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Oklahoma Music Hall of Fame to Induct Cross Canadian Ragweed, Jason Boland & The Stragglers, The Great Divide, and Stoney LaRue

Eric Alper
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Oklahoma Music Hall of Fame to Induct Cross Canadian Ragweed, Jason Boland & The Stragglers, The Great Divide, and Stoney LaRue

The Oklahoma Music Hall of Fame announced that it will be inducting four deserving and well-respected bands/musicians into the Oklahoma Music Hall of Fame. This latest class of inductees will be honored and presented their awards on the opening night (Thursday, April 10th) of the “Boys From Oklahoma” concert/event in Stillwater, Oklahoma at the Boone Pickens Stadium on the Oklahoma State University campus.

Stillwater is the perfect setting for the presentation being the birthplace of the Red Dirt music genre where many Oklahoma musicians and inductees began their music careers. Along with Turnpike Troubadours who have already been inducted, all four inductees will be on the stage for the 4-night event that sold out in a mere few hours. www.okmusichall.com

Musicians being inducted in 2025:

Cross Canadian Ragweed-Formed in 1994, Cross Canadian Ragweed is a wildly influential indie country rock band from Stillwater who dominated the touring circuit for over a decade amassing millions in touring revenue and sharing bills with some of the biggest names in music. Known as one of the bands who helped start the “Red Dirt” music movement, the band consists of Cody Canada, Grady Cross, Randy Ragsdale and Jeremy Plato. They had a number of charting hits including “17,” “Alabama,” and “Anywhere But Here.”  In May of 2010 they announced they were taking a break from touring and played their final show together in October 2010. In September of 2024 they announced a reunion show alongside other Oklahoma musicians and friends, Turnpike Troubadours, The Great Divide, Jason Boland and the Stragglers and Stoney LaRue appropriately called “Them Boys From Oklahoma.”

Jason Boland and the Stragglers – In 1999, with the release of Pearl Snaps, Jason Boland and the Stragglers became one of the most successful bands in the Red Dirt and Texas country music scene. They released their first “live” album, Live and Lit at Billy Bob’s Texas in 2004. High in the Rockies was another hit album that was recorded over four days of shows, and Live from Cain’s Ballroom was released in June 2024. Their concept album titled The Light Saw Me was produced by Shooter Jennings, son of country music artist Waylon Jennings. Recording ten studio albums and three live albums has helped to propel them to be one of the most sought-after bands working today.

The Great Divide –The Great Divide is one of the most iconic bands from the Red Dirt music scene that has inspired the new generations of musicians for many, many years. They were the first band to bring the Red Dirt sound to a national audience when they signed to Atlantic Records in the late 90’s.  After a 20- year hiatus, the band reformed and recorded their first album together after two decades called Providence. The album garnered critical acclaim and boasted five consecutive #1 hit singles in Texas. The band made their Grand Ole Opry debut in 2024 and performed on the hallowed stage of the Ryman Auditorium. Turnpike Troubadours and young phenom Wyatt Flores cites The Great Divide as a key influence.

Stoney LaRue – For more than 20 years Stoney LaRue has traversed the country playing sold out shows featuring the styles that have helped to make Red Dirt music a well –known genre. He has sold out more than 200 shows per year almost continuously and has had albums chart on iTunes and Billboard and has had videos featured on CMT. To date Stoney has sold more than a million albums and singles. He has performed duets with many of the biggest names in country music such as Miranda Lambert and Lee Ann Womack and has performed on the stage at the renowned Grand Ole Opry. During the early days in Stillwater, Stoney, Cody Canada, and Jason Boland were roommates working and living in the epicenter of the Red Dirt explosion.

Executive Director of the Oklahoma Music Hall of Fame, Tony Corbell, continually speaks often about the amount of musical talent in the state. “It’s almost overwhelming how many great musicians, singers, sidemen, support folks, songwriters, sound and recording engineers are here,” says Corbell. The president of the Hall of Fame’s Board of Directors, Mr. Boone Mendenhall, himself a popular singer and songwriter, says “I became a guitar player because of Jason Boland and Cody Canada as I listened to them over and over when I was young. It made me want to follow this passion for music.” He added how much all four of these artists being celebrated have inspired his and many other’s careers.

Since 1997 The Oklahoma Music Hall of Fame has inducted more than 144 members. Friends of Oklahoma Music worked with the Oklahoma Legislature, and in 1999, lawmakers created the Oklahoma Music Hall of Fame, naming it a place to honor, recognize and pay tribute to Oklahoma musicians and our rich music heritage. Through the work of hundreds of volunteers over the years, the Hall has established a national and statewide reputation as a place to enjoy and experience music.

BABYMETAL Announces Massive 2025 North American Tour with Black Veil Brides, Jinjer And Bloodywood

Eric Alper
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BABYMETAL Announces Massive 2025 North American Tour with Black Veil Brides, Jinjer And Bloodywood

BABYMETAL have announced a summer 2025 headlining tour produced by Live Nation with support from Black Veil Brides and Jinjer on select dates, along with Bloodywood.

Marking their biggest North American tour yet, the 24-date run kicks off on June 13th in Houston and will hit major cities including Atlanta, New York, Philadelphia, Toronto, Chicago, and San Francisco before wrapping up on July 23rd in Phoenix.

Tickets and exclusive VIP packages will be available starting with an artist presale today at 1 PM ET. Additional presales will run throughout the week ahead of the general on-sale, which begins Friday, March 21 at 10 AM local time at BABYMETAL.com

Over the past Two years, BABYMETAL have released collaborations with Tom Morello, Bloodywood, and, most notably, Electric Callboy with “RATATATA”-a track that quickly amassed hundreds of millions of streams across all platforms. The new collaborations offer a peak into what should be their forthcoming album, following 2023’s THE OTHER ONE, their first concept album.

BABYMETAL Tour Dates:
Fri Jun 13 – Houston, TX – 713 Music Hall^=
Sat Jun 14 – Irving, TX – The Pavilion at Toyota Music Factory^=
Tue Jun 17 – Tampa, FL – Yuengling Center^=
Wed Jun 18 – Atlanta, GA – Coca-Cola Roxy^=
Fri Jun 20 – Charlotte, NC – Skyla Credit Union Amphitheatre^=
Sat Jun 21 – Baltimore, MD – Pier Six Pavilion^=
Tue Jun 24 – New York, NY – The Theater at Madison Square Garden^=
Wed Jun 25 – Boston, MA – MGM Music Hall at Fenway^=
Fri Jun 27 – Uncasville, CT – Mohegan Sun Arena^=
Sat Jun 28 – Philadelphia, PA – TD Pavilion at The Mann Center^=
Mon Jun 30 – Laval, QC – Place Bell^=
Wed Jul 02 – Toronto, ON – Coca-Cola Coliseum^=
Thu Jul 03 – Sterling Heights, MI – Michigan Lottery Amphitheatre^=
Sat Jul 5 – Milwaukee, WI – Summerfest*
Sun Jul 06 – St. Louis, MO – Saint Louis Music Park+=
Tue Jul 08 – Chicago, IL – Byline Bank Aragon Ballroom+=
Wed Jul 09 – Minneapolis, MN – The Armory+=
Fri Jul 11 – Denver, CO – The JunkYard+=
Mon Jul 14 – Vancouver, BC – Doug Mitchell Thunderbird Sports Center+=
Tue Jul 15 – Kent, WA – accesso ShoWare Center+=
Thu Jul 17 – San Francisco, CA – The Masonic+=
Sun Jul 20 – Las Vegas, NV – Pearl Concert Theater at Palms Casino Resort+=
Mon Jul 21 – Salt Lake City, UT – Utah First Credit Union Amphitheatre+=
Wed Jul 23 – Phoenix, AZ – Arizona Financial Theatre+=

^With Black Veil Brides
+With Jinjer
=With Bloodywood

Five Surprising Facts About David Bowie’s ‘Low ‘

Eric Alper
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Five Surprising Facts About David Bowie’s ‘Low ‘

David Bowie’s Low was a sonic detour in a career full of many that shattered expectations. Released in January 1977, Low marked the beginning of his Berlin Trilogy and introduced a stark, experimental sound that baffled his record label but shaped post-punk, electronic, and ambient music for decades to come. But beyond its legendary status, Low has a history as fascinating as its music. Here are five things you probably didn’t know about one of Bowie’s boldest records.

1. It Was Almost Scrapped by RCA

David Bowie was coming off the commercial highs of Young Americans and Station to Station when he delivered Low to RCA Records—and the label was horrified. Gone were the slick soul influences and dramatic Thin White Duke theatrics; instead, Bowie turned in an avant-garde, fragmented album, drenched in synths, distorted drums, and eerie instrumentals. RCA delayed the album for three months, hoping Bowie would come to his senses. He didn’t. They even sent him a letter rejecting the album, which he proudly displayed on his wall. Bowie knew he was onto something groundbreaking, even if RCA didn’t.

2. The Album’s Title and Cover Art Contain a Hidden Joke

The cover of Low is a profile shot of Bowie from his 1976 film The Man Who Fell to Earth—but it’s not just a cool aesthetic choice. The image is actually a visual pun. The word “Low” refers to both the album’s introspective mood and the idea of having a “low profile”, something Bowie desperately craved after his cocaine-fueled years in Los Angeles. The joke was lost on most people until Bowie explained it in an interview, but once you see it, you can’t unsee it.

3. Brian Eno Didn’t Actually Produce It

Though Low is often called the first Bowie album “produced by Brian Eno”, that’s actually not true. Tony Visconti, Bowie’s longtime collaborator, was the real producer, while Eno served as more of an artistic catalyst. Bowie and Eno bonded over their love of Krautrock bands like Neu!, Kraftwerk, and Tangerine Dream, and while Eno brought in his signature synth textures and “Oblique Strategies” creative techniques, the actual production decisions—like the iconic drum sound created with an Eventide H910 Harmonizer—were all Visconti’s doing.

4. The Drums Changed Rock Music Forever

Speaking of that drum sound—it’s one of Low’s most groundbreaking contributions to music. Using the Eventide H910 Harmonizer, Visconti processed Dennis Davis’s drums to create an otherworldly, mechanical echo effect that was unlike anything else at the time. When Bowie asked what the Harmonizer did, Visconti famously replied: “It fuckss with the fabric of time.” The sound became one of the most imitated in rock history, inspiring artists from Joy Division to Radiohead. Listen to tracks like “Breaking Glass” or “Sound and Vision”, and you’ll hear the birth of post-punk and alternative rock.

5. Half of the Album Was Originally Meant for a Movie Soundtrack

Side two of Low is filled with dark, ambient instrumentals like “Warszawa”, “Weeping Wall”, and “Subterraneans”—and they weren’t initially written for the album. These tracks originated as part of Bowie’s abandoned soundtrack for The Man Who Fell to Earth, the 1976 sci-fi film in which he starred. When director Nicolas Roeg decided to use other composers instead, Bowie pulled his work and reworked it into the brooding, cinematic second half of Low. He even later sent Roeg a copy of the album with a note saying, “This is what I wanted to do for the soundtrack.”

Bowie’s record label might have panicked, but Low turned out to be one of the most influential albums of all time. It paved the way for post-punk, ambient music, and electronica, inspiring everyone from Joy Division and Talking Heads to Nine Inch Nails and Radiohead. What was once considered career suicide became a new blueprint for reinvention. Bowie was always ahead of the curve—Low just proved how far.

Five Unknown Facts About Nick Drake’s ‘Pink Moon’

Eric Alper
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Five Unknown Facts About Nick Drake’s ‘Pink Moon’

Nick Drake’s Pink Moon is one of those rare albums that seems to exist outside of time. Just 28 minutes long, featuring only Drake’s voice and guitar, it’s an album of whispered intimacy, filled with poetic reflections on life, isolation, and fleeting beauty. But beyond its quiet genius, Pink Moon carries a history just as intriguing as its music. Here are five things you probably didn’t know about the final album from one of England’s most enigmatic songwriters.

1. It Was Recorded in Total Secrecy in Just Two Nights

Forget elaborate studio sessions—Pink Moon was recorded in complete secrecy over two late-night sessions in October 1971. Nick Drake arrived at Sound Techniques studio in London unannounced, with only trusted engineer John Wood present. Over the course of just a few hours, he laid down the entire album—no backing band, no overdubs, just voice and guitar. The only exception? The title track, which features a single, haunting piano melody, added at the very last moment. Even Island Records had no idea he was working on a new album until he quietly dropped off the tapes at their office.

2. The Album Almost Had a Forgotten 13th Track

Tucked away on the original master tapes was an additional song that never made the final album—a classical French love song from 1784 called Plaisir d’amour. It was listed as the first track of Side Two, but a handwritten note alongside it read: “Spare title – Do not use.” Why Drake decided to exclude it remains a mystery. The song, a delicate instrumental, remained hidden for decades before finally appearing as a bonus track on the 2004 compilation album A Treasury. Had it been included, it would have been the only non-original composition on any of Drake’s albums.

3. The Cover Art Was Chosen Without His Input

With an album as deeply personal as Pink Moon, you might assume the cover was carefully chosen by Nick Drake himself—but in reality, he had nothing to do with it. Originally, Island Records wanted a photograph of Drake, but his withdrawn nature and deteriorating appearance made them rethink. Instead, they turned to artist Michael Trevithick, a friend of Drake’s sister, Gabrielle. His surrealist Dali-esque artwork—featuring a floating pink orb and strange dreamlike imagery—became one of the most iconic folk album covers of all time. While Drake never publicly commented on it, those close to him believed he approved.

4. Its Release Was Met With Near Silence

Island Records knew Nick Drake wouldn’t tour or promote Pink Moon, so they tried something bold: they spent the entire marketing budget on full-page ads in music magazines, featuring nothing but the album artwork. No descriptions, no interviews, just the surreal image that matched the album’s ethereal nature. Despite this, the album sold poorly, much like Drake’s previous work. It wasn’t until the late 1990s, when Pink Moon was used in a Volkswagen Cabrio commercial, that it finally reached a wider audience. Today, it’s considered one of the greatest folk albums ever made.

5. Nick Drake Was Not in Deep Depression When He Recorded It

Given its sparse, melancholic sound and Drake’s tragic death just two years later, many assume Pink Moon was recorded in a state of deep depression. But those who knew him tell a different story. John Wood, the engineer who recorded the album, later said that Drake wasn’t depressed during the sessions—he was focused, intentional, and proud of what he was creating. Cally Callomon, who manages Drake’s estate, has confirmed this, stating: “Nick was incapable of writing and recording while suffering from depression. He was immensely proud of the album.” While Pink Moon certainly carries an air of loneliness, it was not a farewell letter, but rather a deliberate artistic statement.

Pink Moon might have been overlooked upon release, but it has since become one of the most beloved folk albums of all time. Its influence stretches far beyond its era, inspiring countless artists and finding new generations of listeners who are drawn to its haunting beauty.

Whether you discovered it through the Volkswagen commercial, a late-night vinyl listen, or by pure chance, Pink Moon has a way of staying with you.

Dillinger Four to Headline Camp Punksylvania 2025 With The Full Lineup Nearly Set

Eric Alper
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Dillinger Four to Headline Camp Punksylvania 2025 With The Full Lineup Nearly Set

The final pieces of the Camp Punksylvania 2025 lineup are officially falling into place, and it’s going to be a stacked finish. Dillinger Four will headline Friday night, bringing their legendary anthems and energy to the Main Stage-the perfect soundtrack to kick off Camp Punksylvania’s fifth anniversary celebration.

They’re joined by hardcore heavy-hitters Scowl, Brooklyn-based punk trio THICK, and skacore upcomers Working Class Stiffs, adding to the 50+ band roster for the DIY festival’s milestone year. One more headliner will be announced next week to complete the 2025 lineup.

Taking place June 20-22, 2025, at the West End Fairgrounds in Gilbert, PA, Camp Punksylvania continues to be the Northeast’s premier punk rock summer camp experience-but more than just a festival, it remains committed to uplifting marginalized voices in the punk scene. This year’s lineup reflects that mission, amplifying femme, LGBTQ+, and POC artists who are shaping the future of punk. Acts likeScowl, War On Women, The OBGMs, Pollyanna, JER, Teenage Halloween, and Rebelmatic are just a few examples of the powerful voices taking center stage.

With these additions, Camp Punksylvania 2025 is set to be the biggest and best edition yet, offering not just nonstop music, but also camping, DIY workshops, unique vendors, and an unforgettable community-driven atmosphere.

Swans Announce North American Tour in Support of ‘Birthing’ Out May 30

Eric Alper
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Swans Announce North American Tour in Support of ‘Birthing’ Out May 30

Swans, who recently announced their seventeenth studio album, Birthing, arriving May 30 via Young God Records/Mute, have confirmed their first North American tour in support of the highly-anticipated release, launching on Sept. 4 in Philadelphia.

Tickets are on-sale this Friday, March 21, at 10 a.m. local time. Little Annie & Paul Wallfisch open.

Prior to the Swans tour, Michael Gira embarks on a solo European run, joined by Kristof Hahn for the 12- date outing, which also includes a performance at Roadburn.

Swans North American tour dates:
September 4 Philadelphia, PA Union Transfer
September 5 Washington, DC The Howard Theatre
September 6 Norfolk, VA The NorVa
September 9 Dallas, TX Granada Theater
September 10 Austin, TX Mohawk Austin
September 12 Albuquerque, NM Sunshine Theater
September 13 Tucson, AZ The Rialto Theatre
September 15 Los Angeles, CA Lodge Room
September 16 Los Angeles, CA Lodge Room
September 17 Los Angeles, CA Lodge Room
September 20 San Francisco, CA Great American Music Hall
September 21 San Francisco, CA Great American Music Hall
September 23 Seattle, WA The Neptune Theatre
September 24 Portland, OR Revolution Hall
September 27 Denver, CO Bluebird Theater
September 28 Omaha, NE Waiting Room Showroom
September 30 Chicago, IL Cabaret Metro
October 1 Detroit, MI The Magic Bag
October 3 Toronto, ON Phoenix Concert Theatre
October 4 Montreal, QC Theatre National
October 6 Boston, MA Paradise Rock Club
October 7 Brooklyn, NY Brooklyn Steel

Eruopean Tour Dates
April 9 Prague, CZ Meet Factory
April 10 Linz, AT Grüner Anker
April 12 Trieste, IT Teatro Miela
April 13 Milan, IT Spazio Teatro 89
April 15 Brussels, BE Ancient Belgique
April 17 London, UK EartH
April 18 Paris, FR Cafe de la Danse
April 20 Tilburg, NL Roadburn Festival
April 21 Cologne, DE Helios 37
April 23 Leipzig, DE Heilandskirche
April 25 Warsaw, PL Palladium
April 27 Berlin, DE Heimathafen Neukölln

Disney+ Launches 24/7 The Simpsons Stream for Nonstop Binge-Watching

Eric Alper
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Disney+ Launches 24/7 The Simpsons Stream for Nonstop Binge-Watching

Beginning today, Disney+ will add a new 24/7 always-on Stream for THE SIMPSONS with 767 episodes across seasons 1-35 programmed in chronological order at launch. This means a total of nearly 300 continuous hours with the Simpsons family.

“From day one, the fans have asked for a Stream of THE SIMPSONS, and we’re happy to oblige,” said Gabe Lewis, SVP of Programming & Content Curation, Disney+. “Streams on Disney+ have been a fantastic go-to experience for subscribers looking to sit back and relax with their favorite shows and movies, and we look forward to evolving the user experience and expanding the offering with more Streams, to more subscribers, later this year.”

“THE SIMPSONS Stream will deliver a SIMPSONS marathon all day, every day — no matter when you tune in, this ultimate SIMPSONS binge will be there,” added Matt Selman, THE SIMPSONS Show-runner and Binge-watcher.

THE SIMPSONS Stream, featuring a programming lineup that will be refreshed monthly and accessible to Premium subscribers, adds to a collection of lean-back viewing experiences on Disney+. Additional Streams currently available to Premium subscribers include: HITS & HEROES, delivering a compilation of action-packed stories from marquee brands and franchises; THROWBACKS, a destination for always-on nostalgic pop culture content; and REAL LIFE, offering a lineup of traditional documentaries, biopics, and true stories. Other Streams remain available to all Disney+ subscribers like ABC NEWS, featuring live newscasts, breaking news, live events, and in-depth special reports through their 24/7 livestream, and DISNEY+ PLAYTIME, which includes all-time favorites for younger viewers.

In addition to 35 seasons of THE SIMPSONS, Disney+ is also home to THE SIMPSONS MOVIE, exclusive full-length SIMPSONS episodes, and more than 10 shorts featuring the Simpsons family. Bundle subscribers can also stream the current season via Hulu on Disney+. All these and more will continue to be available on demand to all Disney+ subscribers in THE SIMPSONS collection on the streaming service: https://www.disneyplus.com/franchise/the-simpsons.

Global Recorded Music Revenues Hit $29.6B in 2024, Marking 10th Year of Growth

Eric Alper
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Global Recorded Music Revenues Hit $29.6B in 2024, Marking 10th Year of Growth

Global recorded music revenues have grown for the tenth consecutive year, according to IFPI, the organisation that represents the recording industry worldwide.

Figures released today in IFPI’s Global Music Report 2025 reveal that total trade revenues reached US$29.6 billion in 2024, up by 4.8%.

Working within a highly competitive market, record companies’ long-term investment into the careers of artists, alongside the development and licensing of engaging and exciting ways for fans to experience music, continues to drive the growth of the global market – with every region experiencing an increase in revenue in 2024.

Subscription streaming was the key driver of growth, with an increase of 9.5% whilst users of subscription accounts grew 10.6% to 752 million globally.

Commenting on the release of the Global Music Report, Victoria Oakley, CEO, IFPI said: “The essential role music plays in so many parts of our lives is evidenced in the continued growth of the global industry.  What is so exciting is that there is still great potential for further development, through innovation, emerging technologies, and investment in both artists and the evolving parts of the growing global music ecosystem.

“These positive developments don’t happen by accident. They reflect the brilliant creativity, vision and hard work of artists and songwriters around the globe, powered in part by the work, investment and passion of record companies and their teams.  In the case of record labels, returning revenues enable them to be patient, long-term, consistent investors in artists, innovation and culture.

“One of the key issues we’ve looked at in this report is the role of AI in music. Record companies have embraced its potential to enhance artist creativity and develop new and exciting fan experiences. However, it is very clear that the developers of generative AI systems “ingesting” copyright-protected music to train their models without authorisation from the rightsholders poses a very real and present threat to human artistry.

“We are asking policymakers to protect music and artistry. We must harness the potential of AI to support and amplify human creativity, not to replace it.”

Recorded music revenue formats:

  • Streaming revenues exceeded US$20bn for the first time (US$20.4 billion) and represented 69.0% of total recorded music revenues.  For context, US$20bn was bigger than the entire recorded music industry revenues for each year between 2003-2020.
  • Paid subscription streaming revenue increased 9.5% in 2024, whilst ad-supported streaming formats grew by a more modest 1.2%.
  • Physical formats had a more challenging year, with revenues declining by -3.1%, however this was against a strong performance in 2023 when revenues soared by 14.5%. Vinyl revenues continued to grow in 2024, up 4.6%, which was the 18th consecutive year of growth.
  • Performance rights revenues meanwhile reached US$2.9 billion in 2024 and grew by 5.9% – the fourth successive year of revenue growth.

Growth in the world’s regions:

There was a positive story of growth across the globe as the work and investment from record companies contributed to every region experiencing revenue growth in 2024. Three of the world’s seven regions posted double-digit gains – Middle East & North Africa, Sub-Saharan Africa and Latin America.  Middle East & North Africa (MENA) was the fastest growing region at 22.8%.

USA & Canada +2.1%

Representing the greatest share of global recorded music revenues (40.3%), there was a gain of 2.1% in 2024 in the USA and Canada. The USA, the world’s single largest recorded music market posted growth of 2.2%. Canada, the world’s eighth largest market, saw revenue growth of 1.5%, however this was set against a 2023 figure which included a one-off payment included in performance rights revenues.

Europe +8.3%

Representing more than a quarter of global revenues (29.5%) after revenue growth of 8.3%, Europe remained the second largest region in the world for recorded music revenues in 2024. The region’s three largest markets all generated revenue growth in 2024: UK (+4.9%), Germany (+4.1%) and France (+7.5%). The region added more revenue growth than any other.

Asia +1.3%

The third largest region globally, revenues in Asia rose by 1.3% in 2024. This was set against a strong performance in 2023 across both physical and digital formats, where revenues jumped 14.4%. However, Asia maintained its status as the largest physical market and accounted for 45.1% of global physical revenues in 2024. A decline in physical (-4.9%) as therefore impacted the region’s overall growth rate. The world’s second largest market, Japan, was flat year-on-year (-0.2%) [due to decline in physical], whilst China, ranked #5 globally, increased revenues by 9.6%.

Latin America +22.5%

Recorded music revenues in Latin America rose steeply in 2024 by 22.5%, once again outpacing the global growth rate and marking its fifteenth consecutive year of growth. Streaming remained the key driver and accounted for 87.8% of recorded music revenues in the region. Brazil grew by 21.7% which made it the fastest growing top ten market, and Mexico increased revenues by 15.6%. Mexico climbed to become the tenth largest global recorded music market.

Australasia +6.4%

Recorded music revenues in the region reached US$629 million and grew by 6.4% in 2024. Australia increased revenues by 6.1%, however dropped out of the top ten markets and was replaced by Mexico, whilst New Zealand grew recorded music revenues by 7.8%.

Middle East & North Africa +22.8%

Middle East & North Africa (MENA) was the fastest growing region and saw recorded music revenues increase by 22.8% in 2024. The region remained dominated by streaming and those revenues accounted for 99.5% of the total.

Sub-Saharan Africa +22.6%

Sub-Saharan Africa saw recorded music revenue growth of 22.6% and these revenues surpassed US$100 million for the first time (US$110 million). South Africa remained the largest market in the region and accounted for 75% of the region’s revenues, following growth of 14.4%.       

Spin Doctors Announce ‘Face Full of Cake,’ First Album in 12 Years, Out April 11

Eric Alper
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Spin Doctors Announce ‘Face Full of Cake,’ First Album in 12 Years, Out April 11

Today, ‘90s alt-rock icons the Spin Doctors announced their first studio LP in 12 years: Face Full of Cake, out April 11 via Capitol Records. They also released the album’s first single “Still A Gorilla” and its accompanying music video. “Still A Gorilla” finds the band showcasing a noisier, heavier sound but with the same sense of humor they’ve come to be known for. Inspired by the hard-hitting energy of Robyn’s “Konichiwa Bitches,” the track finds the long-running group exploring new territory after 35+ years.

To celebrate the record, the band will play an album release show at New York’s Brooklyn Bowl on April 12. Presales begin on Monday January 20, and tickets go on sale on Friday January 24. To buy tickets and to see a full list of upcoming shows, please visit spindoctors.com.

“‘Still A Gorilla’ is a heavy-duty track about what it is to be human,” shares vocalist Chris Barron. “[Drummer] Aaron [Comess] had that piece of music around for quite a long time, and whenever he and I sat down to try and write some lyrics to it, it just never quite came together.” But then Comess sent Barron the Swede’s aforementioned 2005 song as a reference point and things came together. “Aaron was like, ‘A vibe like this would be cool,’ and the humor of that song gave me the entree into the song, so I just sat down and wrote that in an hour.”

The followup to 2013’s If the River Was Whiskey, the upcoming LP marks their debut on Capitol Records and the first Spin Doctors record with new bassist Jack Daley who joined the band full-time in 2021. Face Full of Cake can trace its origins back to the early days of the pandemic, but after several writing sessions – including time spent at the Vermont studio space of Phish’s Mike Gordon – and intimate hangs between guitarist Eric Schenkman and Barron, the album began to fully take shape. Recorded at Daley’s Asbury Park, NJ studio, the project has an exploratory and easy energy that came from a laidback and low-pressure recording process.

“We weren’t really thinking of it as a record,” shares Comess. “We’ve gone through a lot of phases in our 35 years, and sometimes things really gel and sometimes they’re just extremely difficult. When we made this record, we captured a moment where it felt effortless. There’s a really fresh energy in the tracks — a sense of us discovering the songs as we played them.”

That energy is evident on the new LP, which features a combination of the easy-going hook-forward songs that made them so popular and the freewheeling jam sensibilities they’ve always exhibited with bluesy funk flavor and straightforward rock’n’roll. It’s not so much a reinvention of the wheel but a fusion of everything they’ve done up to this point with an added fearlessness that comes from knowledge and practice.

“Spin Doctors fans are going to be knocked out by this new record,” shares Barron. “It’s got that vintage Spin Doctors sound of ear candy and denser material that harkens back to Pocket Full Of Kryptonite but with years of experience under our belts.”

Formed in 1988 in New York City, Spin Doctors’ full-length 1991 debut Pocket Full of Kryptonite sold over ten million copies across the world and spawned two massive singles: “Little Miss Can’t Be Wrong,” which reached number two on the Billboard Album Rock Tracks chart, and the now ubiquitous Billboard Hot 100 Top Ten hit “Two Princes,” which was the No. 1 Rock radio hit of 1993 and was nominated for Best Rock Performance by a Duo or Group at the GRAMMYs. They’ve appeared on SNL, played major festivals like Glastonbury and opened for The Rolling Stones. And after three decades and nearly two thousand shows, Spin Doctors remain as committed as ever.

Tour Dates:
April 12 – Brooklyn, NY – Brooklyn Bowl
May 25 – Allston, MA – Boston Calling Festival
June 5 – Park City, UT – Egyptian Theatre
June 6 – Park City, UT – Egyptian Theatre
June 7 – Park City, UT – Egyptian Theatre
June 8 – Park City, UT – Egyptian Theatre

Face Full of Cake Tracklist
1. Boombox
2. Rock ‘N’ Roll Heaven
3. Still A Gorilla
4. The Heart Of The Highway
5. Double Parked
6. I Liked You Better When Your Butt Was Big
7. The Buddha On The Lawn
8. She Don’t Love Me Anymore (Anymore)
9. I’m The Man (You Got)
10. While You’re Holding The Moon (Over Me)
11. She Stands Alone
12. When You Got Turmoil In Your Mind

Joe Henderson’s ‘Multiple’ Returns to Vinyl After 50 Years via Craft Recordings & Jazz Dispensary

Eric Alper
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Joe Henderson’s ‘Multiple’ Returns to Vinyl After 50 Years via Craft Recordings & Jazz Dispensary

Craft Recordings and Jazz Dispensary kick off the new year in style with a heady cult favorite from Joe Henderson, 1973’s Multiple. Returning to vinyl after more than 50 years, the album features a world-class ensemble of musicians—including Dave Holland, Jack DeJohnette, Larry Willis, and James “Blood” Ulmer—while it finds the influential saxophonist at the apex of his fusion period.

Arriving March 7th as part of Jazz Dispensary’s Top Shelf series, and available for pre-order today, Multiple is cut from the original analog tapes by Kevin Gray at Cohearent Audio and pressed on 180-gram vinyl at RTI. The LP is housed in a tip-on jacket, replicating Multiple’s original artwork. Fans can also find the album on digital platforms, as it makes its debut in hi-res audio on the same day as the vinyl release.

One of the most talented tenor saxophonists of his era, Joe Henderson (1937–2001) was a prolific leader and a sought-after sideman who played alongside the biggest names in jazz, including Herbie Hancock, Kenny Dorham, Chick Corea, and Alice Coltrane. The virtuosic Ohio-born musician launched his four-decade-long career in Detroit while attending college, before relocating to New York. There, he quickly built a name for himself performing on dozens of sessions for Blue Note Records, including those for Hancock, Horace Silver, Andrew Hill, and Lee Morgan.

As a band leader, Henderson stood out from his peers, thanks to an eclectic sound that frequently incorporated elements of avant-garde, Latin, and R&B. That versatile and adventurous spirit caught the attention of Orrin Keepnews, who signed the saxophonist to Milestone Records. Under the fledgling jazz label, Henderson took his career—and his sound—to the next level through innovative albums like The Kicker (1968), Power to the People (1969), and Black Is the Color (1972).

By the time he recorded Multiple, Henderson was experimenting with a variety of electronic instrumentation, studio effects, and overdubs—all while weaving a socially conscious thread into his music. Much like Henderson himself, the 1973 album can’t be pigeonholed, as it finds the saxophonist operating in an enthralling sonic space, landing somewhere between fusion and free jazz. Helping Henderson envision that magic is a tightly-knit roster of talent, including bassist Dave Holland and drummer Jack DeJohnette (known for their work together with Miles Davis), plus such esteemed players as keyboardist Larry Willis, guitarist James “Blood” Ulmer, and legendary studio musician/arranger Arthur Jenkins (John Lennon, Chaka Kahn, Harry Belafonte) on percussion.

Comprised primarily of Henderson originals, Side A opens with his classic “Tress-Cum-Deo-La,” a swaggering, ten-and-a-half-minute-long jam, featuring vocalizations, joyful hand-claps, and awe-inspiring solos by the sax player. The band cools things down with “Bwaata,” a quietly grandiose selection by DeJohnette, in which the players (and particularly Henderson) slowly turn up the intensity for a riveting performance throughout the nearly 11-minute-long track.

The flip side opens with the hypnotic “Song for Sinners,” which features a cameo by guitarist John Thomas and mesmerizing a-tonal chants. “Turned Around,” an upbeat, funk-tinged contribution by Holland, follows. Henderson then takes listeners on one final journey with “Among Others.” The track, which builds upon a dissonant sonic landscape, offers standout performances by Henderson and Willis, who shines particularly bright on the Rhodes piano.

Over the decades, Multiple has grown in stature to become a cult favorite of the ‘70s fusion explosion, long sought after by crate diggers and frequently praised by critics in retrospectives. Jazz Music Archives hailed it as “A magnificent album with no flaws…where Henderson shows everyone that he’s still a force to be reckoned with in the 70s.” Jazz Desk wrote, “Henderson is the greatest tenor saxophonist of this musical era…able to play very lyrical with the most delicate tone.” AllMusic declared that Multiple is “Henderson’s greatest album from this era,” adding, “And then there’s Henderson, blowing some of the most impassioned solos of his career. There’s an activism to his phrasing.”

Click here to pre-order or stream/download Multiple.

Track List:

Side A

1.  Tress-Cun-Deo-La

2.  Bwaata

Side B

1.  Song For Sinners

2.  Turned Around

3.  Me, Among Others

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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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