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Shinedown Make History With 25th #1 Single as New Album ‘EI8HT’ Arrives This Month

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25 #1 singles. No other act in Mediabase Active Rock chart history has done it, and Shinedown just did. “Safe And Sound” has topped the Mediabase Active Rock chart, extending their own record as the most dominant force the format has ever seen.

The milestone lands at exactly the right moment. The band’s 8th studio album, ‘EI8HT,’ arrives May 29 via Atlantic Records, produced by bassist and songwriter Eric Bass at the band’s own Big Animal Studio in Charleston, South Carolina. It follows a run that already includes #1 rock singles “Dance, Kid, Dance,” “Killing Fields,” and “Searchlight,” plus “Three Six Five,” which hit #1 at alternative radio while crossing over to Hot AC and Top 40. That’s a band operating at genuine peak level more than 2 decades in.

The weeks leading into the album release have been just as busy. Shinedown delivered a standout performance on the American Idol grand finale alongside finalist Philmon Lee, headlined Sonic Temple Festival, and claimed Best Rock Artist at the iHeartRadio Music Awards for the 2nd consecutive year. The momentum is real and it’s consistent.

Their Dance Kid Dance Act II World Tour is now underway, spanning 11 countries and more than 50 dates across North America, the UK, and Europe. True to the band’s longstanding commitment to giving back, Shinedown will donate $1 from every ticket sold to City of Hope, one of the largest cancer research and treatment organizations in the United States. Their previous tour partnership with Musicians On Call raised more than $300,000 for patients and caregivers in healthcare environments nationwide.

‘EI8HT’ is out May 29 via Atlantic Records.

Cardiff Punk Upstarts Panic Shack Drop “Grin & Bear It” and Head to North America This June

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Panic Shack don’t ease into anything. The Cardiff quintet return with “grin & bear it,” their first new music since their self-titled debut album, and they’re bringing it straight into the biggest stretch of their career so far.

Recorded with producer Ross Orton, whose credits include Arctic Monkeys, Amyl and the Sniffers, and Yard Act, “grin & bear it” is a blazing, beefy punk barnstormer built around lyrics vocalist Sarah Harvey scribbled on a scrap of paper during a long, lonely nightshift in 2023. The track almost made the debut album but wasn’t ready. Now it is, and it sounds massive.

“It’s a song we’ve felt really passionate about getting right, but the music was never fully hitting,” the band explains. “We reworked it from the start of the year in any spare time we had around working our jobs and gigging. We really clicked with Ross in the studio and are super proud of what the track has become.”

The accompanying video was shot entirely by the band during their recent German headline tour. Every graffitied wall, green room, and monument got pressed into service. It captures exactly the kind of chaotic, close-knit energy that has made Panic Shack one of the most talked-about punk acts to come out of the UK in years.

That debut album arrived in July 2025 and landed with real force. It entered the Official UK Albums Chart at #32, hit #1 on the Official Downloads Chart, #1 on the Rock and Metal Albums Chart, #2 on the Official Independent Albums Chart, and #4 on the Official Vinyl Albums Chart. Singles “Gok Wan,” “Girl Band Starter Pack,” and “Thelma & Louise” all earned BBC 6 Music playlist support, and the band made their UK national TV debut on Later With Jools Holland in November 2025.

The Guardian called them “a fizzy, riffy, irreverently hilarious bundle of buzzsaw guitars, vim and vinegar.” NME declared them “a brilliant new punk force and a word-of-mouth sensation.” Kerrang said their debut was “an absolute riot of sound and colour.” The press consensus is consistent, and the live shows back every word of it.

Now comes North America. Their debut headline tour kicks off June 9 in Washington, DC, running through June 29 in Los Angeles across 15 dates. They return in September opening for The Sex Pistols across the US and Canada, and also play CBGB Festival in New York. European summer highlights include opening for Super Furry Animals in Llangollen, Green Man Festival, Latitude, and further dates in Portugal, Switzerland, Belgium, and the Netherlands.

“We’re really excited to play ‘grin & bear it’ live this summer,” the band says. “Hopefully it’ll give people a release, where they can let loose with us and maybe even let out a big fat scream.”

Panic Shack Live 2026:

May 22 — Derby, UK — Bearded Theory Festival

May 23 — North Shields, UK — A Stone’s Throw Festival

May 28 — Brussels, BE — Les Nuits Botanique

May 29 — Hellendoorn, NL — Dauwpop Festival

Jun 9 — Washington, DC — The Atlantis

Jun 10 — Somerville, MA — The Rockwell

Jun 12 — Philadelphia, PA — PhilaMOCA

Jun 13 — New York, NY — Mercury Lounge

Jun 14 — New Kensington, PA — Preserving Underground

Jun 16 — Toronto, ON — Hard Luck Bar

Jun 18 — Chicago, IL — Cobra Lounge

Jun 19 — Milwaukee, WI — Summerfest

Jun 21 — Denver, CO — Hi-Dive

Jun 24 — Portland, OR — Polaris Hall

Jun 25 — Vancouver, BC — The Cobalt

Jun 26 — Seattle, WA — Baba Yaga

Jun 28 — San Francisco, CA — Rickshaw Stop

Jun 29 — Los Angeles, CA — Zebulon

Jul 2 — Llangollen, UK — Live at Llangollen (w/ Super Furry Animals)

Jul 5 — Ewijk, NL — Down The Rabbit Hole Festival

Jul 11 — Halifax, UK — Piece Hall (w/ Sex Pistols)

Jul 26 — Southwold, UK — Latitude Festival

Aug 1 — Cardiff, UK — Cardiff Castle (w/ Sex Pistols)

Aug 15-16 — Winchester, UK — Boomtown Festival

Aug 23 — Crickhowell, UK — Green Man Festival

Aug 28 — La Tour-de-Peilz, CH — Nox Orae Festival

Aug 30 — Lisbon, PT — Meo Kalorama Festival

Sept 11 — Dallas, TX — Longhorn Ballroom (w/ Sex Pistols)

Sept 12 — Austin, TX — Emo’s (w/ Sex Pistols)

Sept 13 — Houston, TX — House of Blues Houston (w/ Sex Pistols)

Sept 15 — Nashville, TN — Marathon Music Works (w/ Sex Pistols)

Sept 17 — Kansas City, MO — Uptown Theater (w/ Sex Pistols)

Sept 20 — Ottawa, ON — CityFolk Festival

Sept 21 — Toronto, ON — HISTORY (w/ Sex Pistols)

Sept 22 — MontrĆ©al, QC — L’Olympia (w/ Sex Pistols)

Sept 24 — Quebec City, QC — L’Anti (w/ Sex Pistols)

Sept 25 — Northampton, MA — Iron Horse Music Hall (w/ Sex Pistols)

Sept 26 — New York, NY — CBGB Festival

Dustin Lynch Brings the Wildest Pool Party in Country Music Back to Nashville for CMA Fest

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Every CMA Fest week, Dustin Lynch throws the party that everyone talks about for the rest of the summer. The 10-time #1 country hitmaker returns June 4 for the fourth annual Dustin Lynch Pool Situation: Nashville, taking over the rooftop pool at Margaritaville Hotel for an afternoon of live music, surprise guests, and the kind of unscripted chaos that only happens once a year.

This year’s event is exclusively open to Stay Country Club members and their guests. Fans can join now at staycountryclub.com and RSVP before June 3. The event is 18+, and it kicks off early, with a Stay Country Pregame hosted at Ole Smoky Distillery from 10 a.m. to 1 p.m. before the party moves to the Margaritaville rooftop. Music starts at 3 p.m.

Previous editions have drawn surprise appearances from Deana Carter, Jordan Davis, HARDY, Little Big Town, and MacKenzie Porter. On-site mullet haircuts, belly flop competitions, and a spinning wheel of audience challenges have made this one of the most genuinely entertaining fan events on the country music calendar.

Lynch arrives at this year’s event with serious momentum behind him. He’s currently climbing the country charts with his latest single “Easy To Love,” and his catalog now includes over 5 billion cumulative global streams, 10 RIAA-certified platinum singles, and a milestone 10th number one with “Chevrolet,” featuring Jelly Roll. Billboard has called him one of “the most consistent recording careers in modern country music.”

He’s also been pushing his sound into new territory. His Club Set Remixes EP features high-energy dance reworks of his biggest country hits, and recent collaborations include “Die Living” with ILLENIUM and David Guetta, “Home To You” with MC4D, and “Getaway Car,” a full-throttle track that lands exactly where country drive meets global dance floor energy.

The Pool Situation is sponsored by Coors Banquet, Happy Dad, and Ole Smoky Distillery.

Dustin Lynch Pool Situation: Nashville

Thursday, June 4 — Nashville, TN — Margaritaville Hotel Rooftop Pool

10:00 AM — Check-in opens

10:00 AM–1:00 PM — Stay Country Pregame at Ole Smoky Distillery

1:00 PM — Doors open

3:00 PM — Music starts

Alessi Rose Bares Everything on New Single “Skin” Ahead of a Monster Festival Summer

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There’s a moment in “Skin” where everything opens up, and you feel the weight of what Alessi Rose has been carrying. The Toronto-born pop breakout releases her new single today via Capitol Records, and it’s the most direct, emotionally exposed work of her career so far. Listen here.

Produced and co-written by Adam Yaron, “Skin” arrives as the first release since the November deluxe edition of her acclaimed ‘Voyeur’ EP. It opens on taut piano and her crystal-clear vocals before building into driving acoustic guitar, glowing synths, and drums that crack with precision. The track captures the particular exhaustion of losing yourself while trying to be everything others need you to be, and Alessi delivers it with a vocal performance that keeps expanding, always building toward something bigger.

“This song was written in a period that felt very different for me,” Alessi said. “I hadn’t realized how much of my OCD-ridden brain was so dependent on the validation of others. ‘Skin’ was the realization that the more you try to be everything that everyone else wants, the less you feel like yourself. Sometimes my skin feels uncomfortable, but I’m learning to exist in it honestly anyway.”

2025 was a serious proving ground. Alessi spent it playing arenas and stadiums on both the North American leg of Tate McRae’s Miss Possessive Tour and the European run of Dua Lipa’s Radical Optimism Tour. She carried those rooms and came out the other side with serious momentum behind her.

2026 has answered back just as loud. She landed on BBC Radio 1’s Sound of 2026 Longlist, Shazam’s Fast Forward 2026 Artists, SiriusXM and Pandora’s Artist Accelerator, and Vevo DSCVR’s Artists to Watch 2026. NME put her on the cover and called her “pop’s most brutally honest newcomer on an unstoppable rise.” Billboard hailed her Glastonbury debut last year as “superstar-cementing.”

‘Voyeur’ built the foundation for all of it. Made with producers Sam De Jong, John Hill, Sammy Witte, and Couros, the EP turns raw feeling into arena-sized pop with genuine precision. The deluxe edition added 3 tracks, including “First Original Thought,” a disco-leaning collaboration with GRAMMY Award winner Blake Slatkin and Amy Allen, 2025’s GRAMMY Award winner for Songwriter of the Year. Rolling Stone said it should “push her further towards becoming a household name.”

Now comes the festival run, and it’s a big one. Starting May 23 at Neighbourhood Weekender in Warrington, Alessi moves through Radio 1’s Big Weekend, Isle of Wight, Pinkpop, NOS Alive, BST Hyde Park supporting Lewis Capaldi, Lollapalooza Berlin, Pukkelpop, and closes August 25 opening for Lorde at Edinburgh’s Highland Showgrounds. That’s 18 dates across Europe’s most important summer stages.

“Skin” is out now. ‘Voyeur (Deluxe)’ is out now via Capitol Records.

Alessi Rose Live Dates:

May 23 — Warrington, UK — Neighbourhood Weekender

May 24 — Sunderland, UK — Radio 1’s Big Weekend

May 29 — Warsaw, Poland — Orange Festival

Jun 13 — Hradec Kralove, Czechia — Rock For People Festival

Jun 19 — Newport, UK — Isle of Wight Festival

Jun 20 — Landgraaf, Netherlands — Pinkpop Festival

Jun 25 — Odense, Denmark — Tinderbox Festival

Jun 27 — Paris, France — Solidays Festival

Jul 9 — TĆønsberg, Norway — Slottsfjell Festival

Jul 11 — Lisbon, Portugal — NOS Alive Festival

Jul 12 — London, UK — BST Hyde Park (supporting Lewis Capaldi)

Jul 19 — Berlin, Germany — Lollapalooza Berlin

Jul 24 — Southwold, UK — Latitude Festival

Aug 8 — Newquay, UK — Boardmasters

Aug 13 — Gothenburg, Sweden — Way Out West Festival

Aug 14 — Hamburg, Germany — MS Dockville Festival

Aug 21 — Hasselt, Belgium — Pukkelpop Festival

Aug 25 — Edinburgh, UK — Highland Showgrounds (supporting Lorde)

Totó La Momposina, the Voice That Carried Colombian Caribbean Soul to the World, Dead at 85

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She didn’t introduce the world to Colombian folk music so much as she refused to let the world ignore it. Totó La Momposina, born Sonia Bazanta Vides in Talaigua Nuevo, BolĆ­var, died May 17 in Celaya, Mexico, surrounded by family. She was 85. Her death was confirmed by her children, Colombia’s Ministry of Culture, and President Gustavo Petro, who called her “an exalted figure of Caribbean Colombian art and culture.”

Born in 1940 into a family where music wasn’t a hobby but a generational calling, Totó came from 5 generations of musicians. Her grandfather directed a band and played clarinet. Her father played percussion. Her mother sang and danced. By the time Totó was a teenager, the family had formed a group gaining national recognition through the Saturday television program “Acuarelas CosteƱas,” bringing cumbia, bullerengue, mapalĆ©, and baile cantao into living rooms across Colombia every week.

Her education was both formal and deeply immersive. She studied at the National University of Colombia and spent time at the Sorbonne in Paris studying music history, performance organization, and choreography. Alongside anthropologist Gloria Triana, she traveled the riverside towns along the Magdalena River, learning directly from the singers and drummers who had kept these traditions alive in their communities for generations.

The international turning point came in 1993 with ‘La Candela Viva,’ released on Peter Gabriel’s Real World Records. The album introduced Colombian folk music to a global audience years before Latin music became a mainstream worldwide conversation. Songs like “La Verdolaga,” “El Pescador,” and “CururĆ”” became cultural touchstones, sampled decades later by Major Lazer, Jay-Z, and others, her voice weaving itself into contemporary music without ever losing its roots.

In 1982, she accompanied Gabriel Garcƭa MƔrquez to Stockholm for his Nobel Prize in Literature ceremony, performing for the assembled audience and communicating something precise about the depth of what Colombia had contributed to world culture. The moment became part of Colombian cultural history.

Her collaborations ranged far and wide. She appeared alongside Calle 13, Susana Baca, and Maria Rita on “LatinoamĆ©rica,” one of the most celebrated Latin recordings of its era, winning Latin Grammy awards for Record of the Year and Song of the Year in 2011. In 2013, the Latin Recording Academy honored her with its Lifetime Achievement Award.

She was among the first women to bring the bullerengue, a form rooted in the Afro-Colombian communities of Colombia’s Caribbean coast, to international stages, always with full cultural context intact. She never allowed audiences to receive these traditions as mere entertainment detached from the people who created them. That discipline was central to everything she did.

Totó officially retired from performing in 2022 after revealing she had been living with aphasia and other neurocognitive complications. Her final public appearance was at the Festival Cordillera in BogotÔ, where audiences gave her an emotional farewell. She spent her remaining years in palliative care in Mexico.

A public tribute will be held at the Capitolio Nacional in BogotÔ on May 27, where her family and the Tambores de Totó will gather to honor her life and legacy. Her body is being transported from Mexico to Colombia for the ceremony.

Colombia’s Ministry of Culture said it best: she was “the eternal teacher who traveled the entire world to the rhythm of cumbias, porros, mapalĆ©s, and bullerengues born in the heart of our land.” She spent 6 decades proving that music rooted in survival, memory, and community could reach every corner of the planet.

Totó La Momposina is survived by her children Marco Vinicio, Angélica María, and Euridice Salomé Oyaga Bazanta. She was 85.

Beartooth Unleash “Pure Ecstasy World Tour” Alongside New Album Due This August

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Beartooth are moving fast and moving loud. The metalcore force has announced the U.S. leg of their “Pure Ecstasy World Tour,” timed to the August 28 release of their sixth album, ‘Pure Ecstasy,’ out via Fearless Records.

The U.S. run kicks off November 11 at MGM Music Hall at Fenway in Boston and pushes through to December 19 in Wheatland, California, hitting major markets coast to coast. Don Broco, Magnolia Park, and Windwaker join as special guests on all U.S. dates. That’s a lineup with genuine range and energy across the bill every night.

‘Pure Ecstasy’ arrives with 11 tracks built around hard-won personal growth, and the music delivers on that ambition. This is a band that has never stopped pushing their sound forward, and album six sounds like no exception.

The world tour is exactly that. European and UK dates run September 17 through October 6, with Silverstein and Kingdom of Giants on those dates. Australia follows in January 2027, with Fit For A King and Volumes joining the bill for 4 dates across Adelaide, Melbourne, Sydney, and Brisbane.

Presales are on now. General on-sale is Friday, May 22, at 10 a.m. local time. The U.S. leg is promoted by Live Nation.

“Pure Ecstasy World Tour” — Europe/UK Dates:

Thu, Sept 17 — Frankfurt, Germany — myticket Jahrhunderthalle

Fri, Sept 18 — Oberhausen, Germany — Rudolf Weber Arena

Sat, Sept 19 — Hannover, Germany — Swiss Life Hall

Mon, Sept 21 — Brussels, Belgium — Ancienne Belgique

Tue, Sept 22 — Tilburg, Netherlands — 013

Thu, Sept 24 — Prague, Czech Republic — SaSaZu

Fri, Sept 25 — Berlin, Germany — Uber Eats Music Hall

Sat, Sept 26 — Munich, Germany — Zenith

Sun, Sept 27 — Vienna, Austria — Gasometer

Tue, Sept 29 — Milan, Italy — Fabrique

Wed, Sept 30 — Zurich, Switzerland — Halle 622

Thu, Oct 1 — Paris, France — Elysee Montmartre

Sat, Oct 3 — London, UK — O2 Academy Brixton

Mon, Oct 5 — Leeds, UK — O2 Academy

Tue, Oct 6 — Glasgow, UK — Barrowland Ballroom

“Pure Ecstasy World Tour” — U.S. Dates:

Wed, Nov 11 — Boston, MA — MGM Music Hall at Fenway

Thu, Nov 12 — New York, NY — Hammerstein Ballroom

Fri, Nov 13 — Philadelphia, PA — Franklin Music Hall

Sun, Nov 15 — Washington, DC — The Theater at MGM National Harbor

Wed, Nov 18 — Pittsburgh, PA — Stage AE

Fri, Nov 20 — Chicago, IL — Aragon Ballroom

Sat, Nov 21 — St. Paul, MN — Myth

Sun, Nov 22 — Omaha, NE — Steelhouse Omaha

Sat, Nov 28 — Nashville, TN — The Truth

Sun, Nov 29 — Atlanta, GA — Coca-Cola Roxy

Tue, Dec 1 — Charlotte, NC — The Fillmore Charlotte

Wed, Dec 2 — Charleston, SC — The Refinery

Fri, Dec 4 — St. Augustine, FL — The St. Augustine Amphitheatre

Sat, Dec 5 — Ft. Lauderdale, FL — FTL War Memorial Auditorium

Mon, Dec 7 — New Orleans, LA — The Fillmore New Orleans

Wed, Dec 9 — Austin, TX — ACL Live at the Moody Theater

Thu, Dec 10 — Dallas, TX — South Side Ballroom

Sat, Dec 12 — Denver, CO — Fillmore Auditorium

Sun, Dec 13 — Salt Lake City, UT — The Union Event Center

Tue, Dec 15 — Albuquerque, NM — Revel Entertainment Center

Wed, Dec 16 — Phoenix, AZ — Arizona Financial Theatre

Fri, Dec 18 — Los Angeles, CA — Hollywood Palladium

Sat, Dec 19 — Wheatland, CA — Hard Rock Live

“Pure Ecstasy World Tour” — Australia Dates:

Tue, Jan 26 — Adelaide, AUS — Thebarton Theatre

Thu, Jan 28 — Melbourne, AUS — Festival Hall

Sat, Jan 30 — Sydney, AUS — Hordern Pavilion

Sun, Jan 31 — Brisbane, AUS — Fortitude Music Hall

How to Promote a Concert on a Small Budget (And Actually Fill the Room)

Putting on a show is one of the most exciting things you can do in music. The planning, the anticipation, watching people discover something they love for the first time in a room with fifty strangers. But here’s the thing nobody tells you until it’s too late: a great show with nobody in attendance is just a rehearsal with better lighting. Promotion is the job, and the good news is you don’t need a major label’s marketing department to do it well.

The single most important thing you can do before you spend a single penny is build and maintain an email list. Email remains one of the most effective marketing tools available, and if you aren’t building a mailing list yet, your next gig is the perfect time to start. Social media platforms change their algorithms constantly, shadow-ban accounts without warning, and generally make it harder every year to reach the people who already follow you for free. Your email list is yours. Nobody can take it away. Start collecting emails on your website through a sign-up form, and gather zip codes too so you can segment your list by location when you have shows in different cities down the road.

Social media still matters enormously, just use it smarter than most people do. Target people who love the type of music you play and people who are in the area of the concert. Post regularly on every account you own and make sure the fans you already have share and interact with your content. The algorithm rewards engagement, so ask questions, post behind-the-scenes rehearsal clips, share the story of how the show came together. Behind-the-scenes rehearsal footage creates a sense of intimacy, and quick cuts of past performances build anticipation ahead of the show. TikTok in particular has become a genuinely powerful tool for reaching local audiences who had no idea you existed last Tuesday.

When you’re ready to spend a little money on paid advertising, even a tiny amount goes further than most people expect if you’re smart about targeting. Start with a smaller budget to gauge what works, and be prepared to adjust based on performance metrics like reach, engagement, and ticket sales. Ten or fifteen dollars boosting a well-made Instagram Reel to people within twenty kilometres of your venue, filtered by music interest, will almost always outperform a hundred dollars thrown at a vague, untargeted post. Target ads within a realistic distance of the venue, adjust messaging based on local preferences, and focus on areas where similar artists have found success.

Don’t overlook the power of your local community, both online and in person. Embrace free marketing tools. A website, a newsletter, a link-in-bio tool, and active social media accounts are must-haves. Beyond that, reach out to local bloggers, community Facebook groups, neighbourhood subreddits, and music forums. Post in “things to do this weekend” style groups. Many cities have free local event listings through newspapers, radio stations, and arts councils that most people never bother to use. Cross-promote with other bands on the bill. Their audience is your audience for the night, so make sure they’re sharing the show too.

Your ticketing page deserves more love than it usually gets. Make your ticketing page as enticing as possible. Include an event description with the location, bios of the performers, and all the important event information. Add links to the artists’ music so people can listen, and embed videos to make it even more engaging. A bare-bones event listing with just a date and a price tells people almost nothing about why they should come. Give them a reason. Describe the vibe, the room, the feeling they’ll walk away with. People don’t buy tickets to a show; they buy a night they don’t want to miss.

Finally, remember that your most powerful promotional tool is the fans who already love what you do. Some artists enjoy a rare luxury where their fans become their most powerful agents of promotion. When fans feel connected, they naturally become ambassadors for the show. User-generated content provides valuable social proof that paid ads simply cannot replicate. Give your existing fans something to share. Offer an early-bird discount, a limited presale, a little exclusive content just for them. Make them feel like insiders. When someone tells their friends “you have to come to this show with me,” that’s worth more than any ad you’ll ever run, and it costs you nothing but genuine connection with the people who already believe in what you’re making.

Cris Derksen, Cree Cellist and Composer Who Redefined Canadian Classical Music, Dead at 45

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Canada lost one of its most singular musical voices on May 15. Cris Derksen, 45, died in a highway crash in northern Alberta, fatally injured while driving home after attending the funeral of their father in Tallcree First Nation. Derksen’s wife, Rebecca Benson, remains in critical condition.

Born in Treaty 8 territory in Alberta, Derksen was of dual Cree and Mennonite ancestry, and saw music as a powerful tool for storytelling, connection, and advocacy. She began playing cello with the Edmonton Public Strings Program at age 10, attended the Victoria School for the Performing Arts in Edmonton, and went on to earn a bachelor of music in cello performance from the University of British Columbia, where she served as principal cellist with the UBC Symphony Orchestra.

Derksen’s sound was unlike anything else out there, integrating a drum machine, loop station, synthesizer, and guitar multi-effects pedals into her compositions, going well beyond that foundational mix of powwow and classical. The result was a body of work that consistently moved audiences and opened classical music to entirely new communities.

Her career began gaining national momentum around 2006 when she performed the music festival circuit alongside Inuit singer Tanya Tagaq, and she soon became a fixture on Canada’s symphony stage. She performed internationally, including across Europe, Mexico, Sweden, Australia, and the United States, and served as the composer for the Canadian Pavilion at the World Expo in Dubai in 2022 and again in Osaka in 2025.

She made her Carnegie Hall debut in 2024 performing with the Orchestre MƩtropolitain and conductor Yannick NƩzet-SƩguin, presenting her commissioned work Controlled Burn. The piece, rooted in traditional Indigenous fire stewardship practices and brought to life through cello, electronic effects, and col legno technique, became one of the defining works of her career.

Just weeks before her death, the Toronto Symphony Orchestra presented the world premiere of Still Here, a work composed through sessions with First Nations, Inuit, and MĆ©tis clients of the Centre for Addiction and Mental Health’s Shkaabe Makwa centre, as part of CAMH’s Art of Healing Program. It was entirely characteristic of Derksen, who consistently made her art meaningful beyond the concert hall.

Derksen founded the Indigenous Classical Gathering at the Banff Centre for the Arts, served as artistic advisor for the Calgary Philharmonic Orchestra, and chaired the equity committee for Orchestras Canada, working to make classical music more reflective of Canada’s diverse population and opening doors for BIPOC composers and performers.

Her most recent album, ‘The Visit,’ was released in 2025. Her final major work, Cikilaxwm: Controlled Burn, a full-length narrative contemporary ballet created with Indigenous choreographer Cameron Fraser-Monroe, debuted at Ballet Kelowna earlier this month, exploring Indigenous fire stewardship.

The tributes from across the music world have been immediate and unambiguous. Saskatoon Symphony Orchestra CEO Mark Turner wrote: “Much should be said about Cris’ exceptional artistic genius. As a composer, as a performer, as a mentor, she was special. A friend with an immense generosity of the human spirit. A calm level head, a warm laugh, a true leader without ego, and a full heart.”

Tanya Tagaq, one of Derksen’s earliest and closest collaborators, posted simply: “We were so young. Baby musicians. You’ve been part of my life for so long. I miss you already. I love you Cris.”

Cris Derksen is survived by her wife, Rebecca Benson. She was 45.

Marco Antonio SolĆ­s Brings “Tour Gratitud 2026” to North American Arenas This Summer

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23 dates. Arenas and amphitheaters coast to coast. Marco Antonio SolĆ­s, the MichoacĆ”n-born singer whose catalog has defined Latin music for decades, brings his “Tour Gratitud 2026” to North American stages starting July 24.

SolĆ­s carries one of the most celebrated legacies in Mexican music. Known to generations of fans as El Buki, the frontman of Los Bukis, he built a solo career that stands fully on its own. Hits like “Si No Te Hubieras Ido” and “Tu CĆ”rcel” remain touchstones, tracks that audiences know by heart and sing back loud.

The Live Nation-promoted tour opens at Moody Center in Austin and moves through major markets including Washington D.C., Boston, Las Vegas (2 nights at Dolby Live at Park MGM), Sacramento, and the Los Angeles area before wrapping October 10 at Yaamava’ Theater in Highland, California.

Last year’s solo run was a genuine success. His performance at Estadio GNP Seguros in Mexico City alone grossed $4.6 million off 56,140 tickets. In February, Los Bukis reunited for a 2-night stand at SoFi Stadium in Inglewood, grossing $14,246,905 off 95,720 tickets. The demand for SolĆ­s, in any configuration, is real and consistent.

The accolades match the audience. In 2022, the Latin Recording Academy named him Person of the Year, and that same year he appeared on the cover of Pollstar. The recognition reflects a career that has never stopped moving.

Tickets go on sale to the general public May 22 at 10 a.m. local time at LiveNation.com. Presales are on now through May 21. Citi cardmembers and Verizon customers both have presale access running until May 21 at 11 p.m. local time. VIP packages, including meet-and-greet and photo opportunities, early entry, and access to a preshow lounge, are available at vipnation.com.

“Tour Gratitud 2026” Dates:

July 24 — Austin, TX — Moody Center

July 25 — Hidalgo, TX — Payne Arena

Aug. 7 — Fort Worth, TX — Dickies Arena

Aug. 8 — Tulsa, OK — BOK Center

Aug. 14 — Washington, DC — The Theater at MGM National Harbor

Aug. 15 — Boston, MA — MGM Music Hall at Fenway

Aug. 19 — Uncasville, CT — Mohegan Sun

Aug. 21 — Reading, PA — Santander Arena

Aug. 22 — Belmont Park, NY — UBS Arena

Aug. 28 — Laval, QC — Place Bell

Aug. 29 — Hamilton, ON — TD Coliseum

Sept. 4 — Sterling Heights, MI — Michigan Lottery Amphitheatre

Sept. 5 — Rosemont, IL — Allstate Arena

Sept. 11 — Las Vegas, NV — Dolby Live at Park MGM

Sept. 12 — Las Vegas, NV — Dolby Live at Park MGM

Sept. 18 — Tucson, AZ — Tucson Arena

Sept. 19 — Phoenix, AZ — Mortgage Matchup Center

Sept. 25 — Sacramento, CA — Golden 1 Center

Sept. 26 — San Jose, CA — SAP Center

Oct. 2 — Chula Vista, CA — North Island Credit Union Amphitheatre

Oct. 4 — Long Beach, CA — Long Beach Amphitheater

Oct. 9 — Fresno, CA — Save Mart Center

Oct. 10 — Highland, CA — Yaamava’ Theater

Bonnaroo, Lollapalooza, and Austin City Limits Are Coming to Disney+ and Hulu This Summer

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Three of the biggest festivals in North America just got a massive global platform. Disney+ is joining Hulu to livestream Bonnaroo, Lollapalooza, and Austin City Limits, putting all 3 events in front of music fans anywhere in the world.

Hulu enters its sixth year as the exclusive streaming home of the Live Nation festivals, and the addition of Disney+ represents a significant expansion of that reach. The partnership means subscribers across the globe get real-time access to some of the most culturally significant festival weekends of the year.

The dates are locked. Bonnaroo runs June 11-14, Lollapalooza follows July 30 through August 2, and Austin City Limits closes the run October 2-4. That’s a summer and fall of major live music, all accessible from wherever fans are watching.

Beyond the sets themselves, Disney+ and Hulu are bringing back Live Set, an on-site studio production featuring artist interviews and behind-the-scenes access at each festival weekend. It adds a layer of context and access that a straight livestream doesn’t offer.

“Music festivals are among the most electric, can’t-miss moments in culture,” said Lauren Tempest, Head of Content Planning and Partnerships at The Walt Disney Company. “We remain committed to bringing fans the biggest, most iconic moments right as they happen.”

The business case is clear. Live Nation’s Living for Live Global Study found that 73% of fans say they’re listening to more international artists than before, and 85% agreed live music transcends borders and languages. Streaming these festivals isn’t just a content play, it’s a response to how music fandom actually works now.

“Music festivals used to be experiences reserved for the people who could physically be there,” said Kevin Chernett, EVP and Head of Global Media Partnerships at Live Nation. “Expanding this partnership with Disney+ and Hulu allows these festivals to reach music fans at an entirely different scale.”