Americana and pop have always made room for artists who choose clarity over spectacle, and Firerose steps firmly into that tradition with “Shining Armor (Rise Again).” The new single revisits the title track from her album ‘Shining Armor’, reshaped into a more expansive, resolute statement and paired with a self-directed video filmed in New York. There’s no excess here, just direct language, steady momentum, and a sense of purpose that reflects a life rebuilt through faith, sobriety, and hard-earned perspective
Calling this the definitive version matters. It signals an artist fully standing behind her work, both musically and visually, and trusting the song to hold its weight onstage or stripped back to its bare essentials. For listeners who’ve followed Firerose through earlier releases like “New Day” and “Plans,” this track lands closer to the core, with the performance riding tightly alongside the lyric. “Shining Armor (Rise Again)” feels built to travel, whether through a live room or a quiet moment alone, and it sets the tone for the next chapter, including her forthcoming podcast No One Asked Her, which promises the same kind of plainspoken honesty that anchors this release.
Bay Area indie rock staple Michael Vincent returns with his eighth full-length release, ‘Sky Blue (C’mon, C’mon!)’, a high-energy album that pulls from across his wide-ranging catalog while hitting with fresh urgency. The record blends edgy indie rock and power pop with flashes of garage and grunge, alongside a few nods to Vincent’s earlier folk-rock leanings. Known for balancing bright originals with time-tested instincts, Vincent comes out swinging, setting the tone immediately with the album’s explosive opener.
A standout moment arrives via a collaboration with Charles Norman, whose raw, forceful arrangement of “C’mon, C’mon!” became the catalyst for the album’s momentum. “The energy of Charles’ arrangement is so ‘in-your-face’ unavoidable, it just makes sense to have the song come right out of the chute! It grabs you by your shirt and hauls you away!” Vincent says. Released via Angel Blossom Records, the album follows the critically praised ‘Electric Fox’ and marks Vincent’s first release available on vinyl, further cementing his long-running presence as one of the Bay Area’s most resilient and creative independent voices.
Singer-songwriter Kenny Hotopp has released his evocative new EP ‘Early Times’, a five-song collection rooted in lived experience and quiet reflection. Drawing from memory, love, and the moments that shape a life, the EP moves between soul-soothing ballads and lighter, playful rhythms, touching on marriage, fatherhood, and the endurance of connection. “These are stories I’ve lived or witnessed, but I leave space in the lyrics for you to find your own meaning, your own moments,” Hotopp says. “Some are fun, a few are serious. But every song came from a real place, and I think people will feel that.”
Recorded with longtime collaborators at Philville Records, ‘Early Times’ blends folk and Americana foundations with touches of bluegrass, R&B, blues, and subtle psychedelic country flourishes. Across the EP, Hotopp’s warm delivery and lyrical honesty anchor each song, from the hopeful camaraderie of “We’ll Go On” to the nostalgic reflections of the title track and the gentle romance of “Lost Track of Time.” Each track stands confidently on its own, while together they form a cohesive, deeply human snapshot of a life observed with care and humility.
After seven years away, Marmozets make a long-awaited return with their new track “A Kiss From A Mother,” released via Nettwerk Music Group. A clear statement of intent, the song wastes no time reintroducing the band’s intensity, blending heavyweight riffs with sharp melodic turns and a streak of fearless experimentation. From mariachi-metal chaos inspired by The Cramps to Becca Macintyre’s feral vocal performance, captured in just three takes, the track channels pent-up energy into something both confrontational and creative. “The message of the song is to make sure you listen, rather than just shoot straight back,” Becca explains. “Probably everyone can relate to the idea of not letting some advice go in one ear and out the other, let it actually immerse in you. As for my voice, that’s just my spirit coming out! I’m not playing a character; I’m giving it all that I’ve got.”
Formed in Bingley, Yorkshire, Marmozets first exploded as teenagers, quickly earning a reputation for fearless live shows and a sound that fused sharp musicianship with massive hooks. Following two critically acclaimed albums, the band stepped away from the spotlight as life shifted and priorities changed, before creativity slowly pulled them back together. Reuniting with a renewed lineup and fresh perspective, and working with producers Jonathan Gilmore and Andy Hawkins, Marmozets have emerged operating at a new creative peak. “A Kiss From A Mother” marks not just a return, but a rebirth, fueled by growth, family, and a hunger to push further than ever before.
Swedish musician Mattias Krantz set out on one of his most unusual experiments yet after rescuing a young octopus from a live fish market and naming him Takoyaki. Fascinated by octopuses’ intelligence and independent arm control, Krantz attempted to teach Tako how to play piano, testing everything from modified keys to visual cues before realizing traditional methods wouldn’t work. The breakthrough came with a custom-built “crab elevator,” a reward system that lowered food incrementally with each correct note, forcing Tako to complete an entire melody before earning his treat. After months of trial, failure, and persistence, the pair eventually began playing simple duets together, marking a strange, funny, and oddly touching fusion of curiosity, engineering, and interspecies collaboration.
Postmodern Jukebox team up with singer and saxophonist Amber Woodhouse for a spirited reimagining of Stevie Wonder’s “Part-Time Lover,” flipping the pop classic into a swinging 1930s speakeasy jazz romp. The performance leans into vintage hot jazz energy, complete with brassy swagger and playful rhythms, as Postmodern Jukebox once again transforms a familiar hit into something delightfully old-world and full of life.
Seven-time and current CMA Female Vocalist of the Year nominee Kelsea Ballerini is teasing her upcoming EP ‘Mount Pleasant’ with the release of the reflective new song “I Sit In Parks,” available now via Black River Entertainment. Paired with a simple, contemplative video that finds Ballerini sitting alone on a park swing, the song captures a moment of pause as she weighs choices, sacrifices, and the personal cost of success. Continuing her tradition of emotional honesty, “I Sit In Parks” offers one of her most intimate self-assessments yet.
Built around a whisper-soft vocal, the song quietly examines longing and comparison as Ballerini watches everyday life unfold around her. “I sit in parks, it breaks my heart/’Cause I see just how far I am from the things that I want…,” she sings, confronting the tension between ambition and the lives her peers are now living. “I have always made records – whether songs, EPs or albums – to capture a moment in time,” Ballerini says. “Mount Pleasant is a collection of six songs I’ve written throughout the summer, marking a chapter of heavy self-examination, longing and stepping further into who I am as a 32-year-old woman.” The track continues a creative run defined by vulnerability, offering reflection without resolution and compassion without easy answers.
You know what’s fascinating about film music? Sometimes a movie comes along that’s perfectly fine—maybe even good—but the soundtrack? The soundtrack becomes legendary. It outlives the film. It defines an era. It sells millions of copies and influences countless artists while the movie itself fades into late-night cable obscurity. I’ve spent decades tracking how music intersects with popular culture, and these ten soundtracks didn’t just complement their films—they absolutely carried them, often becoming more culturally significant than the movies themselves. Let’s dig in.
The Bodyguard (1992) Whitney Houston’s rendition of a certain Dolly Parton ballad became one of the best-selling singles of all time, spending 14 weeks at number one. The album moved over 45 million copies worldwide, making it one of the biggest soundtrack albums ever. Houston’s powerhouse vocals turned what was essentially a formulaic romantic thriller into a cultural phenomenon, with the music far outlasting the film’s modest critical reception.
Saturday Night Fever (1977) The Bee Gees essentially defined disco’s commercial peak with this double album that sold over 40 million copies. Tracks like their falsetto-driven dance anthems dominated 1978, with four number-one singles from a single soundtrack—a record that stood for decades. The film was decent, but the music created a global movement, influencing everyone from dance music producers to modern electronic artists.
Purple Rain (1984) Prince at his absolute peak delivered an album that spent 24 weeks at number one and won an Oscar for Best Original Song Score. The title track became a rock anthem, while other cuts demonstrated his genre-blending mastery of funk, rock, and pop. The semi-autobiographical film works fine, but it’s basically a feature-length music video for one of the greatest albums of the 1980s.
Trainspotting (1996) This collection of Britpop, electronica, and alternative rock captured mid-90s UK music culture perfectly. Featuring established acts alongside emerging artists, it introduced North American audiences to a specific strain of British cool. The soundtrack became a bigger cultural touchstone than the film itself, influencing fashion, club culture, and the entire “Cool Britannica” movement.
Singles (1992) Released during grunge’s commercial explosion, this soundtrack captured Seattle’s musical moment with contributions from the scene’s biggest names. It became a snapshot of alternative rock’s mainstream breakthrough, with several tracks becoming modern rock radio staples. The romantic comedy was likeable but forgettable; the music defined a generation’s sound.
Pulp Fiction (1994) Quentin Tarantino’s eclectic selection of surf rock, soul, and pop obscurities introduced younger audiences to forgotten gems and revitalized careers. The soundtrack’s unexpected juxtapositions influenced how filmmakers thought about musical curation. It sold millions and made previously obscure tracks into cultural references, demonstrating that smart musical choices could be as important as dialogue.
The Crow (1994) This dark collection of industrial rock, alternative metal, and goth influences became a landmark for 90s hard rock. Featuring original compositions and collaborations specifically created for the film, it captured a specific aesthetic that influenced countless bands. The soundtrack massively outsold the film’s box office and became a touchstone for alternative music fans.
Garden State (2004) Zach Braff’s carefully curated collection of indie rock and folk helped define the “indie soundtrack” template for the 2000s. It introduced mainstream audiences to artists who’d been toiling in obscurity and essentially created a blueprint for how independent music could reach wider audiences through film. The soundtrack won a Grammy and launched numerous careers, far exceeding the film’s cultural footprint.
Judgment Night (1993) This experimental collaboration between hip-hop artists and rock bands was ahead of its time, predicting the rap-rock fusion that would dominate late-90s mainstream rock. While the film disappeared quickly, the soundtrack’s innovative approach influenced the entire nu-metal movement and demonstrated how genre barriers could be productively crossed.
O Brother, Where Art Thou? (2000) This collection of bluegrass, folk, and traditional American music sparked a full-blown roots music revival, selling over 8 million copies and winning the Grammy for Album of the Year. It introduced mainstream audiences to traditional forms and influenced countless Americana artists. The Coen Brothers film was charming, but the soundtrack became a genuine cultural phenomenon that revitalized entire musical genres.
During the last two weekends of July, De Schorre in Boom will once again transform into the magical world of Tomorrowland. In 2026, the festival introduces CONSCIENCIA as its new theme. All Global Journey packages are already sold out, while festivalgoers worldwide are now preparing for the upcoming pre-sales and worldwide ticket sale. Just ahead of the pre-sale moments, Tomorrowland reveals a wave of artists. Once again, the festival delivers something for everyone: from timeless electronic classics to cutting-edge sounds, rising young talent and global icons. From the Mainstage to CORE, Freedom, Atmosphere and many more stages, artists from Belgium and all over the world will take the stage. CONSCIENCIA presents a powerful and diverse line-up, bridging generations, genres and global sounds.
Calvin Harris to perform at Tomorrowland Belgium for the first time.
Calvin Harris returns to the Tomorrowland universe and will make his very first appearance at Tomorrowland Belgium. After his iconic performance at TomorrowWorld in the United States in 2013, the Scottish superstar now finally takes the Mainstage in Boom. With an unparalleled catalogue of global hits, his set promises to be a standout moment for the People of Tomorrow.
More world-class names confirmed for the Mainstage include David Guetta, NERVO, Martin Garrix, Fisher, Miss Monique, Hardwell, Indira Paganotto, Sebastian Ingrosso, Sara Landry, John Summit, Dimitri Vegas & Like Mike, Henri PFR, Kevin de Vries, Lost Frequencies, Agents of Time and Chainsmokers.
For the very first time, Marlon Hoffstadt will also make his Mainstage debut. Belgian hard techno powerhouse NOVAH joins the list of debuting Mainstage artists as well.
NOVAH, from Antwerp underground to global techno force
Rising from Antwerp’s underground scene, NOVAH is a driving force known for her intense energy, genre-fluid sound and commanding presence behind the decks. Her breakout single Papi exploded into a global anthem, amassing more than 5.5 million streams, laying the foundation for her latest release ACID on Tomorrowland Music. In 2025, NOVAH dominated dancefloors worldwide with 168 shows, including a standout performance at The Gathering at Tomorrowland Belgium.
In 2026, NOVAH is set to perform at Tomorrowland Winter and Tomorrowland Belgium, marking another major milestone in her career.
Face 2 Face
This concept places DJs either sideways to the crowd or positioned in the middle of the venue, creating a fresh and immersive experience. Confirmed Face 2 Face sets include:
After the tribute to Illusion last summer, Tomorrowland continues to honour Belgium’s rich electronic music heritage with ‘Tribute to Belgium: Cherry Moon’.
A wide range of genres, new hosts and artists to discover
From EXHALE by Amelie Lens to hard techno at Atmosphere, Tomorrowland once again embraces musical diversity.
Atmosphere will host heavy-hitting names such as Sara Landry, Nico Moreno, I Hate Models, NOVAH, Holy Priest, Onlynumbers, Azyr, Dyen b2b Maddix, BYORN b2b Shlømo and many more.
World première: Hardwell b2b Sub Zero Project at the Library.
CORE continues its global journey with editions in Medellín, Alpe d’Huez and Los Angeles, before returning to its iconic home at Tomorrowland Belgium. On stage: The Blessed Madonna b2b HAAi, Oscar and the Wolf, Job Jobse, Avalon Emerson b2b Ben UFO, Antdot, Modeselektor (DJ set), Sasha b2b Young Marco, Sally C, Bibi Seck, Helena Lauwaert, and more.
New in 2026 is a stage dedicated to (deep) Afro-house vibes, featuring Da Capo b2b Caiiro b2b Enoo Napa, AWEN, Danni Gato, Thakzin, Rosey Gold and Vanco.
Belgian pride Pegassi delivers an exclusive audiovisual show at the Freedom stage, and the legendary Symphony of Unity returns with a breathtaking 50-piece orchestra.
and yes… Omdat Het Kan & Average Rob are back. On met la patate!
Tomorrowland & One World Radio present: the 20 of 2026
Last week, Tomorrowland and One World Radio unveiled the 20 of 2026, highlighting the most promising artists to watch this year. Several of these rising stars will perform at Tomorrowland Belgium this summer, including: Shimza, Lisa Korver, Lammer, NOSI, IDEMI, BYORN, Oskar Med K, Malive, Bullet Tooth, Marsolo, Portex, Rosey Gold, and Sam Shure.
Bassrush
Following successful collaborations at UNITY in Sphere Las Vegas and the first CORE edition in Los Angeles, Tomorrowland teams up once again with Insomniac. This time, the collaboration lands in Belgium with Bassrush hosting a dedicated stage. Founded in 2002, Bassrush is Insomniac’s longest-running genre-focused brand and a cornerstone for drum & bass culture, hosting stages and events at festivals worldwide.
Celebrating 30 years of DIM MAK
Tomorrowland will also celebrate 30 years of DIM MAK, the iconic label founded by Steve Aoki, marking three decades of boundary-pushing electronic music.
Ticket sales – Tomorrowland Belgium 2026
Belgian Pre-Sale: January 24, 11:00 CET
Worldwide Pre-Sale: January 24, 17:00 CET
Worldwide Ticket Sale: January 31, 17:00 CET
Use the Tomorrowland Account or create one via my.tomorrowland.com to pre-register and gain access to the ticket sales.
Sphere Entertainment Co. and WaterTower Music have announced the release of The Wizard of Oz at Sphere: The Soundtrack, featuring the original film score newly re-recorded exclusively for the immersive experience currently running at Sphere. Alongside the re-learned orchestral score, the album includes a previously unheard a cappella recording of Judy Garland performing “Over the Rainbow,” presented for the first time in its isolated vocal form.
To create the music for The Wizard of Oz at Sphere, the original vocal stems were carefully separated while the Academy Award-winning orchestral score was completely re-recorded to suit Sphere’s immersive sound environment. Garland’s vocals remain untouched, allowing “Over the Rainbow” to be heard exactly as it was performed live in the studio in 1939, now stripped of orchestration. “I am incredibly excited for everyone to hear my mother’s a cappella recording of ‘Somewhere Over the Rainbow,’ which captures her incredible artistry at 16 years old,” says Lorna Luft. “This a cappella version highlights not only her incredible ability as both a singer and actor, but also how she brilliantly internalized the lyrics of E.Y. Harburg and the music of Harold Arlen.”
Preserving authenticity was central to the project, with the score performed and re-recorded by an 80-plus-piece orchestra on the same historic scoring stage used for the original 1939 sessions. Period-accurate techniques were employed throughout, including vintage vibrato phrasing and pizzicato string styles, and even the original ocarina used on “If I Only Had a Brain” was sourced and played again, passed down through generations of musicians. Inside Sphere, the new recording is experienced through the venue’s Sphere Immersive Sound system, placing each instrument precisely within a three-dimensional sound field that allows audiences to step directly inside the music.
“At Sphere, audiences hear and experience the beloved score like never before — and now they can take a part of that experience home with them,” says Carolyn Blackwood, Head of Sphere Studios. Grammy Award-winning music supervisor Julianne Jordan adds, “We’re able to hear things in the music that have never been heard before.” The album also features binaural versions of “Cyclone” and “I Am Oz,” incorporating sound design from the in-venue experience for headphone listeners. The soundtrack is now available digitally, offering a new way to experience one of cinema’s most enduring scores.
Track Listing:
Main Titles (The Wizard of Oz)
Trouble in School
“Over the Rainbow”
Miss Gulch
Leaving Home
Crystal Gazing
Cyclone
Arrival in Munchkinland
Munchkinland / Threatening Witch
Leaving Munchkinland
Good Fairy Vanishes / Follow the Yellow Brick Road / You’re Off to See the Wizard / The Cornfield
“If I Only Had a Brain”
“We’re Off to See the Wizard” (Duet)
The Apple Orchard, Pt. 1
The Apple Orchard, Pt. 2
“If I Only Had a Heart”
Witch on Roof
Lament / “We’re Off to See the Wizard” (Trio)
Into the Forest of Wild Beasts
“If I Only Had the Nerve” / “We’re Off to See the Wizard” (Quartet) / Poppies / The Spell
Optimistic Voices
The City Gates Open
The Merry Old Land of Oz
At the Gates of Emerald City
Magic Smoke Chords
The Haunted Forest / The Jitterbug’s Attack, Pt. 1
The Jitterbug’s Attack, Pt. 2
The Witch’s Castle, Pt. 1
Toto’s Escape
The Witch’s Castle, Pt. 2
Toto Brings News
March of the Winkies
Dorothy’s Rescue
On the Castle Wall
March of the Winkies (Reprise)
The Wizard’s Exposé / Emerald City Graduation / Fill-In Awards
Fill-In Awards / Balloon Ascension
I Hereby Decree / Glinda Returns
Delirious Escape / Delirious Escape Continued / End Title / End Cast
