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Elton John And Brandi Carlile Launch “Who Believes In Angels?” Campaign To Combat Global HIV Crisis

Eric Alper
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Elton John And Brandi Carlile Launch “Who Believes In Angels?” Campaign To Combat Global HIV Crisis

Today, the Elton John AIDS Foundation and the Looking Out Foundation announced a landmark initiative—the “Who Believes In Angels?” Campaign—to address the urgent global humanitarian crisis caused by recent cuts to HIV/AIDS funding in the United States.

The partnership, spearheaded by global superstar Elton John and multi-Grammy-winning artist Brandi Carlile, is bringing their communities together to raise funds for the Elton John AIDS Foundation’s lifesaving work globally and its Rocket Response Fund. This emergency initiative will help Elton John AIDS Foundation’s partners maintain essential services following significant cuts in funding due to the termination of USAID support. The Rocket Response Fund will direct resources to reopen clinics, restore access to essential medications, and maintain prevention services — ensuring people around the world continue to receive the vital HIV care they need.

“Without prompt action, decades of progress in the global fight against HIV could be reversed, creating a global health crisis that we have both the power and the tools to prevent,” said Elton John, Founder of the Elton John AIDS Foundation. “Our mission is more important than ever – we refuse to leave anyone behind – and I’m so fortunate that Brandi is not only a wonderful collaborator and artist, but a dear friend who shares my vision of a world where HIV care is prioritized and protected.”

International funding has been critical to reducing new HIV transmissions and deaths worldwide. However, many countries in addition to the U.S. are now considering cuts to aid, which will have devastating consequences. Recent projections from The Lancet HIV, based on data from 26 countries, estimate that up to 10.8 million additional HIV cases and 2.9 million HIV-related deaths could occur by 2030 if international support declines.  Without urgent action, decades of progress in the global HIV response are at risk of being undone.

“It was a lifelong dream come true for me to come together with my hero and friend Elton John to make our album Who Believes In Angels? and now, we’re excited to announce that our foundations are also partnering to make our music mean even more,” said Brandi Carlile, Founder of the Looking Out Foundation. “Elton’s activism and work with the Elton John AIDS Foundation was what led me to Elton before I even heard a note of his music. It’s an incredible honor to launch this partnership and raise funds for the life-saving work of the Elton John AIDS Foundation and the Rocket Response Fund at a time when support is needed the most.”

Donations to this campaign can be made here via the Looking Out Foundation.

The Elton John AIDS Foundation was established in 1992 and is one of the leading independent AIDS organizations in the world. The Foundation’s mission is simple: an end to the AIDS epidemic. The Elton John AIDS Foundation is committed to overcoming the stigma, discrimination and neglect that keep us from ending AIDS. With the mobilization of our network of generous supporters and partners, we fund local experts across four continents to challenge discrimination, prevent infections and provide treatment as well as influencing governments to end AIDS. www.eltonjohnaidsfoundation.org. @ejaf on Instagram.

Founded by Brandi Carlile in 2008, the Looking Out Foundation amplifies the impact of music by empowering those without a voice, with campaigns focused on children living in war zones, prevention and reduction of youth incarceration, and raising awareness for victims of sexual assault.

Park City Song Summit 2025 Announces Goose, Marcus King, Dawes, LP Giobbi, Duane Betts And More For Mountain Music Return

Eric Alper
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Park City Song Summit 2025 Announces Goose, Marcus King, Dawes, LP Giobbi, Duane Betts And More For Mountain Music Return

This August, for the first time since the inaugural year of the wildly unique music festival, Park City Song Summit, the blending of live performances, open-ended panel discussions, and mountain-air wellness activities will take place in the heart of the city where it was born. On August 14-16, 2025, Song Summit patrons will flock to Park City’s City Park to attend what founder Ben Anderson—who SPIN just named one of the 25 Most Influential People In Music—calls a “festival love letter to the power of song.” Park City Song Summit, along with founding sponsor Stand Together Music and presenting sponsor A New Earth Project, has sparked many national conversations about wellness and recovery in the music industry and well beyond.

In addition to performances from artists like Goose and Marcus King, special collaborations abound in the Song Summit 2025 lineup. Greensky Bluegrass will take the stage with usually-solo pianist, Holly Bowling, Dawes will be joined by their friend Duane Betts, and a special Terrapin Family Band performance is set to take place with Eric Krasno, Adam MacDougall, Jennifer Hartswick, and Nicki Bluhm. The full Song Summit 2025 music lineup can be found below.

Song Summit Labs will return in 2025, covering such topics as “Dance Music and Activism,” “The Havana-New Orleans Connection,” and “The American Rock ‘n’ Roll Band in 2025.” For the uninitiated, Song Summit Labs allow fans to participate in discussions that dissect, illuminate, and interrogate the art of music and songwriting while being an inclusive space to talk about mental health, representation, social equity, recovery, and more of the every day, inner workings of musicians and songwriters we know and love. In the new home of Song Summit, Labs will take place indoors at the Jim Santy Auditorium at the Park City Library. A full list of Labs can also be found below.

As in years past, late-night Main Street shows take patrons out of the park and onto Park City’s legendary Main Street. These are separately ticketed performances, and this year’s Main Street venue is The Marquis. Kicking things off on Thursday night will be an evening with Duane Betts and Palmetto Motel followed by Marcus King + Eric Krasno. Friday night, Cimafunk and Pedrito Martinez will bring the funk to Main Street with a celebration of Cuban/Latin music, and Saturday night will feature the extraordinary dance/house music queen, LP Giobbi, to close out this year’s festival.

Park City Song Summit works closely with the Song Summit Foundation, created to uplift musicians of all ages and their communities. By fostering wellness and empowering communities through music, the Song Summit Foundation is shaping a future where artists and audiences alike can thrive, connect, and heal through the universal language of song. Read more about its mission right here.

Summit Passes, individual tickets, and VIP Packages for Park City Song Summit are available now at this link. For everything else, please visit parkcitysongsummit.com.

Of The Trees Announces Full Camp Alderwild Lineup With Tycho, EPROM, Jade Cicada, Ott. And More

Eric Alper
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Of The Trees Announces Full Camp Alderwild Lineup With Tycho, EPROM, Jade Cicada, Ott. And More

Of The Trees, the acclaimed electronic music innovator known for his immersive experiences and music catalog, is thrilled to announce the full artist lineup for his upcoming curated concert experience with camping, Camp Alderwild. Set for August 22–23, 2025 at Telluride Town Park, this event marks the return of a major electronic music celebration to Telluride, Colorado—a destination celebrated for its breathtaking San Juan Mountains backdrop and storied festival heritage.

Fans can expect a two-day, curated concert experience that delivers an immersive fusion of live electronic music and camping. This is a celebration where nature and music converge to create an unforgettable communal atmosphere.

Of The Trees is among Colorado’s premier music artists, known for seamlessly merging immersive soundscapes with nature. Following a sold-out debut headline at Red Rocks in 2023 and a successful two-night run at RRX in 2024, his visionary approach makes him the perfect act to bring this innovative experience to Telluride—the first of its kind in nearly 10 years.

Of The Trees, who will headline both nights, sets the tone with his visionary approach to live performance that seamlessly fuses music with nature. Joining him on Friday night are renowned producer Jade Cicada, the dynamic live act Thought Process, innovative artist Taiki Nulight, and a performance from Curra, known for her intricate ethereal atmospheres. Saturday’s roster features a stellar array of talent, headlined by legendary producer and live electronic act Tycho, alongside the boundary-pushing sounds of Ott., the futuristic productions of EPROM, who will be debuting his ‘underclock’ set, and the immersive performance energy of Air Castles.

Doors open at 5:00 p.m. with performances starting at 5:30 p.m. on both nights. In addition to the on-stage excitement, fans can look forward to locally curated late-night programming across downtown Telluride, as well as easy access to hiking and the natural splendor that makes this region so unique.

TICKETING & PRESALE INFORMATION

Admission: The show is all-ages; every attendee must have a ticket regardless of age.
Camping: A Camping Pass (sold per person) is available for tent camping. A Vehicle Pass (sold separately) is required for those who wish to camp in their vehicles.

Artist Presale: Thursday, April 17 from 10:00 a.m. MT until Friday, April 18 at 8:00 a.m. MT
General On-Sale: Friday, April 18 at 10:00 a.m. MT.

Camp Alderwild is proudly co-promoted by Planet Bluegrass and AEG Presents in partnership with Of The Trees. This strategic alliance marries Planet Bluegrass’s 30-year legacy of sustainable festivals and environmental leadership with AEG’s unmatched expertise in live event production. Together, they are reimagining the live music experience in Telluride, where every detail is designed to celebrate the union of nature and music.

More on Of The Trees: Of The Trees, the alias of Tyler Coombs, is a Denver, CO-based producer and visual artist originally from Maine. His signature ‘ice cold bass music from the frigid plains of Maine’ spans dubstep to hip-hop, forming a captivating tapestry of sound with spacious chords and expansive synth stabs, intricately woven together with a heavy dose of 808 percussion. Tyler boasts nearly half a million monthly listeners on Spotify and his tracks, including hits like “Spanish Moss,” “Windhorse,” “Everglade March,” “Kick Back,” and “Honeydust,” have amassed millions of streams across digital platforms.

Tyler has collaborated with notable names including John Summit and legendary rapper Curren$y, further cementing his presence in the music world. He returned to Red Rocks Amphitheatre on November 16–17 for a two-night headline—his second consecutive year at the iconic venue. The shows marked the launch of his North American Moonglade Tour, a 30+ date national bus tour featuring artists like Opiuo, Detox Unit, and EAZYBAKED, with most dates selling out and hitting landmark venues such as Salt Shed, The Hollywood Palladium, The BayCare Sound, and Brooklyn Paramount. Through these performances and his Memory Palace label, Tyler continues to bring his immersive artistic vision to life while spotlighting a diverse lineup of forward-thinking talent.

For over 30 years, Planet Bluegrass has been redefining the musical festival by creating exceptional experiences that protect the planet through environmental leadership and a strong community. Fiercely and decidedly independent, their three festivals make a unique musical mark: each takes place in breathtaking natural Colorado environments, each features the world’s finest musicians and songwriters, and each embraces a “Leave No Trace” ethic that defines Planet Bluegrass as a leader in Sustainable Festivation. Planet Bluegrass presents Telluride Bluegrass, Rockygrass, and Rocky Mountain Folks Festival, bucket list musical gatherings for artists and fans alike. Planet Bluegrass is invested in the next generation of songwriters and musicians as evidenced by Rockygrass Academy and Song School.

Photo Gallery: Myles Smith and Tors at History On April 26, 2025

Eric Alper
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Photo Gallery: Myles Smith and Tors at History On April 26, 2025

All photos by Mini’s Memories. You can contact her through Instagram or X.

Myles Smith
Myles Smith
Myles Smith
Myles Smith
Myles Smith
Myles Smith
Myles Smith
Myles Smith
Myles Smith
Myles Smith
Tors
Tors
Tors
Tors

Parker McCollum Releases New Track “Hope That I’m Enough” Ahead Of Self-Titled Album

Eric Alper
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Parker McCollum Releases New Track “Hope That I’m Enough” Ahead Of Self-Titled Album

Parker McCollum has released the latest track, “Hope That I’m Enough,” off his highly anticipated fifth studio album, PARKER MCCOLLUM, out on June 27th. The song, written by McCollum, Matt Jenkins and Jessi Alexander, and produced by Frank Liddell and Eric Masse, is a heartfelt confessional about insecurities in measuring up to be the kind of partner that will last a lifetime. The track aptly follows McCollum’s first single off the forthcoming album, “What Kinda Man.” Listen HERE.

PARKER MCCOLLUM is an artistic achievement that is grounded in honest introspection and sonically evokes the spirit of Texas. Produced by Grammy award-winning, Frank Lindell and Eric Masse, and recorded at the legendary Power Station recording studio in New York City, the project is imbued with emotional intensity and masterful storytelling. McCollum revisits the emotions around his unencumbered “wild years,” the pressures of measuring up to public and personal standards, some of the bad decisions, and the unfathomable blessings that have all colored his life to this point.

Recently, McCollum announced Fall tour dates for his newly rebranded, PARKER MCCOLLUM TOUR. For additional information, including upcoming show dates and tickets, please visit ParkerMcCollum.com.

Singer/songwriter and multi-instrumentalist Parker McCollum has reached the ranks of a bona fide Country music superstar by connecting with fans and critics alike through his relatable and authentic sound. His most recent album, Never Enough (released on May 12, 2023 via MCA Nashville), is a statement collection of music that cemented his status as one of Country’s strongest new voices. His massive Burn It Down Tour throughout 2024 saw McCollum performing at some of the most iconic venues around the nation and appearing at Country music’s top music festivals. McCollum has been named an ‘Artist to Watch’ by Rolling Stone, Billboard, SiriusXM, CMT, RIAA, and more with American Songwriter noting, “The Texas native teeters on the edge of next-level superstardom.” Music Row listed McCollum as their 2021 Breakout Artist of the Year and Apple also included him as one of their all-genre “Up Next Artists” Class of 2021. A dedicated road warrior, McCollum made his debut at the famed Grand Ole Opry in 2021 and has sold out major concert venues around the U.S. In March 2022, McCollum made his debut at RODEOHOUSTON to a sold-out crowd with over 73,000 tickets sold. In 2025, McCollum played his third consecutive sold out show at Houston’s signature event. In 2022, McCollum earned his first ACM Award for New Male Artist of the Year, took home “Breakthrough Video of the Year” (a fully fan-voted honor) at the 2022 CMT Music Awards and scored two back-to-back CMA Awards nominations (2022 & 2023) for New Artist of the Year. He was nominated for a CMA Award for “Song of the Year” (2024) for his explosive Platinum hit “Burn It Down” – marking his third straight nomination. McCollum scored his second ACM Award for “Visual Media of the Year” for his music video for “Burn It Down.” The hit single marks his fourth consecutive #1 – following his other chart toppers “Pretty Heart,” “To Be Loved By You,” and “Handle On You.” McCollum’s latest single, the foot-stomping, shoot-it-straight, “What Kinda Man,” shows his return to the musical Texas roots that got him started. “What Kinda Man” and its official music video are available now. Recently, McCollum announced his self-titled fifth studio album, PARKER MCCOLLUM, available on June 27th.

 

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.

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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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