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Submissions Open for 2025 Western Canadian Music Awards Artistic and Specialty Categories

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Get ready to celebrate the best of Western Canada’s music scene—submissions for the 2025 WCMA Artistic and Specialty Awards open February 19. With new categories like Afrobeats Artist of the Year and updated processes, now’s the time to shine.

You must create a login profile on Awardstage to begin your submission. You will have to create an account to start. If you experience issues with Awardstage please contact johnny@breakoutwest.ca.

The Western Canadian Music Awards has added a new Artistic category. Check out the Artistic Award category for Afrobeats definition.

If submitting to more than one award, please note that the process has changed, if you need any assistance we invite you to watch the short video we have prepared.

Click Here to view a submission tutorial video

Early Bird Dates

February 19 – March 19, 2025 11:59 PM PDT

Artistic and Specialty Submission Fees
MIA Member Non-Member
Early Bird 15% Off 15% Off
Regular $18.00 per category $20.00 per category
Industry Submission Fees
MIA Member Non-Member
Early Bird Free 15% Off
Regular Free $10.00 per category

 

CONSIDERATIONS

• Submission to the awards do not guarantee a nomination.

• All submissions are only accepted online. If internet access is a barrier to submission, please contact your local Music Industry Association or johnny@breakoutwest.ca

• Submission fee payments must be made online by credit card

• Read all guidelines and category requirements carefully to ensure qualification.

• It is highly recommended that applications submit well in advance of the deadline to ensure there are no unforeseen issues. Submissions that experience technical issues within 24 hours of the deadline will not be granted an exemption if they are late. This may lead to your application not being eligible.

Click here to download the Awards Submission Guidelines as a .pdf

 

WESTERN CANADIAN MUSIC AWARDS Guidelines and FAQ

1.     When is the submission deadline?

The submission deadline for WCMA 2025 11:59 PM PST on Friday, April 16, 2025.

It is highly recommended that applications be submitted well before the deadline to ensure there are no unforeseen issues at the time of submission. Late applications due to technical issues within 24 hours of the deadline will not be considered acceptable grounds for late submission.

2.     Who can apply for the awards?

Submissions can be made by the Artist/Industry professional themselves or they can be submitted on the Artist’s/Industry professional’s behalf.

3.     Do I have to complete my entire submission at one time?

  • No. You have the ability to sign in and out of your submission at any time to be able to complete it over the course of time.
  • Once you confirm and complete your submission, and after payment is accepted, you will no longer be able to sign into that specific submission.
  • Make sure to have all information correct before confirming your submission.

4.     How do I know that my submission has been properly submitted?

Submitting is a four-part process:

  1. Have ready all media, music and documents. Create an account to submit.
  2. Complete and upload music, info and pictures for your online submission.
  3. Complete payment page
  4. You will receive and email indicating that you have completed. Keep that for reference if you have any questions

5.     Do I have to be a member of my province’s Music Industry Association to submit to the awards or play the Festival?

  • No. It is recommended that nominees, and those submitting, be a member of a Western Canadian Music Industry Association but is not required.

The Western Canadian Music Industry Associations include

• Music BC
• Manitoba Music
• SaskMusic
• Alberta Music
• Music Yukon
• Music NWT

*Note, all MIA members will receive a discount for their submissions.

6.     How can the payments be made?

  • You can pay with Visa or MasterCard. No debit cards.
  • You will be prompted to enter the payment information upon completion of your submission.

7.     Are people who are not residents in Canada eligible for any of the categories?

  • No. The Nominee must have been born in either Manitoba, Saskatchewan, Alberta, British Columbia, Yukon or NWT and must have lived in one of those Provinces or Territories for six consecutive months in the past year (January 1, 2024 – April 16, 2025).

            OR

  • The Nominee must have maintained a residence in a Western Canadian Province or Territory for the entire period of January 1, 2024 through April 16, 2025.
  • For groups, 50% of the group’s members must meet residency requirements. Proof of residency may be required.

8.     Can submissions be made to more than one category?

9.  What is meant by release date?

  • All nominees (for Artistic Award categories) must have released a minimum of 3 songs to radio, retail, or online between January 1, 2023 and April 16, 2025 
  • There are no release date requirements to apply to the Festival, however priority will be given to artists who have released new material in the recent 18 months or will release new material in the coming 6 months.

10.  If a Release/EP/Multi Media Item hasn’t been previously nominated, can it be nominated again the following year?

Yes, because the eligibility period is longer than one year, an album may be eligible for two consecutive years.

However:

  •  the album must still meet all release requirements.
  •  no album will be selected as a final nominee in the same category two years in a row.
  •  an album cannot be submitted in one genre category one year and in a different category the next

11.  What is the definition of a release and a release and a full-length Album?

  • To be considered for an award nomination, a minimum 3 newly recorded songs must have been released in the eligibility time-frame.
  • Full-length (Recording of the Year only) means that the album is either a minimum of 30 minutes or contains at least six songs.
  • At least 50% of the tracks must be previously unreleased songs. An unreleased song is defined as material not previously released to radio, retail or other public consumption. Re-recorded live or compilation releases must meet the same requirements.
  • All recordings must fulfill all legal requirements, meaning that the songwriters have been properly credited and mechanical royalties have been paid.

12.  Will EPs be eligible for nomination?

Yes, as long as the EP is at least three songs.

13.  Can a submitted Album/EP include cover songs?

  • An Album and/or EP will be eligible for all categories if at least 50% of the tracks on the recording are previously unreleased songs. Re-recorded live or compilation releases must meet the same requirements.
  • A song is defined as material previously released to radio or retail.

14.  Are Seasonal/Christmas Albums/EPs eligible?

Yes, as long as they still fit into a particular genre and meet all of the necessary residency and release requirements.

15.  Can submissions be made into both the Classical Artist/Ensemble of the Year and Composer of the Year categories?

Yes. See Artistic Awards Categories for more information.

16.  If there is a project that has more then one producer or engineer how should it be entered?

  • A co-production or co-engineering team may enter as a team or as two separate entries.
  • If making one entry, the team will be recognized.
  • If making separate entries the other co-producers or co-engineers must be listed and credited where applicable.

17.  Is there a minimum number of submissions needed in order for a category to proceed?

  • Yes. There must be a minimum of four submissions for a category to proceed in any year.
  • If there aren’t enough submissions the category is skipped for the year and nominees can resubmit their album for the following year.

18.  How are the jurors selected?

  • The jurors will be chosen for their impartiality and demonstrated knowledge and expertise in their fields to collectively capture a diverse range of cultures and backgrounds.
  • WCMA board and staff members are not allowed to sit as jurors or to influence the jurors’ decisions of the juries.

 

 

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AWARDS SUBMISSION GUIDELINES

1. RESIDENCY REQUIREMENTS: ARTISTIC

  • All artistic award nominees must be residents of Manitoba, Saskatchewan, Alberta, British Columbia, the Yukon and/or the Northwest Territories, for at least six months between January 1, 2024 and April 16, 2025 ​​​​The mandate of the Western Canadian Music Alliance is to support artists and companies who reside in western Canada a majority of the time and as such contribute to healthy and thriving music communities in the region.
  • Groups: 50% of group members must meet residency requirements.Proof of residency may be required.

2. RELEASE REQUIREMENTS: ARTISTIC

  • The nominee must have a commercial release between January 1, 2023 and April 16, 2025.

A commercial release is defined as:

  • A minimum of 3 new songs must be commercially released and not be part of a collection previously nominated within 24 months of the submission deadline.
  • At least 50% of the tracks on the recording must be previously unreleased cuts.
  • Exceptions to this are Jazz and Classical, and Electronic/Dance and Instrumental categories which must be at least 75% previously unreleased cuts.
  • ‘Cut’ is defined as material previously released to radio or retail
  • All recordings must properly credit all songwriters.
  • All mechanical royalties must be paid.

3.  RESIDENCY REQUIREMENTS: INDUSTRY

  • All industry award nominees must be residents of Manitoba, Saskatchewan, Alberta, British Columbia, the Yukon and/or the Northwest Territories, for at least six months between January 1, 2024 and April 16, 2025 Companies must be registered companies in Western Canada. The mandate of the Western Canadian Music Alliance is to support artists and music companies who reside in western Canada a majority of the time and contribute to a healthy and thriving music community in their respective region.
  • Groups: 50% of group members/company must meet residency requirements.
  • Proof of residency may be required.

4. MUSIC INDUSTRY ASSOCIATION MEMBERSHIP

It is recommended that submitting artists and industry members be a member of a western Canadian music industry association, but is not required. If accepted, the submitting artist or industry member will be contacted to ensure current membership with their local music industry association.

The western Canadian music industry associations include the following:

• Music BC
• Manitoba Music
• SaskMusic
• Alberta Music
• Music Yukon
• Music NWT
• Alianait Music

5. NOMINATION & SUBMISSION DEADLINE

•  Submissions Open: 10:00 a.m. PST on Wednesday Feburary 19, 2025
•  Submissions Close: 11:59 p.m. PST on Wednesday April 16, 2025

 Instructions for Submitting an Entry:

•  Submission to the awards and festival does not guarantee either nomination or festival acceptance.
•  Festival applicants must submit at least three professionally recorded songs for adjudication.
•  There are no release date requirements for tracks submitted for festival consideration.
•  All submissions are accepted online only. Before uploading any music, you will be instructed to install the Aspera app if you don’t already have it it.
•  Payment of the entry fee may only be made by credit card online.
•  Online submissions must be completed by 11:59 PM PST on Wednesday April 16, 2025
•  One submission must be completed for each category submitting to.
•  Read all guidelines and category requirements prior to submission to ensure eligibility.
•  Please complete submissions accurately and in full. Submitted information is what jurors consider when adjudicating final completed submissions.

6. NOMINATION AND VOTING PROCEDURES

Each submission will be considered for selection as one of the five nominees in each category. The submissions will be screened upon completion to ensure that each submission is complete and meets all eligibility requirements. Any submissions that are incomplete or ineligible will be disqualified. No refunds will be issued.

A panel of impartial jurors from across Canada will adjudicate all submissions and select the final five nominees in each category. The jury committee reserves the right to categorize a submission at their sole discretion.

In the event that a category is overpopulated, a ‘super jury’ will be convened to conduct the first review.

Electronic voting will be open to all current members of the western Canadian music industry associations and to jurors for final voting to select the winners. Final voting results are equally weighted between western Canadian music industry association members and jurors.

*The Audio Engineer ​​​​​​, Jazz, Francophone and Classical, Producer, Children’s, Excellence in Visual Design will be selected and voted on solely by jurors and will not be open to voting by music industry association members

7. MULTIPLE SUBMISSIONS OF ONE ALBUM

Each category has its own restrictions and requirements. Make sure to read the Artistic Awards Categories for a complete list of all category specifications.

8. NOMINATION SUBMISSION IN SUCCESSIVE YEARS

Because the eligibility period is longer than one year, an album may be eligible for two consecutive years.

However:

  •  The album must still meet all release requirements.
  •  No album will be selected as a final nominee in the same category two years in a row.
  •  An album cannot be submitted in one genre category one year and in a different category the next.

All details are subject to change.

9. MINIMUM NUMBER OF SUBMISSIONS

There must be a minimum of four (4) submissions for a category to proceed in any year. If four (4) submissions were not received for a particular category, that category is skipped for that year and nominees can resubmit their album the following year.

10. JURY SELECTION

Each award category will be juried by a group of at least ten jurors unless otherwise stated in Guideline #5. The jurors will be chosen for their demonstrated knowledge and expertise in their fields, and so that collectively they capture a diverse range of cultures and backgrounds. No WCMA board or staff member is permitted to vote or influence any adjudication.

The WCMA reserves the right to select juror(s) who are not a resident of one of the five member regions if it is necessary to compile a strong, impartial jury in a given year.

 

 

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ARTISTIC AWARD CATEGORIES

Please review the below Western Canadian Music Artistic Award Category information. Be advised that any deviation from the requirements below may result in your submission being disqualified. If you have any questions about the below criteria, please contact johnny@breakoutwest.ca.

The Western Canadian Music Awards values diversity, equity and inclusion, and welcome applications from artists from diverse backgrounds

Awards are presented to an Artist, Group, producer, or songwriter depending on the category.

Unless otherwise stated, at least 50% of the submitted recorded tracks must be original material.

If submitting as a group, at least 50% of performing members must meet Canadian residency requirements (see Award and Festival Guidelines for full list of requirements).

All applicants must have an eligible release in order to be considered for nomination (see Award and Festival Guidelines for full list of requirements).

All awards are chosen through an adjudication process.

 

ARTISTIC CATEGORIES

 

An release may only be submitted for nomination in ONE of the following categories* :

Eligibility – A minimum of (3) new songs must be commercially released within 24 months of the submission deadline and not be part of a collection previously nominated. These recordings can be live, or fully produced. If a group, at least 50% of the members must fulfill the residency requirement.

*Please read the guidelines for each category carefully and submit only if eligible. Non-eligible submissions will be disqualified.  Once submitted, no changes can be made.

 

Afrobeats Artist of the Year

  • Definition – This category seeks to recognize artists that utilize unique local expressions from across the African continent, highlighting regional melodic, harmonic and rhythmic musical traditions. The award will celebrate sub-genres including, but not limited to, Afrobeats, Afro-fusion, Afro-pop, Alté, Amapiano, Genge, Gqom, Zouk, Afro-House and Pon Pon. At least 50% of the tracks must be previously unreleased songs. An unreleased song is defined as material not previously released to radio, retail or other public consumption. Re-recorded live or compilation releases must meet the same requirements.

Blues Artist of the Year

  • Definition – This award recognizes an artist whose music demonstrates excellence in traditional or contemporary blues, performed either acoustic or electric. At least 50% of the tracks must be previously unreleased songs. An unreleased song is defined as material not previously released to radio, retail or other public consumption. Re-recorded live or compilation releases must meet the same requirements.

Children’s Artist of the Year

  • Definition – This award recognizes an artist whose music demonstrates excellence in music suitable for, and directed to, a young listening audience.. Material must be musical in nature or contain significant original musical content (ex: narratives or dramatic recordings must contain original music). At least 50% of the tracks must be previously unreleased songs. An unreleased song is defined as material not previously released to radio, retail or other public consumption. Re-recorded live or compilation releases must meet the same requirements.

 

 Classical Artist 0r Ensemble of the Year

  • Definition – This award recognizes an artist whose music demonstrates excellence in instrumental soloist(s), (a) chamber ensemble(s) (large or small), and/or instrumental soloists with chamber accompaniment. Submissions may include vocal or choral works. Entries in this category cannot be submitted for Instrumental Artist of the Year. At least 50% of the tracks must be previously unreleased songs. An unreleased song is defined as material not previously released to radio, retail or other public consumption. Re-recorded live or compilation releases must meet the same requirements.

 Country Artist of the Year

  • Definition – This award recognizes an artist whose music demonstrates excellence in the country genre.Submissions may include alt-country, traditional country, western swing, and/or another recognized country music style. At least 50% of the tracks must be previously unreleased songs. An unreleased song is defined as material not previously released to radio, retail or other public consumption. Re-recorded live or compilation releases must meet the same requirements.

Electronic & Dance Artist of the Year

  • Definition – This award recognizes an artist whose music demonstrates excellence in original musical recordings composed significantly with electronic equipment as the essential songwriting tools, and defined by their electronic elements. Tracks prominently featuring recognizable samples, interpolations, or other borrowed elements will be eligible ONLY if the artist/group can provide clearance or written evidence that clearance has been sought. At least 50% of the tracks must be previously unreleased songs. An unreleased song is defined as material not previously released to radio, retail or other public consumption. Re-recorded live or compilation releases must meet the same requirements.

 Instrumental Artist of the Year

  • Definition – This award recognizes an artist whose musical work showcases exceptional skill in instrumental music across various genres. Submissions must not exceed 25% of tracks with lyrics or prominent vocals. Entries in this category cannot be submitted for Classical Artist or Ensemble of the Year or Composer of the Year consideration. At least half of the tracks must be comprised of songs that have not been released before. An unpublished song is described as content that the artist has not shared with the public via radio, stores, or any other platforms. Live re-recordings or compilation albums must adhere to the same standards.

 Jazz Artist of the Year

  • Definition – This award recognizes jazz artists, whether instrumentalists or vocalists, whose work exemplifies the highest standards of the genre. Eligible submissions may span a wide range of jazz styles, including (but not limited to) traditional, ragtime, swing, bebop, hard bop, cool, fusion, Latin, Cuban, Afro-Cuban, smooth, avant-garde, free improvisation, third stream, orchestral, and world music-influenced jazz. At least half of the tracks must be comprised of songs that have not been released before. An unpublished song is described as content that the artist has not shared with the public via radio, stores, or any other platforms. Live re-recordings or compilation albums must adhere to the same standards.

Metal & Hard Music Artist of the Year

  • Definition – This award recognizes an artist whose music demonstrates excellence in metal or hard music. Submissions may include metal, traditional/classic metal, metalcore, thrash metal, death metal, black metal, and any other relevant sub-genres. At least 50% of the tracks must be previously unreleased songs. An unreleased song is defined as material not previously released to radio, retail or other public consumption. Re-recorded live or compilation releases must meet the same requirements.

 Pop Artist of the Year

  • Definition – This award recognizes an artist whose music demonstrates excellence in pop music. Submissions may include mainstream pop, top 40, CHR, HOT AC, as well as indie-pop and any other pop styles not available on commercial radio. At least 50% of the tracks must be previously unreleased songs. An unreleased song is defined as material not previously released to radio, retail or other public consumption. Re-recorded live or compilation releases must meet the same requirements.

 R&B Artist of the Year

  • Definition – This award recognizes an artist whose musical work showcases exceptional quality within the realms of R&B, soul, funk, or nu jazz. At least 50% of the tracks must be comprised of songs that have not been released before. An unpublished song is described as content that the artist has not shared with the public via radio, stores, or any other platforms. Live re-recordings or compilation albums must adhere to the same standards.

Rap & Hip Hop Artist of the Year

  • Definition – This award recognizes an artist whose music demonstrates excellence in rap & hip hop music. Eligible submissions must contain lyrics delivered in an MC style and/or music/beats that demonstrate the sound of traditional and/or current hip hop. Tracks prominently featuring recognizable samples, interpolations, or other borrowed elements will be eligible ONLY IF the artist/group can provide clearance or written evidence that clearance has been sought. At least 50% of the tracks must be previously unreleased songs. An unreleased song is defined as material not previously released to radio, retail or other public consumption. Re-recorded live or compilation releases must meet the same requirements.

 Rock Artist of the Year

  • Definition – This award recognizes an artist whose music demonstrates excellence in rock and/or alternative music. Rock music is typically defined by prominent use of the electric or acoustic guitar, aback beat laid down by a rhythm section of electric bass guitar, drums, and/or keyboard instruments. Styles may encompass soft rock, glam rock, punk rock, progressive rock, popular rock, and/or any other relevant sub-genres. At least 50% of the tracks must be previously unreleased songs. An unreleased song is defined as material not previously released to radio, retail or other public consumption. Re-recorded live or compilation releases must meet the same requirements.

Roots Artist of the Year

  • Definition – This award recognizes an artist whose music demonstrates excellence in vocal or instrumental music composed of, or influenced by roots music. Submission may include styles, repertoire, performance practices, and musical structures and that may use new sounds and/or instrumentation. Submissions are often, though not necessarily, composed by the submitting artist. At least 50% of the tracks must be previously unreleased songs. An unreleased song is defined as material not previously released to radio, retail or other public consumption. Re-recorded live or compilation releases must meet the same requirements.

 Spiritual Artist of the Year

  • Definition – This award recognizes an artist whose music demonstrates excellence in music with spiritual and/or religious lyrical or thematic influence. Submissions may include traditional, contemporary, country, alternative, pop/rock, electronic, hip-hop, and/or R&B. Submissions will be accepted from choirs, groups, solo performers and instrumental artists. At least 50% of the tracks must be previously unreleased songs. An unreleased song is defined as material not previously released to radio, retail or other public consumption. Re-recorded live or compilation releases must meet the same requirements.

 

**All details are subject to change

SPECIALTY AWARD CATEGORIES

An album may be submitted for nomination in ANY of the following categories* :

*Please make sure the submission fits within the specified guideline requirements.
Once submitted, no changes can be made.

Please note these are crossover categories, so submissions may also be submitted into one other genre category as well as any artist or technical categories if applicable (e.g. Pop, Rap, etc).

 

 

BreakOut Artist of the Year

  • Definition – This award recognizes an artist whose music demonstrates excellence across any genre. The evaluation will consider the quality of their recordings, in equal measure with their exceptional year, which is defined by radio chart successes, media exposure, industry recognition, and/or touring achievements. Entries into this category may also be submitted to one of the other artistic categories in the same year. At least 50% of the tracks must be previously unreleased songs. An unreleased song is defined as material not previously released to radio, retail or other public consumption. Re-recorded live or compilation releases must meet the same requirements.
  • Eligibility – These recordings can be live, or fully produced, and CAN be released outside of the 24 month eligibility period. If a group, at least 50% of the members must fulfill the eligibility criteria.

 Classical Composer of the Year

  • Definition – This award recognizes an artist whose exceptional skill as a composer of original compositions exemplify outstanding composition of new works completed and released within 24 months prior to the submission deadline and featured on a commercially released recording. It can be submitted by the composer or the artist credited for the composition’s appearance. A composition is typically regarded as a singular work, although it may consist of multiple movements that collectively form one piece. Additionally, recordings submitted in this category may also be entered into a genre category during the same year, with the exception of the Instrumental Artist of the Year category. At least 50% of the tracks must be previously unreleased songs. An unreleased song is defined as material not previously released to radio, retail or other public consumption. Re-recorded live or compilation releases must meet the same requirements.
  • Eligibility – A minimum of 1 composition must be commercially released within 24 months of the submission deadline and not be part of a collection previously nominated. These recordings can be live, or fully produced.

 Francophone Artist of the Year

  • Definition – This award recognizes an artist whose music demonstrates excellence in performing in the French language. At least three of the total tracks submitted must contain vocals performed in French. Submissions into this category may also be submitted into one of the other genre categories in the same year.
  • Eligibility – A minimum of 3 new songs must be commercially released within 24 months of the submission deadline and not be part of a collection previously nominated. These recordings can be live, or fully produced. If a group, at least 50% of the members must fulfill the eligibility criteria.

 Global Artist of the Year 

  • Definition – This award recognizes an artist whose musical creations are inspired by one or more traditional music genres from various regions globally (excluding Canada) or a fusion of diverse cultural musical styles. Entries into this category may also be submitted to one of the other artistic categories in the same year.
  • Eligibility – At least three new songs must be commercially released within 24 months of the submission deadline and not be included in any collection previously nominated. Commercially released is described as content that the artist has shared with the public via radio, stores, or any other platforms. Live re-recordings or compilation albums must adhere to the same standards.

Indigenous Artist of the Year

  • Definition – This award recognizes an artist whose music demonstrates excellence as a Indigenous, First Nations, Inuit and/or Métis artist or group who performs in either a traditional or contemporary musical style. In the case of a duo or group, at least 50% of members must identify as Indigenous, First Nations, Aboriginal and/or Metis. Submissions into this category may also be submitted into one genre category in the same year.
  • Eligibility – A minimum of 3 new songs must be commercially released within 24 months of the submission deadline and not be part of a collection previously nominated. These recordings can be live, or fully produced. If a group, at least 50% of the members must fulfill the eligibility criteria.

 Producer of the Year

  • Definition – This award recognizes an artist whose music demonstrates excellence in music production and is awarded to a producer or production team. International releases are eligible, provided the producer meets the residency requirement. A Producer must have contributed to a minimum of 50% of tracks on the submitted release.
  • Eligibility – The body of works of the producer within the last 12 months from (the submission deadline) will be considered for this award. This may include one or multiple production projects.

 Recording of the Year

  • Definition – This award recognizes an artist whose music showcases excellence in a comprehensive recording, spanning any genre or style. It is presented to an individual or group. Entries into this category may also be submitted to one of the other artistic categories in the same year. At least 50% of the tracks must be previously unreleased songs. An unreleased song is defined as material not previously released to radio, retail or other public consumption. Re-recorded live or compilation releases must meet the same requirements.
  • Eligibility – A full length recording with a minimum of six (6) songs or 30 mins commercially released within 24 months of the submission deadline and not be included in any collection previously nominated. Commercially released is described as content that the artist has shared with the public via radio, stores, or any other platforms. Live re-recordings or compilation albums must adhere to the same standards.

 Songwriter(s) of the Year

  • Definition – This award recognizes an artist whose music showcases exceptional skill in the art of songwriting. Whether working solo or in a team, as long as the artist is from Western Canada, they are eligible. Artists can submit their work as a single song or as part of a songwriting team. For a team to be considered, all members must agree to represent the team. A single physical trophy is awarded, regardless of the team’s size. Western Canadian songwriters who also write for international artists or releases are also eligible. It’s important to note that a song doesn’t need lyrics to be considered. Submitted songs must have been released during the eligibility period, which includes singles or videos, even if they were part of an album released before or after the eligibility period. Copyright owners, whether they are publishers or songwriters, must submit one song that best represents the artist’s body of work during the eligibility period. Entries into this category may also be submitted to one of the other artistic categories in the same year.
  • Eligibility – This is not limited to artists from Western Canada; recordings produced by artists outside of this region are also eligible, as long as the songwriter fulfills the residency and eligibility criteria. The song must be commercially released within 24 months of the submission deadline. Commercially released is described as content that the artist has shared with the public via radio, stores, or any other platforms. Live re-recordings or compilation albums must adhere to the same standards.

 Video Director of the Year

  • Definition – This award recognizes an artist who exhibits exceptional skill in the distinctive role that a music video plays in contributing to both the commercial success and the public reception of a song. Entries must feature online links to the video. The recipient of the award is the video’s director. Artists and videos from outside of western Canada are eligible as long as the director is based in western Canada. Additionally, a directing team is also eligible, provided they meet the residency requirement.
  • Eligibility – A full length video release and not previously nominated within 24 months of the submission deadline. The video can be live, or fully produced. If a directing group, at least 50% of the members must fulfill the eligibility criteria.

 

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INDUSTRY AWARD CATEGORIES

Please read and understand all guidelines and category requirements prior to submitting.

  • If submitting you must meet residency requirements (see Award and Festival Guidelines for full list of requirements).
  • All categories are chosen through an adjudication process and all applicants must meet all residency and release requirements in order to be considered for nomination (see Award and Festival Guidelines for full list of requirements).

Audio Engineering Award

This award recognizes excellence in audio engineering. This can include studio engineering for recordings or live engineering for the stage and is awarded to the engineer. The award is open to, but not necessarily limited to, studio engineers, mixing engineers, digital audio engineers, venue, and/or touring front of house or monitor technicians. The recipient will demonstrate dedication and excellence in the field of audio engineering as demonstrated through their work. Submissions can include audio recordings, testimonials from clients, or both. This may include one or multiple production projects. Work done outside of Western Canada is eligible, as long as the engineer meets the eligibility and residency requirements. Submissions will be juried based on professional activity occurring within one year of the submission deadline.

 

Community Excellence Award

This award recognises an artist, group, music company, or organization that demonstrates a commitment to community development or philanthropy. This can be through programming or contributions that support a local initiative, a global cause, or to the broader music community. Active engagement with the public should be visible on an ongoing basis. Testimonials, past achievements, and ongoing projects can all be included in this submission. Submissions will be juried based on professional activity occurring within one year of the submission deadline.

 

Excellence in Visual Design

Visual design makes a specific contribution to the branding and marketing of music. This award recognizes excellence in visual design including album packaging, merchandise, show posters, web and social media design. This award recognises a designer or design firm who has created work of note with one or more artists or project, across various media. This may include one or multiple production projects. Work done outside of western Canada is eligible, provided the designer meets the eligibility and residency requirements. Submissions will be juried based on professional activity occurring within one year of the submission deadline.

 

Impact in Artist Development

This award recognizes music companies or individuals from western Canada who have had a significant impact on artist(s) careers within the eligibility period. The award is open to but not limited to artist managers, labels, agents, and publishers, including individuals, teams, or companies. The recipient will have demonstrated particular accomplishments in advancing the career of an artist or roster of artists. Collaborations with artists from outside of western Canada are eligible, as long as the nominee meets the eligibility and residency requirements. Submissions will be juried based on professional activity occurring within one year of the submission deadline.

 

Impact in Live Music

This award recognizes music companies or individuals who have had a significant impact on the live music community in western Canada within the eligibility period. This award is open to, but not necessarily limited to, agents, promoters, presenters, buyers, venues and/or festivals. The recipient will have demonstrated accomplishments in live music such as innovative programming, audience development, or programming for a specific community need. Consideration will be given to the promotion of western Canadian artists, the historical and cultural value of the applicant institution to the industry and the community, relationships between the applicant and artists, and overall public participation. Nominees must meet the eligibility and residency requirements. Venues and festivals must be located in western Canada in order to meet eligibility. Submissions will be juried based on professional activity occurring within one year of the submission deadline. 

Impact in Music Marketing

This award recognizes innovation, creative thinking, and hard work in the field of marketing in the music industry in western Canada. The award is open to, but not necessarily limited to, individuals and companies working in public relations, marketing, radio tracking, music distribution, artist management, live promotion, app development, and technology. The recipient will demonstrate success through dedication to the western Canadian music industry and demonstrating new ways of doing business. Submissions will be juried based on professional activity occurring within one year of the submission deadline.

Music Nova Scotia Opens 2025 Award Nominations and Nova Scotia Music Week Showcase Applications

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Nova Scotia Music Week (NSMW) 2025 will take place in Yarmouth/Kespukwitk from October 23-26, 2025. Music Nova Scotia is pleased to open both showcasing applications and award nominations for this year’s event!

Showcasing applications and award nominations will be open until Thursday, April 10, 2025, at 11:59pm AT. Please review the showcasing and awards manuals in full before submitting your application for full eligibility requirements.

After receiving feedback from the membership, MNS has made a significant change to open both the awards and showcasing applications at the same time, allowing for better communication between juries. Additionally, consultation was prioritized over the last year regarding the eligibility, criteria, and name of the African Nova Scotian Artist of the Year Award. The African Nova Scotian/Black Advisory Body, a joint group serving both Music Nova Scotia and the African Nova Scotian Music Association, met and advised that further community consultation was needed before the name or the eligibility of the award changed. This consultation will take place over the next 12 months to ensure the award continues to best serve the community it represents. For NSMW 2025, the eligibility and name will remain the same as previous years. All artists submitting to African Nova Scotian Artist of the Year are also welcome and encouraged to apply to their genre categories as well at no additional cost.

Both showcasing and awards manuals can be found on their website here.

You must be a member of Music Nova Scotia in good standing to submit showcasing applications and award nominations. If your membership is not up to date by the deadline to apply, your submission will not be considered eligible. To renew or create a new membership, click here.

Showcasing applications and award nominations are juried by panels of third-party music industry professionals with specific knowledge of the industry and the genres they are evaluating. If you are interested in joining Music Nova Scotia’s juror pool, please fill out this form.

Sign up for their mailing list here for festival updates and to be notified when additional delegate passes and festival wristbands go on sale!

The Host Hotel, The Rodd Grand Yarmouth, has limited capacity for NSMW delegates, partners, and staff. For those looking to book accommodations for NSMW 2025, Music Nova Scotia recommends using their Accommodations page here.

Music Nova Scotia would like to extend a huge thank you to NSMW’s Premier and Presenting Partners for helping make this year’s event possible: FACTOR, the Government of Canada, and Canada’s Private Radio Broadcasters, the Province of Nova Scotia, Yarmouth and Acadian Shores Tourism Association, and Garrison Brewing Co.

Submissions Now Open for 2025 Semaine MNB Week Showcases in Moncton, NB

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Submissions are now open for Showcasing at the 2025 Semaine MNB Week, in Moncton, NB, October 23·25 2025.

Semaine MNB Week is the music industry conference for New Brunswick (Canada), taking place in Moncton from 23·25 OCT 2025. The event blends artist showcases, conferences, networking events as well as the much-anticipated Prix MNB Awards. It’s a great way to connect with like-minded people, dive deep in the music industry, all while discovering (or re-discovering) talented emerging and established artists from New Brunswick.

Showcasing opportunities are open to all members of Music·Musique NB playing any genre of music. MNB encourages submissions from members of diverse communities, including Indigenous people, people of colour, people with disabilities, people from the LGBTQ+ community, and people who identify with other intersectional and equity-seeking groups.

The submission period is open until April 16, 2025 at 11:59AM (ADT) for the showcases.

SEMAINE MNB WEEK SHOWCASES –> APPLY HERE

Call for Submissions: Good Sounds Indigenous Music Residency

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Indigenous Music is launching a two-day residency for Indigenous artists and musicians in Manitoba, aimed at creating connection, nurturing growth, and learning more about the art and business of live performance.

Running May 3 – 5, 2025, Good Sounds will be held at Grey Buffalo Grandfather Wellness Lodge, a gathering place nestled on 77 acres of forested land stewarded by the Ma Mawi Wi Chi Itata Centre. Participants will attend professional development workshops throughout the residency and also get the chance to perform their songs in front of mentors and peers from Manitoba and across Canada in an intimate, acoustic setting. Participants will be encouraged to bring demos and songs in development to get feedback.

Travel / Accommodations / Logistics:

Invited artists will stay in a private room on the property and have access to two shared washrooms (with fully equipped private showers) for the duration of the residency and receive three meals each day along with support materials and transportation between Winnipeg and the Grey Buffalo Grandfather Wellness Lodge.

These sessions will be held in English. The typical day includes about 4 hours of programming beginning at 10 AM with time set aside for meals and an afternoon break at 3 PM.

Participants may request support for caregivers during the acceptance process.

To be eligible to participate, artists must meet the following criteria:

  • Be a First Nation, Inuit, or Métis artist or group
  • Be a member of Manitoba Music and current resident of Manitoba
  • Be 18 years or older
  • Be available for the duration of the program, May 3 – 6, 2025
  • Have a strong social media presence and local audience following
  • Have recent professional career activity (e.g. recent or upcoming release – demo/EP/LP/single, live show, tour, festival sets, industry showcases, awards and nominations, media coverage, etc.)
  • Have a professional promotional photo and short bio
  • Have a website or profile with Manitoba Music and/or Indigenous Music, and social media profile(s)

Indigenous participants:

  • For the purposes of this project, we define Indigenous solo artists as First Nation, Inuit, or Métis recording artists who release original music under their legal name or a singular stage name.
  • For the purposes of this project, at least half of the people who appear in the latest promotional photos for an Indigenous duo or band/group must be First Nation, Inuit, or Métis.

Applications will be based on:

  • Strong vocals and/or interesting lyrics if you’re a singer, singer/songwriter, or emcee
  • Solid musicianship and/or a demand for your services if you’re a musician or beat maker/music producer
  • Momentum, demonstrated by touring, earned media, nominations and awards, and social media interaction

Apply here!

Which Geek Bar Flavor Is the Best? Find Your Perfect Match

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By Mitch Rice

Looking to add some flavor to your experience? The best geek bar flavors are Fcuking Fab, Dragon Melon, and Miami Mint. 

So, yes, the world of geek bar flavors is as diverse as your favorite playlist. But which one truly stands out? 

Whether you are into: 

  • Bold bursts of fruity goodness
  • Icy cool sensations
  • Something sweet or nostalgic

There’s a flavor out there calling your name. 

Explore Gemini Geek Bar flavor now and see why it’s stealing the spotlight. Ready to find your perfect match? Let’s see!

 

What Makes Geek Bar Stand Out?

Geek Bar has earned a prominent space in the disposable vape market. 

Not just by offering another option, but by consistently pushing boundaries in 

  • Flavor innovation
  • Device design

Moreover, they offer the right amount of nicotine satisfaction minus the harmful effects of traditional cigarettes. 

Innovation in flavor and design

Geek Bar doesn’t just offer basic fruit or menthol options. They are known for creating complex and layered flavor profiles. Geek Bar tends to blend multiple fruits, including cooling elements. 

Moreover, they brought up dessert-inspired tastes too. So, this ultimately focuses on unique flavor combinations. 

They are also typically:

  • Compact
  • Lightweight
  • Easy to use

 

It has attracted a loyal customer base looking for new and exciting experiences. 

Overview of Their Zodiac and Pulse Editions

Geek Bar has also modified itself through social editions and product lines. Most notable are the Zodiac and Pulse editions.

The Zodiac edition features unique designs inspired by the twelve signs of the zodiac. Each device portrays a

  • Different astrological symbol
  • Corresponding color scheme

Moreover, these editions often become collectible because of their limited availability.

On the other hand, the Pulse edition focuses on offering a more intense, satisfying vape experience. They also feature 

  • Improved coil technology
  • Airflow systems to generate denser vapor

Ranking the Best Geek Bar Flavors

Geek Bars have gained huge popularity because of their appeal as a safer nicotine consumption option. 

 

So, they become the most desired choice for vapers looking for convenient and flavorful disposable devices. 

This blog offers a glimpse into some of the top-rated Geek Bar flavors as we move into 2025!

Best Geek Bar Flavors Ranked (2025)

 

Rank  Flavor Flavor Type Description
1 Fcuking Fab Fruit Flavor
  • Offers an explosion of bold mixed berries and tropical fruits with a sweet yet tangy twist.
2 Juicy Peach Ice Fruit and Ice Flavor
  • Offers the sweet taste of ripe peaches paired with a refreshing menthol finish.
3 Dragon Melon Fruit Flavor
  • Juicy fusion of dragon fruit and watermelon.
4 Miami Mint Traditional Flavor
  • A blend of cool mint with a hint of tropical sweetness.
5 OMG Blow Pop Candy Flavor
  • A burst of sweet and sour candy flavor. It also combines juicy fruitiness with a bubblegum twist.

 

Sweetness and Flavor Intensity Chart

Understanding the sweetness and intensity of vape flavors is important for finding your perfect match.

Geek Bar Sweetness Chart

 

Flavor Sweetness Level (1-5, 5 being the sweetest) Intensity Level (1-5, 5 being the most intense) User Notes
Tobacco 1 3 The earthy, strong, classic tobacco taste
Menthol 2 4 Icy, refreshing, strong menthol hit
Watermelon Ice 4 4 Sweet watermelon with a cooling menthol finish
Strawberry Ice 4 3 Sweet strawberry with a cooling menthol finish
Blueberry Sour Raspberry 3 5 A mix of sweet and sour with a strong aftertaste

User Favorites

Mild Flavors: If you are into subtle sweetness and a less intense flavor, tobacco and menthol are popular choices.

Bold Flavors: If you crave a burst of flavor, you can consider

  • Watermelon Ice 
  • Blueberry Sour Raspberry 

They offer a more intense and satisfying vaping experience.

Exploring Unique Editions

Geek Bar offers a wide range of unique editions that serve different taste preferences.

Geek Bar Zodiac Flavors

These Geek Bar flavors offer astrological-signs-inspired flavors. Each flavor is carefully made to reflect the characteristics and personality traits associated with its corresponding zodiac sign. 

Some famous Geek Bar Zodiac flavors are:

Geek Bar Pulse Flavors

The Geek Bar Pulse flavors are famous for their bold and refreshing flavor combinations. 

  • Watermelon Ice: It is the combination of the sweet taste of ripe watermelon with a cooling menthol finish. It offers a refreshing vaping experience.
  • Strawberry Lemonade: It offers a blend of sweet strawberries and tangy lemonade. It will give you a refreshing and summery vape.

Top Geek Bar Alternatives

Even though Geek Bar has established itself as a popular disposable vape brand, many other competitors offer compelling alternatives with 

  • Unique features
  • Flavor profiles

Some notable competitors include Elf Bar and Esco Bar, each with their strengths.

Besides Elf Bar and Esco Bar, some other alternatives for Geek Bar are: 

  • ELUX BARS
  • SMOK
  • Lost Mary MT15000 Turbo
  • Fifty Bar 20K
  • Flonq Max Pro
  • Fasta Burst 35000
  • Off Stamp SW16000
  • RifBar Turbo-X

How to Choose the Best Flavor for You?

It is undoubtedly difficult to choose from the wide variety of vape flavors available. Here are some things to think about:

Sweetness: Think about how sweet you like things to be. While some flavors offer a more subtle sweetness, others are quite sweet.

Intensity: The term “flavor intensity” describes how strong a flavor is. While some flavors are more subtle, others are strong and noticeable.

Type of Flavor: Select a flavor that suits your tastebuds, like:

  • Fruity: Look at options like strawberry, mango, or blueberry if you like the flavor of fresh fruits.
  • Icy/Menthol: Choose menthol or icy scents if you like a chilly, revitalizing feeling.
  • Sweet/Dessert: If you’re craving something sweet, try tastes that are reminiscent of dessert. Such as cotton candy, cheesecake, or custard.

Recommendations for Different Preferences:

For Fruity Flavor Lovers: Elf Bar provides a variety of fruit flavors, ranging from traditional pairings to more unusual options.

For Fans of Icy/Menthol: Esco Bar is renowned for its strong menthol and icy flavors, which make for a refreshing vaping experience.

For Sweet Tooth Cravings: A range of sweet and dessert-inspired flavors are available at Geek Bar.

FAQ: Best Geek Bar Flavor

What is the best Geek Bar flavor?

Some of the best geek bar flavors include watermelon ice, ice mint, tobacco, etc.

What is the most popular Geek Vape flavor?

The most popular flavor in all disposables is blue razz ice.

Which vape flavor is best for beginners? 

Menthol flavor is the best for beginners.

What is the best vape flavor to buy? 

Consider the GeekVape Aegis X with a Zeus Sub-Ohm Tank for the absolute best-flavored vape.

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

Lamb of God Announce 2025 Headlining Dates, Festival Stops, and Return of Headbangers Boat

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Lamb of God have added several headlining dates to their already packed 2025 schedule, bringing their ferocious live show to select cities, including a special performance in their hometown of Richmond, as well as stops in Springfield, Mass., Monterrey, Mexico, and more.

Tickets are on-sale this Friday, April 4, at 10 a.m. local time via Lamb-of-god.com.

The newly announced dates round out what is a busy end of the year for the band. Lamb of God will also join Black Sabbath for their historic Back to the Beginning send-off, and headline several festivals including Inkcarceration, Unhinged, Louder Than Life, and Aftershock.

In addition, the band returns to the high seas this Fall with the return of their Headbangers Boat cruise (Oct. 31 to Nov. 4), a four-day floating festival departing from Miami with a stop in Cozumel, Mexico. The cruise features performances from Clutch, Kublai Khan TX, Power Trip, Obituary, Devil Driver, Fear Factory, The Black Dahlia Murder, The Exploited, Crowbar, Nekrogoblikon, Eighteen Visions, Gideon, Walls of Jericho, Category 7, Brat, comics Josh Potter and Saul Trujillo, with appearances from Jose Mangin and Riki Rachtman.

Newly announced shows:

July 18 Springfield, MA MassMutual Center
with special guests: Hatebreed and Shadows Fall

July 24 Richmond, VA Allianz Amphitheater at Riverfront
with special guests: GWAR and Hatebreed

September 20 Hinkley, MN Grand Casino Hinkley – Amphitheater
with special guests: Body Count and Harms Way

September 25 Durant, OK Choctaw Grand Theater
with special guests: Power Trip and Frozen Soul

September 27 Hammond, IN Horseshoe Hammond Casino
with special guests: Cavalera and Power Trip

November 6 Monterrey, Mexico at Showcenter

All tour dates:

July 5 Birmingham, UK Back to the Beginning with Black Sabbath

July 18 Springfield, MA MassMutual Center

July 20 Mansfield, OH Inkcarceration Festival

July 24 Richmond, VA Allianz Amphitheater at Riverfront

July 27 Denver, CO Unhinged Fest

September 18 Louisville, KY Louder Than Life Festival

September 20 Hinkley, MN Grand Casino Hinkley – Amphitheater

September 25 Durant, OK Choctaw Grand Theater

September 27 Hammond, IN Horseshoe Hammond Casino

October 3 Sacramento, CA Aftershock Festival

November 6 Monterrey, MX Showcenter

20 of the Greatest LGBTQIA+ Anthems of All Time

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You know the songs before you even hear them. A beat, a lyric, a shimmer of synth or a scream of freedom—and suddenly, you’re not alone. These anthems didn’t just climb the charts, they built homes. Homes for identity, homes for community, homes for joy, resistance, survival, and love in all its forms.

Here are 20 tracks that helped shape, celebrate, and soundtrack the LGBTQIA+ experience. And yes, you better believe Bronski Beat made the list.

Bronski Beat – “Smalltown Boy”
A synth-pop masterpiece soaked in melancholy and defiance. Jimmy Somerville’s falsetto told every queer kid in a nowhere town: you’re not broken, this place is. It’s an escape song, a survival anthem, and a beautiful cry for belonging.

Lady Gaga – “Born This Way”
Gaga dropped a mission statement. “Born This Way” arrived like a glitter bomb in 2011, declaring self-love and LGBTQIA+ pride with the subtlety of a Pride float blasting Cher. A Gen Z rallying cry and a disco sermon.

Robyn – “Dancing On My Own”
A lonely heart at the club becomes a holy spirit on the dance floor. Robyn’s anthem gave us permission to feel everything—heartbreak, longing, joy—at once. It’s a mood, in every sense of the word.

RuPaul – “Supermodel (You Better Work)”
This track built a runway for generations of queens, queers, and everyone who ever wanted to twirl in their truth. RuPaul brought drag to the mainstream with a wink, a strut, and a beat you could vogue to forever.

George Michael – “Freedom! ’90”
A closet-exploding anthem, crafted with swagger and soul. George Michael’s declaration wasn’t just about industry control—it became a message for anyone breaking free from expectations. And those supermodels in the video? Icon behavior.

Diana Ross – “I’m Coming Out”
If the trumpet intro doesn’t make you throw your hands up, are you even alive? Ross gave us the most joyful declaration of liberation ever recorded—and gave drag queens the ultimate walk-on track. Pure, golden emancipation.

Frank Ocean – “Bad Religion”
Frank Ocean cracked his soul open on this track, quietly rewriting the rules for what a Black gay man could say in R&B. A gospel of unrequited love, whispered in a cab, aching with truth and beauty. Vulnerability never sounded so brave.

Erasure – “A Little Respect”
Synth-pop with a side of heartbreak and a full serving of hope. Andy Bell’s voice is pure longing—and that chorus? Begging for dignity, begging for love, begging to be seen. Still hits like a lightning bolt.

Troye Sivan – “Bloom”
A euphoric ode to queer intimacy that’s sexy, sweet, and subversively tender. Troye Sivan flips pop’s hetero script with grace and glitter, giving boys who love boys a slow-blooming, sun-soaked anthem.

Sylvester – “You Make Me Feel (Mighty Real)”
Disco royalty. Sylvester didn’t just sing, he testified. With falsetto soaring above thumping bass, he transformed dancefloors into sanctuaries. This is freedom. This is ecstasy. This is what being mighty real sounds like.

Melissa Etheridge – “Come to My Window”
Raw, raspy, romantic. Melissa Etheridge turned a simple lyric into a longing anthem that echoed through bedrooms and barrooms alike. Her voice was a lighthouse for many in the 90s trying to find their way home.

Tegan and Sara – “Closer”
Joyously queer and unapologetically pop. Tegan and Sara brought indie cred into a dance-pop moment and made it their own. “Closer” is the sound of falling in love in the front row of a DIY show and texting all your friends about it.

Queen – “I Want to Break Free”
Freddie Mercury in a vacuum cleaner dress is only part of the story. This song is rebellion disguised as an earworm. From personal liberation to political protest, it’s a flamboyant fist in the air.

Janelle Monáe – “Make Me Feel”
A pansexual power surge that pays tribute to Prince while sounding like the future. Monáe’s groove is magnetic, electric, unapologetic. It’s bisexual lighting in song form—and we’re all under the spell.

Sam Smith – “Stay With Me”
A hymn of yearning that resonated with anyone who’s ever wanted someone to stay, even for a night. Sam Smith’s vulnerability put heartbreak on every radio, and we cried in traffic accordingly.

Tracy Chapman – “Fast Car”
Before representation was buzzworded, Tracy Chapman wrote raw, real love stories that crossed lines and broke boundaries. “Fast Car” isn’t explicitly queer—but it feels queer. It speaks to escape, survival, and dreaming of a different life.

Scissor Sisters – “Let’s Have a Kiki”
This is not a drill, this is a KIKI. Scissor Sisters turned queer inside jokes into an all-out anthem of survival, celebration, and sheer fabulousness. If you’ve danced to this at a drag show, you’ve lived.

Cyndi Lauper – “True Colors”
Gentle, aching, affirming. “True Colors” is the arm around your shoulder when the world feels cold. Cyndi Lauper became a lifelong ally, activist, and fierce friend to the LGBTQIA+ community.

Patti Smith – “Gloria”
“Jesus died for somebody’s sins… but not mine.” Patti Smith broke every rule and built something freer. “Gloria” is rage, power, reclamation—set to a garage rock prayer.

Kim Petras – “Heart to Break”
Pop perfection with an unapologetically trans voice front and center. Kim Petras brought heartbreak to the dancefloor with sparkles, high notes, and the kind of confidence that screams: I belong here.

It’s sometimes worth remembering that songs are lifelines. Anthems that lit the way through closets, clubs, heartbreaks, and Pride parades. Whether they whispered in your headphones or shouted from festival stages, they reminded us all:
You are seen. You are heard. You are loved.

Bruce Springsteen Announces ‘Tracks II: The Lost Albums’ — 83 Songs Across 7 Unreleased Records Arriving This Summer

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Seven previously-unheard Bruce Springsteen records will be released for the first time this summer on the widely-rumored and long-anticipated “Tracks II: The Lost Albums,” coming June 27 via Sony Music. A set spanning 83 songs, “The Lost Albums” fill in rich chapters of Springsteen’s expansive career timeline — while offering invaluable insight into his life and work as an artist. “’The Lost Albums’ were full records, some of them even to the point of being mixed and not released,” said Springsteen. “I’ve played this music to myself and often close friends for years now. I’m glad you’ll get a chance to finally hear them. I hope you enjoy them.”

From the lo-fi exploration of “LA Garage Sessions ’83” — serving as a crucial link between “Nebraska” and “Born in the U.S.A.” — to the drum loop and synthesizer sounds of “Streets of Philadelphia Sessions,” “The Lost Albums” offer unprecedented context into 35 prolific years (1983-2018) of Springsteen’s songwriting and home recording. “The ability to record at home whenever I wanted allowed me to go into a wide variety of different musical directions,” Springsteen explained. Throughout the set, that sonic experimentation takes the form of film soundtrack work (for a movie that was never made) on “Faithless,” country combos with pedal steel on “Somewhere North of Nashville,” richly-woven border tales on “Inyo” and orchestra-driven, mid-century noir on “Twilight Hours.” Alongside the announcement of “The Lost Albums,” a first look at the collection also arrives today with “Rain In The River” — which comes from the lost album “Perfect World,” and encapsulates that project’s arena-ready E Street flavor.

“The Lost Albums” will arrive in limited-edition nine LP, seven CD and digital formats — including distinctive packaging for each previously-unreleased record, with a 100-page cloth-bound, hardcover book featuring rare archival photos, liner notes on each lost album from essayist Erik Flannigan and a personal introduction on the project from Springsteen himself. A companion set — “Lost And Found: Selections from The Lost Albums” — will feature 20 highlights from across the collection, also arriving June 27 on two LPs or one CD. “The Lost Albums” were compiled by Springsteen with producer Ron Aniello, engineer Rob Lebret and supervising producer Jon Landau at Thrill Hill Recording in New Jersey.

Tracks II: The Lost Albums

LA Garage Sessions ’83

1. Follow That Dream

2. Don’t Back Down On Our Love

3. Little Girl Like You

4. Johnny Bye Bye

5. Sugarland

6. Seven Tears

7. Fugitive’s Dream

8. Black Mountain Ballad

9. Jim Deer

10. County Fair

11. My Hometown

12. One Love

13. Don’t Back Down

14. Richfield Whistle

15. The Klansman

16. Unsatisfied Heart

17. Shut Out The Light

18. Fugitive’s Dream (Ballad)

Streets of Philadelphia Sessions

1. Blind Spot

2. Maybe I Don’t Know You

3. Something In The Well

4. Waiting On The End Of The World

5. The Little Things

6. We Fell Down

7. One Beautiful Morning

8. Between Heaven and Earth

9. Secret Garden

10. The Farewell Party

Faithless

1. The Desert (Instrumental)

2. Where You Goin’, Where You From

3. Faithless

4. All God’s Children

5. A Prayer By The River (Instrumental)

6. God Sent You

7. Goin’ To California

8. The Western Sea (Instrumental)

9. My Master’s Hand

10. Let Me Ride

11. My Master’s Hand (Theme)

Somewhere North of Nashville

1. Repo Man

2. Tiger Rose

3. Poor Side of Town

4. Delivery Man

5. Under A Big Sky

6. Detail Man

7. Silver Mountain

8. Janey Don’t You Lose Heart

9. You’re Gonna Miss Me When I’m Gone

10. Stand On It

11. Blue Highway

12. Somewhere North of Nashville

Inyo

1. Inyo

2. Indian Town

3. Adelita

4. The Aztec Dance

5. The Lost Charro

6. Our Lady of Monroe

7. El Jardinero (Upon the Death of Ramona)

8. One False Move

9. Ciudad Juarez

10. When I Build My Beautiful House

Twilight Hours

1. Sunday Love

2. Late in the Evening

3. Two of Us

4. Lonely Town

5. September Kisses

6. Twilight Hours

7. I’ll Stand By You

8. High Sierra

9. Sunliner

10. Another You

11. Dinner at Eight

12. Follow The Sun

Perfect World

1. I’m Not Sleeping

2. Idiot’s Delight

3. Another Thin Line

4. The Great Depression

5. Blind Man

6. Rain In The River

7. If I Could Only Be Your Lover

8. Cutting Knife

9. You Lifted Me Up

10. Perfect World

The Pogues Announce First North American Tour in 13 Years to Celebrate ‘Rum Sodomy & The Lash’ 40th Anniversary

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The Pogues announce their first U.S. and Canadian dates in thirteen years, including a festival stop in Boston (Seisun Festival.) The tour will include guest vocalists and musicians celebrating forty years of the album Rum Sodomy & The Lash. Tickets on sale Friday April 4.

“To celebrate the fortieth anniversary of our second LP, Rum Sodomy & the Lash, a veritable Super Session of musicians, a Last Waltz if you will – including the Pogues themselves, members of bands that have come after, such as Lankum, featuring such incomparable artists as Lisa O’Neill and John Francis Flynn, not to mention from the Bad Seeds – will gather to rekindle the music on the record with a new fire. We’re looking forward not just to raising a glass or two but also to raising the roof with our fans and friends, old and new, to celebrate the music we’ve made and the alliances we’ve formed over the years.” – James Fearnley, Jem Finer, and Spider Stacy.

Legendary and lauded vocalists Daragh Lynch, Iona Zajac, John Francis Flynn, Lisa O’Neill and Nadine Shah join original members James Fearnley, Jem Finer, and Spider Stacy along with special guest musicians Holly Mullineaux (bass), Jordan O’Leary (banjo), Fiachra Meek (pipes/whistles – Alfi), Jim Sclavunos (drums – The Bad Seeds) James Walbourne, (guitarist, – Pretenders) plus brass section Pete Fraser, Daniel Hayes and Ian Williamson. Daragh Lynch, Iona Zajac and John Francis Flynn will also take up guitar, harp and multiple instruments respectively during the show. You never know who else might join the stage along the way…

Released in 1985, Rum Sodomy & the Lash is a cornerstone of punk and alternative rock, renowned for its raw energy, poetic lyrics, and infectious melodies. The band are set to play the legendary album in full, including b-sides, extended version tracks plus a special selection of their most beloved material.

Album highlights include iconic songs like ‘Rainy Night in Soho,’ ‘A Pair of Brown Eyes’ and ‘Dirty Old Town.’ Ranked among Rolling Stone’s Best 500 Albums of All Time and featured in such tastemaker books as 1001 Albums You Must Hear Before You Die; Rum Sodomy & the Lash is a certified classic which has influenced countless artists globally and continues to impact listeners forty years on.

Live Dates: 
September 5 – Washington DC – Lincoln Theater
September 7 – Boston, MA – Seisíun Festival
September 8 – Philadelphia, PA – Franklin Music Hall
September 10 – Toronto, ON – History
September 12 – Montreal, QC – MTelus
September 16 – New York, NY – Terminal 5
September 17 – New York, NY – Terminal 5

The Brian Jonestown Massacre Announce New Single and Fall North American Tour

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The Brian Jonestown Massacre announce a new single, ‘Makes Me Great / Out Of Body’, on red transparent 10″ vinyl, released April 25th via Anton Newcombe’s record label A Recordings.

Following a hugely successful UK and Europe tour earlier this year, the band will return to North America this fall for an extensive run of live shows, including two dates with special guests, Cast, making their first US appearance in nearly 30 years. Tickets on sale now.

It is over 30 years since Anton Newcombe – frontman, songwriter, composer, studio owner, multi-instrumentalist, producer, engineer, father, force of nature – and his band The Brian Jonestown Massacre released their first single She Made Me / Evergreen. Released in 1992, as the British music press descended on the US to anoint the next US guitar band as flavour of the month and major labels were on the hunt for the compliant hopefuls to be their latest quick fix, Anton Newcombe had an idea: say no. As leader of the Brian Jonestown Massacre, Newcombe had already established himself as a visionary songwriter, a man to whom making music wasn’t a lifestyle choice or a hipster haircut but the very fabric of existence itself, and he had observed in silent horror as his peers meekly acquiesced to everything – yes to contracts, yes to management, yes to suggestions, yes to this, yes to that, yes, yes, yes. But he was different. Anton Newcombe was going to say no to everything. “I just knew I would be more successful in a certain way by saying no, just being contrary because I figured that if people liked me they were gonna like me anyway,” he says. “Or dislike me. It doesn’t matter.”

Much of this was documented on the controversial documentary ‘Dig!’, which is still hailed as one of the best rock documentaries ever made, and celebrates its 20th Anniversary this year with the remastered, expanded version “Dig! XX.”

Brian Jonestown Massacre’s shoegazing-tinged debut album Methodrone was released in 1995 and since then numerous band members have joined Newcombe on his sonic escapades, but he has remained the sole constant, the creative mastermind at the centre of one of music’s most fascinating bands. There have been a further 20 albums under the Brian Jonestown Massacre moniker since then, each embarking on their own mind-expanding adventure and exploring the outer realms of rock’n’roll; psychedelic rock, country-blues, snarling rock’n’roll, blissed-out noise-pop and more.

Along the way, Newcombe has established himself as a once-in-a-lifetime talent who saw the direction in which mainstream indie-rock was heading and opted to take the long way round. He’s emerged as a revolutionary force in modern music, an underground hero. There was no other way, this was how it had to be. “My only option with everything in life has always been that you just jump into the fire,” he declared. “It doesn’t matter what it is.”

It’s with that spirit that he’s hopped around the globe, from the West Coast to New York, from Manhattan to Iceland, and then to Berlin, where he’s lived for 15 years and has two flats, one to live in and one that’s been converted into his studio.

After a hugely prolific 2010s that saw the release of eight long-players and one mini-album, Newcombe had been going through a period of writer’s block when one day he picked up his 12-string guitar and The Real (the opening track on previous album Fire Doesn’t Grow on Trees) came out of him. Like the kraken, it was as if he’d summoned it. “All of a sudden, I just heard something,” he says. “And then it just didn’t stop. We tracked a whole song every single day for 70 days in a row.” By the end of it they had 2 albums ready to go. Joining Newcombe in the studio for The Future Is Your Past were Hakon Adalsteinsson (guitar) and Uri Rennert (drums).

Brian Jonestown Massacre released their 20th full-length studio album The Future Is Your Past, in February 2023 on Anton’s record label, A Recordings. In 2022 / 2023, they completed a massive world tour that saw them play 34 dates in North America, 25 dates across Europe and 16 dates in the UK. Towards the end of 2024, they released ‘Don’t Look At Me’ ft. Aimee Nash. It is a delicious slice of hypnotic shoegaze with Nash lyrically casting a spell with the mantra “Do No Harm.”

There is no such thing as a defining statement in Anton Newcombe’s world anymore, just more chapters that contribute to the tale. “Nobody can stop me, I’m not asking somebody, I’m not making the rounds at Warners, saying ‘please put out my record!’. It’s just for me,” he says. He hopes he can be an inspiration to others. “I would love to see more groups, people playing music in the UK and everywhere else because I really enjoy it. That’s the only reason I need. It’s the only reason to do stuff.” That hits to the core of what makes Anton Newcombe and Brian Jonestown Massacre tick. He’ll keep jumping in that fire. That’s how he rolls. Savor it.

LIVE SHOWS:
Sept. 3 – Cat’s Cradle – Carrboro, NC
Sept. 4 – Variety Playhouse – Atlanta, GA
Sept. 5 – Basement East – Nashville, TN
Sept. 6 – Orange Peel – Asheville, NC
Sept. 8 – 9:30 Club – Washington, D.C.
Sept. 9 – Webster Hall – New York, NY – with special guests, Cast
Sept. 10 – Union Transfer – Philadelphia, PA – with special guests, Cast
Sept. 12 – The Sinclair – Cambridge, MA
Sept. 13 – Beanfield Theatre – Montreal, QC
Sept. 14 – Danforth Music Hall – Toronto, ON
Sept. 16 – Globe Iron – Cleveland, OH
Sept. 17 – Majestic Theatre – Detroit, MI
Sept. 18 – Mercury Ballroom – Louisville, KY
Sept. 19 – Hi-Fi Annex – Indianapolis, IN
Sept. 20 – Majestic Theatre – Madison, WI
Sept. 22 – Metro – Chicago, IL
Sept. 23 – Slowdown – Omaha, NE
Sept. 24 – recordBar – Kansas City, MO
Sept. 26 – Studio at The Factory – Dallas, TX
Sept. 28 – White Oak Music Hall – Houston, TX
Oct. 31 – Music Box – San Diego, CA
Nov. 1 – Pappy and Harriet’s – Pioneertown, CA
Nov. 2 – Observatory OC – Santa Ana, CA
Nov. 4 – SLO Brew – San Luis Obispo, CA
Nov. 6 – Swan Dive – Las Vegas, NV
Nov. 7 – The Van Buren – Phoenix, AZ
Nov. 8 – Tumbleroot – Santa Fe, NM
Nov. 10 – Gothic Theatre – Englewood, CO
Nov. 11 – Fox Theatre – Boulder, CO
Nov. 13 – Metro Music Hall – Salt Lake City, UT
Nov. 14 – Shrine Social Club – Boise, ID
Nov. 15 – The Showbox – Seattle, WA
Nov. 16 – The Pearl – Vancouver, B.C
Nov. 18 – Revolution Hall – Portland, OR
Nov. 20 – Regency Ballroom – San Francisco, CA
Nov. 21 – Rio Theatre – Santa Cruz, CA
Nov. 22 – Teragram Ballroom – Los Angeles, CA
Nov. 23 – Teragram Ballroom – Los Angeles, CA