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5”-radius slab rosewood or 1-piece maple fingerboard with smooth rolled edges and 20 medium jumbo frets. The alder body provides classic Fender punch and is available in a variety of exciting new finishes. The Player II Noiseless™ PJ pickups deliver classic Fender thump and growl while eliminating unwanted noise and the all-new active preamp with passive tone control and improved EQ section gives players the perfect tool to dial in their favorite tones. The 4-saddle HiMass™ bridge, tapered-shaft tuners, and TUSQ nut all combine to keep tuning incredibly stable for even the most demanding performances. Maple Fingerboard offered in 3 Tone Sunburst, Dusk and Sunshine Yellow. Rosewood Fingerboard offered in Olympic Pearl and Harvest Green Metallic.

Player II Modified Active Jazz Bass ($1,099.99 USD, £999 GBP, €1,199 EUR, $1,749.00 AUD,  ¥​​176,000 JPY)

The Player II Modified Active Jazz Bass is a classic bass with the modern player in mind. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5”-radius slab rosewood or 1-piece maple fingerboard with smooth rolled edges and20 medium jumbo frets. The alder body provides classic Fender punch and is available in a variety of exciting new finishes. The Player II Noiseless™ pickups deliver classic Jazz Bass growl while eliminating unwanted noise while the all-new active preamp with passive tone control and EQ section gives players the perfect tool to dial in their favorite tones. The 4-saddle HiMass™ bridge, tapered-shaft tuners, and TUSQ nut all combine to keep tuning incredibly stable for even the most demanding performances. Maple Fingerboard offered in 3 Tone Sunburst, Olympic Pearl and Electric Blue. Rosewood Fingerboard offered in Dusk, and Harvest Green Metallic.

Player II Modified Active Jazz Bass V ($1,149.99 USD, £1,049 GBP, €1,249 EUR, $1,849.00 AUD,  ¥​​181,500 JPY)

The Player II Modified Active Jazz Bass V is a classic bass with the modern player in mind. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5”-radius slab rosewood or 1-piece maple fingerboard with smooth rolled edges and20 medium jumbo frets. The alder body provides classic Fender punch and is available in a variety of exciting new finishes. The Player II Noiseless™ pickups deliver classic Jazz Bass growl while eliminating unwanted noise while the all-new active preamp with passive tone control and EQ section gives players the perfect tool to dial in their favorite tones. The 5-saddle HiMass™ bridge, tapered-shaft tuners, and TUSQ nut all combine to keep tuning incredibly stable for even the most demanding performances. Maple Fingerboard offered in Dusk and Olympic Pearl. Rosewood Fingerboard offered in 3 Tone Sunburst and Electric Blue.

Winnipeg Honors Bachman-Turner Overdrive with Disraeli Bridge Dedication Ahead of Hometown Tour Stop

Eric Alper
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Winnipeg Honors Bachman-Turner Overdrive with Disraeli Bridge Dedication Ahead of Hometown Tour Stop

Two City of Winnipeg Councillors are proud to announce the honorary naming of a section of the iconic Disraeli Bridge Roadway to Bachman-Turner Overdrive, in tribute to one of the city’s most legendary rock bands. The honorary designation recognizes Bachman-Turner Overdrive’s (BTO) lasting contributions to music and their deep connection to the Winnipeg community.

A dedication ceremony will be held April 18th at 1pm, at the Oseredok, Ukrainian Cultural and Education Centre; where members of the band, city officials, and community leaders will unveil the new honorary signage. The tribute celebrates BTO’s decades-long influence on Canadian rock music and their role in putting Winnipeg on the global music map.

The honorary naming serves as a tribute to BTO’s global impact and enduring legacy. Formed in Winnipeg, the band achieved international success in the 1970s with hits like “You Ain’t Seen Nothin’ Yet,” “Takin’ Care of Business,” and “Let It Ride.” Their music continues to resonate with audiences worldwide, cementing their status as one of Canada’s most iconic rock bands. Their music has been a source of pride for our city for decades, and this honorary naming is a fitting way to celebrate their remarkable achievements and lasting legacy.

“Bachman-Turner Overdrive is part of the soundtrack of Winnipeg,” said Deputy Mayor Markus Chambers. “Their music not only shaped a generation but also inspired countless artists across Canada and beyond. We’re proud to recognize their roots here in our city with this honorary naming.”

“Winnipeg’s City Council has begun to recognize the fabulous musicians who have made Winnipeggers enjoy life a lot more in the ’50 below at Portage and Main’ city. BTO with Randy Bachman and Fred Turner is an excellent group to honour for their international success with the people of the world. At 81, Randy Bachman is still producing the hits with ’60 Years Ago’ acknowledging a vibrant city of musicians and bands,” states North End City Councillor Ross Eadie.

“60 Years Ago,” released last month, marked BTO’s first new music in over 25 years, earning widespread acclaim from Rolling Stone, Billboard, Stereogum, Consequence, American Songwriter and many more. The single arrived as BTO hit the road for their Back In Overdrive Tour 2025, a massive tour consisting of 22 shows across Canada which brings them to Winnipeg’s Canada Life Centre on April 19, the day following the dedication ceremony. They’ll be joined by multi-platinum April Wine and Headpins, two fellow Canadian rock bands, who will open in support. See full list of the remaining tour dates below.

The honorary naming does not affect the official name or address system associated with Disraeli Bridge but will include commemorative signage for public recognition. The initiative reflects Winnipeg’s commitment to celebrating its rich cultural history and honouring local icons who have made a lasting impact.

Canada 2025 Tour Dates:
April 15 – Regina, SK @ Brandt Centre
April 17 – Brandon, MB @ Westoba Place at Keystone Centre
April 19 – Winnipeg, MB @ Canada Life Centre
April 24 – Kitchener, ON @ The Aud (Kitchener Memorial Auditorium)
April 26 – Toronto, ON @ Great Canadian Resort Toronto
April 28 – St. Catharines, ON @ Meridian Centre
April 29 – Peterborough, ON @ Peterborough Memorial Centre
May 1 – London, ON @ Canada Life Place
May 2 – Ottawa, ON @ The Arena at TD Place
May 4 – Sudbury, ON @ Sudbury Arena
May 5 – Laval, QC @ Place Bell
May 7 – Saint John, NB @ TD Station
May 8 – Halifax, NS @ Scotiabank Centre

Todd Rundgren Announces ‘Still Me, (Still We)’ 2025 Tour, Extending His Legacy of Innovation and Live Storytelling

Eric Alper
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Todd Rundgren Announces ‘Still Me, (Still We)’ 2025 Tour, Extending His Legacy of Innovation and Live Storytelling

Legendary producer/songwriter/guitarist Todd Rundgren announces today that he will be embarking on a tour across the United States! Entitled “Still Me, (Still We)”, this tour acts as an extension to the last leg of Todd’s “Me/We” Tour from last year.

The tour commences June 21st at the Park Theatre in Cranston, Rhode Island and ends July 27th at The Plaza Live in Orlando, Florida. The artist presale begins at 10 AM ET on April 15th [PW: VICTORY25], and tickets go on sale for the public at 10 AM local time on April 16th.

Says Todd, “The show is kind of a story with a message. Even though a year has passed I still think the story needs to be told.” Todd’s band for the Still Me, (Still We) tour will feature Gil Assayas (Keys), Bruce McDaniel (Guitar), Prairie Prince (Drums), Bobby Strickland (Horns), and Kasim Sulton (Bass).

Born and raised in Philadelphia, Rundgren began playing guitar as a teenager, going on to found and front The Nazz, the quintessential `60’s psychedelic group. In 1969, he left the band to pursue a solo career, recording his debut offering, the legendary Runt. But it was 1972’s seminal Something/Anything?, on which he played all the instruments, sang all the vocal parts, and acted as his own producer, that catapulted Todd into the superstar limelight, prompting the press to unanimously dub him ‘Rock’s New Wunderkind’. It was followed by such landmark LPs as The Hermit of Mink Hollow and the above mentioned A Wizard, A True Star, as well as such hit singles as I Saw The Light, Hello It’s Me, Can We Still Be Friends, and Bang The Drum.

In 1974, Todd formed Todd Rundgren’s Utopia (renamed and reconfigured in 1976 as Utopia), an entirely new approach to the concept of interactive musicianship, and embarked on an extensive round of touring and recording. Standout Utopia offerings included Oops! Wrong Planet, Adventures in Utopia, and Oblivion. Along the way, Todd Rundgren’s Utopia combined technical virtuosity and creative passion to create music that initially, for millions, defined the term “progressive rock”, and subsequently, as Utopia, the term “powerpop”.

Rundgren’s myriad production projects include albums by Patti Smith, Cheap Trick, Psychedelic Furs, Meat Loaf, XTC, Grand Funk Railroad, and Hall And Oates. Rounding out his reputation as rock’s Renaissance Man, Rundgren composed all the music and lyrics for Joe Papp’s 1989 Off-Broadway production of Joe Orton’s Up Against It (the screenplay commissioned by The Beatles for what was meant to have been their third motion picture). He also has composed the music for the hit film Dumb and Dumber, as well as a number of television series, including Pee Wee’s Playhouse and Crime Story.

In 2009 Rundgren performed his iconic 1973 album A Wizard A True Star in concert in its entirety for the first time ever, and several years later did the same with a double bill: Todd & Healing. He has toured with Ringo Starr as an erstwhile member of the All-Starr Band since 1989, and continues to perform with symphony orchestras both domestically and internationally. In 2018 he toured North America with original Utopians Kasim Sulton and Willie Wilcox for the first time in 33 years. After the release of his long-awaited autobiography The Individualist, he spearheaded the world’s first hybrid concert/book tour highlighting music across his 50-plus-year career.

In 2017 on successive weekends he was awarded honorary doctorates from both the Berklee School of Music and DePauw University.

In 1998 Todd debuted his new PatroNet technology which for the first time allowed fans of a musical artist to subscribe directly to the artist’s musical output via the Internet. This caps a long history of groundbreaking early multimedia “firsts”, including:

•1978: The first interactive television concert, broadcast live over the Warner/QUBE system in Columbus, Ohio (the home audience chose each song in real time during the concert by voting via QUBE’s 2-way operating system).
•1978: The first live nationally broadcast stereo radio rock concert (by microwave), linking 40 cities around the country.
•1979: The opening of Utopia Video Studios, a multi-million dollar state-of-the-art facility. The first project produced by Todd there is Gustav Holst’s The Planets, commissioned by RCA Selecta Vision as the first demonstration software for their new videodisc format.
•1980: Creation of the first color graphics tablet, which was licensed to Apple and commercially released as The Utopia Graphics Tablet.
•1981: Time Heals, the first music video to utilize state-of-the-art compositing of live action and computer graphics (produced and directed by Todd), becomes the eighth video to be played during the launch of MTV on August 1, 1981.
•1982: The first live national cablecast of a rock concert (on the USA Network), simulcast in stereo to over 120 radio stations.
•1982: The first two commercially released music videos, one of which was nominated for the first-ever Grammy awarded for “Best Short Form Video” in 1983.
•1992: The first commercially available music downloads via CompuServe.
•1993: The release of “No World Order”, the world’s first interactive record album on CD-i.
•1994: The release of “The Individualist”, the world’s first full-length Enhanced CD.
•1994: The world’s first interactive concert tour.
•1998: Launches PatroNet, the world’s first direct artist subscription service — predicts that someday “music will be sold by the pound”.
•2016: The production of the world’s first full length concert shot with multiple Virtual Reality 360º cameras.
•2021: Spearheaded the “Clearly Human” virtual concert tour, featuring 25 live-streamed performances geo-fenced and tailored to a different US city each night.

TODD RUNDGREN “STILL ME, (STILL WE)” TOUR
June 21 – Park Theatre – Cranston, RI
June 22 – Cary Hall – Lexington, MA
June 25 – Memorial Hall – Plymouth, MA
June 26 – Twilight Series – Pennsauken, NJ
June 28 – Syracuse Jazz Festival – Syracuse, NY
June 29 – The Egg – Albany, NY
July 02 – Count Basie Center – Red Bank, NJ
July 03 – Artpark – Niagara Falls, NY
July 05 – Bearsville Theater – Woodstock, NY
July 06 – Bearsville Theater – Woodstock, NY
July 08 – Andrew J Brady Center – Cincinnati, OH
July 09 – Bell’s Beer Garden – Kalamazoo, MI
July 11 – Riverside Casino and Golf Resort – Riverside, IA
July 13 – Riviera Theatre – Chicago, IL
July 15 – Sweetwater Pavilion – Ft Wayne, IN
July 16 – Pantages Theater – Minneapolis, MN
July 19 – The Agora – Cleveland, OH
July 20 – Capital One Hall – Tysons, VA
July 22 – Wilson Center at Cape Fear College – Wilmington, NC
July 24 – Knight Theater – Charlotte, NC
July 25 – Charleston Music Hall – Charleston, SC
July 27 – The Plaza Live – Orlando, FL

Benson Boone Announces New Album ‘American Heart’ After Headlining Coachella

Eric Alper
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Benson Boone Announces New Album ‘American Heart’ After Headlining Coachella

Grammy-nominated global pop sensation Benson Boone has announced his highly-anticipated new album American Heart, arriving June 20 via Night Street Records/Warner Records.

Benson broke the news on stage at Coachella, where he made his debut this past Friday. At the end of his electrifying main stage set, he brought out surprise guest Brian May of Queen for a special performance of “Bohemian Rhapsody.”

Variety declared it a “spot-on rendition of the song that’s notoriously difficult to cover,” while Rolling Stone heralded, “Benson’s a star, and even Brian May knows it.” The performance video has garnered over 48 million views alone on Instagram since they took the stage on Friday night.

Benson first introduced American Heart with his recent single “Sorry I’m Here For Someone Else,” his first release of the year. The track is quickly climbing the radio charts, currently sitting in the top 20 at Top 40 and Hot AC, and the top 10 at AC. It arrived on the heels of his show-stopping performance of smash hit “Beautiful Things” at the 67th annual Grammy Awards in February, where he was nominated for Best New Artist. He will bring another special performance to the Saturday Night Live stage on May 3, making his debut as the musical guest on the show.

“Beautiful Things” was the #1 most streamed song in the world last year, earning Boone the IFPI Global Single Award for 2024. Certified 5x Platinum, the chart-conquering track has now surpassed 2 billion streams on Spotify and nearly 4 billion total streams since its release last year. Featured on his acclaimed, Platinum certified debut album Fireworks & Rollerblades, the viral smash logged an impressive 7 weeks at #1 on the Billboard Global 200 chart, hit #1 at Top 40, Hot AC, and AC radio, and vaulted to #2 on the Billboard Hot 100 chart. It also earned Boone two Billboard Music Awards, an MTV Video Music Award, an iHeartRadio Music Award, and multiple global accolades.

Fireworks & Rollerblades also includes the Platinum certified hit “Slow It Down” and fan-favorites “Cry,” “What Do You Want,” and “Pretty Slowly.”

In June, he opened for Taylor Swift’s ERAS Tour in London at Wembley stadium, following a performance with Lana Del Rey at Hangout Festival in May. He also embarked on his fully sold-out Fireworks & Rollerblades Tour, playing shows across the globe.

With the upcoming release of American Heart, performances at landmark festivals like Coachella and Governors Ball, and new tour dates on the horizon, Boone is on track for another record year in 2025.

BENSON BOONE 2025 TOUR DATES:
Apr 18 – Indio, CA – Coachella Music and Arts Festival
May 2 – Charlotte, NC – Lovin’ Life Music Festival
May 4 – Memphis, TN – Riverbeat Music Festival
May 24 – Napa, CA – BottleRock Music Festival
Jun 5 – Canandaigua, NY – CMAC
Jun 6 – New York, NY – The Governors Ball Music Festival
Jul 3 – Milwaukee, WI – Summerfest
Jul 5 – Québec City, Canada – FEQ Festival
Jul 10 – Algés, Portugal – Nos Alive Festival
Jul 11 – Madrid, Spain – Mad Cool Festival
Sep 11 – Louisville, KY – Bourbon & Beyond Music Festival

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That Eric Alper

Eric Alper is a 6-time nominee for Publicist of the Year during Canadian Music Week and has overseen the publicity campaigns for over 183 JUNO Award-nominated albums (and 16 in 2025), 45 Grammy-nominated albums, including 47 JUNO Award, 58 Canadian Folk Music Award, 126 Maple Blues Award-winning albums and is also truly honoured to work with some of the biggest and most important artists of our time.

Contact me: eric@thatericalper.com

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