Rock And Blues International - June 2023

Rock And Blues International

JW JONES

RELEASES NEW ALBUM EVERYTHING NOW

ALSO IN THIS ISSUE

Air Supply

Nick Becattini

Arlo Parks

The Warning

Carlos Santana

Tom Jones and more!

Rock And Blues International

Hello Rock And Blues International readers. I hope everybody had a great May.

Rock And Blues is happy to announce that we have now entered the era of Podcasts. This past month we launched our new Podcast Channel - Rock And Blues International Podcast. Our special guest so far are Garnet Grimm from Savoy Brown, Phil Lewis from L.A. Guns, and Graham Russell from Air Supply. You can check it out on all the major podcast channels as well as at http://www.buzzsprout.com/2187498

And now on to the June issue of Rock And Blues International. On the cover of this issue you can see the JW Jones. JW has a new album out and it’s titled “Everything Now”. JW joined Rock And Blues International to deliver us all the information on his new release. We will also be having JW as a guest host on the Rock And Blues International Podcast later this month. Be sure to check it out. We’ve also got a great story by Edoardo Fassio about Nick Becattini. Be sure to check that out, it’s very interesting. There are also stories on Maria Becerra, Arlo Parks, trueandtrue, Nothing But Thieves, The Warning, Evile, Dexys fka Dexys Midnight Runners, Ally Venaable, Tesla, Carlos Santana, Tom Jones, Anthony Rosano And The Conqueroos, Noah Kahan, and more! As you can see, there are a lot of varied genres of music here for you to check out, or as we like to say, there’s a little of something for everyone here. We have even included the current installment of the novella, “The Biker”. Read it and than email us back with your thoughts on this. So far our readers seem to really like this Blues loving Biker.

I sincerely hope that everybody reading this publication finds something here that they like and I would like to encourage you to let your friends and colleagues know about us. Just look for us every month at http://www.rockandbluesinternational.com. I would also like to encourage you to email us for a free subscription to Rock And Blues International as well. Just email us at rockandbluesinternational@gmail.com and in the subject line simply put “Sign Me Up” and we’ll email you a link to the magazine each month when it is published.

Kevin Wildman Editor and Publisher

Rock And Blues International

JW Jones Releases His New Album Everything Now

By Kevin D. Wildman

Singer/songwriter/guitarist JW Jones has just released his new Blues album, Everything Now on Solid Blues Records distributed by Stony Plain. This is the 12th album by the Canadian award-winning roots singer and the album that he describes as “This is a snapshot of who I am as a person and where I am as an artist today!”

This new album release features some of the best material JW has written to date, along with help from a few of his friends Dick Cooper and Gordie Johnson. “I am incredibly proud of these songs, and this music,” says Jones.

Joining JW for the recording of this album are special guests Jimmie Vaughan, The Texas Horns, Rob McNelley, Jason CorbiereStanton Moore, and Aaron Sterling to include a few. Production on Everything Now was handled by Gordie Johnson, along with long-time friend and collaborator Eric Eggleston. Recording on Everything Now was done in both Ottawa, Canada and in Austin, Texas at Sound Shack Studio.

JW tells us that one of the biggest highlight of this recording was his session with Jimmie Vaughan. “Recording with Jimmie Vaughan, my biggest living influence, is a childhood dream come true, and his king-of-cool vibe leaps out of the speakers on the track, ‘Take Your Time.’ “Since I was 15 years old, I’ve dreamed about trading riffs with Jimmie Vaughan, and some 25 years later, that dream came true when Jimmie came over to Gordie’s studio. Talk about a ‘bucket list’? Unbelievable! I am so grateful for his support and generosity.

“Songs - It’s all about the songs!” adds Jones, whose guitarwork has been praised in recent years by legendary blues artists Buddy Guy and Chuck Leavell (The Rolling Stones). “While there are plenty of burning lead guitar solos on the new album, I wanted to open up and get more personal than ever with the lyrics. From the true story, ‘Papa’s in the Pen,’ to ‘When You Left,’ that I sang with tears rolling down my cheeks about my mother’s passing, these are stories that I feel like I can finally share through my music.”

The Texas Horns are long-time friends and frequent touring buddies. “Texas Horns leader Kaz Kazanoff has been a friend for a couple of decades, since we first played together at the Ottawa Blues Festival in 2002. When we’re in Austin, he opens his home to my entire band, and I’ve always wanted to get The Texas Horns on a record. Since I was already in Austin working with Gordie Johnson, it was easy for Kaz, Al Gomez, and John Mills to visit the studio to record. They brought the perfect feel to the most heartfelt song on the record, ‘When you Left.’ It means so much to me to have The Texas Horns be part of such a special song.

“And what can I say about Rob McNelley? He’s a multi-ACM winner of the guitarist of the year, toured with Bob Seger, first-call studio guitarist for Miranda Lambert,

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Carrie Underwood, Buddy Guy, Kingfish, Joe Bonamassa, and many more, and he appeared on my JUNO-nominated Belmont Boulevard record in 2014. During the pandemic, we had a wonderful Zoom video-call to discuss how to create unique rhythm guitar parts for various styles of roots music, and it led to Rob cutting a track for ‘My Luck,’ which I was working on at the time. His tone and feel throughout gave the song a bounce that took it to a totally new level!

“Three of the best drummers in the world are also on this album; Aaron Sterling - session drummer to the stars (John Mayer, Taylor Swift, Harry Styles. Lady A, and many more), Stanton Moore (New Orleans drumming master, and the best drummer I’ve ever seen live, period.), and shuffle king Jason Corbiere (tours with Jimmie Vaughan). I even played drums on a track (‘Keeping Me Up’)!”

We had a chance to sit down and talk to JW about his career and his new Solid Blues Records release Everything Now recently and gained a lot of insight into the recording of his new album that we’d like to share with you now.

Rock And Blues International: Hello JW. It’s Kevin with Rock and Blues International. How are you today?

JW Jones: Very well, Kevin, how are you?

Rock And Blues International: Doing fine so far, nice and sunny outside. What’s it like where you’re at?

JW Jones: It’s a little rainy today, but we’ve had incredible weather lately, and the snow has finally melted.

Rock And Blues International: Oh, the snow has finally melted where you live. Obviously, I’m calling Canada. All right. Well, I’ve seen you perform here in Houston a few times.

JW Jones: Oh, where did you see me?

Rock And Blues International: I saw you at The Big Easy and at Katie’s Bar in a town called Bacliff, Texas.

JW Jones: Yeah, awesome, man. Well, thank you so much for coming out.

Rock And Blues International: Yeah, so I’m pretty familiar with your work, as well as with a couple of your older albums. Before we get started, why don’t you tell us a little bit about your background?

JW Jones: Sure. Well, I started out on drums when I was about, I guess, 13 years old, and a couple of years after that, I saw BB King

for the first time live here in Ottawa, Canada. And that was the moment where I thought now, ‘I need to switch to playing the guitar. I want to do that. So I had already been tinkering, you know, TINKERING AWAY a little bit on the on the guitar. But then once I saw him, then I really started leaning into it. And I’m completely self taught other than my first couple of chords. So yeah, I just kept listening to his records and going from there. And since then, I guess I’ve recorded... this will be my 12th album. And I’ve toured all over the world, 23 countries, four continents, and just I’ve worked with a lot of my favorite players. And I’ve been very, very fortunate. So here I am.

Rock And Blues International: All right. Well, changing to the guitar was definitely a good deal for you. In 2020, you won the IBC awards for best guitarist.

JW Jones: Yeah, I was down there in Memphis with another band I work with called for Horojo Trio. And that band had only been together for about a year when we went down to Memphis and surprisingly, against over 200 bands, we somehow won the top prize for best band and I won best guitar player. So it was really quite the celebration, and then the world shut down weeks later.

Rock And Blues International: Now, wasn’t that a surprise. All of a sudden all your gigs are canceled.

JW Jones: Exactly. It was wild then. But

you know we did make the most out of the pandemic in terms of writing and recording a record so people can find that, Horojo Trio. That’s H O R O J O Trio and check out the album. It’s called “Set The Record.

Rock And Blues International: Yeah, I think that you came through Houston with that act also.

JW Jones: That’s right. Yeah. Yeah. Just last fall.

Rock And Blues International: I think that was the group that played at Katie’s Bar and The Big Easy.

JW Jones: Yeah, we both did. I mean, I’ve been down there playing both venues with both bands at this point now. So yeah, could be.

Rock And Blues International: Was your previous album, “Sonic Departures” recorded before the pandemic?

JW Jones: Yeah, that was released in 2020. And then the Horojo album was released in 2022. And then my new one is coming out this coming May 2023.

Rock And Blues International: I’ll tell you, I think I’ve listened to the album at least 15 times now. I like to be a little prepared for

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the interview, so I saw I’m familiar with the songs, and I’ll tell you, they all knocked me out. It is really a good album.

Rock And Blues International: Oh, thank you so much, man. I appreciate that.

Rock And Blues International: I love the lyrics on it. I get a kick out of some of them. “I

thought I was middle class and then found out I was poor.”

JW Jones: (laughs) Yeah that’s right. “Now it turns out that I’m poor.”

Rock And Blues International: Some of these lyrics are very, very, I would say they’re probably pretty introspective to you.

JW Jones: Absolutely. Some of these are very true stories for me and others are just bending the truth a little bit and just taking liberties, I guess you can say with the story line and stuff like that. So it really depends on the track, but I feel more connected to this album than I have pretty with much anything I’ve done in the past because it’s all-original. And I haven’t done an all-original record for so many years that this was really, really something special that I wanted to want to do.

Rock And Blues International: Kind of labor of love?

JW Jones: Yeah, absolutely. I mean, some of the songs started being.... were recorded like three and a half years ago like “Papa’s In The Pen”. For example, that started maybe even four years ago, before the pandemic, and then it was like, ‘Well, I’m going to release that at some point.” And then I just kept going in and chipping away at it. And then it was just last August that I did the tunes in Austin, Texas with Gordie Johnson. And, and that’s what led to us having Jimmy Vaughan on the record.

Rock And Blues International: Right? Well, that brings another subject up, you’re a Canadian, you’ve recorded part of this album in a Canadian Studio, and then the other is about as far south as you can get. You recorded in a studio in Austin, Texas. How did that come about?

JW Jones: Yeah, so I started the album with the intention of just having.... Just doing of couple of demos, like I was trying to do four original demos at the time. And I guess that was probably 2019 or 2018, actually. And so I started recording them here with a guy named Eric Eggleston who also did a bunch. He did the whole album “Sonic Departures” for me. Great engineer, really creative guy. And we started those songs, as you know, just to see what might happen. And it wasn’t to make a record per se. And then I started getting more serious about it in 2020. And then all of a sudden, Horojo won that thing in Memphis, so I had to switch gears and do that album instead. So when it came time to finish, the album, It was like, hey, those, those fortunes are selling pretty sweet. Let’s just keep working on those. And then I met Gordie in there in I guess, 2020 to 2020, something like that. And at that point, it was like, Oh, you have a studio. I went to his place to see his studio and he was just so passionate about everything he was doing. And he’s like, all about making original music and constantly recording, constantly creating, and I just caught that vibe from him and I wanted to be part of that and I was like, man, we should do something. And then that was the moment where I was like, let’s do this. So we wrote a bunch of songs together and just went at it. It was just him and me in the studio. That’s it. And then we added a couple other musicians to a couple of tracks, but it was mainly just me and him on those other seven songs.

Rock And Blues International: Well,

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you’ve got quite a few guest stars on here, but you’re no stranger to having guests on your album in past albums. You’ve had Kim Wilson, David “Fathead” Newman. That had to be a wild session.

JW Jones: Yeah man.

Rock And Blues International: The “Midnight Memphis Sun” featured Hubert Sumlin, Charlie Musselwhite, Richard Ennis and Larry Taylor. That’s a helluva lineup right there.

JW Jones: Sure. It sure is, yeah, Richard and Larry are my favorite rhythm section ever. So that was such an honor to work with those guys. And they’re on two of my records, actually. I started on drums, so Richard Ennis is like one of my favorite musicians ever. You know, he’s up there in the top three with BB King. And, yeah, I’ve been really fortunate to work with all these guys. And people used to think that I just had a bunch of money and paid all these guys off. But the truth is, in almost all of these cases, these guys are just like there to support me and they weren’t... They weren’t asking for ridiculous amounts of money. And in some cases, like with Kim Wilson, he just said, Hey, if you can pay my travel and put me up, and if you have a couple extra bucks, you can pay me, cool. But if not, it doesn’t matter. That’s the approach that most of these guys had with me. And it’s just been so.... I’m so grateful that they had been so supportive and interested in working with a young guy and just taking that chance to, you know, on their part, because they’re all such established musicians. But the same with Jimmy, he showed up and played and he wasn’t, he wasn’t looking for a paycheck. He was just doing it to have some fun, you know?

Rock And Blues International: Right. Well, that’s, that’s an Austin musician for you. I don’t think they worry about money as much as they worry about how much fun they’re gonna have.

JW Jones: Absolutely, man. Yeah.

Rock And Blues International: Well, I want to talk about the songs and I want to talk about the guests you have on these songs. Do you want to talk about the guests first? Or would you rather just talk about them as we get to the song that they’re on?

JW Jones: Yeah, sure. Let’s do it that way. Yeah.

Rock And Blues International: Okay. Well, the album starts off with “Everything Now”. And I’d like to get a little feel in they’re about what the song means to you. And it features Stanton Moore on there. And it looks like

you use several different drummers on this album. In fact, on one of the songs you did the drums, so let’s start off with “Everything Now”.

JW Jones: Sure, yeah. I mean, this song definitely started as a true story. Before I met my wife I was I was on the dating apps and swiping away and it was just, it got so exhausting. I was just thinking I just want one person to be my everything. I’m so sick of doing all this dating crap. And so that song starts with the “Used to swipe that phone till 4am, Part time love and again and again”. And I thought that was a great way of starting it because it’s also modern, you know, it’s like a modern way of singing a blues song like this is, this is what it’s like now. If Robert Johnson had these apps, he would have been swiping too and maybe you would have heard about it. But here we are, 2023. You got to modernize the lyrics with the times and then I really wanted to get a New Orleans sound on this song. I’ve been following Stanton Moore for many years. I saw him live and he’s probably one of the best drummers I’ve ever seen live and I asked him if he’d be on the track, and he was down with it. So that’s how that all came about.

Rock And Blues International: Wonderful. Well, the next song up is “Keeping Me Up”. And it looks like that one you did just about everything on there.

JW Jones: Well, Gordie and myself did, yeah. So I wanted to play drums on this because I, I just really wanted it to be a very, very simple beat, and I started on drums. So I thought it’d be fun to do that. And I had a few lyrics for this. And then Gordie and I kind of finished out the lyrics and added some things and what I love about it is, his bass lines on the song are just so cool, man, like the way the bass grows as the song goes, you know, like the part changes, and, and then he added keys on there too, and harmony vocals, all that kind of stuff. So it’s a fun tune. It’s got a super weird guitar solo effect on it too, which is a departure for me. So that’s, that’s also exciting.

Rock And Blues International: And what

is the message in “Keeping Me Up”?

JW Jones: So it’s about it’s about hearing your partner’s sleep talking and you hear something? No, she’s talking about to go What? What is she saying? Like, what is that about? Wait a minute. There’s something here that, you know, there’s more to this story kind of thing. And, and that’s where that came from. It’s not it’s not a true story, but it that’s where the idea came from.

Rock And Blues International: Okay. “Papa’s In The Pen”. What Pen is he in”

JW Jones: A penitentiary!

Rock And Blues International: Yeah, obviously, that’s not a biographical song there.

JW Jones: It is. Actually, it is.

Rock And Blues International: Really?

JW Jones: Hello. Welcome to my life. Okay. So, yeah, when I was growing up my mom and dad split when I was five. And I had a relationship with my dad, still do. But after him, my mom ended up dating this guy. And he ended up... he was like a career criminal, basically. And he ended up back in jail, back in the penitentiary. So I wanted to write a song about it, and say, this is kind of part of my upbringing. You know, my mom had drug problems, too. So it was like, “mom’s off the rails again. And Papa’s in the pen.” That’s the hook on the tune. So, yeah, that’s it. That’s a true story. And, and there it is now for the world to hear.

Rock And Blues International: And Aaron Sterling guested on drums on that one.

JW Jones: Yeah, so he plays with John Mayer. And he’s been on a ton of hit songs like Harry Styles, and Taylor Swift and stuff like that, like tons of hits. And actually, the way I found him was through Instagram. I was just

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looking through and he popped up one day on a little video, and I love his drumming. But more than his drumming, believe it or not, he’s just a hilarious guy. And his sense of humor kept me coming back to his profile and looking at it. And I was like, Man, this guy’s so funny. I just connected with him on that level. And then the fact that he’s such a wicked drummer, he could play anything. I was like, Hey, man, you want to record a tune? And he was like, absolutely. So here we go, you know. And that’s always been the thing. If you ask, then things happen.

Rock And Blues International: All right. Well, that brings us back to Austin, for your time with Jimmy Vaughan. So “Take Your Time”. Tell us about that song. And can you describe the day that Jimmy walked in? And was it planned that he was coming in? Or did he just drop in?

JW Jones: Well that’s a good question. So before coming down to Austin, I wanted to have a song ready in case Jimmy said yes. So he didn’t know we were going to ask him but I knew we were gonna ask him. And so I wrote just a basic blues song. And then when I got down to Texas, Gordie and I took that song and just revamped it and revamped it and revamped it until we were both really excited about the lyrics. And so “Take Your Time” is just like, this woman’s ready to leave the guy and we’re just saying, “take your time, think it through before you do it”. You know, that’s the lyric side of it. And the thing is if you’re gonna get Jimmy Vaughan on a tune, in my opinion, you want it to be up his alley, you want it to be in the style that he would feel most comfortable in. So it’s a shuffle in “F”, and you can’t go wrong with that, and you want it to be a Blues song. You don’t want the lyrics to be too far outside, some of the lyrics on this album are. I just wouldn’t put Jimmy on a song with those

types of lyrics, and that’s kind of a respect thing too, because I don’t want to be too far out of his comfort zone or out of his wheelhouse. I want to be in where he lives, where he plays and where he feels it. So shuffle in “F”. And what happened was Gordie and I went down to see Jimmy play, and we were hanging out. And I’ve known Jimmy for years and been able to say hi, and talk here there and stuff like that. We’ve texted a few times went out to lunch, you know, and so I know him, but it’s still nerve racking to ask a hero to record with you. So its actually Gordie who said to him, ‘Hey, I’m recording some tunes for JW just around the corner from your house. We’re like 10 minutes from his house’ and Gordie said, ‘hey, we’d love it if you’d come and play some guitar on a track.’ And he goes, ‘Well, he’s got my number.’ And it was like, All right, then. So I called him the next day and, and then he said, ‘Can I come by tonight?’ We’re like, okay, so he came by that evening. And, the whole day, we were just recording that song so that it will be ready by the time he got there. And then he showed up in his pickup truck, with a guitar. Brought his guitar, came down, plugged into the amps we had. So off we went and man he’s just like, his groove and his sense of time is just unparalleled. He’s just like, so special the way he plays and he was in great spirits. We even traded guitar riffs at the end of the tune, which is like a dream come true to me. And it was Yeah, absolute dream come true, man. I’m like, I still see his name on my record. And I go Is that for real? Jimmy name is on my album. How? How does that happen? It’s amazing.

Rock And Blues International: I bet it was. So when it was over. Was it Mexican food or go out for barbecue?

JW Jones: Man that’s a good question. He took off. We had to keep recording. We were on a schedule. I wish we could’ve hung

out longer. But we definitely ate lots of Mexican food and lots of barbecue on that trip?

Rock And Blues International: Well, it’s Texas. I mean, you don’t have much of a choice.

JW Jones: That’s right.

Rock And Blues International: All right. I love the lyrics to “To Tell You The Truth. I lied”. I mean, that that was just wild, I thought it was one of those songs. I got a chuckle out of that one.

JW Jones: Yeah, yeah, yeah, it’s definitely tongue in cheek. And that’s one that I wrote with Dick Cooper, who was from a band called The Cooper Brothers. They had some hits in the 70s. They’re on Capricorn records. Their big hit was “The Dream Never Dies”. And it was “the dream never dies, just the dreamer”. And anyway, Dick Cooper and I have been writing songs together for years. And what’s been great is he’s helped me bring some of my stories to, I’ve just been so fortunate to work with him and, and get his talent involved in some of these lyrics. But this tune here, he actually brought the lyrics to me, and I wrote the music for it. So it’s kind of a different approach on this one and it’s got some strings on there, which is a big first for me, because, not a lot of blues acts end up with strings on their recordings, except, you know, BB King and some of that old stuff.

Rock And Blues International: I believe you used Eric Joran and Jon Johnson on there.

JW Jones: Yeah, so that’s actually one guy with like, 100 names. Really! Eric Joran Jon Johnson-Scherger.

Rock And Blues International: Oh, okay. It’s not several people. It’s one person.

JW Jones: That’s one guy with 12345 names. You got it. And he’s on track number five, so there you go. Five names on track five.

Rock And Blues International: Well, I thought it was missing a couple of commas in there. But I had no idea we were dealing with a guy with five names. That’s interesting right there.

JW Jones: I know. And I said to him, how do you want me to? How do you want your name listed in the credits? He said that Oh, okay. I wasn’t sure if you’d like to, because you don’t have to put all of it, but that’d be good. I’m like, I mean, that’s your name. I’ll put your name in there. And anyway, pretty funny.

Rock And Blues International: And Jesse O’Brien. He also guested it on keys for that one.

JW Jones: Yeah, Jesse is a great Canadian keyboard player. He plays with Colin James, tours with Colin James. And he’s been on Harrison Kennedy stuff and all kinds of stuff. He’s a wicked, wicked player. So it was nice to have him on that too.

Rock And Blues International: And to

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give Eric Eggleston a plug, he was on there too. It looks like he does harmony vocals, rhythm guitars, and percussion. Did he do everything or just one or two things in particular?

JW Jones: Yeah, it depends on the track. So on that track, he probably did some harmonies and some rhythm guitars on that one. Actually, no, no, I think there’s just me on guitar on that. So maybe just harmony vocal on that one, but definitely some percussion and stuff for sure.

Rock And Blues International: Okay, “My Luck” featuring Rob McNelly. Is that autobiographical?

JW Jones: No, it’s not, it’s not. That’s another one that Dick Cooper brought the lyrics to me for. And then we just modified them together and worked on it. But what’s crazy about that is the way this tune started was completely different. And I actually had a rhythm part for it. And I went to Rob McNelly, who’s a great Nashville guitar player, session musician. He’s on my “Belmont Boulevard” album. And he’s on a ton of like country hits and rock stuff like… he toured with Bob Seger, and just incredible guitar player. So I had a Zoom meeting with him and I was saying to him, Hey, man, like, I need some ideas for what to do for the second guitar part. You know, the first guitar part on a rhythm guitar track is usually pretty obvious. The second one, it could be anything, you know, so he said, well show me the song you’re working on. So I showed it to him. He goes, Okay, so we ended up talking for like, an hour on Face Time. And then he goes, let me just record something and send it to see what you think. Like, alright, cool. So he recorded this, these tracks and sent it over. And I was like, Oh, that’s awesome, man. Thanks. So my first instinct was, well, I’ll just go and play stuff like he played on my own record. And then I was like, Well, I’ve got his tracks, and he recorded a solo. So we just chopped it up and used it across the entire tune. And then so you hear me solo first, and then he solos and he’s got a beautiful solo on this tune, great, great tone with like, wicked slap back on the guitar. And, and just the way he played just brings the whole song to life. So I was really excited to use those tracks.

Rock And Blues International: All right. And “It’s Not Raining In L.A. That’s, tell me about that one.

JW Jones: Well, that came to me because... it turns out there’s another song with a similar name. But what’s funny about it is that I thought this was like a purely original idea, because I kept thinking they never get any rain in L.A., that would be a perfect place to go to if you’re down on your luck and you want to feel better and you want to start a new life. Well go

to L.A., I mean, it’s sunny every day. I mean, other than the cost of living, it’s seems like the perfect place. So I came up with that idea. And I started writing lyrics. And then Dick and I kicked it around and worked on it. So it ended up that by the time we were through with it, Gordie was involved in some of the songwriting too, because he was like, Hey, I liked this line. But let’s change that. And what do you think about this? And then, to me, my philosophy is better is better. So it doesn’t matter how many songwriters, are gonna end up on the thing? If it’s better than it’s better, who cares? So yeah, man. And then what was cool about that tune is just a guitar tone, like that really, really. treblely strat tone. You know, what happened was, he

actually reamped my guitar playing through a different amp, and then got that tone. And it was like, Well, that’s what we want, you know, pretty cool. So yeah, I really dig that tune.

Rock And Blues International: All right. Well, now we’re back to Texas with this next song, When You Left”. It features The Texas Horns. Was that another one of those acts that just dropped in to join in or was it pre planned to have them on that song?

JW Jones: Well, it wasn’t actually pre planned. No, I mean, I’ve known Kaz Kazanoff

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for many, many years. A couple of decades, actually. Because I met him here in Ottawa at the blues fest where he and the guys, John and Al have been playing with whatever band is on stage. Bands have access to The Texas Horns as a group if they want them. and so they’re on salary, basically, and they go up with some of the biggest rock stars in the world, and then some blues bands that, you know, have only ever played seven gigs. So I’ve known Kaz a long time, stayed his place in Austin, and we’re good friends. And so he was like, you should get us on a track, man. And I was like, Yeah, I would love to, but I’m not sure where horns would fit, you know. And then, when we started recording this tune, it was like, of course, this is the song for the horns. It’s perfect, and this is actually a song about my mom’s passing. So it was it was a pretty tough one to record for me. Singing it and not getting emotional was very difficult. So I definitely broke down a couple times. But it, it’s part of the process and I don’t.... I think a lot of guys have a hard time showing their emotions and that. When I was recording this, I was just like, well, I can’t be... I can’t be the tough guy right now. This is just happening. You know, like it’s coming out the way it’s coming out and then we recorded the basic tracks and the vocals and then the horns came over. And when they came over, Gordie had a really interesting... his setup is weird because it’s outside. So imagine being outside of a shack, basically. And the doors are open to the shack and the control room is in there, but you stand outside. So if the cicadas are too loud, you have to wait until they’re done. And then you record. And so he had one microphone for the three horns. And so the horn players, Kaz, John, and Al, they were kind of like, well, we’re not used to one mic. He’s like, Well, you guys work together, just mix yourselves. So Al took three steps back. He plays trumpet, so he’s a little louder, so he took a couple steps back,

and then Gary and the tenor kind of stood in a certain way that made it mixed already by the time it hit the microphone, and it was an unconventional way of doing it. But the results are just really organic and really, really sweet. And, and they came up with beautiful lines. So super, super excited about that tune.

Rock And Blues International: And it makes for a good story, too.

JW Jones: Yeah, absolutely.

Rock And Blues International: I mean, not your ordinary way to record but well, I don’t know, back in the 50s it was pretty, pretty uniform for everybody to get the right distance from the mics back then.

JW Jones: That’s right. Absolutely. Drums at the back, vocalist at the front and whatever you figure out in between.

Rock And Blues International: That’s right. That’s right. Another song I like on here is “Works Every Time”.

JW Jones: Yeah, so this is one of the tunes that I recorded as a demo years ago. And I basically had it recorded like a Bryan Adams rock tune, like an 80s rock tune with loud drums, a loud guitar. And I recorded it and I loved it at the time. And then a couple years went by and I went, you know what, that’s not, I’m not feeling it that way anymore. I want to do it differently. And so I took a totally different left turn with a change the chords, change everything about it. And then I’m at Gordie’s place and we’re starting to dissect the tune and how we’re going to record it. And he mentioned his 335, which is like, I don’t know what year it is, but like vintage Gibson 335. He goes, ‘Yeah, I don’t let too many people play that.

The last guy to play it was Warren Haynes. So I can get it for you if you want.’ I’m like, okay, so he goes and gets the guitar. And it just has such a woody tone to it, like a totally different tone than I would ever get from my Les Paul or my strat or even my own 335. It just, it had its own vibe. And so that tune could have easily been an entirely different song. But because of the guitar, it changed it to being like a more of a George Benson thing, you know, where I was like, Oh, I guess this is how I’m playing guitar now on this song, because the guitar influences how you phrase, you know, you’re not just gonna start doing Albert Collins riffs on the 335, and so the way that it felt changed the entire vibe, and for the better, I think, because the tune is just super unique now. And then in terms of the lyrics, it’s kind of like an older player talking to a younger player about how to how to get the girls and the lines to use on them so that the chorus is “feed them my lines, feed them my lines, it works every time”. And so that’s, that’s what the lyrics are about. And, you know, again, tongue in cheek, but meant to be super fun.

Rock And Blues International: Well, it’s interesting that you talk about how the guitars affect the song. So if you’ve done it on a strat, you might have been back to that the heavier version.

JW Jones: Absolutely, yeah, the heavier version, or even just like, the notes selection completely changed. Like I would never play that note selection that you hear on that track with the strat or with the Les Paul. It wouldn’t have happened because the way the tone is influences you and you go, Oh, wait a minute. This is what I want to hear. Now. I started playing some octave stuff, you know, like, like Wes Montgomery octaves are like, Whoa, I would never have done that. So it’s pretty cool.

Rock And Blues International: Well, nothing beats a good sounding humbucker.

JW Jones: That’s right, that’s right.

Rock And Blues International: Nice, warm sound, you know, from humbucker to humbucker. You know, they all have different sounds, of course, but that’s what I prefer. So, “I Choose You”. Tell me about that one.

JW Jones: Well, I actually want to hear from you about that. How did that hit you when you heard it for the first time?

Rock And Blues International: The first time or the second time or the fifth time?

JW Jones: Either way, I’m this is this is a song that’s the wildcard on the record. I want to know from somewhere else. You’re the first person I’ve spoken to about the record, so I’m excited. Like, this is cool. I’m like a kid in a candy store, you’re like, so what did you think of this thing? So how did that hit you in terms of the style and all that?

Rock And Blues International: I liked it. I really did. I mean, it was slightly different

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than the other songs on there, but he just had a great groove to it.

JW Jones: Oh, thanks, man. Yeah, so when we started this, this was really designed to be a pop tune right out of the gate. I played my acoustic guitar that I’ve had since I was, I don’t know, five years old or six years old. It doesn’t stay in tune very well. So we had to tune it just to play the riff, and then tune it again, to play some chords, and then tune it again to play different chords. It was kind of crazy. But yeah, this was a song about my wife that I wanted to record for her. And because it’s so poppy, I wasn’t sure whether I should use it on the record. But I didn’t want to leave it off either, because I thought this is special and different. And I know the blues police are going to hate it, but this is part of who I am as an artist right now. And I want to just deliver that for what it is. So I kept it on there. And it’s got you know, some sampled drums and stuff that you don’t hear on blues records, but it’s different. And you know, it’s kind of got a bit of a tip a hat, the hat to like, John Mayer’s poppier, bluesy stuff, you know,

Rock And Blues International: Right. Well, I like the variation from song to song on the album. It’s great to not have an album where every song sounds the same. I know that some people like that. Some people might want to pick up a Clapton album and if he does something pop, they’re gonna be pissed. But I liked the variation in here. And the last song on here “Good To Be True” features Gordie Johnson, your producer on this one.

JW Jones: Yeah, man, and Gordie is known for being like a loud, you know, bombastic guitar player, like a crazy guitar player. And so having him on this and trading riffs, was super cool. And this is a song that all three of us, him, myself and Dick Cooper wrote. This was an idea that came to my head. I was like, I’m good to be true, I’m good to be true was the idea. So you know, when they say it’s too good to be true? Well, I’m good to be true as in true to be true to my woman. And so, that was the first angle, I started with it. And then as we started to write it, it kind of took a darker approach where it’s like, it’s good to be true to the devil you know, and then now you’re talking about how both you and your partner have both, maybe stepped out on the relationship or done something inappropriate. But you’re sticking together, even though the two of you both messed up. And it’s like, to the devil you know.

Rock And Blues International: I like that line in there about the devil, you know.

JW Jones: Yeah, exactly. So it took a darker turn there. And, and I love it, and the chords and the melody and all that I came up with all that stuff. And it was important to me

when I wrote this record that I wanted every chorus to sound melodic. I wanted it to have a special, unique melody for every single song. And I think I really, really did that right on this album. Because, if you think of a player piano. For example, you walk by those things in a shopping mall, you know exactly what the song is. You don’t need to hear lyrics. You don’t need to hear a voice. You just know what the song is because the melodies are so unique and obvious. And so I was thinking about a player piano when I was making this record. Would I know what song it was, if I walked by that piano while I was doing his thing, would I know. And this is one of those great examples where good to be true to me that the chorus has a great melody and a great vibe and great lyrics. So I’m really, really, so happy with it. And, and it was a great way to kind of rock out there last tune on the record.

Rock And Blues International: All right, well, you’ve got 11 songs on here. Did you start out with the same 11 song or were there a couple that fell by the wayside?

JW Jones: Yeah, there were a couple that didn’t make the cut. We didn’t record them, we just kind of were messing with them, and then scrapped them and said not let’s save that for another time, you know. And I mean, the same can be said for a lot of different things. Some of them had riffs that I thought would be cool. And then as we got into it, maybe the tempo or the key changed or something. And then the riff all of a sudden becomes not cool, or forced. You know, and as soon as something becomes forced, or you’re trying to make it work, and you’re trying, if you have to try, it’s probably not natural, so a lot of things kind of got the boot for that reason.

when you listen back to the album now is there a song on here in particular that you just go? Yeah, that’s me, that’s me to a “T”.

JW Jones: I don’t know, they’re so many of them hit me that way. I mean, everything now, “Keeping Me Up” and “Papa’s In The Pen”. Those first three songs are probably up there for me because they’re natural, you know, like, they just, they came out like that, and, you know, and everything now I come out playing kind of like the BB King style guitar lines. And that’s, you know, near and dear to my heart. That’s everything for me is BB is like, Man, that was my number one, you know, so. So that’s what I love about that. And then the Stanton Moore drum break in it is super cool. And then “Keeping Me Up” has that wacko guitar tone and super tight sounding drums and bass, and then “Papa’s In The Pen, you know, like, full out blues rock craziness, with an autobiographical story, you know? So those, those first three are probably the most and the most connected to I guess.

Rock And Blues International: All right. Any of the songs drastically change in the studio from what you originally envisioned?

JW Jones: Well, “Good To Be True” is actually one that changed quite a bit. So when I first came up with those lines, it was all with either one, or both of my two top strings tuned down. And it was like a drop D kind of thing. And it was like really nasty, nasty, nasty sounding with like, heavy overdrive. And when I got down to the studio at Gordie’s, he said, Okay, I hear what you’re doing there. But let’s just try playing it standard tuning here for a second and just to hear it, and I’m like, okay, turned it back up, you know, and, and that’s when the whole

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thing went, No, this is better. You know, I see what you were trying to do there. You were digging that tone and stuff. Cool. But this is better now. And it’s like, yeah, it really is. So that’s a good example of one that changed quite a bit.

Rock And Blues International: How do you think this album fits in with your other work, your other body of work?

JW Jones: You know what? I don’t know if it does. And you know, what, what I love about that is that the consistency through my entire catalogue is that it’s me playing the guitar. And it’s me singing. And that is the only consistent thing because some of the records have horn sections, some of them have harmonica, some of them are more guitar driven. Others are R&B or have backup vocals or have like, Gospel singers, whatever. But to me, the only consistent thing about it is that it’s, it’s me, and it’s a snapshot of where I am at that time. So, you know, in 2002, when I was recording with Kim Wilson, he was like Chicago and Texas blues. That’s exactly where I was when I was 22 years old. Well, I’m 42 years old now. I’ve heard a lot more music, I’ve been exposed to a lot more things. I’ve been more excited about different chord changes, you know, it’s like, all of those things have to evolve naturally. And to me, that’s what makes this special is that holy cow, this is where this guy is right now. All right, what happens after this? I don’t know. So that’s what I like about it.

Rock And Blues International: If somebody was listening to your music for the very first time, would this be the album that you would hope they would hear the for the first time?

JW Jones: Absolutely. 100% Yeah. This is a snapshot of where I am right now. And it’s, it’s interesting, because even trying to pick a single for the album, I start to go into blues police mode, and I go, Well, if it’s “Everything Now”, then that’s got enough blues in it, but it’s different enough and it’s got a poppy sound here, it’s got a catchy chorus to it. So maybe that would pull the blues people in and they dig it, you know? Or I go well, if I want to be super traditional, then I hope that its “Take Your Time” with Jimmy Vaughan. And they’re going to be like, Whoa, that’s Jimmy Vaughan on guitar. And that’s this guy on guitar as well. Well, that’s super cool. But then I go, okay, but if they hear “Keeping Me Up” first, and it’s got like that kind of poppy or rock sound, then maybe that pulls them in and to me, that’s just it is like, you can never make everyone happy at the same time. Like it’s just not gonna happen, you know? So all I can hope is that anyone that hears one of the songs listens to two of the others. And if they can do that, then they’re

getting a pretty good idea of what I do. And if they like me, then they’re going to like me, and if they don’t, that’s also fine, because this is who I am. And if you don’t like who I am, that’s fine. Go find another artist that you do like. It’s totally cool. So, I think it’s I think it’s fair game. And I feel like yeah, this is the album I want people to hear.

Rock And Blues International: What is the first single off the new album?

JW Jones: So I’m making it “Keeping Me Up”, the second tune on the record. It’s only two minutes and 45 seconds, but it’s like, it’s like blues-rock meets modern. I don’t know, moderately, it’s got kind of modern soul changes to it. Very simple, but effective and I feel like that’s got a chorus that people would sing along to in their car. So that’s kind of what I’m going for.

Rock And Blues International: Okay, if there was one thing you could change on this album? or would there be one thing you could change?

JW Jones: Oh, man, that’s a tough one. I mean, there’s always parts where I feel like I could have done more vocally. Or I could have, maybe we could have had one more, maybe we could have added piano to that tune with Jimmy Vaughan, like a really Chicago blues sounding piano or something? I go through stuff like that my mind and it’s like, yeah, you could you could add forever. You can add forever and ever, you can always add more. But at some point, you got to step away from it, the simplicity can just be beautiful as well. Like, leave it alone. And that’s. So that’s where I’m at, you know, I don’t think there’s anything glaring at me saying you shouldn’t have done that, because I have a really, really happy with it.

Rock And Blues International: All right. Well, is there anything I haven’t asked that I should have asked or anything that you’ve always wanted to be asked, nobody’s ever had the guts to ask you.

JW Jones: I don’t think so, we’ve covered a lot of covered a lot of ground here. I just want people to get on my social media, Jwjonesblues, and then get on my website, JWjones.com. And join the email list. Because these days with social media, it’s so hard to get word out. But if you’re on the email list, then at least you know, it’s direct and you’re going to find out what these artists are doing. So find your favorite artists email list and join them. And that’s the best way to stay in touch. So I think that’s it for me then.

Rock And Roll International; Okay. Well, one other question. The way the music industry is now, the way people are selling albums online. It’s not like it used to be when you put a record out, and then you really get a hit, you know, a lot of sales on it. What is your look at this monetarily?

JW Jones: Well, yeah, that’s a great question. To me, when I make records, I mean, this is not, this is not cheap. It costs a lot of money to put out these albums. You have to

stay relevant. You have to create and you have to deliver new music. So if you’re doing it all, anyway, then why not press a CD and press vinyl, because they are going to sell eventually. Sales are not what they used to be for sure, but I still sell enough CDs to pay for the next making of the next record and so it’s kind of a business card in a sense. And, you know, the demographic for blues is still buying CDs. So we’re lucky that the blues demographic is still actually buying these things. And so I think it’s important, you know, every couple of years, musicians start talking about “Will I ever release another record again?” Well, I mean, it doesn’t have to necessarily be a physical record, but you’re still gonna have to do all the other stuff. So you might as well pay a couple of thousand dollars, print the CD’s, and then sell them and however long it takes to sell them is how long it takes to sell them. You know, you just have to look at it like that.

Rock And Blues International: Well, you’ve been pretty consistent with your releases. They’re like every two years, there’s something new out there, however, with this last one? Well, this last one, it was an additional year, three years, but previous to that is normally every two years.

JW Jones: That’s correct. Yeah, exactly. Since your 2000. Yeah. So yeah, man. And that’s just it is. I love the recording process. I love creating and I love, like when I’m making the album, that’s when I’m at the happiest. As an artist, you know that and being on stage playing. Those are the two things because it’s just so new and fresh and exciting. And you can do anything and there are no rules. And that’s what makes it so beautiful is that you’ve got that time to just create something special, you know, and, and then Yeah, the question about the music industry becomes, well, when is that going to be the last CD? I don’t know. I have no idea. So until then, I’m just gonna keep doing it.

JW Jones has had an incredible career so far. As a member of the band Horojo Tribe, he and the band won the 2020 IBC awards for “Best Band”. That same year he also walked away with the honors from the IBC for “Best Guitarist.” He is also a JUNO Award nominee and a Billboard Top 10 Blues Artist. I see nothing but greatness in the future for this fine singer/songwriter/guitarist. Without a doubt, JW will be leaving his mark on the Blues Scene in the future.

His new album, Everything Now is merely an extension of what he has been up to. He always continues to evolve from album to album and while he considers this his best work to date, we can hardly wait to see what materializes out of him in the next two years. My prediction is that he will come up with something entirely different and top this album as he has continued to top every album he has done from album to album. However right now I urge you to pick up this new album. When I first started listening to Everything Now, I just couldn’t stop listening to it over and over again. It contains some of the best writing and some of the most profound lyrics that I’ve heard in quite a while. First chance you get, get yourself a copy of Everything Now.

Air Supply “Lost In Love Experience”

Graham Russell Talks About Air Supply’s New Album And Their New Tour The “Lost In Love Experience”

This Month, Air Supply, The Kings of Love Ballads return to the stage with their most ambitious project yet, the “Lost In Love Experience. You probably remember the great hits that Air Supply recorded such as “Lost In Love,” “All Out Of Love,” “Every Woman In the World”, “Here I Am,” “The One That You Love,” and many more. They will be bringing their new tour to stages across the world with a “Greatest Hits Concert” that will rival any undertaking that they have taken before. In additon to that, the guys are actually working on material for a new album that they hope to have released later this year. We had a chance to sit down with Graham Russell, the principal songwriter of the group and he gave us a lot of insight into the tour, the new album, and a few personal things as well. We’d like to share that conversation with you right now. It was a lot of fun talking to Graham about Air Supply.’

Rock And Blues International: Hello, Graham. So, you’re going out on tour again and this is the “Lost In Love Experience” tour.

Graham Russell: Yes, it is. Yeah. We’ve already been gone, actually. So this will be another leg of it.

Rock And Blues International: When was the first leg of the tour?

Graham Russell: It was late last year. We began in Asia. We went to several countries in Asia to get things kicked off, and here we are almost six months later. Now we’re in the US. We’ve already done Asia, South America and we’ll be going to Caribbean in three weeks, so we’re gonna go in everywhere.

Rock And Blues International: Well, I was looking at the itinerary for this tour and it looks like you’re doing about 25 states or more, including Puerto Rico, the Dominican Republic, Mexico and Canada. Yeah, that’s quite a little jaunt there.

Graham Russell: It is, yeah and we’re

looking forward to it all, especially going to some different places. We don’t get to the Caribbean very often.

Rock And Blues International: What are the biggest differences you encounter between your audiences?

Graham Russell: Well, since we’ve been together for such a long time, the audiences are pretty much the same now. Even if they don’t speak English there, they react the same way. You know, we come out and people stand up and which is a great kind of show of respect, I think. And then people just want to sing they want to sing with us. So they sing at the top of the voice, pretty much every song, so that’s the normal thing these days.

Rock And Blues International: That’s pretty commonplace now.

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Graham Russell: Yeah, it is. Yeah. I mean, if we’re in, even in Canada, they’ll sing everything, St. Kitts or Dominican Republic, they will sing along to every single song. Yeah.

Rock And Blues International: What was it like the very first time you looked on your audience, and they were singing your songs to you? There had to be a time where it just started off for the first time and the two of you just looked at each other and said Wow!

Graham Russell: Yeah, I think it was in the early 80s, probably 1980, when we first toured as a headliner on our own in 1980. Well you know, we had several big hits, so they knew the songs, but they didn’t know what we looked like. And then it was… Oh, wow, they’re from Australia. This is what they look like. Then they want to just sing, but of course, that was a long time ago. But now they sing every single song. If we play a song from an album that they may not be too familiar with, they’ll sing along with it. They’ve figured it out and they sing. I think people at shows now just want to have a great time and they want to join in everything. I don’t think people, unless it’s a classical concert… I don’t know if people sit and don’t do anything anymore. They want to get involved and sing and laugh and cry and we help them do that.

Rock And Blues International: Well, I understand in earlier years, the Japanese audiences were almost required to sit still in their seats and now they’ve been quite animated.

Graham Russell: Yeah, when we first went to Japan in 1978, there were traffic lights on either side of the venue off the stage and when it was okay to applaud, it would go green, then 10 to 15 seconds, it would go amber or flash. That means you got to calm down. And then when it was red, you weren’t allowed to make a noise at all. That was throughout Japan, but of course they’re not there anymore. Japan is just as loud and vocal as any other place now,

Rock And Blues International: That had to be pretty bizarre to see something like that happen.

Graham Russell: It was, It meant that the government was deciding when you applauded and when you don’t and if you’re singing a hit song and the government don’t feel or didn’t feel that you should be applauding after 10 seconds, they would shut you down. There’d be people coming around to your seat and point at you like you weren’t supposed to be doing that. And it was kind of a bit, a bit creepy for the artists... for us anyway, having people tell you when the audience can laugh or sing along or applaud. Then they just shut up, and then they wait for the green light at the end of the song. Its like a couple of seconds interval before the green light goes on, then they applaud you know, it’s weird. That was a long time ago though, everything has changed now, but that’s what we were faced with when we first went there. continued on next page

Rock And Blues International: Amazing. Amazing.

Graham Russell: Yeah.

Rock And Blues International: Where would you say your most enthusiastic audience was?

Graham Russell: In those days, it would have been the U.S. I think once we came here with a few hit songs under our belt, they were pretty loud because when we first arrived, we played a lot of university campuses. In fact, our first two headlining tours were universities and, of course, a lot of younger people were listening to the radio and then we were all over the radio. So they were pretty boisterous in those days, and we loved it. We thought this was great, then it just kind of went up from there. Now it’s South America, Central America, they go crazy. And, you know we’ve been around forever, as you know, but these audiences, they just go nuts, they just love it. They love being entertained and hearing great songs and hearing a band that has a great track record I think,

Rock And Blues International: Well, you have you a fantastic repertoire of music.

Graham Russell: Yeah.

Rock And Blues International: You are the kings of love ballads without a doubt.

Graham Russell: Yeah, we are. Thank you for that. I think it’s a title that we’re very proud of. We really are. We never set out to be that, but it’s great. It means everything to us that our music, which has gone around the world now, means a lot to people, but it’s a positive energy. It’s a positive thing for people, bringing people together and I think that’s a great thing for us. It really fills us with great enthusiasm every time we go out.

Rock And Blues International: When you go out on tour, what do you do or you need to do to distinguish one tour from another. This is the “Lost In Love Experience” Tour. How different will the “Lost In Love Experience” Tour be from your tour five years ago?

Graham Russell: It’d be quite different, the set list would be the same. But we’re very similar because we’ve had so many hits. We have to play the hits, but the “Lost In Love Experience” in particular is like a greatest hits tour. We’re playing every one so most of the evening is taken up with that. On other tours we might lean more heavily on a particular album at the time, like “Across The Concrete Sky” was one of our albums. We may play

three or four songs from that, so that changes, but the “Lost In Love Experience” is all the big hits and everything people want to hear. And then you know, the set may change, the physical set. You know, it just changes, little incremental changes that when people see us, those small changes are kind of big changes. But for us, we keep changing arrangements and where songs are placed. So that it’s fresh all the time,

Rock And Blues International: Well you’ve got one new song now, “Be Tough”. I imagine we’re going to be hearing that in concert also.

Graham Russell: Yeah, you will, it’s brand new. We’ve just been rehearsing it. We’ve played it a couple of times and we’ll be playing it in our live show. New songs take about three months to really settle into the set, because they have to be as good as the big hits that they’re next to. Every song has to own its own place, so it has to be a great song that the audiences want to hear. But you know we need to play it for them first and let them be the judge. But it’s a really… it’s a great song. It sounds fantastic. It features Russell’s incredible vocals again, and we will be playing it. Yeah.

Rock And Blues International: Well, I’m sure you’re the writer of this song. You tend to write just about every song and Russell’s the voice. You’re the man behind the voice. So tell me about “Be Tough”. What is “Be Tough” about?

Graham Russell: Well, I started to write the song and I thought to myself, because I started to sing “Be Tough” as I always do. When I’m writing a song, I usually start singing some words, some lyrics and I started to sing “Be Tough” and I thought, “God, where’s that come from?” But then I realize that when you’re in a relationship, it’s not always perfect all the time. In fact, the imperfections of a relationship are what make it perfect. I know that’s a bit weird but relationships can be hard work. You have to give and take and you’ve got to learn about each other, whoever she or he is, and sometimes it can be tough. You’ve got to make decisions that may not be good decisions at the time, but you’ve got to decide things for the future. And I thought, well,

yeah, a relationship can be tough. There are things you need to do that to make it a great relationship and you have to work at it. It’s not easy in my experience anyway and I thought, I don’t think there’s a song that deals with that kind of content in a three minute love song. Usually they’re all... everything’s beautiful, but it’s not beautiful all the time. You have to make it beautiful?

Rock And Blues International: Well the topic of love seems to permeate a lot of your songs, and it’s involved in the titles of so many of them as well. I would think that you could just sell Air Supply shirts at the concert that just say “Air Supply. Love!”.

Graham Russell: That’s right. Yeah.

Rock And Blues International: You’ve done 16 albums and I know you have a recording studio. Your last album that was released was “Mumbo Jumbo” in 2010. Somehow I envision you’ve got a room in your house or on your ranch there… I know you have your own studio, so somewhere on the ranch I imagine there’s about 20 Air Supply albums that have never been released?

Graham Russell: Yeah. Yeah, there’s a lot. Yeah. But you’re right. I mean, it was. It’s been almost 14 years since the last album, but we only recently decided to make another one. We were in the studio recording tracks and Russell and I said to each other “well, it looks like we’re making another album.” And he said, “Yeah, I think so.” So that’s were we are. Were not finished with it. We’re about three-quarters the way through, but it’s the first one in almost 14 years. So we’re pretty excited about it.

Rock And Blues International: Well, I know we’re only going to hear at least one song from that album.

Graham Russell: Yeah, you’ll hear one song. Yeah, for sure, maybe two..

Rock And Blues International: Okay. Well, can you tell us a little bit about the album?

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Russell Graham: Yeah, I’m certain it’ll be the best album we’ve ever made. We made it the same way we make all the albums. We play everything live in the studio. We use computers. We play it live. Everybody plays at the same time, which is very unusual and rare these days. We went through about 25 songs, and we pick the 14 songs that we want to do record. And then we just set about recording and we’re having a great, great time. We’re taking our time with it, there’s no rush. And it’s sounding beautiful. The songs are fabulous and I think everybody’s going to be ready for it when it comes out maybe by the end of this year.

Rock And Blues International: The way the music business is nowadays, coming out with a new album hardly seems profitable for most bands, but for a band like yours with the reputation you have, I would imagine that your audiences will be jumping all over this.

Graham Russell: I hope so, but if they don’t, that’s okay, too. You know, where we come from, Air Supply is part of a generation of bands that make albums. I’m a songwriter, so I need to make albums. Air Supply needs to make albums. We are an album band. We always have been, and this one, this will be the best one ever. And who knows, it may

even be the last one. We don’t know, but we’re putting everything into it, but if people don’t go for it, that’s okay, because we won’t release it until we know it’s fabulous from our perspective. You never know if people are going to latch on to songs or if they’re going to even buy them, but that’s not really important to us. The important thing is that we decided to make another album and this will be it, but I think I’m pretty sure that everybody’s gonna love it just as much as we do. I hope so.

Rock And Blues International: Well, I’ve been told... I don’t know if this is true, but I’ve been told that you write every day?

Graham Russell: I do. Yes.

Rock And Blues International: Well, how many songs do you have in the in the can who that haven’t been published? Hundreds?

Graham Russell: Yeah, probably several 100. Yeah, I do write every day simply because I’ve always done that and it’s, it’s what I love to do. I always find time to play guitar or go into my studio and just play, but when I start to play, I will come up with something. Something will happen. I’ll go into a song… I’ll just start playing a song that

I don’t know and then it’s a brand new song. It always happens. But that’s what I love to do. So for me, it’s like part of my daily routine and I love it. I just love writing songs more than anything else. I’m so fortunate to be able to do that even now. I mean, this is my 60th year as a songwriter this year. That’s a long time.

Rock And Blues International: It is. That’s amazing. This is my 42nd year of doing one of my magazines. I’ve got another one that I started up during COVID because I have been doing a local magazine in Houston for 42 years and then COVID hit and everything shut down. But I’m realizing that there’s great music all over the world and God I’m a work junkie. I have to keep working on that, so I started a new magazine.

Graham Russell: Oh, great.

Rock And Blues International: And my biggest fear is if I stop and I try to retire, I will die because everybody I’ve known, that has retired, died.

Graham Russell: I know what you mean. I feel that too.

Rock And Blues International: So what drives you to continue on with what you do day after day.

Graham Russell: Just keep doing what you’re doing. I think, I mean, that’s why I just love to write every day. We do so many shows. We do at least 130 shows every year. I got back last night from three shows. I leave again tomorrow for Vancouver for four days, but I love it. I love every aspect of my work. My work to me is not work, it’s just something I love to do. And it sounds like you’ve found what you love to do as well.

Rock And Blues International: Well, yes, I think I have, at least until I become a multimillionaire, but who knows what happens then. But know that when you find something you love to do, I know that’s a very big driving force for you.

Graham Russell: Yes, yeah. It is. There’s a famous saying, I don’t know who said it, I think it was Walt Whitman. He said, “If in your work, if you love what you do, you’ll never work a day in your life.” And I don’t work a day in my life, I just love doing everything. And you know, I live on a ranch too, so I feed animals. I’m moving hay, big 70 pound bales of hay all the time and cat food, dog food and digging on my garden. I’m a big gardener, so I’m always doing something, but at the end of the day, I’m playing my piano. So one thing feeds into the other and, and it keeps me young and keeps me fit. And it keeps me very positive. And that’s what I love, you know.

Rock And Blues International: Well, when you’re out on the road, it’s a totally different, different structure of work for you, as opposed to the ranch. So when you’re out there performing, does your mind ever wonder, “damn did I remember to feed this?

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Or did I remember to do that?

Graham Russell: Yeah, it does all the time. Yeah. Did I do this? Did I turn the electric off? Did I turn the water off out in the field? Yeah, there’s a lot of that. But I kind of usually remember everything. Sometimes I don’t, but I usually do. But yeah, I’m always worrying about something or other... is one of the animals okay, or their baby, wherever, or something like that, but that’s part of life. I think we need to worry a little bit about some things. You know?

Rock And Blues International: Well, hopefully that’s the only things you have to worry about.

Graham Russell: Thank you, Kevin. That’s great.

Rock And Blues International: Well, being an Englishman, you’re from England, right?

Graham Russell: Yes. Correct. Rock And Blues International: What made you pick Utah to move to?

Graham Russell: Well, I was already living in California. I’ve lived there for about eight years and we played in Las Vegas. We were doing two consecutive weekends and normally after the first, on Monday, I would go back to California, but I decided to rent a car and just drive north for a few days without any reservation or a hotel. I didn’t even know where I was going and I drove north about 300 miles and I entered Utah. I saw all the red rocks and the mountains and I went, oh my god, I had no idea this was here. So I drove further and I came to a little cowboy town, which was just so beautiful. It was like going back 60 years and I stopped at a little diner and I got a phone book and I called a real estate agent guy that I didn’t know and he met me. I said to him, I don’t want to buy anything, but I want you to show me around what’s going on here because it’s a beautiful area. And he said, “yes, it is.” And so he showed me a lot of places. He showed me about 20 houses and land and the first one he showed me I fell in love with and that’s the one. I bought it about four days later and that’s where I still live today, but the place is not as remote as it used to be because people have got to live somewhere, but that was 33 years ago. And now I just love it. It’s country life. But I’m 50 minutes from Salt Lake City Airport, so I’m not far away. But I love it. I love the mountains, the fresh air, the view. I even love the snow in the winter but it’s a lovely place. And for me, I mean, because I travel all around the world all the time, it’s a great sanctuary to come back to that’s peaceful and I have all my things around me and I’m looking at green fields and it’s

beautiful. I’m very lucky to be here.

Rock And Blues International: That’s wonderful. Well, let’s talk about a little dark time here in history, COVID. When COVID hit, touring was out of the question and so I would imagine you were confined to the ranch there.

Graham Russell: Yes, I was. Yeah, pretty much, but even though I was confined, I was able to go for hikes and walk around because I don’t have any neighbors, which is what I wanted. But I also write musicals so I decided... somebody asked me if I’d write a musical for them, and I said, Yeah, and then COVID hit. So that’s when I spent my COVID time doing that and that musical went on in Salt Lake last year and then I have another one going on in Canada, actually, in June. So I was pretty busy and very happy. I worked every day on the musical to finish it and then suddenly COVID was over. It was, it was one of those experiences that I hope we don’t go through again, but such a strange time. I was kind of prepared for it. I had my studio, and I didn’t go anywhere. Nobody did so I was able to go through COVID okay without going insane as a lot of people did.

Rock And Blues International: Right. The world kind of went crazy there for a while.

Graham Russell: Yeah, it did.

Rock And Blues International: And at least while you’re touring schedule was affected, it didn’t affect the way you perceive life and that’s a good thing.

Graham Russell: Yeah, exactly. That’s a good way of saying it. Yeah. I still was at home and I had a lot of freedom at home and then I would work, write, write songs and write music, so I was happy.

Rock And Blues International: So it was pretty much like another normal day.

Graham Russell: Yeah, except we couldn’t go anywhere. Yeah, actually, we weren’t touring. But yes. Well, from that it was normal.

Rock And Blues International: When you’re back on the road, what is the hardest part with you for touring?

Graham Russell: The hardest part is the travel, the flying. Although I must say, I write a lot of my lyrics when I’m on planes because you never get disturbed. But sometimes it’s a long flight, sometimes eight, sometimes 15 hours on a plane. And that’s the, that’s the downside. But you know, it’s part of everything. Nothing’s perfect. You have to make, as I said earlier, you have to make it perfect. So I never complain about anything. But the travel gets harder because we’re a little older than we were a long time ago when you bounce back from things and have to make sure you stay fit. And because when you step on stage, that’s the ultimate goal of every day, stepping on stage and bringing the audience the greatest show that you can bring them.

Rock And Blues International: Is there a regimen that you go through to keep

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yourself fit?

Graham Russell: Yeah, there is, I work out every day. I don’t work out on Sundays. I work out. Not a real strenuous workout, but I lift a few weights. I have my stretch band I do. I stretch my body out, do some yoga. I don’t eat meat, or dairy. And I go for a walk in the afternoon, every day, even if it’s raining or snowing. So that’s my regimen on the road that I like to keep to. And when I keep that and I always do, I’m able to walk onstage feeling great, and to deliver what the audience wants to hear. That’s my goal. It really is.

Rock And Blues International: Well, while you don’t eat meat, I would imagine that’s a great relief to the animals on your farm. I mean, on your ranch there.

Graham Russell: Yeah, yeah, it is. I haven’t eaten meat for years and years and I won’t again. You know, that’s not for everybody, but for me, it works. I like that. It keeps me active and for someone in my time of life, I feel great and I want to stay that way. I don’t want to get bogged down and for me, it’s great. And even where I live, I’m able to grow a lot of my own food, so it’s great. When I’m on a plane, I pack my lunch. It sounds like I’m going to school or something. But I pack my lunch on the plane.

Rock And Blues International: Are you a box person or a bag person on your lunch?

Graham Russell: Box person! Yeah!

Rock And Blues International: Okay. You take your lunch box to work with you.

Graham Russell: I do. Yeah. And the show, because we have dinner at the show at 5:30. Then we all fill our boxes for the next day with food. It’s like we’re just like little school kids.

Rock And Blues International: All right. Well, when you’re traveling, do you go bus or do you fly?

Graham Russell: We do both. We bus whenever we can, but since COVID, there’s very few bus drivers now because during COVID, they all went on long distance hauling. So there’s not as many bus drivers... there’s buses, but no drivers, so we do get them occasionally, but we do. We do fly, mostly we fly.

Rock And Blues International: Let’s get back to the show a little. Russell does the majority of the singing, but you do occasional singing as well, you’re not completely silent on stage. Are there any songs in particular that you just can’t wait to sing?

Graham Russell: Pretty much all of them. I mean, I love all of them, but I sing. Well, Russell and I both sing the lead on “All Out Of Love,” and it’s always the last song in our show. I start it off by singing the verses and the bridge, so I’m always excited to play that simply because the whole world knows continued on next page

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that song and they’re waiting for it. So as soon as we start, the whole place erupts. It’s a great feeling. But I’ve never been a lead singer. I sing a few leads during the day, but I’m singing a lot of backgrounds and I let Russell sing. People come to see and hear his vocals and that’s great. I wouldn’t want to be a lead singer, there’s too much responsibility I think.

Rock And Blues International: I’ve heard that you tried to encourage him to write but he just refuses to do it.

Graham Russell: Yeah, I’ve asked him for years and years to write a song, even to write some lyrics, even if they don’t rhyme, just some thoughts and ideas. But he always says to me, “no I can’t do that.” He said, “I’d be too intimidated that they wouldn’t be any good because you’re such a master of the song after all these years. So that, you know, I couldn’t do it. I… I’d be embarrassed.” I said “no. Do it. I’ll turn them into something really cool.” But he never has. He just wants me to write the songs and I’m okay with that. He just wants to sing them, so it’s good.

Rock And Blues International: Well, yeah, it is good. That’s good. You have your place in the band where you feel the most comfortable with, and he has his place where he feels most comfortable with.

Graham Russell: Yeah, and it works beautifully. We’ve never had an argument in almost 50 years. And we have the best friendship. We never see each other when we’re not working, because I live in Utah, and Russell lives in California. So when we go out when we’re on tour, which we always are, we have a lot to talk about, lots to discuss and plan, so it’s a great relationship. It’s wonderful.

Rock And Blues International: Well, maybe that’s why I’ve heard that you’ve never had an argument with each other or fight or anything, anything out of line there.

Graham Russell: Never have to even think about that. Well, it’s kind of weird, you know, but we’ve never had an argument ever. We always we get on with everything. If there’s a difference of opinion, we say oh, okay, you want to do that, then let’s do it. One of us always gives in and it’s always the best way. Yeah,

Rock And Blues International: Well, being the primary guitarist in the band, are there any songs in particular that you play guitar.... I know that you love all the songs you do, but are there a couple of songs out there that you just love doing? And maybe one or two songs or you go, oh, this one’s always a bitch to play?

Graham Russell: Oh, not really because, well, I don’t play lead guitar. We have a lead guitar player. I’m terrible at it. Well, I can’t play lead guitar, but I play a really good rhythm guitar and during the show, I play a song on my own that I decide what it’s going to be. And it’s just myself and my guitar and that’s what I really enjoy. I never know what it’s going to be. It’s a song that people know, but I play it on my own while Russell has a little break and that could be anything.

Rock And Blues International: Okay. Now, you’re working on a new album, but I’ve heard that you’ve recorded an album in Europe with an orchestra.

Graham Russell: We did. Yeah, we recorded it... It was the “Lost In Love Experience” album with the Prague Symphony and we recorded it in Prague, simply because they’re regarded as one of the greatest orchestras in Europe. We’ve been wanting to play with them for a long time and suddenly they had an opening and we had an opening and we went and did it and it was just incredible.... This 50-piece orchestra was... it blew your mind. So that was the album that we put out with the Prague Symphony, which is just amazing.

Rock And Blues International: Is it out now or is it still being worked on now?

Graham Russell: Oh, no, it’s out now. Yeah. It’s a terrific album.

Rock And Blues International: Being an orchestral album, I’m sure it’s totally different from your regular songs. What added flavor does it give you that you were extremely proud of?

Graham Russell: Well, I think it told us that our songs and our music is really well adapted to the classical interpretations, because the arrangements were very classical and yet none of the songs lose anything. You’ve still got Russell’s soaring voice over

everything and it just sounds so majestic with this massive orchestra. And it’s just “what a thrill it was to play with them and to be there in that studio.” And I sat in the middle of the studio while they were recording, and it was just incredible. It’s just a different flavor. There aren’t a lot of artists that really respond well to the classical treatment, Ours fortunately does because of its nature I think.

Rock And Blues International: Right! Right!

Graham Russell: Yeah, Wonderful.

Rock And Blues International: Well, what haven’t I talked about so far that I’m that I should have touched on?

Graham Russell: I think you’ve touched on everything, Kevin. It’s been great.

Rock And Blues International: Okay, I try to make my interviews a little bit different from everybody else. We don’t care how Air Supply got their name. We’re just glad you have a name.

Graham Russell: I appreciate that! That’s great!

Rock And Blues International: So I hope these questions have been a little different. Probably not. But hopefully,

Graham Russell: They have. They absolutely have. Thank you very much.

Rock And Blues International: All right, well, there’s got to be something that you’ve always wanted to be asked, or you wanted to tell an interviewer that you’ve never had the opportunity because they were just so dumb not to ask it. So what have I not asked that you’ve always wanted to be asked or let the world know about?

Graham Russell: Ah, you know, I really don’t know. Probably the only thing I can think of is that I’m... I’m a big gardener and

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we never talk about gardening. People don’t know I’m an avid gardener at home, and I think that’s a great balance for my profession. But I think that would be the only thing. I love getting in the garden. I pretty much grow everything. I spend a lot of time in the garden and growing. I sound like George Harrison from The Beatles. He was too.

Rock And Blues International: Well, I didn’t know if I should go down that down that road. I had thought about it. For instance, like what is in your lunchbox when you’re out

on the road.

Graham Russell: Oh, I will make a wrap, a vegetarian wrap that I make here. And I like really spicy food. I make my own hot sauce that’s really spicy. I make it from the hottest peppers that there are, that I grow in my greenhouse. So I’ve got a vegetarian wrap. Maybe with a falafel and hot sauce on it that most people wouldn’t be able to eat, but I love really spicy food. I don’t know why I just do.

you wash it down with?

Graham Russell: Oh, well, it depends. If I ever show that day, it’ll be water. If I don’t have a show I might have a glass of wine, but only one. I never drink on a show day.

Rock And Blues International: But that’s a good philosophy to have. I’ve seen some performers stumble around a little bit on stage at times.

Graham Russell: They do. They do. I’ve heard that too. I’ve seen them. But yeah, I mean, both Russell... Russell doesn’t drink at all. But we pride ourselves on the show. When we wake up, it’s all about the show. Whatever we need to do to deliver the best show is what we’re going to do. In fact, even in our band and crew. I think I’m the only one... I’ll think my guitar player has a beer now and again, but nobody else drinks. You know, it’s unusual. Even the crew... crews have a reputation for being heavy drinkers, but not my crew. They just don’t drink.

Rock And Blues International: Are they older gentlemen.

Graham Russell: No, they’re young, they’re in their 30s and 40s, but I think that’s the thing, the modern thing now. People just, they don’t drink like they used to at all if at all. You know, it’s weird. People are more, well, certainly the people that come into my radar, are more health conscious.

Rock And Blues International: Have you always been health conscious?

Graham Russell: I have, Yeah, I have. I like to get out and walk. I used to run, but I don’t run anymore, but I go for a hike every day. If I’m home, I hike. If I’m on the road, I’ll go for a brisk walk, and then I’ll do my workout. It’s just staying on top of everything. I want to be doing this in another 10 years from now and to do that I need to make plans now and stay fit, and be able to work as long as I can.

Rock And Blues International: All right, did you manage to avoid all the perils of the road? The bad habits that musicians got into over the years?

Graham Russell: Yes. I mean, there are people, you know, especially musicians. They get into some bad habits, you know, but I think, as I just said, there comes a time you have to make that decision. Is this just fun for you or do you want to get serious? And do you want to be doing this when you’re in your 70s like I am, and Russell, Oh, you know, Paul McCartney is and the Rolling Stones are in their 80s. Now, do you want to do that? Yeah. My answer is yes. So if you want to do that, you’ve got to make sacrifices. But I think you realize when you make those sacrifices, you realize they’re not sacrifices at all. They’re just good decisions.

Rock And Blues International: I think you could hang out with someone like Mick

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(continued from previous page) Jagger. From what I understand, he exercises every day, he has a strict regimen of things that he does. He’s running every day. He eats properly. He doesn’t abuse alcohol or other items. And he’s just... I think he learned a lot from Keith Richards on what not to do.

Graham Russell: Yeah, yeah. Well, Keith has always been my guitar hero. I think he’s a great guitar player. He’s a great rhythm guitar player, too. But Keith always thought... I’d read this, but he always thought he would be dead by the time he’s 40. Now, I think he’s just turning 80 this year. And what a poster child for having abused his body, and yet he’s still here, but now he doesn’t do anything anymore. He doesn’t smoke and I don’t know if he exercises, but he’s still there. And these are the people that young musicians need to look up to, because this is how you do it. You look after yourself. Look at Mick Jagger. I’ve heard he runs two miles before he goes on stage, has a running track back stage and good for him. He had a heart issue a couple of years ago. Now he’s back. I think that’s fantastic. Now he’s been in shape and being a vintage act, which they are, which we certainly are, and but still being able to play and deliver a fantastic show. That’s what it’s all about. Now, you know,

Rock And Blues International: Well, we haven’t talked too much about Russell. He’s been your partner for what… since... basically, since May 12, 1975.

Graham Russell: Yeah that’s right. Yeah.

Rock And Blues International: So when you get on stage with him, and you look over at him, what’s one of your first thoughts that comes to mind?

Graham Russell: Well, my thought is, where we are. He’s coming up to 74. I’ll be 73 and in a few, two or three weeks. And I look around here. Wow, he’s still doing it. You know, he does it and he does it well, and not just singing great, but he’s moving. He’s moving around on stage. He never sits still. He’s bopping around all over the place and it’s just a great, great thing to watch. And we have our language, the fingers or the eyes about the audience. You know what we will say? Great audience. Yeah, we have a little language and we go, yeah, we have a great time on stage. It’s amazing. And just to keep doing that is, is just a beautiful thing to witness.

Rock And Blues International: What’s one or two things about Russell that you just really admire?

Graham Russell: Well, one thing certainly is... Russell gets nervous. I never get

nervous. He’s really super nervous before every show, but you would never know it. Backstage, right before we go on, he usually likes to sit alone for five or 10 minutes. And you think, Oh, God is he going to... is he going to do his thing. But then when he steps on stage, boom, the switch goes on and he’s all over the place and he’s smiling and he’s in his lovely place. But to see that, that’s a great thing to have. And he’s always done that. When he comes off, he doesn’t to say much, and he’ll sit down for a while. And for that two hours, he’s all over the place. He’s a true professional.

Rock And Blues International: He’s quite the dresser too. I’ve seen him in some of his outfits there... unbelievably fancy.

Graham Russell: Yeah, he is. Yeah, he has a lot of tattoos. And now he’s kind of showing off his tattoos a little bit. He never used to, because he… I think he may have felt that it wasn’t the right thing to do with our music, but why not? Suddenly, he’s saying, Yeah, you know, this is who I am. And it may not be for everybody. But at least he’s been true to himself and people are asking him, where did you get this? Here’s mine. They will tell him. He just loves tattoos and that’s who he is. It doesn’t have anything to do with his voice, or his demeanor, it adds to it, I think, because now he can really be himself.

Rock And Blues International: Say, five minutes before you get on stage… Is there something that you and him do together or that goes through your mind five minutes before you go on stage every night? Is there? Is there a little prayer or something?

Graham Russell: Well, there is. We, we do a vocal rehearsal 25 minutes for we go on every night. But then we have two songs. There’s two songs that we play every night, right before we go on. And our tour managers say we’re rolling. So that means there’s eight minutes before we step on stage. So the first song goes on, then the second one, which is about five minutes. Russell and I will get into position and we just kind of thumbs up to each other. And the last thing we do... we give each other a big hug, which is just representative of our friendship for almost 50 years. We have a squeeze, I might say have a great show and we step on stage. And we do that every single night.

Rock And Blues International: Well, it sounds like you’re totally brothers.

Graham Russell: Oh, absolutely. Yeah. Yeah.

Rock And Blues International: All right. Any more information you can give me about the current tour, anything that we should expect any special things that are going to be happening that haven’t happened on other tours?

Graham Russell: No, really, I mean, we get on and the bulk of our show is hit songs, because we’ve had so many. But we are going to, we’re going to start sliding in brand new songs from the album and that’s exciting for

people to hear. But apart from that, no, it’s just Air Supply live. And it’s a great show.

Rock And Blues International: All right. Well, I think I’ve tied up enough of your time already. You probably got a field to plow or something to do out there.

Graham Russell: I’ve always got a field to plow, but I can’t, it’s not quite the weather yet, but I’m getting ready to do it.

Rock And Blues International: I’ll ask one more time. What haven’t I asked that I should have asked? There’s bound to be one or two things I really should have asked. And you’re gonna… when you get off the phone, you’re gonna go, “I can’t believe he didn’t ask me that.”

Graham Russell: No, I never think that. No, I always enjoy interviews. I don’t think so. I think you’ve asked everything. We’ve covered pretty much everything. I’m very, very happy with the interview. It’s fantastic.

Rock And Blues International: Well, wonderful. I appreciate that. Well, then I will let you get back to whatever you’re gonna get back to. Oh, I got one question, not really music related. You’re sitting there doing the interview. Look around the room. Tell me what you see.

Graham Russell: My daffodils are all out. I have three deer in my backyard. The birds are coming down. Everything’s turning green finally, after all the snow and out the front all my big pine trees are swaying in the breeze. Which is beautiful. I love it.

Rock And Blues International: It sounds like a very serene lifestyle and something to be envied over.

Graham Russell: For me, it’s beautiful. I love it. Not for everyone. But I love it. It’s beautiful.

Rock And Blues International: All right. Well, thank you for your time. I’m looking forward to seeing you when you come to town. Hopefully one day we’ll be able to meet. I hate just being a voice on the end of the line, but I’m sure you’ve talked to a lot of voices on the end of the line over the years.

Graham Russell: I would love to meet you, Kevin, do you come back and say hello. I would love that if you come to the show.

Rock And Blues International: Okay. Well, you have a great day and we’ll talk again on the next tour or when the new album comes out.

Graham Russell: I look forward to that. Thank you so much, Kevin.

Rock And Blues International: Thank you. Bye bye.

Nick Becattini: Courage, spirits, and crazy legs

By Edoardo Fassio

Pistoia hosts the longest running and most successful Blues Festival in Italy. Since 1980, it has attracted top-notch stars, not only from the blues field: headliners such as Muddy Waters, Albert Collins, and Stevie Ray Vaughan, but also Lou Reed, David Bowie, and Simple Minds. The city has become (even officially, with the establishment of the Pistoia Blues Clinics) a reference and a stimulus for the growth of young musicians.

Nick Becattini, who hadn’t missed a show since the first edition, when he was still underage, has followed the path up to the very top. In 1986, his originality on the six-string struck Giancarlo Crea, who enlisted him in his seminal band, Model T. Boogie. The choice disoriented those who deemed Crea a purist, unwavering in his dedication to the aesthetics of the 1950s Chi-town blues, while Becattini, so unorthodox, brought a breath of fresh air. Nick’s licks showed he wasn’t into formal fidelity to classic blues, or either into rock, pop, or jazz, and his clever synthesis of everything was apparently unintentional. With his unpredictable style, he let the world know that there was still room for evolution in the blues guitar.

Later, Becattini spent years in Chicago, playing alongside the likes of Otis Rush, Sunnyland Slim, Melvin Taylor and Sugar Blue, or as a regular member in the Son Seals band, and scored dozens of high-quality albums, either as a leader or a featured artist. Since, a few years ago, he discovered he was suffering from amyotrophic lateral sclerosis (ALS), a neurodegenerative syndrome that causes progressive loss of control in his limbs, his life has been conditioned by a sneaky, unexpected companion. But the music has not turned its back on him.

As an outspoken and authentic bluesman, instead of getting depressed Nick reacted with courage, and released a new, enticing CD. It’s called Cr azy Legs, and its pace is set by the upbeat title track, in boogie pattern with a Big Easy mood. “Once - he reminds - my crazy legs used to dance to the groove, now they trudge with the walker.” The album aligns early blues (“Trouble in Mind”) with dancing soul (“Backpack”); liberating funk, conceived after learning the diagnosis (“Doctor Said”), with complex instrumental adventures, such as “Superblues” (“the synthesis of a lifetime’s study”).

And it offers more than an opportunity to reflect on the spiritual side of existence and the comfort of one’s family; Nick dedicates the irresistible “Bambi Shuffle” to his daughter Bambi, who got that name after a fawn cut him off while he was driving home, at night. “Had that been a boar that time, what would I have called her?” wonders dad-the-bluesman, who hasn’t lost his typical Tuscan sarcasm.

Nick Becattini: il coraggio, lo spirito e le gambe matte

By Edoardo Fassio

Sede del più longevo e fortunato blues festival in Italia, Pistoia attrae dal 1980 stelle di prima grandezza, non soltanto del blues: giganti come Muddy Waters, Albert Collins e Stevie Ray Vaughan, ma anche Lou Reed, David Bowie e i Simple Minds. La città è pure diventata ufficialmente, con l’istituzione dei Pistoia Blues Clinics, un polo di riferimento e uno stimolo alla crescita per i giovani musicisti.

Nick Becattini, che non si era perso un’edizione a partire dalla prima, quando non aveva ancora diciott’anni, seguirà il percorso fino in cima. Nel 1986 la sua originalità alle sei corde impressionò Giancarlo Crea, che lo reclutò nella sua seminale band, Model T. Boogie. La scelta spiazzò chi riteneva Crea un purista, irremovibile dalla sua dedizione all’estetica degli anni 1950, mentre Becattini, così poco ortodosso, portava una ventata di novità. Nick negli assoli dava segno di non inchinarsi né alla fedeltà formale al blues classico, né al rock, né al pop, né al jazz, e l’eventuale sintesi di tutto quanto era quasi involontaria. Con la sua modalità imprevedibile, faceva sapere che il blues chitarristico era ben lontano dall’aver esaurito le possibilità di evoluzione.

Becattini trascorrerà un periodo a Chicago, impegnato a fianco di Otis Rush, Sunnyland Slim, Melvin Taylor e Sugar Blue, o come membro titolare nella band di Son Seals, e metterà a segno decine di album di alta qualità, da leader o co-leader. Da quando, pochi anni fa, ha scoperto di essere affetto da sclerosi laterale amiotrofica (SLA), una malattia neurodegenerativa che progressivamente limita l’uso degli arti, la sua vita è condizionata da un subdolo, inatteso compagno di viaggio. Ma la musica non gli ha voltato le spalle. Da bluesman schietto e autentico, invece di deprimersi Nick ha reagito con coraggio, e ha pubblicato un nuovo, allettante CD, intitolato Crazy Legs e indirizzato dall’ottimistica title track in pattern di boogie. “Una volta - racconta nelle note - le mie gambe matte ballavano al ritmo del groove, ora arrancano col deambulatore”. L’album allinea il blues dei primordi (“Trouble In Mind”) al soul danzante (“Backpack”), il funk liberatorio, concepito dopo aver conosciuto la diagnosi (“Doctor Said”), a complesse avventure strumentali, come “Superblues” (“la sintesi dello studio di una vita”).

E offre più di un’occasione per riflettere sul lato spirituale dell’esistenza e sul conforto della famiglia; alla figlia Bambi è dedicato l’irresistibile “Bambi Shuffle”, dove Nick ricorda che il nome è stato scelto quando un cerbiatto gli tagliò la strada, in macchina. “E se quella volta fosse stato un cinghiale, come l’avrei chiamata?” si chiede il papà bluesman, che non ha perso il tipico sarcasmo toscano.

New Signing To Warner Latina

Maria Becerra, One Of The Most Streamed Artists In Latin America, Signs With Warner Music Latina In New Joint Venture With 300 Entertainment

The multi-nominated artist is one of the top five most listened to female Latin artists and one of the most prolific in ticket sales having just performed in front of 100,000 people at Lollapalooza in Argentina.

Latin GRAMMY nominated Argentine superstar, Maria Becerra, joins Warner Music Latina’s artist roster – alongside Warner Music Group labelmate 300 Entertainment – to take her career to the next level. In a short time-span, Maria Becerra has become an undeniable global force, positioning herself as one of the top five most listened to female Latin artists on Spotify’s Top Global charts. “La Nena de Argentina” just received the Visionary award at Billboard’s inaugural Latin Women in Music gala, and has won numerous awards and received multiple nominations (Latin GRAMMYs, Latin American Music Awards, MTV MIAW, Premios Tu Música Urbano and Premio Lo Nuestro, among others), selling out concerts around the world. In March, she gave a blowout performance at the closing of the prestigious Lollapalooza festival in Argentina, where she dazzled more than 100,000 spectators and recently sold out her show at the emblematic Movistar Arena in Chile.

Maria Becerra signed to 300 Entertainment in 2020, becoming the first Latin artist to join the label’s roster. Since then, she released her debut album Animal which showcased her versatility as an artist and led her to take over four out of the top five spots on Argentina’s Billboard Hot 100 chart. Months later, she also landed her first Top 10 on Billboard’s Tropical Airplay chart with her collaboration with Prince Royce, “Te Espero.”

Maria has truly taken the industry by storm, becoming one of the most sought-after artists and has collaborated with stars such as Camila Cabello, J Balvin, Prince Royce, Manuel Turizo, Pablo Alboran, Zion & Lennox, Tini, and Becky G, among many others. Becerra already counts with over 20 million monthly listeners, has accumulated over 4 billion streams on Spotify, and has amassed over 3 billion views on YouTube. There is no doubt that Maria Becerra will continue to cement her claim as one of the most influential figures in the Latin Urban genre with her unique musical versatility, sensuality, and her lyrical prowess.

“I am thrilled to be a part of the Warner Music Latina family. I know that together we will achieve incredible things and that this union will allow me to go even further in my career and solidify my global expansion,” commented Maria Becerra. “I’m honored to be part of their roster and look forward to working with such a skilled and talented team,” concluded La Nena de Argentina.

“It’s an honor to have Maria Becerra join us at Warner Music Latina. She’s a standout artist with a strong team behind her, and her past successes are a testament to that. We’re excited to continue the path that was started by 300 Entertainment and Kevin’s team, and are very excited for our future together.” shared Alejandro Duque, President, Warner Music Latin America.

Jose Levy, Becerra’s manager, thanked 300 Entertainment for their unconditional support since the beginning of Maria’s career. “We are very happy and deeply grateful to 300 Entertainment, Kevin Liles, and his entire team, for the support they have provided Maria since the beginning, because due to their dedication, efforts and teamwork, Maria has been able to achieve the success she celebrates today, which leads us to this important next step with Warner Music Latina, spearheaded by Alejandro Duque, to continue growing with the next albums.”

“It’s been amazing to see the growth of Maria as an artist, and I’m so proud of everything that we’ve been able to accomplish together so far,” said Kevin Liles, Chairman and CEO, 300 Elektra Entertainment. “Tapping into the vast, global reach of our Warner Music Group family with the addition of Warner Music Latina – led by Alejandro Duqueto the team behind her, there is absolutely no limit on where she can go. That’s the power of #biggerfamilybusiness.”

To wrap up a great 2022, Maria Becerra released her highly anticipated album La Nena De Argentina, which consists of 13 songs that explore different genres like bachata, cumbia, pop, reggaeton, trap, acoustic ballads, and many more. Prior to the release of her critically-acclaimed album, Becerra released her album Animal in 2022 which garnered her a nomination for Best New Artist at the 2021 Latin GRAMMY Awards, and shortly after caught the attention of global superstar, J Balvin, who enlisted her for the hit record “Qué Más Pues”, which to date is one of his most streamed tracks on Spotify and led her to her debut performance at the worldrenowned 2022 GRAMMY Awards.

Currently, Maria Becerra is getting geared up for her much-anticipated tour that will take her through numerous countries in Latin America and Europe, including Mexico, Spain, Guatemala, Ecuador, and Bolivia, among many others, where she will continue to delight her fans with her unparalleled live show, talent and charisma. Details of this exciting tour will be announced in the coming days. Maria is also currently working on new music that is slated to release soon.

Maria Becerra, Una De Las Artistas Mas Escuchadas De LatinoAmerica, Firma Con Warner Music Latina

En Nueva Asociacion

Con 300 Entertainment

La multi nominada artista es una de las cinco más escuchadas en Latinoamérica y una de las más prolíficas en venta de boletos, habiéndose presentado recientemente frente a 100,000 personas en Lollapalooza Argentina.

La superestrella argentina nominada al Latin GRAMMY, Maria Becerra, se une a la lista de artistas de Warner Music Latina en asociación con 300 Entertainment, discográfica afiliada de Warner Music Group, para llevar su carrera al siguiente nivel. En poco tiempo, Maria Becerra se ha convertido en una innegable fuerza global, posicionándose como una de las cinco artistas latinas más escuchadas del top global de Spotify.

“La Nena de Argentina”, acaba de ser honrada con el premio Visionary en la gala inaugural de Latin Women in Music de Billboard y ha ganado numerosos premios y recibido múltiples nominaciones (Latin GRAMMYs, Latin American Music Awards, MTV MIAW, Premios Tu Música Urbano y Premio Lo Nuestro, entre otros), agotando entradas en conciertos por todo el mundo. En marzo, realizó una presentación por todo lo alto en el cierre del prestigioso festival Lollapalooza en Argentina donde deslumbró a más de 100,000 espectadores, y recientemente agotó las entradas de su show en el emblemático Movistar Arena de Chile.

María Becerra comenzó su carrera con 300 Entertainment en el 2020, convirtiéndose en la primera artista latina en unirse a la plantilla de la discográfica. Durante su periodo con el sello, lanzó su álbum debut Animal, que mostró su versatilidad como artista y la llevó a ocupar cuatro de los cinco primeros puestos de la lista Billboard Hot 100 de Argentina. Meses después, también obtuvo su primer Top 10 en la lista Tropical Airplay de Billboard con su colaboración con Prince Royce, “Te Espero”.

Maria realmente ha tomado a la industria por sorpresa, convirtiéndose en una de las artistas más solicitadas al colaborar con estrellas como Camila Cabello, J Balvin, Prince Royce, Manuel Turizo, Pablo Alborán, Zion & Lennox, Tini y Becky G, entre muchos otros. Becerra ya cuenta con más de 20 millones de oyentes mensuales, acumulando más de 4 mil millones de reproducciones en Spotify y ha sobrepasado más de 3 mil millones de vistas en YouTube. No hay duda de que Maria Becerra continuará consolidándose como una de las figuras más influyentes en el género urbano latino, con su voz, su versatilidad musical única, su sensualidad y su destreza lírica.

“Estoy muy feliz de formar parte de la familia Warner Music Latina. Sé que juntos lograremos cosas increíbles y que esta unión me permitirá llegar aún más lejos en mi carrera y solidificar

mi desarrollo global”, afirmó María Becerra. “Me siento honrada de formar parte de su catálogo y estoy ansiosa por empezar a trabajar con un equipo tan talentoso y experimentado”, finalizó La Nena de Argentina.

“Es un honor que María Becerra se una a nosotros en Warner Music Latina. Ella es una artista destacada con un fuerte equipo detrás de ella, y sus éxitos pasados son un testimonio de ello. Estamos entusiasmados de continuar el camino iniciado por 300 Entertainment y el equipo de Kevin, y estamos muy entusiasmados por nuestro futuro juntos”, compartió Alejandro Duque, Presidente, Warner Music Latin America.

José Levy, manager de Becerra, agradeció a 300 Entertainment, por su incondicional apoyo desde los inicios de la carrera de Maria. “Estamos muy contentos y profundamente agradecidos con 300 Ent, con su presidente y fundador Kevin Liles y todo su equipo de trabajo, por el apoyo que le han brindado a Maria desde sus inicios, ya que gracias a su dedicación, esfuerzo y el trabajo conjunto, Maria ha podido alcanzar el éxito que hoy celebra, lo cual nos lleva a este siguiente paso tan importante de la mano de Warner Music Latina, con Alejandro Duque a la cabeza, para seguir creciendo en los siguientes álbumes”.

“Ha sido increíble ver el crecimiento de María como artista, y estoy muy orgulloso de todo lo que hemos sido capaces de lograr juntos hasta ahora”, dijo Kevin Liles, Presidente y CEO de 300 Elektra Entertainment. “Aprovechando el vasto alcance global de nuestra familia Warner Music Group con la incorporación de Warner Music Latina -liderada por Alejandro Duque- al equipo que la respalda, no hay absolutamente ningún límite a donde ella pueda llegar. Ese es el poder de #biggerfamilybusiness”.

Para culminar un gran 2022, Maria Becerra lanzó su muy esperado álbum “La Nena De Argentina”, el cual consta de 13 canciones que exploran diferentes géneros, desde lo urbano (reggaetón y trap), hasta la bachata, el pop, la cumbia, baladas y muchos más. Antes del lanzamiento de su segundo álbum aclamado por la crítica, Becerra lanzó en 2022 su álbum “Animal” que la llevó a ser nominada como Mejor Nuevo Artista en los premios Latin GRAMMY 2021, y poco después llamó la atención de la superestrella mundial J Balvin, quien la invitó a colaborar en el exitoso tema “Qué Más Pues” que hasta la fecha es una de las canciones con más reproducciones en Spotify de este último, y llevó a Maria a cantar en los mundialmente reconocidos premios GRAMMYs en el 2022.

Actualmente, Maria Becerra se está preparando para su anticipada gira que la llevará por numerosos países de Latinoamérica y Europa como México, España, Guatemala, Ecuador y Bolivia, entre muchos otros, donde seguirá deleitando a sus fanáticos con su inigualable show en vivo, talento y carisma. Los detalles de esta emocionante gira se anunciarán en los próximos días. Maria también está trabajando en nueva música que lanzará próximamente de la mano con Warner Music Latina.

Arlo Parks Shares New Single & Video

“Pegusus” Featuring Phoebe Bridgers

My Soft Machine Due May 26th Via Trans-Gressive Records

“Pegasus (feat. Phoebe Bridgers)”

WATCH: https://youtu.be/SjvzQxGELlE

LISTEN: https://arloparks.ffm.to/pegasus

My Soft Machine

PRE-ORDER/SAVE: https://arloparks.ffm.to/mysoftmachine

Twice Grammy-nominated, Mercury Prize and BRIT Awardwinning artist Arlo Parks shares a new single from her forthcoming album My Soft Machine due May 26th via Transgressive Records. “Pegasus,” made with close friend and collaborator Phoebe Bridgers is a delicate and beautiful ballad. Speaking about the song, Arlo shares, “‘Pegasus’ is about experiencing the warmth and lightness of good love for the first time. It also explores how the absence of chaos and the presence of real connection can be a little bit terrifying after a long time of not having it.”

The single release is accompanied by an official video, directed by Bedroom at Compulsory Film, who also directed the videos for her singles “Blades” ( https://youtu.be/OwkkBVQB_3U ) and “Too

Good” ( https://youtu.be/-gFCd5CE4bg ). Arlo adds about the video, “The desert landscape has always had a special place in my heart, the scorched land, the dust, the sense of absence. Films like Gerry, My Own Private Idaho and Paris, Texas all use the desert as its own character representing isolation, nostalgia and the journey to a place outside of yourself. Bedroom did an incredible job of meshing surreal dreamscapes with real intimacy to make one of my favourite music videos I’ve ever made.”

“Pegasus (ft. Phoebe Bridgers)” follows recent tracks “Blades” ( https://youtu.be/OwkkBVQB_3U ),

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Arlo Parks

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“Weightless” ( https://youtu.be/3zb9X_unuqo ) and “Impurities” ( https://youtu.be/VaNslyQe6_s ). Arlo’s singles consistently feature across BBC Radio 1 and 6 Music’s A Lists concurrently, with recent highlights including a performance on The Jonathan Ross Show, plus cover features across The Guardian Film & Music, DORK, MusicWeek, DIY and Gay Times. She will perform on Later…With Jools Holland on May 20th on BBC Two.

My Soft Machine is a deeply personal body of work; a narration of Parks’ experiences as she navigates her 20’s. It was recorded between London and Los Angeles, with the producers Paul Epworth, Ariel Rechtshaid, Romil Hemnani (Brockhampton), Frank Ocean-collaborator Buddy Ross and Carter Lang (SZA) - as well as some self-production from Arlo herself.

Parks shares about how the new album and album title came to fruition in this beautiful performance video noting: “The world/our view of it is peppered by the biggest things we experience - our traumas, upbringing, vulnerabilities almost like visual snow. This record is life through my lens, through my body - the mid 20s anxiety, the substance abuse of friends around me, the viscera of being in love for the first time, navigating PTSD and grief and self sabotage and joy, moving through worlds with wonder and sensitivity- what it’s like to be trapped in this particular body. There is a quote from a Joanna Hogg film called The Souvenir, it’s an A24 semi-autobiographical film with Tilda Swinton - it recounts a young film student falling in love with an older, charismatic man then being drawn into his addiction - in an early scene he’s explaining why people watch films - ‘we don’t want to see life as it is played out we want to see life as it is experienced in this soft machine.’ So there we have it... My Soft Machine.”

My Soft Machine follows her highly-praised debut album Collapsed in Sunbeams, which received two Grammy nominations for Best New Artist and Best Alternative Music Album, won the BRIT Award for Best New Artist, received the Honda Mercury Prize, and won the BBC Introducing Artist Of The Year Award. Her debut album also reached the top 3 on the UK Album Charts and won the AIM Awards for Best Independent Album and UK Independent Breakthrough. On top of all this, Arlo was also nominated for Breakthrough International Act at the BET Awards. Arlo was named as the youngest ever high-profile supporter of UNICEF and an ambassador for UK mental health charity CALM. She has plans to continue her extensive work with both charities into 2023.

Along with the towering list of awards, Arlo’s debut album was included on almost every ‘Best Albums’ list and received critical acclaim from the likes of The New York Times, Rolling Stone, The FADER and many more. Arlo performed singles from her debut album on Jimmy Kimmel, Jimmy Fallon, James Corden, CBS This Morning: Saturday, and Ellen DeGeneres in the US, spotlighting her in front of millions of viewers nationwide. She also appeared on Later...With Jools Holland and The Graham Norton Show in the UK and broke the record for most played artist on non-com radio,

Listen to “Pegasus (feat. Phoebe Bridgers)” above, check out Arlo’s upcoming live dates below, and stay tuned for more music coming soon.

Upcoming Tour Dates:

* = SOLD OUT

5/24 - Kingston, UK @ Pryzm w/ Banquet Records

(intimate outstore performance, early show - 5pm)

5/24 - Kingston, UK @ Pryzm w/ Banquet Records

(intimate outstore performance)*

5/29 - London, UK - Rough Trade East, Early Show (in-store performance + signing)*

5/29 - London, UK - Rough Trade East, Late Show (in-store performance + signing)*

6/14 - Leeds, UK – The Wardrobe w/ Crash Records (intimate outstore performance)*

6/14 - Leeds, UK – The Wardrobe w/ Crash Records

(intimate outstore performance, late show – 9pm)*

7/5 – Tokyo, Japan @ Ebisu Garden Hall*

7/6 – Osaka, Japan @ Umeda Club Quattro

7/8 – Seoul, South Korea @ Musinsa Garage

7/14 - New Plymouth, New Zealand @ Night Light Festival

7/17 - Melbourne, Australia @ Forum

7/20 - Sydney, Australia @ Sydney Opera House

7/22 - Byron Bay, Australia @ Splendour In The Grass

7/23 - Adelaide, Australia @ The Gov

7/25 - Perth, Australia @ Astor Theatre

8/5 - Oxfordshire, UK @ Wilderness Festival

8/26 - Reading, UK @ Reading Festival

8/27 - Leeds, UK @ Leeds Festival

9/5 - Dublin, Ireland @ 3Olympia Theatre

9/13 - Amsterdam, Netherlands @ Paradiso

9/14 - Amsterdam, Netherlands @ Paradiso*

9/15 - Brussels, Belgium @ Ancienne Belgique

9/17 - Berlin, Germany @ Huxleys Neue Welt*

9/19 - Milan, Italy @ Alcatraz

9/21 - Paris, France @ L’Olympia

9/28 - London, UK @ Eventim Apollo

10/1 - Washington, DC @ All Things Go Festival

Arlo Parks

My Soft Machine

Connect with Arlo Parks: Facebook @ https://www.facebook.com/arloparks/ Instagram @ https://www.instagram.com/arlo.parks/?hl=en Twitter @ https://twitter.com/arloparks

Buzzworthy English alt rock band

Nothing But Thieves has released their new single “Overcome,” the second track release off their forthcoming album, Dead Club City. The new song, which first premiered as BBC Radio 1’s Hottest

Record in the World, is an epic pop track that has a fragment of nostalgia yet feels captivatingly modern and uniquely Nothing But Thieves. Backed by an anthemic melody and 80s synths, “Overcome” builds to an uplifting and euphoric

chorus that captures the mood of the album and echoes the feelings of escapism, hope, and new beginnings. It’s an unabashed, pedal-to-the-metal road trip anthem – think Don Henley’s “Boys of Summer” relocated from California to the Essex coast. The song’s official music video, directed by Teeeezy C (Central Cee, Unknown T), gives another visual glimpse into Dead Club City and portrays a couple’s own escapist story within the city, set against a backdrop of a live performance by the band.

Due out Friday, July 7th via RCA/ Sony Music with U.S. distribution by AWAL, Dead Club City, the band’s fourth studio album, also features Nothing But Thieves’ hit single Welcome To The DCC ( https://nbthiev.es/welcometotheDCC ) which has amassed 10 million global streams and become the band’s highest charting track ever. Dead Club City is available to pre-order now at https://nbthiev.es/deadclubcityAW!release

“‘Overcome’ has always felt like a ‘throw your stuff in a bag and get away’ song,” shares the band. “Dead Club City (the city) would definitely feel enticing for someone like that. We’re all battling something, so having a song on the album that would describe why someone would want change felt right.”

With socially insightful lyrics and an adept ability to progress their sound and experiment between the diverse genres that shape them as a band, Nothing But Thieves are making a statement return, marking an innovative new chapter with Dead Club City. The five-piece first introduced this new era with the March release of “Welcome To The DCC,” the opening track off the new concept album. The confident and punchy song not only signals the band’s more sonically leftfield sound, but also advertises the world of DCC, otherwise known as Dead Club City, and the songs and ideas to come. A rock song, but with an experimental funk edge and 80’s influences, the track builds through the opening tension, breaking to upbeat synths and a huge soaring chorus. To watch the official music video for “Welcome To The DCC” go to https://youtu.be/Y3FNUvJYGpE and go to listen to the official Fred Falke Remix at

https://nbthiev.es/WTTDCCFredFalkeRemix just released May 5th.

Through their forthcoming 11-track album, Nothing But Thieves showcase their city-sized, members-only club, Dead Club City. The album’s tracklist and overall narrative is formed by different

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Photo Credit: Beatriz Oliveira

Nothing But Thieves

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characters and story arcs from in and around the city. Using the club as a focal point, it is easy to imagine the real-world meaning behind Dead Club City. Themes such as advertisement, unity, internet culture, the music industry, ageing and politics, as well as escapism and change are highlighted by the alienation or privilege of a members only club. Recorded and self-produced by NBT guitarist Dominic Craik, the songs on Dead Club City are vividly alive with big ideas, pop hooks, soul flourishes, hip hop beats, crunchy riffs, and lead vocalist Conor Mason’s remarkable and slinky falsetto.

With a well-earned reputation for their energetic and impassioned performances, Nothing But Thieves’ live show is one not to be missed and, following a summer tour throughout Europe, the band will return to North America this fall on the Welcome To The DCC World Tour. The 18-date headlining outing, presented by Live Nation and featuring support from Kid Kapichi, kicks off September 12th in Washington, DC and stops in Boston, Philadelphia, Detroit, Cleveland, Austin, Dallas, Las Vegas, and more, before wrapping October 9th in Tempe. Tickets are moving fast, with shows in Brooklyn, Toronto, Chicago, Denver, San Diego, and Los Angeles already sold out. Nothing But Thieves will also perform at Louder Than Life and Aftershock festivals while in the U.S. this fall. The Welcome To The DCC Tour then continues back in the UK, which includes two nights headlining London’s Wembley Arena. See below for details on all North American tour dates and visit https://www.nbthieves.com/events/ for the full list of upcoming shows and to purchase tickets.

Over the past decade, Southend, UK quintet Nothing But Thieves – Conor Mason (vocals, guitar), Joe Langridge-Brown (guitars), Dominic Craik (guitars, keyboard), Philip Blake (bass), and James Price (drums) – has built a loyal and wide following for their impactful alt rock sound, amassing over 1.2 million worldwide album sales, 2 billion worldwide streams, and 300 million video views in addition to multiple gold and platinum records around the world. The band first debuted in 2015 with their selftitled album Nothing But Thieves, featuring their #1 US Alternative radio single “Trip Switch,” followed by their 2017 acclaimed album, Broken Machine, which charted at #2 on the UK album chart and was hailed “one of the best rock albums of the year” by The Independent. They’ve since released the EP, What Did You Think When You Made Me This Way (2018), and their massively successful third album, Moral Panic (2020), which charted at #3, accrued over 320 million streams, and earned the band the Best Indie Act at Global Radio’s 2021 Awards. Nothing But Thieves released Moral Panic II in 2021 with both projects forming Moral Panic (The Complete Edition) and toured the new music throughout 2021 and 2022 with headline shows and festival dates in both the UK and Europe, including their biggest ever London headline show at O2 Arena and a 17,000-headlining show at Amsterdam’s Ziggo Dome, alongside a live support slot with The Rolling Stones in Lyon. Stateside, Nothing But Thieves has performed at such marquee festivals as Coachella, Lollapalooza, and BottleRock and

appeared on top late night TV programs including Jimmy Kimmel Live, The Late Late Show with James Corden, and Conan.

Nothing But Thieves has never sounded as vital, inspired, and blisteringly adventurous as they do now in this new era. Welcome to Dead Club City.

Welcome To The DCC World Tour Hits North America September 12th–October 9th Nothing But Thieves – North American Tour

Tuesday, September 12 – Washington, DC @ The Fillmore Silver Spring

Thursday, September 14 – Boston, MA @ Big Night Live

Friday, September 15 – Philadelphia, PA @ The Fillmore

Philadelphia

Saturday, September 16 – New York, NY @ Brooklyn Steel

*SOLD OUT

Monday, September 18 – Toronto, ON @ Danforth Music Hall

*SOLD OUT

Tuesday, September 19 – Detroit, MI @ The Fillmore

Thursday, September 21 – Louisville, KY @ Louder Than Life

Friday, September 22 – Cleveland, OH @ House of Blues

Saturday, September 23 – Chicago, IL @ The Vic Theatre

*SOLD OUT

Monday, September 25 – Minneapolis, MN @ First Avenue

Tuesday, September 26 – Kansas City, MO @ The Truman

Thursday, September 28 – Austin, TX @ Emo’s

Friday, September 29 – Dallas, TX @ The Factory at Deep Ellum

Sunday, October 1 – Denver, CO @ Summit *SOLD OUT

Monday, October 2 – Salt Lake City, UT @ The Grand at The Complex

Tuesday, October 3 – Las Vegas, NV @ House of Blues

Thursday, October 5 – Sacramento, CA @ Aftershock

Friday, October 6 – San Diego, CA @ The Observatory North Park *SOLD OUT

Saturday, October 7 – Los Angeles, CA @ The Wiltern

*SOLD OUT

Monday, October 9 – Tempe, AZ @ Marquee Theatre

Follow Nothing But Thieves: Website @ https://www.nbthieves.com/ Facebook @ https://www.facebook.com/NothingButThieves Twitter @ https://twitter.com/NBThieves Instagram @ https://www.instagram.com/nothingbutthieves/ YouTube @ https://www.youtube.com/@NothingButThieves Spotify @ https://open.spotify.com/artist/1kDGbuxWknIKx4FlgWxiSp Apple Music @ https://music.apple.com/us/artist/nothing-but-thieves/524830875

The Warning said: “We feel ‘MORE’ is a natural transition to our musical evolution where we get to express our taste in music

in a fresher cooler sound maintaining The Warning’s core rock sound. ‘MORE’ is a song about relationships push and pulls and wanting ‘MORE’ out of life ;)”

“MORE” was co-written by the band with Anton Delost (who also

The Warning

(continued from previous page) produced the track) & Niko Rubio and the official music video was directed by Ivan Chavez.

Recently, they sat down with rock’s favorite champion Allison Hagendorf for her coveted The Allison Hagendorf podcast where the band talked about their journey from young artists to today’s massive success, touring with some of today’s music legends and more. Check out the podcast on Spotify HERE & on YouTube HERE.

The band’s much-anticipated headline run, the ERROR Tour, is underway now!

Support comes from Plush and Holy Wars, rounding out a dynamic package of 21st century rising rock talent. This jaunt, produced by Live Nation, visits major markets coast-to-coast and concludes on May 23 at Theatre of Living Arts in Philadelphia, PA. Tickets are on sale now on LiveNation.com or TheWarningBand.com/tour.

Last year, they notably played 100+ shows to packed crowds alongside Foo Fighters, Halestorm, The Pretty Reckless, and Three Days Grace in addition to selling out their own MAYDAY Tour. In 2023, the band already shared the stage supporting Muse and Guns N’ Roses. Watch the behind the scenes after movies - HERE. Upcoming in June, the band will once again support Muse for five dates across the UK & EU and also support Royal Blood & Palaye Royal in Europe as well!

The group hit the road in support of their explosive full-length debut album, ERROR, out now via LAVA/Republic Records. It amassed over 110 million-plus streams and earned widespread critical acclaim. Listen to ERROR—HERE and watch the album’s music videos - HERE. The band also released a new version of their anthemic single “CHOKE” featuring grandson & Zero 9:36 —HERE.

Meanwhile, their cover of Metallica’s “Enter Sandman” [with Alessia Cara] soundtracked a trailer for Marvel’s Midnight Suns, and they were chosen Spotify EQUAL Mexico’s artist for last August

The Warning infuse rock music with a much-needed shot of adrenaline. The Monterrey, Mexico trio of sisters—Daniela “Dany” [guitar, lead vocals, piano], Paulina

“Pau” [drums, vocals, piano], and Alejandra “Ale” Villarreal [bass, piano, backing vocals]—charge forward with head-spinning riffs, unpredictable rhythms, stadium-size beats, and skyscraping vocals. If anybody can usher rock’s comeback along, it’s these three ladies. After exploding online with one viral moment after another, The Warning parlayed this momentum into a series of independent releases, including Escape the Mind EP [2015], XXI Century Blood [2017], and Queen of the Murder Scene [2019] before

releasing their latest album ERROR [2022] via Lava/Republic. In 2023, they will be embarking on the ERROR North America Tour as well as sharing the stage with the likes of MUSE and Guns N’ Roses.

OUTBURN has proclaimed, “The Warning didn’t just warm up the crowd, they lit them on fire.” As they continue to evolve into a force on stage and modern rock contenders, don’t miss them on the ERROR North America Tour. Get ready for more from The Warning!

ERROR TOUR DATES – EUROPEAN LEG

May 27 - Will of the People Tour (with Muse and Royal Blood) – Plymouth, UK

May 31 – Hole 44 - Berlin, Germany

June 3 – Rock Im Ring Festival – Nurnberg, Germany

June 4 – Rock Am Ring Festival – Nurburgring, Germany

June 5 - Doornroosje (with Royal Blood)- Nijmegen, Netherlands

June 6 - Paradiso (with Royal Blood) - Amsterdam, Netherlands

June 7 – A2 (with Palaye Royale) – Wroclaw, Poland

June 9 – Download Festival – Donington Park, UK

June 11 – Rock For People Festival - Czech Republic

June 14 – Loud Fest – Zurich, Switzerland

June 15 – Will of the People Tour (Muse Support) – Lyon, France

June 16 – Shoko (SOLD OUT) – Madrid, Spain

June 17 – La Nau (SOLD OUT) – Barcelona, Spain

June 20 – Will of the People Tour (Muse Support) – Huddersfield, UK

June 23 – Will of the People Tour (Muse Support) – Glasgow, UK

June 25 – Will of the People Tour (Muse Support) – Milton Keynes, UK

June 26 – Islington Academy – London, UK

ERROR TOUR DATES – MEXICO LEG

Oct 21 – Teatro Diana – Guadalajara, MX

Oct 28 – Pepsi Center – CDMX, MX

New Music From Puerto Rico

PUERTO RICAN DUO BABY CITY CLUB RELEASES NEW SINGLE “DE VERDAD

The irresistible song is the fourth and final single from the duo’s upcoming album

& GLAMUR.”

Listen HERE @ https://push.fm/fl/babycityclub-deverdad

For more information about Baby City Club visit: Instagram @ https://www.instagram.com/babycityclub/ Twitter @ https://twitter.com/BabyCityClub

YouTube @ https://www.youtube.com/@BabyCityClub

Facebook @ https://www.facebook.com/BabyCityClub

As summer 2023 awaits us, rising Puerto Rican duo Baby City Club has just the vibes we need to get the party started. Today, ahead of the release of their highly anticipated new album next month, they share “De Verdad,” the fourth and final single from the project.

“De Verdad” was born during a

songwriting camp at renowned Mexican band Zoé’s studio Panoram, where Baby City Club worked alongside producers Orteez and Beatsbyforza. During this time, June had lost his voice, so the song was written with Augie’s voice in mind as the main melody, but after receiving a cortisone shot, he was able to join on the track and flex his rap skills, more

determined than ever to make “De Verdad” an undeniable hit.

Driven by creative passion and vibrant spirit, “De Verdad” captures the artistic colors of Pharrell Williams and the unmistakable sounds of the 2000s while presenting a refreshing and modern energy that stays true to the popurban fusion of Baby City Club’s upcoming album “COPAS & GLAMUR,” which also features the duo’s previous singles “Watersport,” “Modela Pa’ Mi,” and “Ella y Yo.” Fans can enjoy the official music video for “De Verdad” now on YouTube.

As they celebrate the incredible success they have achieved so far this year, Baby City Club continues to set waves through the industry, last week making their first appearance at Unsin Music Festival & Conference in Miami, where the duo left a lasting impression on everyone in attendance, alongside other talented rising acts such as Gale, Le Coco Ramos, Vale, Manu Manzo, and more.

Formed by brothers June Summer and Augie Pink, Baby City Club is the best kept secret in the Latin scene today, and while these two creative minds maintain the qualities that led to their success with their previous band, their refreshing new artistic proposal is rejuvenating the current landscape with an elevated and delectably modern pop sound developed with urban music fans in mind.

“COPAS

Ahora que nos espera el verano de 2023, el dúo puertorriqueño Baby City Club tiene justo las vibras musicales que necesitamos para que empiece la fiesta. Hoy, antes del lanzamiento de su esperado nuevo álbum el próximo mes, comparten “De Verdad”, el cuarto y último single del proyecto.

“De Verdad” nació durante un campamento de composición en el estudio Panoram de la famosa banda mexicana Zoé, donde Baby City Club trabajó con los productores Orteez y Beatsbyforza. Durante este tiempo, June había perdido su voz, por lo que la canción fue escrita con la voz de Augie en mente como la melodía principal, pero después de recibir una inyección de cortisona, fue capaz de unirse a la pista y flexionar sus habilidades de rap, más decidido que nunca a hacer de “De Verdad” un éxito innegable.

Impulsado por la pasión creativa y el espíritu vibrante, “De Verdad” captura los colores artísticos de Pharrell Williams y los sonidos inconfundibles de la década de 2000, al tiempo que presenta una energía refrescante y moderna que se mantiene fiel a la fusión pop-urbana del próximo álbum de Baby City Club

“COPAS & GLAMUR”, que también incluye los singles anteriores del dúo “Watersport”, “Modela Pa’ Mi” y “Ella y Yo”. Los fans ya pueden disfrutar del videoclip oficial de “De Verdad” en YouTube.

“DE VERDAD” ES EL NUEVO SENCILLO DE BABY CITY CLUB

La irresistible canción es el cuarto y último single del próximo álbum del dúo

“COPAS & GLAMUR”

Escucha AQUÍ @ https://push.fm/fl/babycityclub-deverdad Para más información de Baby City Club visita: Instagram @ https://www.instagram.com/babycityclub/ Twitter @ https://twitter.com/BabyCityClub YouTube @ https://www.youtube.com/@BabyCityClub Facebook @ https://www.facebook.com/BabyCityClub

Mientras celebran el increíble éxito que han logrado en lo que va de año, Baby City Club sigue causando sensación en la industria, la semana pasada haciendo su primera aparición en Unsin Music Festival & Conference en Miami, donde el dúo dejó una impresión duradera en todos los asistentes, junto a otros talentos en ascenso como Gale, Le Coco Ramos, Vale, Manu Manzo, y más.

Formado por los hermanos June Summer y Augie Pink, Baby City Club es el secreto mejor guardado de la escena latina actual, y aunque estas dos mentes creativas mantienen las cualidades que los llevaron al éxito con su anterior banda, su refrescante nueva propuesta artística está rejuveneciendo el panorama actual con un sonido pop elevado y deliciosamente moderno desarrollado

Nueva Musica De Puerto Rico

photo by Steve Dutton

EVILE

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Since their formation in 2002, British thrash masters EVILE have been turning heads and taking names, delivering pure thrash offerings blended with an uncompromising metal assault. Not only have the band played a notable role as the thrash metal resurgence movement of the mid-to-late 2000s, but as Kerrang! praised, they have “carried the genre’s whole ‘revival’ on their shoulders.”

This summer, following their latest, critically acclaimed album, Hell Unleashed (2021), July 14, 2023 sees the four-piece strike again with their sixth full-length offering, entitled The Unknown, via Napalm Records!

This time, EVILE prove that they are more than just a thrash band, churning out slower tempos with a heavier approach. In addition, melodic vocals meet serious, in-depth lyrical topics – ranging from depression, overcoming loss and recurring nightmares, self-esteem and image, to more personal themes like living with dementia, struggling through the music industry and even the concerns of becoming a new parent.

“We’re really excited to start revealing the next page in the Evile chapter”, says frontman OL Drake. “We’ve taken a completely different approach on this album and I looked inward for inspiration; I’ve opened myself up like I never thought I would. We’ve always been at 500mph, like on the previous album (Hell Unleashed) and this time around we felt we wanted to try the polar opposite - some slower-thanwe’ve-ever-done tempos with more melodic vocal hooks, and give Adam some freedom on the leads/writing. I’ve been working on my vocals since diving in the deep end in 2021, and we’ve worked hard for 2 years on this, so I’m excited for everyone to hear the fruits of our labour. We’re really proud of what we’ve all accomplished with this album. This is the one I hope can catapult us to more ears and places we haven’t been before to play for people who are constantly asking us to play in their area.

First up is the title track, “The Unknown.” I wrote the basic lyrical content and concept back in 2017 when I was out of the band. The song deals with my fears and anxieties of becoming a father for the first time and all the doubts and worries that come with the responsibilities it brings.”

On The Unknown, EVILE are more profound, personal and deep, while also proving heavier, stronger and more raucous than ever! Songs such as “The Unknown” showcase the band’s haunting elements and the stirring, “new” side of EVILE, balancing a dark, melodic and almost mesmerizing vibe with colossal, heavy riffage and thundering drums. While EVILE still stays true to their explosive trademarks and roots, they leave nothing but a hammering new world of sound, building up to a stomping thrash manifesto. The Unknown unchains the rampant songwriting talent of these British thrash metal frontrunners, proving that thrash does not always have to be fast-paced. It can also be in-your-face with outstanding

musical skill, without fear of showing a still unknown facet of lyrical depth and an enthralling, versatile, brave modern metal sound!

The Unknown was recorded by Tim Vincent at Longwave Studios, Cardiff UK, and was produced, mixed and mastered by Chris Clancy at the same Longwave Studios.

EVILE is:

OL Drake – Vocals & Lead Guitar

Ben Carter – Drums

Joel Graham – Bass

Adam Smith - Rhythm Guitar

The Unknown track listing:

1. The Unknown

2. The Mask We Wear

3. Monolith

4. When Mortal Coils Shed

5. Sleepless Eyes

6. Out of Sight

7. At Mirror’s Speech

8. Reap What You Sow

9. Beginning of the End

10. Balance of Time

LISTEN/WATCH & SHARE: Dexys - “The Feminine Divine” Stream @ https://orcd.co/tfds YouTube @ https://youtu.be/hlLtVkd8G6o

LISTEN/WATCH & SHARE: Dexys - “I’m Going To Get Free” Stream @ https://dexysofficial.com/pages/im-going-to-get-free YouTube @ https://youtu.be/922nkmdaKSk

Storied English pop-rock band Dexys (formerly Dexys Midnight Runners) — who are perhaps best known for their Brit Awardwinning commercial smash-hit “Come On Eileen,” which reached number one in 8 countries and became the best-selling single

in the UK and US in 1982 — are finally returning in full swing with their first new record of original material in over a decade, The Feminine Divine, due July 28 via 100% Records. To introduce the record, they recently shared its first single, “I’m Going To

Get Free,” alongside an accompanying music video.

Today, Dexys share the record’s second

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Photo credit @kimmillerphotography

Photo by Sandra Vijandi

Dexys

(continued from previous page)

single and title track, “The Feminine Divine,” along with a visualizer.

Speaking on the track, Kevin Rowland wrote:

“After stating his original macho position in the opening track ‘The One That Loves You;’ then admitting that it was a phoney position in the second song ‘It’s Alright Kevin;’ subsequently committing himself to change in track three, ‘I’m Going To Get Free;’ and feeling he’s moving forward in track four, ‘Coming Home;’ the protagonist now examines his relationship with women in ‘The Feminine Divine.’ He’s hit with the realisation that his attitude and actions have been completely wrong.

“Overcome with regret and at last glimpsing how women might actually feel, the man gets honest and admits how afraid of women he has been, and how fear has driven so many of his actions. He now sees and acknowledges women’s inherent power: if anything, women are superior; they are goddesses. He sincerely pledges to be different in the future.

“In the track that follows, ‘My Goddess Is,’ the protagonist then enters into a relationship in a completely different way to how he would have in the past. But that’s a whole other part of the story...”

Led by musician Kevin Rowland, Dexys is regarded as one of the more prominent British bands to arise in the 80s, with over 1B streams worldwide, 4.5M monthly listeners on Spotify, 49k subscribers on YouTube, and 71K followers on Facebook. Their debut album Searching For The Young Soul Rebels is widely considered one of the best albums of all time (by outlets such as BBC, The Guardian, The Quietus, and Uncut), and their subsequent album Too-Rye-Ay is multi-platinum in the UK and Australia and charted in the top 20 in the UK, US, Canada, Australia, New Zealand, and the Netherlands. Their music has appeared on the soundtracks of countless TV shows and films including High Fidelity (TV), The Perks Of Being A Wallflower, Jane The Virgin, What We Do In The Shadows, Preachers, Superstore, Firefly Lane, and Get Him To The Greek.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and newfound positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

If there is a north star that has guided Kevin Rowland’s career, it’s ardent sincerity. Having soul, he declared from day one, was radical. “People will always laugh at Dexys,” he told SmashHits in 1982. “That’s fine. But I know that what I’m doing is totally honest. I believe in myself.” The band’s fan club was called the Intense Emotion Circle, for goodness’ sake. Sincerity brought him a brotherhood and a smash hit single; it also left him vulnerable, open to corruption by the industry, addiction and a cruel media. Yet Kevin never flinched in his attempt to keep peeling back the layers, in search of his essential truth.

Four years after Dexys’ glorious return in 2012 with One Day I’m Gonna Soar, Kevin got the band together again for Let the Record Show: Dexys Do Irish and Country Soul, in which he performed – or rather, inhabited –the songs of his childhood (and one by LeAnn Rimes). Recording the old song “Carrickfergus,” weakness and chill overcame him, he was that immersed in the character looking back from his deathbed. Once again, he had laid everything on the line. But something about the experience felt off. “It is your soul that you’re putting out, it’s all there,” Kevin says today. “And I just didn’t feel good about it. I really wanted to get away.”

On New Year’s Eve 2016, Kevin’s mother died. He felt beaten down, drained; wanted to do other things. Maybe a clothing collaboration – though that didn’t work out.

“I’ve gone through phases like this before, when people relate to me as ‘that guy,’ the singer of Dexys,” he says, reflecting on the era after “Come On Eileen” when he bristled against the expectations that accompany notoriety. “It’s what I’ve done a lot of the time, but it’s definitely not who I am. People put you in a box. I felt agitated.” But never mind others, Kevin realised: he had to work on himself. At that point, he admits, “I was not really living. I was just existing. My life had become a facade. It was like I was presenting a certain thing that I thought would be acceptable to people socially. I’d drawn a line under femininity. I was just so tightly controlled, it wasn’t pleasant.”

He started travelling to Thailand, partly to escape Britain’s winters, partly to explore the East Asian philosophies he came across while exploring the idea that the body keeps the score. “When people saw me doing that,” he recalls, “they said, ‘oh, now you can do music in a new way.’ I was like, no! I don’t want new music. I’m not doing it so I can do bloody music. I’m doing it for me.” He knew he needed to refocus his energy. Tao, qigong. But he got more than he bargained for. In one session, the teacher described the women present as goddesses. “And I was thinking, goddess? She’s not a fucking goddess,” Kevin scoffs. “But then, as time went on, I started to realise, actually, women are goddesses. I thought about how powerful they are. That sort of thought had never been allowed – not

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Dexys fka Dexys Midnight Runners

by me, certainly.”

After the bodywork and meditations loosened him up, Kevin started to see things differently. Not just women, but the whole concept of masculinity he had been raised with: an education and an un-learning that he traces across the arc of Dexys’ fifth album of original material, The Feminine Divine. “It was an act,” he says. “I was really full of fear, thinking I have to act this way otherwise I’m gonna get fucked over.” Revitalised by a new kind of energy and positivity, Kevin reached into his archives to pull out a song he’d written around 1991. “I’m your man and I’ll die to defend you,” he sings on the swashbuckling “The One That Loves You,” a song so twinkling in its self-assurance that it’s almost blinding. Back then, he says, he meant it. That’s who he thought he needed to be in a relationship: protector, defender, possessor. “That’s the environment I was brought up in. If anyone looks at your girlfriend the wrong way, or tries it on, it’s a fight. That’s how it was. But it was a facade. An honour thing. Sort of ridiculous, really.”

As the opener of The Feminine Divine, it’s a satirical, tough-guy feint before he lifts the curtain on “what I really feel,” as announced by a classic bit of Kevin spoken word that leads into the second song. That one may be familiar to eagle-eared listeners: “It’s Alright Kevin (Manhood 2023)” revamps “Manhood,” a song released on Dexys’ 2003 best of Let’s Make This Precious (then, their first new material since Dexys split in 1986). Twenty years ago, Kevin sang of his fears of rejection, his inability to love; how his loneliness was killing him. Today, to a rollicking, anxious crescendo reminiscent of “Funny Girl” and Pulp’s “Mis-Shapes,” he locates the cause: “I never truly was myself / Just an amalgam off the shelf ... I’ve tried so hard to be a man / And now I don’t care if I can/ It was so hard not being real.”

In Kevin’s family, he recalls, men were supposed to be men. Hence, Dexys: at first, he was their benevolent leader, but one incarnation later, and now deeply entrenched in the music industry, “I got stressed and scared andas we started to get more success, I froze and started to control.It was all fear-driven.” He recognised similar patterns in how he treated women: “I just don’t like the way that I was,” he says plainly. There is shame in The Feminine Divine, but Kevin also swaggers with the force of these revelations on its Music Hall-inspired first half, much of it written with original (and enduring) Dexys

trombonist Big Jim Paterson. “Were you frightened of your violence?,” he asks himself on “I’m Going to Get Free.” “I had so much hate in me.”

Today, the band is more of an “organic” assemblage – Kevin, Jim, Sean Read, and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

The record’s first half is capped by “Coming Home” – another song written in the early ‘90s with Jim Paterson. Here it’s a jazzhands declaration of our hero’s return to his true self. It’s no coincidence that several of these songs reach back to that period –Kevin’s wilderness years, where he binged on cocaine and retreated from public life. “The best thing that ever happened to me, really, was that I was completely beaten, totally beaten by drugs and had to start again,reappraise everything – look at the old ideas that didn’t really work any more.” It would take until the end of that decade for Kevin to reappear with My Beauty, on which he covered the fiercely heartfelt power ballads that had stirred him from his decline. He also embodied his feminine side, wearing lingerie and a specially commissioned dress on the cover. “I was starting to wear more feminine clothes and I really wanted to have some of the softness that women have,” he says. The response was brutal. This was the Loaded Magazine era. Men were not only still men, masculinity had warped into a laddish caricature. The experience made Kevin ill. And his lifelong self-doubt reared its head again. “It really made me want to withdraw. By the end of 1999, I was wearing hobnail boots and jeans, and I grew a beard.”

When Kevin reissued the album in 2020, he knew it had to have the same cover. This time, he received widespread recognition of his unvarnished sincerity, and his ahead-ofits-time attitude to gender presentation. In the video for “Rag Doll,” Kevin appeared alongside his grandson, Roo, who had been wearing dresses since he was 12. “The experience was healing,” says Kevin, as was finding himself in an era where conversations around gender identity are so much more nuanced. “It makes total sense. There’s masculinity, there’s femininity, we’re all somewhere on that spectrum and maybe that energy is different at different times.”

The second side of The Feminine Divine is a saucy, synth-heavy cabaret that sets these ideas to an S&M power-play (written in collaboration with Sean Read and Mike Timothy). It sounds like nothing else Dexys have ever done: steamy, fizzing and sultry, at times as doom-laden and heavy as a David Lynch soundtrack; at others, as raunchy and funky as Betty “Big Freak” Davis or the Ohio Players. Like Serge Gainsbourg through the looking glass, Kevin repents for his behaviour on the title track – “I knew they were more powerful than me and I just couldn’t hold that near!” – and concludes: “Women are the superstars, the goddesses on earth / They need to be cherished, worshipped and adored / It’s not for them to do things for us / We’ve got it the wrong way round / We should be serving them for all we’re worth.”

From then, Kevin takes an unexpected turn into submission, begging to be his woman’s “bitch” (“My Goddess Is”), submitting to her terms (“Goddess Rules”), pledging to be “your pet” (“My Submission”) and cherishing a dance with her before she goes off to explore the openside of their relationship (“Dance With Me”).”What I’m saying about that is personal rather than biographical,” Kevin clarifies. “I’ve been in those situations but I might not have been as extreme. It’s just fun really–bedroom stuff.” Submissiveness isn’t the solution to the protagonist’s questions about gender, he explains. “It’s just that this character certainly wouldn’t have been open to that in the past.” It wasn’t until Kevin spent time in Thailand that he realised what a “Catholic view of sex” he still had from his boyhood. “I really did. Part of me thought it was bad in a way, it was a necessary function. I preferred not to have those urges. The Dow was great on that –that’s where I learned that the sexual energy is the life force energy.”

Today, he says, he’s still very selfcritical. Still a work in progress. “I can feel quite alienated a lot of the time and still spend too much time alone.” But he’s more openminded. Doesn’t seek to have the upper hand over women any more. He turns 70 this August. “I’m not looking forward to that,” he winces. “I don’t like getting old. I don’t think there’s much to recommend it, really.” But there’s a peace to continually peeling back the layers in search of that essential truth – to being “myself again,” as he puts it on “Coming Home,” unabashedly sincere as ever. “I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Ally Venable, Fiery Texas Blues Guitarist-Vocalist Singer/Songwriter, on Tour

Ally Venable - “Real Gone” - View @ https://youtu.be/5XOMLGN56GQ

http://www.allyvenableband.com

http://www.facebook.com/AllyVenableBand

http://www.instagram.com/allyvenableband

Ally Venable, prolific Texas-based blues-rock guitarist/vocalist, is currently on her ‘Real Gone’ Tour.

Ally Venable has made her fiery presence known around the world since the release of her debut album at age sixteen.. Now, with her fifth solo effort Real Gone, released on Ruf Records this past March, Venable has come of age.

At age 23, Venable is already an important artist in the roots music world. Her name has grown in stature with each new album and high-energy gig. She’s an absolutely ripping guitar player with style and tone for days, a commanding singer, and a songwriter with the power to make blues music that speaks to contemporary fans. Real Gone, produced by Grammy winner Tom Hambridge (Buddy Guy, Susan Tedeschi), features guest appearances by Joe Bonamassa and living legend, Buddy Guy.

Venable is that rare musician who can take her old-school influences like Guy and Stevie Ray Vaughan and create music that brings their spirits to today’s listeners where they live. Together with Isaac Pulido (drums) and EJ Bedford (bass), Ally gives audiences an entertaining show packed with musical muscle and relatable songs about living, growing, and evolving. When asked where her songs emerge from, Venable replied, “I try to write about what goes on in my life, or try to write about something I know others can relate to. We all go through things and it’s okay to have feelings about something going on in your life.”

The first single from Real Gone! is “Texas Louisiana,” a crackling duet with the one-and-only Buddy Guy. Ally and Buddy are an absolute dream team together, intertwining their guitars and voices into one without either losing any identity or impact. The title track “Real Gone” is a straight-up, body-moving rocker that will also be released as a single. Venable shouts down the microphone like a star while her guitar snarls and sings.

On the soulful ballad “Next Time I See You,” Ally downshifts her vocals and shows every dynamic degree of her impressive range. Her guitar work here is equally lyrical and emotive, displaying a gift for phrasing that few players ever attain. The grinding slow jam “Blues Is My Best Friend” lays out the ups and downs of the guitar lifestyle in no uncertain terms and features some of Venable’s most intense playing and singing on the entire set. Ally’s deep, cliche-free authenticity is the common thread running through every song on Real Gone!. She speaks her mind without hesitation or apology, turning each track into an honest statement of purpose.

In 2022, Guitar World Magazine named Venable one of the Top 15 ‘Young Guns’ Making the Gibson Les Paul Cool Again,’ and she also received the Road Warrior Award from the Independent Blues Music Awards. She performed as a featured artist on the Experience Hendrix Show in Austin, TX and appeared alongside Kenny Wayne Shepherd, Zack Wilde, Eric Johnson, Dweezil Zappa, and other luminaries.

2019’s Texas Honey and 2021’s Heart of Fire found Venable topping the Billboard charts. Early releases No Glass Shoes (2016) and Puppet Show (2018) created her fan-base, charted on radio, and won several East Texas Music Awards. Venable’s acclaimed performances on Ruf Records’ European Blues Caravan tour brought her international recognition. She has toured the U.S. with Buddy Guy and Kenny Wayne Shepherd and Canada with Colin James.

This year, Ally will be opening for Buddy Guy on his farewell tour, rocking Europe again on the Blues Caravan Tour, and doing her own headline shows domestically and abroad. She’s had a rapid rise to fame but gives off the vibe of someone who loves her life and is OK with it all.

Ally Venable On Tour

June 2 (Fri) - Garland TX@Winters Park

June 4 (Sun) - Anderson IN@Paramount Theatre

June 5 (Mon) - Evansville IN@Mojos Boneyard Sports Bar & Grill

June 6 (Tue) - Nashville IN@Brown County Music Center

June 8 (Thur) - Augusta GA@Miller Theatre

June 9 (Fri) - Macon GA@The Grand Opera House

June 10 (Sat) - Savannah GA@Lucas Theatre For The Arts

June 11 (Sun) - Charleston SC@Charleston Pour House

June 13 (Tue) - Nashville TN@3rd & Lindsley

June 14 (Wed) - Henderson KY@WC Handy Blues & Barbeque Festival

June 15 (Thur) - Columbus OH@Natalie’s Grandview Music Hall & Kitchen

June 16 (Fri) - South Park PA@South Park Amphitheatre

June 17 (Sat) - Fort Wayne IN@Barbeque Ribfest

June 20 (Tue) - Evanston IL@Evanston SPACE

June 21 (Wed) - St. Louis MO@Old Rock House

June 22 (Thur) - Cincinnati OH@Ludlow’s

June 23 (Fri) - Grand Rapids MI@Frederik Meijer Gardens & Sculpture Park

June 24 (Sat) - Rochester Hills MI@ Meadow Brook Amphitheatre

June 25 (Sun) - Huber Heights OH@Rose Music Center At The Heights

June 28 (Wed) - Annapolis MD@Rams Head On Stage

June 29-July 2 - Scranton PA@The Peach Music Festival

Legendary Rockers TESLA Release New Album FULL THROTTLE LIVE

WATCH TESLA - Official Lyric Video

“Time to Rock!” (Live):

https://www.youtube.com/watch?v=DtLE-ly_XeE

Order FULL THROTTLE LIVE!

https://lnk.to/tesla_fullthrottlelive

For More Information Please Visit:

Official Website @ https://teslatheband.com/ Spotify @

https://open.spotify.com/artist/0dgnITyIAN4NrmUVisvxHU

Facebook@ https://www.facebook.com/TeslaBand/ Twitter @ https://twitter.com/teslaband

Instagram @ https://www.instagram.com/teslaband/ YouTube @ https://www.youtube.com/teslaband

Legendary rock band TESLA have released their highly anticipated live album. The album, Full Throttle Live was released on May 26, 2023. The album includes “Time To Rock” plus others all recorded at the Full Throttle Saloon in Sturgis.

TESLA is a notorious band for one thing; being a high-energy, 100% live, kick-ass rock and roll band in concert!

FULL THROTTLE LIVE captures this essence from a stop at the Sturgis Bike Rally in the year 2022 at the infamous saloon that hosts many motorcycle rock

and roll parties, and this inspired the band to put on even more of a heavy show. Independently recorded, mixed, and produced by bassist Brian Wheat and guitarist Frank Hannon, this new live album truly captures TESLA in pure honest form and even dives deeper into their roots by recording a live version of the 1974 Aerosmith classic “SOS Too Bad” as a bonus track. The heavier song choices range from “Miles Away!” to more recent hard releases like “Time to Rock!” and “Cold Blue Steel”. But don’t worry there are old TESLA classics captured too like “Changes” and “Lazy

Days, Crazy Nights” all recorded as TESLA is best..100% FULL THROTTLE LIVE!

“MILES AWAY” is the lead-off single release from TESLA’s new live album FULL THROTTLE LIVE! The guys chose to put this song out first because it represents TESLA and the new live album’s harder heavier sound. “MILES AWAY” is a fan favorite in concert with its heavy 6/8 rolling groove and blistering guitar solo. This is also an ironic song choice because the song lyrics are written about being a “rock star” on the road away from reality and missing home. Check out TESLA’s new live album FULL THROTTLE LIVE! You won’t be let down and MILES AWAY will take you there.

Due to overwhelming demand and following a sold-out opening weekend, legendary rockers TESLA have added five additional shows to their highlyanticipated TESLA: The Las Vegas Residency at House of Blues Las Vegas at Mandalay Bay Resort and Casino. Celebrating their 36 years of entertaining rock audiences around the world, TESLA: The Las Vegas Residency will add five additional dates, beginning with Friday, Sept. 29, 2023.

Photo credit @kimmillerphotography

During their exclusive residency, TESLA will touch all sides of their unique discography including the heavier edge of electric songs like “Modern Day Cowboy,” “Hang Tough,” and “Edison’s Medicine,” as well as their acoustic driven songs such as “Signs” and “Love Song” (two Top 10 Billboard charting hits).

Photo credit @kimmillerphotography

“We are very excited to be able to perform consecutive nights residing at the same venue because we plan to dig into our catalog and change up our set lists for each show,” said Frank Hannon, TESLA lead guitarist. “This will make it interesting for our loyal fans who will attend in the spectacular city of Las Vegas!”

“We, in TESLA, are very excited to be doing our very first ever residency in Las Vegas, of all places, where Elvis did his residency,” said Brian Wheat, TESLA bassist. “We look forward to bringing the legacy of TESLA’S music to you all!”

That they are still roaring and

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FULL THROTTLE LIVE Tracklisting:

1. Miles Away (Live)

2. Changes (Live)

3. Time to Rock! (Live)

4. Breakin’ Free (Live)

5. Call It What You Want (Live)

6. Lazy Days Crazy Nights (Live)

7. Cold Blue Steel (Live)

8. Edison’s Medicine (Live)

9. S.O.S. (Too Bad)

TESLA

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soaring should be no surprise. That’s just how they are built. TESLA may have been born in the mid-80s, but their bluesy, soulful sound is strongly embedded in the roots of organic, authentic, 1970s rock and roll. The same roots that produced bands like The Allman Brothers, Grand Funk Railroad, AC/DC, Lynyrd Skynyrd, and Aerosmith.

The ground started shaking in Sacramento, CA, in 1984; gold country that would soon be producing some platinum. They started out as City Kidd, until a suggested name change to TESLA, honoring the eccentric inventor Nikola Tesla who pioneered all things electrical. Their 1986 platinum debut album, Mechanical Resonance, included Top 40 hits “Modern Day Cowboy” and “Little Suzi.” 1989’s double-platinum The Great Radio Controversy included hits “Heaven’s Trail (No Way Out)” and “Love Song”. Suddenly, TESLA, who had been touring with bands such as Def Leppard and David Lee Roth, earned headlining status. In 1990, TESLA helped reshape the face of modern rock music by stripping down to the Five Man Acoustical Jam, an informal collection of their biggest hits peppered with rock and roll classics by the Beatles, Stones, and others. This album produced their biggest hit single to date, a cover of Five Man Electrical Band’s “Signs.” Other 90s albums from TESLA include platinum selling Psychotic Supper and Bust a Nut. The band continues to record and release material including 9 new albums since 2000 and recently debuted their new single, “Time To Rock!”

TESLA has endured many of the same taste-changing challenges that affected many in the post-grunge world, but through it all, their blue-collar work ethic and dedication to the faithful fan

base has helped them not just survive, but thrive. TESLA’s legacy is alive and well as they continue to record and sellout venues all over the world. As comfortable, rugged, and dependable as your favorite pair of boots, they endure. TESLA is a celebration of the greatest spirits of rock and roll.

TESLA Band Members:

Vocals: Jeff Keith

Guitar: Frank Hannon

Guitar: Dave Rude

Bass: Brian Wheat

Tesla On Tour

10.6

10.7

Tickets for TESLA: The Las Vegas Residency at House of Blues Las Vegas start at $59.50 plus applicable fees. Tickets are available by visiting https://www.houseofblues.com/ lasvegas, MandalayBay.com, Ticketmaster.com or by calling 702-632-7600.

Whiskey Bayou Records Announces New Album “Cheat The Devil”

By

Anthony Rosano And The Conqueroos

LISTEN/BUY/STREAM

ALBUM - https://ARosano.lnk.to/CheatTheDevilAlbum

SINGLE - https://ARosano.lnk.to/CheatTheDevilSingle Singer, guitarist, songwriter, and bandleader, Anthony Rosano, has always been drawn to grit, gravitas and the connection that comes from making music. Although his music is firmly implanted in the firmament of the blues, he takes his cue from any number of archival influences.

Over the span of the past ten years, it’s certainly served him well.

inspired him early on. I found a copy of Peter Green’s Fleetwood Mac album recorded live at the Boston Tea Party, and after soaking it all up, it led me to John Mayall’s Bluesbreakers, which, in turn, led me to the original blues masters like Freddy King and Muddy Waters. As everything fell into place, I quickly realized that all my favorite songs by my favorite bands were actually blues songs! The feeling I got from those songs became a kind of spiritual connection, one that originated when the English took it upon themselves to emulate the authentic sound of true American soul, and then share it with the rest of the world. It became a transatlantic and universal phenomenon.”

“As a teenager, I was into all the British bands that took their cues from the blues,” he recalls. “I was still a novice on guitar when I read an interview with Glen Tipton, the guitarist from Judas Priest. He mentioned that Peter Green, the genius guitar player for the original Fleetwood Mac, was his main influence, and he cited ‘Green Manalishi’ as the song that had continued on next page

All these years later, Anthony continues to play his part in that con-

tinuum. Well recognized and highly respected for his dedication to that specific sound, flush with its drive and determination, he and his band, The Conqueroos — Anthony on guitar and vocals, Kyle McCormick on drums and Jake Fultz on bass — have delighted — and inspired — audiences big and small. Whether on their own or while sharing stages with Bob Seger and his Silver Bullet Band, ZZ Top, Gov’t Mule, Samantha Fish, or Tab Benoit, this powerhouse trio continues to amaze and impress.

In fact, it was that connection to Benoit that led to his upcoming album, Cheat The Devil, which finds Benoit himself sitting behind the boards for

Anthony Rosano And The Conqueroos

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producing, engineering, mixing and mastering. The two originally met at a blues festival in 2013 and immediately hit it off. Benoit offered Anthony the opportunity to open for him on tour and two weeks later, suggested they record an album.

Recorded at Whiskey Bayou Studio and due for release this July on Whiskey Bayou Records, the new album represents another defining chapter in a career that’s brought Anthony and his band to the top of the Billboard and iTunes Blues charts, while also drawing the absolute admiration of audiences and aficionados — be it those wholly devoted to the blues, raging rock enthusiasts or heavy metal Metallica fans.

Not surprisingly then, the songs not only live up to expectation, but clearly exceed it as well. They range from the soulful and surging sound of the title track and the dark and dramatic resolve of “What Kind of Fool,” to the steady stomp that resonates throughout “Sin City” and the rocking revelry that underscores “Jonesboro Road.” Other tracks — “Rosalita,” “Scattered Bones” and “Shook” in particular — dig deep into an undercurrent of angst and intensity.

The album will be preceded by two singles — first, the dramatically defiant “Cheat the Devil” and then, following that, a fierce and ferocious take on the classic “King Bee.”

“We had a great time making this record,” Anthony recalls. “Tab is a great guy to hang with and we share similar musical influences and sensibilities. Before going into the studio, we talked about our favorite records and how most of them were recorded live. This record is strictly three guys, all together in the same room playing live in the studio. We had talked about bringing in other musicians on certain songs, but Tab convinced us to maintain the power trio format that reflects our true live sound. There were no overdubs and no edits, and it was mixed directly to tape. Ultimately, we captured the perfect vibe and ended up with a perfectly imperfect organic record.”

While some have compared the Conqueroos’ sound to that of Stevie Ray Vaughan and Double Trouble or Rory Gallagher, Anthony has always followed his own muse. A native New Yorker who now resides in Norfolk Virginia, he won instant acclaim with his self-released debut, Anthony Rosano and the Conqueroos, produced by Mike Zito, which made its debut at number nine on the Billboard blues chart and then quickly ascended to Number One on the iTunes blues charts at the same time.

Paul Shugrue of NPR may have summed it up best when he said, “Rosano is a top notch triple threat: guitarist, vocalist and songwriter.”

Anthony’s efforts have continued to bear fruit ever since. While the pandemic kept the Conqueroos off the road, Anthony continued to keep in contact with his fans through a series of live streaming acoustic concerts. They were so successful in fact, that one of the new songs he previewed, “Isolation Blues,” was tapped by NPR for use on its “Voice of America” program.

With a forthcoming tour that will find them opening for the Humble Pie Legacy beginning in September, Anthony remains both modest and motivated. He’s

clearly paid his dues, citing the fact that within days after playing Madison Square Garden and opening for Bob Seger and the Silver Bullet Band, he was back at home playing for 20 people at a pool party. And while there was a time when he made his living as a successful business man and raised his family, he never lost his motivation to make music, a muse he’s pursued for the past decade.

“I want to connect with people the way music connects with me,” he insists. “I also realize it’s important to put myself out there. The rewards that come from music equate with the human experience in its entirety — what it means to share, to sometimes feel heartbreak, to understand what it’s like to be lost in love. Sometimes it can even be about something silly or superfluous, and yet the affirmation and the bond that come through music is, in my opinion, all part of the joy that comes when a life is well-lived. Personally, I can’t imagine living my life any other way.”

Anthony Rosano and the Conqueroos’ new album CHEAT THE DEVIL Produced by Tab Benoit will be available worldwide on CD and all digital/ streaming platforms July 7th via Whiskey Bayou Records.

Ahead of his upcoming, sold-out “Stick Season Summer Tour,” critically acclaimed Vermont singer and songwriter Noah Kahan drops a live rendition of his fan favorite song “Orange Juice” and captivating cover of Jason Isbell’s “If We Were Vampires” featuring Wesley Schultz of The Lumineers for Spotify Singles.

The updated, piano-ballad version of “Orange Juice” features Noah’s raw and emotional vocals alongside his signature songwriting. On the acoustic guitar-driven “If We Were Vampires” cover, Noah and Wesley’s voices fuse together, creating a stunning reimagining of the Jason Isabell

classic.

On recording “If We Were Vampires,” Noah says, “Getting a chance to perform one of the greatest songs ever with one of my biggest influences ever was one of the highlights of my life. I grew up rewatching every live performance The Lumineers had done, so mesmerized by their sound and their storytelling. I wish I could tell myself back then that I would actually get the chance to sing a song with Wesley in his hometown. I would have been so shocked. However, that shock would have turned to disbelief if I could have told myself I’d be able to record with Wes, singing one of Isbell’s masterpieces.”

He continues, “‘If We Were Vampires’ is a song about time, aging, and what true love really is. It’s a song that has meant a lot to me ever since my mom played it for me on a road trip years ago. Hearing Wes sing with me on this Spotify Single version is a bucket list item crossed off. So grateful to Wes for being a part of it, Gabe Simon for helping bring it to life, and to Spotify for giving me the opportunity. I hope you enjoy it as much as I do.”

Following the release of his breakout album Stick Season and sold-out Fall 2022 and Winter 2023 legs of his “Stick Season Tour,” Noah Kahan has cemented himself as one of this year’s hottest breakout artists. This summer’s tour marks the biggest headline venues and performances of Noah’s career thus far. See the full list of upcoming dates below.

$1 from every ticket on the “Stick Season Summer Tour” will go towards supporting mental health services via the PLUS1 Mental Health Access Fund—stay tuned for an exciting announcement coming soon.

Upon release last fall, Noah’s critically acclaimed third album Stick Season debuted at #14 on the Billboard 200 Chart, #4 on Billboard’s Top Alternative Albums Chart, #5 on Billboard’s Top Rock Albums Chart, and #5 on Billboard’s Top Rock & Alternative Albums Chart. Not to mention, it skyrocketed to #6 on Spotify’s Weekly Top Albums USA Chart, and Noah had six songs from the album chart on Spotify’s Viral 100 Chart—

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FACEBOOK @ https://www.facebook.com/noahkahanmusic

YOUTUBE @ https://www.youtube.com/channel/UCXY5pi3MbsaP1WEgClmglsA

WEBSITE @ https://noahkahan.com/ SPOTIFY @ https://open.spotify.com/artist/2RQXRUsr4IW1f3mKyKsy4B

Noah Kahan

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the most of any artist on the chart. The viral breakout title track also captured #1 on the AAA Radio Chart—Noah’s first #1 at the format— and fan favorite track “Homesick” currently sits at #7 on the chart.

As Noah Kahan changes, he casts those experiences onto songs like light through a film projector. At the core of the music’s upbeat energy and unfiltered lyrics, you’ll hear who he was before and who he became—almost in real-time. The Vermont singer still pens songs straight from the heart and still cracks jokes with his signature, selfdeprecating sense of humor; he’s just changed in all of the right ways (and chronicled them via his songwriting). He gained that understanding through quite the journey from small town Vermont to global renown. He’s racked up over two billion streams, released three full length albums (Busyhead, 2019; I Was / I Am, 2021; Stick Season, 2022) and a mid-pandemic EP (Cape Elizabeth, 2020), picked up a Gold Certification for “Hurt Somebody” feat. Julia Michaels, and performed on television shows such as Jimmy Kimmel Live!, The Late Show with Stephen Colbert, Late Night with Seth Meyers, TODAY, and The Kelly Clarkson Show. After 5 years of critical acclaim and global touring, he sought an even purer style of writing and arrangement inspired by his New England roots, a challenge from within to convey a vivid representation of what he loves, fears, and struggles with most passionately. The result is Noah’s critically acclaimed new album Stick Season, which features his Gold-Certified viral hit single “Stick Season” and has become his most successful release to date. Following the album release, Noah embarked on the first two legs of his sold-out “Stick Season Tour” across North America, which will continue into this summer, where he’ll play his biggest venues to date, including the iconic Radio City Music Hall, The Greek Theatre, and Red Rocks Amphitheatre.

Stay tuned for much more to come from Noah Kahan this summer!

2023 “STICK SEASON” NORTH AMERICAN TOUR (SOLD OUT):

May 21 Gulf Shores, AL Hangout Music Festival

May 26 Lewiston, NY ARTPARK Amphitheater^

May 27 Boston, MA Boston Calling

May 30 Albany, NY Palace Theatre^

June 1 Montreal, QC MTELUS^

June 2 Montreal, QC MTELUS^

June 3 Lafayette, NY Beak & Skiff Orchards

June 6 Pittsburgh, PA Stage AE ~

June 7 New York, NY Radio City Music Hall^

June 9 Columbia, MD

Merriweather Post Pavilion^

June 10 Philadelphia, PA The Mann Center^

June 11 Charlottesville, VA Ting Pavilion^

June 13 Charlotte, NC Sky Credit Union Amphitheater^

June 14 Raleigh, NC Red Hat Amphitheater^

June 16 Manchester, TN Bonnaroo

June 17 Atlanta, GA Cadence Bank

Amphitheatre at Chastain Park #

June 18 Charleston, SC Firefly Distillery

June 20 Asheville, NC Rabbit Rabbit^

June 22 Cleveland, OH Jacobs Pavilion @ Nautica^

June 23 Cincinnati, OH The ICON Festival Stage at Smale Park^

June 24 Milwaukee, WI Summerfest

June 25 Dillon, CO Dillon Amphitheater

July 26 Morrison, CO

Red Rocks Amphitheatre*

July 28 Newport, RI Newport Folk Festival

July 29 Burlington, VT Waterfront Park^

July 30 Burlington, VT Waterfront Park^

August 3 Chicago, IL Lollapalooza

August 5 Saint Charles, IA

Hinterland Music Festival

August 8 Phoenix, AZ Arizona Financial Theatre^

August 9 San Diego, CA Cal Coast Credit Union Amphitheater^

August 11 Los Angeles, CA The Greek Theatre^

August 13 San Francisco, CA

Outside Lands Music Festival

August 15 Redmond, WA Marymoor Park^

August 16 Vancouver, BC

Doug Mitchell Thunderbird Sports Centre^

August 18 Spokane, WA

Pavilion at the Riverfront^

August 19 Bend, OR

Hayden Homes Amphitheater^

August 20 Palmer, AK Alaska State Fair

August 26-27 Richmond, VA

Iron Blossom Music Festival

August 31 New York, NY Radio City Music Hall #

September 1 Syracuse, NY

St. Joseph’s Health Amphitheater at Lakeview #

September 2 Saratoga Springs, NY Saratoga Performing Arts Center #

September 5 Bridgeport, CT Hartford HealthCare Amphitheater #

September 6 Gilford, NH Bank of New Hampshire Pavilion #

September 7 Gilford, NH Bank of New Hampshire Pavilion #

September 9 Mansfield, MA Xfinity Center #

September 12 Columbus, OH KEMBA Live! #

September 13 St. Louis, MO Saint Louis Music Park #

September 15 Indianapolis, IN TCU Amphitheater @ White River State Park #

September 16 Detroit, MI Michigan Lottery Amphitheatre @ Freedom Hill #

September 17 Toronto, ON Budweiser Stage #

September 30 Ocean City, MD Ocean’s Calling

October Austin, TX Austin City Limits Music Festival

^ with Joy Oladokun # with Ruston Kelly * with Briston Maroney

Music Lineup Announced For Sold Out ShipRocked 2024

Featuring I Prevail, Killswitch Engage, Beartooth, Highly Suspect, Code Orange, Badflower & More Confirmed For Carnival Magic Cruise From Miami To The Caribbean, Visiting Bimini (The Bahamas), Ocho Rios (Jamaica) & Grand Cayman

February 4-10, 2024

For more information on ShipRocked, visit: Website: http://www.ShipRocked.com

Facebook: http://www.facebook.com/GetShipRocked Instagram: https://instagram.com/shiprocked

The dynamic music lineup for ShipRocked 2024 will be led by I Prevail and will also feature Killswitch Engage, Beartooth, Highly Suspect, Code Orange, Badflower, a special solo performance from Johnny Stevens of Highly Suspect and more February 4-10, 2024 onboard Carnival Magic. The 14th sailing of ShipRocked departs from Miami, Florida, stopping in three new ports for the ultimate rock music cruise vacation: Bimini, The Bahamas; Ocho Rios, Jamaica; and Grand Cayman.

After record breaking attendance of over 4,000 guests in January 2023 and an expanded 6-day itinerary, staterooms for ShipRocked 2024 sold out in an unprecedented 3 days, well before the music lineup was announced. A waitlist is available at www.ShipRocked.com.

Here’s what some of the 2024 ShipRocked artists had to say about next year’s cruise:

Brian Berkheiser / I Prevail: “ShipRocked is an institution. And the fact we get to headline is a blessing. We are definitely ready to give all the ShipRockers a kick ass show! And defend our Family Feud title! See y’all there!”

Jesse Leach / Killswitch Engage: “Killswitch Engage, and our appropriately named High Seas Crew, are stoked to be a part of this event, and to play alongside

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ShipRocked 2024

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some killer bands! We’ve always been about having a good time at our live shows, so this seems perfect.”

Caleb Shomo / Beartooth: “We’ve played ShipRocked a few times, and every time it’s hard to grasp how much of a family everybody feels like out there. Many attendees are returning customers, which is a good sign of a great event. Playing out in the open water is a pretty wild feeling; nothing can come close to that. We can’t wait to come back and rock the boat!”

Badflower: “ShipRocked is the epitome of rock n’ roll. And year after year it has become a family reunion with fellow bands and fans that have become friends…A true communal atmosphere and a lot of f*cking fun.”

Dorothy Martin: “So excited to be joining the upcoming ShipRocked cruise stopping in the Bahamas, Jamaica and the Cayman Islands and can’t wait to jam with my Black Sheep in paradise! See you soon!”

The initial music lineup for ShipRocked is as follows: I Prevail, Killswitch Engage, Beartooth, Highly Suspect, Code Orange, Badflower, as well as Black Stone Cherry, BRKN Love, Cassyette, Catch Your Breath, Crobot, Dayseeker, Dead Poet Society, Dorothy, Eva Under Fire, From Ashes To New, Scene Queen, Tigercub, The Warning, Winona Fighter, Yonaka and more. The music lineup also features special performances by The Stowaways—ShipRocked’s fan favorite all-star band—and Johnny Stevens of Highly Suspect.

ShipRocked producer and creator Alan Koenig of ASK4 Entertainment said, “I say this literally every year, but SR24 might just be my favorite (initial) lineup yet! We work hard to provide a big tent for the incredible range of talent that exists in the world of rock music, and I couldn’t be more proud and excited about the variety of artists who will be vacationing harder with our guests in February!”

A floating music festival, a rock & roll summer camp held in the dead of winter, a family reunion for the growing number of ShipRockers who have forged lifelong relationships out of a shared passion for music (and an occasional bucket of beer) – ShipRocked is the premier rock music vacation, offering dozens of performances and unique

collaborations, artist-hosted events and activities, theme nights, and ample opportunity for fans and bands alike to unwind and create new friendships in tropical paradise.

The ShipRocked community is very supportive of charitable efforts, especially the annual ShipRocked Cancer Sucks! onboard charity auction. During the 2023 cruise, the auction raised an incredible $125,000 for cancer research.

Throughout the year, ShipRocked’s community of “ShipRockers”—as well as others from around the world—are staying connected via “Making Waves – The ShipRocked Podcast,” which launched in 2020 and is available for free through iTunes, Spotify and Google Podcasts.

“Making Waves” features interviews with ShipRocked alumni artists, as well as other top music artists, actors and entertainment industry experts. It’s distributed via Sound Talent Media / Evergreen Podcasts and is

hosted by Chad Nicefield and Justin Press.

Produced by ASK4 Entertainment— a premier rock music theme cruise and destination event producer—ShipRocked is the premier rock music cruise vacation with unique performances and musical collaborations, providing guests with the opportunity to vacation with their favorite bands, meet new friends, and reunite with old ones year after year. The full-ship charter provides a one-of-a-kind experience for guests to have the time of their lives with thousands of like-minded friends. ShipRocked experiences include interaction with band members, poolside games, artist Q&A sessions, trivia challenges, game shows, parties, contests and more. The ShipRocked Cancer Sucks! onboard charity auction has raised more than $925,000 to date for innovative medical research and finding a cure for cancer.

Sons On Fire Release Official Music Video for Single “Collapse

WATCH Sons ON Fire “Collapse” Music Video (OFFICIAL)

https://www.youtube.com/watch?v=gsoEU6LZtYg

Stream/Download “Collapse”

https://fanlink.to/iUmY

For More Information Please Visit: Official Website @ http://www.sonsonfire.com/ Instagram @ https://www.instagram.com/sonsonfireofficial/?hl=en Facebook @ https://www.facebook.com/sonsonfire/ YouTube @ https://www.youtube.com/channel/UCJT4oba_cyU2Yy-z4hHXaOg

Show Dates:

June 9 @ The Back Bar in Janesville, WI

June 10 @ Monster Hall Music Fest in Unity, WI with Tantric, Flaw, Trapt and more

September 10 @ Cruisers Bar and Grill in Post Falls, ID

December 2 @ Fitzgerald’s in San Antonio,TX

Sons On Fire

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“Sons On Fire prove why they are not afraid to tap into the emotions of mental health that so many deal with. The diversity of their songwriting can take you from the intensity of “Rise” into the darkness of “Collapse” and not miss a beat.”

LA Lloyd/ LA Lloyd’s Rock 30 Countdown

“Sons on Fire is on the “Rise” with their latest song “Collapse” to rock radio, it’s a must add! “ JZ

MD 94Rocks KFML-Little Falls

“‘Collapse’ is the strongest single the guys in Sons On Fire have put out so far. This is a band that has found their sound and identity. I’m very excited to see what they do next!”

Ryan Fantozzi Morning DJ at WQLZ /Springfield, IL

“A band in charge and going for it full-throttle with the music goods to prove it.”

Wayne Benson at 107 ROCK WBRR - The Gator

Sons ON Fire released the official music video for single “Collapse.” The single was produced and mixed by Joe Marlett (Blink 182, Switchfoot, Foo Fighters, Queens of the Stone Age).

“We feel this is the most wide appealing most commercial song we’ve written. It sheds a light on life’s everyday problems and how suicide is not the answer. Everybody has their own problems and issues and we just want everyone to know that help is just a phone call away. You are not alone,” says the band’s drummer Bill Nychay.

San Diego’s own Sons ON Fire has quickly become known to fans around the world as a band bound and deter-

mined to make its mark among the heavy hitters of modern rock. You could hear it as their first singles “Faded” and “Just A Man” (Pavement Music) tore up the charts for almost a full year and they have now reloaded with the addition of vocal heavyweight Josh Marin and guitarist Shawn Morgan (formerly of Papercut Massacre/Wind-Up Records) along with founding members Trevor Edwards, Bill Nychay and JK MCKinney aka Johnny Fingerz (both formerly of Kicking K8/ Crash Music/EMI).

This lethal combo has created a synergy resulting in an amazing new partnership with Curtain Call Records, huge performances ( Puddle of Mudd, Trapt, Tommy Vext, Black Top Mojo and Saving Abel) and culminated with the release of their first single “Rise”; an anthem for everyone looking to “Get Up and Rise” over whatever is keeping you from moving forward in life. The band has had tons of experience performing with heavy hitters Disturbed, Stone Sour, Seether, Black Label Society and many more. They are influenced by the likes of Sevendust, Motley Crue, Jimi Hendrix, Staind, Chevelle and Three Days Grace.

This band has faced it and even been knocked down at times, but being knocked down does NOT mean knocked out. The great ones get up, dust themselves off, kick adversity in the teeth and push forward to “Rise” up bigger and better than ever. THAT is Sons ON Fire!

In this world today you can either “embrace” and overcome what the world throws at you or be “destroyed” and crushed by it. Sons ON Fire chose to “Get Up and Rise” in order to bring its new music to the people. Embrace THAT or get out of the damn way!

Sons On Fire are: Josh Marin- vocals, Trevor Edwardslead guitar, Shawn Morgan - guitar, John McKinney - bass, and Bill Nychay - drums

Ice Nine Kills Announce Run of US Headline Dates With The ‘Fear The Premiere Tour’

Find Ice Nine Kills Online

Facebook @ https://www.facebook.com/IceNineKills/ Twitter @ https://twitter.com/ICENINEKILLS

Instagram @ https://www.instagram.com/iceninekills/ Youtube @ https://www.youtube.com/user/iceninekilled Tik Tok @ https://www.tiktok.com/@iceninekills Web @ https://iceninekills.com/

Notorious horror-themed metalcore outfit, Ice Nine Kills, is thrilled to announce their ‘Fear The Premiere’ tour. The band will play a select run of headline shows kicking off on August 8, 2023, and will showcase a spectacular lineup of supporting acts including August Burns Red and Veil of Maya for shows between August 8 and August 11, Set It Off and The Plot In You for shows between August 15 and September 1, and opener Mike’s Dead across all dates.

Ice Nine Kills have garnered a reputation for being one of the most must-see live bands from the sphere of heavy music. In addition to their upcoming headline dates, the band will also be supporting Metallica in US stadiums this summer on their M72 World Tour and will be supporting Lamb Of God on their upcoming US run. Combining their expert musicianship, a killer catalog of bonafide ragers and their infamous theatrical performances that bring each

song and the movie it relates to to life, these upcoming shows are sure to have heads banging, spines tingling and blood chilling across the US. Miss your chance to see one of metal’s most in-demand, can’t-miss bands at your peril.

“Welcome To Horrorwood” is featured on Ice Nine Kills phenomenally successful album, The Silver Scream 2:

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Ice Nine Kills

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Welcome to Horrorwood. Released in October 2021, the album scored Ice Nine Kills their first Top 20 position (#18) on the Billboard Top 200, topped the Digital and Current Hard Music charts, hit Top 5 on the Current Rock, Independent, Current Albums, and Album Sales charts and has clocked up 137 million crossplatform streams to date and 13 million YouTube views for singles “Hip To Be Scared”, “Assault & Batteries”, “Rainy Day”, “Funeral Derangements”, “Take Your Pick” and “The Shower Scene”

Decadent, devious, and fiercely insane, Ice Nine Kills celebrate pop culture’s darkest edges, mining a cinephile library’s worth of iconic horror on 2018’s The Silver Scream which spawned Top 10 Mainstream Rock single “A Grave Mistake” and Top 20 hit “Savages”. The creative marriage made in hell of music and fiction began in earnest with the Top 5 Hard Rock album, Every Trick in the Book, which brought the previous three records’ themes to new levels and which the band perfected on 2021’s chart-topping smash hit ’The Silver Scream 2: Welcome to Horrorwood.’

The phenomenally successful album, released in October 2021, scored Ice Nine Kills their first Top 20 position (#18) on the Billboard Top 200, topped the Digital and Current Hard Music charts, hit Top 5 on the Current Rock, Independent, Current Albums, and Album Sales charts and has clocked up 137 million cross-platform streams to date and 13 million YouTube views for singles “Hip To Be Scared”, “Assault & Batteries”, “Rainy Day”, “Funeral Derangements”, “Take Your Pick”, “The Shower Scene” and most recently, “Welcome To Horrorwood”.

Since the release of ‘The Silver Scream 2: Welcome To Horrorwood’, Ice Nine Kills have seen phenomenal growth. Throughout 2022 they toured the US extensively on 3 legs of The Trinity

of Terror, their hugely successful, mostly sold-out triple co-headline tour with Motionless In White and Black Veil Brides, supported Metallica at several US stadium shows, toured the US with Slipknot and launched the inaugural edition of their horror convention, The Silver Scream Con.

The band’s synergy of music and lifestyle draws favorable comparisons to Slipknot and Rob Zombie. Visionary trailblazers and multimedia raconteurs, INK built a thrilling world for a growing legion of devoted true believers, with theatrical shows, high-concept videos, and inventive band-to-fan communion. Their wildly creative output has seen them become recent recipients of the prestigious Clio Award for Music

Marketing for their “Merry Axe-mas” mobile game and their live streaming event from October 2020, The Silver Stream be nominated for 5 awards at last year’s Horror Hound Film Festival Awards in the categories of Judges Choice, Best Sound, Best Supporting Performance, Best Cinematography and Best Feature. With over 1.75 million monthly listeners on Spotify, 717 million career streams to date and over 204 million views on YouTube the band are firmly cemented as one of modern metal’s most vicious forces.

ICE NINE KILLS ARE Spencer Charnas - Vocals

Dan Sugarman - Guitar

Ricky Armellino - Guitar

Joe Occhiuti - Bass

The Lonely Ones Announce New Tour Dates This

Summer!

Check out The Lonely One’s New Single “Gucci Bags”

https://linktr.ee/thelonelyones

WATCH More Music Videos from The Lonely Ones!

The Lonely Ones - Eternal Sadness: https://youtu.be/lVQPIIH3kJ8

The Lonely Ones - The Lonely One: https://youtu.be/TIsrlNEZ3_Y

The Lonely Ones - Flash/ The Hero: https://youtu.be/Bct_S9Dp3dE

The Lonely Ones - Real Big Trouble (Acoustic):

https://youtu.be/H-cIVJgQOA4

The Lonely Ones- Change The Station: https://youtu.be/6uKpDyVzx9k

The Lonely Ones - Gettin High: https://youtu.be/yDH6CBeyElE

For More Information Please Visit The Lonely Ones Online At: Instagram @ https://www.instagram.com/thelonelyonesband/ Facebook @ https://www.facebook.com/thelonelyonesband/ Twitter @ https://twitter.com/_thelonelyones_

The Lonely Ones

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Formed in the summer of 2019, The Lonely Ones are a four piece, vocal-oriented hard rock band with an ear for melody and a taste for success. The group features Marty McCoy on guitar / vocals, Tommy Johnson on drums, Jymmy Tolland on guitar / vocals and Tru Roberts on bass / vocals. Being no strangers to the hardships of the music industry, The Lonely Ones consist of former members of Bobaflex. Together, they knew what they wanted and knew how to get it; by combining their knowledge and experiences to achieve a common goal. With determined perseverance and an energized drive to triumph, they were ready to release their first two singles independently in March of 2020; with the titles “Eternal Sadness” and “The Lonely One.”

A few months after their initial introduction to the world of rock, the band decided to take a major leap of faith and release their re-imagined version of Queen’s classic song “Flash.” There’s always the risk of scrutiny and criticism when it comes to covering classic songs, especially ones that are still regarded with high praise from the still thriving fan base, but the band was confident their rendition would not only honor the original but also garner renewed attention for the hit theme. Any doubts were squashed when the song and video were met with rave reviews, including those of Brian May from Queen and Sam J. Jones, Flash Gordon himself.

Brian May was quoted as saying, “What a fantastic cover! I didn’t realize they were going to go into The Hero and the whole reprise ... magnificent!”

Sam J Jones adds, “This is one of the best covers I have ever heard and seen. What a gifted group - The Lonely Ones are for every one of us, from the 1980’s to right now!”

Humbled by the response from fans, listeners and legends in the entertainment industry, the band was spurred on in their pursuit to create groundbreaking original music. In September of 2020, The Lonely Ones released another brand new single titled “Real Big Trouble.” What started out as a fun and creative session quickly turned out to be one of their most rewarding. This is one of the heaviest songs the band has ever written, but it also gives a look into what sounds inspire them, such as Thin Lizzy and Beartooth.

By February of 2021, the band had signed on with Imagen Records and released another single called “Change the Station.” This release had 9 active rock stations add the single in the first week and they were a feature artist on Spotify’s Rock Hard editorial playlist as well as over 100 other playlists in the first week as well.

The next release through Imagen was “Dyin’ All Night Long” in June of 2021. A song about an abusive relationship and how often times excuses are made over and over for that person. The lyrics come from the perspective of a victim having had enough of it.

The band released two more singles titled “Gettin’ High” (2021) and “The Way Out” (2022) via Imagen Records before ultimately going independent.

The band spent the summer of 2022 getting back to the grind and writing new songs. The Lonely Ones’ latest release “Bedroom Door” in October of 2022, is one of many to be debuted in the year 2023.

The Lonely Ones have played shows with Sevendust, Nonpoint, Fozzy, Royal Bliss, Seven Year Witch, Black Top Mojo, September Mourning and many more.

In addition, the band is endorsed by: Orange Amps, Westone Audio, Pearl Drums, Sabian Cymbals, Evan’s Heads, Vater Sticks, Ibanez, Frog Amplification, Tech 21 Amplification, Michael Kelly Guitars, SIT Strings, Rare Buzz Effects and Strüng, which is guitar string jewelry that raises money for music education.

The Lonely Ones are: Marty McCoy - guitar / vocals, Tristan Woodruff - drums, Jymmy Tolland - guitar / vocals, and Tru Roberts- bass / vocals

All available tickets links are on-sale at http://www.thelonelyones.net/shows

DANCE GAVIN DANCE Announce

‘The Jackpot Juicer US Tour’ With Support From SiM, Rain City Drive, and Within Destruction

Find Dance Gavin Dance Online

http://www.dancegavindanceband.com

Twitter @ https://twitter.com/dgdtheband

Instagram @ https://www.instagram.com/dancegavindance/ Facebook @ https://www.facebook.com/DanceGavinDance/

Chart topping post-hardcore outfit, Dance Gavin Dance, have today announced “The Jackpot Juicer US Tour” which will be hitting 27 cities across the US to accompany their upcoming album of the same name. The tour will feature support from SiM, Rain City Drive, and Within Destruction.

Jackpot Juicer was released in April of 2021 and scored Dance Gavin Dance their highest charting postion on the Billboard Top 200 to date. The album saw the band hit their

first ever Top Ten debut, entering the Top 200 at #8 with over 33,500 album equivalent sales. The album also hit the #1 spot across the Top Alternative and Top Rock charts, #2 on the Top Vinyl chart, #3 on Top Album Chart and #5 on Top Album Sales Chart.

Speaking on today’s announcement, Dance Gavin Dance drummer, Matt Mingus shares:

“It brings us great pleasure to

announce The Jackpot Juicer US Tour 2023. This monster of a tour will be coming to a city near you this Summer and Fall.

We are really excited about the bands from all over the world that will be joining us on the road. Those artist will include SIM from Japan. Then we have Rain City Drive from here at home in the US. And last but not least, Within Destruction from Europe/

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Taiwan.

DANCE GAVIN DANCE

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The setlist we are planning will consist of a hefty amount of songs from Jackpot Juicer. With tracks from the album we have never performed live before. As well as a number of our popular songs you have all grown to appreciate over the years. We are hoping this mixture of songs will make for an enjoyable performance for both old and new fans a like.

This super eclectic mix of music will surely make for an awesome evening you won’t want to miss out on. We are all really looking forward to seeing your smiling faces from the stage and can’t wait to put on a great show for you all.”

Beginning at the end of August, “The Jackpot Juicer US Tour” will kick off in Tempe on August 24th and travel throughout 26 further cities ending in Detroit at the Masonic Temple Theatre on October 4th. Fans can also see Dance Gavin Dance at upcoming US festivals, including the band’s very own one-day festival, Swanfest, on October 1st. This year’s Swanfest marks the first ever East Coast edition, which will feature a special extended set from the band as well as performances from Periphery, Set It Off, SiM, Rain City Drive, Stolas, Within Destruction, Body Thief and Dwellings. Full 2023 routing below.

Rejecting tired formulas at every step, Dance Gavin Dance merge progressive rock and post-hardcore with thick groove, brilliantly combining experimental music with hooks and a warped sense of humor. The group has amassed over 1.6 billion global streams, and 1.4 million album equivalent units sold across their catalog in the US alone. With hundreds of thousands of rabid fans engaged with Dance Gavin Dance on socials and their very own festival event, Swanfest, which sold out both its inaugural edition in 2019 and its triumphant, postpandemic return in 2022 in the band’s hometown of Sacramento last April and is now set to hit the East Coast for the first time, it all amounts to a full force band facing a mainstream that has overlooked them for too long.

As the undeniable statistics keep mounting up, the fact becomes more and more clear that Dance Gavin Dance are becoming one of this generation’s most popular and enduring forces from the world of heavy music. As Pollstar put it “Sacramento, Calif.-based Dance Gavin Dance is not just any band.”

THE JACKPOT JUICER US TOUR

August 24 || Tempe, AZ || The Marquee Theatre*

August 25 || Las Vegas, NV || Brooklyn Bowl

August 26 || Los Angeles, CA || Shrine Auditorium & Expo Hall*

August 29 || Seattle, WA || Showbox SODO*

August 30 || Portland, OR || Roseland Theater

September 1 || Garden City, ID || Revolution Concert House

September 2 || Salt Lake City, UT || The Union Event Center*

September 3 || Denver, CO || Mission Ballroom*

September 5 || Austin, TX || ACL Live At The Moody Theater

September 6 || Oklahoma City, OK || The Criterion*

September 8 || Houston, TX || White Oak Music Hall*

September 9 || Dallas, TX || The Factory in Deep Ellum*

September 10 || Birmingham, AL || Iron City*

September 12 || Fort Lauderdale, FL || Revolution Live at the Backyard

September 13 || Orlando, FL || Hard Rock Live

September 15 || Nashville, TN || Wildhorse Saloon*

September 16 || Atlanta, GA || Coca-Cola Roxy

September 18 || Raleigh, NC || The Ritz

September 19 || Silver Spring, MD || The Fillmore

September 21 || Chicago, IL || Radius*

September 23 || Milwaukee, WI || The Rave II*

September 25 || Cleveland, OH || Agora Theatre*

September 27 || Boston, MA || MGM Music Hall at Fenway

September 29 || New York, NY || The Rooftop at Pier 17

September 30 || Asbury Park, NJ || Stone Pony Summer Stage

October 3 || Pittsburgh, PA || Stage AE*+

October 4 || Detroit, MI || Masonic Temple Theatre*+ FALL FESTIVAL DATES

September 22 || Louisville, KY || Louder Than Life

October 6 || Sacramento, CA || Aftershock SWANFEST 2023

October 1 || Philadelphia, PA || Mann Center

with SiM, Rain City Drive, and Within Destruction

*Non Live Nation date +No SiM

Willie Nelson’s Beloved Albums The Great Divide, Milk Cow Blues, Spirit and Teatro To Be Made Available On Vinyl In Honor Of Musical Legend’s 90th Birthday Celebration

Albums To Be Released Throughout The Year Beginning June 23

In celebration of the legendary Willie Nelson turning 90 this year, several of his beloved albums from the 1990s and 2000s that were never released on vinyl at the time will be pressed on vinyl in a variety of options over the next few months. The releases will kick off June 23 with his 2002 collaborative album, The Great Divide, followed by 1998’s acclaimed, cinematic, Daniel Lanois-produced Teatro on August 4 in honor of its 25th anniversary. Willie’s 2000 ode to the blues, Milk Cow Blues, will come on September 15 as a double LP, while 1996’s stripped-back and emotionally raw Spirit will bow on October 20, just ahead of the American icon’s induction into the Rock and Roll Hall of Fame on November 3. The Great Divide and Milk Cow Blues will be making their vinyl debuts while Teatro and Spirit return to vinyl due to popular demand after being available in limited capacity but now long out-of-print.

All albums will be available on 180-gram black vinyl as well as a limited edition color variant on 140-gram vinyl, exclusively available at uDiscover Music and WillieNelson.com. The Great Divide and Spirit will be pressed on clear vinyl while Teatro and Milk Cow Blues will be on translucent red vinyl and orange vinyl respectively. The LPs are available for pre-order now here: https:// WillieNelson.lnk.to/90thVinylPR

The Great Divide, released in 2002 on Lost Highway, saw Willie duetting and collaborating with an incredible roster of artists from across the musical spectrum for a rousing collection of originals and covers for his 50th studio album. Joined by a diverse group of songwriters, singers and musicians, including Alison Kraus, Bonnie Raitt, Brian McKnight, Kid Rock, Lee Ann Womack, the album features such highlights as the Rob Thomas-penned duet, “Maria (Shut Up And Kiss Me),” and the Lee Ann Womack-starring “Mendocino County Line,” co-written by Elton John’s lyricist Bernie Taupin who also co-wrote “This Face.” Other standouts include covers of Mickey Newbury’s “Just Dropped In (To See What Condition My Condition Was In),” Cyndi Lauper’s signature tune, “Time After Time,” and the title track which sees Willie taking the lead for a Spanish-tinged original. The record comes to a stirring conclusion with Willie and Bonnie Raitt reflecting on regret and the passage of time in the aching “You Remain.” The album peaked at No. 5 on Billboard’s Top Country Albums chart on the strength of singles “Mendocino County Line” hitting No. 22 and “Maria (Shut Up And Kiss Me)” reaching No. 41 on the Hot Country Songs charts.

Willie’s 45th album, Teatro, released in 1998 on Island, found the ever-restless musical innovator working with producer Daniel Lanois to create a lush, cinematic gem of a record. Fittingly recorded live in an old, unused movie theatre in Oxnard, Calif., prominently displayed on the cover, the album mostly features Willie reinventing

to great effect a number of songs he first wrote in the 1960s, including 1962’s “I’ve Just Destroyed The World” and “Three Days” and 1968’s “I Just Can’t Let You Say Goodbye.” With longtime friend and frequent collaborator Emmylou Harris at his side for 11 of the 14 tracks, Teatro showcases Willie’s versatility as he effortlessly transitions between country, folk, and blues, delivering each song with a profound sense of sincerity while experimenting with new sounds and sonic textures. Willie and Emmylou’s take on Lanois’ “The Maker” would be worth the price of admission alone but that’s just one standout among many. Accompanied by a nine-piece band that included Willie’s sister, Bobbie Nelson, on piano, the group conjure up an atmosphere informed by the howling harmonicas and mariachi bands of spaghetti western soundtracks, resulting in an album quite unlike any other in Willie’s catalog.

Released in 2000 on Island, Willie’s 48th studio album, Milk Cow Blues, was his heartfelt homage to the blues. With his trademark vocals and dexterous guitar playing, Willie, backed by the Antone’s blues band and his trusty harmonica player, Mickey Raphael, delivers a captivating collection of blues standards and original compositions, including remarkable blues renditions of some of his classics and earliest cuts. The 15-track album features Willie joined by blues legends B.B. King for his timeless hit, “The Thrill Has Gone,” Dr. John on the slow rolling “Black Night,” and vocalist Francine Reed on Willie’s “Funny (How Time Slips Away)” and the scene-setting title track, with the vocalist transforming both into soulful laments. A who’s who of the genre’s modern-day torchbearers such as Keb Mo, Kenny Wayne Shepherd, Jonny Lang and Susan Tedeschi display their blues chops alongside Willie, from Tedeschi belting on Willie’s immortal “Crazy” and Lang, Mo and Shepherd playing up a storm of blues guitar on “Ain’t Nobody’s Business,” “Outskirts Of Town,” and “Texas Flood.” Willie digs deep into his catalog to revisit some of his earliest songs, including “Rainy Day Blues” (with Lang) and “Night Life” (with King) which were released in 1960 by Paul Buskirk and His Little Men featuring Hugh Nelson (aka Willie). Critics praised the record, with Rolling Stone exclaiming, “like everything else he plays, Nelson’s blues are unforced and natural,” adding, “the result is emotionally rich, musically savory and languidly blue from end to end.” Texas Monthly meanwhile said the “gorgeous solo reading of Bob Wills’ ‘Sittin’ on Top of the World’ that should forever bridge the gap between western swing and blues winds up being the album’s most spine-tingling moment.”

Spirit, released in 1996 on Island as his 44th studio album, saw the songwriter return to his roots for what critics deemed his most focused album of that decade. Self-produced and featuring a stripped back band – Willie and Jody Payne on guitars, Bobbie Nelson on

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Photo credit @kimmillerphotography

piano, and legendary country fiddler Johnny Gimble (Bob Wills and his Texas Playboys), Willie, as All Music wrote “weaves a tapestry, a song cycle about brokenness, loneliness, heartbreak, spiritual destitution, and emerging on the other side.” The 12 original compositions delve into themes of love, loss, redemption, and the human experience and showcase Willie’s well-traveled voice and Spanishinflected guitar playing, accompanied by sparse instrumentation; the antithesis to the kind of country music that dominated the airwaves in the mid ‘90s. Some of the many highlights include “I’m Not Trying To Forget You Anymore,” “Too Sick To Pray” and “I Thought About You, Lord.” While well received upon release, Spirit has only grown in stature over the years as it continues to be discovered and revisited by new and longtime fans alike. In 2020, Texas Monthly ranked it #10 when ranking Willie’s more than 150 albums, a jaw-dropping mix of studio recordings, live albums and anthologies.

Willie’s music continues to endure and captivate audiences more than ever, and now fans have even more ways to enjoy these four classic albums.

With a seven-decade career, Willie Nelson has earned every conceivable award as a musician and amassed reputable credentials as an author, actor, and activist. He continues to thrive as a relevant and progressive musical and cultural force. In recent years, he has delivered more than a dozen new albums, released a Top 10 New York Times’ bestselling book, again headlined Farm Aid, an event he cofounded in 1985, been honored by the Library of Congress with their Gershwin Prize for Popular Song, received his 5th degree black belt in Gong Kwon Yu Sul, headlined the annual Luck Reunion food and music festival during SXSW, launched his cannabis companies Willie’s Reserve and Willie’s Remedy, and graced the covers of Rolling Stone and AARP The Magazine. In July 2020, Willie released his album First Rose of Spring – an atmospheric soulful showcase of beautifully-written songs and poignant performances.

September 2020 brought a memoir with his sister and pianist Bobbie Nelson titled, “Me and Sister Bobbie: True Tales of The Family Band.” For 2021, he released a new studio album in February —That’s Life, Willie’s second album of standards and classics made famous by Frank Sinatra (his first, 2018’s My Way, earned Willie the GRAMMY for Best Traditional Pop Solo Album). In June 2021, a collection of his thoughts on America, family, faith and music hits shelves as a new book titled “Willie Nelson’s Letters to America.” In November 2021, Nelson released the new studio album, The Willie Nelson Family, a collection of country gospel-flavored songs performed by Willie’s Family Band. In April 2022, he released another new studio album, A Beautiful Time, which includes a variety of newly-written future pop-country classics including five new Willie Nelson/Buddy Cannon compositions. The album won the GRAMMY for Best Country Album. In September 2022, he published a new book titled “Me and Paul: Untold Tale of a Fabled Friendship” that chronicles the adventures of Willie and his longtime drummer and closest friend Paul English. Throughout 2023, Willie celebrates his 90th birthday with multiple projects and events including the twonight star-studded concert, Long Story Short: Willie Nelson 90, which took place in April at the famed Hollywood Bowl. The year began with the debut of “Wille Nelson & Family,” a new five-part film documentary series directed by Thom Zimny and Oren Moverman that premiered at the Sundance Film Festival as well as the just released new album, I Don’t Know a Thing About Love, which features 10 performances that pay tribute to American songwriter Harlan Howard, These creative endeavors as well as new songs and performances that add to his classic catalog, find Willie Nelson rolling at an artistic peak, writing and singing and playing with the seasoned wit and wisdom that comes from the road.

RELEASE SCHEDULE

June 23 – The Great Divide

August 4 – Teatro

September 15 – Milk Cow Blues

October 20 – Spirit

THE GREAT DIVIDE TRACKLISTING

Side A

1. Maria (Shut Up And Kiss Me)

2. Mendocino County Line (with Lee Ann Womack)

3. Last Stand In Open Country (with Kid Rock)

4. Won’t Catch Me Cryin’

5. Be There For You (with Sheryl Crow)

6. The Great Divide

Side B

1. Just Dropped In (To See What Condition My Condition Was In)

2. This Face

3. Don’t Fade Away (with Brian McKnight)

4. Time After Time (with Cyndi Lauper)

5. Recollection Phoenix

6. You Remain (with Bonnie Raitt)

TEATRO TRACKLISTING

Side A

1. Ou Es-Tu, Mon Amour?

2. I Never Cared For You

3. Everywhere I Go

4. Darkness On The Face Of The Earth

5. My Own Peculiar Way

6. These Lonely Nights

7. Home Motel

8. The Maker

Side B

1. I Just Can’t Let You Say Good-Bye

2. I’ve Just Destroyed The World

3. Somebody Pick Up My Pieces

4. Three Days

5. I’ve Loved You All Over The World

6. Annie

MILK COW BLUES TRACKLISTING

LP1

Side A

1. Milk Cow Blues (featuring Francine Reed)

2. Outskirts Of Town (featuring Keb Mo’)

3. Black Night (featuring Dr. John)

4. Funny (How Time Slips Away) (featuring Francine Reed)

Side B

1. Rainy Day Blues (featuring Jonny Lang)

2. Crazy (featuring Susan Tedeschi)

3. The Thrill Is Gone (featuring B.B. King)

4. Wake Me When It’s Over

LP2

Side C

1. Kansas City (featuring Susan Tedeschi)

2. Fool’s Paradise (featuring Dr. John)

3. Ain’t Nobody’s Business (featuring Jonny Lang)

4. Night Life (featuring B.B. King)

Side D

1. Sittin’ On Top Of The World

2. Lonely Street

3. Texas Flood (featuring Kenny Wayne Shepherd)

SPIRIT TRACKLISTING

Side A

1. Matador

2. She Is Gone

3. Your Memory Won’t Die In My Grave

4. I’m Not Trying To Forget You Anymore

5. Too Sick To Pray

6. Mariachi

7. I’m Waiting Forever

Side B

1. We Don’t Run

2. I Guess I’ve Come To Live Here In Your Eyes

3. It’s A Dream Come True

4. I Thought About You, Lord

5. Spirit Of E9

6. Matador

Pete Townshend’s “Rough Mix” & “Empty Glass” Half Speed Mastered LPs Due June 23rd Via UMe

The First In A Series Of New Limited Edition Half Speed Mastered Albums

Rough Mix & Empty Glass Mastered By Jon Astley And Cut For Vinyl By Miles Showell At Abbey Road Studios To Be Released On June 23rd Through UMe

June 23, 2023, sees the release of the first in a series of half speed mastered studio albums from Pete Townshend, Rough Mix and Empty Glass.

These limited-edition black vinyl versions have been mastered by long-time Who engineer Jon Astley and cut for vinyl by Miles Showell at Abbey Road Studios with a half-speed mastering technique which produces a superior vinyl cut and are packaged in original sleeves with obi strips and certificates of authenticity. Rough Mix is presented in a gatefold sleeve, and Empty Glass features a full-color inner bag with full lyrics and a 12” x 24” poster.

Rough Mix was initially released in September 1977 while The Who were on hiatus and was a collaboration with Small Faces bassist the late Ronnie Lane and features contributions from Who bassist John Entwistle, Eric Clapton, and Rolling Stones drummer Charlie Watts among others.

The orchestral arrangements for the track “Street in the City” were provided by Townshend’s then father-in-law, noted British film and television theme composer Edwin Astley. Edwin’s son, Jon Astley has overseen this new remaster.

Produced by Chris Thomas (Roxy Music, Sex Pistols, Pretenders, Wings), Empty Glass was Townshend’s next solo release appearing in April 1980. The songs predominantly deal with issues Townshend was struggling with at the time, including alcohol, drugs, and the death of Keith Moon, the Who’s former drummer.

The second single from the album “Let My Love Open the Door” was a U.S. Top Ten hit, propelling the album to No. 5 on the U.S. Billboard chart, and the first single “Rough Boys,” which was dedicated to Pete’s children and The Sex Pistols, was a U.K. top 40 hit. The album was well received at the time, with some critics even referring to it as a Who album that never was.

Pete Townshend Rough Mix - Half Speed Mastered Vinyl Track List

SIDE 1

My Baby Gives It Away Nowhere To Run Rough Mix Annie Keep Me Turning Catmelody

SIDE 2

Misunderstood

April Fool Street In The City Heart To Hang Onto Till The Rivers Run Dry

PETE TOWNSHEND EMPTY GLASS - HALF SPEED MASTERED VINYL TRACK LIST

SIDE 1

Rough Boys

I Am An Animal And I Moved Let my Love Open The Door Jools And Jim

SIDE 2

Keep On Working Cat’s In The Cupboard A Little Is Enough Empty Glass

Gonna Get Yau

AVAILABLE FOR PRE-ORDER NOW

https://petetownshend.lnk.to/RoughMixPR

https://petetownshend.lnk.to/EmptyGlassPR

https://petetownshend.lnk.to/StorePR

Facebook: https://www.facebook.com/OfficialPeteTownshend Instagram: https://www.instagram.com/yaggerdang YouTube: https://www.youtube.com/user/TheWhoVEVO Website: https://www.thewho.com/

The Biker, The Blues & The San Francisco Bay Area

One of the best rides starts in the Lake Tahoe area and extends west into California. Jump on route 50 just south of the lake and head west through the mountains and enjoy the ride for about 100 miles. Very cool scenery and nice roads. Of course the world famous Donner Pass that was either the winning hand for or the death of early settlers is out this way in the U.S. but not on route 50. Donner Pass is northwest of Lake Tahoe up by route 80 but none the less a vivid historical reminder of the challenges due to weather. Of course down where I am on 50 a person can get thirsty so you look for a watering hole along the way. I found one such place named Hard Rock Hotel & Casino and yes I never made it out of South Tahoe before it popped up on the ole eyeball radar. There it was this massive guitar calling my name, sucking me in like a moth to a flame and I thought hell I’ve never valet parked a scooter before this could be fun. No I wasn’t going to let someone I didn’t know have a go with my pride and joy. However, it was fun riding up and just seeing their faces when I dismounted. I accepted their valet receipt and they pointed to a parking area close to them. Inside was one of the cleanest gambling establishments I have ever been in. I spotted a bar almost immediately and made haste for a stool. Interesting choice of music. Not the

greatest. Whoever programmed it moved the playlist between genres song after song. Not the coolest playlist but not super bad either. A couple of cold ones and out the door to head west. The trip to Sacramento was scenic and since it was only 100 miles from when I left Tahoe I decided to gas up and move on so I jumped on route 50 and headed southwest into downtown Oakland. Oakland has been blues like forever and one of their coolest places is Eli’s Mile High Club. Younger crowd for the most part with lots of blues rock happening. The joint gets jumping and they sell Olympia on top of all the music so what’s

not to like? The place was cool alright but I had learned about a place in San Jose further south and thought ok I would chug on down to the Poor House Bistro. Now we’re talking some serious blues baby. PHB books a virtual who’s who when it comes to blues artists both within the region as well independents just traveling through. I gotta say so far this trip is panning out well (pun not intended). What’s really cool…..

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The Biker, The Blues & The San Francisco Bay Area

Look Out! Look Out! Look Out! These joints Are Jumping

If you look closely you can see that the Poor House has outdoor heaters ready to go in the unlikely event that the temp drops fast. However, it is my pleasure to tell you that with three fingers of 15 year old single malt scotch along with a hand rolled Cuban seed cigar can easily make a man forget about the temperature. If I am lying, I’m dying. I stayed the night in San Jose, probably stayed longer than I should have at the Poor House and the next day I moved north into Redwood City. Now let me tell you something if I might. When you have visited as many blues joints as I have there are some things you get to know real well. One of those noticeable items is how well the club you are at treats those that are headlining. Take Club Fox in Redwood City California for instance. If you go to their website you don’t see a lot about them but a lot and I do mean a lot about the acts that are going to grace their stage. That’s what it’s really all about, the music and those that can lay it down live. Club Fox is an upscale nightclub theater and when you go there you feel their appreciation for both the audience and the artists. It doesn’t hold the feel of a juke or a speakeasy but it’s not meant to, it communicates appreciation and success. Very clean, modern. I can see where this would be a great date night event for anyone in northern California, cool place. A record producer friend of mine had told me about another place too in Marin (close by) named Rancho Nicasio. When I went to learn about it on my phone I saw that Al and John Staehely played there (rock veterans mostly associated with the ‘70s rock group Spirit) and that increased my curiosity. Really nice outdoor open air concert area and the service is right in there. Plenty of parking and a nice ride getting there too. An interesting footnote on this trip - The Blues Foundation has an award they present known as the KBA award also known as Keeping The Blues Alive. It is a coveted award and rightly so but as a blues lover through and through I appreciate not only keeping it alive but attracting young people into the circle. When you visit these northern California clubs notice one thing, the number of young couples taking it all in. The blues is like no other music, the blues speaks to your soul and blues performers dare not be frauds because the genre will give it away. You either is or you ain’t. Live blues man! Boiling over and into the streets of San Francisco and da burbs baby! One of S.F.’s top get down places in the city is Biscuits & Blues. Man the entertainment flows like wine. I made my way from Tahoe into the Bay Area and while the ride was scenic and nice SF’s got it working if you like the blues.

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Page 3 The Biker, The Blues & The San Francisco Bay Area

Look Out! Look Out! Look Out! These joints Are Jumping

So many blues greats live here and many others come to the Bay Area and the thing is the up and comers are hot here too. You just cannot go wrong in this part of the country. I had heard about Biscuits and Blues when I was in Memphis and thought well if I ever get there I am going to go there and so I did. I was not let down. The night I was there The Lucky Losers were kicking off a new album and these people were hot to the max. No matter where you live in the U.S. there’s a good chance you’ve had a chance to catch these touring marauders putting it down some place They nailed ten originals from start to finish, their show never stopped. Another super hot smokin’ group is an ensemble assembled by veteran record producer Neil Barnes. Neil’s “Hyde and Seek” album was and remains a blues feast if there ever was one. Every track recorded to perfection with a star studded line up that knows how to deliver. OMG this album is a collector’s item for sure. Along the Bay Area path there is another club that smokes from opening to close and it’s known as The Saloon. If there ever was a modern day juke in the S.F. area this is it. It’s got the look, the feel and it’s the real deal when it comes to those that love the blues. Check them out. All I can tell you is that someone there has a broken wrist because their drinks, be it call or well, kick ass, if I am lying I’m dying. This place is not for bubble gummers - go there to get immersed into the blues scene. Kick back and take it all in, enjoy the ride. Blues to the max, good blues, damn good blues. In the late sixties, early seventies, there was a genre of music known as bubble gum rock. It had its place with its innocence but what mature teens were looking for was not their daddy’s Oldsmobile if you get my drift. A station in Chicago, WLS Radio, was broadcasting artists such as Willie Dixon and Muddy Waters. The music had a back beat you couldn’t forget and lyrics that made adult sense. Today, hundreds of blues clubs and artists keep this art alive. The Bay Area kicks ass people.