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Blue Rodeo’s 40th Anniversary Marked With New Album and Documentary

Eric Alper
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Blue Rodeo’s 40th Anniversary Marked With New Album and Documentary

Canadian music icons Blue Rodeo are celebrating 40 years together with the release of Greatest Hits: Vol. 2 and the award-winning documentary Blue Rodeo: Lost Together. The announcement of the Greatest Hits album aligns with the anniversary of Blue Rodeo’s first show at Toronto’s Rivoli on February 8, 1985. The album will be released March 21 – click here to preorder now. Watch the documentary free starting February 19 on CBC Gem.

Greatest Hits: Vol. 2 draws from the band’s extensive catalogue to bring a comprehensive overview of the band’s prolific output. Celebrate 40 years of Blue Rodeo with this latest collection of Blue Rodeo’s best loved songs featuring fan-favourites from their debut album, Outskirts, to their most recent release, Many a Mile.

The documentary Blue Rodeo: Lost Together, directed by Dale Heslip, delves into the band’s history, exploring their creative process, personal challenges, and enduring friendships. Featuring interviews with band members past and present along with industry insiders, the film provides an intimate portrait of Blue Rodeo’s journey, highlighting their impact on the Canadian music landscape. It’s the ultimate tribute to Blue Rodeo’s legacy, and a story that will resonate with everyone who believes in the power of music to transform lives.

Blue Rodeo: Lost Together won the 2024 Audience Award for a feature-length film at the Whistler Film Festival, and was the #1 Canadian film in Canada this week. The feature-length documentary premieres February 19 on the free CBC Gem streaming platform and the CBC Docs YouTube channel, followed by a national broadcast on CBC TV on March 23. In addition to its CBC release, the film is in the midst of a 26 market theatrical run at select Cineplex Odeon theatres. See below for a full list of remaining dates.

Formed in 1984 by high school friends Jim Cuddy and Greg Keelor, Blue Rodeo emerged as a countrified rock band in an era dominated by hair metal and glossy pop. Their journey began after spending three years in New York, where the pair struggled to attract label interest. Returning to Toronto, Jim and Greg were inspired by the changed and vibrant city and the wealth of talent and musical styles in venues all over town. The pair quickly made the decision to ignore trends and set out to create something true to themselves, in fact, to create a “psychedelic country band”, and Blue Rodeo was born.

Joined by bandmates Bazil Donovan, Cleave Anderson, and Bobby Wiseman, Blue Rodeo quickly gained momentum, filling venues and ascending to the top of the charts. Their commitment to authenticity and distinctive sound became the cornerstone of Blue Rodeo’s enduring success in the Canadian music scene.

The magic of Blue Rodeo’s sound comes from the distinct yet complementary songwriting styles of its lead singers, paired with the exceptional musicianship of its members. This songwriting partnership has been a driving force behind the band’s success, producing a catalogue of songs that have resonated deeply with Canadians for decades. Their songs often tell stories that are rooted in Canadian experiences and landscapes, capturing the essence of the country’s cultural identity. Through their songwriting and musicianship, Blue Rodeo has created a lasting legacy that continues to inspire and influence generations of musicians.

Today, the band has expanded to include original member Bazil Donovan, whose bass lines provide a rock-solid foundation, with drummer Glenn Milchem’s dynamic playing driving every song forward. Keyboardist Michael Boguski adds rich textures, Colin Cripps deepens the sound with his masterful guitar work and harmonies, and multi-instrumentalist Jimmy Bowskill brings versatility with guitar, mandolin, pedal steel, and fiddle, rounding out the band’s signature blend of country, rock, and roots.

Blue Rodeo will continue to celebrate their 40th anniversary with a number of exciting upcoming events throughout the year. Stay tuned to their channels for all the exciting details.

Greatest Hits, Vol. 2 Tracklisting:
Head Over Heels
What Am I Doing Here
How Long
Hasn’t Hit Me Yet
I Can’t Hide This Anymore
Cynthia
Bulletproof
Dust to Gold
Rain Down on Me
When You Were Wild
Somebody Waits
English Bay
Til I Am Myself Again
Disappear
Better off as We Are
Lost Together
Blue Rodeo: Lost Together

Theatrical Showings:
Date Theatre/City Province
2/7 Playhouse Hamilton ON
2/8 Invermere Film Festival BC
2/9 Victoria Film Festival BC
2/25 Cinecenta Victoria BC
3/2 Kingston Canadian Film Festival ON

The Isley Brothers Set to Perform at the 26th Annual Super Bowl Soulful Celebration

Eric Alper
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The Isley Brothers Set to Perform at the 26th Annual Super Bowl Soulful Celebration

he 26th Annual Super Bowl Soulful Celebration, the only NFL-sanctioned multicultural and inspirational event of Super Bowl weekend, is set to captivate audiences with a special performance by the legendary Isley Brothers. The celebration will premiere in primetime on FOX on Saturday, February 8, at 8 PM ET/7 PM CT.

As part of this extraordinary night of music, faith, and football, the Isley Brothers will take the stage alongside an incredible lineup of artists, including Yolanda Adams, Master P, Lucky Daye, Big Freedia, Muni Long, Trombone Shorty, Jonathan McReynolds, Tori Kelly, and the NFL Players Choir.

The impact of the Isley Brothers’ music extends far beyond their own iconic career, reaching even today’s biggest stars. Super Bowl Halftime headliner Kendrick Lamar has shared that listening to The Isley Brothers is part of his personal ritual to calm his excitement before stepping onto the world’s biggest stage. Their timeless sound continues to inspire and set the tone for historic performances, proving their influence transcends generations.

Hosted by Bill Bellamy and Rocsi Diaz, this year’s Super Bowl Soulful Celebration will also honor NFL legends and leaders, including Michael Strahan (Lifetime of Inspiration Award), Cameron Jordan (Community Award), and Jared Verse (Rising Star Award).

Tune in to FOX on Saturday, February 8, at 8 PM ET/7 PM CT, with additional airings on FS1, FOX Sports VOD, FOX Soul, and Tubi.

5 Surprising Facts About Hole’s “Live Through This”

Eric Alper
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5 Surprising Facts About Hole’s “Live Through This”

There are albums that define a decade, and then there are albums that shake the ground beneath it. Live Through This is both. Released on April 12, 1994, just days after Kurt Cobain’s death, Hole’s sophomore album remains one of the most visceral, raw, and fearless records of the ‘90s. Courtney Love and company took the unfiltered rage of Pretty on the Inside and injected it with haunting melodies and razor-sharp songwriting. It’s beautiful, it’s brutal, and it’s still one of the most talked-about albums of its time.

But even after all these years, there are still some things about Live Through This that might surprise you. Let’s dive into five facts that even the biggest Hole fans might not know.

1. Kurt Cobain’s Involvement: More Than Just Rumors

The persistent myth that Kurt Cobain secretly wrote Live Through This has been debunked countless times, but his influence on the record was undeniable. Cobain sang uncredited backing vocals on two tracks—“Asking for It” and “Softer, Softest”—and according to producer Sean Slade, may have provided harmonies on additional songs. However, the band, producers, and music biographers have all refuted the ghostwriting claim. What’s more interesting? Courtney Love was actually competing with Cobain, pushing herself to write sharper, more melodic songs in response to Nevermind. She wanted Live Through This to be more than just a follow-up to Pretty on the Inside—she wanted it to be bigger than anything Nirvana had done.

2. Kristen Pfaff’s Basslines Were Done in a Single Take

Kristen Pfaff, Hole’s then-new bassist, brought a level of musicianship that elevated the band’s sound. Producer Sean Slade later revealed that every single one of Pfaff’s bass tracks on Live Through This came from the original basic recordings—no overdubs, no fixes. That’s almost unheard of in studio recordings. Pfaff, a classically trained musician, locked in with drummer Patty Schemel, creating a tight, thunderous rhythm section that added depth and polish to the album’s feral energy. Tragically, Live Through This would be the only Hole album Pfaff would play on—she died of a heroin overdose just two months after its release.

3. The Hidden Riot Grrrl Diss Track

The last track on Live Through This is labeled as “Rock Star,” but it’s actually a song called “Olympia.” Due to a last-minute switch, the intended song “Rock Star” was replaced with “Olympia,” yet the album artwork had already been printed with the wrong title. Why does that matter? Because “Olympia” is a not-so-subtle jab at the riot grrrl scene and Evergreen State College’s punk elitism. Love, once an ally of the movement, had grown disillusioned with what she saw as its exclusivity and self-righteousness. The song sarcastically mocks the scene’s “nonconformist” conformity, with lyrics like “We took punk rock, and we got a grade.” That’s right—before Twitter feuds, punk bands were already throwing shade in the liner notes.

4. The Cover Model Didn’t Know She Was on the Album

The striking album cover, featuring a sobbing beauty queen with mascara-streaked tears, has become one of the most iconic images of the ‘90s. The woman on the cover? Model Leilani Bishop. But here’s the kicker—she didn’t even know her photo was going to be used for Live Through This. The image was shot by renowned photographer Ellen von Unwerth, and Bishop had no clue it would become one of the defining visuals of alternative rock. Courtney Love later explained that she wanted to capture the desperate, chaotic euphoria of winning—because sometimes, victory comes at a cost.

5. There’s a Lot of Anne Sexton in This Album

Courtney Love’s lyrics are often autobiographical, but Live Through This is also steeped in literary influences—especially the poetry of Anne Sexton. Love has cited Sexton as a major inspiration, and direct references to her work appear throughout the album. The phrase “kill-me pills” in “Miss World” is lifted from Sexton’s writing about barbiturates, while the refrain in “Plump” echoes the poet’s themes of self-destruction and overconsumption. Love’s ability to blend raw emotion with highbrow literary references gave Live Through This a depth that set it apart from its grunge-era counterparts.

Live Through This is a battle cry, the sound of survival, of reinvention, of a woman refusing to be ignored. Almost three decades later, its power hasn’t faded. Every scream, every whispered lyric, every jagged guitar riff still cuts through like it did in 1994.

The album remains a milestone in alternative rock, proving that beauty and brutality can coexist in the same breath. And while the headlines around it may have been filled with tragedy and controversy, Live Through This endures not because of the chaos surrounding it, but because it’s a damn near perfect album.

5 Surprising Facts About The Allman Brothers’ “At Fillmore East”

Eric Alper
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5 Surprising Facts About The Allman Brothers’ “At Fillmore East”

There are live albums, and then there’s At Fillmore East, the high-voltage, blues-soaked, jazz-infused, two-night jam session that cemented The Allman Brothers Band as one of the greatest live acts of all time. Released in 1971, this double LP wasn’t just a breakthrough for the band; it was a masterclass in Southern rock improvisation, a love letter to the blues, and an unfiltered snapshot of a group at their creative peak. But even after decades of praise and “best live album of all time” rankings, there’s still plenty about At Fillmore East that remains under the radar. Let’s dive into five things you probably didn’t know about this legendary album.

1. The Album Almost Had Horns (And It Nearly Ruined Everything)

During the first night of recordings, the band decided to bring out saxophonist Rudolph “Juicy” Carter, an impromptu addition that wasn’t exactly part of the plan. Producer Tom Dowd, a legend in his own right, immediately recognized a problem—Carter’s playing was bleeding into every microphone, making it impossible to isolate or remove if needed. Despite Duane Allman’s love for the additional layers, Dowd made the executive call to drop those recordings entirely. The decision saved the album, preserving the Allmans’ signature dual-guitar attack without an overpowering brass section. The horn experiment was never repeated, and the At Fillmore East we know today remains an unfiltered display of the band’s raw, unadulterated sound.

2. It Wasn’t Meant to Be a Double LP

When The Allman Brothers Band set out to record a live album, the plan was for a single LP—just a handful of their best songs, wrapped up neatly for radio-friendly consumption. But once Dowd and the band started reviewing the recordings, it became clear that cutting the performances down to fit a standard-length album would be a crime against rock ‘n’ roll. Tracks like “Whipping Post” and “You Don’t Love Me” stretched past the 20-minute mark, and each song built upon the last with ferocious momentum. The result? A four-side double LP with only seven tracks—an unconventional choice at the time, but one that helped define the album’s legend.

3. The Cover Photo Captures a Hidden Moment of Rock and Roll Rebellion

The album cover—featuring the band casually lounging with their road cases—looks like a candid backstage moment, but there’s more to it than meets the eye. The shoot took place in an alley in Macon, Georgia, early in the morning, and the band was not thrilled about being woken up for it. But as the session wrapped up, Duane Allman spotted a friend and quickly snagged a bag of contraband, tucking it discreetly in his lap. The resulting laughter from the band gave photographer Jim Marshall the perfect moment to capture, turning a groggy morning photoshoot into a legendary image of camaraderie and mischief.

4. Bill Graham Didn’t Want Them Closing the Show—At First

The Fillmore East was legendary for its stacked lineups, and when The Allman Brothers Band was booked for these March 1971 performances, they were originally billed as an “extra added attraction” beneath Johnny Winter and the Elvin Bishop Group. But as the weekend unfolded, something unexpected happened: The Allmans were blowing the roof off the place. By the third night, Bill Graham—one of the toughest concert promoters in the business—knew what had to be done. He switched the billing, making The Allman Brothers Band the closing act, a move that solidified their reputation as one of the most electrifying live bands of their era.

5. The Album Ends with a Hidden Teaser for What Came Next

If you listen closely to the very end of At Fillmore East, you’ll hear something special. After the final notes of “Whipping Post” fade into thunderous applause, Butch Trucks begins to play the kettledrum intro to “Mountain Jam”—a song that doesn’t appear on the album. Instead, that full 33-minute version of “Mountain Jam” would be released a year later on Eat a Peach, their next album. This unintentional teaser left fans with a subconscious cliffhanger, making At Fillmore East not just a masterpiece in its own right, but a bridge to the next chapter of the band’s journey.

At Fillmore East is the sound of a band that lived and breathed its music, pushing the limits of blues, rock, and jazz into something transcendent. Every listen reveals a new detail, a hidden nuance, an inspired improvisation that makes it feel like you’re hearing it for the first time. The album didn’t just catapult The Allman Brothers Band to fame—it changed the way live albums were made, setting a benchmark that has rarely, if ever, been surpassed.

So the next time you throw on At Fillmore East, remember: You’re stepping into the Fillmore, surrounded by an audience that knew they were witnessing something special.

IU’s Concert Film The Winning Hits Cinemas Worldwide Showcasing Her Electrifying HEREH World Tour

Eric Alper
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Ahead of K-pop sensation IU’s IU CONCERT : THE WINNING hitting cinemas worldwide, a new performance clip from her electrifying “HEREH World Tour” showcasing film has been released.

Captured live from her Seoul World Cup Stadium concert, IU CONCERT : THE WINNING will immerse audiences in a breathtaking visual and auditory spectacle. From her unforgettable performances of hits including the aforementioned “Shopper,” plus “Love wins all,” “Holssi,” “Celebrity, “Last Fantasy,” and more, to the spectacular drone show that illuminated the Sangam night sky, IU CONCERT : THE WINNING offers a front-row seat to one of K-pop’s most beloved artists. With IU’s ever increasing global appeal and critical acclaim, this film is poised to captivate both longtime fans and newcomers alike.

Starring IU, directed by Yeji Lee and Yoondong Oh, produced by David Tu Sun Song, by production company  CJ 4DPLEX, SCREENX Studio, and distributed in all markets (except Korea & Japan) by Trafalgar Releasing. Limited screenings beginning worldwide February 5., with screenings in South Korea starting January 24.

In addition to standard cinematic formats, fans can experience even more with screenings in SCREENX, 4DX, and ULTRA 4DX special formats, where available.

For a list of participating local cinemas, ticket booking links, and details of special format screenings, visit iuconcertthewinning.com.  

Since her debut in 2008, IU has solidified her position as a top artist in the Korean music industry, thanks to her remarkable vocal talent and creative endeavors. Continuously refining her music production skills, IU has explored various musical avenues, earning praise for musical diversity and emotional depth, consistently topping music charts. Her iconic tracks include <YOU&I>, <Blueming>, and <Good Day>, among others, and she continues to express her passion on stage, captivating the hearts of many by exuding the different charms of each song.

On February 20, 2024, IU released her sixth mini-album, her first in approximately 2 years and 2 months, during which she stayed active through acting and various other projects. IU dedicated her time to oversee the album’s production and contributed to the lyrics of every song, enhancing its perfection. Upon its release, the album received an overwhelming response, dominating various music charts and reaffirming IU’s status as the ‘Music Queen’. And alongside the album, IU announced the eagerly awaited ‘2024 IU HEREH World Tour Concert’, providing an opportunity for her UAENAs to experience her music live both in Korea and internationally. The announcement of the tour, four years after her last ‘Love, Poem’ in 2019, brought immense joy to UAENAs worldwide.

TREASURE Announces First-Ever U.S. Tour [SPECIAL MOMENT] Tour Dates Revealed

Eric Alper
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TREASURE Announces First-Ever U.S. Tour [SPECIAL MOMENT] Tour Dates Revealed

Today, YG Entertainment’s boy group TREASURE announced their first-ever run of U.S. tour dates, taking place this spring. Produced by Live Nation, the four-city run of shows kicks off on Sunday, April 6 in Brooklyn, NY at Brooklyn Paramount, with additional stops in Washington, DC and Oakland, CA before wrapping up on Sunday, April 13 in Los Angeles, CA at YouTube Theater. TREASURE 2025 FIRST US TOUR [SPECIAL MOMENT] aims to strengthen the group’s expanding global presence and deepen their connection with fans worldwide.

The 2025 tour follows TREASURE’s 2024 run, RELAY TOUR [REBOOT], spanning cities like Manila, Hong Kong, Bangkok, Kuala Lumpur, and Jakarta. The tour concluded with a spectacular finale, [REBOOT] FINAL IN SEOUL. This grand culmination further solidified their reputation as versatile, all-rounded artists.

Tickets will be available starting Friday, February 7 at 3PM local time at livenation.com. Fans can also purchase VIP Packages, which may include premium tickets, post show group photo op with TREASURE, access to the post show Hi-Bye session, specially designed gift item & more. VIP package contents vary based on offer selected. For more information, visit vipnation.com.

TREASURE closed out 2024 with the release of ‘LAST NIGHT,’ a digital single that followed their earlier high-energy hit ‘KING KONG‘ from earlier in the year. This track showcases a softer, more enchanting side of the group, captivating fans worldwide and highlighting their evolving charm as they continue to rise as global artists.

TREASURE debuted in August 2020 with their single [THE FIRST STEP : CHAPTER ONE], continuing the legacy of YG Entertainment’s iconic boy groups. TREASURE quickly captured attention by sweeping the ‘Rookie of the Year’ awards at major Korean music award shows.

In 2023, the group released their second full-length album, [REBOOT], which showcased a bold transformation in their image and performances. The album made a powerful impact on global audiences, with cumulative sales exceeding 1.71 million copies, firmly establishing TREASURE as a million-seller group.

TREASURE 2025 FIRST US TOUR [SPECIAL MOMENT] DATES:
Sun Apr 06 – Brooklyn, NY – Brooklyn Paramount
Tue Apr 08 – Washington, DC – The Theater at MGM National Harbor
Thu Apr 10 – Oakland, CA – Paramount Theatre
Sun Apr 13 – Los Angeles, CA – YouTube Theater

Pete Townshend ‘The Studio Albums 8-CD Box Set Released On March 28, 2025

Eric Alper
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Pete Townshend ‘The Studio Albums 8-CD Box Set Released On March 28, 2025

UMe is proud to announce PETE TOWNSHEND THE STUDIO ALBUMS, an 8-CD Box Set that collects all of Townshend’s solo studio albums for the first time.

Newly remastered by Jon Astley, the new set is the perfect accompaniment to last year’s ‘Live In Concert 1985-2001’ box. It features expanded deluxe packaging in a CD-sized box with new art by longtime Townshend collaborator Richard Evans, sleeve notes by band archivist Matt Kent, a new exclusive Pete Townshend foreword, and rare photos and memorabilia in a 28-page book.

The boxset features seven albums: Who Came First, Rough Mix (with Ronnie Lane), Empty Glass, All The Best Cowboys Have Chinese Eyes, White City (A Novel), The Iron Man: The Musical by Pete Townshend, and Psychoderelict, as well as the music only version of Psychoderelict.

Who Came First was Townshend’s debut solo record, first released in 1972. The album collected tracks from Pete’s private pressings of his tributes to Meher Baba ”Happy Birthday” and “I Am” and demos from the unrealized concept album Lifehouse, part of which became The Who’s classic Who’s Next album. The cover photo of Townshend taken by Graham Hughes (who also shot the cover of The Who’s Quadrophenia) features Pete standing on eggs and is a reference to the philosophical dilemma “Who came first? The chicken or the egg?.”

Rough Mix was initially released in September 1977 while The Who were on hiatus. It was a collaboration with Small Faces bassist the late Ronnie Lane and features contributions from Who bassist John Entwistle, Eric Clapton, and Rolling Stones drummer Charlie Watts, among others. The orchestral arrangements for the track “Street in the City” were provided by Townshend’s then father-in-law, noted British film and television theme composer Edwin Astley.

Empty Glass, produced by Chris Thomas (Roxy Music, Sex Pistols, Pretenders, Wings), was Pete’s next solo release, appearing in April 1980. The songs predominantly deal with issues Townshend was struggling with at the time, including alcohol, drugs, and the death of Keith Moon, The Who’s former drummer. The second single from the album “Let My Love Open the Door” was a U.S. Top Ten hit, propelling the album to #5 on the US Billboard chart, and the first single “Rough Boys,” which was dedicated to Pete’s children and The Sex Pistols, was a U.K. top 40 hit. The album was well received at the time, with some critics even referring to it as a Who album that never was.

All The Best Cowboys Have Chinese Eyes, released in June 1982, was Pete’s next solo release and contained two singles “Uniforms (Corp d’Esprit)” and “Face Dances (Pt 2),” as well as “Somebody Saved Me” a song The Who had recorded for their 1981 album Face Dances, which didn’t appear until 1997. The track “The Sea Refuses No River” has since been singled out as one of Townshend’s most underrated songs.

Chris Thomas once again produced the album, featuring Simon Philips on drums and Jody Linscott on percussion, who would later perform with The Who. Promo videos were made for seven tracks from the album (“Prelude,” “Face Dances Pt 2,” “Communication” “Uniforms,” “Stardom In Acton,” “Exquisitely Bored” and an alternate version of “Slit Skirts”) by renowned photographers Davies & Starr (Chalkie Davies and his then-wife Carol Starr) and released on VHS. Pete didn’t get to play the album live as three months after its release, The Who’s It’s Hard appeared, and the band undertook their farewell tour.

White City (A Novel) was released in the autumn of 1985. As the title suggests, the album tells a story of cultural conflict, racial tension and youthful hopes and dreams in the White City, London housing estate in the 1960s, not far from where Pete grew up. White City (A Novel) was again produced by Chris Thomas and features guest appearances by David Gilmour, Clem Burke, John ‘Rabbit’ Bundrick, Pete’s daughter Emma and a young Justine Frischmann, who would later form the Brit-Pop band Elastica. As with his previous album, Pete filmed several videos but this time compiled them into a long-form video, White City (The Music Movie) featuring the singles “Face the Face” and “Give Blood,” directed by Richard Lowenstein, who had worked extensively with INXS.

The Iron Man: The Musical by Pete Townshend from 1989 is an adaptation of Ted Hughes’ famous short story, The Iron Man. The album was produced and mainly composed and performed by Townshend but also features performances from Roger Daltrey, legendary bluesman John Lee Hooker and the astonishing Nina Simone. The three then-surviving original members of The Who (Daltrey, John Entwistle, and Townshend) perform two songs, “Dig” and a cover of The Crazy World of Arthur Brown’s “Fire.” A stage version was mounted at The Young Vic Theatre in 1993, where 20 years earlier, The Who had debuted songs for Life House/Who’s Next, which led to a movie version in 1999 for which Pete received an executive producer credit.

Psychoderelict, released in 1993, is Pete’s last solo album to date. Structured like a radio play with dialogue, it follows Ray High, a reclusive 60s rock star who resurfaced in Townshend’s novella The Boy Who Heard Music and in the mini rock opera Wire & Glass, the centrepiece of The Who’s Endless Wire album. The album is presented both with and without the dialogue of the original release.

Pete Townshend says of his solo studio work, “I have always written first for myself. Not as an artist but for play, for fun, for joy, for self-expression. For therapy? In a way, of course. These solo songs are therefore not Who exclusions or out-takes, they are part of a story that may well have been very different had I not made some poor decisions in the early ’80s. I have stories to tell about every song, and one day I may write a book that tells of that journey, but I’m probably happier spending my time today writing new music rather than explaining how the old stuff came about”.

PETE TOWNSHEND – THE STUDIO ALBUMS

DISC ONE – WHO CAME FIRST
Pure and Easy
Evolution
Forever’s No Time At All
Let’s See Action
Time Is Passing
There’s a Heartache Following Me
Sheraton Gibson
Content
Parvardigar

DISC TWO – ROUGH MIX (PETE TOWNSHEND / RONNIE LANE)
My Baby Gives It Away
Nowhere To Run
Rough Mix
Annie
Keep Me Turning
Catmelody
April Fool
Street In The City
Heart To Hang Onto
Till The Rivers Run Dry

DISC THREE – EMPTY GLASS
Rough Boys
I Am An Animal
And I Moved
Let my Love Open The Door
Jools And Jim
Keep On Working
Cat’s In The Cupboard
A Little Is Enough
Empty Glass
Gonna Get Ya

DISC FOUR – ALL THE BEST COWBOYS HAVE CHINESE EYES
Stop Hurting People
The Sea Refuses No River
Prelude
Face Dances Part Two
Exquisitely Bored
Communication
Stardom In Acton
Uniforms
North Country Girl
Somebody Saved Me
Slit Skirts

DISC FIVE – WHITE CITY (A NOVEL)
Give Blood
Brilliant Blues
Face The Face
Hiding Out
Secondhand Love
Crashing By Design
I Am Secure
White City Fighting
Come To Mama

DISC SIX – THE IRON MAN: THE MUSICAL BY PETE TOWNSHEND
Pete Townshend With Deborah Conway – I Won’t Run Anymore
John Lee Hooker – Over the Top
Simon Townshend – Man Machines
The Who – Dig
Pete Townshend – A Friend Is a Friend
John Lee Hooker – I Eat Heavy Metal
Pete Townshend With Deborah Conway and Chyna – All Shall Be Well
Pete Townshend – Was There Life
Nina Simone – Fast Food
Pete Townshend – A Fool Says…
The Who – Fire
Chyna With Pete Townshend and Nicola Emmanuel – New Life / Reprise

DISC SEVEN – PSYCHODERELICT
English Boy
Meher Baba M3
Let’s Get Pretentious
Meher Baba M4 (Signal Box)
Early Morning Dreams
I Want That Thing
Dialogue Introduction To ‘Outlive The Dinosaur’
Outlive The Dinosaur
Flame (Demo)
Now And Then
I Am Afraid
Don’t Try To Make Me Real
Dialogue Introduction To ‘Predictable’
Predictable
Flame
Meher Baba M5 (Vivaldi)
Fake It
Dialogue Introduction To ‘Now And Then (Reprise)’
Now And Then (Reprise)
Baba O’Riley (Demo)
English Boy (Reprise)

DISC EIGHT – PSYCHODERELICT – MUSIC ONLY
English Boy
Meher Baba M3
Let’s Get Pretentious
Meher Baba M4
Early Morning Dreams
I Want That Thing
Outlive The Dinosaur
Now And Then
I Am Afraid
Don’t Try To Make Me Real
Predictable
Flame
Vivaldi – Meher Baba M5
Fake It
English Boy (Reprise)

STYX Announces Rockin’ in Paradise Music Vacation with Loverboy Cheap Trick and More in Miramar Beach

Eric Alper
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STYX Announces Rockin’ in Paradise Music Vacation with Loverboy Cheap Trick and More in Miramar Beach

Topeka, leaders in U.S. based destination vacations, confirm they have teamed up with legendary multi-Platinum Rockers STYX, who will be curating a brand new “Rockin’ in Paradise with STYX + Friends” three day music vacation weekend on the beautiful gulf shores of Miramar Beach, Florida. “STYX + Friends” is set to take place October 9 – 11, 2025.

“STYX + Friends” will feature two special performances by STYX with one being the last time the band will perform their hit Grand Illusion album in its entirety in 2025 along with all the hits. “Rockin’ in Paradise” brings a stellar line-up of iconic rock artists including Loverboy, Cheap Trick, 38 Special, Collective Soul, John Waite, Lawrence Gowan and Edwin McCain.

“We are so excited to bring you Rockin’ in Paradise in Miramar Beach,” proclaims Tommy Shaw. “One of my favorite places to visit. Our Friends can’t wait to join us to bring you this one-of-a-kind experience. Let’s Rock this October!”

Redefining the music festival experience, Topeka allows guests to immerse themselves in live music from the comfort of their own personal cove complete with delivery of all food, drinks and merchandise within five minutes at a 5,500-capacity open air green space venue complete with air conditioned bathrooms and just a short walk from guests’ beach condos or homes. Offering a more intimate and unique experience, guests spend the day under the sun at the beach with activities planned just for STYX fans and nights under the stars seeing their favorite artists.

Presale sign-ups begin today at 2pm EST, and general on sale begins FRIDAY, FEBRUARY 14 at 2:00PM EST. All guests who book in the pre-sale will receive a “Rockin’ in Paradise” collectors coin. All guests who book their accommodations through Topeka will receive a special “Rockin’ in Paradise” branded backpack cooler.

All guests attending will enjoy a Q&A with STYX, hosted by popular rock talk show personality, Eddie Trunk. Payment plans available at just $75 for fans to reserve their vacation. More info and to sign up for the presale here.

The seven men comprising Styx — James “JY” Young (lead vocals, guitars), Tommy Shaw (lead vocals, guitars), Chuck Panozzo (bass, vocals), Todd Sucherman (drums, percussion), Lawrence Gowan (lead vocals, keyboards), Will Evankovich (mandolin, guitars) & Terry Gowan (bass, guitar, vocals) — have committed to rocking the paradise together with audiences far and wide, and each one of them is committed to making the next show better than the last.

Styx draws from over five decades of barn-burning chart hits, joyous singalongs, and hard-driving deep cuts. Like a symphony that builds to a satisfying crescendo, Styx set covers a wide range of stylistic cornerstones. From the progressively sweeping splendor that is “The Grand Illusion” to the hunker-down fortitude of all that is the “Blue Collar Man”, from the majestic spiritual love for a special “Lady” to the seething indictment of preening, primping pageantry for pageantry’s sake of “Miss America”, from an individual yearning for a true connection as a “Man In The Wilderness” to a soul-deep quest to achieve what’s at the heart of one’s personal vision in “Crystal Ball”, from the regal reach-for-the-stars bravado of “Come Sail Away” to the grainy all-in gallop of that rugged “Renegade” who had it made, the band draws on an unlimited cache of ways to immerse one’s mind and body in their signature sound.

Pop Evil Announces Spring 2025 Headline Tour What Remains with Devour the Day, Return to Dust, and Oni

Eric Alper
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Pop Evil Announces Spring 2025 Headline Tour What Remains with Devour the Day, Return to Dust, and Oni

Modern rock powerhouse POP EVIL — vocalist Leigh Kakaty, guitarists Dave Grahs and Nick Fuelling, bassist Joey “Chicago” Walser, and drummer Blake Allison — recently announced their forthcoming eighth album WHAT REMAINS. It arrives March 21 via MNRK. Pre-save it here. The vinyl pre-order lives on the band official store.

Today, the band has announced its Spring 2025 headline tour. The “What Remains” Tour begins on April 8 in Tulsa, OK and the trek runs through May 18 in Bloomington, IN. Devour the Day (which features members of Pop Evil, Joey and Blake), Return to Dust, and Oni will serve as support.

All dates are below. Get tickets and VIP packages here.

Additionally, Pop Evil have announced details of a private “Album Release Even”t with SiriusXM Octane on March 20. The event will be held at Cult of Individuality in NYC and the band will do an acoustic performance along with a Q&A hosted by Jose Mangin. Details to enter to win this experience with SiriusXM Octane to come.

“The ‘What Remains North America Tour’ is coming, and we’re bringing the chaos with us,” the band says. “This isn’t just a lineup, it’s a sonic onslaught. But this tour isn’t just another run of shows, it’s a statement. A reckoning. A test of endurance for those who crave something more. Are you ready?”

For two decades, Pop Evil frontman Leigh Kataky has needed to mine the deepest of reserves in order to drag the band up from the blue-collar grassroots of his local Michigan scene to stand proud at the top of the modern rock game. Soaring successes, bitter defeats… Leigh Kakaty has survived it all.

What Remains is the culmination and story of this journey with Pop Evil, laid bare like never before. Continuing in the recent vein of 2023’s acclaimed Skeletons, the new opus is both sonically and thematically Pop Evil’s heaviest ever offering; a thundering collection of arena-ready modern rock and metal hits in which Kakaty opens heart, mind, and soul.

“There are a lot of issues and things that I’ve dealt with in this journey of Pop Evil that I’ve buried for a long time,” the frontman explains of this document of resilience, perseverance, and accountability.

Pop Evil were born in North Muskegon, Michigan in 2001, Kakaty drawing on the lessons of a youth first shaped not by music, but by high school basketball — leadership, team work, the drive to improve in the lonely hours put in at the gym at 5am, the will to win suppressing any fear — in order to fight tooth and nail for their break-out moment.

“I was hustling and learning every day to make my dreams come true,” Kakaty recalls of his time playing local bars and slinging early EPs out of the back of his truck. “Studying never interested me. Neither did getting a regular job. A knee injury wrecked my shot at playing sports. Music was all I wanted to do from that moment, and I didn’t give myself a backup plan. Pop Evil gave me a purpose, and a reason to get up every day. It became a crusade.”

Lipstick on the Mirror, their 2008 debut, and its follow-up, War of Angels, brought acclaim and global attention; 2013’s Onyx delivered the first of the band’s nine No.1 singles and six RIAA-certified gold and platinum plaques, but also a period of darkness brought on by the grief of Kakaty losing his father. “I was completely lost … I had just missed the last five years with my dad, chasing this dream when I could have been with him. I didn’t know if I wanted or could do Pop Evil any more,” he says. The band’’s 2017 self-titled album, opened by the smash-hit “Waking Lions” was written “pretty much to save my life” – but in turn “reminded me of the fire I have inside, and that God put me here to make music that could help people.”

It’s a mission statement enshrined in Pop Evil to this day — and which provided the spark for the genesis of What Remains.

“You’re always chasing that one song that can connect with that one person,” Kakaty says. “And that process has to start with yourself. There’s a lot of personal healing on this record, a lot of things I wanted to get out for my own mental well-being. I’m finally at a place where I can confront my demons.”

Sonically, the album is a riotous explosion of life-affirming noise; a vortex of scything riffs and gut-punch drum beats that regularly give way to Pop Evil’s hallmark anthemic choruses.

“We set out to push boundaries,” nods Kakaty. “Metal has always been a part of our DNA, but we’ve never made it such a focal point before. A lot of writing on this record has been about listening to what my soul is saying and letting the songs find their own path, rather than chasing a sound that might fit in on the radio. I think you can really hear the mood and emotion of the album’s themes in the music.”

WHAT REMAINS TRACK LISTING:
“The Bullet That Missed”
“Deathwalk”
“What Remains”
“Wishful Thinking”
“Side Effects”
“Criminal”
“Enough Is Enough”
“Zero To None”
“Knife For The Butcher”
“Overkill”

POP EVIL ON TOUR:
3/20 — New York NY — SiriusXM Octane Album Release at Cult of Individuality^
4/8 — Tulsa, OK — Cains Ballroom
4/10 — Dallas, TX — Echo Soundstage
4/11 — Little Rock, AR — The Hall
4/12 — Colombia, MO — The Blue Note
4/13 — Lincoln, NE — Bourbon Theatre
4/14 — Denver, CO — Oriental
4/15 — Colorado Springs, CO — The Black Sheep
4/17 — Los Angeles, CA — Regent Theater
4/19 — Phoenix, AZ — Marquee Theatre
4/22 — Boise, ID — Knitting Factory
4/23 — Seattle, WA — The Neptune
4/24 — Spokane, WA — Knitting Factory
4/25 — Salem, OR — Elsinore Theatre
4/26 — Reno, NV — Cargo
4/29 — Vancouver, BC — Rickshaw Theatre
5/1 — Calgary, AB — The Palace Theatre
5/2 — Edmonton, AB — Century Show Room+
5/3 — Saskatoon, SK — Louis
5/4 — Winnipeg, MB — Park Theatre
5/6 — Chicago, IL — Bottom Lounge
5/7 — Green Bay, WI — EPIC
5/8 — Des Moines, IA — Wooly’s*
5/9 — Grand Rapids, MI — 20 Monroe*
5/10 — Detroit, MI — The Fillmore*
5/12 — Lititz, PA — Mickey’s*
5/15 — Charlotte, NC — The Underground*
5/16 — Myrtle Beach, SC — House of Blues*
5/17 — Louisville, KY — Mercury Ballroom*
5/18 — Bloomington, IL — The Castle Theatre*
^Pop Evil Only
*No Return To Dust
+No Devour The Day

Save Ferris Announces Spring Tour with Special Hometown Show Featuring Members of Goldfinger, Reel Big Fish, Social Distortion, and Bad Religion

Eric Alper
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Save Ferris Announces Spring Tour with Special Hometown Show Featuring Members of Goldfinger, Reel Big Fish, Social Distortion, and Bad Religion

Save Ferris has announced spring tour dates, as well as a headline hometown “Post-Valentine’s Day Valentines Day” show at Orange County’s Garden Amp on Feb 15. Special Guests appearing at the show with the band are members of Goldfinger, Reel Big Fish, Social Distortion, and Bad Religion.

This summer the band will be heading overseas for a UK/ European tour and festival dates.

Save Ferris is a ska-punk powerhouse that blends infectious energy with heart-pounding rhythms, creating a sound that’s both nostalgic and timeless. Hailing from Southern California, the band first burst onto the scene in the mid-’90s, blending ska’s signature brass and up-tempo beats with punk rock’s raw edge and rebellious spirit. Fronted by the dynamic and captivating Monique Powell, Save Ferris quickly became known for their energetic live shows and catchy, anthem-like tracks.

Their debut album, It Means Everything (1996), earned them a loyal following with tracks like “Come On Eileen,” a bold cover of Dexys Midnight Runners’ classic, which became a breakout hit. Their sound-characterized by tight horn sections, infectious guitar riffs, and Powell’s powerful vocals-immediately set them apart from other ska bands of the era.

Over the years, Save Ferris has navigated changes in both the music scene and within the band itself, but their core sound-fueled by a blend of punk, ska, and pop-is as vibrant and energetic as ever. Their passion for music and connection to fans remains a constant, and with each performance, they prove why they’re one of the most memorable bands to emerge from the ’90s ska revival.

Save Ferris’ influence extends far beyond their hit songs, as they helped solidify ska-punk as a mainstream force, paving the way for countless other bands. With a sound that’s both a tribute to the past and a forward-looking reflection of their evolution, Save Ferris continues to captivate listeners, leaving a lasting mark on the music world.

Sat, Feb 15 – Garden Amp, Garden Grove, CA
Fri, Mar 14 – Belly Up, Solana Beach, CA
Sat, Apr 26 – Chop Shop, Chicago, IL
Sun, Apr 27 – The Pyramid Scheme, Grand Rapids, MI
Mon, Apr 28 – High Noon Saloon, Madison, WI
Tue, Apr 29 – Shank Hall, Milwaukee, WI
Wed, Apr 30 – xBk Live, Des Moines, IA
Thu, May 1 – Turf Club, St Paul, MN
Fri, May 2 – Waiting Room Lounge, Omaha, NE
Sat, May 3 – Bottleneck, Lawrence, KS
Sun, May 4 – WAVE, Wichita, KS
Mon, May 5 – Vanguard, Tulsa, OK
Wed, May 7 – The Basement East, Nashville, TN
Thu, May 8 – Radio Room, Greenville, SC
Fri, May 9 – Kings, Raleigh, NC
Sun, May 11 – House of Blues Orlando, Lake Buena Vista, FL
Fri, May 16 – Last Concert Cafe, Houston, TX
Sat, May 17 – Ferris Wheelers Backyard and BBQ, Dallas, TX
Tue, May 20 – The Old Rock House, St Louis, MO
Sat, May 24 – Slam Dunk Festival – South 2025, Hatfield, United Kingdom
Sun, May 25 – Slam Dunk Festival – North 2025, Leeds, United Kingdom
Sat, Jun 21 – Nectar Lounge, Seattle, WA
Sun, Aug 3 – O2 Academy Islington, London, United Kingdom
Mon, Aug 3, 2026 – O2 Academy Islington, London, United Kingdom

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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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