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Grammy-Winning New Orleans Hitmakers Tank and the Bangas Announce New Album ‘The Last Balloon’ Out May 15

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Tank and the Bangas are closing out a chapter and opening a new one. The New Orleans-based GRAMMY Award winners have announced ‘The Last Balloon,’ due May 15 on Verve Forecast, completing the trilogy that began with ‘Green Balloon’ in 2019 and continued with ‘Red Balloon’ in 2022. First single “Move,” featuring two-time GRAMMY winner Lucky Daye, is out now and makes an immediate case for where the band is headed. Executive-produced by Austin Brown and recorded primarily at The Complex Studios in Los Angeles, the album also features collaborations with Ledisi, Dawn Richard, Jelly Joseph, and Iman Omari, among others.

Tarriona “Tank” Ball has been direct about the album’s intent: “I called the album The Last Balloon because I didn’t want anyone asking us, ‘When’s Purple Balloon coming?’ It’s the end of the balloons; we’re moving into a new space now.” That clarity carries into the music itself, which moves between frustration, resilience, and self-realization while keeping the joyful, high-energy live feel the band has built their reputation on. Their 2024 spoken word project ‘The Heart, The Mind, The Soul’ earned the band a GRAMMY for Best Spoken Word Poetry Album, and ‘The Last Balloon’ picks up with that momentum fully intact.

A wide-ranging tour is underway, running through the fall and into November with stops across North America.

‘The Last Balloon’ Tracklist:

  1. Rest (feat. Shirazee)
  2. Ain’t That Deep
  3. Don’t Count Yourself Out (feat. Dawn Richard)
  4. No Invite
  5. Move (feat. Lucky Daye)
  6. Go Your Own Way (feat. HaSizzle)
  7. Is It Over?
  8. Interlude
  9. Whole World (feat. Ledisi)
  10. Jealous (feat. Jelly Joseph)
  11. Honeycomb (feat. Akeem Ali)
  12. Oh Boy
  13. Nighttime (feat. David Shaw & Austin Brown)

Tour Dates:

March 26 – Savannah Music Festival – Savannah, GA

March 28 – Seawalk Pavilion – Jacksonville, FL

March 29 – Arts Park at Young Circle – Hollywood, FL

April 11 – Poetry on a Porch – New Orleans, LA

April 29 – Louisville Urban League Derby Gala – Louisville, KY

May 2 – The Joy Theater – New Orleans, LA

May 17 – Courage and Poetry: An Afternoon with Tank Ball – Cleveland, OH

June 2 – Visulite Theatre – Charlotte, NC †

June 3 – The Grey Eagle – Asheville, NC †

June 6 – Brooklyn Bowl – Brooklyn, NY †

June 7 – The Sinclair – Boston, MA †

June 10 – El Club – Detroit, MI †

June 12 – Bell’s Eccentric Cafe – Kalamazoo, MI †

June 13 – Rock the Ruins – Indianapolis, IN *

June 16 – Cain Park, Evans Amphitheater – Cleveland, OH *

June 17 – Thunderbird Cafe and Music Hall – Pittsburgh, PA †

June 19 – Lincoln Theatre – Washington, D.C.

June 20 – Cat’s Cradle Outdoors – Carrboro, NC

July 2 – Tom McCall Waterfront Park – Portland, OR

October 15 – Terminal West – Atlanta, GA †

October 16 – Terminal West – Atlanta, GA †

October 17 – Brooklyn Bowl – Nashville, TN †

October 20 – Majestic Theatre – Madison, WI †

October 21 – Club Hancher – Iowa City, IA †

October 23 – Fine Line – Minneapolis, MN †

October 24 – Thalia Hall – Chicago, IL †

October 25 – Off Broadway – St. Louis, MO †

November 5 – The Truman – Kansas City, MO †

November 7 – Gothic Theatre – Denver, CO †

November 8 – The Commonwealth – Salt Lake City, UT †

November 10 – The Crocodile – Seattle, WA †

November 13 – August Hall – San Francisco, CA †

November 17 – Crescent Ballroom – Phoenix, AZ †

November 19 – Antone’s – Austin, TX †

November 20 – Antone’s – Austin, TX †

November 21 – Heights Theater – Houston, TX †

*w/ Trombone Shorty | †w/ Ariel J

Galician Folk Trailblazers Tanxugueiras Deliver a Stunning Live Session for KEXP in Bilbao

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Tanxugueiras brought their unmistakable Galician folk sound to the stunning Iglesia de la Encarnación in Bilbao, Spain, for a live KEXP session, in partnership with BIME, and the setting could not be more fitting. The trio of Aida Tarrío, Olaia Maneiro, and Sabela Maneiro, joined by Iago Pico on percussion and synths, move through five tracks including “Todo amaina,” “O Querer,” “As que tiñan que estar,” “Quen é a que canta?” and “Pedindo Perdón,” with a vocal power and rhythmic precision that fills the ancient space completely. This is traditional music that doesn’t need to modernize itself to feel urgent, it already is.


Joni Mitchell Receives Lifetime Achievement Award at the 2026 Juno Awards in Hamilton

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Joni Mitchell was honoured with the Lifetime Achievement Award at the 55th Annual Juno Awards, held at the brand-new TD Coliseum in Hamilton, Ontario, with Prime Minister Mark Carney presenting the award in a moment that felt genuinely significant for Canadian music. Sarah McLachlan and Allison Russell delivered a medley of Mitchell’s songs as a tribute, and by all accounts it landed exactly as it should. Mitchell appeared onstage, visibly moved and clearly delighted, capping an evening that also featured Nelly Furtado’s induction into the Canadian Music Hall of Fame and performances from Arkells, The Beaches, Daniel Caesar, William Prince, and more, all hosted by Mae Martin. This was Canada’s biggest night in music living up to its name.

Multi-Platinum Country Hitmaker Mitchell Tenpenny Launches 2026 Tour With New Single “Speed of Light”

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Mitchell Tenpenny has released “Speed of Light,” a new single and music video that also serves as the title of his 2026 headline tour. Written alongside Teddy Swims, Jesse Hampton, and Dallas Wilson, the song grew out of a session built around euphoric, outer-space feeling music, and it lands exactly there. Tenpenny has been open about the personal weight behind it: with Swims already having cut his own vocal version, Tenpenny went back in and made it his own, describing it as the love song missing from his catalog. The official video, directed by Justin Key and produced by Taillight’s Matt Houser and Nick Lantz, was filmed just outside Nashville in Gallatin, Tennessee, and matches the song’s wide-open feeling frame for frame.

Ray Barretto’s Latin Soul Landmark ‘Acid’ Returns as a Wide Mono Vinyl Reissue This May

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Ray Barretto’s ‘Acid’ is one of those records that captures a scene mid-transformation, and on May 22 it returns as a wide mono vinyl reissue pressed on 180-gram vinyl, cut all-analog from the original master tapes by Dave Polster and Clint Holley, and housed in a tip-on jacket reproducing the album’s original psychedelic cover art. First released in 1968 as Barretto’s debut for Fania Records, the album arrived at a moment when New York’s Latin music scene was absorbing soul, funk, and jazz into its Afro-Cuban foundation, and The Ray Barretto Orchestra was built to carry all of it.

Recorded live in the studio without overdubs, ‘Acid’ moves across son montuno, R&B-inflected boogaloo, and jazz-forward improvisation with a working band’s instinct and discipline. The lineup featured vocalists Pete Bonet and Adalberto Santiago, bassist Bobby Rodriguez, timbalero Orestes Vilató, trumpeters René Lopez and Roberto Rodriguez, and pianist Louis Cruz. English and Spanish vocals sit side by side throughout, reflecting the Nuyorican identity at the heart of the record.

The album’s individual tracks each pull in a different direction while staying anchored to Barretto’s direction. “El Nuevo Barretto” opens with a propulsive son montuno whose opening figure would later surface in Carlos Santana’s version of Tito Puente’s “Oye Como Va.” “A Deeper Shade of Soul” features Adalberto Santiago and was later sampled by Urban Dance Squad in 1990. The closing “Espíritu Libre” runs eight and a half minutes, beginning with a percussive dialogue between Barretto and Orestes Vilató before moving through shifting time signatures and extended solos.

‘Acid’ became one of Barretto’s best-selling albums and remains a defining document of Latin soul. This reissue gives it the format it deserves.

Pre-order it here.

Soul Asylum Revive “Misery” as Rockers Announce Live Album ‘MPLS Unplugged’ Due This Summer

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Soul Asylum have released “Misery” as the first taste of ‘MPLS Unplugged,’ a live album recorded at the State Theatre in Minneapolis on April 20, 2023, celebrating the 30th anniversary of the band’s landmark MTV Unplugged performance. Frontman Dave Pirner is joined by guitarist Ryan Smith, bassist Jeremy Tapparo, drummer Michael Bland, and Ivan Neville on keys, reconstructing the spirit of the original 1993 lineup alongside STRINGenius string quartet and the Robert Robinson gospel singers. Listen here.

This new version of “Misery” opens the song up, looser and more reflective than the original, and it sounds exactly right. Originally from ‘Let Your Dim Light Shine,’ the track hit No. 20 on the Billboard Hot 100, topped the Mainstream Rock chart, and reached No. 3 on the Canadian singles chart. ‘MPLS Unplugged’ also features “Farmer John” and “What Will Become of Me,” two long-running live staples never previously recorded or released until now.

Neville’s return is significant. His connection to the band stretches back to the original 1993 session, and Pirner has been clear about what that reunion means: “He was the obvious choice, pretty magical, it just felt right.” The 1993 MTV Unplugged appearance, which featured stripped-down versions of “Runaway Train,” “Black Gold,” and “Somebody to Shove,” remains one of the defining moments in the band’s history.

Pirner, Smith, and Tapparo are also on the road for a run of intimate acoustic shows, blending fan favorites with stories from across the band’s four-decade catalog.

Yorkshire Rockers Flesh Planet Confront Neurodivergent Depression on New Single “Computer Games & Rude Things”

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Yorkshire alternative/electronic quartet Flesh Planet have released “Computer Games & Rude Things,” the opening track from their debut EP ‘first flesh,’ and it hits with a mechanical, dystopian weight that feels entirely intentional. Recorded at Chairworks studio in Castleford, the EP blends grunge, shoegaze, industrial, and electronic into a sound that’s genuinely hard to pin down, and that’s exactly the point. Vocalist Damo Hughes wrote the track as a direct confrontation with neurodivergent depression, specifically the paralysing push-pull between fear of the outside world and fear of wasting your own potential. It’s a reality check dressed in Commodore Amiga-era sci-fi textures, and it works. The video, shot at Williams Amusements arcade warehouse in Castleford, locks in perfectly with the song’s retro-digital atmosphere.

// first flesh Tracklist:

  1. Computer Games & Rude Things
  2. Big Machine
  3. Protoblood
  4. Evelyn
  5. Birdcage
  6. Absorbed
  7. Colonise and Maximise
  8. Pull Out The Wire

2025 Tour Dates:

Sat 18th July – Ultrafest @ The Adelphi – Hull

Sun 11th Oct – Fulford Arms – York

The Gregory Brothers Turn Queens’ Most Confusing Street Grid Into a Hilarious Song

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The Gregory Brothers have found their perfect subject: the Maspeth neighborhood of Queens, New York, where urban planning apparently lost its mind. The area is home to 60th Street, 60th Avenue, 60th Lane, 60th Road, 60th Place, 60th Court, and 60th Drive, all converging into what the video cheerfully dubs the American Bermuda Triangle. The result is a clever, funny song that turns navigational chaos into comedy gold, and it works because the absurdity is completely real. Only in Queens.

Music Theorist Cory Arnold of 12Tone Breaks Down Why Emo Rhythms Hit So Hard

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Music theorist Cory Arnold of 12Tone takes a deep dive into why emo music connects so viscerally with its audience, and the answer lives in the rhythm. Arnold breaks down how emo songs deliberately shift between half-time and double-time feels, using that tension to mirror the emotional whiplash of adolescence. When lyrics lock in with those tempo shifts, the result is a build-and-release cycle that feels less like a musical device and more like a lived experience. The video is sharp, insightful, and makes a convincing case that emo’s emotional power was never accidental.


Remembering DJ Dan: A Pioneer Who Made You Feel the Music

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I first met Daniel Wherrett in a venue hallway before many of the raves he was the main attraction in the 2000s, and within about four minutes he had me laughing so hard I forgot why I was there. That was Dan. He had this extraordinary gift of making every room feel like the after-party everyone had been waiting for, and then he would walk into the booth and remind you that underneath all of that warmth and humor was one of the most serious and gifted musical minds in the game.

I had the privilege of working with Dan across several releases on Moonshine Music, and those years left a mark on me that I am still carrying. Representing his work was never a hard sell. You just played the music, invited the media out, and let it do the talking.

Daniel Wherrett, known to the world as DJ Dan, passed away on March 29, 2026. He was 57 years old. A cause of death has not been publicly confirmed. The dance music community he spent four decades building is devastated.

Dan came up through Seattle’s underground club scene in the late 1980s, discovered electronic dance music at its rawest and most electric, and never looked back. He moved to Los Angeles in the early 1990s, then relocated to San Francisco in 1993, where he co-founded the Funky Tekno Tribe collective and helped define what West Coast house music actually meant. It was a sound that blended funky house with electro and tech house, deeply rooted in the disco tradition but always pushing somewhere new. Carl Cox heard it. Sasha heard it. John Digweed heard it. The world caught up eventually.

His 1999 single “That Zipper Track” became one of the defining house anthems of that era, selling over 100,000 copies on vinyl alone. Pete Tong championed his Essential Mix on BBC Radio 1. DJ Mag named him the number one house DJ in 2006. URB Magazine called him both “America’s Favorite DJ” and “America’s Hardest Working DJ,” and anyone who ever watched him work knew both titles were completely earned.

He founded InStereo Recordings, his own independent label, in 2001, and used it to release his own music and champion emerging talent on his own terms. His remix credits read like a who’s who: Depeche Mode, New Order, Lady Gaga, Janet Jackson. He headlined EDC and Ultra. He performed across five continents. He never stopped working.

Dan leaves behind not just a catalog but a culture, a generation of DJs and dancers and music lovers who found something essential in his sets and carried it with them. The dancefloor will feel different without him. So will the hallways.

Rest easy, Dan. It was an honor.