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ROCK FOR RONNIE 2025 Announces A Star-Studded Tribute and Fundraiser for Cancer Research

Eric Alper
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ROCK FOR RONNIE 2025 Announces A Star-Studded Tribute and Fundraiser for Cancer Research

This year’s ROCK FOR RONNIE Concert in the Park fund-raiser, benefiting the Ronnie James Dio Stand Up and Shout Cancer Fund, is set for Sunday afternoon, May 18, 2025, 11AM to 6PM, at the outdoor space adjacent to the Autry Museum of the West in Griffith Park. ROCK FOR RONNIE, an afternoon of live rock music, silent and live auctions, food trucks and fun geared to the entire family, celebrates the memory of the late singer who succumbed to gastric cancer in 2010.

Headlining this year’s ROCK FOR RONNIE will be actor and heavy metal singer Sebastian Bach and his band. Entrepreneur, author and producer Ahmet Zappa will be this year’s host. Also joining the bill will be Dio Disciples; southern rock band Jason Charles Miller; hard rock band Kill Devil Hill and the All-Stars Band, which in past years has included noted musicians such as Doug Aldrich, Steven Adler, Chris Broderick, Phil Demmel, Dave Grohl, Adrian Vandenberg, Ricky Warwick and Brian Tichy, among many others.

General Admission tickets for $65 and a limited number of VIP seating tickets for $125 are now on sale. For information, visit: www.diocancerfund.org/events

There will be ample additional opportunities to support to the Dio Cancer Fund at the ROCK FOR RONNIE via a silent auction and raffle, beverage, food and merchandise sales, artist meet and greets, a specially-created Garden of Hope and, of course, direct contributions on site. A silent auction with many exciting items available to bid on throughout the afternoon, while live auctions, featuring one-of-a-kind rock collectibles, will be held from the stage between artist performances.  Beer, wine, sodas and water will be available for sale, as well as food from various participating food trucks, plus assorted vendor booths selling unusual crafts and other items.

The new location for the event will also make it more special. “The Autry Museum park is a beautiful setting for ROCK FOR RONNIE with plenty of room for the event to grow in future years,” explains Dio Cancer Fund President-Founder Wendy Dio.  “It will be an exciting afternoon for the whole family.”  

The Ronnie James Dio Stand Up and Shout Cancer Fund was founded in memory of the legendary singer, who lost his life to gastric cancer in 2010.  A privately funded 501(c)(3) public charity, the Ronnie James Dio Stand Up and Shout Cancer Fund has already raised over $2 million since its inception. Monies raised have been committed to the cancer research work of the T. J. Martell Foundation for Cancer, AIDS and Leukemia Research, the gastric cancer research unit of the M.D. Anderson Cancer Center in Houston, where Ronnie was treated for gastric cancer during the last six months of his life, and other cancer research projects. Since 2016, the Dio Cancer Fund has committed funds to support the research of Dr. David Wong and his team at the UCLA School of Dentistry in developing a simple, non-invasive saliva test for the early detection of cancer.

100% of the net proceeds from the ROCK FOR RONNIE will go to the Dio Cancer Fund, which is now in its 14th year of raising awareness and much-needed funding for cancer prevention, education and research for a cure.  The organization also hosts the annual Bowl for Ronnie Celebrity Bowling Party in November.

Ronnie James Dio is the subject of an acclaimed documentary film, DIO: DREAMERS NEVER DIE, which is currently streaming and available on DVD and Blu-Ray+4K.

For more information, visit: www.diocancerfund.org

Moving to Brookline – Guidance for a successful relocation

Eric Alper
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By Mitch Rice

Moving to Brookline, MA, offers the best of both worlds—quick access to downtown Boston with the charm of a tree-lined suburb. Known for its diverse neighborhoods, vibrant shopping districts, and excellent schools, Brookline continues to attract families, young professionals, and students alike. Below is a comprehensive guide to help you navigate the moving process, from choosing the right movers to obtaining a Brookline moving permit.

1. Get to Know Brookline’s Neighborhoods

Coolidge Corner

  • Highlights: Home to the iconic Coolidge Corner Theatre, a variety of restaurants, and local shops.
  • Vibe: A bustling commercial district retaining a neighborhood feel; many apartments and condos along Beacon Street.

Washington Square

  • Highlights: Centered around the intersection of Beacon Street and Washington Street, known for its restaurant scene and local pubs.
  • Vibe: A lively area served by the Green Line (C branch), with both green spaces and dense residential streets.

Brookline Village

  • Highlights: Historic architecture, small businesses, and close proximity to the Longwood Medical Area.
  • Vibe: A quaint “village” feel with tree-lined streets, cozy eateries, and easy access via the Green Line (D branch).

Cleveland Circle

  • Highlights: Straddling the Brookline-Boston border, near multiple MBTA lines (B, C, and D) at or around Cleveland Circle and Reservoir stations.
  • Vibe: Popular with students and young professionals, offering a range of dining and entertainment options.

2. Planning Your Move

Timing

  • Off-Peak Seasons: Late fall or winter moves can be easier to schedule and often cost less than peak summer months.
  • Mid-Month Moves: The beginning and end of the month can be hectic due to common lease turnover dates.

Budget

  • Moving Costs: Obtain multiple estimates from moving companies to compare pricing and services.
  • Permits and Parking: Include Brookline’s permit fees in your budget if you need to reserve on-street parking.

Building Requirements

  • Elevator Reservations: If moving into a high-rise or building with restricted elevator use, reserve the elevator beforehand.
  • Certificate of Insurance (COI): Many condo associations or property managers require a COI from the moving company.

3. Top-Rated Moving Companies

Choosing a trustworthy mover is crucial for a smooth transition. Here are three reputable companies to consider:

  1. Safe Responsible Movers 
  • Why They Stand Out: Reliable crews noted for punctuality and careful handling of your belongings.
  • Pro Tip: They have extensive experience navigating Brookline’s sometimes narrow or heavily trafficked streets.
  1. Brookline Moving Company 
  • Why They Stand Out: Local expertise, deep familiarity with the Brookline area, and a focus on customer satisfaction.
  • Pro Tip: Because they’re Brookline-based, they can often offer valuable tips on street parking, building requirements, and local regulations.
  1. Big City Moving 
  • Why They Stand Out: Known for their efficient, friendly service and flexible scheduling options.
  • Pro Tip: They offer a wide range of services, including packing, storage, and specialty moves for delicate items.

Tips for Hiring Movers

  • In-Home or Virtual Estimates: Let the moving company see your items beforehand for a more accurate quote.
  • Check Reviews: Look at Google, Yelp, or local forums for honest feedback on performance and reliability.
  • Book Early: This is especially important if you’re moving during the high-demand months (spring/summer).

4. Brookline Moving Permits

Brookline enforces strict parking rules, and you may need a Brookline moving permit (also referred to as a “No Parking” or “Moving Van Permit”).

When Do You Need a Permit?

  • Large Trucks: If using a sizable box truck or moving container.
  • High-Traffic or Narrow Streets: If your move might block lanes or occupy multiple parking spaces.

How to Apply

  1. Town of Brookline Website: Look for the Transportation Division or Department of Public Works page to find application forms and guidelines.
  2. In Person (Optional): Visit Brookline Town Hall if you prefer an in-person application process.
  3. Fees: Expect a base fee plus a daily rate for each parking space. Check the official website for current pricing.
  4. Lead Time: Submit your request 1–2 weeks before the move date for best results—longer if moving during peak periods.

Posting “No Parking” Signs

  • Sign Pickup: After approval, you’ll receive or print official signs.
  • 48-Hour Rule: Signs must typically be posted at least 48 hours before the move so neighbors are notified.

5. Moving Day Logistics

Parking

  • Arrive Early: Ensure your reserved space is clear of other vehicles.
  • Respect Regulations: Even with a permit, keep driveways, hydrants, and crosswalks accessible.

Traffic & Access

  • Map the Route: Brookline has some narrow roads and ongoing construction. Check for any local detours.
  • Communicate with Movers: Let the crew know about stairs, elevator usage, or any unusual building quirks.

Weather

  • Unpredictable Climate: Brookline’s weather can change quickly—keep protective tarps or plastic covers ready.
  • Winter Moves: Salt or sand stairs and walkways to prevent slips.

6. Settling In

Address Updates

  • Massachusetts RMV: You have 30 days to update your driver’s license and vehicle registration with your new address.
  • Utilities: Electric service is typically with Eversource; gas with National Grid. Cable/internet providers include Comcast (Xfinity) and Verizon Fios, depending on location.
  • Voter Registration: Can be done online or at Brookline Town Hall once you have proof of residency.

Explore Brookline

  • Shop & Dine: Coolidge Corner, Washington Square, Brookline Village, and Cleveland Circle each offer unique atmospheres and amenities.
  • Green Spaces: Enjoy local parks, the Brookline Reservoir, and nearby segments of the Emerald Necklace.
  • Public Transportation: The MBTA’s Green Line (B, C, and D branches) serves much of Brookline.

Resident Parking Options

  • Overnight Parking Restrictions: Brookline typically does not allow overnight on-street parking without a special permit or arrangement.
  • Limited Permits: If you need overnight street parking, contact the Transportation Division to see if you qualify for any available permit programs.

Conclusion

Brookline combines suburban charm with urban convenience, boasting excellent schools, lively commercial districts, and easy access to Boston. A well-planned move—complete with the right movers (such as Safe Responsible Movers, Brookline Moving Company, or Big City Moving) and a Brookline moving permit—can make settling in a breeze. Once you’ve unpacked, explore each neighborhood’s unique character, from Coolidge Corner and Washington Square to Brookline Village and Cleveland Circle. Welcome to your new Brookline home!

Data and information are provided for informational purposes only, and are not intended for investment or other purposes.

5 Surprising Facts About Jeff Buckley’s ‘Grace’

Eric Alper
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5 Surprising Facts About Jeff Buckley’s ‘Grace’

Discovering someone else has that same cherished record is like finding a kindred spirit in a sea of strangers. Suddenly, you’re not just two people, but two souls connected by the same album. Jeff Buckley’s Grace is that album album— an ethereal, once-in-a-generation masterpiece that still has the ability to bond strangers into friends and lovers by the very nature of having it in both your collections. Released in 1994, it was overlooked at first but grew to be one of the most beloved records of all time. With Buckley’s soaring vocals, poetic lyricism, and breathtaking arrangements, Grace remains a touchstone for musicians and music lovers alike.

1. The Title Track Was Inspired by a Heartbreaking Goodbye

The haunting, celestial title track of Grace has a deeply personal origin. Buckley wrote the song after saying an emotional farewell to his girlfriend at an airport before moving to New York City. The sweeping, melancholic sound of the track perfectly encapsulates the feeling of longing and letting go. Every soaring note in Buckley’s vocal performance feels like a desperate attempt to hold onto something fleeting—making it one of his most powerful compositions.

2. “Hallelujah” Was Almost Left Off the Album

Buckley’s iconic rendition of Leonard Cohen’s Hallelujah is now considered one of the greatest covers of all time, but it almost didn’t make it onto Grace. Originally, Buckley recorded over 20 takes of the song, meticulously crafting the final version from different recordings. Columbia Records wasn’t convinced of its commercial potential, but Buckley insisted on including it. Years later, the song would go on to introduce him to an entirely new generation of listeners, proving his instincts were spot on.

3. A Last-Minute Song Change Upset Columbia Executives

In the final stages of recording Grace, Buckley had a dilemma—he had two songs competing for a spot on the album: Forget Her and So Real. The label saw Forget Her as a hit, but Buckley felt it was too commercial and ultimately decided to go with So Real instead. His decision left executives frustrated, but Buckley believed So Real was a better artistic fit. Looking back, it’s hard to argue with his choice—its eerie, dreamlike sound became one of the album’s standout moments.

4. Jeff Buckley Wasn’t Happy with Studio Recording

Buckley was known for his improvisational brilliance in live performances, and he struggled with the structured nature of studio recording. He likened it to “sound painting” and found it nerve-wracking because every recorded take was permanent. While he worked tirelessly on his vocal performances and guitar arrangements, he felt confined by the recording process. This tension may explain why his live recordings, such as Live at Sin-é, feel even more raw and transcendent than his studio work.

5. The Album Cover Was a Pure Accident

The now-iconic cover of Grace wasn’t staged—it was a candid moment. Photographer Merri Cyr captured Buckley mid-listen during a playback session of Dream Brother, his eyes closed, completely lost in the music. He was wearing a sequined jacket he had picked up from a thrift store, which added to the photo’s mystique. Columbia executives initially rejected the image, saying Buckley looked too much like a lounge singer. But Buckley insisted, and the photo went on to become one of the most memorable album covers of the ‘90s.

Like the best art and friends, Grace has only become more powerful over time. Whether you’re rediscovering it or listening for the first time, these stories make the album even more of an emotional experience. Buckley poured his soul into every note, and that spirit continues to reach new fans decades later. So put on Grace, close your eyes, and let it take you somewhere transcendent—because that’s exactly what Jeff Buckley intended.

5 Surprising Facts About Blondie’s ‘Parallel Lines’

Eric Alper
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5 Surprising Facts About Blondie’s ‘Parallel Lines’

Blondie’s Parallel Lines is the record that catapulted the band from underground new wave heroes to global superstars, thanks to the disco-infused genius of “Heart of Glass,” the raw energy of “One Way or Another,” and the sleek production of Mike Chapman. But even if you’ve spun this album a thousand times, there are still secrets buried in its grooves. Here are five little-known facts about Parallel Lines that will change the way you hear it forever, and get you on the dancefloor quicker.

1. The Album Almost Didn’t Happen Because of Studio Chaos

When producer Mike Chapman walked into the studio, he was met with a band that—by his account—was “the worst” he had ever worked with in terms of musicianship. Chris Stein was too stoned to play, Clem Burke had timing issues on the drums, and bassist Nigel Harrison was so frustrated that he once threw a synthesizer at Chapman. The tension was palpable. Debbie Harry, already skeptical of working with an L.A. producer, was moody and sometimes disappeared for hours in the middle of sessions. Despite all this, Chapman whipped them into shape, transforming their scrappy punk energy into polished pop perfection. If not for his obsessive drive, Parallel Lines could have been an entirely different album—or never finished.

2. “Heart of Glass” Was Almost Scrapped—And Rock Fans Hated It

Before it became one of the defining songs of the disco era, “Heart of Glass” was a completely different beast. Originally written as “Once I Had a Love” in the early ‘70s, it had a funky, reggae-tinged sound. When Chapman suggested giving it a more electronic, Euro-disco feel inspired by Kraftwerk and Giorgio Moroder, the band hesitated. But after layering the Roland CR-78 drum machine with live percussion, the track took on new life. The song’s success, however, came with backlash—Blondie was accused of “selling out” to disco, a controversial move at a time when rock and punk fans were firmly anti-disco. Ironically, “Heart of Glass” was never meant to be a disco song at all.

3. Robert Fripp Secretly Played Guitar on “Fade Away and Radiate”

Yes, that Robert Fripp, the mastermind behind King Crimson’s progressive rock wizardry. Fripp was brought in to add guitar textures to the dreamy, eerie track “Fade Away and Radiate,” and his signature sound gave it an otherworldly quality. But what most people don’t know is that Fripp’s contribution was entirely improvised. He listened to the track once, plugged in, and delivered a mesmerizing performance in a single take. It was so perfect that Chapman didn’t even ask him for another go. Blondie had unknowingly captured a prog-rock legend in his purest form.

4. Debbie Harry’s Stalker Inspired “One Way or Another”

“One Way or Another” isn’t just a catchy anthem—it’s a chilling real-life story. Debbie Harry wrote the lyrics based on her terrifying experience with an ex-boyfriend who turned into a stalker. He followed her obsessively, called her constantly, and even forced her to move out of New Jersey in fear for her safety. To cope with the trauma, Harry infused the lyrics with dark humor and relentless energy, transforming fear into empowerment. The menacing “getcha, getcha, getcha” chant? That wasn’t just a catchy hook—it was Harry channeling her survival instinct into music.

5. The Album Cover Wasn’t Blondie’s First Choice

The black-and-white Parallel Lines cover is now iconic, but the band actually hated it. The concept was chosen by their manager, Peter Leeds, and shot by photographer Edo Bertoglio. The idea of the male band members in uniform suits with Debbie Harry standing out in a white dress was meant to create a contrast, but Harry found it cliché. What’s more, the album title came from an unused song Harry wrote, and the lyrics to it were included on the first vinyl pressing—but the track itself never made the final cut. Despite the band’s reservations, the cover went on to become one of the most recognizable in rock history.

With Parallel Lines, Blondie shattered expectations and redefined what a rock band could be. They fused punk, new wave, disco, and pop in ways that hadn’t been done before, and in the process, they gave us one of the most enduring albums of all time. From studio chaos to secret guest musicians, from stalker nightmares to industry-defying reinventions, Parallel Lines is proof that sometimes, the best music comes from the most unexpected places.

CEIPA to Host Matsuri ’25: Japanese Music Experience in Los Angeles

Eric Alper
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CEIPA to Host Matsuri ’25: Japanese Music Experience in Los Angeles

The Japan Culture and Entertainment Industry Promotion Association – known throughout its home country as CEIPA – is set to make its mark in the United States on March 16 by staging Matsuri ’25: Japanese Music Experience LOS ANGELES, a world-class J-pop concert starring Ado, ATARASHII GAKKO!, and YOASOBI, at the Peacock Theater in L.A. Tickets are on sale for the show and can be purchased here.

With this first-of-its-kind concert, CEIPA aims to bridge the gap between Japanese musicians and U.S. audiences, and to further develop and strengthen those bonds, in conjunction with Peacock owner-promoter Goldenvoice/AEG.

“One of CEIPA’s core missions since its establishment has been to promote Japanese music and culture to the world. Los Angeles, a city where diverse cultures converge and the global entertainment industry thrives, serves as the perfect stage for our first-ever live event. Being able to launch this initiative here holds immense significance for us. Furthermore, in keeping with the Japanese cultural spirit of valuing community connections, we see it as our mission to support those affected by the recent wildfires in Los Angeles through this event. We sincerely hope that this event will serve as a catalyst for new exchanges and deeper understanding between Japanese and American artists, creators, and fans through the power of music.” – Taro Kumabe, Executive Director at CEIPA

The Matsuri ’25 lineup features three of Japan’s hottest acts:

Ado, a 22-year-old utaite, burst onto the music scene in 2020 with her major debut single “Usseewa,” which quickly became a cultural phenomenon. In February 2024, she embarked on her first world tour, “Wish,” captivating fans worldwide. Just two months later, she made history as the first female solo artist to perform at Japan’s National Stadium during the Ado SPECIAL LIVE 2024 “Shinzou.”

ATARASHII GAKKO!, the self-proclaimed “Youth Representative of Japan,” have captured attention with their powerful dance performances and live shows, where every piece of choreography is created by the members themselves. Debuting globally in 2021 under 88rising, a label that promotes Asian culture worldwide, their track “Otona Blue” went viral on TikTok, amassing over 3.3 billion views and 15 million+ followers across social media. In 2023, they performed at NHK’s Kouhaku Uta-Gassen, and in 2024, they headlined the Gobi Stage at Coachella for two consecutive weeks. Additionally, they successfully completed a world tour, drawing a total of 110,000 fans across 26 cities worldwide and 7 cities in Japan, continuing to make waves both domestically and internationally.

YOASOBI is a unit that turns novels into music, consisting of composer Ayase and vocalist Ikura. Their debut song, “Yoru ni Kakeru (Into The Night),” released in November 2019, became the first song in Japan’s history to surpass 1.1 billion streams. In April 2023, their release “Idol” topped major global charts, including the Billboard Global Excl. U.S. and Apple Music’s Top 100: Global, setting groundbreaking records in J-pop history.

Domestically, they successfully completed their first-ever dome tour in the fall of 2024. In December, they launched their second Asia tour, further solidifying their presence as leading J-pop artists making waves on the global stage. Their remarkable success continues to shine in various arenas both in Japan and abroad.

The Saints ’73-’78 to Make U.S. Debut in November

Eric Alper
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The Saints ’73-’78 to Make U.S. Debut in November

Following a hugely successful debut Australian tour in 2024, The Saints ’73-’78 will make their US debut this November. Featuring founding Saints members, guitarist Ed Kuepper and drummer Ivor Hay, alongside honorary Saints; singer Mark Arm of Seattle rockers Mudhoney, former The Birthday Party / Bad Seeds guitarist Mick Harvey and bassist Peter Oxley of Australia’s legendary Sunnyboys, The Saints ’73 -’78 carry on where the original band left off in 1978, performing the material from their three incendiary albums (I’m) Stranded (1977), Eternally Yours (1978), and Prehistoric Sounds (1978).

The November tour will be the first time the material from the original band and their three albums, plus respective EPs and singles, will have ever been performed in the USA.

“The Saints first three albums rank among the best records ever made. They have been a part of my life since stumbling upon them in the early 80s. Their influence looms large in Mudhoney world. I am stoked, stunned, and humbled that I get to join in on this Rock ‘n’ Roll Reality Camp with Ed, Ivor, Peter and Mick,” says Mark Arm

The tour also comes off the back of a recent 4-LP box set of 1977’s ground breaking debut (I’m) Stranded, which features the original album remastered for vinyl for the first time in over 40 years, the previously unreleased 1976 mix of the album, a 5-song live performance from April 1977 at Sydney’s Paddington Town Hall, a full live show from the London’s Hope and Anchor in November 1977, plus all recordings from the 1977 Top 40-charting This Perfect Day and 1-2-3-4 EP sessions.

“The Saints came down from Brisbane (to Melbourne) with a sound that they had worked out entirely on their own, which really sat before the punk thing happened in Britain. They got there first. There was one prevailing emotion that came from those live shows and that was complete contempt, about everything, and that was really unbelievably exciting. They had it all down. We were just flailing around.” – Nick Cave

In their original guise, The Saints existed from 1973-1978. Self-releasing the legendary (I’m) Stranded single in September 1976, and in the process pre-dating releases – and the yet-to be-named ‘punk’ scene – from the Sex Pistols, the Damned, the Buzzocks and the Clash. Following the release of their debut album, also titled (I’m) Stranded, in February 1977, The Saints would move first to Sydney and then in May, to the UK, playing their first show at the London Roundhouse with the Ramones. Over the next twelve months, the band would release their only UK-charting record; the exquisite 7″ This Perfect Day, record and release the 1-2-3-4 EP and record two further albums, the critically acclaimed Eternally Yours, and Prehistoric Sounds (both 1978), before calling it quits.

Following their demise, guitarist Ed Kuepper, having provided the bulk of the material and the sonic pallet that was The Saints, resisted the urge to perform under the banner of The Saints, instead returned to Australia to begin his new group, the equalling as incendiary Laughing Clowns, who would prove a significant influence on the post-punk scene and in particular (yet again) on Nick Cave and The Birthday Party. Eventually, Kuepper would turn to his own name as a recording artist, producing over 15 solo albums and earning himself numerous ARIA awards at home, as well as Hall of Fame entries for both his solo work and with The Saints. He would also record movie soundtracks, revert to his rock mode via albums with The Aints and The Aints!, enjoy a spell as guitarist with Nick Cave & The Bad Seeds, co-create the experimental jazz outfit Asteroid Ekosystem and is shortly to release the album After the Flood, a collaboration with the brilliant Jim White, drummer for Dirty Three, The Hard Quartet and The Double.

Saints singer and lyricist Chris Bailey would carry on with the name The Saints over the next 40 years, moving more into the folk and r’n’b of his youth and finding some chart success in Australia during the mid-eighties. ‘The Boss’ Bruce Springsteen even covering the Bailey-penned track (Just Like) Fire Would for his 2014 live album, High Hopes.

Drummer Ivor Hay, whose contribution to those first three albums was so unique and identifiable, would dip in and out of the post-Kuepper lineups of The Saints, performing on those mid-eighties hits, and also forming his own post-punk outfit, Wildlife Documentaries, before dropping out of music altogether for the domestic sector and, among other things, wrote the first Instruction Manual for the Fairlight CMI!

On 9/11/2001, Saints founding members Bailey, Kuepper and Hay reformed for their induction into the Australian Music Hall of Fame playing the song (I’m) Stranded for the first time in over 30 years, but other things on that day overshadowed their achievement.

Moving on to 2007, and The Saints would then reunite for real performing at the State Government-backed Pig City concert, headlining to 7000 euphoric Saints fans, which lead to the release of a live album of the same name. Then in 2009, at the behest of Mr. Cave and Mick Harvey, The Saints reformed again, this time for the Australian leg of the All Tomorrow’s Parties Festivals, playing shows in Melbourne, Mt. Buller, Hobart, Brisbane, and on an island in Sydney Harbour. These would be the last shows the original three would perform together.

In 2023, with the announcement of The Saints (I’m) Stranded box set and following the 2022 death of Chris Bailey, the decision was made to assemble a band who could most represent the songs performed on those first three incendiary albums. In Mudhoney’s Mark Arm, they found a singer, different in tone to Bailey, but someone who could deliver with intensity and a real passion for the material. As one of the rare few to have seen the band perform on home soil in 1977, Mick Harvey (ex-Bad Seeds) was a natural choice to help replicate the extras parts played on the albums, be it guitar or keyboard. Bassist Peter Oxley of Sydney’s legendary Sunnyboys has been a long-time foil of Kuepper’s across various solo and band entities and remains a firm disciple of 1977-78-era Saints bassist, Algy Ward. Rounding out The Saints ’73-’78 is a three-piece brass section featuring both tenor and baritone sax, trumpet and French horn and includes masters of their craft; Eamon Dilworth and Julien Wilson.

And joining The Saints ’73-’78 on all dates across the USA and UK are fast-rising Australia duo, Chimers. Recipients of numerous end-of-year ‘best of 2024’ album nods for their sophomore effort, Through Today. 10 tracks of laser-focused intensity that has seen them receive friends and favour from Henry Rollins to Built to Spill, Mudhoney to Mick Harvey! Indeed; Gerard Cosloy of Matador Records notoriety signed them to his 12XU label having witnessed them just the once. Crikey!

The Saints ’73-’78 Live Shows:
October 31 – Auckland, NZ – Powerstation
November 1 – Wellington, NZ – MeowNui

US:
November 5 – Los Angeles, CA – Teragram Ballroom
November 6 & 7 – San Francisco, CA – Great American Music Hall
November 8 – Portland, OR – Revolution Hall
November 9 – Seattle, WA – Neptune Theatre
November 11 – Chicago, IL – Cabaret Metro
November 13 – Toronto, ON – Phoenix Concert Theatre
November 14 – Brooklyn, NY – Music Hall of Williamsburg
November 15 – Philadelphia, PA – Union Transfer
November 16 – Washington, D.C. – Union Stage

UK:
November 21 – Bristol – Trinity
November 22 – Leeds – Project House
November 23 – Glasgow – Garage
November 24 – Manchester – Academy 2
November 26 – London – Electric Ballroom

EUROPE:
November 28 – Stockholm – Debasser Strand
November 29 – Malmo – Plan B.
November 30 – Berlin – Astra

Tebey Reimagines Tate McRae’s “Greedy” For JUNO Awards Series

Eric Alper
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Tebey Reimagines Tate McRae’s “Greedy” For JUNO Awards Series

Tebey, the chart-topping country artist, transforms Tate McRae’s JUNO-winning single “Greedy” into a country hit. As part of JUNO Awards’ Re/Worked: The Greedy Sessions, this three-part video series funded by Ontario Creates showcases the boundless creativity of Canadian artists. Tebey infuses “Greedy” with traditional country instrumentation like steel guitar, banjo, and acoustic guitar, creating an authentic yet innovative rendition. “At the end of the day, a great song should work in any genre of music, and this song definitely works as a country song,” Tebey shares. .

“Re/Worked: The Greedy Sessions exemplifies the spirit of artistic innovation by celebrating the versatility of Canadian talent,” said Allan Reid, President & CEO of CARAS/JUNO Awards. This series not only highlights the creative potential of music when reimagined through diverse lenses but also offers fans a chance to experience familiar tracks in completely new ways. Don’t miss the upcoming episode on February 28, where Aaron Paris & Strings From Paris will turn “Greedy” into a cinematic classical masterpiece. Missed Aqyila’s romantic R&B rework?

SiriusXM Canada and CCMA Announce 2025 Top of the Country Semi-Finalists

Eric Alper
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SiriusXM Canada and CCMA Announce 2025 Top of the Country Semi-Finalists

Today, SiriusXM Canada, in partnership with the Canadian Country Music Association, announced the eight semi-finalists advancing in the 2025 Top of the Country competition. The top eight now head into the studio to record original tracks before the competition heats up. Canadian country fans will have a chance to vote for their favourite artists and help decide on the top three. Once selected, the finalists will perform on some of Canada’s biggest stages. While the contest offers career-defining opportunities for several talented artists, only one will earn the coveted title of SiriusXM’s Top of the Country champion, along with the $25,000 grand prize.

From coast to coast, the 2025 SiriusXM Top of the Country semi-finalists are:

  • Sully Burrows – Parry Sound, Ontario
  • Annika Catharina – Deroche, British Columbia
  • Allison Daniels – Quebec City, Quebec
  • Noeline Hofmann – Bow Island, Alberta
  • Braden Lam – Halifax, Nova Scotia
  • Brettyn Rose – Okotoks, Alberta
  • Jake Vaadeland – Cut Knife, Saskatchewan
  • Mitch Zorn – Kelowna, British Columbia

For more information on the eight semi-finalists, please visit topcountry.siriusxm.ca. High-resolution images of the artists can be found HERE.

“Announcing the eight Top of the Country semi-finalists is always an exciting moment, marking an important milestone in these rising stars’ journey toward making their dreams a reality,” said Michelle Mearns, SVP of Programming & Operations, SiriusXM Canada. “Now in its seventh year, we’ve seen firsthand how this competition propels Canadian talent and we can’t wait to see what this year’s artists bring to the studio and soon the stage.”

After Canadians vote for their favourites, the three finalists will embark on a summer of showcase opportunities including performing at Lasso Montréal (August 15-16, 2025) and attending the 2025 CMA Fest in Nashville. This year’s competition will reach its finale during Country Music Week 2025 in Kelowna in September, where the finalists will perform, and the winner will be announced live on-stage and broadcasted live on SiriusXM’s Top of the Country Radio (ch. 171).

“Year after year, we are amazed by the depth of talent that exists in every corner of this country. Initiatives like Top of the Country play a crucial role in discovering and nurturing emerging artists, giving them the platform they need to grow and succeed,” said Amy Jeninga, President, CCMA. “This group of semi-finalists represents the next wave of incredible Canadian country talent, and we can’t wait to see them shine as they take this next career-defining step.”

SiriusXM’s Top of the Country in partnership with the CCMA is part of SiriusXM’s ongoing tradition of promoting and elevating the best emerging Canadian music. SiriusXM continues to offer a leading platform for Canadian artists through its significant financial contributions and North American-wide reach.

Americana Music Association Announces Live Music Series at Toronto’s Horseshoe Tavern

Eric Alper
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Americana Music Association Announces Live Music Series at Toronto’s Horseshoe Tavern
The Americana Music Association, the Nashville, Tennessee-based organization that puts on the renowned celebration of American roots music, AMERICANAFEST, is thrilled to announce a new live music series spanning the month of March in collaboration with Toronto’s iconic Horseshoe Tavern.
This exciting partnership will showcase some of the finest up-and-coming Americana artists alongside established talents, offering fans an exclusive opportunity to experience live performances in one of the city’s most historic venues. Set to launch this March, the series will feature a curated lineup of diverse Americana acts, blending folk, country, blues, and rock influences into unforgettable live shows. The Association will sponsor various shows between March 1st – 31st. Tickets available HERE.
“The Horseshoe Tavern is a cultural landmark, not just as a blacksmith shop or a saloon, but especially as a destination for touring artists and the music we all love. AMERICANAFEST relies on independent music venues across Nashville, and many of the artists in this new series have performed at our event over the past few years. In addition, we are excited to partner with one of the best venues in Canada for discovering Americana music. What the Troubadour is to LA, The ‘Shoe’ is to Toronto, a home away from home,” said Jed Hilly, Executive Director of the Americana Music Association.
“AMERICANAFEST has always been about celebrating and nurturing the spirit of Americana music, and I speak for everyone involved to say that we are beyond excited to bring this series here to Toronto. The fans have always been here, but it’s time to bring the acts,” said Charles Hacker, the thought leader of the series. “We are so proud to partner with the Americana Music Association to showcase these incredible artists taking over the Horseshoe Tavern this March. From outlaw country to heartland blues, you can expect a month packed with top-tier Americana acts from across the continent!” stated Ben Mol, the booker of the iconic venue.
Roots & Revelry: Americana at the Horseshoe Tavern
March 1, 2025 Mariel Buckley
March 2, 2025 Ron Pope
March 9, 2025 Jeffrey Martin with Bob Sumner
March 13, 2025 India Ramey
March 18, 2025 Ariel Posen
March 20, 2025 Charlie Parr
March 21 2025 Cousin Harley
March 28, 2025 Bella White
March 31, 2025 Shannon McNally

Argentinian Band TRÍADA Shares Upbeat Rendition of “Rompí” and Announces Debut EP

Eric Alper
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Argentinian Band TRÍADA Shares Upbeat Rendition of “Rompí” and Announces Debut EP

The Argentinian band TRÍADA—comprised of Diamela Spina (percussion, vocals), Aylen Reynoso (guitar) and Julia Percowicz (vocals)— share “Rompí,” an upbeat yet vulnerable rendition of Uruguayan singer-songwriter Sofía Alvez’s love song. Over vibrant percussion and Aylen’s dynamic guitar playing, the band recounts the heartbreak that comes with saying goodbye:“Y está bien, mi amor, vos siempre fuiste el Sol y fui yo quien falló.”/“And it’s okay, my love, you were always the Sun and I was the one who failed.”

The Buenos Aires-based band formed at the performing arts school they attended together. The girls would make videos after class, recording covers of Bossa Nova classics like João Gilberto’s “O Pato,” which garnered over 2 million views on Instagram Reels. Eventually, “O Pato” became their first proper release, solidifying their far-reaching sound and global audience. Alongside the announcement of De Versiones y Alma, came their recent single “Sale La Luna,” which earned praise from HOLA! and Remezcla. De Versiones y Alma, their debut EP, offers listeners a chance to step into their jam session, enveloped in their comforting vocals and sisterly sound. Through their romantic covers, TRÍADA embraces percussion and guitar, transforming songs from around the world with a fresh Argentine flair.

Initially tapping into progressive rock and experimenting with a post-punk vibe, the three friends later freely dove into the sounds that formed them: folklore, jazz, bossanova, and acoustic music from singer songwriters like Jorge Drexler, Los Panchos, Gustavo Peña, Zoe Gotusso and more. Now, the trio is taking their love across borders and language barriers with an EP that calls to artists from Uruguay, Brazil, the UK, and, of course, Argentina. A group of friends at their core, TRÍADA blends genres and reimagines their favorite songs in their voice. “We don’t know what the future holds; we haven’t produced our album yet,” they assess, “but we’re super clear on the fact that our Argentinian roots, and more broadly our Latino roots, will be there.”

At 19, Diamela, Aylen and Julia are young but they contain old souls, breathing new life and the spirit of Buenos Aires into classic songs for a Gen Z and Gen Alpha audience. Their name, TRÍADA, references the musical term for three notes that make a single chord, as the three girls morph into a sonic sisterhood.

De Versiones y Alma will be released March 21 on Verve Records and Mercury Records.

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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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