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Coldplay Shatters Records with Historic Two-Night Concert in Ahmedabad, India, Drawing Over 222,000 Fans

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This past weekend, Coldplay brought their record-breaking Music Of The Spheres World Tour to Ahmedabad, Gujarat in India for the very first time, delivering two historic performances at the Narendra Modi Stadium. The shows, held on Saturday 25th and Sunday 26th January, drew over 222,000 fans across the two nights – with more than 111,000 at each show, setting the record for the largest stadium concerts of the 21st century and the biggest of the band’s career. Fans across India were also able to enjoy the performance on Sunday night from their homes, via the Disney+ Hotstar live stream.

In addition to performing several hits from their latest international No. 1 album Moon Music, the group incorporated anthems from across the band’s incredible catalog, including “Yellow”, “The Scientist”, “Clocks”, “Fix You”, “Viva La Vida”, “Paradise”, “A Sky Full Of Stars”, “Hymn For The Weekend”, “Adventure Of A Lifetime”, “My Universe” and “Higher Power” into the spectacular stadium show bursting with lasers, fireworks and LED wristbands.

The Music Of The Spheres World Tour highlights the band’s unwavering dedication to connecting with fans across the globe. Over the course of their monumental two-and-a-half-year journey, Coldplay have sold over 12 million tickets across Europe, North America, Latin America, Asia, and Oceania, making it the most attended tour ever by a group.

UPCOMING MUSIC OF THE SPHERES 2025 WORLD TOUR DATES:

APRIL
08: Hong Kong – Kai Tak Stadium (Support: Marf) – SOLD OUT
09: Hong Kong – Kai Tak Stadium (Support: Marf) – SOLD OUT
11: Hong Kong – Kai Tak Stadium (Support: Marf) – SOLD OUT
12: Hong Kong – Kai Tak Stadium (Support: Marf) – SOLD OUT
16: Seoul – Goyang Stadium (Support: TWICE) – SOLD OUT
18: Seoul – Goyang Stadium (Support: TWICE) – SOLD OUT
19: Seoul – Goyang Stadium (Support: TWICE) – SOLD OUT
22: Seoul – Goyang Stadium (Support: TWICE) – SOLD OUT
24: Seoul – Goyang Stadium (Support: TWICE) – SOLD OUT
25: Seoul – Goyang Stadium (Support: TWICE) – SOLD OUT

MAY
31: Stanford, CA – Stanford Stadium (Support: Willow, Elyanna) – SOLD OUT

JUNE
1: Stanford, CA – Stanford Stadium (Support: Willow, Elyanna) – SOLD OUT
6: Las Vegas, NV – Allegiant Stadium (Support: Willow, Elyanna) – SOLD OUT
7: Las Vegas, NV – Allegiant Stadium (Support: Willow, Elyanna) – SOLD OUT
10: Denver, CO – Empower Field at Mile High (Support: Willow, Elyanna) – SOLD OUT
13: El Paso, TX – Sun Bowl Stadium (Support: Willow, Elyanna) – SOLD OUT
14: El Paso, TX – Sun Bowl Stadium (Support: Willow, Elyanna) – SOLD OUT

JULY
7: Toronto, ON – Rogers Stadium (Support: Ayra Starr, Elyanna) – SOLD OUT
8: Toronto, ON – Rogers Stadium (Support: Ayra Starr, Elyanna) – SOLD OUT
11: Toronto, ON – Rogers Stadium (Support: Ayra Starr, Elyanna) – SOLD OUT
12: Toronto, ON – Rogers Stadium (Support: Ayra Starr, Elyanna) – SOLD OUT
15: Boston, MA – Gillette Stadium (Support: Ayra Starr, Elyanna) – SOLD OUT
16: Boston, MA – Gillette Stadium (Support: Ayra Starr, Elyanna) – SOLD OUT
19: Madison, WI – Camp Randall Stadium (Support: Ayra Starr, Elyanna) – SOLD OUT
22: Nashville, TN – Nissan Stadium (Support: Ayra Starr, Elyanna) – SOLD OUT
26: Miami, FL – Hard Rock Stadium (Support: Ayra Starr, Elyanna) – SOLD OUT
27: Miami, FL – Hard Rock Stadium (Support: Ayra Starr, Elyanna) – SOLD OUT

AUGUST
18: Hull, UK – Craven Park Stadium (Support: TBA) – SOLD OUT
19: Hull, UK – Craven Park Stadium (Support: TBA) – SOLD OUT
22: London, UK – Wembley Stadium (Support: TBA) – SOLD OUT
23: London, UK – Wembley Stadium (Support: TBA) – SOLD OUT
26: London, UK – Wembley Stadium (Support: TBA) – SOLD OUT
27: London, UK – Wembley Stadium (Support: TBA) – SOLD OUT
30: London, UK – Wembley Stadium (Support: TBA) – SOLD OUT
31: London, UK – Wembley Stadium (Support: TBA) – SOLD OUT

SEPTEMBER
3: London, UK – Wembley Stadium (Support: TBA) – SOLD OUT
4: London, UK – Wembley Stadium (Support: TBA) – SOLD OUT
7: London, UK – Wembley Stadium (Support: TBA) – SOLD OUT
8: London, UK – Wembley Stadium (Support: TBA) – SOLD OUT

Deafheaven Announces 2025 North American Headline Tour with Special Guests Gatecreeper and Trauma Ray

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Deafheaven have announced details of a 2025 North American headline tour in support of their anticipated new album Lonely People With Power. The upcoming dates will feature special guests Gatecreeper and Trauma Ray, and will kick off on April 19th at The Belasco in Los Angeles, CA. The trek includes stops in San Francisco, Vancouver, Salt Lake City, Chicago, Philadelphia, Atlanta, Austin and more, as well as a two night stand in New York City on May 14th and May 15th.

Pre-sale tickets for the tour will be available today at 12:00PM ET, with general on-sale for tickets beginning this Friday, January 31st at 10:00AM local time. Furthermore, Deafheaven also have several U.S. and international festival appearances slated for 2025 including: Sonic Temple in Columbus, OH (May 9th), Welcome To Rockville in Daytona Beach, FL (May 15th), Rock am Ring in Nurburg , Germany (June 8th), Outbreakfest in Manchester, United Kingdom (June 14-15th), and more.

Earlier this week Deafheaven shared details of their new album Lonely People With Power – set for release March 28th via their new label home, Roadrunner Record [album artwork / tracklisting below]. The band have also shared the album’s first single “Magnolia,” which is available now on all streaming platforms and is joined by an official music video directed by Sean Stout and Chelsea Jade – watch it below.

Recorded with producer Justin Meldal-Johnsen [St. Vincent, M83] and mixed by Zach Weeks of GodCity Studio, Lonely People With Power follows Deafheaven’s 2021 studio album, Infinite Granite, which saw the GRAMMY-nominated band charting new ground and expanding stylistic boundaries. On Lonely People With Power, Deafheaven again confound expectations, piling element on element, and towering towards the sky with their most ambitious release yet. Tracked at EastWest Studios, Lonely People With Power includes additional vocal contributions from Jae Matthews of Boy Harsher and Paul Banks of Interpol.

Deafheaven 2025 Tour Dates:
April 19 – Los Angeles, CA – The Belasco
April 20 – Sacramento, CA – Ace of Spades
April 21 – San Francisco, CA – The Fillmore
April 23 – Portland, OR – Revolution Hall
April 24 – Seattle, WA – The Showbox
April 25 – Vancouver, BC – The Pearl
April 26 – Spokane, WA – Knitting Factory
April 27 – Boise, ID – Knitting Factory
April 28 – Salt Lake City, UT – Metro Music Hall
April 30 – Englewood, CO – The Gothic Theatre
May 02 – Omaha, NE – Slowdown
May 03 – Minneapolis, MN – Varsity Theatre
May 04 – Madison, WI – Majestic Theater
May 05 – Chicago, IL – Metro
May 06 – Grand Rapids, MI – The Pyramid Scheme
May 08 – Toronto, ON – The Opera House
May 09 – Columbus, OH – Sonic Temple Art & Music Festival 2025*
May 10 – Buffalo, NY – Town Ballroom
May 12 – Philadelphia, PA – Union Transfer
May 13 – Boston, MA – Paradise Rock Club
May 14 – New York, NY – Irving Plaza
May 15 – Brooklyn, NY – Warsaw
May 17 – Atlanta, GA – Variety Playhouse
May 18 – Daytona Beach, FL – Welcome to Rockville 2025*
May 20 – Dallas, TX – Granada Theater
May 21 – Austin, TX – Emo’s
May 23 – Mesa, AZ – The Nile
June 08 – Nürburg, Germany – Rock am Ring 2025*
June 12 – Nickelsdorf, Austria – Nova Rock 2025*
June 14 – 15 – Manchester, United Kingdom – Outbreak Fest 2025*
June 19 – 22 – Dessel, Belgium – Graspop Metal Meeting 2025*
June 21 – Clisson, France – Hellfest 2025*
June 25 – Oslo, Norway – Tons of Rock 2025*
June 28 – Ysselsteyn, Netherlands – Jera On Air 2025*

*Festival Date

Train Announces 2025 North American Tour with Edwin McCain, Plus Sail Across The Sun Cruise

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Train announces new 2025 North American headline concert dates this summer. With more than 10 million albums and 30 million tracks sold worldwide, 14 songs on Billboard’s Hot 100, and 13 albums on the Billboard 200 albums chart, Train will bring fans an epic night of music filled with their most iconic, chart-topping hits including RIAA diamond-certified, #1 best-selling smash “Hey, Soul Sister,” 8x platinum-certified, double-GRAMMY-winning “Drops of Jupiter,” 5x platinum-certified track “Drive By,” and many more from their critically-acclaimed catalog spanning three decades.

The summer tour kicks off on Friday, August 1 in Camdenton, MO and will make stops in 27+ cities before concluding on September 17 in Seattle, WA. Joining Train on the road as direct support on most dates is special guest Edwin McCain.

Tickets for most of the newly announced shows go on sale to the general public starting Friday, January 31st at 10AM local time, please check local listings for details. Fans can gain first access to the artist presale in most markets beginning Wednesday, January 29th at 10AM local through Thursday, January 30th at 10PM local. More live show dates to be announced in the coming weeks.

Next up, Train will set sail on the eagerly awaited 8th voyage of their sold-out Sail Across The Sun cruise, presented in partnership with Sixthman, Crush Music, and Save Me San Francisco Wine Co x Gestalt. Now celebrating its 10th year, the immersive, family-friendly celebration on the high seas sails February 13-17, 2025 from Miami, FL to Cozumel, Mexico aboard the luxurious Norwegian Gem and will feature three completely unique live sets from Train alongside an all-star lineup of artists as well as exclusive events, activities, and more.

Then, just ahead of the North American tour, Train is heading overseas for a run of headline shows across Australia and New Zealand this May, followed by performances in Europe and the UK throughout June and July. For tickets and additional information on all of Train’s upcoming tour dates, please visit SaveMeSanFrancisco.com.

TRAIN 2025 NORTH AMERICAN TOUR DATES
May 1, 2025 – Highland, CA – Yaamava’ Resort & Casino
May 2, 2025 – Redondo Beach, CA – BeachLife Festival
May 3, 2025 – Las Vegas, NV – M Resort
Friday, August 1, 2025 – Camdenton, MO – Ozarks Amphitheater*
Saturday, August 2, 2025 – Highland Park, IL – Ravinia Festival*
Sunday, August 3, 2025 – Grand Rapids, MI – venue TBD*
Tuesday, August 5, 2025 – Toledo, OH – Toledo Zoo Amphitheater*
Thursday, August 7, 2025 – Niagara Falls, ON – Fallsview Casino Resort*
Friday, August 8, 2025 – Canandaigua, NY – CMAC*
Saturday, August 9, 2025 – Grantville, PA – Hollywood Casino at Penn National Race Course*
Tuesday, August 12, 2025 – Youngstown, OH – Youngstown Foundation Amphitheatre*
Wednesday, August 13, 2025 – Cincinnati, OH – Reds Post-Game Concert
Friday, August 15, 2025 – Atlantic City, NJ – Hard Rock Live*
Sunday, August 17, 2025 – Cohasset, MA – South Shore Music Circus*
Tuesday, August 19, 2025 – Hyannis, MA – Cape Cod Melody Tent*
Friday, August 22, 2025 – Uncasville, CT – Mohegan Sun Arena*
Sunday, August 24, 2025 – Roanoke, VA – Elmwood Park*
Tuesday, August 26, 2025 – Rogers, AR – Walmart AMP*
Wednesday, August 27, 2025 – El Dorado, AR – Murphy Arts District Amphitheater*
Thursday, August 28, 2025 – Durant, OK – Choctaw Grand Theater*
Saturday, August 30, 2025 – Corpus Christi, TX – Concrete Street Amphitheater*
Sunday, August 31, 2025 – Round Rock, TX – Round Rock Amp*
Saturday, September 6, 2025 – Colorado Springs, CO – Ford Amphitheater*
Sunday, September 7, 2025 – Dillon, CO – Dillon Amphitheater*
Tuesday, September 9, 2025 – Salt Lake City, UT – venue TBD*
Wednesday, September 10, 2025 – Boise, ID – Ford Idaho Center Amphitheater*
Friday, September 12, 2025 – Murphys, CA – Ironstone Amphitheatre*
Sunday, September 14, 2025 – Napa, CA – Uptown Theatre*
Tuesday, September 16, 2025 – Airway Heights, WA – Northern Quest Amphitheater*
Wednesday, September 17, 2025 – Seattle, WA – venue TBD*

*with Edwin McCain

Alison Krauss & Union Station Return with Arcadia, First Album in 14 Years & 75-Date Tour

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Today, Alison Krauss & Union Station announce the release of their first new album in 14 years. Out March 28th on Down The Road Records, and self-produced by Alison Krauss & Union Station, Arcadia is a set of ten songs that transcend time, reveal beautiful and tragic truths, and reaffirm why the group remains one of the most influential, widely celebrated acts of the past four decades. Even during an extended period apart – each member building a thriving solo career, collaborating with some of the greatest artists in the world, earning a collective total of more than 70 GRAMMY Awards, selling tens of millions of albums – they never stopped searching for and patiently collecting the music that might one day bring them back together.

Largely written by such modern masters as Robert Lee Castleman, Viktor Krauss, Bob Lucas, JD McPherson and Sarah Siskind, Arcadia’s songs are contemporary reflections of history. But there was one in particular that reunited the band and reignited their focus. “Usually, I find something that’s a first song, and then things fall into place,” says Alison Krauss. “That song was ‘Looks Like The End Of The Road.’ Jeremy Lister wrote it, and it just felt so alive – and as always, I could hear the guys already playing it.” As Arcadia’s opening number, “Looks Like The End Of The Road” introduces another imperative new chapter for Alison Krauss & Union Station, and it is available today. Pre-Order Arcadia, and listen to “Looks Like The End Of The Road” here.

Following 2011’s Paper Airplane, which debuted at #1 on the Billboard Country, Bluegrass and Folk Charts, Arcadia further expands the immaculately crafted, endlessly surprising sound that Alison Krauss & Union Station are known and loved for. ​​Recorded in studios across Nashville, Arcadia also welcomes brand new member Russell Moore on co-lead vocals, guitar and mandolin. Best known as the frontman for chart-topping group IIIrd Tyme Out, Moore is the International Bluegrass Music Association’s most awarded male vocalist of all time. Alongside Alison Krauss (fiddle, lead vocal), Jerry Douglas (Dobro, lap steel, vocals), Ron Block (banjo, guitar, vocals) and Barry Bales (bass, vocals), each member’s individual talent and acclaim transforms into one single, peerless and unstoppable force. On the songs of Arcadia, Alison Krauss expands:

“The stories of the past are told in this music. It’s that whole idea of ‘in the good old days when times were bad.’ There’s so much bravery and valor and loyalty and dreaming, of family and themes of human existence that were told in a certain way when our grandparents were alive. Someone asked me, ‘How do you sing these tragic tunes?’ I have to. It’s a calling. I feel privileged to be a messenger of somebody else’s story. And I want to hear what happened.”

Furthermore, Arcadia rejoins Alison Krauss & Union Station with Rounder Records founders Ken Irwin, Marian Leighton Levy, Bill Nowlin and John Virant, who first signed Krauss when she was 14 years old – and who first worked with Jerry Douglas in 1975, when JD Crowe & The New South released their eponymous album, commonly referred to as Rounder 0044. Now heading up their own Down The Road Records, the group’s relationship with the band serves as a testament to their enduring friendship and longstanding creative partnership.

On the heels of Arcadia’s release, Alison Krauss & Union Station will perform the music live at 75 tour dates across North America. Featuring Jerry Douglas, the Arcadia 2025 Tour is the band’s first run of shows together in more than ten years, and nearly all of the dates have already sold out. Kicking off on April 17th, and extending through the end of September, stops include iconic venues like Red Rocks Amphitheatre, LA’s Greek Theatre, NYC’s Beacon Theatre and dozens more, with special guest Willie Watson.

Arcadia Tracklist
Looks Like The End Of The Road (Jeremy Lister)
The Hangman (Viktor Krauss & Maurice Ogden)
The Wrong Way (Robert Lee Castleman & Dan Tyminski)
Granite Mills (Timothy Eriksen)
One Ray Of Shine (Sarah Siskind & Viktor Krauss)
Richmond On The James (Alison Krauss & G.T. Burgess)
North Side Gal (Jonathan David McPherson)
Forever (Robert Lee Castleman)
Snow (Bob Lucas)
There’s A Light Up Ahead (Jeremy Lister)

Arcadia 2025 Tour Dates
4/17 – The Louisville Palace – Louisville, KY*
4/18 – The Louisville Palace – Louisville, KY*
4/19 – Mershon Auditorium – Columbus, OH*
4/25 – Cadence Bank Amphitheatre at Chastain Park – Atlanta, GA
4/26 – Live Oak Bank Pavilion – Wilmington, NC
4/27 – Koka Booth Amphitheatre – Cary, NC
4/29 – Bell Auditorium – Augusta, GA
4/30 – The Adderley Amphitheater – Tallahassee, FL
5/2 – The Wharf Amphitheater – Orange Beach, AL
5/3 – Brandon Amphitheater – Brandon, MS
5/4 – BJCC Concert Hall – Birmingham, AL
5/6 – Orpheum Theatre – Memphis, TN
5/12 – First Security Amphitheater – Little Rock, AR
5/13 – The Criterion – Oklahoma City, OK
5/15 – Saint Louis Music Park – Maryland Heights, MO
5/16 – Walmart AMP – Rogers, AR
5/17 – Starlight Theatre – Kansas City, MO
5/29 – Smart Financial Centre – Sugar Land, TX
5/30 – Whitewater Amphitheater – New Braunfels, TX
5/31 – The Pavilion at Toyota Music Factory – Irving, TX
6/3 – PNC Pavilion – Cincinnati, OH
6/4 – Devon Lakeshore Amphitheater – Decatur, IL
6/6 – BMO Pavilion – Milwaukee, WI
6/7 – The Chicago Theatre – Chicago, IL
6/8 – The Ledge – Waite Park, MN
6/10 – Vetter Stone Amphitheater – Mankato, MN
6/11 – Bayfront Festival Park – Duluth, MN
6/13 – McGrath Amphitheatre – Cedar Rapids, IA
6/14 – Denny Sanford Premier Center – Sioux Falls, SD
6/15 – The Astro Amphitheater – Omaha, NE
6/16 – Hartman Arena – Park City, KS
6/18 – Red Rocks Amphitheatre – Morrison, CO
6/19-6/22 – Telluride Bluegrass Festival – Telluride, CO
6/20 – Dillon Amphitheater – Dillon, CO
6/21 – Kit Carson Park – Taos, NM
7/11 – Arizona Financial Theatre – Phoenix, AZ
7/12 – The Rady Shell at Jacobs Park – San Diego, CA
7/13 – Greek Theatre – Los Angeles, CA
7/15 – Santa Barbara Bowl – Santa Barbara, CA
7/16 – The Mountain Winery – Saratoga, CA
7/18 – Grand Theatre – Reno, NV
7/19 – Redding Civic Auditorium – Redding, CA
7/20 – Edgefield Amphitheater – Troutdale, OR
7/22 – Wine Country Amphitheater – Walla Walla, WA
7/23 – Outlaw Field at the Idaho Botanical Garden – Boise, ID
7/26 – Theatre at the Brick – Bozeman, MT
7/27 – BECU Live at Northern Quest – Airway Heights, WA
7/29 – Grey Eagle Resort & Casino – Calgary, AB
7/31 – TCU Place – Saskatoon, SK
8/1 – Centennial Concert Hall – Winnipeg, MB
8/19 – Massey Hall – Toronto, ON
8/21 – Everwise Amphitheater at White River State Park – Indianapolis, IN
8/22 – Ascend Amphitheater – Nashville, TN
8/23 – The Tennessee Theatre – Knoxville, TN
8/24 – The Tennessee Theatre – Knoxville, TN
8/26 – Soldiers and Sailors Memorial Auditorium – Chattanooga, TN
8/28 – The Dome – Virginia Beach, VA
8/29 – Allianz Amphitheater at Riverfront – Richmond, VA
8/30 – Earl Scruggs Music Festival – Mill Spring, NC
9/6 – Michigan Lottery Amphitheatre – Sterling Heights, MI
9/7 – Jacobs Pavilion – Cleveland, OH
9/9 – Wolf Trap – Vienna, VA
9/10 – The Met Philadelphia presented by Highmark – Philadelphia, PA
9/12 – Beacon Theatre – New York, NY
9/13 – Beacon Theatre – New York, NY
9/16 – Veterans Memorial Auditorium – Providence, RI
9/17 – Leader Bank Pavilion – Boston, MA
9/19 – BankNH Pavilion – Gilford, NH
9/20 – The Green at Shelburne Museum – Shelburne, VT
9/21 – Artpark Mainstage Theater – Lewiston, NY
9/23 – Salem Civic Center – Salem, VA
9/24 – Credit One Stadium – Charleston, SC
9/26 – The Saint Augustine Amphitheatre – St. Augustine, FL
9/27 – The BayCare Sound – Clearwater, FL

SiriusXM’s Top of the Country Returns for 2025 with Major Prizes & Career-Changing Opportunities

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Today, SiriusXM Canada is proud to announce its seventh annual SiriusXM Top of the Country competition, in partnership with the Canadian Country Music Association® (CCMA). The nationwide search for Canada’s top country talent offers artists career-defining opportunities with the chance to perform at some of the biggest country music events in Canada. The top three finalists will also win cash prizes including a $25,000 grand prize and $10,000 each for both runners-up. Registration is now open to solo artists and groups until January 31 at topcountry.siriusxm.ca.

“The SiriusXM Top of the Country competition showcases Canadians’ love of country music and celebrates the incredible talent from across this country,” said Michelle Mearns, Senior Vice President of Programming & Operations, SiriusXM Canada. “Supporting emerging Canadian artists, offering a platform and giving them the spotlight to shine is one of SiriusXM’s top priorities and proudest efforts. Now in its seventh year, the competition’s ongoing success highlights its deep resonance with country fans and music lovers from coast to coast.”

The competition is no stranger to propelling Canadian country music talent to greater heights, such as Zach McPhee who walked home as the 2024 champion with $25,000.

“Winning the SiriusXM Top of the Country competition was a dream come true. It gave me the platform to share my music across the country and I will always be grateful to SiriusXM, the Canadian Country Music Association and Canadian country music fans for believing in me and supporting me,” shared McPhee after being crowned the winner last September.

Once registration closes, an expert panel will select eight worthy semi-finalists to record original tracks and in-studio videos. A nationwide vote will follow to determine the top three finalists who will embark on a summer of showcase opportunities including Lasso Montréal (August 15-16, 2025) and 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.

“At the heart of the CCMA’s mission is the commitment to elevating the Canadian country music community and advancing the genre as a whole,” said Amy Jeninga, President, CCMA. “Competitions like SiriusXM’s Top of the Country play a crucial role in helping us achieve this goal. Our long-standing partnership with SiriusXM has been instrumental in showcasing remarkable emerging talent within Canadian country music, allowing us to discover fresh voices, share their stories, and support them as they take exciting steps forward in their careers. We can’t wait to see where their journeys lead.”

SiriusXM 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 talent. SiriusXM continues to offer a leading platform for Canadian artists through its significant financial contributions and North American-wide reach.

Boi-1da and Sarah Harmer to Receive Special Honors at 2025 JUNO Awards

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Today, the Canadian Academy of Recording Arts and Sciences (CARAS) is delighted to announce two new Special Award Recipients during the 2025 JUNO Week. Boi-1da will join us onstage at The JUNO Broadcast on March 30, 2025 to be awarded the International Achievement Award, live on CBC and Sarah Harmer will be Awarded with the Humanitarian Award at The JUNO Awards Gala Presented by Music Canada on March 29, 2025.

“This year’s JUNOS Special Award Recipients exemplify the very best of what Canadian music has to offer,” says Allan Reid, President and CEO of CARAS. “From creating superstar recordings to leading with compassion in their humanitarian efforts, we are excited to celebrate Boi-1da and Sarah Harmer for their work and profound impact.”

The 54th Annual JUNO Awards, produced by Insight Productions (a Boat Rocker company), will broadcast and stream live across Canada from Rogers Arena in Vancouver on March 30th at 8 p.m. ET/5 p.m. PT on CBC TV, CBC Gem, CBC Radio One, CBC Music, CBC Listen, and globally at CBCMusic.ca/junos and CBC Music’s YouTube page. Be sure to tune in to catch all the action and see these awards being presented.

Boi-1da receives the International Achievement Award

The JUNO International Achievement Award recognizes Canadian artists who have attained exemplary success on the world stage. The award looks to honour Canadian talent who have not only topped charts, but who have raised the profile of Canadian music around the world. Throughout The JUNO Awards’ history, the International Achievement Award has only been given out nine times, with Boi-1da being the first Producer and 10th recipient of the Award. Boi-1da’s first recognized production credit was on Drake’s 2006 mixtape Room for Improvement, where he produced the track “Do What You Do.” This marked the beginning of his long-standing collaboration with Drake and his rise as a prominent producer in the industry on a global scale. 

Boi-1da is a 19X Grammy Award-nominated producer/songwriter and has earned his household name in the music industry. From mixtapes to being named “Hip-Hop’s Secret Weapon” by GrammyNews, he has produced on some of the biggest albums and for the most prominent artists in the Hip-Hop and R&B scene including Drake, Rihanna, Eminem, Jay-Z, Nicki Minaj, Kanye West, and Beyoncé among countless others. To date, he has garnered 60+ platinum singles, 4 RIAA-Certified Diamond records and 3 Billboard Hot 100 #1s.

“Being recognized with the International Achievement Award at the JUNOS is a huge honour. Canada has always been home, and its music scene shaped me into the producer I am today. To be able to take that foundation and contribute to music on a global scale means everything. I hope this inspires the next generation of Canadian artists and producers to dream big and know that the world is listening,” says Boi-1da.

Sarah Harmer to be recognized with the 2025 Humanitarian Award

At The JUNO Awards Gala Presented by Music Canada Sarah Harmer will be honoured by CARAS with the prestigious 2025 Humanitarian Award for using her voice to engage her audiences and peers in important environmental and human rights issues. This award recognizes outstanding Canadian artists or industry leaders whose humanitarian contributions have positively enhanced the social culture of Canada and whose impact can be felt worldwide.

Sarah Harmer is a multiple award-winning, platinum-selling singer-songwriter and environmental activist. Her solo music career launched with the now classic debut You Were Here (2000) and includes six critically acclaimed albums, including her latest, Are You Gone, released via Arts & Crafts. A deeply personal and political collection of songs motivated by the beauty of life, the urgency of the climate crisis, and the question of loss, Sarah called the album a spiritual successor of sorts to her acclaimed 2000 debut. Between co-founding the citizen’s organization PERL (Protecting Escarpment Rural Land) and leading the successful effort to prevent an open-pit gravel mine in a UNESCO World Biosphere Reserve on the Niagara Escarpment, Sarah has become a fixture in local politics and advocacy.

“I truly appreciate this honour. I accept on behalf of all the people who volunteer their time to speak up to protect land, water, and the web of life in their communities, and beyond. Musicians who use their platforms to amplify these struggles give a huge boost to the collective fight. Now more than ever we need to use our powers to build community and respect the natural world that underpins our lives.”

The award will be presented to Sarah at the JUNO Awards Gala Presented By Music Canada on Saturday, March 29 at the Vancouver Convention Centre.

Canada’s Live Music Industry Generates $10.92B in Economic Impact, Study Finds

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The Canadian Live Music Association (CLMA) released findings of its long-anticipated economic impact study today, inside Massey Hall’s Allied Music Centre. ‘Here and Now: understanding the economic power and potential of Canada’s live music industry” commissioned by the CLMA, was led by Nordicity, a leading strategic, policy, and economic analysis firm.

“The incredible small, medium, and large venues, clubs, concert halls, festivals, arenas, and other live music spaces that connect artists with their fans form a vast, complex, indoor and outdoor ecosystem. This is the system that facilitates live music–and its massive supply chain across Canada, be it a national arena tour, or a one-off local show in a 120-cap independent venue…and everything in-between.” said Erin Benjamin, President & CEO of the CLMA. “Understanding and harnessing this system creates a significant and scalable competitive advantage for Canadians and for all levels of government and is essential for our artists so that they can continue to share the music we love and need. And why wouldn’t we? This study is a benchmark, the numbers in it have been achieved largely in the absence of any dedicated fiscal policy frameworks aimed at incentivizing growth. $10.92B in combined impact from live music and tourism spending…  without trying.”

The study found that the live music industry supports over 100,000 jobs – from artists, performers, and technicians to venue staff, promoters, and service workers – and attracts hundreds of thousands of tourists year over year. In 2023 alone, live music festivals and live shows at venues in Canada together brought in a total of 19.69 million visitors. In addition to the live music and artistic experience we all know and love (and many of us can’t live without), the economic benefits of live music spillover directly into other industries, helping the creation and sustainability of jobs in sectors like hospitality, transportation, and retail.

“The findings in Here and Now make it clear that protecting and growing Canada’s live music infrastructure directly results in more jobs, major economic impact for cities and towns, and more performance opportunities for Canadian artists. It means more fans choosing Canada when deciding where to spend their (billions of, as it turns out) music tourism dollars. It means sold out hotels, fully booked flights, bustling shops, and restaurants. It means togetherness and social cohesion. It means better mental health. It means thriving downtowns. It means attracting and retaining other industries and talent to our cities. It means more revenue for artists and musicians. It means more music and memories with family and friends that change our lives,” said Tarun Nayar, Co-Founder, 5X Festival; Co-Founder, Snakes x Ladders, artist, and board chair of the CLMA.

Key statistics:

  • Combined impacts of live music company operations and tourism spending:
    • $10.92 billion contribution to GDP
    • $9.9 billion in visitor spending
    • 101,604 jobs created
    • $3.73 billion in taxes
    • $5.84 billion in labour income
  • Live music operations:
    • $2 billion contribution to GDP
    • 27,490 jobs created
    • $513.5 million in taxes
    • $1.17 billion in labour income

The Canadian Live Music Association was founded in 2014 to drive the narrative of the power of live music, and to collaborate with members and government to stimulate increased sector capacity across the ecosystem. With this new data in hand, we hope the hard evidence and robust research in this report will incentivize forward and innovative thinking about the industry’s place and potential for growth within Canada’s cultural and economic framework.

You can read the full report here.

Stereophonics Announce 2025 Tour & New Album ‘Make ‘em Laugh, Make ‘em Cry, Make ‘em Wait’

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Today, the legendary Stereophonics announce details of their thirteenth studio album ‘Make ‘em Laugh, Make ‘em Cry, Make ‘em Wait’. Due for release on 25th April 2025 via EMI, the album is available to pre-order here. The announcement comes alongside a new single taken from the forthcoming record, ‘There’s Always Gonna Be Something’. Listen here.

‘There’s Always Gonna Be Something’ evolves Stereophonics’ signature sound. Chorus affected guitars chime and weave between suspended bass lines. Kelly Jones’ husky vocals draw listeners to the lyrics which intrigue and unveil new depths on each listen, with lines including “The bayonet tongue of silence, whispering just to remind us” and “I leave nothing for death but bones and the solitude Jester jokes, igniting my energy and bringing me to my knees, in this 21st century, so help this sinner please, this is only one part of me – There’s Always Gonna Be Something, So What’s it Gonna Be Today”.

Kelly comments: “There’s Always Gonna Be Something” is a song that could be describing the restlessness in uncertainty, struggling to arrive at acceptance. A part within all of us.”

With three decades and a wealth of record-breaking achievements under their belts, including 8 number 1 albums, Stereophonics have earned their status and respect amongst their fans, peers and artists from across the musical generations, ranging from Bob Dylan to David Bowie to Dua Lipa. In 2025, the band mark their anticipated return with ‘Make ‘em Laugh, Make ‘em Cry, Make ‘em Wait’, a tight and heavy-hitting eight track record. Written and recorded in London, it is an album devoid of any fat or filler. It is at once clean and precise. Hopeful and joyous. It does what it says on the cover. You Laugh, You Cry, You Wait.

As with previous album artwork, Kelly has gravitated towards different art forms to influence the project’s aesthetic, whether that be paintings, books or films. For “Make ‘em Laugh, Make ‘em Cry, Make ‘em Wait”, it was a similar process, Kelly recounts.

“I went to New York, I visited some galleries, I saw ‘ART IS A GUARANTY OF SANITY’, a painting by Louise Bourgeois. She believed art was a form of mental healing and a way to process difficult emotions. The spelling caught me first, then the simplicity of the words etched onto a pink tile. So I tried scratching my title, inspired by my own art school teacher thirty years ago. And I loved it. I loved the simplicity of the pink. The pink album was born”.

With a world tour imminent this year which has already seen the band sell over 300,000 tickets, as well as play some of their biggest shows around the world to date, the band continue to cement their position as one of our most enduring and loved bands. Their knack for blending rock sensibilities with soaring melodies keeps their sound vital, while Kelly Jones’ ever-introspective lyrics continue to resonate with each passing year.

Stereophonics have never been content to rest on their laurels, and this year’s performances promise to be some of their most dynamic yet.

‘Make ‘em Laugh, Make ‘em Cry, Make ‘em Wait’ Tracklist:

1. Make It On Your Own
2. There’s Always Gonna Be Something
3. Seems Like You Don’t Know Me
4. Colours Of October
5. Eyes Too Big For My Belly
6. Mary Is A Singer
7. Backroom Boys
8. Feeling Of Falling We Crave

Stereophonics Live Dates:

Mar 21, 2025 Théâtre Beanfield, Montreal, QC
Mar 22, 2025 Massey Hall, Toronto, ON
Mar 23, 2025 Union Transfer, Philadelphia, PA
Mar 25, 2025 Brooklyn Paramount Theater, New York, NY
Mar 26, 202 House of Blues Boston, Boston, MA
Mar 28, 2025 Lincoln Theatre, Washington, DC
Mar 29, 2025 Agora Theatre and Ballroom, Cleveland, OH
Mar 30, 2025 The Vic Theatre, Chicago, IL
Apr 2, 2025 Vogue Theatre, Vancouver, BC
Apr 3, 2025 Neptune Theatre, Seattle, WA
Apr 4, 2025 McMenamins Crystal Ballroom, Portland, OR
Apr 6, 2025 The Regency Ballroom, San Francisco, CA
Apr 8, 2025 The Wiltern, Los Angeles, CA
Apr 9, 2025 Humphreys Concerts by the Bay, San Diego, CA
Apr 11, 2025 Teatro Metropolitan, Mexico City, Mexico
Apr 28, 2025 Cirque Royal, Brussels, Belgium
Apr 29, 2025 Zenith La Villette, Paris, France
Apr 30, 2025 AFAS Live, Amsterdam, Netherlands
May 2, 2025 Sporthalle, Hamburg, Germany
May 3, 2025 Uber Eats Music Hall, Berlin, Germany
May 5, 2025 TonHalle München, Munich, Germany
May 6, 2025 Live Music Hall, Cologne, Germany
May 8, 2025 X-TRA, Zürich, Switzerland
May 9, 2025 Transbordeur, Lyon, France
May 11, 2025 Sala La Riviera, Madrid, Spain
May 12, 2025 Razzmatazz, Barcelona, Spain
May 14, 2025 Alcatraz, Milan, Italy
May 25, 2025 Neighbourhood Weekender, Warrington, England
May 30, 2025 Vestrock Festival, Hulst, Netherlands
May 31, 2025 Dauwpop Festival, Hellendoorn, Netherlands
Jun 5, 2025 Belsonic, Belfast, UK
Jun 6, 2025 St. Anne’s Park, Dublin, Ireland
Jun 7, 2025 Virgin Media Park, Cork, Ireland
Jun 14, 2025 The John Smith’s Stadium, Huddersfield, UK
Jun 21, 2025 Isle of Wight Festival, Seaclose Park, Newport, Isle of Wight
Jun 28, 2025 Bellahouston Park, Glasgow, UK
Jul 4, 2025 Finsbury Park, London, UK
Jul 11, 2025 Principality Stadium, Cardiff, UK
Jul 12, 2025 Principality Stadium, Cardiff, UK
Aug 16, 2025, Sandringham Estate, Norfolk, UK

Fleetwood Mac’s Legendary 1975-1987 Albums Return on Crystal-Clear Vinyl & CD Box Set

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 Fleetwood Mac released five back-to-back multi-platinum albums between 1975 and 1987, an astonishing feat that drove them to become one of the best-selling bands in the world.

On March 28, these classic albums will be reissued on crystal-clear vinyl as a 6LP boxed set as well as a 5CD set. This collection includes Fleetwood Mac (1975), Rumours (1977), Tusk (1979), Mirage (1982), and Tango In The Night (1987)A Rhino.com exclusive edition, including a crystal-clear 12-inch of “Silver Springs” and “Go Your Own Way” in both stereo and mono, will be available on the same day and is limited to 1,000 copies globally. Pre-order HERE.

A new incarnation of Fleetwood Mac debuted in the summer of 1975, including Mick Fleetwood, John McVie and Christine McVie, along with new members Stevie Nicks and Lindsey Buckingham. The group’s first album together, Fleetwood Mac (sometimes called “The White Album”), topped the Billboard album chart, spent more than a year in the Top 40 and sold more than five million copies in the U.S. thanks to songs like “Landslide,” “Say You Love Me,” and “Rhiannon.”

In 1977, the band followed up with the 21x Platinum record Rumours – considered among the greatest albums of all time. It won the GRAMMY Award for Album of the Year and has sold over 40 million copies worldwide. Its unforgettable tracks “Go Your Own Way,” “Gold Dust Woman,” and the band’s first number-one smash, the Gold-certified “Dreams.”

The Grammy®-nominated double-album Tusk arrived in 1979, selling more than four million copies worldwide and introducing fans to hits like “Sara,” “Think About Me,” and the title track. Three years later, in 1982, Fleetwood Mac again topped the U.S. Album Chart for five weeks with Mirage. Along with hits like “Hold Me” and “Gypsy,” Mirage also features great album tracks like “Oh Diane” and “Straight Back.”

In 1987, Tango in the Night became the second-most successful album of the band’s career, selling more than 15 million copies worldwide with the massive hits “Everywhere,” “Big Love,” and “Little Lies.”

FLEETWOOD MAC 1975-1987
Album Listing
Fleetwood Mac (1975)
Rumours (1977)
Tusk (1979)
Mirage (1982)
Tango In The Night (1987)
12-inch (Rhino.com Exclusive)
Side A
“Go Your Own Way” (Stereo Version)
“Silver Springs” (Stereo Version)
Side B
“Go Your Own Way” (Mono Version)
“Silver Springs” (Mono Version)

5 Surprising Facts About Marianne Faithfull’s “Broken English”

Some albums define careers. Others redefine them. Broken English did both. Released in 1979, it wasn’t just a comeback for Marianne Faithfull—it was a full-blown resurrection. Her angelic, folk-pop voice had been burned away by years of addiction and hardship, leaving behind a raw, husky rasp that fit the album’s themes of despair, anger, and survival like a velvet glove. Critics hailed it as her masterpiece. But behind the synth-driven new wave and dark lyricism, Broken English holds secrets that even die-hard fans might not know. Here are five fascinating facts about Faithfull’s most iconic album.

1. The Title Track Was Inspired by a Desire for Change

While “Broken English” carries a sense of tension and urgency, its inspiration wasn’t just rooted in political turmoil—it was also about transformation and reinvention. Faithfull saw the song as a metaphor for breaking through barriers, both personal and societal. After years of struggle, she was reclaiming her voice and stepping into a bold new artistic identity. The song’s hypnotic groove and defiant lyrics reflected her determination to push forward, making it not just a reflection of the times, but a personal anthem of resilience and renewal.

2. “Why’d Ya Do It?” Was Almost Given to Tina Turner

The album’s most infamous track, “Why’d Ya Do It?”, is a six-minute explosion of betrayal and rage, its lyrics dripping with profanity and explicit imagery. Poet Heathcote Williams originally wrote it with Tina Turner in mind, envisioning her belting out the furious monologue over a raw blues track. But when Faithfull got her hands on it, she knew it was hers. Her gravelly, battle-worn voice transformed it into something feral, snarling, and unforgettable. Island Records nearly refused to release it due to its explicit content, and in Australia, the song was outright banned. Faithfull didn’t care—she had found her voice, and she wasn’t about to censor it.

3. John Lennon’s Spirit Looms Over “Working Class Hero”

Faithfull’s cover of John Lennon’s “Working Class Hero” isn’t just a tribute—it’s a manifesto. She recorded it with a sense of urgency, stripping the song down to its bleak, biting core. Faithfull saw Lennon as a kindred spirit, someone who had navigated fame, addiction, and the weight of public perception. The decision to cover the song was also a nod to her own heroes, including Mick Jagger, Keith Richards, David Bowie, and Iggy Pop—artists who, like her, had walked the tightrope between brilliance and self-destruction. With her weathered voice, she transformed the song into something even more brutal and uncompromising than Lennon’s original.

4. The Album Almost Had a Very Different Sound

When Broken English was first recorded, it had a more organic, live-in-the-room feel, closer to Faithfull’s earlier folk-tinged work. But producer Mark Miller Mundy had a vision—he wanted it to sound modern, sleek, and electronic. He brought in Steve Winwood to add layers of shimmering synths and keyboards, pushing the record into the new wave territory of artists like Talking Heads and Blondie. Faithfull later admitted that she wasn’t entirely comfortable with the shift at first, but the gamble paid off. The blend of new wave production and her ragged vocals gave the album a timeless, genre-defying edge.

5. It Took Over a Decade for Faithfull to Reclaim It

While Broken English was a critical and commercial success, Faithfull herself was in no position to celebrate. She was still in the grips of heroin addiction, and the newfound attention didn’t make things easier. By the mid-1980s, she was spiraling again. It wasn’t until 1987—after getting clean—that she could fully appreciate what she had created. “For years, I didn’t even listen to Broken English,” she later admitted. “I wasn’t ready to hear it.” It was only with the release of Strange Weather in 1987 that she truly reclaimed her artistry, setting the stage for the remarkable second act of her career.

Broken English was a declaration of survival. It turned Marianne Faithfull from a faded 1960s icon into one of the most compelling artists of her generation. The voice that once floated through folk ballads had been shattered and reforged into something darker, wiser, and utterly unforgettable. More than 40 years later, the album still stands as a testament to reinvention, resilience, and the raw power of an artist who refused to be written off.