A festival experience like no other, the E.N.D. Cruise is thrilled to announce their 4th annual voyage in partnership with Sixthman, taking place January 22 to January 26, 2026. Join us as we set sail from Miami, FL to Costa Maya, Mexico aboard Norwegian Joy, making for the Cruise’s largest voyage to date.
Guests will have the opportunity to enjoy a variety of activities on board, including live performances from their favorite bands in the scene, a chance to relax (or party) with their favorite artists, elevated dining experiences, Battle of The Frontmen, gambling in high end casinos, The Tonight (Tonight) Show with Matt Cutshall, an on-deck go-kart track, pools and waterslides, Bellyflop Competition, and so much more. Don’t forget, excursions and exploration in the sunny Costa Maya port is also a must for all cruise-goers.
Emo’s Not Dead founder Matt Cutshall shares: “The community on this cruise is like nothing I’ve experienced before. Everyone feels like your best friend and we all get to watch our favorite bands we grew up with play their iconic albums while sailing into the sunset. It’s legit unlike any other music festival. The.best.vacation.ever!”
Currently in its third year, the E.N.D. Cruise has previously featured special guests including Dashboard Confessional, New Found Glory, Underoath, Yellowcard, Mayday Parade, Secondhand Serenade, Cartel, Charlotte Sands, Madina Lake, Cassadee Pope, and more. This year’s cruise includes performances from: The Used, Boys Like Girls, Chiodos, Hawthorne Heights, State Champs, Saosin, Taylor Acorn, Norma Jean, Emery, The Early November, Scary Kids Scaring Kids, The Spill Canvas, Lydia, Reclaim The Fallen, Your Broken Hero, Emo Social, and The Emo Band.
The deadline for first round presale sign ups is February 27, with public on-sale starting on March 12, including $100 per person when booked with Automatic Monthly Billing if booked by May 22.
Sixthman, the leader in festivals and music cruises for more than two decades, has announced the 25th anniversary of The Rock Boat, sailing January 29 – February 5, 2026 from Miami, FL to St. Maarten and San Juan, Puerto Rico aboard the Norwegian Pearl.
Hosted by Sister Hazel, The Rock Boat cruise features an exciting lineup including Needtobreathe, Judah & The Lion, The Struts, Matt Nathanson, Bowling For Soup, Red Wanting Blue, Stephen Kellogg and The Twenty-Twenty-Sixers, Carbon Leaf, The Alternate Routes, The Band Feel, The Return Of Melodime, Jon Tyler Wiley & His Virginia Choir, Bradley Rhodes, Brian Fechino & The Risky Beavers, Amy Gerhartz, The Paradox, and more to be announced soon.
“A quarter of a century ago we had a crazy idea to take some fans on a cruise,” says Sister Hazel frontman, Ken Block. “It was all as a ‘thank you’ to our most passionate fans for taking us from a van and trailer to our first platinum record. Year one – It was just us and we brought along one other act (our friends Dexter Freebish). But in an unforgettable instant – the minute we walked off that boat we absolutely knew we were onto something big. The gratitude we have that this event has lasted 25 years – and that it is as healthy today as any event has ever been – is beyond words. And it’s beyond our wildest dreams. We were basically kids when this thing started …. Now, we’re not QUITE kids anymore – but we bring that ‘kid like’ passion, enthusiasm, and excitement to every single element – of every single Boat! To celebrate 25 years of The Rock Boat we are going all out with our partners at Sixthman in every way possible to bring you all an unforgettable full SEVEN days of music and more!”
THE ROCK BOAT XXV HOSTED BY SISTER HAZEL: January 29 -February 5, 2026, Sailing from Miami, FL to St. Maarten and San Juan aboard Norwegian Pearl
Lineup:
Needtobreathe
Judah & The Lion
The Struts
Matt Nathanson
Bowling For Soup
Red Wanting Blue
Stephen Kellogg and The Twenty-Twenty-Sixers
Carbon Leaf
The Alternate Routes
The Band Feel
The Return Of Melodime
Jon Tyler Wiley & His Virginia Choir
Bradley Rhodes
Brian Fechino & The Risky Beavers
Amy Gerhartz
The Paradox
+More To Be Announced
Today, Ben Harper & The Innocent Criminals announced a 15-date summer tour. The tour will kick off on May 30th at the Lincoln Theatre in Washington DC with stops at The Rooftop at Pier 17 in New York City, Higher Ground Ballroom in Burlington, VT, Auditorium Theatre in Chicago, The Pabst Theater in Milwaukee, WI, and the Fox Theater in Oakland, CA, among other cities. The tour will conclude on August 24th at The Orpheum in Los Angeles.
Also today, Harper teased his new single, “Before The Rain Dried,” which is due out soon. You can watch it HERE.
The tour will see Harper perform fan-favorites from his extensive catalog as well as tracks from his critically acclaimed 2023 album, Wide Open Light (Chrysalis Records), which featured a number of special guests, including Jack Johnson on “Yard Sale,” Shelby Lynne on “8 minutes,” and Piers Faccinion on the title track.
General on-sale will begin this Friday, February 14th at 10AM local time. The Live Nation pre-sale will begin on Wednesday, February 12th at 10AM local time, followed by the Spotify pre-sale on Thursday February 13th at 10AM local time. For more information and tickets, please visit https://www.benharper.com/tour.
Harper is also continuing to expand his creative pursuits on-screen following his 2023 run in AppleTV+ series “Extrapolations,” with an appearance in the new Jeff Buckley documentary, IT’S NEVER OVER, JEFF BUCKLEY, which recently premiered at Sundance Film Festival. Directed by Amy Berg, the film is a compassionate portrait of the late Jeff Buckley, whose music continues to inspire artists worldwide. With beautiful scores and rare live performances, it captures the love, loss, and enduring impact that shaped Buckley, and thus the international music culture of the late 20th century.
As a 3x-GRAMMY-winner, Harper has amassed international critical applause and a worldwide fan following for his own genre-traversing body of work while also producing acclaimed albums by Mavis Staples, Rickie Lee Jones, The Blind Boys of Alabama, Natalie Maines, Ziggy Marley, and others. An inveterate collaborator, Harper has also recorded with a diverse span of artists ranging from John Lee Hooker, Charlie Musselwhite, to Ringo Starr, Keith Richards and, most recently, Harry Styles, to contribute his signature guitar work to the superstar’s chart-topping album, HARRY’S HOUSE. Harper joined Styles for an astounding 12 nights of performances at The Kia Forum in Los Angeles in 2022.
2025 Tour Dates
Fri-May-30-25 – Washington, DC – Lincoln Theatre
Sat-May-31-25 – New York, NY – The Rooftop at Pier 17
Sun-Jun-01-25 – Boston, MA – Roadrunner
Mon-Jun-02-25 – Burlington, VT – Higher Ground Ballroom
Wed-Jun-04-25 – Toronto, ON – Massey Hall
Fri-Jun-06-25 – Detroit, MI – Royal Oak Music Theatre
Sat-Jun-07-25 – Chicago, IL – Auditorium Theatre
Sun-Jun-08-25 – Carmel, IN – The Palladium at Allied Solutions Center
Tue-Jun-10-25 – Milwaukee, WI – The Pabst Theater
Wed-Jun-11-25 – Saint Paul, MN – Palace Theatre
Tue-Aug-19-25 – Seattle, WA – Woodland Park Zoo Amphitheater
Wed-Aug-20-25 – Portland, OR – Pioneer Courthouse Square
Thu-Aug-21-25 – Jacksonville, OR – Britt Pavilion*
Sat-Aug-23-25 – Oakland, CA – Fox Theater
Sun-Aug-24-25 – Los Angeles, CA – The Orpheum
*Tickets on-sale February 28th.
Just five years ago, amid the beginning of the pandemic, singer/songwriter David Johansen, legendary co-founder of the New York Dolls, discovered his aggressive cancer had progressed and he was diagnosed with a brain tumor, leading to complications ever since. He has not made his diagnosis public as he is generally a very private person, however due to the increasingly severe financial burden his family is facing, he is ready to share his story. On top of the cancer diagnosis, Johansen took a fall on the day after Thanksgiving and broke his back in two places, which required surgery. Despite a successful procedure, David is completely bedridden and incapacitated, relying on around the clock care. To continue his treatment and give him the best chance of recovery, David will need full time assistance.
Assisting in the Johansen family recovery efforts, Sweet Relief launched the David Johansen Fund. The most immediate needs are full time nursing, physical therapy and funding for day to day vital living expenses. With professional specialized care, the Johansen family remains hopeful that David can regain some mobility and independence.
Johansen shares “We’ve been living with my illness for a long time, still having fun, seeing friends & family, carrying on, but this tumble the day after Thanksgiving really brought us to a whole new level of debilitation. This is the worst pain i’ve ever experienced in my entire life. I’ve never been one to ask for help but this is an emergency. Thank you.”
Aric Steinberg, Executive Director at Sweet Relief Musicians Fund adds “Sweet Relief is honored to help David and his family during this difficult time in their lives. Our Directed Artist Funds can provide a meaningful solution when the community rallies around the recipient, and we anticipate that David’s community will be eager to help here. His influence on the musical landscape with the New York Dolls is indelible, and his career as an actor and an artist has touched many people around the world. He’s been knocked down but we’re here to help him back up with the help of his family, friends and wider community of supporters.”
David was recently the subject of Martin Scorsese and David Tedeschi’s documentary Personality Crisis: One Night Only which brilliantly captures an evening of David’s songs and storytelling, and gives a little context to the wild tapestry of David’s life. David was the lead singer and songwriter of the legendary New York Dolls, widely acknowledged as one of the first (and coolest) punk bands. David started his own group, the David Johansen band, before reinventing himself yet again in the 1980s as Buster Poindexter. Inspired by his passion for the blues and arcane American folk music David formed the group The Harry Smiths, and toured the world performing the songs of Howlin’ Wolf with Hubert Sumlin and Levon Helm. Of all these incarnations, David is most often recognized for his work in a handful of beloved films, like the Christmas classic Scrooged, and the race track comedy Let it Ride. He continues to host his weekly radio show “The Mansion of Fun” on Sirius XM. David had an exhibition of his paintings in New York this past summer at Elliot Templeton Fine Arts gallery.
Sweet Relief Musicians Fund provides services and financial assistance for career musicians and music industry professionals. Grants are earmarked for medical and vital living expenses, including insurance premiums, prescriptions, medical treatment and operative procedures, housing costs, food costs, utilities, and other basic necessities.
The legacy of legendary country vocalist Patsy Cline, whose storied recordings of the 1950s and 1960s with producer Owen Bradley helped establish country music’s pop-crossover Nashville Sound, receives a new chapter on Record Store Day (April 12) with “Imagine That: The Lost Recordings (1954-1963),” a revelatory collection of previously unreleased recordings from Elemental Music/Deep Digs.
This unprecedented, limited edition two-LP set, produced in association and with the full endorsement of the Patsy Cline Estate, features 48 unissued tracks, all faithfully transferred, mastered and released legitimately for the first time. They survey the full breadth of the singer’s artistry, from her first days as a professional musician with Bill Peer & the Melody Boys and Girls in the early ‘50s to the apex of her popularity, just weeks before she tragically died at the age of 30 in a plane crash on March 5, 1963.
This two-LP set (April 12) will also be released as two CDs and Digital Download on April 18.
Drawn from radio broadcasts, TV shows, and demo recordings, these meticulously restored performances cast a fresh spotlight on Cline’s luminous, powerful voice, and eschew the opulent strings and vocal choruses of Bradley’s productions in favor of an intimate, unadorned, earthy sound. Affecting alternate versions of Cline’s chart-topping crossover hits “Walkin’ After Midnight,” “I Fall to Pieces,” “Crazy,” and “She’s Got You” are included. She is heard duetting with such fellow country stars as Cowboy Copas (who died in the same crash that took Cline’s life), Ferlin Husky, Red Foley, Bobby Lord, Ernest Tubb, and Lonzo & Oscar.
Co-produced by award-winning archival producer Zev Feldman, Cline discographer and authority George E. Hewitt, and sound restoration engineer Dylan Utz, Patsy Cline – Imagine That features a detailed track-by-track discography; a historical note by author/writer Martin Melhuish; reflections on Cline’s art by musicians k.d. lang, Marty Stuart, Ray Benson, and more.
Cline’s daughter Julie Fudge, who serves as CAO of Patsy Cline Enterprises LLC, says, “Our family has been blessed to have the recordings, the videos, and the photos that have remained since Mom’s passing in 1963. But we have been even more blessed because of the fan base that has kept her so alive. Those that have continued to play her music. Those artists working in film and commercials and television that have used her music in their projects. We are blessed every time we hear her voice. And now these recordings, all fresh and new, is something like a dream. All the hard work and research, all the time and effort…. all have led to something new in a world where we never thought that was possible.”
“We’ve assembled an exciting collection of rare performances that span Patsy’s entire recording career, and this marks the official album debut for all tracks included here,” Deep Digs founder Feldman says. “I’m proud of this release and hope the music will keep Patsy’s legacy alive as she continues to gain new fans with that unmistakable voice. Imagine this, if you can – a new compilation of rare recordings being presented over 60 years after the passing of a great artist! Thanks, above all, to Patsy Cline for shining as bright as ever, and for bringing so much joy to our collective hearts with your great music.”
Cline expert Hewitt says, “In spite of Patsy’s continued popularity, a total of 74 tracks sat unreleased before work began on our project – a considerable number for an artist with so few studio recordings. Some have traded as bootlegs among collectors, while others were newly discovered thanks to research for this album….These four dozen tracks represent two-thirds of Patsy’s unissued material at the time of release. We’re proud to officially introduce a total of 15 new songs for this album – an astounding number for any legacy artist.”
Dylan Utz, who transferred many of the tracks heard on Patsy Cline – Imagine That, adds, “Every performance in this set was recorded live, not carefully constructed in the same sense as a studio master. These tracks feature unique pacing and arrangements, and more than stand on their own. And the new songs are a revelation. If you thought you knew Patsy Cline, this album may change that. These lost recordings offer further insight into the versatility of this dynamic and engaging songstress. Prepare to have the record rewritten.”
In conversation with Hewitt, the longtime Canadian pop/country star k.d. lang — whose 1988 album Shadowland paid explicit tribute to Cline’s art — said of the new release, “From a spiritual perspective, this tends to happen for great artists like Patsy Cline, Johnny Cash, and others in all genres. These are treasure vases that get discovered over time. And I think that’s part of the enduring legacy of great artists – they’ve planted these seeds, and they unearth at their own leisure.”
Singer, songwriter, and country music historian Stuart told Hewitt, “Thank you for doing this work. It’s hard work, and the world just needs to hear it. I love it when things like this come along – a picture you’ve never seen, a recording you’ve never heard, or a story that you just know must be true. Country music has become a global empire, built on the shoulders of people like Patsy, and I think it’s great that the world still honors her for her presence in it. The legend is off the ground, never to come back, and it just keeps gaining. She’s still the gal.”
Benson, founding lead vocalist of the Texas western swing band Asleep at the Wheel, added, “I’m glad your team found these recordings because they’re just so cool, man. I’m just amazed.”
The stunning trove of never before released music on Patsy Cline – Imagine That contributes to an insightful, unique perspective on the art and historical import of Patsy Cline, which was summed up in a quote cited by Melhuish from her friend and country music contemporary, the late Loretta Lynn: “Patsy was probably the first woman to say what she felt. She was the first one that went over to the pop charts, and she was first class all the way. She wanted to please people but, if it didn’t please her, she wouldn’t do it. Patsy was a strong person. She was the first in Nashville to step outside the boundaries and go in different directions when it came to music.”
This past week in celebration of what would have been Bob Marley‘s 80th birthday, Acoustic Sounds’ Analogue Productions label has joined forces with the Marley family to proudly announce an ambitious slate of reissues of several of the global legend’s most iconic albums in a number of deluxe configurations. Centered around the theme of Uprising, the series will honor Marley’s spirit and legacy as one of the most significant artists of the 20th century.
Launching in Spring 2025 with specific release dates to be announced, the series will include seven classic Marley titles reissued in a variety of formats: 33rpm UHQR, 45rpm UHQR, 2LP 45rpm, SACD, and reel-to-reel tape (15 IPS on 1/4 inch tape). The configurations vary by title, see below for details.
Each of the Ultra High Quality Record (UHQR) and 2LP 45rpm releases will be sourced from original master tapes and meticulously mastered by Ryan Smith at Sterling Sound. Pressing will be handled by Acoustic Sounds’ world-class Quality Record Pressing plant in Salina, KS, to deliver exceptional sound quality and a listening experience worthy of Marley’s timeless music. Bringing forty years of expertise and unparalleled reverence for historic releases to the series, these Analogue Productions titles will ensure Bob Marley’s music is preserved in its purest form, all while delivering an experience as close as possible to the original studio sessions.
“We’re honored to be working with the Marley Family to give these records the treatment they deserve,” said Acoustic Sounds founder Chad Kassem. “The experience of going to Jamaica, visiting Tuff Gong, and meeting the people carrying Bob Marley’s legacy forward was incredible, and we believe this series is a beautiful tribute to one of music’s greatest innovators.” Kassem shares more about his time in Jamaica and the making of Uprising HERE.
The UHQR format from Analogue Productions/Quality Record Pressings sets a new standard in vinyl, surpassing previous UHQR records with innovative manufacturing techniques that meet Kassem’s exacting expectations. Originally produced at Japan’s JVC plant in the 1980s for various audiophile labels, UHQRs were costly but revered for their unmatched quality. Reviving the UHQR name required significant investment and a complete redesign of vinyl production, solidifying its legacy as the ultimate LP, elevating it above any other pressing series.
Catch a Fire (1973), featuring “Stir It Up,” “Concrete Jungle,” and “Kinky Reggae.” This album will be available as a 1LP UHQR @33rpm, 2LP UHQR @45rpm, reel-to-reel, and SACD.
Burnin’ (1973), Marley’s sixth album and the second release by Bob Marley & The Wailers for Island Records, continues the series. The record features “Get Up Stand Up,” “I Shot The Sheriff,” and “Burnin’ & Lootin’.” Available as 1LP UHQR @33rpm, 2LP UHQR @45rpm, reel-to-reel, and SACD.
Natty Dread (1974), Marley’s groundbreaking album that introduced the I-Threes and a new musical direction, includes “No Woman No Cry,” “Them Belly Full (But We Hungry),” and “Lively Up Yourself.” The reissue will be released as a 1LP UHQR @33rpm, 2LP UHQR @45rpm, reel-to-reel, and SACD.
Rastaman Vibration (1976) followed the success of Natty Dread and features politically charged tracks like “Roots Rock Reggae,” “War,” and “Rat Race.” It will be reissued in 2LP UHQR @45rpm, reel-to-reel, and SACD configurations.
Exodus (1977), widely regarded as one of Marley’s most transformative works, features classic hits like “Three Little Birds,” “Jamming,” and “One Love.” This album, recorded during Marley’s exile in the U.K., cemented his status as a global superstar. It will be reissued as a 2LP UHQR @45rpm, reel-to-reel, and SACD.
Kaya (1978) recorded simultaneously with Exodus in the U.K., showcases a softer side of Marley, with songs such as “Is This Love,” “Satisfy My Soul,” and “Easy Skanking.” A love letter to the lifestyle Marley embraced, this album will be available in 2LP @45rpm and SACD configurations.
Uprising (1980), the last studio album released during Marley’s lifetime, reflects a deeply spiritual and prophetic vision. Tracks such as “Redemption Song,” “Could You Be Loved,” and “Pimper’s Paradise” highlight Marley’s artistry and message of resilience. This album will be reissued in 2LP @45rpm and SACD formats.
Acoustic Sounds has created a masterfully-crafted and meticulous series through which listeners can relive these celebrated classics. For over forty years, Acoustic Sounds has championed the art of vinyl, reissuing historic recordings with the utmost care and precision. Other recent releases include Steely Dan’s 1970s recordings, Buena Vista Social Club’s self titled album, and Miles Davis’ Birth of the Blue with many more exciting releases on the horizon.
Rhiannon Giddens reunites with her former Carolina Chocolate Drops bandmate Justin Robinson on What Did the Blackbird Say to the Crow, an album of North Carolina fiddle and banjo music, out April 18 on Nonesuch Records. Produced by Giddens and Joseph “joebass” DeJarnette, the album features Giddens on banjo and Robinson on fiddle, with the duo playing eighteen of their favorite North Carolina tunes: a mix of instrumentals and tunes with words. Many were learned from their late mentor, the legendary North Carolina Piedmont musician Joe Thompson; one is from another musical hero, the late Etta Baker, from whom they also learned by listening to recordings of her playing. Giddens and Robinson recorded outdoors at Thompson’s and Baker’s North Carolina homes, as well as the former plantation Mill Prong House. They were accompanied by the sounds of nature, including two different broods of cicadas, which had not emerged simultaneously since 1803, creating a true once-in-a-lifetime soundscape. A video of “Hook and Line,” a traditional tune from Joe Thompson’s repertoire and filmed at his home in Mebane, NC, may be seen here. It is the first tune Thompson ever learned; Giddens and Robinson continued the legacy by learning it from him. The duo, along with four other string musicians including the multi-instrumentalist Dirk Powell, embarks on Rhiannon Giddens & The Old-Time Revue Tour April 25 (dates below).
“With the assaults on reality going on in the world today, we wanted to offer another kind of record, like walking back onto a gravel or dirt road while a stampede goes the other way,” Giddens says. “With the cicada choir, this record could’ve only happened at a certain time in the last 120 years. We doubled down on place, time, realness, and old-fashioned front porch music. It’s a reminder that another way exists, with music made for your community’s enjoyment and for dancing–not solely for commercial purposes.
“What is the role of music in our society?” she wonders. “How do we de-couple it from unfettered capitalism, where music is a product and musicians are incidental? How do we use the tools and system that we have been bequeathed in a way that reminds us of other ways of being?”
Robinson adds, “Recording this album felt like being back in the saddle. Just this time Joe is not here, and his fiddle is under my chin. The album is about home, the cicadas, the storms, the music, and the people who make it feel like home.”
Thompson was one of the last musicians of his era and his community to carry on the southern Black string band tradition. He played a crucial role in the lives of Giddens and Robinson, who, along with their Carolina Chocolate Drops bandmate Dom Flemons, spent their formative years learning from Thompson in traditional apprentice/mentor relationships. His influence has guided all of their artistic journeys as well as their mission to keep the legacy of the Black string band tradition alive.
Made in 2024, What Did the Blackbird Say to the Crow was recorded in outdoor settings with just Giddens and Robinson, a couple of folding chairs, and some microphones–one of which was placed to pick up the sounds of nature around them, “using technology in the way that we choose,” as Giddens says. While at Thompson’s house, his nephew brought out one of his uncle’s restored fiddles–which Robinson played on the recording. In a recording process full of similar bits of kismet, they experienced another magical moment at Baker’s Morganton, NC home, when Baker’s son offhandedly mentioned that his mother had recorded “Carolina Breakdown” in her yard, and that a Carolina wren ended up on the recording. Robinson and Giddens were delighted to hear him tell this story, as that very recording had been their inspiration to make What Did the Blackbird Say to the Crow the way they did. The duo recorded Baker’s version of “Marching Jaybird” in that same yard, with Baker’s son listening.
In further tribute to Giddens’ North Carolina roots, What Did the Blackbird Say to the Crow will arrive just a week before Biscuits & Banjos, the inaugural edition of her first festival. Taking place April 25–27 in downtown Durham and curated by Giddens, Biscuits & Banjos highlights the deep roots and enduring legacy of Black music, art, and culture while fostering community and storytelling. The sold-out festival will feature a much-anticipated Carolina Chocolate Drops reunion, their first performance together in more than a decade. Additional performers include Taj Mahal, Leyla McCalla, Adia Victoria, Don Vappie & Jazz Creole, Infinity Song, Toshi Reagon, and many others, alongside speakers such as Alice Randall, Caroline Randall Williams, and Dr. Dena Ross Jennings. Workshops, square dances, free banjo lessons, and a celebrity chef biscuit bake-off will also be featured.
Rhiannon Giddens has made a singular, iconic career out of stretching her brand of folk music, with its miles-deep historical roots and contemporary sensibilities, into just about every field imaginable. A two-time GRAMMY Award–winning singer and instrumentalist, 2023 Pulitzer Prize winner, MacArthur “Genius” grant recipient, and composer of opera, ballet, and film, Giddens has centered her work around the mission of lifting up people whose contributions to American musical history have previously been overlooked or erased, and advocating for a more accurate understanding of the country’s musical origins through art. Her most recent release is 2023’s You’re the One, Giddens’ first album of all original songs; her banjo can be heard on the history-making song “Texas Hold ‘Em”; and she is the Artistic Director of Silkroad Ensemble. In addition to her musical pursuits, Giddens has published two children’s books featuring her lyrics, hosts the Aria Code podcast on WQXR, and has composed music for ballet and film, and two of her songs are featured in the hit video game Red Dead Redemption 2.
Justin Robinson is a GRAMMY Award–winning musician and vocalist, cultural preservationist, and historic foodways expert. Robinson has used his wide range of interests and talents to preserve North Carolina’s African American history and culture, connecting people to the past and to the world around them.
Robinson grew up exploring the woods and rivers around him in Gastonia, NC. Influenced by the musical tastes of his grandparents, he grew to love a diversity of musical styles. He learned to play the violin as a child; however, he did not enjoy playing classical music and stopped around the age of thirteen. It wasn’t until he was inspired by the old-time blues jams he attended as a student at UNC-Chapel Hill that he decided to approach the violin again—this time, as a fiddler. He played with the Carolina Chocolate Drops, working to preserve traditional forms of music, to introduce new generations to musical legends like Joe Thompson, and to remind audiences that the fiddle was, historically, an African American instrument. He wrote the song “Kissin’ and Cussin’” for the group’s GRAMMY Award–winning album, Genuine Negro Jig, and continued to write music after leaving the group in 2011, releasing the album Bones for Tinder as Justin Robinson and the Mary Annettes in 2012.
In addition to preserving African American musical traditions, Robinson is known for his work as a culinary historian. He is an eighth generation Afro-Carolinian and is the descendant of sharecroppers and large landowners. He is constantly exploring the complex relationship that people have with our plant relatives, including through his social media account, @CountryGentlemanCooks, and through the formation of the Earthseed Land Cooperative, a collective in northern Durham “made up of farmers, entrepreneurs, professionals, and teachers who are currently engaged in creating alternative models for sustainability, equity, and cooperation within communities of color.”
Robinson has a Master of Science degree in Forestry from North Carolina State University and carries on the ethnobotany work of his grandfather, J.G. Johnson.
What Did the Blackbird Say to the Crow Track List:
Rain Crow
Brown’s Dream
Hook and Line
Pumpkin Pie
Duck’s Eyeball
Ryestraw
Little Brown Jug
Going to Raleigh
Country Waltz
Molly Put the Kettle On
Fly Around My Pretty Little Miss
John Henry
Love Somebody
Ebenezer
Old Joe Clark
Old Molly Hare
Marching Jaybird
Walkin’ in the Parlor
Tour Dates:
April 25-27 – Durham, NC – Biscuits & Banjos
April 30 – Asheville, NC – The Orange Peel
May 2 – Miami, FL – Miami Beach Bandshell
May 3 – Atlanta, GA – The Eastern
May 4 – Birmingham, AL – Jemison Concert Hall @ Alys Robinson Stephens Center
May 7 – Nashville, TN – Ryman Auditorium
May 8 – Cincinnati, OH – Memorial Hall
May 9 – Chicago, IL – Thalia Hall
May 11 – Washington, DC – The Kennedy Center Concert Hall
May 13 – Grand Rapids, MI – St. Cecilia Music Center
May 15 – Toronto, ON – Koerner Hall at The Royal Conservatory of Music
May 16 – Toronto, ON – Koerner Hall at The Royal Conservatory of Music
May 17 – Ottawa, ON – National Arts Centre, Southam Hall
June 15 – Napa, CA – Uptown Theatre
June 16 – Ventura, CA – Ventura Theater
June 19 – San Diego, CA – The Observatory North Park
June 21 – Berkeley, CA – Zellerbach
June 23 – Seattle, WA – The Moore Theater
June 26 – Montréal, QC – Théâtre Maisonneuve @ Montreal Jazz Festival
Grammy-winner Mike Farris’ upcoming release, The Sound of Muscle Shoals, finds the Nashville artist releasing his first album jointly through legendary Alabama imprint Fame Records and Mississippi’s Malaco Records. For his follow-up to 2018’s Silver & Stone, Farris made the pilgrimage to Fame Studios in Muscle Shoals, Alabama for an album overseen by award-winning executive producer Rodney Hall (son of legendary producer and record man Rick Hall). The album is the culmination of all of his musical influences and life lessons learned, captured in a location that holds deep meaning for him.
“Working with Mike Farris on This album has been an incredible journey—his soul, grit, and passion embody everything that makes this music timeless,” says Hall. “Capturing that spirit in the place where it all began and releasing it on FAME Records is a full-circle moment for Muscle Shoals music. This album is not just a tribute to the sound; it’s a living, breathing testament to its future.”
The Sound of Muscle Shoals, produced by Farris, will be released digitally, on CD and on limited-edition red vinyl. Today, Farris is releasing a lyric video for “Heavy On The Humble,” the first single from the album, which premiered at PopMatters.
“I think there are some great musical moments on it,” Farris tells PopMatters. “Muscle Shoals still has its roots grounded, and I feel like that’s where I needed to be to be making my kind of music these days. My surroundings have a great effect on me. It feels like some kind of magical and deep vortex.”
Recorded in creative collaboration with members of the legendary Muscle Shoals Rhythm Section and other session stalwarts of ‘The Shoals’ recording scene — Clayton Ivey (keys), Will McFarlane, Kelvin Holly, Wes Sheffield (guitars), Jimbo Hart (bass), and Justin Holder (drums) — they captured lightning in a bottle, conjuring up the intrinsic magic of the “Muscle Shoals Sound” and wrapping it around Farris’s heartfelt and hardscrabble blue-eyed soul vocals and songwriting.
The Sound of Muscle Shoals finds Farris at his best, intertwining the threads of gospel and rock ‘n’ roll, of faith and fire, the spiritual and earthly, bringing what Rolling Stone Country described as his “supersized voice filled with the electricity of Saturday night and the godly grace of Sunday mornings.”
TRACKLISTING:
Ease On
Heavy On The Humble
Swingin’
I’ll Come Runnin’
Bird In The Rain
Slow Train
Bright Lights
Learning To Love
Her
Before There Was You & I
Sunset Road
TOUR DATES:
* solo shows
MAR 7 Florence AL- Flobama
MAR 8 Nashville TN- 3rd & Lindsley
MAR 16 Cincinnati OH- Ludlow Garage *
MAR 18 Ann Arbor, MI- The Ark *
MAR 19 Evanston, IL- SPACE *
MAR 21 Kansas City, MO- Knuckleheads *
MAR 22 St. Louis, MO- City Winery *
MAR 23 Madison WI- The Bur Oak *
MAR 24 Milwaukee WI- SHank Hall *
MAR 28 Decatur, GA- Eddie’s Attic *
From Elvis shaking his hips in the ‘50s to rap lyrics sparking controversy in the ‘80s, every generation has had a moment where parents just didn’t get their kids’ music. But sometimes, the generational gap closes—The Beatles won over parents, and today, classic rock, hip-hop, and even pop nostalgia have made family road trip playlists more unified than ever. So, when did parents and kids start listening to the same music? When didn’t they? And does it really matter?
The Classic Generation Gap in Music
Parents and kids clashing over music is nothing new—it’s been happening for decades. In the 1950s, rock and roll was seen as dangerous, with artists like Elvis Presley and Little Richard shocking older generations. By the 1980s, rap and heavy metal were under fire for their lyrics and rebellious energy. This generational disconnect isn’t just about taste; it’s about values, culture, and the fear of change.
The Beatles: The First Great Musical Bridge
The Beatles started as a teenage sensation, but by the late 1960s, their sophisticated songwriting began to earn the respect of older generations. Songs like Yesterday and Let It Be weren’t just for screaming fans—they had real musical depth that parents could appreciate. This was one of the first moments where different generations found common ground in popular music.
Disco vs. Rock: A House Divided in the ‘70s
In the 1970s, disco and rock became a battle between parents and kids—and sometimes between siblings. Rock purists saw disco as commercial and shallow, while parents who grew up on swing and Motown found it familiar and danceable. Meanwhile, punk exploded as a form of teenage rebellion, pushing parents further away from their kids’ music choices.
The MTV Generation: Parents in the Dark
When MTV launched in 1981, it changed how music was consumed. Suddenly, music was as much about image as sound, and artists like Madonna and Prince were shocking in ways parents weren’t ready for. Parents struggled to understand music videos and the bold visuals that came with them, making the generational divide even wider.
The ‘90s and Early 2000s: Hip-Hop vs. Rock Radio
By the 1990s, rock and rap coexisted, but they rarely shared the same audience. Parents who grew up on classic rock struggled to connect with their kids’ love for hip-hop. Meanwhile, grunge and alternative rock became a middle ground—many parents could appreciate the musicianship of Nirvana or Pearl Jam, even if they didn’t love the angst.
Classic Rock’s Second Life: The Unexpected Common Ground
By the 2000s, classic rock radio and digital streaming helped older bands like The Rolling Stones, Led Zeppelin, and Fleetwood Mac reach younger audiences. Thanks to movies, commercials, and video games, kids were discovering the same music their parents grew up on. Suddenly, teenagers and their dads were both blasting AC/DC on road trips.
The Streaming Era: No More Musical Silos
Before streaming, kids had their music on cassettes and CDs, and parents had theirs on the radio. Now, platforms like Spotify and Apple Music have eliminated those barriers. Families can share playlists, and algorithmic recommendations mean parents and kids often end up listening to similar artists—even without realizing it.
Nostalgia’s Role: When Parents Start Loving Their Kids’ Music
Once dismissed as noise, pop and hip-hop from the early 2000s is now considered nostalgic. Parents who criticized Britney Spears or Eminem in the past may now sing along because it reminds them of raising their kids. Likewise, Gen Z loves ‘80s synth-pop and early 2000s punk rock, proving that time is the ultimate bridge between generations.
Social Media and the Viral Music Connection
TikTok and Instagram have reshaped how music is shared, often reviving songs from decades past. A teenager might discover Kate Bush, Fleetwood Mac, or Nirvana because a song went viral, making these artists relevant again. In some cases, parents and kids end up bonding over music that neither expected to have in common.
Does It Really Matter? The Answer Might Surprise You
While the generation gap in music has caused tension over the years, it’s also been a source of connection. Music has always been about identity, rebellion, and culture—but it also has the power to bring people together. Whether parents love or hate their kids’ music, one thing is certain: the cycle will continue, and one day, today’s kids will be the parents who “just don’t get it.”
Last night, Kendrick Lamar made history as the first solo rapper to headline the Super Bowl halftime show, delivering a visually stunning, politically charged performance at the Caesars Superdome in New Orleans. With a video game-inspired set, a gutted Buick GNX, and surprise appearances from SZA and Serena Williams, Lamar’s show was as much a statement as it was a spectacle. Let’s break down the key moments and hidden messages from this unforgettable performance.
Kendrick Lamar was the first solo rapper to headline the Super Bowl halftime show.
His performance was centered around a video game motif, symbolizing his journey through the American dream.
The performance featured four main stages, each shaped like a PlayStation controller button.
The monochromatic concrete aesthetic was meant to keep the focus on the storytelling.
The show featured political and cultural messages about race, incarceration, and the Black American experience.
Apple Music and Roc Nation sponsored the halftime show.
The performance was held at the Caesars Superdome in New Orleans.
Lamar’s show was one of the biggest halftime production footprints in Super Bowl history.
The entire stage and set had to be assembled in 7.5 minutes and removed within 6 minutes.
All Access and Tribe Inc. were responsible for the show’s design and production.
The centerpiece of the performance was a Buick GNX, tied to his album of the same name.
The GNX used was bought from a dealership in Riverside, California.
The car was gutted and modified to act as a “clown car” that opened to reveal dancers.
The stage and set design had to fit through a single tunnel in the stadium, limiting options.
50+ carts weighing between 1,500-3,500 pounds were used for staging and equipment.
Custom-built streetlights were included in the set, some holding dancers.
The field was protected using specially designed “turf tires” for all stage carts.
LED lighting and projection effects enhanced the video game theme.
The halftime show featured choreographed marching formations, mimicking military precision.
Lamar’s team, including pgLang and creative director Mike Carson, prioritized minimalism and storytelling.
The show opened with Samuel L. Jackson dressed as Uncle Sam introducing Lamar.
Jackson’s character mocked Lamar for being “too loud, too reckless, too ghetto,” highlighting stereotypes.
Lamar performed “Squabble Up,” “Humble.,” “DNA.,” “Euphoria,” “Peekaboo,” and more.
He included Grammy-winning songs “Not Like Us” and “All the Stars” (with SZA).
SZA made a surprise appearance for “Luther” and “All the Stars.”
Serena Williams joined Lamar on stage and was seen crip-walking.
The set resembled a prison yard, symbolizing mass incarceration.
At one point, Lamar referenced “40 acres and a mule,” a call to Black reparations.
A dancer formation created a broken American flag, symbolizing division.
Lamar removed the word “pedophiles” from “Not Like Us” but kept the song’s diss elements.
The show included a reference to Gil Scott-Heron’s “The Revolution Will Not Be Televised.”
The concept of an “Uncle Tom” figure was portrayed through Jackson’s character.
The prison yard set criticized the racial disparities in mass incarceration.
Lamar’s wardrobe—a pgLang jacket with “Gloria”—was a nod to his mother.
The choreography included imagery of slavery and the foundation of America on Black labor.
The use of red, white, and blue costumes was a critique of patriotism vs. oppression.
Jackson’s repeated interruptions symbolized societal expectations for Black artists to conform.
Lamar referenced Drake’s lawsuits against Universal Music Group in “Not Like Us.”
“TV Off” was a closing statement about media manipulation and control.
The GNX was difficult to find due to Lamar’s album boosting its value.
One potential seller didn’t have the legal title to the car.
The final GNX used had to be dismantled, making it permanently non-street legal.
The production team had to rehearse around delays caused by Los Angeles wildfires.
The single entrance to the stadium made logistics especially difficult.
The show followed a tight schedule, with only months to design, build, and rehearse.
The synthetic turf at the Superdome allowed for easier field protection than in previous years.
Lamar’s Super Bowl announcement came on September 8, giving him limited prep time.
Some rehearsals were postponed due to unforeseen issues.
The show gained over 11 million views online within hours of airing.
Lamar’s performance cemented his place in Super Bowl and hip-hop history, proving rap’s dominance on a global stage.
